Autoformers

Letter from Taipei: Robin's New Toys
Home Visit: Intact Audio Autoformer Preamp
Letter from NYC (71) 2017(10)

Regular readers of this blog will have read about my friend Robin the Scot, who now lives in Taipei. Those who don't can read about his setup in my visit last year. Robin and I share remarkably similar musical and audio preferences and he uses a R2R deck! I just got an email from him. As usual, his writing is thorough and worthy of publishing, so here it is below. Around the same time in NYC I paid a brief visit to reader Richard, who also employs an Autoformer Preamp in his system, hence I here group these two disparate articles together.

pic of Townsend Allegri from HiFi+. Click to enlarge.

Letter from Robin

"...I’ve made some major improvements to my hi-fi system since you came to visit us last year — you’d probably hardly recognize the sound now. Just after your visit, I discovered that one of my Yamaha FX-3 tweeters was seriously damaged, and had been so for at least a couple of years. No wonder I always felt the sound had a harsh edge to it! The tweeters for te FX-3 are basically Unobtanium (they’re slightly larger than the ones for the NS-1000), but I’d had an eBay search set up for one for quite a while before that, and to my amazement an auction listing for a pair of FX-3 tweeters suddenly appeared in my inbox. I snapped them up, swapped out the damaged one, and hallelujah! — all was clarity and finesse, finally, in the speaker department. And did I mention stereo imaging? The dfference from before is like night and day. 

I also fixed the Thomas Schick tonearm, which as you’ll remember had somehow been knocked squint. I wrote to Thomas, and he sent me instructions for straightening it out by myself, which basically amounted to grabbing it firmly in one hand and then pushing the bent end down sharply against a table top with the other hand. Against all my predictions, this somehow sems to have done the trick! (As I told Thomas, his advice reminded me of my grandmother, whose solution when any piece of electrical equipment failed was: “Just hit it with a hammer!”)

However, I’m now using as my main turntable for the MC cartridge a Kenwood KP-1100 direct drive, which I bought from hifido in Japan (Link.) It has a wonderful, rigid metal X-plinth tucked away inside the unassuming wooden box exterior, which some people think makes it more effective than the Technics SP-10. (I don’t know enough to say ... but the Kenwood cetainly sounds VERY nice, and it’s also great to have an auto-stop at the end of the record — something I haven’t had since the late 1970s.) 

I stripped down the Garrard 301 and gave it a complete overhaul and refurbishment, and then set it up as a mono-only rig, using the Schick tonearm and an Ortofon 2M Mono SE cartridge — played via an ultra-cute 1954 George Gott tube phono preamp, which I bought because like the McIntosh C-20 it has all the pre-RIAA alternative phono equaliation settings available. It’s fascinating to hear how LPs from the 1950s can sound so different, once you play them with their correct EQ adjustment. For example, Decca FFRR records sound thin and tizzy, by comparison, if you play them through the later RIAA setting. However, in the interests of better overall sonics, I’ll probably retire the Georg Gott soon, and instead use … 

My spanking new Icon Audio PS-3 Mk II phono preamp! (Link)(It’s currently in the customs bay in Taipei, awaiting final clearance, so I should have it by the end of this week.) It has a volume knob (and both MM and MC inputs - the latter using the company’s own stepup transformers), so I’m planning to run it directly into the MC-275 amp. Well, not quite directly… 

First, the signal will run through my newly acquired Townshend Allegri passive preamp (Link.) I bought this a couple of months ago, and it’s met all the high expectations I had of it. CDs and R2R tapes sound astonishingly natural and “all there” when played through it, and it makes one realize how much grunge and grayness gets added by even a pretty good preamp like my ARC SP-11. I haven’t yet played any LPs through the Allegri, as I’m still waiting for the Icon Audio phono preamp to arrive. But I have high hopes for that! 

In the HI-fi Plus review, Alan Sircom explains it very well:  because, uniquely, the Allegri uses single-coil “autotransformers" (as opposed to regular, adjacent-coil transformers) to adjust the volume level, the preamp acts like a “gearbox" rather than a traditional attenuator. That is, it matches the source impedance to the power amp impedance very closely at each of the different preamp volume settings (just like a car gearbox matches road speed to engine speed, to minimize the loss of torque in different road conditions). This results in clarity and depth across the frequency range, no matter what volume level you select — so for example, you no longer have that disappointingly thin sound at low listening levels. 

All so different from the way that active preamps — and most passive preamps too — deal with the volume level question. Suffice it to say that I’m thoroughly sold on the idea, now that I’ve actually experienced it. The only sad part is that my trusty old SP-11 (although somehow I’d already started feeling a bit bored with its sound) will need to be taken off the rack and gracefully retired, at least for the meantime..."

"...There’s actually a couple of things I forgot to put into it — I've bought a Yamaha B-2 power amp (the early 1980s one that uses V-FETs), which has a great, almost tube-like sound; and I’m now using an ultrasonic cleaner to clean LPs..."

pic of Richard's system. Click to enlarge. Note the unusually modfied Ortofon arm and rare Glanz cartridge; to the left is his DIY preamp. All digital stuff inside the antique cabinet. The custom small Ohm's were perched atop REL subwoofers; the other two by the couch and to the left, not seen in thi spic.

Home Visit: Slagle Autoformer Preamp
Reader Richard first encountered my Blog after he acquired a Nagatron cartridge. I rarely venture into town these days but last Sunday I managed to pay him a belated, though brief visit. Richard likes to build things, so naturally has a DIY bent and is obviously a tweaker who has spent a lot of time adjusting his system. He system is rather complex:

Analog Front End: Technics SP10 MK2; Tone arm 12" Ortofon AS212 (modified by Alfred Borkland); Cartridge Glanz MFG 610 LX.
SUT: Technics SH-305MC
Phonoamp: iFi iphono 2 (used as MM).
Digital (CAS): Mac Mini, Focusrite red net 3, Antelope live clock, Mutec mc3+usb reclock,
Metrum Octave dac, Player software Chanel D Pure Music.
Preamp: DIY passive pre with Bent audio Tap X autoformer volume controls by Dave Slagle
Amp: Ben Jacoby modified VTL compact 100 mono blocks running 2 KT120 tubes ea.
Loudspeakers: Custom Ohm Walsh 2.2000
Subwoofer System: DSPeaker antimode 2.0 for DSP room correction of 4 REL Q201e subwoofers

Richard's Living Room is typical of a medium sized NY apartment, with a layout not particularly advantageous for audio. Obviously a family man, the room is stuffed with heirloom furniture. Obviously a considerate person, the audio is laid out along the long wall with the loudspeakers minimally in-room. In HK's small apartments I also see a lot of setups placed this way.

Yet the sound (from both CAS and Analog) was quite enjoyable, smooth yet detailed. Note R's Ohm's are custom, that is truncated at the bottom, in height as well as frequency response, nothing below 50 Hz, where the DSP'ed distributed subwoofer systems take control.

I am not a fan of CAS, but this (complex) one is definitely one of the better ones I have heard. The TT is the mighty Technics SP-10, one of my favs, and the rare Glanz cartridge seems like an unusually detailed MM, in the vein of my Shelter 201.

Most interesting to me, of course, is the Autoformer Preamp. David Slagle's designs are rather famous, heard here in a Bent Audio variation, but Intact Audio sells direct for DIY'ers, and there are other companies, like the very expensive Vinnie Rossi, that employ his autoformers. Although I am a horn user and personally prioritize the "jump factor" and hence don't prefer passive preamps of any kind, I do have a keen interest in their use as buffer amps. Given my recent experience with Schiit Saga, I was particularly interested. I was not disappointed. I think in the future if I have time I'd DIY an autoformer preamp to use as a buffer amp.

MoFi StudioPhono, Schiit Saga, Shelter 201, Citation I, Monbrisson, Gotham

pic: Innards of the StudioPhono. Click to Enlarge. Caution: the case is well designed. After unscrewing, take off the cover gently; you will encounter a little resistance, but gentle wiggling helps. I actually like the look of it, well laid out and built.

Review: MoFi StudioPhono, Part II
Review: Schiit Saga, Part II
Review: Shelter 201, Part II
Review: Shindo Monbrisson, Part III
Review: Harmon Kardon Citation I, Part III
Talk Cable: Gotham GAC-2 and DGS-1
Letter from NYC (70) 2017 (9)

MoFi StudioPhono, Part I and Shelter 201, Part I
Schiit Saga, Part I
Shindo Monbrisson, Part I (extensive basic info and review); Part II (vs Manley 300B preamp)
Harmon Kardon Citation I, Part I (basic info and review), Part II (in a group preamp shootout)

Round I (MoFi Studiophono; Shelter 201)
Using my Reference System II, In Part I of my MoFi StudioPhono review, I used the Schiit Saga as preamp. Since elsewhere I did find the Saga to be on the neutral/lean side, this time around, I swapped it out for my usual tube preamps, and that made all the difference in the world. Whereas last time I had to use a smoother cable (DIY 47 Labs) with the StdudioPhono to tone down the sound, this time I re-instated my Gotham DGS-1 with no problem. I also think more run-in helped.

Equipment Used:
Analog 1: Audio-Technica AT-PL120/Shelter 201
Analog 2: Thorens TD-125/SME 3009i/Denon DL-304
Preamp: Shindo Monbrisson and Harmon Kardon Citation I
Amp: Wavac MD-811
Loudspeakers: YL 4-way Horns

LPs Used: For this rather big round of testing, I relied on several LPs which I wrote up in my last post (roll down, or here). The same LPs were played through both preamps' own phonostages, and through the StudioPhono through the preamps' linestages.

As there are a lot to cover, I shall be brief with each entry, and sum up my findings in my Conclusions section.

StudioPhono + Shindo Monbrisson
Through the line section of the Shindo Monbrisson, the StudioPhono performed brilliantly. As with the Schiit Saga, I was particularly impressed by the way it separated the orchestral instruments and defined them in space. In Finlandia, I definitely could visualize the front, middle and back of the orchestra. As also with the Schiit Saga, the bass reached impressively deep and was suitably taut. The Shindo's warmth and sweeping power in the bass, however, was like a great air cushion and immeasurably enhanced the StudioPhono. However, when it came to the Budapest Quartet, there was still a little lingering leanness.

MoFi StudioPhono + Harmon Kardon Citation I
The performance was still very good, warmer than with the Schiit Saga. However, the line stage of the Citation I, though still warm, lacked the depth of the Shindo, and at higher volume things became just a little ragged. The lower brass in Bruckner 4th did not have quite the desirable heft.

Interlude: MoFi StudioPhono chez Andy
I took both cartridge and phonoamp to Andy's for a brief listen. On the Garrard 401, the Shelter 201 replaced a Decca cartridge. In his more forgiving system, the sound was quite listenable, without any undue leanness. The Shelter, however, did not have the color and force of Decca. Andy actually thought the StudioPhono to possess a reasonable warmth, whereas he was not too enamored of the starker sound of the Shelter. We noted the calibration may not have been precise.

Round II (Shelter 201, Denon DL-304, MoFi StudioPhono and Full-Function Preamp Use)
Up to this point, I had used mostly the Shelter 201. Then, I added to the source my Thorens 125/SME 3009i/Denon DL-304, likely better in every way than my go-to Audio-Technica.

StudioPhono
As mentioned in Part I, the StudioPhono had no problem whatsoever with the low-output Denon DL-304. Indeed, through either the Shindo or the Harman Kardon, the sound acquired a new smoothness and have a subtler inflection, while retaining all the positive attributes mentioned above.

Shindo Monbrisson
I then turned my attention to the performances of my preamps in their intended full-function mode. Most interestingly, much as I like my Shindo, I did not find running the Shelter 201 into its MM section to be decisively superior to using the StudioPhono. Although it produced fleshier images and a fuller tone, the Shindo was darker, less detailed and somewhat colored. It also did not reveal space in the highly accurate manner that StudioPhono did. With the MC Denon DL-304, which I first ran through the Western Electric 285L and then through the Shindo's own input trannies (which I prefer in this case), it was a different story - clearly superior to Shelter 201, through the Shindo MC stage it in almost all aspects of performance surpassed the StudioPhono, which however still managed to have image definition and layering precision to its advantage.

Harmon Kardon Citation I
Used as full-function preamp, the Shelter 201 performed much like with the StudioPhono, with just the right added warmth. Unlike the Shindo MM section, the Citation I was almost just as good in the areas where the StudioPhono excelled, and a little better it other parameters - not surprising given the Citation's modernist tube bent. I did not get to use the Citation with DL-304 as it would necessitate trials with SUTs.

Round III (Schiit Saga; reunited with StudioPhono in System III)
At the end of my last trip (see Schiit Saga, Part I; link on top), I left the Saga in my Reference System III, but was not happy with the phono setup. Equipment:

Analog 1: Pioneer PL-50/Raos MC Mono

Analog 2: Thorens TD-309/Denon DL-A100
Phonoamp 1: 47 Lab Shigaraki

Phonoamp 2: AQVOX 2CI MkII vs MoFi StudioPhono

Digital: Sparkler S303
Buffer: Schiit Saga
Preamp: Langevin 102
Amp: Wavac MD-811
Loudspeakers: YL Acoustics 4-way Horn Speakers

This time, most of the time I was preoccupied with System II, but as the StudioPhono was soon to be retired from this station (which has too many good phonoamps and preamps), I refocused on System III.

I swapped in the StudioPhono for the AQVOX, using the same Gotham DGS-1 cable to the Saga. But I also swapped out the phono cable, switching from Mogami 2534 to Gotham GAC-2. That did it! A Miracle! Unlike the duo's performance in System II (again, see Part I link), the sound was synergistic, indeed superb. It even had gravitas in the Bruckner 4th. And in Pollini's Chopin Piano Concerto No. 1 (EMI HMV Concert Classics), the strings now sounded much sweeter, the woodwinds natural and the piano focused. Most amazingly, even though I knew the StudioPhono was good in the bass, I was surprised that the system had a sweepingly solid bass foundation much like the Shindo - for this credit must go to the Langevin 102 preamp.

Note on Remaking of System III  I also did a bit of re-cabling for the rest of the system. For the Sparkler CDP, I installed the Gotham DGS-1, to excellent effect. Now, only a small trace of dryness remains, even in big-boned pieces like Finlandia (PO/Ashkenazy, Decca) and Brahms 3rd (VPO/Giulini, DG) - some of this is definitely the inherent character of Sparkler; and some of this may be due to the recording (the DG is certainly drier than the Decca). I also installed the (DIY) Belden 8451 (another unsung hero; good at cooling things down) and it similarly improved the mono LP playback. I hereby declare this system ship-shape. Done!

Yes, the Schiit Saga forced me to re-cable the system, almost from top to bottom, but it is eminently worth it, and it is staying in the system (saves me space)! More below in Talk Cable and Conclusions.

Round IV (Shelter 201 with Nagra PL-P in System IV)
The Shelter 201 did well in my newly promoted System IV (here.)

Round V (Linn LP-12 Lingo/Ittok LV-II/Air Tight PC-1 in System II)
This is part of Restructuring. System I right now is seeing less action, so I decided to move the Linn LP12/Ittok/Air Tight PC-1 to System II. Also, in System II, my Thorens 125/SME 3009i/Denon DL-304 is doing so well that I did not want another Denon cartridge in the system, Hence, I moved the Thorens TD-124/SME 3012/Denon DL-103 to System I. Suffice to say, the sound of the Linn/Air Tight was just absolutely splendid through the Shindo. Even more detailed, warmer and sweeter than the TD125/SME/Denon DL-304, the PC-1 exudes a subtle elegance. More on System I later.

Cable Talk: Gotham GAC-2, DGS-1 vs Mogami
I have been using professional cables for the last 20 years. Prior to Gotham, I used mostly Mogami (2534 and 2549) but that changed after Gotham. Generally speaking, Mogami is neutral but a little on the "white" side, suitable for warm tube and vintage gears. While Gotham is just as neutral, their cables have a bit more warmth and excelled at the frequency extremes: an airy and extended treble and a tactile and deep-reaching bass. I have used the (Austria made) shielded 4-conductor GAC-4 and 2-conductor GAC-2 for the longest time in HK. The GAC-4 is a little airier than the GAC-2 and hence preferred by most HK audiophiles. Here in the US, I bought a roll of GAC-2 (earlier) and coaxial DGS-1 (later) each and have been using them mostly in my systems. With my sensitive horns, the GAC-2 is more than transparent enough, with a wide soundstage and excellent imaging. The DGS-1 is less so in those parameters, but even more direct and emotive (a parallel would be non-oversampling in digital). Due to the large number of equipment that I have, I cannot make Gotham cables fast enough, and so sometimes in less critical stations/areas use other makes, including Mogami. This was the case when I first tested the Schiit Saga at Station III (see part I, link above). This time I shuffled things around and re-cabled with Gotham and things got much better. With neutral gears like AQVOX, Schiit Saga and MoFi StudioPhono, Gotham works well but Mogami doesn't. It should also be noted that some of the current Gotham cables (like the Ultra Pro series) are even more resolving, but I wonder if it has gone overboard (I have the GAC-1 Ultra Pro, which I like, but Andy thought it too bright).

Conclusions

• Shelter 201 This round hasn't changed my impression of this cartridge. This is a commendably highly resolving cartridge with a very neutral tone. It is sensitive to VTA. Although generally MC-like in resolution and musical enough, it is not quite as nuanced in microdynamics and tonality. Should be partnered with warmer gears.

• MoFi StudioPhono The StudioPhono finally found its footing in the round. Perhaps further run-in helped. The StudioPhono has outstanding resolution - image specificity and definition in space are world class. Its bass quality and reach are irreproachable. This is very neutral phonoamp and care should be taken with cabling and partnering gears - not for people who prefer warmth. It is not quite an EAR 324 (from memory) but a seriously good bargain that performs way beyond its price point.

• Shindo Monbrisson As usual, it was big, bold and colorful (or as Art Dudley would say, force and touch), but with the Shelter 201 it surprisingly sounded colored and uneven. This is in fact a little puzzling, as before I had used it with numerous MM's to great effect. Even so, it shone with low output MC's. My fondness for it has not abated.

• Harmon Kardon Citation I Compared with older vintage preamps, the Citation I is a model of neutrality. Its phono section is just superb, very neutral, not unlike the StudioPhono with tube warmth added. Its line section is neutral too, but gets a little taxed when the going gets rough, lacking the Shindo's sweeping power.

• Schiit Saga As before, I am convinced the Saga is like a surgical instrument. While it sometimes demands one to think out of the box, it is a valuable piece of kit. As I said before, if your system needs more details, it is a good choice; but if your system could use more warmth, stay away.

Audio Research ARC SP-11, CJ Premier 3, Harmon Kardon Citation I, Jadis JPS2, Tien Turntable, Tom Tutay Phonoamp

L. Finally Got It Up! R: Reward for the Stooges.

How Many Stooges Does it Take to Move a Table? Keeping Up with Audio Handymen and Gluttons
Letter From NYC (69) 2017 (8): Making Rounds in Metropolitan NY
The BIG and BAD Preamp Shootout: Jadis JPS2, Audio Research SP-11 Mk II + Mk I Modified, Conrad Johnson Premier 3 AND Harman Kardon Citation I!!
Review, Harman Kardon Citation I, Part II
Audition: TIEN Direct-Drive Turntable
Talk Vinyl: The Western Electric Phenomenon

!Addendum (10/28/17): Citation I, Part III (more action against other preamps) has been published.

This article chronicles two long days with the audio gang. The activities far outstripped my ability to write them up (and I still have my own long-delayed agenda). I am still TIRED! I say, Far From the Madding Crowd!

Part I. The Garden State Troopers
Two weeks ago, R and Andy picked me up in the morning, and drove to New Jersey, where we were joined by James (from Philadelphia, but a frequent presence in NYC) and friends.

Click pics to enlarge. R: Workshop Front; L: Interior, system was VPI TT, modified CJ PV-5, VAS amps, JBL 4343. Note too the B&W 801 and R's Watt/Puppy 5.1. On the walls were covers of many re-issue LP's. More pics at bottom of article.

Collector, DIY, Manufacturer, all in one
First stop was Stephen's workshop, right next to VPI, where R's pair of Watt/Puppy were unloaded to be refurbished.

Stephen, an unassuming fellow, is an enthusiastic audio collector of both hardware and software (LP's and even R2R tapes!) He is also an industry professional who represents VAS, Cayin and Aurum Cantus. We spotted but did not get to hear a VAS Citation I replica. The workshop also does OEM jobs for others. Technically savvy and with a DIY bend, Stephen also does skillful restoration and mods for his friends. After hanging around a bit, Stephen generously treated us to a delicious lunch at his favorite Chinese restaurant. Then we headed to the next stop.

Click pic to enlarge. Simple but VERY effective system.

I know what you want, and I know what I want
Leo is a vinyl collector and reseller. Basically, he spends a lot of time foraging for LPs, and is apparently well known to many vinyl sellers in the NY metropolitan area. He resells quite a bit of it to the largest vinyl store in Taiwan. The very large basement has boxes of vinyl piled up and strewn all over, and what you see in this pic is just tip of the iceberg.

The man has thoroughly studied various audiophile vinyl buying guides (there are many in Chinese) and knows the price of every audiophile record. Unusual among audiophiles, he himself has a preference for Columbia LPs, and there are tons of them strewn around. As R wanted to buy some classical records, Andy (and I) picked some out for him while listening to the excellent horn system, which deserves a little more coverage.

The horns are Altec A5, the crossover made by Canadian Chinese magazine writer and audio guru "Spring" Yeung (彈弓楊). Preamp is CJ Premier 3, driving Jadis SE300B monoblocks. Most interesting, however, was the turntable:

Click pic to enlarge.

Tien Direct-Drive Turntable was the first brainchild of Taiwanese vinyl and analogue dealer Mr. Tien of Tien Audio (田昌政類比音響)(Official Blog), with industrial design by D.More (也作設計). It was very well received in Taiwan and has found distributors in several Asian countries and France. It won Taiwan's Golden Pin Design Award (here, with English description of the rationale behind the award).

For those who read Chinese, there is good coverage of its genesis in an article in Taiwan's AV magazine 高傳真視聽. Those who don't should still peruse this link for all the pics, which include various prototypes. A short description: The plinth is made of birch. The direct drive motor is obviously directly below the acrylic platter, mounted on a PCB board for control electronics. The motor is fastened by four screws with rubber washers providing some measure of isolation. Note the platter retainer (small rubber ring) around the spindle (visible in the main pic of the official blog) providing additional shock absorbance. It comes with a modified Rega arm (some bearings replaced by gem stones, exactly what not mentioned). Note also the other arm shown in the article is a more expensive version, with the front portion of the Rega arm lengthened and replaced by a carbon tube.

Tien has since gone on to design more higher end models, including a 3-motor Voyd-like design, but imho none looks as good as his original namesake. The Tien sells for Taiwan Dollar 38,000 (roughly USD 1250) which, judging from its looks and what I heard (below), is GREAT value, and deserves wider distribution. Despite that, supposedly demand so far has outstripped supply due to manufacturing bottleneck.

Leo used to use "better" cartridges but apparently he has broken a few. Fed up, he switched to the humble Shure V15MkII. In this large room, the performance of the cheap analogue setup in the system was just marvelous, and almost everyone thought it sounded better than their previous visits. It had all the presence that Altec is famous for, largely without the attending raggedness. St James Infirmary (one of many original copies Leo owns; jealous?) growls and grimly grinds along as it should. Led Zep's Stairway to Heaven was full-throttled. Most miraculously, classical playback was also very good as evidenced by 2 versions of Night on Bald Mountain: LSO/Solti (Decca) was dark and menacing; my dark horse favorite, Boston Pops/Fiedler (DG) was a frenzied whiplash. I personally think the large room and plenty of absorbance (all those boxes) contributed greatly to the good sound. This ranks as one of the very best Altec systems I have heard.

Click to enlarge. Note the added rectifier (5AR4), choke and additional heatsinks.

Part II, Long Island Reunion - The Longest Day

Last Sunday, the augmented Audio Handymen (Andy, Simon, James, Stephen and wife, Mark and I) descended on R's mansion (equipment and previous visit detailed here). Even though R already possesses the Jadis JPS2, Citation I and CJ Premier 3, he was curious about the ARC SP-11. So James brought in from Philadelphia his stock SP-11 MkII. Stephen also came with his modified tube-rectified SP-11 MkI (which he prefers to MkII) which we saw earlier in NJ.

As usual, R put us to work before lunch, and this time it was a BIG task, moving the Rockport Sirius II into the living room. The thing is definitely over 300 lb. One could do some desoldering to separate the parts but it was too much of a hassle. So four of us held the corners and lifted it up while two quickly shoved the dolly under. Unfortunately the dolly could not clear the rear legs and we could not lift it up higher, so an extra person came to the rescue in the back and finally it was done. Unloading was much easier. The Rockport actually looked very nice in the LR but we did not get to hear it as there were no air pump and vacuum yet in the living room (hole on the floor would have to be drilled for the tubings to come from the basement motor unit). Now, that was the physically taxing part of the program.

We picked out some music to listen to and for using later. For some reason (perhaps cabling) the system sounded a little coarser than last visit. After a few sides we adjourned for lunch.

The Ideal Audiophile Wife Stephen's wife Jenny is no audiophile, but obviously she has seen and heard more than most people. She totally supports her husband in his ventures (as with many men, more than just audio) and actually conversed with us on audio. Ode to the lady!

Lunch this time was perfectly turned (a given for R) Hanger Steak garnished with Cauliflower and Brussel Sprouts, washed down with some Californian wine. Again, unlike audio, just perfect. Then some of us had the Durian that Andy bought (see pic at bottom; wiki entry here). Most Americans probably have never had this tropical Asian fruit, as it has a strong smell and an intricate taste. The one Andy picked  (and he took a long time; I was waiting in the car) was a great one, with an intense yet complex taste. Like with certain cheeses, I still am not a fan, but I can appreciate it. Afterwards, strong coffee was mandatory and the barista (lady of the house) made a great expresso. After lunch the mentally taxing part, the preamp shootout, began in earnest.

• ARC SP-11 MkII James' is stock, tubed with mostly Russian tubes. I should mention here that I have always been a fan of older ARC's. In HK, I still have an SP-3, SP-8MkII, SP-10MkI and SP-11MkII, so am familiar with the sound of this hybrid preamp. It was just as I remembered it. The sound had great presence, fast transient speed and a tight, walking bass, but the midrange was not quite as rich as an all-tube preamp. Compared to the Jadis JPS we heard before lunch, on Saxophone Colossus, Rollins' sax was missing a little bowel sound, and Max Roach's drumsticks were not quite woody when slapped together or on the drum edges. However, the rhythmic snap and timing were superior, the Jadis a bit heavy footed in comparison. Mahler's Second (VPO/Mehta, London) also could have used a bit more heft, but it was atmospheric and uplifting. Again, the Jadis was richer, but a bit brutal during fortissimi. I then wanted to try Stephen's MkI power supply on this unit, but a loud hum told us it was not compatible.

•  SP-11 MkI (Tube Rectified) Compared with the stock SP-11 MkII, the tube rectified and choke filtered MkI was definitely smoother, with less high frequency hash (not that there was a lot before). The midrange was a little richer, but still not quite like an all-tube unit. The gain in fullness and smoothness in both Saxophone Colossus and Mahler Second was met with approval by most of the crowd, but I thought this came at the price of rhythmic vitality and transient speed, a trade I personally would not want to make. I actually think one can hear the FET part of the hybrid, and in my opinion it is not a trait that can be camouflaged in its entirety (in many ways, among hybrid preamps, the very good Counterpoint thousand series does better in this regard, the best in my experience being the Melos 222, though it is a little dark sounding.)

• ARC SP-11 MkII Redux This time James put in more vintage tubes (I don't know what), and sound sweetened a little. However, the re-tubed unit lacked a little definition in comparison and, like the effect of tube rectification, also lost some rhythmic vitality and transient speed. I myself preferred the first iteration.

• Tom Tutay Phonoamp At this point, R's Tom Tutay phonoamp was swapped in in lieu of the SP-11's own phono section. A word on Tom Tutay: he apparently is a well regarded DIY person who runs Transition Audio Design (no website). The one R has is actually an early all-tube full function preamp, though R is only using the phono section, which looks very much like the later Tutay phonoamp named Vibrance, which employs both octal and noval tubes. We have heard it in conjunction with the Linn many times before. The sound was definitely a little darker, smoother and warmer than ARC's own phono section. As with designs employing the larger octal tubes, images were larger and fleshier. though a trifle homogenized (as Andy put it). I thought it had sounded better with the Jadis JPS in R's regular rig during the last visit. This synergy thing is unpredictable and has upset many an audio boat! One more thing on this phono design. The octal tubes are prone to microphonics and noise. R's unit works with the Cardas cable, which rolls of the top, but with my considerably more neutral Gotham GAC-2, R reported hearing high frequency noise, likely tube noise, but that shall be investigated.

• Conrad Johnson Premier 3 R had used its phono section in his previous room before he dismantled it; in contrast, Andy has long been using the similar Premier 2 (tube rectified) as a linestage (preferring the Citation I's phono section). As a full preamp, it put in a performance that was the most puzzling and inconsistent of the lot. It was the warmest and most full-bodied of the lot and was easy to listen to, but in comparison with the others it seemed sluggish and lacking in sparkle and resolution. I wondered if it was out-of-phase but was told that this is one of the rare CJ preamps that is not phase-inverting. From my experience, old CJ is too much of a good thing - big caps likely slow down the sound and make it more earthbound. Used as a full preamp, the problem compounds itself; no wonder both of my friends use only a half of it. The CJ, especially the phono section, is definitely not neutral. This experience also reinforces my view that these slower and darker components work with horns better than with conventional speakers (even the modernist Citation I usually works better with horns than regular stuff; that it works so well with this system and Wilson surprised me a little.)

• Harman Kardon Citation I Once again, this vintage classic, beloved by me, Andy and others (see Part I), instantly revealed its true mettle. The sound was modernist in tendency and well balanced, very neutral and with excellent resolution, reasonable transient speed and clean bass. Add a good dose of presence and touch of tube warmth and it was quite wonderful. Most approved, and Mark exclaimed that he wanted one. R made the decision to have the Citation stay in the system and he took the Jadis JPS out, that is how much he liked it. But, was it perfect? No, there was just a trace of leaness and coarseness that increased with volume. To me, in a way, it was like the SP-11 with more tube and less FET characteristic, though the Citation I's power supply is by no means comparable, commonly faulted for being marginal for support of the large number of tubes. Nonetheless, a classic. Note that I spoke to R later and he said he found it a little fatiguing after prolonged listening, but I am sure that can be ameliorated by some cable matching; I am sure you will hear more of this later.

• My Choice Personally, I'd prefer to work around the more neutral Citation I or stock ARC SP-11. The colored CJ is clearly not my cup of tea, but has its adherents. The equally colored Jadis JPS strangely was ousted in this session, but it should have done better (as last time).

Collector vs Glutton Call it what you want, but there is only a thin divide between the collector and the glutton. However, somewhat unfairly, the former has an elevated aura and the latter is usually a denigration. More than the Glutton, the Collector could morph into a Connoisseur, though most don't. Most of the time, we are all of these rolled into one. This certainly applies to Andy, James, Stephen and I, even R! Talking about myself, I hoard both equipment and software. I have over 10,000 LP's and thousands of CDs - there is no way I can listen to each one even once. There is also tremendous duplication. Simon and Leo have not much extraneous equipment, and hence are not audio gluttons, but they collect LPs prized by audiophiles. Leo of course is a reseller; maybe that's the best way, buy what you like, yet have an easy way to unload stuff. In HK, this is why many audiophiles ultimately end up in business (physical and virtual shops) - one would have to when one has amassed way too much and reached critical mass. But then when money comes into it, things get complicated, even with friends - something to think about.

Vinyl Talk: The Western Electric Phenomenon There is a dark side to the US's unparalleled history of innovation, invention and progress - waste. There is another dark side to the US's inborn revolutionary and evolutionary attitude - undervaluation of heritage. Both of these play a very significant role in the current state of audio, particularly vintage audio. I'll expound on this in detail n another article. Here we will only note that nobody much in the US buys classical music LPs, but there are many people like Leo, from especially from HK, China and Korea, who buy these and ship them back to Asia, because they are treasured by audiophiles there. Like the depletion of 300B and other WE tubes and equipment in the US, classical vinyl (the better titles and selected pop titles) is heading the same way.

More photos. From top: Durian (does it not look like a mis-proportioned organ?); Note the VAS Citation I between 2 vertical stacks of VPI 16.5; Tip of the iceberg, note the Quicksilver, McIntosh 240 and Marantz 8B; No eggs, but much more expensive VPI tonearms.

Klipsch Heresy, Nagra PL-P

My Ad Hoc Horn System, Iteration I. My regular rig to the rear.

Review: Klipsch Heresy I, Part II Wow!
Review: Nagra PL-P, Part III
Review: Pioneer Subwoofer SW-8, Part II
Review: Elekit 8300, Part II
Letter from NYC (68) 2017 (7)

4/10/20 Klipsch Heresy, Part III shows the system with different gears (LTA).

Klipsch Heresy, Part I
Nagra PL-P, Part I and Part II
Pioneer SW-8, Part I
Elekit 8300 Part I

In NYC, normally I use the master bedroom as my audio den and only have a modest Linn system (Karik/Majik/Kan I) in the living room. However, all of a sudden now I have the apartment to myself for a few days. I like to sit in the living room, and for the last few days sometimes listened to my Linn system, even brought in my humble Audio Technica turntable for vinyl (the old Majik has a very good phonostage). The Linn system sounded very nice but then yesterday I thought, why not an ad hoc horn system? This is a big room after all!

Equipment For this my Klipsch Heresy I's came out of storage (last heard in 2010). I brought the diminutive, but full-function Nagra PL-P out of hibernation (since 2011), and also pressed the Elekit 8300 300B amp into service. Equipment:

CD Player: Linn Karik
Analog: Audio-Technica AT-PL120/Shelter 201
Preamp: Nagra PL-P
Amp: Elekit 8300 300B amp
Loudspeakers: Klipsch Heresy I
Subwoofer: Pioneer SW-8 MkI

As I am to compare the sound in the LR to my main rig, a few words on the gear differences. The main rig has loudspeakers with 15" woofers and so shall always have lower reach and even better bass quality. They are also more efficient (104 db vs 96 db) and driven by a higher powered amp. But, the room is smaller, and that is a distinct disadvantage for horns. Would I love to hear how they sound in the living room!

Heresy I For basic info and details of my previous experience, please read Part I. In looking for the sensitivity of Heresy I (~96 db, significantly less than my regular YL horns), I came across this useful  official literature. The Heresy was designed to be used close to the floor on a small wedge-shaped pedestal so it is tilted towards the listener. From experience I knew it would be light in the bass if placed high and without room reinforcement, so a subwoofer was in order. The II and then the III changed drivers and increased the sensitivities and power handling a little. I can't find the specs for the I, but the current III is spec'ed at 58 Hz, so either floor/wall reinforcement or use of subwoofer is mandatory in my opinion. When Klipsch introduced the III, there were quite a few reviews but in all of them the III were placed on the floor. Only one attempted to raise it a little, and none added a subwoofer.

Pioneer SW-8 MkI Subwoofer
When I wrote Part I, there were no reviews per se on this Andrew Jones design. I tested it only briefly  and was favorably impressed. Since then, it has gone on to MkII iteration, which did receive an interesting review, the author claiming it to rival $1k subwoofers (I believe it). I remember buying it at substantial discount, something like $50 or $75. At that price I should have bought one more (as paired subwoofers are said to improve soundstaging)! At first, as the Nagra has a pair of preamp out's, I used the preamp-in connection, but later I switched to the high level inputs (via amp outputs) as it keeps the preamp signal purer for the amplifier. It is only 1 cubic foot in size, so understandably reaches down only to 38 Hz (if that).

Sonic Impressions

• WOW! Klipsch Heresy I! Yes, after properly dialing in the subwoofer (which took a while; see below), it was that good! Placed high, I got life-like images that have excellent presence and definition. Duke Ellington's Blues in Orbit was just riveting from start to finish. As the Heresy's were not placed so far apart, soundstage was airy, but deeper than wide, with superb hall sound. The midrange had that alnico purity. This now was an unusual 4-way, with 12" woofers, but an 8" subwoofer. Given the 12" woofer, there was good heft to the sound but adding the sub definitely rolled out the low bass and provided a solid foundation for the full orchestra, mandatory in my opinion for true enjoyment of large orchestral works. The LPs I wrote about in my last article all sounded wonderful: the Klemperer Bruckner 4th probing and grand; the Barbirolli Finlandia fiercely exciting. After playing these familiar LPs for system setup I went on to enjoy many more. I listened to all Rachmaninov Symphony No.1 and No. 2 (LSO/Previn, EMI). Such glorious music that unfortunately don't often get programmed. Bruckner Symphony No. 8 (RCO/Haitink, his second, Philips), grand and what an adagio! etc, you get the idea how immersed I was. Sensitivity While the 300B amp was excellent for the job and never clipped, and while orchestral recordings were beautiful, when I played Led Zeppelin II I had the inkling that even more power would be beneficial. I'd prefer my Wavac 811 amp, but was not about to roll it out. vs My Main Rig Again, a larger room contributes to the feeling of scale and ease, which made the experience in some ways even greater than through my main rig. However, in terms of bass, even the augmented 12" here (the sub only goes down to 38 Hz) cannot quite achieve the awesome deep bass power of the 15" in my main rig.

• Pioneer SW-8 Subwoofer This is a remarkable achievement. For such a low price, it has all the features necessary. Most importantly, it is very musical, with tight, tuneful bass. Adding a sub is basically a trial and error process, and the use of familiar recordings helps. As is my wont, and as the Heresy I doesn't go very low, I crossed over high, at roughly 2 o'clock on the dial (40Hz-150Hz), estimated to be around 110-120 Hz. As for volume, I initially dialled in too little (9 o'clock), but then I played the Led Zeppelin II and came to realize immediately that I needed more - a lot more, ending up at 1 o'clock. This is only an 8" sub after all. During loud and complex passages, sometimes it got just a little unruly, but I never heard the dreaded overhang, not to say mushing out. Pioneer now has a larger SW-10, and would I love to hear it!

• Nagra PL-P My hifi agenda has a way of rolling itself out, like this current spur of the moment effort. I am so glad to re-discover and re-confirm all the considerable virtues of the Nagra PL-P (see supplied links top of page). It is really amazing that Nagra can pack a truly full-featured preamp in such a small enclosure (even much bigger ones usually don't have a mute button, not to mention a mono button). One ingenious feature is that the dual input level can also be operated in tandem. That is how I usually use it, but in this particular setup I needed a little more on the left side to center the image, so they acted as a balance control. Even more useful were the meters. On one record, I thought the amp was clipping all the time. I went to check and discovered the meters were in the red. I turned down the input level and the overload went away.

Iteration II, The Miracle Continues!

Last night was my last alone, so I had to restore the living room to what it was. More or less. I liked what I have been hearing for the past two days so much that I decided to leave the system in the living room by rearranging the front wall countertop. I moved out the CRT TV, which was not needed. and slotted the Heresy's in, slightly toed in. Out came my Linn system and in went the tubed electronics. Voila!

But, how's the sound, now that the Heresy's are close to the front wall instead of in-room, and much wider apart?

Magnificent! Overall, the sound is a bit smoother, fuller and warmer, and it almost makes the Elekit 300B amp sound sweet. Soundstage is of course wider, but surely not as deep. Images have retained their fleshiness and presence. Most miraculously, the orchestra is fully panned out and there is no center void. Try that wide a distance with lesser loudspeakers! I played the Bruckner and Elgar again. Utter magnificence!

In both iterations, the Heresy sounded stunningly beautiful with classical music. This is in dire contrast to what Art Dudley proclaimed in Stereophile (for Heresy III). Well, none of them have done what I have done, by raising the loudspeakers considerably and mating them with a subwoofer - that is what made ALL the difference in the world, turning a good loudspeaker into a GREAT one.

Although I will not often listen to these (it is the LR after all, and the master bedroom is already mine), I know I shall grab every chance available to listen to this system - it is that good.

On my Equipment list (right sidebar) this will now appear as Reference System IV.

Great Performances on Vinyl

Editor's Note: Great Performances on Vinyl
Classical Music Recommendations
Letter from NYC (67): 2017 (6)

What are Favorite Recordings For?
Every audiophile has his favorite recordings. Some of these are for enjoyment, while others are used as "tools" to tweak his own system (and that of friends), even to booster his own ego ("in my system I can hear that subway rumble beneath Carnegie Hall/count three guitars in the backup band") or, worse, to put down another system ("yours can't"). We are good guys, but sometimes we, as audiophiles, do smile the occasional evil smile (to borrow from Sam Tellig)! I admit I do, usually when I take a few CD's to a very expensive system. And others do that to me!

OK, here we are not talking about the evil smile; rather, first I'd like to share with you some musical moments in my listening, great performances that make me realize how well the orchestra had carried out the intent of the conductor. This is only possible when the conductor was in great form, when the orchestra was thoroughly committed, and when it was captured well by the recording engineer, and when the system gets it right. So while these recordings have superb sound, the focus here is not on the recording quality per se, rather on why I found certain moments particularly illuminating. This would also give you some insight into how I listen.

The Perfect Crescendo, Noble Brass Utterance, Unshakable Bass Foundation and the Long Line

The Crescendo is one of the most basic aspects of music, yet often we don't really pay attention to how well or badly it is executed. In concert, I do get aroused by a particularly well executed one, but many lesser performances don't deliver this too well. On recordings, it per se had not been one of the things that perked up my ears, until I played the Live Mahler 5th (LPO/Tennstedt, EMI) CD on my 2 chassis Sony 16 bit TDA-1541 flagship CDP-R1/DAS/R1 (this was documented here). As described, I was dumbfounded by the beauty of that first PERFECT full orchestral crescendo after the opening trumpet fanfare. What truly fascinated me was that many other CDP's failed to reveal this. While the durations are exactly the same, I assure you there is an immense divide between the natural, grand Sony crescendo and most others, which gave the feeling of peaking prematurely (rather unmanly, don't you think?). The single CD may not be easy to get; however, you can get it in EMI's super-bargain Tennstedt Mahler box set, which contains all of his studio and live recordings (see this detailed review).

The well executed crescendo is a thrilling experience - as it is a short journey, it is not often that we get to smell the roses along the way, but when things do come together, when the calibration is precise, it is more than thrilling, it is spine-tingling. This is another reason why I prefer tube. For some reason, most ss gears just tighten up more and more as the orchestra swells.

Utter, not Shout Two days ago when we visited R we played another LP that I bought in the UK, the HMV Concert Classics Bruckner 4th (Philharmonia/Klemperer, EMI). It sounded so good that I had been playing this non-stop in my own system after I got home. As is usual for Klemperer's  EMI recordings, the sound is exemplary (but typical EMI/Angel sound, not quite as full in the bass as Decca/London). This is an unsentimental but ultimately monumental reading, conducted with a clear view of the long line. I gave a copy to Andy, and he loves it, citing in particular the feeling of one single climax for the symphony (early in the last movement). Though he has other idiosyncrasies, one of Klemperer's traits is to never editorialize, and so the playing here is very clean, though not at all sterile. The brass utterances are warm, purposeful and always patiently built up to great effect.

As for crescendos (and decrescendos), those in Bruckner are of a quite different kind from Mahler. There are so many of them and, coupled to the lack of tone painting and frequent woodwind and string stirrings, one doesn't quite listen in the same way. But when I did pay attention, the quality of the execution in dynamics was apparent.

Just as in Mahler, where some would not listen to anything other than Bernstein no matter how much he pulls the score one way or another, not everyone will warm to Klemperer's cooler ways. But if you do, the LP is not hard to get. In CD form, this reading is available in an excellent sounding bargain box set (which I have in HK). For an unusually insightful review of the set, go to musicweb-international.

Bass Foundation Just a few days ago, I played an LP I bought in the UK. Sibelius Finlandia (Halle/Barbirolli, EMI) has been a favorite LP of mine (the other pieces, especially a bewitching Pohjola's Daughter, are arguably even greater in performances) for decades and my US budget Seraphim copy is pretty worn out.

This time, on my reference horn system, I was stunned by several things I hadn't quite felt before. I doubt this is just because the UK LP is superior, it is rather because my listening ability and playback equipment have improved greatly over the years.

The Finlandia is a sweeping performance. The precisely calibrated playing. The crescendos are shorter than that one in the Mahler, but I experienced the same satisfaction. The purposeful winds and brass utterances, just as in Klemperer. And, even more than Klemperer, a superb bass foundation. As the music moves inexorably along, the sweeping bass foundation, though sometimes just felt rather than heard, is always there and comforting, like the presence of a Guardian Angel. This is as it should be. Interesting, my different preamps render this differently, and my Shindo Monbrisson excels. I'd write about this in detail in my next article.

The LP is not hard to get. At this moment in CD form it seems to be only available in the set pictured (here is a review by gramophone ).

---------------------------------------------------------------------------------------------------

And now I am going to mention two recordings that are a bit different. They did not shed as much insight on the audio interface for me as the above mentioned ones, but they are great in their own rights.

Simply Fizz During our visit to R, Andy brought along Simon's Chabrier Espana (OSR/Ansermet, London LP). It is a romp from start to finish, impeccably conducted and stylishly played, as is usual for this team in French repertoire. If you like (as I do) Offenbach's La Gaite Parisienne (my fav is Boston Pops/Fiedler, RCA), or the Bizet-Shchedrin Carmen Suite (my fav is an unsung dark horse, NSO Ukraine/Kuchar, Naxos), you will like this one even more.

Borderline Recording? Some time ago in a dollar bin I found the Dvorak "American" Quartet (Budapest Quartet, Columbia). The Quartet was paradoxically all-Russian by this time, and this was their almost never issued last recording. First violinist Roisman's tone is pretty lean, and when combined with Columbia's usual sound (on the aggressive side) will reveal the least of the system's bright aspects. Otherwise, the performance just kept growing on me - it is magnificently of one piece. Even the recording quality grows on me - it has great separation of the instruments and the individual timbers of the rest of the quartet are magnificently caught (particularly the viola). In a way, it is somewhat of a living dangerously, on the edge kind of thing, but highly satisfying. I found another copy and gave it to Andy, who also loves it. We took it to R's and the playback made us smile (no evil!). There is no CD, but you can easily buy this LP for very little money, though I just saw someone unconscionably asking for $255 on Amazon! The crazy world of discontinued recordings!