Start of my audiophile journey

Letter from Hungary (20-02) Dexler Poppe on his audiophile Journey

Editor: As readers in the comments noticed, it was a Pro-ject 1.2 turntable.

In bigger cities of Hungary, there's a system in place which can be described as municipal bulky waste collection. In even more descriptive terms: the purgatory for stuff that you relegated to the attic, basement or the darkest, most unreachable corners of whatever storage facility you have 2-10 years ago, because you successfully convinced yourself that it _will_ be good for _something_. This rationalization then neatly masks the fact that you can't get to terms with loss of value and/or emotional departure. But feelings eventually fade out, and the day comes when you finally say goodbye to that possibly ok-ish faucet which you rescued the last time you renovated the bathroom along with the broken chair that, sadly, could not rise to the occasion and be good for _something_.

I loved these events, as I could discover time and again that someone else's trash could be my treasure and be endlessly fascinated by my findings. Apparently I wasn't alone with this as roaming the city at night to browse through heaps of stuff before it was collected in the morning became an event onto itself. And on one spring afternoon in the city of Pécs, an old Tesla turntable appeared in the purgatory.

Let's diverge: a little Tesla history. For those of you who are not yet familiar with communist-era Czechoslovakian turntable industry, Tesla was the state-owned, consumer electronics manufacturer in the country operating until 1989. This means two things: First, due to the peculiarities of the era's economic system, you've already learnt about every player of the Czechoslovakian turntable industry. Second, Tesla turntables were designed and built for the masses, definitely not for the "discerning audiophile", therefore they were not particularly renowned for their sound quality. They played the approved records and the cool stuff form Yugoslavia and mostly that was it. However, two models were supposed to be good enough to be sellable in the West, but these were marketed under different brand names: both the NAD 5120 and Lenco L-802 was basically a Tesla NC 470 while the Lenco L-500 was in fact a Tesla NC 500. Try to spot the differences in the photos below!

Tesla NC 500 (Source: phono.cz)

Lenco L500 (Source: lencoheaven.net)

The idea was to market the Lenco version in the West and the Tesla in the countries of the Eastern block but typical of the era, not much went according to plan. So much so, that in Hungary both versions were available simultaneously. To add a little bit more confusion to the story, the L-500 was also available in an upgraded version (white plinth, different platter, cabling, modified tonearm and better cartridge were included), which was in fact only available in the Western countries and was also simply called L-500. According to reports of the Hungarian hifimagazine, only this latter, upgraded version was up to audiophile standards.

So how many incarnations a turntable can have? - I hear you asking. This is a valid question, but I'm not sure if there's a universally fixed number for this. What I do know is that the NC 500 had one more, which turned out to be the most successful. Have a look at the Pro-Ject P1 below.

Pro-Ject P1

It looks familiar, doesn't it? Yes, you've guessed right, this is also the NC 500 in yet another disguise. In fact, one could argue that the NC 500 was the ancestor of the current Debut line in Pro-Ject's portfolio. This could happen because after the fall of the Iron Courtain, Tesla ceased operation as a sate owned electronics manufacturer and the turntable division - including remaining stock and tooling - was acquired by an Austrian businessman, Hans Lichtenegger, who then started his own company, the now well-known Pro-Ject.

My Tesla wasn't an NC 500, it was one of their lesser models, but unfortunately I can't remember the exact model number. I can't even say anything about its sound, as I've practically never listened to it. Right after I found it, I checked if the motor and the mechanics work. They did. Unexpectedly, I also found out that on ordinary line input is not suitable for turntables. I had a lot to learn! I badly wanted a suitable amp for my turntable so I went online to figure out what I need exactly and what are my options. I soon realised that I'm probably better off with visiting hifi shops. This turned out partially true as my limited budget and lack of experience triggered some sort of weird arrogance in some dealers, which I found very off-putting. It must be said that to this day, my relationship with dealers remains a bit of hit-and-miss. That said, I did met very helpful dealers and I actually managed to buy a decent, second-hand integrated with phono input from a shop. This was from a fairly unknown Italian company called Aeron. The amp was their A4 model.

Aeron A4 integrated amplifier (Source: audio4.it)

Since at the time I was busy surviving without having a boring 9-to-5 job and making sure that I'm regular to minimal techno parties on Wednesdays besides the weekends, I had very little left for speakers. Of course I wanted floorstanders, because my techno records needed bass and because they looked more serious. This is where I made my first mistake, because I ended up with a pair of floorstanders from a home theater series from Swedish brand, Eltax, simply because they were affordable. They were not terrible at all, but in hindsight I could have done better at that point. And I also believe that I could never actually hear what the Aeron was capable of. To be completely honest, I don't even consider my first setup being a system per se, rather than a bunch of components connected to each other and to electricity. However, the setup proved to be a quite effective gateway drug.

By the time I got home with my phono-capable integrated, the belt on my Tesla became so loose that it could hardly spin the platter. Most likely the turntable hasn't been on room temperature for years before and the new thermal conditions were just too much for poor 20+-year old rubber belt. I've tried my best to find a replacement, but I ultimately failed. I gave the Tesla to a friend who likely used it for some of art project.

The next logical step? To buy a more advanced Tesla, the NAD 5120, of course! Since this was the go-to turntable pre-'89 for Hungarian audiophiles, it is very easy to find on the second-hand market for very low prices. The 5120 was routinely modified by Hungarian audiophiles, but mine was in its original condition with the flat tonearm and intact plinth. I liked it's quirkiness quite a bit, less so its sound. It was unable to deliver the drive, weight and bass that I heard in the clubs and at friends' places from Technics 1210s. Eventually, I sold the NAD and bought a Pro-Ject RPM1 instead. It was much better than the NAD, as it played a significant portion of my collection quite enjoyably. Yet it still sounded bland, gray, boring playing the rest of my collection. Truth to be told, I enjoyed listening to my iPod through headphones a lot more than the turntable and when it came to my portable Sony minidisc palyer, there was absolutely no contest.

NAD 5120 (Source: zstereo.co.uk)

Soon after I acquired the Pro-Ject, a pretty hectic period started in my life with lots of moving involved. Hifi was not a priority. In fact there were several periods when my equipment and records were all boxed up and tucked away in a corner for months. When this ended, I found myself alone in a lovely, rented flat in downtown Budapest that was all mine. I concluded this was the end of a period in my life, and it's time for a fresh start. In cases like this, I have a tendency for big, symbolic gestures to mark the moment or something along these lines. Some have a radical haircut. I sold every piece of hifi I had. I only kept my iPod, a pair of earphones and my turntable.

My first system Once I had a clean slate prepared, I started again from scratch with one clear goal in mind: to build a system this time. I knew I still had some homework to do, so I started reading online magazines, blogs, frequent to forums, visit shops and homes to have a listen to systems which were set up by experienced listeners. Admittedly the latter was a rare occassion, because honestly, I couldn't really relate to most of the people in the local hifi community. Way too many dogmas, arrogance, frustration for my liking. I prefer a more easy-going, relaxed and open minded attitude. I'm in it for joy. So I was pretty much left with reading. This of course led to information overload. It was time to act. The problem was, I still had no idea what to do exactly. So I figured, I'm going to do this in my own way, I'll take my time, because there's no rush to make the ultimate decision right now. What I need now - I reasoned - was a solid baseline, a good reference point against which everything else can be evaluated.

So I set out to build such a system. I wanted a fairly neutral and transparent sound to facilitate future evaluations. I also wanted components from well-known manufacturers, so that they could be easily resold if need be. I decided to keep spending as low as possible and only buy stuff that was easily affordable to me. I wanted to avoid a situation in which I might start convincing myself that "this stuff must be great, because you spent a lot on it!". Finally, I liberated myself from all opinions and "common wisdoms" and bought stuff that truly "talked to me" in one way or another. Eventually I bought a Yamaha A-S500 integrated and the matching S300 CD player. These were demo units from a shop, so I could buy them for half the retail price. I loved and still love the looks of Yamaha integrateds, so I could tick the "talk to me" box as well.

After congratulating myself for being compliant with my own purchase specification in case of the amp and the CD player, the tight process control immediately slacked a little bit and I bought speakers from a relatively unknown German manufacturer. This was the Nubert nuBox 483. I say relatively unknown manufacturer, because they are apparently quite popular in their home country, but not so much beyond borders of Germany. This is due to the fact the Nubert does not seem to be interested growing further: while they mostly rely on direct online sales, their website is only available in German. They don't advertise in US/UK magazines, English reviews of their products are scarce. However, I really liked what little I read about them as well as the engineering-based approach to product design and the obvious restrain from growing the company larger than it's comfortable to its founder. Finally, I loved the short, stocky cabinet and especially the big, 8" mid-bass drivers.

One iteration of a system: Yamaha, Pro-Ject, Nubert

Later on, I added the Pioneer PLX-1000 turntable together with a Schiit Mani phono and - as streaming became increasingly prominent in my life - Schiit Modi 2 Über DAC. All cabling was from Van Damme.

In hindsight, this system provided exactly, what I expected and needed at the time. Most importantly, for the very first time, I indeed felt that I have a hifi system and I acted accordingly. I cared about placement, cabling, support, etc. I started paying attention to finer details of the performance. I tested various components in that system, and I could observe differences. I knew that this is now a level, where the basics are covered.

Would I do something differently, if I were back in time and I had to start over again? No, I still believe that I chose a sensible approach. But I would worry far less. I reckon that choosing components for a first system is among the toughest decision one faces on the audiophile journey. That is, when you are actually there with your limited experience and - likely - budget and have to make up your mind whether to go with component A or B. And you probably heard them in two completely different systems 3 weeks apart. If at all. Today, I would recommend my younger self to have fun and consider the first system as such: a first, that will be followed by others. From that first system, I've already sold the amp - and to be frank, I missed the looks more than the sound. I passed on the DAC to a collague, as I often found myself preferring the built-in Burr-Brown DAC of my humble Yamaha CD player. And the speakers also had to go, even though that was a difficult decision to make since I have a tendency to antrophomorphize objects which are close to my heart. And you just don't toss away a friend, just because you don't go out together so often any more, right? But on the very same token, eventually it just saddened me to see those lovely speakers tucked away in corner collecting dust, instead of bringing pleasure and joy to someone day by day. Luckily, they were bought by someone, who really appreciates them and that ultimately makes me much more happier than me owning them for the sake of owning.

Micromega MyGroov MyDac, Meridian 200, Akitika GT-102, Schiit Saga

Click pic to enlarge. On rack, from top, Thorens TD-125, Audio Technica AT-PL120, white Micromega MyDac atop Meridian 200 and a bit of 47 Labs Shigaraki phonostage , Schiit Saga; lower middle, Micromega MyGroov in front to MoFi Studiophono; right, Pioneer PL-10.

Let's Get It On: Akitika GT-102 + LS3/5A, A Happy Union
What's Going On: Reconfiguration of System III, a Cheap and Effective All Solid State System
Review: Micromega MyGroov, Part II
Review: Micromega MyDac, Part III
Review: Akitika GT-102, Part II

Review: Meridian 200 CD transport
Review: Schiit Saga, Part III

Review: Monoprice Toslink Cable

Micromega MyGroov, Part I
Micromega MyDac, Part I
Akitika GT-102, Part I
Schiit Saga, Part II
47 Labs 4718, Part III
Pioneer SW-8 Subwoofer, Part II

Many of my articles are basically housekeeping. In the process I try to seek a moderate improvement or some insight into some of my under-used equipment. This article is one of them. It doesn't really review anything new; instead working things out and going deeper into things. 

From time to time, I reconfigure my systems. Usually this is brought about by a particular piece of equipment. In this case, it was because I moved the Thorens TD-309 from System III to I for my Koetsu Black, which weighs a little heavy. Also, as it was basically not used, to reclaim space I dismantled System IV in the living room, so quite a few pieces of equipment were again available for use.

System III This is by my seat. For someone as overreaching as I, it is not easy to cram everything onto one rack, so I tend to use things with small footprints. Ever since the arrival of Schitt Saga (here) and Akitika GT-102 (here) they have been used together with the Audiomaster LS3/5A to great effect. The crispy and fast sound of the Schiit actually suits the Audiomaster LS3/5A, the darkest of my 3 pairs. Thinking to improve things, I propped in the Nagra PL-P and was surprised at the somewhat rolled off sound. Not synergy and so out it came. Then I focused on reconfiguring my sources.

For digital, as I had moved my Sparkler CDP to System I, for some time I had been using the Linn Karik CDP. Desiring to be able to occasionally play albums on my computer, I decided to go separates. I recruited my ancient Meridian 200 transport and Micromega MyDac.

For Analog, the Pioneer PL-10 with Rao's MC mono cartridge remains, but is assigned to an adjacent shelf. In place of the Thorens TD-309 I swapped in my Audio-Technica AT-PL120 with the Shelter 201 MM cartridge. This turntable, with removable headshell, is great for comparisons, but for the near future I may keep it an MM turntable (with maybe 78 rpm option in the future). I also added a third turntable. My Thorens TD-125 (with SME 3009 and Denon DL-304) from System I, now displaced by the TD-309, claimed the top shelf as I shoved the AT to the shelf underneath (just enough room to carefully maneuver without the cover). Needing a third phonoamp I added the Micromega MyGroov. The Kondo Shigaraki phonostage is MC only, but both Micromega MyGroov and MoFi Studiophono are MM/MC, making the system highly configurable. I tried multiple combinations.

Micromega MyGroov (official link)
Aside from European (French and Spanish) reviews (link) there are virtually no other for this humble component. In Chinese, there is a surprisingly good one from Taiwan's HiFi HiVi. Switch Mode Power Supply and Surface Mount technology are used. See Part I link above for my previous, very favorable, impressions.

Micromega MyDac (official link) This one has been rave reviewed by many when it came out but surprisingly I don't see it mentioned much afterwards (perhaps it is too cheap for its own good). In my detailed Part I review you can read my utter enthusiasm for it. Actually before this round I briefly tried it out in System I with Theta Data Basic (btw a great transport) and the combo went almost head-to-head with the formidable Sparkler S306, which is my reference. Kudos!

Meridian 200 CD Transport I have used or heard quite a bit of Meridian digital products (to me their specialty,) from the first 200 series to the much later 800 series, and they in general offer excellent sound. Perhaps one day I shall write an overview. The 200 is Meridian's first CD transport. It was initially paired with the 1-bit (bitstream) 203 DAC, which I used to own in HK but sold for its ultimate lack of resolution (though it was musical). Meridian's own archive has this excellent early review of the 200/203. Meridian later replaced the DAC with the delta-sigma 263 (see Stereophile), which is likely much better as I still own (in HK) their 206, a similar one box CDP. Another reason for loving them is the styling - early Meridian had the most elegant industrial designs. Yet another is the longevity of the Philips CDM-4 mechanism, and the sound of course.

Sonic Impressions

• Akitika GT-102 + LS3/5A As before, the combo with Schiit Saga and LS3/5A worked a treat, especially with digital. The LS3/5A are placed near field and in front of my horns, and they just disappear. At low level, the images are relatively small, but crank it up to normal listening level, the images flesh out. In fact, one could easily mistake the sound to be coming from the large horn system behind. From vocal CDs to Bruckner LP, the sound is highly articulate, just enticing. Few bookshelves can equal, let alone surpass, the LS3/5A.

• Schiit Saga This round reaffirms that the Schiit Saga is a very neutral device, not for systems already on the lean side. I started using it as a passive preamp, but soon found myself running out of gain for analog, especially my DL-304 (0.2 mV). I then used the Saga as a buffer amp into my Langevin 102 preamp and the analog sound fully fleshed out. More discussion below...

• Analog + Passive Preamp? t shows once again that a passive device is not optimal for an analog based system. I know there are purists out there who insist on passive preamp but who also use analog. Maybe with a high output MM (like the Shure 44-7) one can get away, but with a low-output MC it is just lacking in muscle.

• Micromega MyGroov This is not the most "precise" (as in pinpoint details) phonostage, but it is a highly musical one (Perhaps one can view it as a somewhat upgraded Schiit Mani). It musical warmth and finesse more than compensates, and it proves to be a much better match with my Thorens TD-125/SME3009i/Denon DL-304 than the leaner 47 Labs. It is very cheap and unjustly neglected. My Part I impression stands.

• 47 Labs 4718 As mentioned in Part III (link above), it is getting run-in. Sound is smoother now but still can be insistent occasionally. As mentioned, it did not gel with my Denon DL-304 (nor my mono rig for that matter). But a later sub of Denon DL-301 Mk II (review coming) was very promising. I then switched in DIY 47 Labs cables and it was superb. This is the best sound I have heard from it.

• Micromega MyDac/Meridian 200 I first connected the DAC with my Linn Karik and the sound was lovely, so I was totally shocked when I switched in the Meridian 200. Synergy! It was like flowers blossoming, everything was alive with colors. It went head to head with the vinyl systems. I liked Marvin Gaye's Let's Get it On so much that I pulled out his What's Going On - just did not want to stop. Absolutely superb combination. USB The MyDac played my humble iTunes/AIFF files very well too, (in fact in this setup better than many CAS setups I have heard) and that will be sometimes useful. Toslink What was most amazing was that the Optical Input, connected to the same Meridian 200 with a $6 Monoprice cable, sounded virtually indistinguishable from the coaxial input (Belden 1694A). I checked my notes (see link above) and, my, I forgot I made the same observations before. It is good keeping a blog to check on oneself. I'd guess there must be some effective re-clocking or de-jittering in the MyDAC for every input to sound alike. In such a small product, quite an achievement. The Micromega MyDac is a serious rival to the Sparkler digital products.

And so I arrived at the current configuration:

CD: Meridian 200 Transport and Micromega MyDac (Belden 1694A coaxial; Monoprice Toslink)
Turntable 1: Audio-Technica AT-PL120
Turntable 2: Pioneer PL-10 with Rao's MC Mono
Phonoamps: 47 Labs 4718 Shigaraki, Micromega MyGroov, and MoFi StudioPhono
Buffer Preamp: Schiit Saga
Active Preamp: Langevin 102
Amp: Akitika GT-102
Loudspeakers: Audiomaster LS3/5A (15 ohm)
Subwoofer: Pioneer SW-8

Subwoofer Finally, I added a subwoofer, the cheap and excellent Pioneer SW-8 (see link above). The LS3/5A does not reach deep, but its subtle mid-bass hump gives one a satisfying feeling that is frequently enough. But not quite for classical music, at least not for Bruckner and Big orchestral and Piano music. It took me a while to dial in, but the result was more than worth the effort. The fuller sound actually gives more support and air at the top. I went through an entire Bruckner cycle (LP, Jochum, DG) with great satisfaction. CD playing benefitted greatly too. The piano sound of Radu Lupu's Schubert D845/D894 (CD, Decca) was resplendent, not quite like my horn rig, but very reasonably close. Especially in Schubert, the often foreboding rumbling bass notes are very important in the overall feeling.

In this system, if I only play digital, I can get away without using the active preamp. And if I switch out the tube in the Schiit Saga, the difference will be minimal, and it will be an excellent and all solid-state system! A bargain to boot!

Klipsch Heresy, Nagra PL-P

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

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

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

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

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

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

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

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

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

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

Sonic Impressions

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

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

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

Iteration II, The Miracle Continues!

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

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

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

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

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

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

Kondo Loudspeaker Matching II

Updated pic of system during evaluation. The Kondo system is connected to the KEF LS3/5A's on top, whereas the Pioneer's below are driven by Flying Mole CA-S10 digital amp stacked vertically to the left of the M7. The Pioneer's have since been displaced by the Dayton's.

Kondo System Bookshelf Loudspeaker Matching, Part II: Yamaha NS-10, Pioneer SP-BS21-LR, Dayton Audio B652, KEF LS3/5A
My Kondo System, Part VI
Review: Yamaha NS-10M, Part II
Review: Pioneer SP-BS21-LR, Part IV
Review: Dayton Audio B652, Part IV

Article finished in the UK.

This is Part II of Kondo Loudspeaker Matching. For links to My Kondo System, Part I (background info on Kondo and Ongaku); Part II (all about M7); Part III (the most important one, detailing set up and listening experience); Part IV (largely phono related, and Kondo preamp/amp were not used; skip if you are digital only). Most importantly, readers should read Part V, which is Part I of loudspeaker matching and where several loudspeakers were tested.

Please note that, aside from the KEF LS3/5A, the loudspeakers used in this report are much less mainstream than even those tested in Part I. The Pioneer and Dayton are also ridiculously cheap. No one should ever complain about the mantra of cheaptubeaudio again.

As per the evaluation done in Part V, the subwoofer is always used, and the loudspeakers are inverted, with woofers upward.

Equipment used in Evaluation:

Digital: 47 Lab Shigaraki Transport/DAC
Analog: Pro-ject RPM1.3/Clearaudio Concept MM
Preamp: Audio Note (Kondo) M7
Amp: Kondo Ongaku
Loudspeakers: as titled
Subwoofer: old JBL active subwoofer

Yamaha NS-10M
As mentioned previously, these legendary speakers need no long-winded review on my part. They have long been cherished by all the who's who's in the recording industry, and even has an informative wikipedia entry. Another must-read article is this one at soundonsound. Come to think of it, I'd not be surprised if some of the albums I mentioned below were originally mastered on the Yamaha! :-) See my previous experience (Part I) in my old house.

Pioneer SP-BS21-LR
For basic info on this ridiculously cheap Andrew Jones creation, see Part I of my previous report. It is discontinued, but similar products are still around.

Dayton Audio B652
This even more ridiculously cheap offering from Parts Express is a personal favorite of mine, and has been treated extensively in this Blog (see here).

Sonic Impressions

• Yamaha NS-10M True to its monitor origin, the sound is very neutral and revealing. In terms of truth of timber and midrange transparency, they are very similar to the TAD TSM-2201 (here), and preferable to any of the other non-monitors, including the LS3/5A. Although the NS-10M's are easier to drive in comparison to the TAD, when the volume is cranked up, the sound inevitably shows some constriction, hampering replay of symphonic music. Perhaps ultimately these also need more power.

• Pioneer SP-BS21-LR This is a very even performer, quite neutral and dynamic. The midrange is slightly recessed. These can play louder than the NS-10M, but the sound lacks just a little in involvement.

• Dayton Audio B652 Belying the price, at low and medium playback volume these delivered a truly sparkling sound. No surprise. The midrange is more projected than the Pioneer and the sound is definitely more involving. However, not for lack of power, these cheap jewels are simply not meant to be played loud.

• LS3/5A What I said before needs only minor modification: "...The real surprise (actually not) is that the Kondo system drove them very well (contrast this to the 86 db TAD). Neutrality is as good as any in the midband, less so in the treble and midbass (the famous hump). They resolve a little more than the Pioneer's and Dayton's, but less than the NS-10M's. Rhythm and pace is good but transient response is a trifle slower. Dynamically it is surprisingly adept. But what really catapults it to the top is a hard to define engaging quality, an ability to involve the listener..."

Outside the Kondo System

• Quick Listening, with the Flying Mole CA-S10 Amp The Yamaha NS-10M is too large to go into the shelf below, so cannot be used in this configuration. Both the Pioneer's and Dayton's do an excellent job here. With the Digital amp, the Pioneer's can pay symphonic music quite well, and hence earned a permanent spot in this setup. As with the main system, I invert the speakers. Thus enclosed, the rear port surprisingly does not cause trouble and indeed augments the bass significantly. One is almost tricked into thinking a subwoofer is at play.

• At the Desktop I installed the Yamaha's in my desktop system, now using Meridian Explorer and 47 Lab Gaincard. The sound is irreproachable and the best I have ever had in this station.

Observations/Conclusions

• Yamaha NS-10M If not for the fact that I could not get it to play at high volume, this would be my choice for the Kondo System. If only I only play chamber music or simple vocals! Although at high volume it doesn't turn strident like the TSM-2201, the still-evident constriction may still very well be a power/impedance issue. 

• Pioneer SP-BS21-LR and Dayton B652 These two neutral sounding loudspeakers offered similar performances. The Pioneer can play louder but the Dayton wins out by being livelier. In the vital midrange, both do not quite reach the richness and transparency of the Yamaha NS-10M.

• LS3/5A Again, minor editing of what I siad previously would do: "...More than any of its rivals, the virtues of the LS3/5A are many and more evenly distributed, and its faults are minor. As mentioned, the real surprise is that the Kondo system drove them very well (not the case with even more flea powered SET's). Its 82 db sensitivity is the lowest in the group, but it is audibly just as efficient as the others. Although it needs enough watts, the impedance curve of the LS3/5A is benign and it is not a current-hungry transducer (see JA's measurements in this mega-article in Stereophile)..." While the NS-10M is superior in some aspects, ultimately it could not displace the 3/5A.

Kondo System Loudspeaker Matching LS3/5A Pioneer S-A4SPT-PM VP 47 Lab 4737 TAD TSM-2201 JBL Kondo S-18

Pic of system during evaluation. The Kondo system is connected to the loudspeakers on top, whereas the LS3/5A's below are driven by Flying Mole CA-S10 digital amp to the left of the M7. And No, the Pioneer's are not trapezoids (just lens distortion). Click to enlarge.

Kondo System Bookshelf Loudspeaker Matching: Pioneer S-A4SPT-PM and -VP, 47 Lab 4737, TAD TSM-2201, KEF LS50, LS3/5A and JBL Subwoofer
My Kondo System, Part V
Review: Audio Note M7
Review: Pioneer S-A4SPT-PM, Part II
Review: Pioneer S-A4SPT-VP
Review: TAD TSM-2201, Part II
Kondo Ongaku SP (S-18) and Biyura
Letter from NYC (61) 2016 (17)

Revised Feb 3, 2017: For the last two weeks I inverted the loudspeakers, that is with the tweeter down. The effect is dramatic, and I am very pleased. This is added to the discussion in "Sonic Impressions: Effect of Placing Loudspeakers High Up"

Links to My Kondo System, Part I (background info on Kondo and Ongaku); Part II (all about M7); Part III (the most important one, detailing set up and listening experience); Part IV (largely phono related, and Kondo preamp/amp were not used; skip if you are digital only)

For those interested in 47 Labs 4737 alnico loudspeaker, Part II (with Flying Mole CA-S10 amp) and Part III (with Naim Nait I amp) contain extensive testing.

The Evaluation took place in HK but the article is written in NYC.

pic: R: Kondo S-18 prototype from Positive Feedback CES 2007 Report; L: S-18 leaflet. Click to enlarge.

ENIGMA: What Loudspeakers for Kondo?

As with many SET amps, one of the major difficulties with Kondo is loudspeaker matching. Like most SET amps, ideally you really need efficient loudspeakers to get its best.

What Kondo san himself used and/or designed This must be what we ask first. YL I believe, in his earlier days, even before Ongaku, he was a horn user and involved in YL horn designs (my YL horn system here; I have yet to write more extensively on these marvelous creations and their superb sound). I have done a bit of research on YL, but there is not that much on the internet. I believe, like JBL and Altec, there were few official enclosures). Branded Kondo Since YL, Kondo san had designed many smaller loudspeakers but they are virtually unheard of. Kondo's official site has discontinued loudspeaker model names (but not info) accessible only via its Japanese page (here). Ongaku SP (S-18) The S-18 is composed of the M-18 full range unit (many Japanese designers, like 47 Lab, Sparkler, Air Tight etc, favor fullrange loudspeakers) and the M-1 tweeter (likely a first order crossover - just a cap). I did hear the S-18 many many years ago, when Kondo san himself attended a HK hifi show (organized by the now-useless magazine 發燒音響). In the smallish hotel room, it was among the best sound I have ever heard in a show. The Positive Feedback pic shown above looks however bigger than I remember. Also, this German site's Las Vegas 2008 report must be virtually what I heard. BiYura (Field Coil) Kondo san passed away in 2006. In 2011 the Biyura Field Coil loudspeaker was unveiled in various hifi shows, including that in HK, which I covered (here). As you can read, I did not like the sound then. For this article, I did an exhaustive search and it seems the Biyura made apperances in quite a few hifi shows, but none after 2014. As there is not even a mention in Kondo's Japanese page, I assume the BiYura remains a prototype, if not an abandoned project. I am curious whether Kondo san himself had a hand in its conception, or if it is solely Masaaki san's effort.

It appears: 1) Kondo loudspeaker systems are perpetually in a state of flux, almost always in prototype stage, then and now. There may be multiple reasons for this: it is in keeping with most artisanal designer's tendency to forever tweak; also, many Kondo dealers also distribute other horn systems/efficient loudspeakers and hence may not be that interested in a Kondo loudspeaker (think Avantgarde in HK and Living Voice in the UK); 2) Kondo san likely was never completely satisfied with his loudspeaker creations (under the Kondo name). None ever remotely achieved sustained production (The S-18 and the Ruthy 4 perhaps were better known and had sold a few). Maybe Masaaki san is like that too with his field coil.

What Users and Dealers Use Aside from a few appearances by Kondo themselves using the S18 and Biyura, all manners of loudspeakers (not just horns) have been used in audio shows (to get an idea, google images using "Kondo hifi show"). My friend JC, Australian dealer (Audio 101) for Kondo, uses Avantgarde Trio and Tannoy Westminster. I have also heard an acquaintance's Kondo gears with Audio Note UK loudspeakers (sacriledge!). What I Use In my old house, I did not get to play that much with the Kondo's, but they did well with my Canterbury. In my current small abode, I could only manage to do it the way in the pic, which is why I actually carried out this not inconsiderable project of bookshelf loudspeaker matching, of which this is only the first report. 

Equipment used in Evaluation:

Digital: 47 Lab Shigaraki Transport/DAC
Analog: Pro-ject RPM1.3/Clearaudio Concept MM
Preamp: Audio Note (Kondo) M7
Amp: Kondo Ongaku
Loudspeakers: as titled
Subwoofer: old JBL active subwoofer

Audio Note M7
The now discontinued M7 went through many iterations and is the most famous preamp of Kondo design (for the difference in versions, see my article here). All generations have similar chassis, internal structure and bespoken silver laden parts. This M7 you see in the pic is actually my second one. A few months ago I chanced upon this early unit and grabbed it because it is a full function preamp with a smaller footprint that actually slots into my IKEA shelf with room to spare/ventilate. As opposed to my other one (line only, 12AU7x2; last version), this one is a much earlier design, branded Audio Note but made in Japan, before Kondo san and Qvostrup split up and the latter founded AN UK (this is also why there are M6 and M8, but not M7, in their made in UK preamp lineup). This one uses 6072 in both the phono and line stages.

TAD TSM-2201
For info on these 86 db, 4 ohm sealed enclosure loudspeaker (8" woofer, the largest in this group), see my previous detailed TSM-2201 review. That review was when I first got them, and they were used upright. Subsequently I took them to my current abode and have actually also used them with Kondo (go to end of this sprawling article; used horizontally, on the same IKEA shelves but with them lying down, long sides parallel to the floor). The sound was excellent then but later I had to reconfigure, so the top of the shelves are higher now and I could only use them disadvantageously upright.


R pic: -PM; Lower L pic -VP


Pioneer S-A4SPT-PM and -VP
My initial impressions of S-A4SPT-PM, especially when compared with the legendary Yamaha NS-10, was not entirely favorable. They were likely not quite run-in at the time. Recently, after I decided to re-make my Kondo setup, I brought them to my current abode, where I first used them very satisfyingly on the desktop with 47 Lab Gaincard for quite a while. Sound was much better than at my old place, so they were probably finally run-in.

As I took to the PM more, I decided to acquire a used pair of its sibling, the S-A4SPT-VP. This is a slightly later and more expensive version with a different woofer (alleged to be TAD, though given the Pioneer/TAD duality, imho it is just a matter of semantics and marketing) and more luxurious finishing of ebony color. Both loudspeakers are likely of somewhat limited production, so in the West they are now only largely available through the internet (for a reasonable sum). The VP sold well in HK, but unlike the PM did not have any coverage in the West (only real online review is in Chinese, from Singapore).

Both are 84 db, 6 ohm loudspeakers with a 4" woofer, real wood enclosure and a small rear port. They differ in that the -VP reaches lower (spec'ed at 50-40k Hz vs the 60-40k Hz of the -PM). The -VP also has a higher crossover point than the -PM (4,500 Hz vs 3,500Hz). Despite similarity, they turn out to be surprisingly different in character (see below).

47 Lab 4737
These are also called the Lens Alnico or Lens II. All else being the same, it differs from Lens (also called Lens I or Lens MkII) (4722) in that the driver magnet is alnico. My initial impressions was favorable. Since then, there has only been one review in dagogo. It is an 85 db, 4-ohm  4" fullrange with MDF enclosure and a small front port. My pair is well used, obtained by trading my KEF LS50 towards them.

LS3/5A
The 82 db 2-way with 4.5" woofer and sealed enclosure is arguably the most famous bookshelf in history and needs no introduction. In HK, after reluctantly selling my Harbeth to my good friend wss, I still have the Rogers (15 ohms, serial number 2xxx) in the pic as well as a rosewood pair of KEF (Raymond Cooke Edition, 11 ohms). I have been using them with my Flying Mole digital amp (the one next to the left LS3/5A) for casual listening, so they are in condition.

KEF LS50 This 85 db, 8 ohm loudspeaker with coaxial drivers is quite a famous loudspeaker now. See my reviews (KEF LS50, Part I, Part II, Part III). I had traded them towards my 47 Labs 4737, and hence they are not formally part of this evaluation. Documentation of this period here. Note in the pic the Ongaku was used as an integrated (click to enlarge).

JBL Digital 12 Subwoofer
This is an early JBL active subwoofer I bought on the cheap in HK (in the US, the kind you can find in your local craig list for nothing). Aside from a pic or two (see here), there is virtually no info on the net. I did find its Frequency Response is 29Hz to 150Hz. Adjustable Crossover Frequency is 50-150Hz. Just a bulky veneered black box with no legs, it is rather old fashioned in looks and lacks sex appeal. I have it upright, with its 12" paper (my preferred cone material) woofer the large port underneath firing backwards. I use the hi-level rather than line input (I always do; you don't want to corrupt the output of a good preamp!). Previously I had used these very effectively with larger JBL loudspeakers (here). In most ways I prefer them to the subwoofer that I have, the REL Strata III.

Sonic Impressions

• Audio Note Japan M7 Line Although the sound is similar to my later Kondo M7 (described here), it is not quite the same. In this older M7, the "silvery" treble is still there, but less pronounced, reinforced by a somewhat warmer midrange (some may prefer this). My later unit is on loan to a friend so I cannot yet do an A/B comparison. Phono This being a used unit, the 6072 tubes are a bit noisy. Using Stefan Ashkenase's excellent performance of Chopin's Piano Concerto No. 2, which I happen to have on both LP and CD, the LP just mercilessly killed the CD. Don't forget the 47 Labs digitals cost many times more than the Pro-ject analog rig! Part of this is the intrinsic superiority of analog, but the gulf is so wide that one has to conclude that this phono section is of the utmost quality.

• Kondo Ongaku as Integrated and Audio Note M7 + Kondo Ongaku In My Kondo System, Part III I detailed the difference between using the Ongaku as an integrated amp and as an amp with the M7 as preamp. That was in my old house, with Tannoy Canterbury HE. At the time, I found it a toss up. Then, in the smaller abode, configurations changed several times. First: Ongaku + M7 and TAD Long before this evaluation, from 2012 to 2014, I had actually tried both ways with the TAD TSM-2201 (see above). I briefly chronicled it near the end of this sprawling article, although I failed to mention that this time around adding the M7 as preamp was better than using the Ongaku as integrated (too bad too that I had accidentally deleted the pics - will have to restore them later). Then in 2014 I had to reconfigure the system to: Ongaku as Integrated due to lack of space on top of the now erect shelves for the Kondo M7 (article here, showing the KEF LS50 used at the time). During this period, I traded the KEF LS50 towards the 47 Labs 4737 (R pic; click to enlarge). Then in late 2016, after I acquired the Audio Note M7, the system became Ongaku + M7 and Loudspeaker Rotation With the more inefficient small loudspeakers, there is no question that the addition of the Audio Note M7 injects significantly more vitality into the system. The sound improved to the extent that I decided to test out all the small loudspeakers I have.

• Effect of Loudspeakers Placed High Up The shelves are the IKEA Kallax. When prostrate (30.375") the height is quite suitable for placing bookshelf loudspeakers. However, when used erect (57.875") the shelves are too tall for a sitting person. The resulting sound would have 1) less bass; 2) a leaner balance; 3) soundstage and imaging that are a bit too high up (which is better than too low, like the ESL-57). These drawbacks can be minimized, but not erased, by listening standing up and further away. Tilting the loudspeakers forward can lower the height a little too, but not by much. More effective would be to have the loudspeakers one shelf lower (except for the TAD), but I have yet to try that. The higher position I reckon also has the advantage of a little less boundary effect. As we know, many audiophiles are anal-rententive when it comes to the listening position, imaging and soundstage, and will sneer at this kind of setup. While I am not against those values, in general I want to be able to listen to my system no matter where I am in the room - a well dispersed rather than a narrowly focused sound (ESL being an example of the latter), which all my systems can do. Addendum Feb 2017: As of Feb 2017, I now have the speakers (currently LS3/5A) "upside down", that is with the tweeter beneath the woofer. This brings the tweeters down by at least 6 inches. The result is quite remarkable. Even though the tweeters are still way above "ear-level", they seem to have entered a "comfort zone". The imaging is bigger and more natural, the panorama wider and closer to the real experience. Most noticeably, big orchestral pieces seem more at ease, and I find myself playing a lot more Bruckner and Mahler. With the woofers higher, there is less bass and cabinet resonance (see below) and the subwoofers need to be turned a little higher up in volume and crossover point, easily achieved. Marvelous!

• Isolation/Cabinet Resonance As the shelves are not the sturdiest and as the loudspeakers sit on the same surface as the electronics, one can expect some resonance. However, since the loudspeakers have small woofers, except for the larger and fuller bass of the KEF LS50 (a large rear-port too) I did not hear much resonance/smearing. Nonetheless, I inserted slabs of industrial absorbers (gift of wss) underneath the loudspeakers. The effect is not as audible as under my Yamaha NS-1000M, leading me to think these work better for low bass, which most bookshelves lack. The 47 Labs transport has its own isolation platform, whereas the Kondo Ongaku is too heavy for devices. Underneath each of the three pointed feet of the Pro-ject turntable I put a small slab of Japanese made gel-like polymer (which they place under items to prevent sliding; sold in home stores in HK). Here I'd like to mention the lower shelf again. The LS3/5A (side panel separated from bookshelf wall; base decoupled a little with small crumbs of egg carton) has a little more audible resonance here than when on the top shelf, BUT the resonance is benign, indeed beneficial, as it actually re-inforces the bass, making the loudspeakers seem a little larger. One is reminded of the BBC and LS3/5A cabinet design principals of not using very thick (real wood, not MDF) panels and letting the enclosure "breathe". I have long been a fan of classic BBC design, and all in all think the IKEA shelves work remarkably well. My friend jules came by and without prompting thought the same thing. There are audiophiles who are fanatical about "isolation" but my experience is that in most cases they tweak away most of the music. Don't try to control everything, you can't; instead only concentrate on the harmful (meaning "audible") resonances. Heresy? So be it.

• TAD TSM-2201 Despite having the largest woofer in the group, placed high up and used upright, the TSM-2201's sound lacks heft, and is indeed a little lean, more so than previously (see above). Reflective of the spec's, at the same volume setting, the 2201 actually plays a little louder, but that is no indication of true efficiency, as the sound tightens up more than the others at higher volume, a sign that more power is needed. To a certain extent, this can be eased by lowering the volume of the Ongaku (10 o'clock, vs 11-12 o'clock for the others) and cranking up the volume of the M7. On the other hand, given its provenance as a monitor, it is no surprise that the sound is significantly more accurate than the others in the group, especially when it comes to classical music playback. It is also true that sealed box monitor designs usually sacrifice bass extension and weight for a flat bass response, not the case for all the others in this evaluation.

• KEF LS50 This is based on memory. The LS50 and the TSM-2201 have by far the largest enclosures in the group, yet the LS50's are easier to drive and their smaller 5.25" woofers, aided by rear ports and higher impedance, pumps out a lot more bass than the TSM-2201's (8" woofers). Sound was good but, with the rear ports really too close to the wall and the more prodigious bass, resonance was an audible problem. Too bad I could not have them in-room.

• 47 Labs 4737 When I substituted these for the LS50 I immediately got a cleaner sound, and they were what I used for this system until well after I got the Audio Note M7. Coherence was a given (this is a fullrange) and there was no audible box coloration. Rhythm and pace were very good too. Bass weight and extension were surprisingly good. As the dagogo reviewer noted, treble is on the smooth side, but that is no problem with the Kondo system. They however don't play as loud as the Pioneer's (see below).

• Pioneer S-A4SPT-PM and -VP As soon as these replaced the 4737's I knew I was onto something. -PM The sound immediately opened up. The soundstage is large and airy. Macrodynamics was very impressive for such small sizes! Extension at both frequency extremes were very satisfying. Although these are reasonably neutral transducers, the TAD TSM-2201's rendering of instrumental timber and microdynamics are better still. Also, rhythm and pace tend to be a trifle literal. Nonetheless, overall they are very satisfying. -VP In comparison with the -PM, the -VP has even better bass extension and perhaps neutrality. However, after listening to a lot of music, I found myself missing something. It took me  a while to point my finger at it: despite its hifi virtues, I was not enjoying the -VP as much as the more loose-limbed -PM! Then I tried out the -VP on my desktop with Micromega MyAmp. Bingo, with its excellent bass weight and extension, it makes the perfect desktop loudspeaker! It is staying in the study.

• LS3/5A While the KEF 11 ohm is a little sharper than the Rogers 15 ohm, goes a little deeper in the bass and plays a bit louder, the difference is not that great (less than between the 2 Pioneer's). The real surprise (actually not) is that the Kondo system drove them very well (contrast this to the 86 db TAD). Neutrality is as good as any in the midband, less so in the treble and midbass (the famous hump). They resolve more than the Pioneer's, but less than the TAD TSM-2201. Its rhythm and pace is good but transient response is a trifle slower. Dynamically it is just as good as the Pioneer's. But what really catapults it to the top is a hard to define engaging quality, an ability to involve the listener.

• JBL Subwoofer Encouraged by the dynamic result of the Pioneer's, I thought of adding a subwoofer to augment the bass. As these bookshelf speakers all do not go very low, for the Crossover Frequency I usually start at roughly at 75 or so (there are only indications for 50, 100 and 150) and work my way up. For this group, frequently the best sound is around 100Hz (I usually prefer higher to lower; some others the other way). Then I'd set the volume. Usually just a small turn (say, turning from starting point 7 to 8 or 9 O'clock) will suffice. Sometimes I needed to go back and forth a couple of times between volume and crossover frequency to achieve the best result. When properly dialed in: 1) I don't "hear" the subwoofer, but 2) I know it is working if the orchestral bass is suitably (but not overly) reinforced (maintaining the right timber); 3) the lower pitched instruments gain body, and this help to lower the soundstage and imaging a little. If I put my fingers on the subwoofer driver, it vibrates very little, but the effect, on music like Messiaen's Turagalila, is astonishingly big. Now, besides chamber music, which the Kondo system has always played beautifully, I play this piece, and my favorite Mahler and Bruckner, with sufficient satisfaction that my other rig with the big Yamaha's are getting less play.

Observations/Conclusions

• Audio Note M7 + Kondo Ongaku As mentioned, in contrast to my experience in my old house and with my large 15" 8 ohm Tannoy Canterbury HE (here), with the more inefficient small loudspeakers, there is no question that the addition of the Audio Note M7 injects significantly more vitality into the system. This is because 1) compared to the 96 db Tannoy, the small loudspeakers are 10-14 db less efficient; 2) the Tannoy has a much larger woofer that gives heft, and the smaller loudspeakers are placed high up. Although addition of the subwoofer helps a long way, it does not a 15" woofer make; 3) driving power of the Ongaku is limited. Gain/Volume Used as an amp, the volume setting of the Ongaku is critical to the sound, and it varies with the loudspeaker used. With the hardest-to-drive TAD TSM-2201 (despite its 86 db spec being the highest in the group), which tense up when cranked up, the volume setting of the Ongaku is the lowest in the group. All the others more or less have the same higher setting. The process of employing the Gain and Volume is similar to using them in preamps that have both (think some vintage ARC and MFA preamps). Loudspeaker Impedance Based on the next entry, I think it is fair to deduce that the tubed Ongaku prefers higher impedances. Loudspeaker Efficiency It goes without saying that the Ongaku is best used with loudspeakers of as high efficiency as possible. I'd love to match it one day with my 104 db YL horns. I am sure that would completely outstrip Tannoy, not to mention the likes of Avantgarde.

• 47 Labs 4737 In this system, the overall performance of the 4737 (4 ohm), although very good, lags behind the Pioneer's (6 ohm) and LS3/5A's (11 and 15 ohm). I have to mention that I do think they sound better with its original mate, the solid state 47 Labs Gaincard (maybe a future report; this is in keeping with the dagogo review cited above, which prefers solid state to tubes). The 4 ohm impedance is harder to drive with tubes (same for the 4-ohm TAD TSM-2201; and remember 47 Labs is NOT a tube company). 

• Pioneer S-A4SPT-PM and -VP The dynamically loose-limbed performance of the -PM is an absolute delight. In this system, dynamically it trumps the LS3/5A but its overall performance suffered just a little because of its somewhat literal rhythm and pace. That is still better than the over-controlled -VP, which I think is better for solid state.

• LS3/5A More than any of its rivals, the virtues of the LS3/5A are many and more evenly distributed, and its faults are minor. As mentioned, the real surprise is that the Kondo system drove them very well (not the case with even more flea powered SET's). Its 82 db sensitivity is the lowest in the group, but it is audibly just as efficient as the others. Although it needs enough watts, the impedance curve of the LS3/5A is benign and it is not a current-hungry transducer (see JA's measurements in this mega-article in Stereophile).

• Subwoofer Many audiophiles like to have a sacred cow to hold on to. Count among this group LS3/5A worshippers; ESL and ribbon die-hards; Shun Mook sect, the list goes on...most of these people would never use a subwoofer, because it would "corrupt" the "purity" of what they worship. Bag of nonsense. In my opinion, in audio the only that matters is the end result. The serious classical music listener needs to have the lower octaves, and with smaller loudspeakers, the subwoofer, properly implemented, is a necessity. But care is needed. I'm not saying adding a subwoofer is an art, because it is not; but it'd be wrong if one wants to "clearly hear" the subwoofer - rather, one wants to "feel" it. Less is more.

• How Good Is it? I am not the one to say, but I will tell you my classical music friends jules and Seng (you have met them before; or you can search my Blog) both highly approve of the system (with subwoofer on). It won't on all fronts beat the WE/Yamaha setup, but at least it is on a more equal footing, with virtues its own. What I can say is, even with my humble bookshelves, I think I am getting more out of Kondo than I have ever gotten, and more than some other similar Kondo systems that I have heard. YMMV.

• What's Next? Of course, I'd love to have my shelves prostrate (lower) again, but that would take some time. Meanwhile, I intend to test out my Pioneer SP-BS21-LR (Andrew Jones design), Yamaha NS-10 and Dayton Audio B652 (I will take a pair back to HK). With the subwoofer entrenched in the system, it would prove very interesting!

Postlude: A Reader's Question I was asked: "...if possible I would like to hear how you came to obtain such a prized 'holy grail' audio component as the legendary Ongaku? I know your blog is geared towards the more affordable spectrum and "bargains", so seeing the Ongaku in your set up always made me curious to how and when you acquired it..."

Difficult Question to Answer Actually I don't spend big money easily, though my Western Electric stuff are even more expensive than Kondo. Well, curiosity got the best of me, perhaps. That would be the simplest answer.

In reality, it is not a good piece to own. In many ways, Kondo does not reveal its secrets easily, and I have heard some suboptimal Kondo setups, including dealers and sometimes my own. This led people, including some friends, to want to find any excuse to put Kondo down. Of course, many SET amps face this too, as they are immediately disadvantaged by their low power. It is also true that much cheaper SET amps, like Wavac and Verdier, not to mention even cheaper Sun Audio, deliver much more performance for the buck. Kondo is definitely of low C/P ratio, though not because of its performance, but because of its price. Kondo's unique virtues are unfortunately of subtle nature, not easily revealed to the casual, not to mention the skeptical, listener. I kinda agree with what someone said this about Kondo: "...The Kondo sound is not the most dynamic, it is not the most accurate, nor is it the most realistic sound which I have heard. Yet, there is something very seductive about the Kondo sound that once it gets into your head, you will have a very hard time getting it out..." (from dagogo).

As expensive and coveted as it may be, Kondo is in some practical ways actually both hifi and ANTI-hifi. It silvery nature can be "hifi" sounding - too bright if matched with the wrong ancillaries. Its "anti-hifi" nature is that it doesn't really go well with much of modern "revealing" hifi equipment; also, playing every loud and dynamic hifi discs to impress the crowd is also not its virtue. In my opinion some Kondo systems are ruined by not realizing this dual nature. Rather, Kondo will reward those with an intimate connection to the myriad and subtle aspects of music (same case for Western Electric, and there are many bad setups too).

Another interesting thing is, as "legendary" as Kondo may be, aside from show reports, there is really not much written about them (in English). Maybe I bought Kondo just to contribute to the literature! :-) Question answered?