Boenicke W11

Click pics to enlarge.

Letter from Hong Kong (22-10): ELO auditions Boenicke W11

Editor Addendum 9/30/22: Finally, video of shop with Audio Consulting DC PS Turntable added. Enjoy.

Boenicke Official Website

I have known Andy S for many years. He is what doctorjohn had described as “German Gang”. In fact, moons ago I bought my Audionet Int Amp and ART CDP from him. I for one, am sold at that time. Lost contact with him for a long time since my hifi infatuation had cooled down. I used to go his home and listen to many brand names unknown to most HK people who were more heavily influenced by UK and US equipment.

After many years, I touched base with him again and went to his shop twice recently to listen to music through his systems. First time, he used Swiss Stenheim loudspeakers and Italian Gold Note Pre/DAC. The sound was decent but not enough to touch me.

Things changed completely the second time I went. This time he changed to Boenicke W11 loudspeakers driven by the same Gold Note pre/DAC and a Chinese power amp. The sound from these speakers were phenomenal! Not only did they have perfect imaging and soundstage, they had perfect timbre, and the fine shading of colors and microdynamics made them so convincing and musical that it was a great pleasure. The speaker is made of CNC machined solid wood, with side firing bass woofers, back firing tweeter. The front sat on bearings, while the back was suspended by springs to eliminate vibration. The look was so sexy also!

Editor: The Isolation Efforts are definitely novel and nothing short of heroic, yet at the same time practical. More description can be had from HiFi+ review of the more junior W8SE+: "...Before moving on I should describe the Swing Base set up. There is a slot cut at the bottom of each cabinet and a metal bar fitting slips into this and runs along the back edge. It’s a loose fit, but each bar terminates in circular pieces that are used to suspend the rear of the cabinet from two precise lengths of steel cable, terminated with a ferrule and hung inside two outriggers rather like a suspension bridge. Hooking each of these onto the cables decouples the rear of the cabinet from the floor while a ball bearing, sitting in its own cup nests into another cup submerged within the cabinet toward the front. When floated like this the whole cabinet sways around at the smallest touch. It’s an interesting solution to decoupling the cabinet though it doesn’t work as well on carpeted floor, but the company has its own ‘Carpet-Aid’ for this..."

Andy's place is always stocked up with so many unknown and uber expensive gear that it's like a candy shop to us! Must pay a visit if you are nearby Tokwawan (a Kowloon disrict in HK)!

Editor’s Footnotes: 1) Every card-carrying HK audiophile of my generation knows Andy S. Like quite a few of HK’s audio resellers, he had come from completely unrelated trade and manufacturing backgrounds, and then the audio hobby blossomed into the real job. At that time, Andy imported and sold grey goods of Audionet and Burmester etc. His success of course brought the wrath of the official dealers (he sold a lot more than them; :-)). Andy is a sharp man, with high EQ, good ears and setup skills, and soon had a following, and I sometimes joined them in auditioning lesser known gears (such as ASR then). Lots of Dynaudio and Acapella loudspeakers. So, European, with a German predeliction. For this crowd I coined the name “German Gang”, and as often with nicknames, it stuck. I was just tagging along. As you know, I’m a tube man, and have always regarded German gear as asceptic sounding (well, most of it), and I see no reason to change my opinion now. At that time, the audio scene was red hot, and forums were bursting with discussions and arguments, which sometimes got overheated. Ah! Our “Youth”! Many years later, Andy had metamorphosed into an official dealer for a lot of brands that are obscure to us (his specialty). I last met him in person at an HK Audio Show (probably around 2015-2017), as German Brinkmann dealer (he had brought this brand to our attention decades ago). After ELO visited him, we re-established communication through wechat. It is him who supplied the anatomical photo of the W11. His store is called Audio Acapella; you may contact him via his Wechat ID: ACAPELLA001 - there are many photos of esoteric gears such as Swiss Audio Consulting; I load here just one of them; 2) this ELO visit particularly excited me, as, ever since I saw a Boenicke at the 2015 HK audio show, I had wanted to hear one but never did (even when, just before I left HK for NYC, visiting then official dealer big-gun Sound Chamber, where they were just on display; now the dealer is AudioEvidence and they are not my type). When I get back to HK (God knows when), I shall make sure I do. It is not cheap but, if you ask me, worth its price just because of the unique construction details, not to mention the brain activities behind all that. If you are in HK, I’d urge you to listen to it at Andy’s (while they are still there). If anyone else has an in-depth experience with Boenicke, I’d be happy to hear from you!

A Tweeter at the back to increase Ambience

Below Video features the Uber High End and Esoteric Swiss Audio Consulting Minima Battery PS Direct-Drive TT!!! First Showing in Asia. Partnering Gear are Silver Rock Phono, SWGLA Preamp, MIPA power Amp and JM370F. Song played is of course audiophile fav Esther Ofarim's Kinderspiele.

AR LXT Cello Amati Infinity IRS III B and W Matrix 801

Click pics to enlarge. Top, Infinity IRS III. Icefox in center; our friend wosirsir, who has appeared in this blog many times, on the right. 

Letter from Hong Kong (22-9): Icefox sends Goodies

Addendum 9/30/22: One more pic of Cello brochure added

Our Honorary Consultant in HK, Icefox, graces my wechat with many photos and videos each day. I'd like to re-post everyone here, but it's not possible. Some systems (especially horns) are totally obscure and highly complicated that it'd be hard to report. So, a few periodically.

R, Humphrey's.

Cello Amati/AR LXT

Just a couple of posts ago, M Surdi mentioned, albeit in passing, his days with the AR-LXT. Well, you know what? This part of the post has been in the pipeline for a while, but it's a good time to bring it up! Our old friend Humphrey, whose complicated WE systems are legendary in HK, has been mentioned in this blog several times, but not formally written up by me (my fault). This article though contains a blip on him. Recently, apparently, he brought out the Amati/AR-LXT's and drove them with contemporaneous old Mark Levinson's to great effect, according to Icefox. I had actually listened to one Amati setup here in SZ many years ago, but it was not well executed, and I didn't report on it. Maybe time to seek out the fellow again. I also asked my NYC friend Andy, who went through all that in real time. He said he preferred the AR3 to LXT at the time. Well, it's not something I'm interested in, but I'd love to hear a well set up system of any of them. Also, if you are interested in the differences between the Amati and LXT please Google yourself.

Infinity IRS III

Long term readers would know my fondness for Infinity Line Source loudspeakers, and my many reports on the setups of my NYC friends (Andy's IRS Beta, Mark's IRS Beta, Kevin's RS-1B; there are quite a few more follow ups if you just search Infinity on this blog - top left). A significant thing to know is that all these friends are also horn users. If you think that's coincidence - it is not, because of all designs Horn and Line Source can best reproduce dynamics - read this article which cites Keith Howard's excellent work. This iteration sent by Icefox however is by far the most luxuriously partnered, what with Western Electric amp driving the treble and midrange, and Karan ss amp doing duties for the bass column. According to Icefox, the sound is Holy Moly!

B and W Matrix 801

One of my favorites (I still have the II in HK) and my NYC friend Kevin still has his III.  Most of the recordings for the boomer generation were likely monitored on these. Here's a nice setup with videos. You have no idea how much time it took me to load the 2 videos below! Enjoy!

Below, Cello Amati Brochure, Setup with Cello amps and amid collections that also feature Tannoys.

Nagra VPA MSA Quad 77 909 Pass F5 Pamphonic 3000 Tektron

Click pics to enlarge. Top, One of the Author's many setups. Nagra PP 300B amp in center; VPA monoblocks flanking it, all driving the Tannoy Yorkminster.

Letter from Italy (22-3): M Surdi on What Make His Tannoys Tango

Editor: There is so much I agree with and want to comment on, but I want to preserve the densely textured wholesomeness of M Surdi's writing that I shall refrain and perhaps later write a companion article. Keep in mind his room is fairly big.

Previously, M Surdi wrote on his long Tannoy journey, an article not to be missed (here). The current article discusses the electronics matching during the long period.

We may take it as a given that all audiophiles are OCD afflicted. However, even terminal maniacs must balk at a blow by blow description of the decades long pairing of the four sets of Tannoys I have described in my previous post - some 25 different power amps and integrateds (and that’s keeping preamplifiers out of the mix).

Any credit accorded to my musings should also take into account the fact that musical proclivities may change with time. As an archetypal Sixties survivor, I’ve travelled the usual boomer arc from rock to baroque, Animals to Allegri, ZZ Top to Zelenka, and most alliterations in between. The Tannoys caught me in mid-journey, when punch and drive (represented by Tina Turner belting out Acid Queen, on AR-LST’s no less) were gradually giving way to midrange, proportion and all-around tone. This obviously had an impact on amplifier choice and preferences (though Biber’s Missa Salisburgensis is no chocolate box affair).

That being said, in order to cut through product clutter, I’ll be passing my judgments by amplifier categories: transistor, class AB to A; tube, push pull to SET; and class D; with some final comments on bi-amplification. With the intent of keeping things from getting even drier I’ll also be throwing in some gratuitous comments on mismatches and quirky combinations. Not, however, before raising Two Useful Signposts: best amp ever heard on Tannoy’s are the Nagra VPA monoblocs, hardly a surprise since these are the best amps I’ve ever owned (and sold off because of serious mental issues). Worst amp, and by a long chalk, is the noxious Meridian 551, a high powered sand amp which in conjunction with the equally toxic 501 all digital pre was so bad that even patriotic British reviewers could only hang their heads in shame.

Now, to Sand Amps and Current Capability. It is a well known fact that dualcons are current friendly, paper sensitivity figures notwithstanding.This is due to the unavoidably exacting 2nd order crossover, which is not the easiest of electrical loads. Trading quantity for quality however is a generally unwise gambit and dualcons are not shy about revealing grit and glare. Worst case scenario is represented by the previously denounced class AB 150+ watt Meridian (on the DMTs), which exhibited glassiness to rival the entire window surface of the Burj al Khalifa. On the other hand the most memorable sandamp pairing was obtained with the equally class AB 50 watt Nagra MSA, (on Yorks and Cants), a combo so good that it beat out my reference, 20 watt class A Pass Labs First Watt F5. It may also be noted that the Yorkminster-Quad 909 pairing was unimpeachably endearing, to the point of setting something of a record in the price-value sweepstakes. Quirkiest solid state combination (with the DMTs) was the obscure Ariston Amplifier, a Scottish OEM Nait wannabe, which substituted the cheap Naim volume pot with an even cheaper and nastier integrated chip. Not too bad really but inferior to Stan Curtis’ equally IC kneecapped Quad 77 integrated. Not recommended finally would be pairing the otherwise patient DMTs with the dependable Mission Cyrus 2. This supposedly safe combo produced bass mooing which would have done a herd of Angus cows proud. Even Tannoys get the blues sometimes.

R. Pamphonic 3000.

In my experience Tube Push Pull is the default configuration for dualcons. I’ve had this architecture in anything from giant 845 transmitting triodes to midget ECL 82s, along with pentode, beam tetrode and strapped triode combinations, with results that have consistently achieved both current delivery and tone quality - with one noteworthy exception: I really do not recommend the extremely popular Leben 300 with the Cants. I own the 300XS version, expensively retubed with Blackburn Philips EL 84s, Blackburn Mullard ECC 83 and JAN 5751 drivers. The Leben is expressly designed to accommodate both the high gain ECC 83 and lower gain 5751 twin triodes, but exhibits notable transformer induced hum with both of them. This is due to a defective layout which I would ordinarily consider a deal breaker, were it not at least partially redeemed by an excellent build and a singularly captivating sound. The mains derived hum is nonetheless unbearable using the high gain Mullards and weaker, but still obnoxious, with the 5751. A pity really, but there it is. Quirkiest tube configuration was with my father’s late Fifties Pamphonic 3000 integrated (on DMTs, Edinburghs and Yorks). Not the last word in cone control but well provided with musical as well as sentimental value. Single Ended Triode setups are where the rubber meets the road when evaluating dualcon compatibility. Somewhat contradictorily, SET amps are designed for simplicity but discussion of their performance quickly gets complicated, so I’ll give you the short version first. Can you, should you use SETs on Cants? The answer is yes, but. And it’s the but part that needs some delving into. The issue here is performance vs.power. To put it bluntly, the lower the power the more immediate the result, but what you gain in sheer musical communication you lose on dynamic swings. My SETs are custom made to my specs by Tektron of Italy (disclosure: yes, I am friendly with them). I pigheadedly favored 2A3 and 45 DHTs driven by 6J5 single triodes (look Ma, no 300Bs). This means that on a good day I can get a whole watt out of the 45s, almost, and a whopping 2 watts out of the 2A3s. Leaving aside preamplifier and tube options, which could be extensively discussed elsewhere, this means that ideal results are content dependent on music played. Turning to boomer alliterations again, both acoustic Dylan classics and De Rore quintets easily approach perfection. Janis Joplin’s Pearl on the other hand, or my favorite Alessandrini version of Monteverdi’s Vespro are tremendously enjoyable, but while Janis’ voice is truly heartrending and the baroque violin passages almost unsettlingly moving, the rhythm section behind the voice has no propulsive strength, and the violin vaulted spaces are merely alluded to. You want those, you need my 20 watt 300B push pull Nagra amp. Volume is not the issue here - I can easily fill my 50+ sqm listening room with the 45s, nor are microdynamics, but macrodynamic contrasts are muted, and tube rolling is not that helpful. And the Missa Salisburgensis is really not a thing. This also begs any technical discussion of the ever varying effects of cetacean output impedances, even with dedicated 8 ohm tap only trannies. Listening to SETs is an (educated) ear‘s first proposition, and as such gladly accepted by the Canterburys. As to quirks I fondly remember my first elephant driving flea, a Tektron ultra minimalist 6EM7s desk amp which sold me on the whole custom SET concept (reported on 6moons). 

L. Tektron 2A3 amp.

Class D, or chip, amps are easily disposed of. I’ve used Trends Audio and Amazon ordered 60 bucks SMSL thingies to excellent effect, thus faithfully replicating Dr. John’s impressions (here). As far as I’m concerned, when budget considerations intrude, go for the Cants and click the SMSL 36 Pro for an apparently lopsided but actually very well reasoned allocation of funds. Always assuming audiophiles have any familiarity with reason, of course.

About Biamping now. Dualcons are excellently suited to this and I‘ve rigged twin Quad 909s horizontally on the Yorks and tried out an extreme horizontal setup on the Cants using 45 SET monoblocs on the highs and a SET 2A3 two chassis stereo on the lows. Also quite recently, to purge myself of this excess I’ve vertically amplified the 15 inchers with two SMSL 36 matchboxes. In all instances the effects were as expected, expanded soundstage and different, though not necessarily superior, bass articulation. A possible improvement then, but to my ear not worth the hassle and the danger of 16 plus cables lying around. Also, the larger soundstage may, or may not, have been paid for with a minute loss of immediacy.

All in all, less is more to my fusty 20th century taste. Lastly and leastly, the obligatory mention of cables. Though I generally biwire lately I have fallen into the habit of single wiring my antiquarian SETs with Belden 9497 as a philological tweak, this despite my having penned a few years ago (here) some pricelessly witty, if ever so tolerant, remarks on Dr. John’s predilection for the very same cable.  Must be a lesson for us all there. (Editor: LOL. It's so wonderful that because of that we actually became friends!).

TAD TSM-2201 TSM-300 RadioShack Maximus 7

Click pics to enlarge. Left, stacked TAD-TSM-2201, but only the bottom was heard (Ed: from own experience, cannot speak for stacked pair; but for just a pair horizontal placement sounds better, preferably with stock supplied cushions; see links below; just as his previous TAD TSM-300).  Radioshack Maximus 7 in front. Right, from top, Audion SE Amp, not heard; "Raven" amplifier; side of US expensive TVC; and foreground Rayaudio CDP.

Letter from Hong Kong (22-8): ELO Unearths some Unusual Items! Some of Questionable Provenance?

Errata Sept 19,2022 Earlier confusion of the Radio Shack model name corrected.

Editor: ELO casually and innocently tossed some morsels my way on social media, without much detail, but they turned out to be highly interesting to me at least, and we decided to publish them. And so, please excuse me, my comments are long. These visits also serve to illustrate that HK is likely the capital of audiophiledom. It’s really insane, everywhere you look, there are unexpected things, from all eras and all corners of the world.

My old schoolmate Dr Lo recently moved and his listening room size has increased. With a lot of recent upgrades from Rayaudio, it was time for a re-visit (Editor: in fact, even ELO may have forgotten; he wrote about Dr Lo's previous abode here, and one can see some of the gear that have remained).

The source comprised Rayaudio CDP (widely acclaimed in Japan), plus CAS using Macbook powered by dedicated LPS built by Rayaudio (with signal isolation transformers). Still no Streaming though. These were fed to an expensive US made passive preamp (Editor: Footnote 1) and amp made by “Raven”, a label with a cult following in HK (Ed: Footnote 2). TAD (Ed: Footnote 3) and the tiny RadioShack loudspeakers (Ed: Footnote 4) were played. While I was amazed by the soundstage and imaging cast by the tiny speakers, I much preferred the TAD going solo (not able to hear the stacked pair). TAD simply fleshed out the sound while the tiny RadioShack’s sounded congested and compressed when music got complicated.

The same night, we compared my newly acquired “Studer” cable (as recommended by Kwong)(Ed: Footnote 5) to his silver custom-made interconnect. Overall, by using different PS, isolation transformers and CDP his system had vastly improved since last time. The sound was very musical, with superb imaging and timber, and one could listen for a long period of time without fatigue. The difference between two cables was obvious yet there was no better or worse. The silver cable had more air, details and microdynamics, while the “Studer” had more body in the mid’s and low’s, plus more sustain of music notes - more musical IMHO.

I also lent my icOn4 to him for trial and played the devil in offering to bring my Dynaudio Crafft to his place!

Editor’s Footnotes: 1) This doesn’t look like those that I know of. If readers can tell from the pics what it is, kindly please post a comment; 2) This is NOT the Korean designed, Texas made, Stereophile reviewed Raven Audio, not to say Raven Guitar amps. This was something sold by Elite Audio of HK. But the eccentric and secretive owner of Elite (a maverick that many swear by) never revealed much about it. I don’t like things of uncertain provenance. In a way, it gained fame after someone (R33 moniker 7308) used it to peer acclaim in driving the same TAD loudspeaker. Some HK readers may know more about this than I do; if so, I’d appreciate a comment if you do. Elite was also UK Audion dealer at the time, so note that the faceplate of the “Raven” looks, except for color, highly similar to that of the Audion amp above. Even the knobs and screws to the faceplates are the same! Intriguing? Also, this particular unit has the "preamp" section bypassed to be used with the owner's TVC "preamp". 3) This is the TAD 2201-LR (atypical for the company and quite a teaser) that I used to own; it’s likely rare in the West - for more info, refer to here and here; Also, imho these, like the previous TSM-300, sound better placed horizontal, monitor like. 4) The RadioShack’s look like the vintage Maximus 7, which is famous and infamous at the same time (many iterations) and on the fringe of audiophilia. You can google better than I can behind the great firewall. Also, in case you are interested in RadioShack, I urge you to read also the Stereophile review of Optimus Pro LX5 (that’s one reason why I like this magazine). These are fun for us old-timers; 5) I could be wrong, but I am highly skeptical of this so-called “Studer” branding. The sellers in China claimed it’s NOS and delivered from Germany. I’m instigating a little bit of detective work. I have loaded a pic and Readers who know please comment on the provenance. Mind you, I have a “Belden 1309” cable here that I think is suspect (but it sounds great) and ELO and I are going to do a ?provenance cable article together down the road.

Below 2 pics. US expensive TVC. If u know what it is, please leave a comment.

Below, back of "Raven"

ELO on his trip to Montreal had what is reputedly to be the best Pastrami Sandwich. I'm drooling.

Streaming Classical

Streaming Classical (22-9): Love and Death

Dabbling in Hifi definitely takes time away from other things, like writing. While I’ve listened to tons of new discs, it astonishes me that it’s been almost 4 months since my last Streaming Article. About time!

Bach First and foremost, a gem of a Bach disc (2022 winner of the prestigious Opus Klassik, Solo Vocal Recording). Soprano Miriam Feuersinger lives and breathes three Solo Cantatas, backed by Capricornus Consort Basel (On small label Christophorus). Cantata BWV51 Jauchzet Gott in allen Landen is one of Bach’s most famous and certainly does not lack recordings as even opera divas (like Hendricks) love to set down their accounts. I grew up with Elly Ameling’s account (Philips), which features as trumpet soloist the great Maurice Andre. Not all opera singers sing Bach Cantatas (but Ameling certainly did), which require a different set of skills. Familiar as I am with the program, I’m stunned by the projection of Feuersinger. I revisited several other versions but this one is now my favorite. Even more astonishing is the opener, BWV 82, Ich Habe Genug. Bach originally composed it for Bass and, in this form, it had been recorded by many famous Bass (and Baritones). I grew up with the classic mono Hans Hotter (Warner/EMI Icon). But I have never heard the Soprano version, which Bach himself transcribed (the booklet says likely for Anna Magdelena, a competent singer). It sent waves of shivers down my spine! The way Feuersinger inhabits every word, the way she transitions between fear and longing, between her chest and head voices are simply mesmerizing. This listener, not versed in German (but know how things should go), hangs on to her every word in the Recitatives by his fingernails. This is the hallmark of the greatest Bach singers. And in the lesser-known BWV 84, Feuersinger is also sublime (I listened to several others, including one led by the estimable Herreweghe, and none can compete). And it’s not just diction and characterization, her voice is attractive too, with a secure alto-like lower end and clarion highs. No wonder Feuersinger makes Bach her specialty and I shall duly investigate her other recordings (many Bach cantatas and Graupner). Also, the orchestra is excellent and some of the spacers, like a trio sonata, are ravishingly played. Great sound. One of the year’s best albums; indeed, one of the best Cantata albums ever.

For devotees of Bach’s Keyboard Concertos, Il Pomo d’Oro/Francesco Corti had just concluded their wonderful 3-volume survey (Pentatone). Cello elder statesman Valentin Erben (decades with the Alban Berg Quartet) had recorded the Bach Solo Cello works (with organ interludes by his son; Paladino), worth dipping into in doses (an earlier Beethoven Cello Sonatas with Shani Diluka has its moments too, on Mirare).

Biber My favorite maybe the transcendental Mystery Sonatas, but his other Violin Sonatas should also be avidly listened to. The latest, a complete cycle by hitherto unknown to me Plamena Nikitassova, with Les Elemens (CPO) just blew me away. Many famous baroque violinists have tackled these but she’s the first one that compelled me to imbibe the whole cycle at once. Quite a feat!

More Great Violinists I have always been a fan of violinist Lisa Batiashvili (particularly for her tone) and own many CDs of her. Her latest Secret Love letters (DG) is a real stunner! I wasn’t keen at first about her programming the Franck Sonata (I'm sure I'm not the only one OD'ed) but I was immediately mesmerized by her tonal shadings (no easy matter in this warhorse). I have always been a fan of the Szymanowski Concertos and here it is a ravishing account of No. 1 with the Philadelphia Orchestra under Nezet-Sequin. The same team went on to deliver a very fresh sounding Chausson Poeme (so much more satisfying than Hilary Hahn’s chaste version). This album is a must-hear/buy. 

Another violinist that I have long followed is Augustin Hadelich, whose Warner recordings are going from strength to strength. The latest, named Recuerdos (Spanish for Memories, named after the Tarrega encore at the end). Again, this album offers very fresh looks at well-known pieces. It opens with Sarasate’s Carmen Fantasy, then Prokofiev’s No.2 and then Britten’s, all in stirring performances, impeccably partnered by the WDR under Christian Macelaru. If you have yet to hear the masterpieces of Szymanowski and Britten, here’s your chance to do so and wallow in resplendent sound.

For a different kind of violinist, I urge you to listen to Carolin Widmann. Her latest Solo Violin recital, L’Aurore (ECM) is a well curated program that will start you off well. She has numerous programs that blend modern music with classics, most on ECM. Her Schubert and Schumann violin works are regarded as definitive. Another gem is the Mendelssohn and Schumann concertos, to me tops. She has a very finely spun sound, full of intricate details. In some ways, she reminds me of another one of my favorite violinists, Antje Weithaas. Another violinist with a modernist bend is Sueye Park, whose Journey through a Century (BIS) is excellent. She's also soloist of the excellent Isang Yun VC mentioned near the end.

Mozart Time to catch up with one of Mozart’s most congenial masterpieces, the Sinfonia Concertante for Violin and Viola. Frank Peter and Tabea Zimmermann deliver a nice modern account with SWR/Gelmetti. I can never get enough of this violist. The coupling is odd, Symphony No. 40. Gelmetti, an experienced opera conductor, had his moments but the finale could project more. Sony has been recording the Kammerakademie Postdam under Antonello Manacorda, and the results have been fantastic. The lithe music making is wonderful for the last 3 Mozart Symphonies (their Mendelssohn is top drawer too). 

And Krystian Bezuidenhout’s third volume of Mozart piano concerto (No. 9 and 18) on the fortepiano with the Freiburger Barockorchester (Harmonia Mundi) is fresh and spontaneous. This is an unusual cycle, as the first 2 volumes were done long ago, in 2012 and 2016. To my ears, those highly praised early volumes do not quite stand up to the all-around magnificence and coherence of this volume. It is notable that in the previous volumes the orchestra leaders were credited but not in this volume; I presume the soloist has even more say in the venture and the result shows. It is fashionable now for the soloist to conduct the orchestra. Think of Mitsuko Uchida’s Cleveland series (which I don’t find too inspiring). For old-fashioned collaboration with orchestra and conductor, Anne-Marie McDermott has been satisfying in her series with the Odense SO (Bridge). When it comes to the Violin Concertos, Francesca Dego (Chandos) had received a lot of praise from the UK press, but I find the RNSO under Roger Norrington utterly artificial and intolerable.

Big Works Gustavo Dudamel had always been reliable, but seldom exceptional, but that seems to be changing as his hair turns grey. The LAPO is a first-rate band, and it seems getting even better. I first noticed their Ives, and then now, surprisingly, an excellent Dvorak Symphonies 7-9 (DG). Equally, my reactions to Franz Welser-Most in his considerable number of earlier recordings (EMI) had not been that great. But then his recent recordings with his Cleveland Orchestra (on the orchestra’s own label) have been superb musically and sonically. The latest one, a Strauss album, is a blast and I played it no less than the recent Nelsons DG set.

Now to less starry, but no less exciting, orchestras. Dima Slobodeniouk and the Lahti SO continue to do excellent work. The latest is the best, featuring Sinfoniettas of Poulenc, Prokofiev and Britten (BIS). They pay repeated listening's (and you’d perhaps be surprised to find unexpected romance and tenderness in Poulenc). And then there is the totally left-field Mahler 4th by Les Siecles under Francois-Xavier Roth (HM). HIP of course, but a very good one. The sonority is quite refreshing in this most sunny of Mahler scores. If you dig it, try their older M1. Finally, a fantastic program of Schoenberg, Messiaen and Ravel from Pianist Francesco Piemontesi, with the OSR under Jonathan Nott (Pentatone). Just sublime.

Old Modern Music continue to be relevant, much beyond their years. Werner Henze’s Tristan, almost 50 years old and just as many minutes of it, features on Igor Levit’s new album on Love and Death (Sony), with the Leipzig Gewandhaus under Welser-Most. It is a magnificent work for orchestra, piano and synthesizers, whose sonorities are utterly engrossing. The synthesizers’ contribution (like the menacing bass beats) will sometimes remind classic rockers of contemporaneous rock, such as Pink Floyd. The appearances of snippets of Brahms 1st symphony seems like a dream, and recall (Mahler and Shostakovich love to quote and re-quote). Just magnificent as sound, and audiophiles should not miss it. And then there is the substantial Prelude to Act I of Wagner’s Tristan und Isolde (by Zoltan Kocsis) and M10 slow movement (by Stevenson). Rounded out by a little Liszt, this is a great program - somber, but rewarding, especially if you have access to the Liner Notes. And then there is the music of the legendary Isang Yun (once kidnapped by North Korea), which I’ve always liked. A recent disc of his late works, with Sueye Park and the Seoul PO under Osmo Vanska (BIS) is just a classy reproduction. I luxuriated in its texture for the duration. These old moderns can enrapture me like few current composers can.

Chamber Music For Beethoven, I grew up on the old cycles of Vegh and Talich Quartets (and heard the latter live in the 80’s). Those recordings are not optimal in sound, but musically priceless. I have not followed the Talich Quartet's latest line-up, but just heard a Dvorak American (La Dolce Vita) that just blew me away! This is just about perfect in performance and sonics, and better than many recent rivals. I’ll have to catch up on their many recordings on this label, and I’m sure that shall be a great pleasure! And, as a fan of Chausson, I marveled at the Portugese violinist Bruno Monteiro, who led a Trio that excelled in Chausson and Ysaye (EtCetera). For the same label, Monteiro has several excellent albums.

Solo Kissin Live in Salzburg (DG) is a very good album that lets you savor the latest of this unusual pianist. Cool and calm, yet warm. Not everyone will like it, but it’s worth a listen.  Crossovers And then, sort of solo album. Protege of Barenboim, Kian Soltani Unlimited (DG) is an album of transcribed film scores, where he played all the parts in overdubs. I’m not a fan of those blockbusters, but the music is surprisingly listenable - a good effort at crossover. Another crossover figure is violinist Mari Samuelsen (DG). Her latest, Lys, is “ECM” style and soothing, and many will like it. Her previous albums I found harder to like, in part due to the bland music and in part her somewhat gritty tone.

Jean-Luc Godard

Jean-Luc Godard Passed Away at 91

One of the most pivotal figures in Cinema had passed. A truly independent intellect, it’s not surprising that he died by assisted suicide, legal in his homeland of Switzerland.

As a fan of cinema, especially auteur films and European films of the 60’s and 70’s (which I caught up with in the revival houses of NYC in the 70’s and 80’s), I had watched quite a few of his, but not too much of his more political later efforts. I shall not go into details here, as the internet is replete with tributes. Many are well-written and I urge you to read a few.

My favorite Godard film is Vivre Sa Vie (and he also lived his life truly as he wanted), perhaps because of the mesmerizing Anna Karina (the stills here do not do her great charm justice). I had mentioned it in this blog before. One scene had Karina working in a record store, and of course that endeared it to this vinyl junkie.

As someone who pays great attention to film music (in the context of the films), Godard was a pioneer in the use of music in films (read here). In Vivre Sa Vie, the great Michel Legrand’s contribution is only 3 minutes long, but it is memorable and repeated throughout the film. In fact, if you play it on repeat you will feel a sense of the film.

Below you can make out the Record at front is an Igor Oistrakh Recital

As even now, record Stores sell some equipment. Now, those Radios and TVs are TUBED!

Record Stores appear in many films. Here is a UK article on 25 Best Record Stores in Films. You may have been in one or two. Me, Tower Records in NYC.

Stereophile KEF LS60 Blade KLH5

Click pics to enlarge.

Two 60th Anniversaries
Letter from Shenzhen (22-12): My Revamped System and a Fantastical Comparison with KEF LS60 Wireless
Narrow Front Baffles and Side-Firing Woofers

Editor: This article is an odd one. It first celebrates the 60th Anniversary of 2 august audio institutions, and then launch into something that is basically a lengthy commentary on the KEF LS60, which I have yet to hear. And then a portrait of my current revamped main system, the loudspeaker of which bears a semblance to the KEF (hence a fantastical comparison). The sections are well marked out, so skip as you want.

Stereophile 60th Anniversary

Congratulations to Stereophile! I hope it lives on healthily and happily. This Tribute (and Remembrance) by ex-Editor John Atkinson is notable for certain reasons. As JA always does, he honors the greatest audio mind of them all, the astonishingly principled J Gordon Holt, who started the whole thing. No pretense, no bull shit, no oversized ego (hint: HP) and, unlike many writers today, who can wax pages of lyrics when a few paragraphs would do (likes of JV of TAS, whose patrician tones are well-nigh intolerable; RH can be full of hyperbole's too, but he’s at least a technocrat; and JVS, but he compensates a little with his gentleness and sweetness, but, hey, spare us your family bliss OK?).

This article also mentions some of the past era's magazines. They bring back memories. I had subscribed to some of these in the 70's and perhaps early 80's, and can attest that they were not that informative (Julian Hirsch and the likes). I cannot remember why I didn't subscribe to the Stereophile (or early TAS for that matter, not the mediocrity now), perhaps out of ignorance or because of the higher costs. I wish I had!

It’s interesting that over the years many writers have gone back and forth between Stereophile and TAS (not that there is much choice out there). Michael Fremer has just switched to TAS (again; he was there before), whereas quite a bit earlier Julie Mullins had gone the other way. For MF, I don’t care where he’s at. I don’t mind him, but I have no interest in oversized, overweight, overdamped and overpraised turntables (and tonearms) that he specializes in (give me a vintage idler wheel or direct drive anytime). As for JM, it’s gratifying to see how she has blossomed with her industrial reports and show coverage for Stereophile - no longer a puppet of JV.

After JA, I think Jim Austin, technically solid (and even more all rounded in outlook), is doing a solid job as Editor. I look forward to many years to come. Post AD, but with writers like HR and KM and others on board, I am optimistic.

KEF 60th Anniversary

This happened just short of a year ago. KEF had always been important, especially in its early days, as supplier of drivers. I have never been a fan of KEF’s own iconic speakers but, as fan of vintage UK and BBC loudspeakers I recognize their importance. I’m not a fan of the hard to drive Reference 105 series but it likely had left its footprint on the equally iconic B and W Matrix Series (I regard the M801 as one of the best ever; and for lesser space, perhaps the 804 and 805). Then, its T27 Tweeter and B110 woofer, used in the legendary BBC LS3/5A, and ubiquitous elsewhere (including larger variants, as in KEF’s own 104AB, with its equally iconic passive radiators, later to be deftly and famously employed by Swiss Ensemble Reference and that Italian master, Franco Serblin). I personally think KEF deliberately killed the B110, as its success and demand stood in the way of company development (does not make enough money). History aside, back to present times. For the past decade and more, KEF had concentrated on their Coaxial (Uni) drivers, interestingly preferentially used in their upper echelon products. As a fan of coaxials (Tannoy of course; but also vinatge Altec, Jensen etc) I paid attention. I even once owned the LS50 and wrote about it, and even have written a brief KEF Overview (here).

LS60 Wireless

In conjunction with their 60th Anniversary Celebration KEF rolled out their 6000 ($/GBP/Euro) loudspeaker that attempts to be all things. It received general critical acclaim (and an EISA award, which is of no great meaning to serious audiophiles). I read about it, and what immediately struck me was how uncannily the LS60 (photos at the bottom) resemble my current reference, the humble Sansui F55 (detailed here).

• Narrow Baffle and Slim Profile Without the Base Plinth, the KEF is 13x32x104cm; Sansui is 14x39x116. This sort of narrow baffle design has its practitioners, as it is appealing for those who want their audio (including AV) to disappear (higher WAF). German Audio Physic (not bad) is a good example. Proac is another example - their iconic Tablette and its derivatives (including Minitowers) were very popular in the space-challenged households of Hong Kong. This kind of design always generates holographic images but is less fleshy, and bass tends to be quite shy in at least the smaller models. Personally, I prefer the fleshier sound of a wide baffle, examples of which are, size for size, BBC LS designs and their offsprings (primarily UK). But I am making do with my Sansui here.

• Coaxial, Tweeter and Midrange Being a Tannoy fan, I am a follower of Coaxials, and had once owned the LS50 (and heard some of their R series), but, good as it is, it never captured my heart. I’d rather have the LS3/5A than the LS50. But KEF’s Coaxial Drivers are not to be scoffed at, as I had heard them (here) perform well in the much higher-end Blade (second-in-line, but more in-line with KEF than the top Muon). While my Sansui emphatically does not sport a coaxial, it does use the next closest configuration, my favorite D’Appolitto Array (also favored by numerous designers, as in Proac, Alon etc), although in the case of Sansui it’s a pseudo- iteration (one more midrange added, not an uncommon design). In terms of total radiating surface, particularly the midrange, the Sansui is multiples of the KEF. The KEF’s coaxially mounted tweeter is a 1.9 cm aluminum dome, whereas the Sansui is a 3 cm fabric. The KEF midrange is 10 cm aluminum, whereas the Sansui is 3x8 cm, which is about twice the surface area of the KEF.

• Side Firing Woofers Of course, with a narrow front baffle, one way to increase bass output is to mount the woofer(s) sideways. Audio Physic had used that in several of their models. Usually woofer(s) are mounted only on one side, as in the case of my Sansui. But the KEF is unusual in that they have (small) woofers on both sides. My experience, as in the case of my Sansui, woofers firing towards the sidewalls is better than firing inwards, for clarity and agility (The KEF has DSP though). In terms of surface area, KEF’s 4x 13.5cm is close to the Sansui’s 2x 20cm. It’s also interesting to me that the KEF woofers are placed very high. I’d venture otherwise the midrange would lack power.

• Placement and DSP It’s funny that even the reviewers don’t comment much, if at all, on this VERY important aspect. Even with DSP available, shouldn’t one just try to place the loudspeakers with traditional skills first and then try DSP? No. Not any of the reviewers. So much for professionalism.

• Amplification The KEF basically uses electronic crossover and separate amps that are built in (Class D). In my case, the closest comparison is the Aiyima T9, being a Digital Amp. Much less power, but then my Sansui is vastly more efficient.

• Wireless and Digital Ability Basically, the LS60 houses a full-featured Streamer with full connectivity (only display is on the App). It’s telling that the Wireless platform does not support the highest resolution (384). It begs the question, even if it does, would you rather use Ethernet for the best result, lest you be left with nagging doubts? Mind you, I am not at all a high-res file owner or Streamer and don’t in general think much of upsampled material. For people like me, my Aiyima does just as much useful things. Having a Feature is not at all equivalent to the likelihood of using it, especially in this case.

• What about Analog Input? There’s a pair of RCA Input. Just like my Aiyima, this would go through digitization. Want to put a turntable on the floor and connect it with a phonoamp and RCA cables? That’ll ruin the looks!

• Cordless? The whole Raison D’Etre of such a loudspeaker is to give the appearance of no cords. But is it possible? Each LS60 needs one power cord. Should it be placed close to front wall, the power cord may not be intrusive. BUT, if you, like me, like to have the loudspeakers in room, then the power cords are almost just as conspicuous as loudspeaker cables. And this is not to mention that sometimes you want to try using the other inputs (say, your nice red book CDP via its coaxial output) and that’s even more awkward situation (maybe put the CDP on a stool and connect it with a cable?).

• Who Is It For? Ultimately, that is the question. It is NOT for a dedicated audiophile’s main system. BUT, perhaps for his second system. It’s likely too expensive for an entry level audiophile to move up to from, say, Audioengine or Schiit. I’d wager KEF would make a more humbly priced version for more people.

This is not at all an article to lambast the LS60. Rather, the opposite, it intrigues me a little even if I’d not use it. Most of all, its physical profile reminds me of my Sansui. But there’s no escape that you get a lot of stuff that you will NOT use. As I don't use Streaming platforms, I'd like to bring my own device and stream over Bluetooth to hear how it sounds. The LS60 is available in Shenzhen, so I can do it, but I'm not at all in a hurry.

My Revamped System in the Study

If you compare to the old setup, things were not moved that much, but it is nothing short of a major move. BTW, I did it not because of sonic reasons, but because I wanted to change the orientation of my desk 180 degrees to avoid lights shining into my eyes (sun in the morning and reflection from buildings in the afternoon). Now the speakers are In-Room rather than flanking the large IKEA shelf. And I am sitting at the desk facing my loudspeakers, rather than between the loudspeakers as before). The source (usually my Meridian Explorer USB DAC) and Control Electronics (my Revox A720) are at my fingertips.

Most of the time, I use the Revox Combo (with the A722 Amp) and the sound is superb. The musical delivery has not really changed from before, but now I have very good imaging and pretty good soundstage. Although the latter audiophile values are substantial bonbons, they do not at all alter my basic perception of the value of the system.

BTW, since I have everything (sources and controls) around me. The only extraneous things I see (not even when the lights are dim) when I look at the loudspeakers are the speaker cables. For me, they are as “wireless” as the KEF. I have always advocated having everything at one’s fingertips (not just via an app) but that of course necessitates long speaker cables (mine are around 15 ft/5m).

Praise to the Revox A720 Preamp, it has so many features that are useful. It has 2 Switchable Outputs. I use one of them for the Revox amp. The other I attach to a long cable (the excellent crazy cheap Canare 2T2A, report to come) to connect to my APPLause 300B amp I placed between the loudspeakers. Late night, I allow myself a little bit of tube bliss, and it is wonderful (the efficiency of my Sansui allows this). The A720 also has Earphone Outputs (2) that are very decent (just switch off the outputs). I only have my Grado SR80e here so I cannot speak of higher impedance cans, but the result is to my ears better than lesser earphone amps (like the Schiit Vali and Magni that I have). More on these in future articles likely.

All in all, I’m very happy with my system now, but of course I yearn for more things, for no good reason. We’ll see.

More on the Blade (and KLH5) Incidentally, Stereophile just published a report of the recent Blade 2 (here). Also, a few months ago I was keen on the recently revived KLH5 (now, that’s the kind of old-fashioned wide baffle that I like). As usual, the Distributor in HK handles China too. So I contacted Nanpeng-Tech by email and got a prompt reply from Mr Joes Tsoi (first name is not a typo). I was really impressed that he was extremely helpful and subsequently communicated with him via WeChat. From the pictures in his wechat I am sure he’s a very busy man! Now, this company uses Blade in its main AV room. Although the company specializes in AV Installations, from our conversation I can tell he’s a serious and experienced audiophile. Both KEF Blade and KLH cannot be very popular in HK (for their bulk) and so I admire him for promoting these products. I look forward to meeting him someday (perhaps even in China!) HK readers should seriously consider auditioning the KLH5 (I wish I can) and also catch the KEF LS60 there. Below are some pics showing their main AV room and presence at the recent HK AV Show. Solid Folks, Good People.

Nanpeng Showroom. Outermost KEF Blade I, then KLH5, then KLH3 

At the recent HK AV Show. You can catch the KEF LS60 in the innermost position. Everyone wears masks