LS3/5A Chartwell Audiomaster Rogers Yamamoto CA-04 Douk E6

Click pics to enlarge. Chartwell LS3/5A. On top of rack, Fosgate Signature Phonoamp and Elekit TU-8300 amp. Beneath, Micromega Stage 2 and Magnavox CDB-262, Yamamoto CA-04. Incidentally, the LP Danse Infernale in the background is one of my references. The Boston Pops/Fiedler Night on Bald Mountain is my favorite, bar none in performance and sonics, more exciting than the venerated LSO/Solti (Decca), which seems plain vanilla in comparison. It can often be found in dollar bins.

Letter from NYC (23-8): Small but Beautiful

Update 8/30/23: A few edits, including important clarification on the LS3/5A shootout - the Audiomaster won all hearts.

It has been a little over 2 months since I left China for NYC, where I spent all my time except for 2 weeks in July in Chester, UK. In the one and a half month here, I really haven't done very much except lately I have upped my written output for sure (I think around 10,000 words in the last few days). I have mostly sorted out my accounts. Sometimes it's exasperating dealing with financial institutions, including the IRS. Everything takes so long.

Given that I am by myself, I wake up even earlier than usual, around 4:30 am! I go to sleep around 9 pm. Maybe 2 or 3 times a week, I'd meet up with friends for a lunch gathering. I don't spend much time preparing food, and 2-3 times a week I'd just take out from the local Senior Citizen Center. Otherwise, aside from running errands and shopping for essentials, it's all time at home, much of it spent listening to music, sometimes while writing. I like moving about in my large LR more than being cooped up in my dedicated listening room (even if it has my reference gear it is more of a sanctuary when there are others around), so up to now I have only listened to the small LR system. Whether for review purposes or not, I rotate things in and out, and here are some brief notes:

Harbeth P3 ESR SE vs LS3/5A In my recent posts, including reviews, I have used pics of the Harbeth and LS3/5A. I acquired the Harbeth not long before I left NYC in 2020 (review). Fact is, a few weeks ago the original owner Leo would like to buy it back, and I obliged. I slotted in the Rogers LS3/5A (black badge, serial # 5,xxx). Haven't used the Rogers in quite a while, but in an instant I knew it's a worthwhile change. By now I'm in an even better position to talk about the differences between the two. Although both classic English loudspeakers with shared heritage, differences are obvious: 1) the Harbeth is smoother and reaches deeper; 2) despite a somewhat slower transient, the LS3/5A nonetheless is livelier and more dramatic; 3) despite many reviewers' talk (most often wrong, even downright stupid) on neutrality, as a whole the LS3/5A is more truthful. Sometimes it will show a little more the warts and fraying edges of recordings, but that is what a monitor is supposed to do, and a monitor it is. Still, I had much enjoyed my time with the Harbeth, and recommends it.

Preamp Rotation First I used my Shindo Monbrison. But as soon as I started to try out different phonoamps I switched to Yamamoto CA-04. The reason is very simple: the stock vintage RCA connectors of these Shindo's lose connectivity often (AD mentioned this in one of his Shindo reviews). If one has to plug and unplug often, a switch is mandatory. Yamamoto vs Shindo These have very different design and sound. I wrote about the difference in 2020, and things haven't changed. This time in the Yamamoto I have been using exclusively the WE 403A.

Douk E6 This belongs to the above section but due to the epic nature of this comparison I give the Douk E6 its own subheading. I borrowed one of Andy's many units. It has the stock Chinese tubes, with O-Rings for damping. The caps had been changed to red Audiophiler MKP 250V 1.0 uF (marked 105J). These look similar to the ones I used. PS was a small 5V USB Charger. vs Yamamoto As well as I know the E6, I was still astonished by the sound. The most significant change is a larger sound field with fleshier images (befitting a DHT) and even more air. This is consistent with my experience but now the comparison is with a preamp whose second-hand price is 20 times the cost. One interesting observation is that the clicks and pops and LP artifacts are particularly highlighted. I think this is a result of the incredible high frequency extension, the high gain and transient speed. The Yamamoto is perhaps more controlled with large scaled music and its midrange (with the WE tubes) and rhythm a little more layered. But the E6 held its own for sure and I only continue to use the Yamamoto for the better connectivity. Note that this is the first time I have compared an E6 to estimable preamps (though my HK and NYC circles have, all to the same remarkable conclusion of equality, if not superiority). Remarkable!

Analog Rotations I have been logging this. In case you have missed them, more substantial articles are on Sun Valley SV-EQ1616D and Fosgate Signature Phonoamps, and MoFi Studiodeck. Since the arrival of the Studiodeck I have been using it mostly, with the Fosgate Phonoamp. Very contented, but I hope I can stir in something a little more exotic before I leave NYC in early September. In recent days, I have gone through 3 symphony cycles: invigorating Beethoven by Munich/Kempe (Seraphim, sound good despite being quadraphonic); magisterial Dvorak by BPO/Kubelik (DG; stupendous sound); flawed but worthwhile first Sibelius cycle by Boston SO/Davis (Philips, good but not top sound). You shall be amazed how time flies when one listens to the greatest music.

Digital Duties As here. I actually listen to quite a bit of CD, especially Jazz. Like Miles and Coltrane. Particularly fine sounding Rachmaninov Symphonic Works from Concertgebouw/Ashkenazy (Decca). Ever heard Patricia Barber's Companion (Blue Note)? Fabulous sound and one of her best. Have you noticed one thing? I haven't streamed the whole time! I actually miss it, but the very weak data handling of my phone is not up to it.

SE Amps I started with the small and  convenient Almarro A205A (EL84), then two 300B amps, the AES SE-1 and Elekit TU-8300 (first review and review after mods and updates). The Almarro does a fine job driving the LS3/5A but the 300B amps open things further up. AES has fixed bias adjusted through a single 1/4" TRS phone jack in the back (I use a connector with my multimeter). As the bias is for both tubes, and tubes may not be balanced, it's better not to bias high. Mine (Shuguang) was set pretty low, at 90 mA total (for both channels). This time, I operated the Elekit as an amp (Yamamoto  AES vs Elekit Using the same 300B tubes, despite being biased lower (the Elekit is autobias), the AES sounds more powerful. The circuit may have something to do with it (traditional vs constant current source, respectively) but I'd say the AES has the better transformers. Tonally the Elekit is airier, more resolved and on the neutral side, and the SE-1 is a little more centered on the midrange. Both are very good. Andy and Kevin have heard them both and voiced no serious preference. With my guests I also rolled in the Philips JAN 6L6WGC (which I liked) but it seems both of them preferred the 300B. I think the Elekit is sounding the best as it ever has. I actually wonder if it has finally starting to break in. You see, I don't think I have had more than 300 hours on it altogether, a significant fraction from this time around! And now being summer, I may not bring in the 6C33C Almarro 318B. Instead, if I have time I shall try some more powerful Push-Pull Amps on the LS3/5A!

Subwoofer After a while, I brought in my very modest Pioneer SW-8 subwoofer.  Finding the setting took a little more time than when I used it with the Kilpsch Heresy. I estimate the final Crossover Frequency to be around 80 Hz (I remember in HK it was even higher, but it was a different sub) and Volume was just a touch (less than 1-hour on the dial). With even the little bit added, the music is more dynamic. When Kevin and Andy visited I demonstrated to them and Kevin correctly said with the sub on the soundstage expanded. There are very few albums on which the presence of the sub can be suspected. A success, but I know all about it from my experience in HK.

Rogers vs Chartwell vs Audiomaster As both Kevin and Andy liked the pair of Beydas clone I brought to Andy, I invited them to my place for an in-depth session with 3 pairs of the real thing, all 15 ohm versions at that! First, we listened to the Rogers (black badge; serial # 5xxx), which had been resident in the system for a while before they came, and it was very nice. When the Chartwell (serial # 3xxx) was substituted, we all heard more treble and a leaner balance. Andy remarked it had less bass. Part of this could have been because the Rogers was in use before they auditioned, whereas the Chartwell had been in the closet for years. After their visit I just continued using the Chartwell, and really do not feel now that they lack bass in any way, though it is true the treble is a little more prominent (mirrors my experience in HK). As a whole, I enjoy its tighter grip on material as well as better dynamics; its sound is likely closer to modern variants. Finally, it was the turn of the Audiomaster (serial number not obvious). More than Rogers and certainly Chartwell, I have used this pair on and off over the years, always with great satisfaction. It is a little darker but, oh, how relaxed it is! Both Kevin and Andy were thoroughly charmed by the Audiomaster. Too bad we did not have on hand the Beydas to compare! It should be noted that Chartwell and Audiomaster are much rarer than Rogers, especially so in America.

Xinshi 新时 597 Passive Horns In many of my more recent articles, these appear atop the loudspeakers. They enhance the sense of air. After the pair was handed to Kevin, I immediately noted a diminution of air in the system. This incredible thing is now a necessity in any system. Next time I come back to NYC, I shall bring a pair along.

The TV Long time readers with eagle eyes will have noticed that in 2020 the TV was on the rack, whereas now it had been moved to the large work table behind. It cleared much space for gear, but that was not the point. Experienced audiophiles know that a large center object, aka the TV, messes up the soundstage (can be better if a thick cloth is draped over it). By doing that, the soundstage immediately deepened, significantly. I usually never sit in the center, close to the right speaker when I'm on the sofa reading or computing, and further right on the dining table when working or eating. No matter, the soundstage is much improved, and quite impressive. Advantage of being alone.

TV Sound My Sharp, circa 2010, is certainly not shap in picture and a lousy one when it comes to sound. As I watch quite a bit of TV, be it old TV series or B movies, I struggle with the sound as well as clarity. The older movies and series are definitely lower in sound volume and often muffled. Perhaps they are playing bad (low res) copies. I borrowed a couple of DVDs (Unberable Lightness of Being and Two for the Road) from Andy and found the sound of the replay (through my Sharp TV), even from my top-tier Sony BDP-S5000ES, better than TV but still totally underwhelming. I finally could not stand it any longer and fed the optical out of my TV into my Micromega MyDac DAC and then into my regular system. Much better, but still not enough. You simply do not watch a modern movie (Unbearable) with a SET amp! LOL! I know I can probably do better by configuring my Blu-Ray player and, yes, more wattage will be a different story, but so much for now.

 Audiomaster Crossover

Innards of the modified Elekit TU-8300

Douk E6 in action

Fosgate Signature Phonoamp Sun Valley SV-EQ1616D

Top rack, from L: Aurorasound Vida, Fosgate Signature, Almarro 205A; below: Yamamoto CA-04.

Review: Fosgate Signature Phonoamp
NYC Analog Log (23-4): Sun Valley EQ-1616D, Part II

Sun Valley SV-EQ1616D, Part I

Fosgate Signature Phonoamp

First Impression Very soon after it came out in 2010, I bought one. It's amazing that I have not formally reviewed this, one of my staples, even though I have commented on it many times, starting with my 2011 Retrospective

...Ever since it came out it has garnered much attention, including a review in TAS. There is also a nice review in Audio Beat. This is one of those rare phono preamps with a fully active MC pre-pre section. As noted in the Audio Beat review, the 60 db gain for MC may be a little low for some people but it is perfectly fine in my case, even with the very-low-output Denon DL-304 (0.2 mV), since I mostly use preamps with high gain and efficient speakers. I am happy to report tube rolling is a breeze as the phonoamp does not seen to run the tubes unduly hard and many NOS tubes sound quiet in it. One thing that puzzles me about the industrial design: the two round cans flanking the tubes lead one to think they are input transformers; no, they aren't, this is a strictly active device and those are for decorations only. Incidentally, I think there is a new 10% price hike, but you can still find many selling at the original price of USD 2500. Review later...

Design A word on the patented, and unusual design (the Manual can be downloaded here), in Fosgate's own words:

The design is the result of more then 100 different hand built preamp circuits dating back to the 1970s.

• All amplification is accomplished with the SRPP (push pull) configuration for the best possible linearity, lowest noise and distortion.
• No solid-state devices are placed in the signal path and a tube is used for the high voltage rectifier.
• The power supply is very different and contributes to the high performance. There are no regulated power supplies. Each tube stage is powered by a separate storage capacitor that acts like a battery. These storage capacitors are very large (10 to 20 time's oversize). The power supply simply holds the voltage across the capacitors like a "trickle charger". PC board layout is "Dual Mono". The channels are located on opposite sides of the circuit board in near mirror image with dual triodes in a row down the center.
• The first stage has no NFB to interact with the cartridge. The second and third stages are enclosed in a single feedback loop incorporating both positive and negative feedback.
• The RIAA network is divided into two sections, one passive and one active. The upper half (above 1KZ) is accomplished with a passive network between stage one and two. The lower half (below 1KZ) is accomplished with an active network around stage two and three

Tubes The Fosgate is not demanding on tubes. The stock tubes are not bad at all, but I have swapped in all old-stock tubes, with small but audible improvement in sound: V1/2, Amperex Holland 6DJ8; V3/4, RCA 12AX7; V5/6, stock Philips JAN 12AT7, more recently Mullard ECC81. One should view V1-V3 as within the MC section, and V5/6 as within the MM section. While V1/2 and V5/6 should be matched, V3 and V4 can be viewed as the bridge and they don't have to be identical, enabling one to roll in different tubes. Manual also says you can roll in a 12AT7 in V3 to have a little more treble air. As the unit is perfectly fine sounding I have never tried it. My 6X4 is an old Motorola.

 

Version 1 vs Version 2 Mine is V.1 (the "V" not to be confused with designation of Tube position above), and I have always been puzzled by what is the difference. There is no mention of any revision in circuitry or cosmetics. Finally, I think I have found the answer. In one of the For Sales Ads for V.2, I saw that the rectifier is 12X4, not the 6X4 of the V.1. Voila! The same rectifier with a different filament. As tubes always escalate in price, it's totally understandable why they switched to the cheaper 12X4, which unlike 6X4 is much less used in vintage gear (an exception is the popular Dynaco PAS 3). Minor change indeed, so if you're looking for a second-hand unit (especially after this review), both will do.
 

Over the Years I have enjoyed this phonoamp for many years, in all of my stations and with many of my TTs and cartridges, always with satisfaction. I mentioned it on several occasions:
 

In this article I said:

...The next day I connected the Linn/Koetsu rig to the Fosgate and, as they say, the rest is history. In this system, the Koetsu did even better than on the AQVOX, and perhaps even better than on the Aurorasound. The Koetsu did everything the PC-1 did, but at a somewhat smaller scale, but I feel it has been optimized. What amazes me is that the all-tube Fosgate yields not one iota to either the AQVOX or Aurorasound in the transient portrayal of the leading edge; every emphasis is microdynamically portrayed, no mean feat, with the additional benefit of a smoother sound...

And in this article I said:

...I have never really written a formal review for the Fosgate, but it was in my Best of 2011 article. It has been one of my mainstays and here I have to sing its praise again. Its superb design allows pure tube MC amplification without the use of SUTs, a feat rarely accomplished (this also meant tube rectification for lower noise). A bargain and wonder, but one that is little appreciated. The world is not fair, right?

vs Sun Valley SV-EQ1616D

After I thoroughly evaluated the Sun Valley (SV), it was only natural that I made the comparison with the Fosgate. In design and ergonomics, there are superficial similarities and differences. Similar: both are tube-rectified, not so common at any price; both have tube MM sections. Different: critically, the Fosgate has an all-tubed MC section (a rare beast) and the SV a FET Headamp (common); usefully, SV has 2 inputs while the Fosgate only has 1; usefully, the Fosgate has Loading Selector (100, 300, 500, 1K and 47K ohms), while the SV has none (the MC is loaded at 50 ohm); not so usefully (for most people), the SV has various bells and whistles for EQ; of debatable efficacy, SV also has a Mono button (taken from the L channel).

Sonically, please first refer to the SV review, Part I linked at the top. I used mostly my Yamamoto CA-04 Line Preamp, AES SE-1 and Elekit 8300 300B amps driving various LS3/5As. All I have to do here is to tell you how the Fosgate trumped it:

• Macrodynamics (and Gain) This is the most important difference (the divide is big). Now, remember I use the SV's own FET headamp, and have an active Line Preamp with Gain to help. They have probably about the same gain, but the Fosgate sounds much better, unfolding loud passages with more force, yet with more detail, air and refinement, and even less noise. As mentioned in Part I the SV does better by dynamics with a SUT, yet it loses much finer details, especially compared with Fosgate.
  

• Microdynamics WIth classicals, in the softer passages, such as the Tapiola mentioned in Part I, SV regains a little ground. Its more overt manner (within its comfort zone) makes the Fosgate sound a tad cool, yet the Fosgate is no slouch and within the whole sweep of music this is not at all sufficient to turn the tide. Add the dynamic findings together, I'd think the SV, with or without SUT, is more suited to smaller scaled music, like jazz or vocals, whereas the Fosgate can do everything well.
  

• Loading I note that with the Fosgate I loaded the 2 Denon DL-103 (stock and with Midas) at 300 and 500 ohms (little difference), a theoretical advantage over the SV when its FET section is used (50 ohm). Yet it should be noted that I still prefer the Fosgate over the SV used with SUT (when there is little loading concern). The performance of SV surely can be improved by using more and more expensive SUTs, but is that the way to go?
  

• Resolution and Air The SV in any configuration is a little less resolved. And both have very good tubes in them.
  

• Mod Potential I note that Andy's SV already has V-Caps in them (Kevin opted for Mundorf instead), and the Fosgate is stock, with WIMA caps (pic below). Upgrading them is a definite possibility.

Summary

• Fosgate Signature This is a Masterpiece. Achieving this level of quietness with pure tube circuitry is a miracle! Jim Fosgate had passed at the end of 2022 and it's regrettable we shall not have more innovative designs from him! It's too bad that it has long been discontinued. Second-hand units are probably not too hard to find if one is patient. I don't think it was that popular in its time. One reason for that is likely because a few users in forums posted on the lack of gain in their systems. In this world where many people use Passive Preamps or Preamps with little Gain, that can happen quite often (and indeed with that Audio Beat reviewer). I always say, and I repeat, if you are into vinyl, you should have plenty of gain at the preamp. Little or no gain at the Preamp ruins a lot of analog and SET experience, and people never learn. Just numbers won't do, and Straight Wire with Gain is no more than wishful thinking. My Denon DL-103 is nominally 0.3 (often a bit higher) and I never have any problem. Have you noticed that almost all reviewers now just use their SUTs? This is to sidestep precisely this problem, and also why many more people use SUTs now with MM phonoamps, though I prefer an active MC stage whenever I can. There have been very few notable all tube MC Headamps (whether standalone or built into a phonoamp or full function preamp). Tall achievement! If the SV is Class A in Stereophile, the Fosgate is A++!
  

• Sun Valley SV-1616D While I think this is a very good tube MM (and a competent hybrid MC) phonostage, I think it's on the pricey side (even as a kit).  If you add SUTs for MC use it's even pricier. Its Bells and Whistles are likely to be under-used, if at all. On the other hand, if you already have good tubes and SUTs on hand, it's a better proposition. If you see analog in the long term, buying tubes and SUTs are likely worthwhile anyway, just that it could be a lot of money (and no end to it, but that's part of the fun). If you go the way of SUT, I'd advise buying an external one rather than having some custom made ones built into the SV. This allows for flexibility. Personally I do not buy the SV because in terms of MM phonostage, many of the built in phono sections of vintage full function preamps are just as good, or even better. The Citation I is the best example. If you use its Tape Out it is a formidable phonostage. Similarly, excellent phono sections are the rule rather than the exceptions in older preamps. Just to toss off a few in my collection: MFA Magus, various Counterpoints and ARCs, Melos, etc. And among more recent stuff, second hand markets can still offer good value. An old Shindo Preamp not only offers a great preamp, but one with an exceptional phono section. Not cheap, but worth consideration for a vinyl lover. Of course, there are those unwilling to navigate through the vagaries of the second-hand market - I understand. I personally puzzle at the Stereophile Class A rating, when the FET headamp is basically brushed over, and contingent upon using a SUT and expensive cartridge as HR did. But then, many other things in Class A probably shouldn't belong there in the first place!
  

 

Bad Habits

Click pics to enlarge. No, can't pull the Wilson Grand Slamm's further in. Yes, better sound if the piano lid is down.

HiFi Basics (XVII): Mentors, Gluttony, Overreach, Connectivity and Cost-Effectiveness
Letter from NYC (23-7): A Day in the Country

Yesterday, some of us got together again at our friend R's mansion on Long Island. For me, this was the first time in 3 years! Understandably, there had been limited activity due to the pandemic. Since I have gotten back, I have met with our group leader Andy quite often. Kevin too since he had come back from Atlanta. Despite their arriving very late, I was happy to see Simon again, especially since he brought a new friend Sam, a vintage aficionado too (Tannoy GRF, Philips Full Range etc; I'm sure you shall hear more of him). I am glad I met up with subwoofer fanatic Richard and his wife. It's so funny, the first welcome-back SMS I received when I landed back in NYC was from Richard, who knew from the blog that I was back! Most amazingly I met Alex again (last time I saw him was probably in the late 80's, at Princeton Record Exchange no less). Years ago, Alex was president of the NY Audio Club and knew everyone. I have always admired him greatly for his tireless effort to try to get the many Chinatown audiophiles (through whom I met him) to listen to good classical music, a tough task indeed. We talked a lot about concert halls, the NYC and HK concert experience (like where is the best seat), anything but audio, as he is totally toned down now in terms of equipment - contented with being a music lover but not an audiophile. This is such a colorful assembly of characters from various trade that, if I were a composer of Elgar's caliber, I'd compose my version of the Enigma Variations, for, despite my knowing them, they remain enigmas to me. It was also a rare occasion because R's wife M could join us. As usual, R made a sumptuous lunch for us which was held on the patio (a first). The special wood smoked BBQ chicken was excellent (we would demand no less of R) and the two salads (cucumber and apple) were just perfect for summer. For my taste, the wines on this occasion were a particular fit for me. I loved most the 2012 South African Cabernet Franc. The fruitier Austrian wine was also interesting. The Costiere de Nimes was a little too subtle for me. And then there is Richard's Long Island wine from his friend's brewery, which I didn't taste. I was told it is young but promising (sounds like our youth, which didn't always pan out). I Thank R for hosting us.

Before and after lunch of course we listened to the audio in both the spacious LR and the smaller horn room. I only did the LR, where I spent most of my time talking to Richard and wife, and M. After 3 years, it seems there are quite a bit more gear here! But sound was regrettably no better from what I remembered, so it got me thinking hard. I think all the new stuff brought too many new variables that the system as a whole got sidetracked, even neglected. As this is a common audiophile issue, I'll take this opportunity to dissect some of the audiophile's habits. I use R as an example but aspects can also be applied to almost everyone present, including myself.

Gluttony

First question: Should we take on everything we have our eyes on? Not if you can't do it justice. This goes for people as much as audio - you need time and sensitivity to truly appreciate strengths and weaknesses, to learn that perceived deficiencies and strengths are sometimes just two sides of the same coin, and to build up stable relationships. This is NOT a question just of desire and drive, nor money - rather, of time and patience. Just like people we neglect or don't do well by, our systems tell us in no uncertain terms that things are not right (if we are truly good listeners). Today we start with examining the Gluttony of which we are all guilty. Incidentally, one reason why this blog covers some visits is because of the excess, photos of which are eye candy for many readers. What they may not realize is the detrimental effect excess has on achieving the best sound, which should be everyone's goal. The cruel reality is, in the quest for better sound (or for different experience) by acquiring more equipment, we frequently make things worse - a regression. This is not the same as loving different kinds of food. One can enjoy Chinese on Monday, Thai on Tuesday, Arabic on Wednesday etc, but one cannot quite do that with one's audio systems - one will almost inevitably end up with fusion, and the worst kind. There is only so much "breakthrough" one can achieve in audio, and there is plenty more ground to lose. Oh yes, there are audio buddies who tell you their system is XX% better every time you talk to them (and who tirelessly urge you to go listen), and there are magazines that tell you constantly about "progress". Don't you believe them! One of the biggest lies in audio is the Wilson Watt/Puppy, an unfortunate, incoherent amalgamation that persisted through 8 generations, each proclaimed to be a breakthrough by the press. A big grain of salt is in order when the reality is, with the exception of certain areas, there has not been much progress in audio, especially in terms of "absolute" sound; and the sonic up's and down's of the systems of most audiophiles is no smoother than the stock market at its most volatile.

Believe me, I know of Gluttony, as I used to be guilty of it, not just in terms of audio equipment (including tubes) but also in terms of LPs and CDs. Not so much now, though I still suffer from the aftermath. I actually regret my past. Too much stuff, too many hassles. many in our circle are gluttons.

The evolving systems of R actually comprise the longest running thread of this blog. As I reflected on its evolution, I was aided by all the articles I had written - one benefit of the blog is to set down things for later (if sometimes just for myself), as memory is so often unreliable (even if I remember equipment better than most people). It took quite an effort to tally up all the scattered articles - including this one there are 10! Amazing!

Chronology of Previous Home Visits to R

2016 here; early on in my acquaintanceship. Wilson Grand Slamm in smaller entertainment room. Equipment evaluated included Jadis JPS2, Lamm LP2. Rockport Sirius II, Versa Dynamics 2.0/Jan Allaerts MC2, Walker Proscenium/Kondo IO-J

2017 here Wilson moved into large LR; here, Tom Tutay, CJ P3

2018 here, Arrival of Altec A5, evaluation of Jadis JPS2/JA80, Marantz 8B McIntosh Verdin P153, Harmon Kardon Citation I; here, SMSL challenge, CJ P2 vs P3, Cary CAD-211, arrival of ARC Ref 2; here, re-positioning of horns, Bell 2122;

2019 here Bell 2122; here, Nottingham Space 294, Decca Super Gold; also here.

Mentors

I. As you can see, I have known R for quite some time, but Andy predated me by quite a long while. I hope my history of R is correct here. The previous mentor of R is A, a veteran of the industry who had retired to Florida a few years ago. Much of the oldest gear that R owns and still uses, and those of modern brands: the Wilson, the hopelessly gargantuan Tube Research stuff, Tom Tutay, and newer Jadis, Lamm, Jan Allaerts, Kondo, etc, likely all stem from that network.

II. The next period of R saw the growing influence of Andy as Mentor. Andy probably doesn't think of it this way, but to us he is. Vintage equipment proliferated. When I first met R he already owned several iconic, but notoriously finicky gear that without encouragement could not have come from his own imagination. The massive Rockport Sirius TT and Versa Dynamics were surely Andy's influence (Andy has them still). That influence only grew stronger during the time span I outlined above.

Consulting often with a mentor or friend with trusted ears is a good and natural thing, but to populate one's shopping list in wholesale fashion with only their recommendation is a big mistake. Since this happens very often and everywhere, in Hong Kong and even within our NYC circle I have consistently observed that most of the people who do this more often than not fail to achieve the next step up. It's not hard to duplicate and make the same equipment choice; what's much harder to duplicate, even truly understand, is what's behind the choice, which concerns listening sensitivity and perhaps a bit of the Midas' touch or even "wisdom", if anything in audio deserves that lofty term.

One interesting aspect of the relationship between R and Andy is that most of the exchanges happen over the phone. R professes himself to be just a music lover (a gross denial) and perhaps regard many audiophile activities as unnecessary, but broadening one's horizon is a must when growing up. I learned a lot by visiting other people's systems in my early years in HK. R would often call up Andy, asks what's he been up to, and Andy would tell him about his newest adventures, and R would follow suit on quite a few. Most recently, this is how R also got the Douk E6 into his system (not from reading my Blog), but it's my opinion that he has really misunderstood and misused the thing. R would likely benefit more from visiting others than having people visit him.

Let's proceed to look at what equipment are linked to Andy (and are also at Andy's home right now):

Before the pandemic: at least, Rockport Sirius and Versa Dynamics TTs, Nottingham Space 294 TT, Decca Super Gold, Bell 2122, Harmon Kardon Citation I, Conrad Johnson Premier 2(3), ARC Reference 2, Altec A5.

Since the pandemic: I was shocked by some of these latest additions. Not one but TWO Thorens TD-124 (one in each room; both with Decca arms), Decca cartridge (in horn room), Goldmund Studio TT, Sun Valley EQ1616D, DS Audio E1 optical cartridge system, many Douk E6s (both rooms), many cheap new cables from China (including "Cardas", note that Andy and Kevin have a variety of these). Yet another Citation I is in the works.

That's a HELL of a lot! As importantly, aside from one item (EAR G88, from A), I didn't see anything that has nothing to do with Andy. Below, in the section that analyses the sound of the day, I will say more on some of these.

The Mentor's "Duty" As with any relationship, feedback is important. In audio terms, that means the mentor better listens to how the stuff he recommends is doing in his charge's system and "grade" him. If it's not working, say "you screwed up!". But you will be surprised how many don't do that, as we are not really teachers and students, and "friendship" often obscures "truth" and gag candidness. I belong to those who shoot straight, even with friends, and though likely in the minority I'm not alone. Yes, perhaps I too have "mentored" a few, but I would always tell them in no uncertain terms whether things were working or not. Chinese saying "养不教，父之过，教不严，师之过" ("To bring up without educating, the father's fault; to fail to instill discipline while educating, the teacher's fault"). The last few days the real world here saw consecutive shootings during youth parties, and the saying came to me while watching the news. Maybe it is a bit true too in audiophilia, though I am positive not everyone shall agree with me.

Connectivity

From my perspective, aside from gluttony, another aspect of R's audio practice makes me tear my hair out even just to watch, and that is Connectivity. In his case, there are several aspects to this. When I first knew him, he had few extra cables and helping him re-configure things was quite exasperating. R is a very strong man, who can lift up or move very heavy items. But somehow he cannot really kneel down and poke around. This makes him really reluctant to change connections in the LR. As you can see in the top pic, all of the source and control equipment are hidden from sight (low down in the dress table behind the sofa. I can totally understand and sympathize with physical limitations, house rules and aesthetics, but then why squeeze 4 TTs, 3 SUTs, 2 Phonoamps (one bigger than 2 amps) and a Preamp, with their many associated cables into hard-to-reach hidden space? Why not just simplify?  Mind you, his many newly acquired cables had enabled him to make more connections, but that too exacts a cost (below).

Mind you, R is not at all the only one who has connectivity issues. Here in NYC, some of Andy's cables are nearly impossible to access and swap out too. But the problem is by far much more prevalent in space-strapped HK where for many the allowable space for audio is miserably small.

To be a Glutton one has to improve Connectivity. To accommodate the many extra cables is not that hard, but to use the cables wisely is the much bigger problem, especially if they are of various makes, from various sources and from different eras. R may now have the cables he needs in numbers, but it is unlikely that he knows the character of each at all.  I looked at his China clone Cardas and I had no idea what to expect - I surely hope he does. For me it's easier, as my cable stash comprise mostly of professional cables of few types and brands, all of which I know very well and have used for years on end. More often than not, my whole system is strapped with Gotham.

Audiophiles should make it easier on themselves. For those with a lot of gear, especially with a mix of vintage gear, there is no place for short cables, stiff cables, fat cables, big connectors etc. An example is the Citation I, which like many vintage gear has tightly cramped RCA terminals. The most suitable cables would be terminated with Switchcraft; my Cheap REANS will also do, but barely. R has one, which he has someone modify by adding a cable terminal strip.  Of course, the best would be to cut down on gear and cable tangles.

Overreach

Personally I'd prefer not to own gear that would need constant servicing. Case in point, TTs with vacuum hold downs, especially vintage ones. Long before I even met Andy I had heard many of them. I knew even then pumps are not for me. Design merits are always overblown, and none of those I heard convinced me that that is the only way to go. Even in Andy's place. If vacuum hold-down is the ne plus ultra of TT design, nobody would know better than Andy, and Andy would not be so into other TTs also (especially the idler wheels in recent years). But Andy's case is different, as he has the know-how to trouble shoot and fix most of his problems himself. And he is a good friend of Simon, who happens to be a Dental Equipment service technician (yes, a lot of pumps there). With R it's different: aside from having a basement to hide the pumps, he completely lacks the know how and on multiple occasions had to call in Andy and Simon (Mark too) for help. It would help my understanding if the vacuum TTs (Versa and Goldmund and Walker make 3) sound superior to the others, but they don't (more later).

Horns is another aspect. I worship Altec but know how hard it is to get them to work really well. There is perhaps no perfection. There is no way I'd constantly try to improve the crossover. There will always be problems and temptations to modify. R's A5 is one of the best ones as it came with crossover done by our friend Paul. He's lucky. Here in NYC I have my treasured YL horns, and no room for more. In HK I know many people with all kinds of horns and components strewn all over the place. Even if sound is not always commensurate with the investment, they make my mouth water. But at least these days I follow my own advice below and have no desire to own them:

Know your own limitations and try not to rely on others too much. There is always a limit on how many favors one can ask of others. There is no free lunch either, one way or another we end up paying.

Cost Effectiveness

One factor that fuels buying vintage gear is perceived Cost Effectiveness. Andy and friends are vintage aficionados, and so am I (mostly). If you look at the Andy/R gear, many will only go up in price. Cash depreciates fast. The right gear holds the value, even appreciates. In hogging things and buying duplicates of things R is nothing compared to a lot of people I know in HK (also some in the NYC circle).

But when it comes to electrical things, particularly vintage gear, such perceived value is often a delusion. Things break down, caps need to be changed, and leaving things idle for a long time is the best way to ruin them (believe me, I know). So, one has to go through the trouble of repairs. A fraction of the extreme collectors can do at least some rudimentary restoration themselves but the rest will have to pay for service or cull favors from friends.

And what about selling them? The problem is, selling things is a big effort. Here, Andy, Kevin and I don't sell things just because it's so much trouble. We are not used to it. In HK, it's much easier (and I bought and sold for years due to space limitation), as everyone is within reach and things are bought and sold after inspection. Not here in the US.

In practical terms, Cost Effectiveness when it comes to vintage gear is often as much delusion as reality. It comes with hidden trappings.

Sound in the LR I only did some listening in the LR. Before lunch we didn't pay much attention due to insufficient warm up. Some brief notes:

• The Heart of the System hasn't changed since my last pre-pandemic visit, but the sound took an obvious turn for the worse: ARC Reference 2 Preamp driving monster tube amps remain the same. What I think is too many new gear took things down the wrong path. IMHO things happened too quickly for R's own good. In fact, even the last time was not the best I have heard in his LR. Before he got really crazy with new acquisitions, things were better with the more limited stuff at hand. I am not a fan of CJ or Jadis, but in his earlier system these were better at delivering the musical message. For me, in his system the ARC Ref 2 took it a notch down. This is ironic, as it sounds good in Andy's upstairs main system (and I've heard it many times in HK to good effect), and in my own system I'd likely choose ARC over CJ and Jadis (currently I don't own anything of the latter two). I hope that means I hold on to some objectivity, as opposed to subjectivity. I'm not about to re-read all my wordy posts and give you the exact timeline, but some past moments in R's system were memorable: Ansermet's Espana; Handel's Messiah (which he played on this occasion but it was not good). These all occurred years ago. In fact, one of our best experience was with his old 1-bit Altis flagship digitals: it was subtractive but musical, with none of the problems of his current analog rigs (Andy can corroborate this). As for the analog rigs, all four failed to inspire.
  

• Thorens TD-124/Decca arm/Kondo IO-J. They make kinda odd bedfellows, as one would usually more likely see the low compliance Kondo on a high mass 12" arm. It goes into the Kondo SUT, which is its mate (no matching issue there) and then into the monster Tube Research phonoamp. Sound on this TT was perhaps the better of the bunch, but with things as they were, it was hard to say with certainty. 
  

• Nottingham Spacedeck 294/DS Audio E1 with own "equalizer". Seemed a little paler than the above rig.
  

• Goldmund Studio/T3F/Benz Micro LPS goes into an old Ortofon SUT; and Rockport Sirius II/Jan Allaerts MC2 into a smaller Kondo SUT. Both into Sun Valley EQ1616D. The Rockport sounded way way off, heavily rolled off at both ends. The Sun Valley is tubed exactly as Andy's, which was what I reviewed (except for the psvane 274B). I think of the Sun Valley as a very vivid device and was quite flabbergasted by what I heard. Since the Jan Allaerts likely has a Denon DL-103 heart, I wondered how good a match the Kondo SUT is. In HK when I owned the Kondo SUT it wasn't impressive at all with the high impedance Denon. As for the Goldmund TT I heard too little to make a comment. Benz cartridges are usually high impedance too and I don't know what exact Ortofon SUT R has but vintage ones are usually for low impedance cartridges. With the Rockport I actually tried out bypassing the SUT and used Sun Valley's own FET headamp section (even if it's loaded low) - to me that sounded significantly better, but R was not interested.
  

• Douk E6 I only use the E6 as Preamp whereas some in our circle use it between source and preamp, but R had the Douk between the Preamp and amp. In brief A/B comparisons, the use of E6 did bring forth a bit more solidity and air but at the tremendous cost of noise, which was just too much. Not sure what's the rationale using the Preamp's Pre-Out instead of Tape Out. Andy reminded us that the Ref 2 has a Defeat switch which would bypass the Gain. Using these would make the Ref 2 just a switch box and volume can be adjusted on the Douk.
  

Thoughts

• More most often means LESS, Less can be More All audiophiles are susceptible to the upgrade bug. It can be upgrade within the same ecosystem (exploited by the manufacturers and inevitably underwhelming), or a bold attempt to move to something different (like from Wilson to Altec that R did, at least in the horn room - the best thing he had done). All that is healthy if taken gradually. But if too many things are happening at the same time, and the time devoted to each acquisition is not enough, regression is often the case. Of course, we all hear things differently. Tell you something about myself. About a year after I just returned to HK in the early 90's, I had a modest system of Spendor 11 ohm LS3/5A, DIY Marantz 7 and Dynaco ST70. It inspired many, including a lady friend of mine who is an accomplished pianist. She has heard some of my subsequent (and much bigger) endeavors and yet she insists, to this day and to my chagrin, that the oldest one is the best. Of course there may have been extraneous circumstances that had influenced the perception (I'm not about to chronicle), but I respect that actually. She knew and knows what she likes. Much cannot be said about audiophiles. A large number of audiophiles take things to the extreme, and the rest is noise. Whether one tackles a smaller or larger system, one should try to get the best out of it, enjoy it, know it inside out. Since I have come back to NYC, in my LR I have listened to my LS3/5A mainly (another report coming) but I tried things to get the system to sound its best. I'm enjoying the music so much that I have yet to fire up the big system! In passing, I should also note that in my long experience in Hong Kong, many people, even if they have the proper space, fail to transition to a larger system. It's relatively easy to do well by the LS3/5A, which is one reason why they remain popular, but the larger the loudspeaker the more the problems with setup - frequency anomalies, room interaction (many simply do not have the freedom to place them properly), etc. But I think one main problem is actually a narrow musical taste, which simply cannot do a bigger system well. One can probably get away with setting up the LS3/5A using only vocals or jazz, but with larger loudspeakers that approach will likely fail to deliver the proper balance. Most audiophiles try to advance at too quick a pace, and many just vacillated in the same place despite much equipment turnover.
  

• Attention to Details One should take time to know everything in the arsenal. E.g., the character of each cable matters, and it takes time to know. TT users are at even greater peril.  By this I mean one should have at least a modicum knowledge of the technical aspects of things. With many cartridges, due to impedance issues, especially high-end ones, just using the nearest SUT and cable would not bring about the best (and some, like the Jan Allaerts, are likely dismissable, at least from what we have heard at R's over the years). While one can possibly arrive at an empirical solution, it's best to have the technical aspect in mind. When it comes to me, a good example would be the Denon DL-103. I use it extensively on medium mass arms (sometimes with added weights) but I know well the objections to this although to me cables can ameliorate some of the said deficiencies. I know very well I'd prefer a DL-103 to, say, a more even tempered Hana any day, and that's good for me to ignore the naysayers. One has to develop one's own views, by which I mean long term ones. Let it not be misunderstood, by these I don't mean technical aspects mean everything - not at all! In audio it's not unoften that empiricism trumps "science" but it pays to study the fundamentals. I'm NOT a big SUT fan for a reason - matching them to cartridges is a cumbersome task. As I mentioned above, on the Rockport/Allaerts when I dropped the Kondo SUT for the built in FET section, I got improved sound (God forbid, many would say). To me, a mismatch is definitely possible. I told R he has to work on his TTs one by one, throw everything at them, swap SUTs and cables and phonoamps and evaluate carefully. Hard work, but necessary.
  

• Analog Woes In my experience, alarmingly, many people take the analog experience too far. Although an analog fan, I'm also a constant digital listener and gauge the proper sound by both digital and analog. They should sound broadly similar and the analog should have the edge in aspects of reproduction. But with many analog users this becomes quite crooked. In chasing too zealously after the tactile factors (like force and touch, as often used) that analog delivers in spades, many throw the baby out with the water, achieving what is more appropriately described as noise and cacophony. Yes, today, what is often heard in "high-end" analog is worse than digital - the tweakability and adjustability have turned into liability for far too many. IMHO, many of the current analog users now would be better off with a good digital setup, at at least have one on the side (for diagnostics of analog woes and even wake-up call). Our "honorary correspondent" icefox in HK has taken his highly secretive super BT device and E6 around and he reports that they have put many expensive "super" Analog Rigs to shame. The Altis digital setup of R is too heavy and big to move into the LR for a casual A/B (before he got all these extra, and extraneous, TTs it used to reside there) but if it were to happen as of this moment I have full confidence I'd prefer it over the 4 TTs he has in there. Then there is the story below.  
  

• Detours/Affairs I never tire of relating one story: In HK, one day we visited our friend W, who is very experienced with analog, and heard several of his nice TTs. To me, while all of them sounded pretty good everyone was a bit off. He said this was to exploit the different virtues of each. Finally I summoned up the courage and had him play CDs through his Studer A730. Guess what? Everything sounded normal and to me better! But there is a clear difference between R and W - from what I heard on the day R has a long road to travel to get his analog rigs to be just even-tempered; whereas our friend W just needs to tone down his tendency to exploit characteristic traits (or eccentricities). This is to say while I totally understand the allure of playing with things of very different designs, and bringing out the specific characters of each, with each and every new toy, especially analog rigs, one has to get a handle on it. It's too easy to be totally wowed by what the new toy brings, but inevitably downsides will show up and one cannot ignore them. It cannot be TT-A is for Jazz, TT-B for Rock, and TT-C for Classicals; rather, maybe this, all TTs will play everything well, but A perhaps a little better in jazz, B a little better in Rock and C a little better in Classicals. Many analog fanatics take "analog" where it should not go. Andy, despite all his rigs, is one of the few who does not. If I may say so, I don't either, but then perhaps my much more humble rigs with many limitations don't allow me to either, and that may be a blessing in disguise! Meanwhile there are many lost souls on the highway, just driving with nowhere to go. My advice is, while we may enjoy Shrews sometimes, Tame them to be Ladies, or Wives, for the long term! Is this politically correct?
  

OK, now. This may be one of the less coherent pieces I have delivered, but I reckon it contains much heartfelt sentiment, and frustration. Lest you think my standards are too high, I should tell you that I'd be very happy to listen to the Technics SL-1200 with a good MM cartridge (even the AT-VM95C) into the NAD 3020 driving the LS3/5A. The Denon DL-103 with the NAD 3020B version would be even better of course for the MC capability. Yes, it frustrates me when I hear potentials not realized, or things veering way off. It really has not been easy writing this article.

As a parting message, I quote Master Engineer Bob Ludwig: "A lot of audiophiles say you have to really live with (a piece of equipment) for a while before you can discern the differences, then it becomes rather obvious. That is true in my opinion. It's just amazing how the brain goes."

From the piano to foreground: Thorens, Goldmund, Rockport.
Far right, Nottingham

Top, Goldmund and Thorens;

Bottom: Sun Valley and ARC

The small room, too many things to cover

Fabulous Lunch

Th Legendary EAR G88

Bob Ludwig Profile

pic from Stereophile. I wonder what that square box loudspeaker in front of Lee Hulko's head is - could it be Altec 755A?

Letter from NYC (23-6): Bob Ludwig Profile

Anybody who has an interest in music (of all genres), which should include all audiophiles (though we often doubt that), would find this Stereophile Profile of recording engineer legend Bob Ludwig interesting. Even if I don't have the largest collection of pop, it's still amazing how many of those records I do own (Dire Straits, The Band, The Boss, LZII etc...). And then the account of the CD era is just as fascinating, if not more!

Part I and Part II. Make sure you read every sidebar and bit.  The very detailed equipment lists and pics make these the best Profile of its kind I've read. Much credit is due to the writer, Tom Fine, son of Mercury's Robert and Wilma Cozart Fine, and distinguished Recording Engineer on his own and now, happily, a contributor to Stereophile (a great profile of him here).

Our friend Kevin should find the mention of the Altec 604E (then an industry standard) interesting. The 604 is notoriously difficult to get right in the home setting. Just wonder how it was used by the engineers then.

Enjoy!

MoFi Studiodeck

Click pics to enlarge. AES SE-1 300B amp; Fosgate Reference phonoamp; Audiomaster LS3/5A; in far corner, Elekit TU-8300 300B amp.

Review: Mobile Fidelity Studiodeck

NYC Analog Log (23-3): C/P at its Highest!

Note: The first part of this article (in blue shade) is copied from a recent post that alerts readers of the sale. If you have read it before you may want to skip this part.

These days I don't often casually browse around the internet, my daily forays usually mostly limited to news, email checking and maintenance of this blog, in a word targeted and short. So I cannot even recall how I discovered this.

I had long been interested in MoFi's ventures into consumer audio, and I must say they have done it with style and substance. I purchased the Studiophono (contribution by Tim de Paravicini) and it is still competitive in its price class (here). At the time, I too wanted the Allen Perkins designed Studiodeck (or the Ultradeck) but refrained as I had too many TTs. BUT, now, with the substantial discount it proved impossible to resist. I opted for the deck without cartridge (USD 899) as I don't need the MM Studiotracker of the + version. Note that there is also an even cheaper "Foundation" version (USD 799), which does include the MM cartridge but is without the dust cover and HRX feet - well worth considering too.

I got it yesterday and of course immediately set it up. It deserves a lengthy report, which I shall write in due time. Suffice to say for now it compares favorably (and beyond) to my standard, the Technics SL-1200 Mk II, and that's no mean feat. I am writing this just to alert our readers.

Our author Shawn P told me that this was on sale too in Hong Kong (agent: Radar) for an even lower price, 5,800. Wow! Too bad the sales was over.

As a final note, unlike most lower priced offerings (and even some expensive ones) the arm is fully adjustable (VTA, Azimuth, etc). Because of its 10" effective length, unusual for a "starter" deck, it's necessarily a little larger in footprint than usual (19.5" by 14.25") and may not fit on some racks if you are not putting it on top.

If you are looking to upgrade, say, from your U-Turn, low end Pro-ject etc, this would be my choice. I'd pick it over Rega P3 (even P6) for example. In fact, money permits, this would serve the starter right off the bat too (perhaps with a Studiophono). For less money, my recommendation for starter deck remains Audio-Technica AT-PL120. This is not just for newbies at all: you'd have to spend a LOT more to get better performance. If you are experienced and want a second deck with full features, consider this moment!

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

The above Primer just about covers all the salient points! Below I shall give more details, especially on aspects of design, including some that I have reservations about (fortunately these are peripheral issues).

 

It is important to note that, given the clout of MoFi, the internet is laden with reviews of their TTs, from trade mags to webzines. Ponder this: The majority of reviews are on the more expensive Ultradeck+ package, which include MoFi's own MM cartridges. No MC. I have no doubt as configured they sound good, but they do NOT qualify as thorough reviews. Most of these reviews, particularly those from big guns, only use the supplied MMs and do NOT attempt to evaluate the TT with other cartridges. That is completely irresponsible and, frankly, smacks of conspiration to promote MoFi's own cartridges. Thumbs down! Read all of them, and there are a couple on the cheaper Studiodeck and a comment here or there. Make up your own mind. This is why I don't even provide a link and why I think this review is special. I am an MC man!

Packaging, Unpacking and Installation It arrived quickly in a HUGE box. The TT and the Cover are in an inner box, cushioned in the corners by large foam brackets. Unpacking was easy and installation intuitive that the small manual is hardly needed (except for where to position the anti-skate wire knot); it is too sketchy by half anyway. 

 

The Plinth and Footers The Constrained Layer Plinth (one layer of aluminum inside, as opposed to 3 in the higher level Ultradeck) feels solid and knocking on it (with or without footers on) yields only a thud without much decay. The somewhat delicate spring-loaded HRX Footers are screwed on (I see it is sold by Music Direct separately for $199, surely an afterthought). My IKEA Kallax shelf unit is mass loaded with LPs and solid but its top is not quite level, so, with the help of a bubble, the footers allowed me to level the TT. Nice!

Dust Cover The smoked plexiglass cover is significantly heavier than the usual ones (say, the one on my Technics SL-1200). Unusually, the hinges on the cover and the receptacles on the plinth have no metal parts, instead made of some kind of polymer (rather than hard plastic) and are not completely rigid. The lips on the cover have a bit of yield. The weight, the pliancy and the spring loaded footers add up to mean that the cover should be off when playing. The lid when lifted fully back is at an obtuse angle with the plinth (surely so designed because of its weight) and that will wreak havoc with the spring loaded footers and TT level. Quite unlike my Technics and Pioneer TTs which allow me to play LPs with the lids open (at an acute angle) with no fear.

 

The IEC Power Inlet The plinth is not thick and the receptacle is in the back. The stock power cord is surprisingly robust yet not overly rigid (good in my book). If you use heavy aftermarket power cords, especially the kind with silly monstrous connectors (which is unlikely for people who use this deck), you should avoid having the cord weigh down the TT in the back. So, dress the power cable so the left rear corner is not weighed down.

The Arm looks to be reasonably well made. The straight main length is metal (I don't like the imprinted MoFi logo and thin white line). There are 2 joints. Like a lot of other arms, the shorter weight bearing rear section looks to be joined to the main by a rubber/polymer insert (if you go to MoFi's site for the better pics you can see a ring between the 2 sections). The counterweight is lined inside with rubber-like material for grip onto the arm. The other joint is similar, this time affixing the plastic headshell (with offset). Just to the rear of this joint on the underside there is a small screw which allows one to adjust azimuth (not in the manual). A plastic platform is collared around the arm base and holds the Arm Rest, Arm Lift and Anti-Skate. The Arm Lift is nice in quality and usefully a side screw on the collar allows one to adjust its height. Caveat: if the lever is pulled down too much too quickly the lift actually doesn't go all the way down. In my experience, a similar thing can happen on some other arm lifts. After the lift goes down and settles, pressing the lever a bit more will actually prop up the lift too. So do it gently with this turntable. Another small issue: out of the box I thought the arm lift well has bottomed out; it turned out what I thought was the black bottom was a black plastic protector for the shiny metal well and has to be removed - took me a while to figure out! The Arm Base looks to be plastic and a side screw enables adjustment of VTA. To their credit, MoFi supplies 2 small allen wrenches for all these adjustments. It should be noted that the 10" arm's effective mass is 30g, which favors low compliance cartridges.

Headshell, Cartridge Mounting and Alignment Surely MoFi wants you to buy your TT with their own cartridges, so MoFi doesn't make it easy on you. They provide NO templates for cartridge mounting. Thumbs down! I quickly used the Shure tracking weight gauge and the paper template that came with my Thorens TD-309 (Baerwald) and installed my Denon DL-103 (inside daiwok's Midas aluminum shell; some application notes here). With a little shim and VTA adjustment, done. I should also note here that the Finger Lift is awfully short - my fingers are slender and I can't imagine what it's like for those with stubby ones. - very dangerous. Cartridge Clips The captured ones look to be of good quality, but they cannot accommodate an odd ball one like the mono Denon DL-102, which only has 2 pins and requires 2 leads for each channel, achievable only by an open-back pin design.

 

In Play The motor is quite strong, much more so than, say, my Clearaudio Concept. It is high torgue, starts with a "kinky" snap on the belt, and reaches speed within seconds. Not as fast as direct-drive but impressive nonetheless. It should be noted some designers deliberately choose low torgue, particularly with motors mounted on the plinth, for reduction of resonance; that shows Allen Perkins is confident about his plinth's ability to drain away unwanted noise. Without a mat, when I apply the ancient Discwasher dust brush lightly, there are minor slippages but that's OK. Some reviews praise the Record Weight, but as a rule I don't like the sound of weights (deader) and don't use them. Initially though, another issue shows up a design fault: The On-Off Button is too close to the Headshell. Like many old-timers, I am used to using my fingers rather than the arm lift lever (the latter in down position). When I lowered the needle manually with my thumb and index finger, my other curled up fingers would accidentally hit the sensitive On-Off button and turn the TT off. I had to learn to work around the button and remember this, but it was not difficult. This is a case where the (good) industrial design is at odds with function. And, worth a mention again, when in play I can knock on the plinth with modest force and neither see nor hear anything untoward.

The Phono Cable The Studiodeck comes with an RCA cable, with ground wire. It's soft and looks between routine and bespoke. Sonically it really surprised me, as it doled out a fully fleshed out sound, perhaps rounded off a trifle at the frequency extremes, yet eminently musical. This really pleased me, even more than what the unassuming stock cable of the Thorens TD-309 did. Users should start with this cable. I rolled quite a few and ultimately settled on the Kimber KCAG. It is said in one of the Ultradeck reviews that its included cable is made by Cardas (the Ultradeck tonearm wire is too, whereas the Studiodeck is OFC copper). So this may or may not be by Cardas but I'm pretty sure it's bespoke as it has MoFi imprinted connectors. It's a good starter. My various Gotham cables all work very well too. Although I don't use it now, I give a thumbs up to MoFi here for attention to detail. In my system, I don't even need to connect the ground.

Sound This TT came very soon after I started investigating the Sun Valley Phonoamp, so the listening notes apply here, and below in blue shade I quote from my review (roll down to last article or here). Skip if you have read it before.

I will illustrate this with 2 LPs I acquired on my recent UK trip (see in pic at the bottom). This pair proves to be so revealing of the analog system that I have stowed them into my pile of Test Discs! Paavo Berglund is a Sibelius specialist noted for his 3 complete cycles of symphonies. In this sonically excellent digital LP, the Finlandia is supposedly the centerpiece. While the account is excellent, it does not quite have the sheer opulence of the same orchestra under Ashkenazy (digital Decca recorded by Kenneth Wilkinson), nor the romantic sweep of the Halle under Barbirolli (also on EMI, ASD). What's makes it a demo disc for me is the Tapiola. Like many other Sibelius tone poems based on Nordic myths, it's not at all an easy piece to bring off, its many rather still moments of beauty demanding the utmost of the conductor's skill at piecing things together. The Sun Valley elevates the atmosphere (which means everything in Sibelius) to a rarefied level, revealing playing of the utmost sensitivity and beauty. I don't have Berglund's other versions on hand, but this version is still available as a Seraphim CD release at some vendors. The LP is likely uncommonly seen. Even more surprising is the Brahms Double Concerto on EMI. This is a recording that musically is almost the complete opposite of the much vaunted recording of Oistrakh/Rostropovich/Szell (also on EMI). The very different (more subtle) personalities of Ferras/Tortelier/Kletzi present a less heroic interpretation that honors the work for its refinement and interplay. The dialogue between the 2 great soloists was learned and deep, blending perfectly with the Philharmonia (at its peak) under the equally elegant Kletzi. It's a whole fabric in a work that can sound disjointed. Yet another example is a late DG recording of the immortal Wilhelm Kempff. The seamless rapport between the soloist and the BRSO under Klee is priceless (more so than the pianist's earlier Mozart concerti recordings). The very subtle but myriad colors of this pianist are utterly spellbinding. Now, I have concentrated on classicals because that's my benchmark and I firmly believe no review is near complete without playing a lot of classicals (which is why I abhor Ken Kessler). Suffice to say, the few vocals and jazz I played were done very well too - no problem there.

vs Technics SL-1200 As I used both TTs in my evaluation above, it is more instructive to tell you the differences between the two. Regular readers would know I hold the Technics in high esteem. AND installed on it is nothing but the same Denon DL-103. First, the chief technical differences in the two TTs: 1) the Technics is famously direct-drive, a technology that has in recent years come back with a vengeance, whereas the MoFi is belt drive; 2) the MoFi arm ls longer and heavier, so more advantageous for the low compliance Denon DL-103 (I have added weights [Blu-tac'ed coins] on the Technics arm); 3) By its added weight the aluminum shell for the Denon supposedly confers advantages, but results can be mixed (should you like read the link provided previously). Despite the differences the two decks have the same, rather unmistakably glorious, sonic imprint - that of the Denon DL-103. But differences are there: Rhythm is a strong suit of the direct-drive (and some say suspension TT, but I demur) and the Technics is famous for that. The Technics is perhaps a smidgen faster in transients, but the MoFi is no slouch at all. Occasionally, the Technics can be too much of a good thing, as one senses a bit of an insistence to its rhyhm and pace - there is no such feeling at all with the MoFi; Smoothness Even on a heavy arm the Denon DL-103 can be a little bit grainy in the treble. The Technics can be slightly aggressive too in this respect. Perhaps with the higher mass of the arm and cartridge shell, the MoFi is a little smoother in the treble. A couple of reviewers irresponsibly made the observation that the last bit of air is lacking in the MoFi, but that is only because they only used the supplied MM cartridges. A good MC would bring all that out; Dynamics I give the nod to MoFi. In orchestral fortissimos the MoFi feels effortless, more so than many other TTs. In a crescendo, the MoFi makes you feel the volume of the orchestra is increasing incrementally over the span of it, whereas lesser TTs just sound pressed or peak out early (similar to power amps).

 

Summary on the MoFi Studiodeck Amazingly, there is no significant weakness. It plays with both Rhythmic Finesse and Dynamic Composure. Magnificent! Yes, there are small caveats, but they are insignificant. Now, who is this deck for? I say, for everyone, including newbies. Except for those starting out, who may have no cartridges on hand and only an MM phonostage, I'd recommend considering dropping the +package(s) and opt for just the deck. If one just want to taste MM and move on, many cheap ones can be had. An obvious choice would be the venerable Audio Technica AT-VM95 series (I'd pick the cheapest 95C, conical, $39), descended from the legendary AT-95 (on which many more expensive MMs [like Clearaudio] are based upon, only replacing the plastic shell with aluminum, much like what people do for Denon DL-103). I'm sure the MoFi MMs are even better, but then MMs are not MCs in my book. SO, you owe it to yourself to use an MC on this deck. The Studiodeck represents true economy, as I am confident you can use it with cartridges and phonoamps that are way more expensive than its price and still be satisfied. Right now I am using the Fosgate Signature phonoamp with it. In fact, if I have time, I might install my Koetsu on it! I am sure an incremental improvement can be obtained with the significantly more expensive Ultradeck but, unless there is a sale, I'd not consider it. The Studiodeck is likely the sweetspot.

Thoughts on the Technics SL-1200 There are at least tens of thousands of the old productions (Mk I to Mk 5) out there. Significant attrition due to heavy DJ abuse does not stop many of these to be available second-hand, but prices have climbed steadily. In 2016 Technics revived new productions (as well as its most iconic SP-10). The first ones are very expensive upgraded ones (G, GAE etc). By now, however, the technology has trickled down to the newest SL-1200, the $1,100 Mk 7. Unlike its very expensive brethens, there is almost no coverage in the audiophile press, and that's too bad. For a little more, the updraded SL-1200GR can be had for $1,800. And there is another worthwhile contender, the $1300 SL-1500C which dispenses with all the speed controls (that we don't use), adds auto return and upgrades to the GR motor. These are the TTs I'd buy in this price range (also the MoFi).

Thoughts on Denon DL-103 What more can I say? It's a classic that delivers all the drama inherent in the music, all for very little. There are nerds out there who insist that without proper loading and heavy arm it is unlistenable - don't let them deter you.

TT on IKEA Kallax shelf unit. "Midas" Denon DL-103, Fosgate Reference Phono

Oliver Sayes 71A SE amp.

Sun Valley SV-EQ1616D

Click pics to enlarge. In front is the Fidelity FR-3G SUT. Note Andy's excellent Bell 3DT 6V6 PP amp on the floor in the back.

NYC Analog Log (23-2): Sun Valley SV-EQ1616D Phonoamp, Part I
Letter from NYC (23-5): Onward with Phonoamps, I

Updates 8/19/23 A few more lines added in Shortcomings section; more links added. 8/18/23 5 hours after first publication. Loading and Gain specs and discussions added. Other minor corrections.

Before I left NYC for Hong Kong in Oct 2020, from conversations with distributor Victor Kung I already knew about the Sun Valley 1616D series kits. I knew I had no interest in the Preamp, which is basically a tube-rectified Marantz 7 (one reason is I have heard a lot of DIY stuff in similar vein; another is I have the real 7C; yet another is it doesn't look like it will deliver the dynamics that I need and prefer) but I was debating whether to get the Phonoamp kit. Not many modern phonoamps, kit or not, are tube rectified (although my Fosgate Signature certainly is). When it comes to vintage preamps and integrateds, many of their MM phono sections are, though as part of a tube-rectified global supply. A good example is the Citation I, which many in our circle employ, at least via tape out (like Andy) for its excellent phono section.

What finally deterred me was the thought of building it. I was approaching my departure and a look at this kit made me say no at that time. Given its myriad features, 3 knobs and 4 toggle switches, wiring is complicated. It's not a difficult build per se, and with the low voltages and current, mistakes shall not be deadly nor costly, but it will take a LOT of sorting out. Lots of resistors and even more wires. You need to have patience.

The kit sold very well, even before HR's Stereophile review came out soon after I left. After reading the review, Andy decided to order one from vkmusic, and both Kevin and Mark followed suit. Andy is an old hand, but his eyesight is not quite as before, so building it took him a week (albeit not in a hurry). Kevin took 2 whole days of absolute concentration; his build uses all direct soldering and dispenses with all the screw terminals. Mark has yet to build his.

Andy's Unit I didn't hear it at Andy's place. The day I took the Arcam rPhono to him I took the Sun Valley home; it was light and small enough for my backpack and 40 minute walk. His has the optional V-Caps. Also tubes recommended by and sourced from VK: Psvane 274B, Brimar 12AU7 and 2x Amperex 12AX7. That must have cost Andy quite a bit! The rectifier is ungainly in size and I left it at Andy's, not wanting any transport accidents.

System As seen in above pic and described in my last article (just roll down or here), I started with Technics SL-1200 Mk II with Denon DL-103, Shindo Monbrison, Almarro 205A EL84 SE amp and Harbeth P3ESR SE, with the 新时 597 passive horns. As you shall see in the coming installments of this log, the system underwent various changes, but that doesn't change the findings at all. During this period, I also slotted in the Yamamoto CA-04 preamp, AES SE-1 300B SE amp, Rogers LS3/5A and the new arrival MoFi Studiodeck. You shall hear about the latter 2 in detail very soon. I put it in my system, then I rolled in the nearest rectifier to me, the 60's old-stock 5U4GB in Andy's Bell 3DT amp, also on loan. Incidentally, although my articles try to focus on a central piece of gear (or issue), they more often than not meander a little with the introduction of variables and re-visits of other gear,  but I maintain these shed light on many of these equally interesting "ancillary" gear - we have all watched drama and movies where the supporting actors steal the limelight, or have heard albums where sometimes the "sidemen" seem more riveting than the singer (like Nils Lofgren in The Boss' band). This benefits me, as well as more experienced readers - reading the "fine print" matters, and sometimes is the real fun. The system context is much more important than whether a piece of gear is good or bad, and it's never completely black and white. As you follow this log, you shall note the pics show the system changes in small but significant ways. The journey shall chronicle some in-depth comparisons that I should have made a long time ago and the "surprises" I had along the way.

Looks YES! Just Great! I love Hammertone.

Initial Impressions At this point (it will change later), basically it's Sun Valley (circa $1,500 as tubed, not cheap at all, and that's the kit version only!) vs 2 much cheaper ss phonoamps, the Arcam rPhono and MoFi Studiophono (same link as in above System section). I used the flat settings, and with its own FET MC section (more below). While there are some significant caveats (more later too), for this tube lover the contest is not close. The ss phonoamps, best buys as they may be, in comparison seem to paint in broad strokes, whereas the brushwork is much more finely etched in the Sun Valley. One thinks of tubes as being smoother but that is not always true. Case in point, the Arcam is actually smoother in many ways, but the Sun Valley beats it handily at its own game, namely rhythmic finesse, or PRaT. Music is simply more articulated and nuanced. I will illustrate this with 2 LPs I acquired on my recent UK trip (see in pic at the bottom). This pair proves to be so revealing of the analog system that I have stowed them into my pile of Test Discs! Paavo Berglund is a Sibelius specialist noted for his 3 complete cycles of symphonies. In this sonically excellent digital LP, the Finlandia is supposedly the centerpiece. While the account is excellent, it does not quite have the sheer opulence of the same orchestra under Ashkenazy (digital Decca recorded by Kenneth Wilkinson), nor the romantic sweep of the Halle under Barbirolli (also on EMI, ASD). What's makes it a demo disc for me is the Tapiola. Like many other Sibelius tone poems based on Nordic myths, it's not at all an easy piece to bring off, its many rather still moments of beauty demanding the utmost of the conductor's skill at piecing things together. The Sun Valley elevates the atmosphere (which means everything in Sibelius) to a rarefied level, revealing playing of the utmost sensitivity and beauty. I don't have Berglund's other versions on hand, but this version is still available as a Seraphim CD release at some vendors. The LP is likely uncommonly seen. Even more surprising is the Brahms Double Concerto on EMI. This is a recording that musically is almost the complete opposite of the much vaunted recording of Oistrakh/Rostropovich/Szell (also on EMI). The very different (more subtle) personalities of Ferras/Tortelier/Kletzi present a less heroic interpretation that honors the work for its refinement and interplay. The first time I played this UK pressing with the Arcam it didn't register as much (I have it before on an Angel LP). When I played it through the Sun Valley I was quite astonished by how much more I enjoyed it. The dialogue between the 2 great soloists was learned and deep, blending perfectly with the Philharmonia (at its peak) under the equally elegant Kletzi. It's a whole fabric in a work that can sound disjointed. Yet another example is a late DG recording of the immortal Wilhelm Kempff. The seamless rapport between the soloist and the BRSO under Klee is priceless (more so than the pianist's earlier Mozart concerti recordings). The very subtle but myriad colors of this pianist are utterly spellbinding as rendered by the Sun Valley. Now, I have concentrated on classicals because that's my benchmark and I firmly believe no review is near complete without playing a lot of classicals (which is why I abhor Ken Kessler). Suffice to say, the few vocals and jazz I played were done very well too - no problem there, and you shall find many examples in HR's review. For my serious reservations, see below.

MC Section All of the above findings were heard through the Sun Valley's own built-in FET headamp, the small board mounted on the side (left in bottom pic). This is unlike HR's review, where he basically uses his expensive Step Up Transformers (SUT) into the MM section. He only gives the MC section a brief mention, and it seems I rate it higher, but then you should know I frequently prefer active headamps to SUTs. Given current practices, I seem to be in the minority. Mind you, except for initial testing after the built, Andy didn't use the MC section, so I basically ran it in for him. I should also note here that I did not use an MM cartridge for my time with this unit. Loading For the MC section, vkmusic lists the loading as 50 ohm, but the manual says "Corresponding Cartridge MM (47k ohm), MC (20-50 ohm)". That is weirdly worded. Does that mean only 20-50 ohm cartridges are recommended? I do know a few phonoamps have the lowish 50 ohm as fixed loading (100 is more common choice), but I shall note here that theoretically this is certainly not ideal for my Denon DL-103. With the Arcam rPhono and MoFi Studiophono I was able to use 300 and 500 ohm, respectively. I mention all this for completeness sake, but I am not one who obsesses about loading - note the good result described above even with the "incorrect" loading (tube magic helps).

SUT into MM Section I did test this out with my trusty vintage Fidelity Research FR-3G. It is modest in cost and works very well with the Denon DL-103. Indeed, the high impedance setting is likely specifically designed for this cartridge, deservedly prevalent in Japan (and elsewhere). I think you will have to fork out several times its cost for a modern product to compete (as an example, I prefer the FR to the Lundahl that is built into my Shindo Monbrison.) As expected, this imparted a bigger and warmer sound and improved the dynamics. However, this came at the expense of some treble air and, more significantly, the loss of some of the wonderful rhythmic zest I heard before. Although I have other esoteric vintage and modern SUTs (like the popular and excellent Cinemag 3440A), I didn't bother to try them out and reverted back happily to the built-in FET headamp. SUT matching can be as rewarding (or frustrating) as tube rolling. Don't forget one also has to roll an extra pair of cables for best result and that's surely a chore.

Gain The manual lists the following: "Gain: MM35dB, MC +22dB (High) * Gain can be selected the cartridge output (HIGH/LOW) (HIGH when selected +4dB (MM)/+2.5dB (MC)". vkmusic changes the second part to "(LOW when selected -4dB (MM)/-2.5dB (MC)", which is perhaps just a little more clear. I take it to mean maximal MC gain is 22 db + 35 db. From my experience, I think the spec for the MC section is overly "optimistic". In my case, using the Denon DL-103, the LOW setting, supposedly only 2.5 db lower in gain, is much less, and basically useless. More on gain below in Shortcomings section.

Tube Rolling As Andy's unit came with costly good NOS small tubes I didn't roll those. Although neither the manual nor vkmusic is totally clear about this, I don't think the 2 12AX7 (V1 and V2) should be substituted with cousins U7 and T7. But V3 can, as in Andy's unit's use of U7 (it seems VK himself prefers a little softening). This is not surprising at all. The manual for my Fosgate states that the 12AX7 (V3 of the all tubed MC section) could be replaced by the 12AT7 if a little more treble is desired. I did roll the rectifier. It's one of the overkill aspect of this design. For the 3 small tubes a small 6X4/EZ81 would be more than enough (my Fosgate Signature 6-tube phonoamp uses one, as do too my Shindo Monbrison and Citation I preamps, with just one supplying the plethora of signal tubes). The octal base is certainly a conscious move to appeal to those who want to roll a larger variety of tubes, including the most iconic rectifiers, like the WE 274B. I tried a few. An old ST 5U4G was better than the GT 5U4GB, but my favorite turned out to be a 1952 5R4GY, which imparted more refinement (5U4 has a bit of grain). Worst was the 5Y3, which sounded flaccid. Of course one can also try 5AR4 and its likes but I didn't as I always prefer the direct heated rectifiers when it comes to the octals (note that the 6X4 is also indirectly heated). If you, like me, have a bunch of rectifiers it can be fun rolling them, and rectifiers are known to make as much difference in the sound as the tubes they supply. The sound difference is likely in good part due to the difference in voltage drop, which affects the gain somewhat (the 5AR4 should have the highest gain due to its smallest voltage drop). I should note here that Andy has rolled quite a few rectifiers and prefers the PSvanve 274B replica for its smoothness, though he notes it is a little opaque in the lower reaches. Also note that the manual mentions 274B, 5AR4, 5R4, but not 5U4.

Bells and Whistles I only tested out the Roll Off briefly. Engaging it certainly changes things the way a Treble Tone control would, but I left it defeated otherwise. Since most of my LPs are RIAA, I didn't test out the various EQ curves as I never find it particularly useful nor necessary (several of my vintage preamps, like Marantz 7 and Citation I, can perform this function). Personally, I'd have preferred a variable MC loading feature over these EQ's.

Cables Like with all components, cabling is critical. Through the course of this romp I largely used the Gotham 2111 (EMT replica) but I also tried Gotham DGS-1, GAC- 2, -4/1, GAC-1 Ultrapro and DIY 47 Lab, especially when the rectifier is rolled. So I'd not recommend any in particular.

Shortcomings While the Sun Valley excels in uncovering the minutiae in the grooves, and in the most meaningful way, it does have serious weakness in Gain and Dynamics. This is certainly so with the stock FET MC section. Even with my Denon DL-103, which has average output for an MC, the Gain is on the low side and I had to rely on more gain from my tube preamp. Even with MC cartridges of lower impedance than the 103, users of passive devices or 1:1 TVCs will have a good chance of being dissatisfied. I personally have no issue with this really as I can crank up my active preamp. I have said this many times before, and will again: For those who play vinyls, an preamp with gain is not an option but a necessity. However, what concerned me more is something else. This is not the most dynamic of phonoamps: with the orchestra in full throttle, there is loosening of the fabric and some coarseness. You may wonder, because you may have read about its vivid nature and even "explosiveness", so why a different opinion here? Well, if you play a jazz or pop LP the alternative narrative is definitely true because it's much easier to get the max out of those genres. That holds even for much of classical, especially baroque, chamber music and solo instruments. MY litmus test for dynamics is large orchestrals (as it should be), which is what I am talking about. With this kind of music the Sun will play loud but lose control and compress a little more than desirable. It is arguably less dynamically controlled than even the 2 budget ss phonoamps I compared it to in this article. In this aspect, of paramount importance to a listener of big orchestral works, I'd not even try to compare it with my big ones, the all-tube Fosgate Signature, the LCR Aurorasound Vida, Parasound JC3 and the transimpedance AQVOX (despite its high impedance the Denon works great in this phonoamp). Now, yes, some of this particular shortcoming can be ameliorated by using a SUT and the MM section only, but it is not a complete cure. Sound is definitely bigger when a SUT is used but, as mentioned, this has its own trade off. Even then, the dynamics is not quite up to the big ones or, say, some full function preamps (like my Shindo Monbrison). Now, even more than before, it is fashionable to use a SUT so this is likely not of concern to those interested in this product. A tubed active headamp (section or stand alone) is after all quite rare. And yes, I'm aware that there are those who will immediately disqualify me for "incorrectly" using the 103 on medium mass arms and loaded too low to boot; well, there are many places in the chain that can compensate for "non-ideal" situations. Why do we roll cables, I ask? For my money, I'd prefer a totally "incorrect" 103 over the ridiculously over-rated and popular Hana's. Yup, I know from my experience with the Hana SL. Insider news: the innards of the Hana's are vastly inferior to the Denon DL-103.

Caveats  I encountered a curious problem. One day, I turned the unit on and it sounded faulty, with drop-outs and distortion, or even no sound at all. I suspected a contact problem and flipped the several toggle switches to and fro; turned the knobs too every which way. Finally it went away. I called Andy and he said it had happened to him too, especially after changing something. I don't know whether it's this particular unit or not. The Japanese love these little switches and I concur and think of them as sonically transparent. The ones on my various gear have never developed a problem. Quality issue? Who knows! For what its worth, let it be known that Kevin's unit is fine.

A Formidable Rival I'll let the cat out of the bag here. For my taste and the music I listen to most, the Sun Valley was trumped by one of my big guns. Can you guess which one? It's so easy but if you can't, stay tuned for the next episode, when I shall do my summation on the Sun Valley.