Ironically, Anja Garbarek’s “Big Mouth” truly shows off what a big voice the Thrax Enyo integrated amplifier delivers. The Enyo shares the same aesthetic as the flagship models, with a familiar front panel look.

Still, the engineering team has managed to combine a 50-watt push-pull amplifier with line stage for $12,500, allowing you the ability to add digital and analog phono capabilities as you need. (at $3,500 and $1,175 respectively) If you’ve had the opportunity to experience the mighty Thrax 300B monoblocks, it only takes a few seconds to realize how much of that essence is captured here. They’ve managed to hold the line on the cost by making the case cover wrapping around the amplifier from a piece of folded steel with ventilation holes. It’s an excellent tradeoff, as you won’t see anything but the lovely front panel when the Enyo is tucked in an equipment rack. Of course, the top components have massive aluminum panels, but this is a highly effective way to cut costs without cutting performance.

As much talk as there is about the resurgence of vinyl and now the compact disc, barely anyone is talking about what a powerful comeback the integrated amplifier is making lately. For years, the thought of an integrated was somehow considered less-than by obsessed audiophiles. Today, with so many manufacturers concentrating their efforts on single chassis designs, the results have been fantastic and a treat for the music lover that craves high-performance audio in a more compact form factor.

A new definition

Thrax calls the Enyo a “modular audiophile system,” a perfect description. Importer Ozan Turan of High End by Oz sends our review sample fully configured. Some will argue that everything on one chassis is a lousy idea because analog and digital systems interfere with each other and make for potential obsolescence issues. Thrax succeeds brilliantly here, and in the context of the performance offered, should offer years if not decades of satisfaction.

You can look at this from another angle. If a robust 50-watt per channel tube amplifier fits your needs, but you either have analog and digital front ends in place, you only need to pay for the performance you require. A music lover with a vast record collection wanting to dabble in streaming will be more than accommodated by the digital section and vice versa. The streaming music lover who wants to pick up a decent turntable and a few hundred albums needs no more than the internal phono stage. Those maniacal about both can opt for the amplifier alone.

However, the Enyo is a fantastic solution for the music lovers we’ve seen that want a high-performance audio solution without complication. If you’d like a substantial helping of cost no object audio but want to do so with a minimal box count, the Enyo could be the perfect fit. For example, a fully equipped Enyo, a nice turntable in the $2,500 range, and your favorite pair of $10,000 – $15,000 speakers will keep you entertained forever. Yet the Enyo is of high enough quality that it is not out of its element with some of the world’s finest loudspeakers.

With everything on one chassis (especially if you get digital and analog sections built-in), just the money you’ll save on cables will pay for half of your Enyo. In addition to the cash saved, it’s good for your mental health as well. You won’t have to agonize over power cords and interconnects either, or synergy between your amplifier, DAC, and phono preamplifiers. That’s why we like integrated amplifiers so much. The Enyo is all music and no bother – it’s the perfect houseguest.

Interacting with our readers via email and messenger, we’re finding more people that love music that don’t necessarily want to become audiophiles. There are plenty of people that buy sports cars that neither take their car to track days nor spend hours on the internet trying to justify their purchases. An audience of music lovers discerning enough to tell the difference but not utterly obsessed with the gear is silently growing offline. This may be a somewhat heretical perspective for the hard-core audiophiles in the audience, but this time, it’s not all about you. The Enyo is made for you.

Major performance

That’s not to say that the Enyo doesn’t have serious audiophile cred. Removing the cover to take an internal photo reveals beautiful workmanship and premium parts throughout. From the custom-made C-core transformers to the metal cages purpose-built to shield the output tubes from vibration and damage – this amplifier is built to last with novel engineering. The Russian Military GU-50 tubes are all biased automatically and are plentiful on eBay.

A lengthy discussion with Rumen Atarski, the designer and principal of Thrax, reveals more of the intricacy that is inside the Enyo. He has borrowed heavily on the design and manufacturing expertise used in their flagship components to create an approachable masterpiece for those wanting top-quality sound yet still pay attention to the bottom line.

Much of the listening for this review came with our pair of Dynaudio Confidence 20s (with and without a six-pack of REL S/510 subwoofers) to excellent result. Yet, with the Focal Stella Utopias still here for a little while and the Sonus faber Stradivari’s in the main room, the test drive begs to be taken, especially considering the 92db/1-watt sensitivity of the Strads and the 94db/1-watt sensitivity of the Stella’s. Anyone listening to music at less than ear damaging levels could live happily ever after with an Enyo as the core component – it has more than enough nuance and resolution. After living with these two in the system, there’s no speaker I wouldn’t pair the Enyos with.

Setup and interaction

The full-boat Enyo is easier to set up than a Sonos. Plug it in, go through the menus and play music. If you check the phono stage option, your dealer will preset the onboard, solid-state phono section for your cartridge’s loading, and you merely select MM or MC from the menu. Thrax suggests bringing it back to your dealer for resetting impedance, should your tastes in phono cartridges change dramatically. Still, if you are a vinyl lover with multiple arms/cartridges, etc., you’ll probably buy an outboard phono stage anyway. (and Thrax has a very nice one…)

Everything else is available, including three RCA and one XLR line-level input, so if you do choose to expand your system, you’re covered. The DAC section is derived from the circuitry in Thrax’s Maximinus DAC and is on a separate card. When new digital functionality is developed, your Enyo will not be obsolete. It decodes everything, including DSD, and the network board works with DLNA and AirPlay wirelessly. Roon-ready certification is all but done and will further add to the functionality of the Enyo. You can read the fine details and the rest of the tech bits here, at the Thrax site.

Sonically speaking

Because this is a tube amplifier, it requires about 30 minutes to fully warm up, stabilize, and open up sonically. Atarski tells us that the ECC88 (6922/6DJ8) input tube “defines the sound of the amplifier, and they use Phillips, Tesla, and Tungsram as they are widely available.” He also tells us that a NOS Telefunken will bring the unit to a different level. These are available, but the best ones are about $300 – $550 if you can find them.

The Enyo sounds great with the factory-installed tubes, so we don’t want to insinuate that you must buy a $500 tube, but now that the thought is planted, we’ll have to call our friend Kevin Deal at Upscale Audio to get our hands on one. We’ve already found two sets of GU-50s on eBay for backup, as Atarski claims 1000 – 2000-hour tube life. These tubes were originally used in Russian MIG fighters, so they are mechanically very robust. It’s also important to note that the power tubes are biased automatically, so you will not have to bother with that aspect of tube amplifier ownership.

The overall character of the Enyo is open, dynamic, and dimensional. Where EL34 based amplifiers tend to be a bit larger, fatter, and perhaps more tonally saturated, with KT88/6550 based power amplifiers more dynamic but lacking in the ultimate inner detail, this amplifier walks a fine line.

Regardless of your musical taste, this one is easy to warm up to – pun intended. It is incredibly dynamic, and with the Sonus faber speakers and the Focals, they are both so efficient, the Enyo can play really loud. The Enyo has the body you associate with tube electronics, harmonically rich, but not overdone, listening to vocals and acoustic instruments. Listening to Todd Rundgren’s “Honest Work,” with 16 tracks of overdubbed vocals, the sound is spacious and engaging.

Switching the program to Jeff Beck’s Live at Ronnie Scotts and turning the volume way up shows off the ability of this amplifier to remain very composed with this densely packed recording, allowing the audience participation to fold in and out of the mix. Tal Wilkenfield’s rapid-fire bass solo leaves no room for lack of bass control – and again, the Enyo excels. Yet listening to some raw, demo mixes of early DEVO tracks not only keeps things in perspective, but the Enyo’s high resolving power stops this from sounding like a cassette tape. In the end, an incredibly robust 50-watt per channel amplifier that used within the limits of its capability delivers stunning sound.

Spinning some vinyl

As hinted at, the phono stage in the Enyo is excellent, albeit limited in functionality. However, this keeps in with the nature of this product. Suppose your vinyl involvement goes beyond a modest LP collection and turntable. In that case, you will probably want to order your Enyo without the phono board and use your favorite outboard phono stage. Or, if you start out as a novice vinyl enthusiast and decide to make a significant upgrade later, the onboard phono is perfect for a second table.

Excellent results were obtained using the Denon 103r, one of audio’s best values in a modestly priced/high-performance MC cartridge. The synergy was fantastic, and though the phono board is solid-state, its performance within this amplifier is excellent. The noise floor is very low, and the soundstage presented is large in all three dimensions. However, it is not to the level of performance that going up against the onboard DAC with high-resolution material will have you gasping for breath.

But again, our experience shows those dabbling in vinyl tend to buy a fairly modest turntable and a few hundred records, tops. This is precisely the end-user that will benefit the most from the built-in phono card. Convenient, good sound, and very reasonably priced. All in one box.

A winning combination

What really puts the Enyo in a class by itself is its ability to be a high-performance, single box solution. I’ve purchased the review sample to be one of our reference components; it’s that good. The key to this product is whether it suits your needs. If you’re the music lover that wants a great music system right now or the audiophile that is tired of the chase, then the Thrax Enyo is for you. This is precisely why we chose it as our 2020 Product of the Year in the integrated amplifier category.

Thrax.bg (manufacturer)

Highendbyoz.com (NA distributor)

MSRP: $12,500 (Integrated only)  +$1,175 Phono module   +$3,500 DAC/streaming module

Peripherals

Analog source Technics SL-1200 GAE/Denon 103r

Speakers Eggleston Nico, Dynaudio Contour 20, Sonus faber Stradivari, Focal Stella Utopia EM

Cable Cardas Clear

Back when we were still going to hifi shows, you might have caught the introduction of Boulder’s 866 at 2019’s Rocky Mountain Audio Fest.

I can’t even recall if they had a functioning sample yet, but Boulder’s Steve Huntley was showing it off and answering questions.

There are two versions of the 866, the analog model ($12,250) which features three balanced inputs, and the digital model ($14,450) with an onboard DAC/Streamer. The digital model is here and it is a lovely one (potentially two) box solution for anyone wanting an incredibly high performance digital/streaming based system. With 200 watts per channel into 8 ohms (400 into 4 ohms and 700 into 2 ohms) there are no speaker limitations.

The 866 is every ounce a Boulder. With boundless dynamic range and neutral tonal presentation, you can fine tune the sound to your liking.

Should you choose to control your Boulder 866 via ROON, the amplifier’s analog volume control (albeit digitally controlled) is all you need. Part of the way Boulder keeps the cost down on this one is by controlling it via an app.

Simple, beautiful, powerful.

We’ll have a full report soon, but this one is excellent straight out of the box.

www.boulderamp.com

Have you ever interacted with something made in Italy that didn’t elicit a major emotional response?

You never look at a Ferrari or Ducati and think “that’s ok.” Or slip on a pair of Italian shoes and not do a soft, comforting exhale. If you’re more computational in your approach to things, this may not matter, but if you favor a more intimate approach to things, here are a few components that might push all the right buttons for you.

Living with the Riviera APL-10 preamplifier and AFM-25 monoblocks for a few months now, every wonderful stereotype pertaining to Italian design applies. However in this instance, the beauty in outward design is more than backed up by the exquisite sound these components produce. The Riviera trio ticks all the boxes.

These components offer a simple, elegant, functional, and compact aesthetic. Those not wanting a large rack full of gear, will enjoy the form factor of the Riviera components. It’s a shame that they don’t make a matching phono stage or DAC to allow you to build an entire system based on this architecture. Two color contrasting color schemes are available, warm silver with a black center and gold control knobs, or dark grey with black center and sliver control knobs.

While American audiences can get carried away with a bigger is better mantra, the Riviera components are refreshing in the sense that they do not impose on the visual signature of a room. Don’t let the compact enclosures fool you, the preamp weighs in at 12kg (about 26 lbs.) and the monoblocks, 14.4kg each. (about 33 pounds each) You feel the density as you unbox them, and they are all enclosed in a velvet-like material. It almost feels more like you are undressing them instead of unboxing them.


A bit of background information

The APL-10 preamplifier is an all tube design, with three RCA inputs and a single balanced input, featuring a pair of RCA outputs. The monoblocks are a hybrid design. Luca Chiomenti was kind enough to answer my questions about these components, as they take traditional amplifier design in a different direction than some of their peers.

Riviera also offers balanced XLR inputs on the AFM-25 power amplifiers, but no balanced output on the preamplifier. Again, going with compatibility, they offer XLR inputs but prefer the simplicity of a single ended circuit. Trying the AFM-25s with Pass and ARC preamplifiers that offer both outputs, the single ended input of this amplifier does sound slightly more immediate, as if a slight veil is lifted. On most recordings, it was a strain to hear the difference – testimony to the overall design, but when listening to very sparse acoustic or vocal recordings, there is a touch more airiness in the presentation. If you make it easy and purchase a Riviera preamplifier, you will not have to agonize over this! As the name suggests, these amplifiers are rated at 25 watts per channel, into an 8-ohm load. There is no spec listed for 4 ohms, and our reference speakers (Focal Stella Utopia EM and Sonus faber Stradiveri) are 4 and 6 ohm respectively. We had no problem achieving high sound pressure levels with either.

The amplifier and preamplifier both use 12AU7/ECC82 tubes, and arrive with JJ ECC802S Gold versions installed. Of course, you can tube roll, but Chiomenti points out that they have to use current production tubes to meet ROHS and CE certification, but they can supply NOS tubes separately. A very nice touch, and for those wanting to go the extra mile with tubes, who better to find you the best possible NOS match than the man that designed the components?

Tube life is always a thought, and Riviera runs the tubes in their designs conservatively, with long life as the goal. LC is proud of designs that are now 35 years old still working well with original tubes! (but remember, those awesome NOS tubes were new back then…) He goes on to say “tube life expectancy in these amps is longer than audiophile life expectation, perhaps it will be a problem for your grandchildren.”  This tube lover says get an extra set of tubes anyway, just to have on hand. Your grandchildren will thank you.

The AFM-25 monoblocks are a Class A design that utilize a single ended Class A input circuit, which “is largely responsible for the overall sound of the amplifiers.” The output stage is solid-state, employing a push pull circuit comprised of Mosfets and BJTs. The result is a mixture that provides the advantages of both, with no drawbacks. Chiomenti again stresses that all of their circuits are “very carefully fine-tuned.” The more time spent in front of these amplifiers, the more their painstaking effort is appreciated.

Nearly instant results

Every circuit style/topology has somewhat of a signature sound, and if you are an audio enthusiast that enjoys Class-A designs, you might think you know what to expect with the Riviera monoblocks. I confess to loving solid-state, Class-A designs and have been using them for decades. Accuphase, Pass, Krell (the early KSA-50), Mark Levinson, Luxman and a few others, have all spent plenty of time front and center here.

Yet, a minute into The Pretenders’ “Private Life,” this is a completely different movie. A great class-A amplifier always has an organic, natural, reach out and touch it presentation, yet this pair goes beyond normal (i.e. very high) expectations. Swapping amplifier and preamplifier individually for other components confirms the initial impression – not only are these three boxes fantastic, they are even better together. Magia.

While the trio sounds good at turn on, like every other Class-A, and tube design, these components need about 90 minutes to fully warm up and stabilize. Once you become familiar with them, you will notice how they come out of a slight haze during the warmup period.
The closest thing in recent evaluation that these amplifiers feel like is the Pass XA 25, for their sense of speed and clarity, yet the Riviera amplifiers have slightly more tonal saturation than my Pass amplifier. And that’s a good thing. It’s been too long to fully remember, but the AFM-25s bring the same “a-ha” feeling that the original Mark Levinson ML-2 monoblocks offered. They will change your perspective.

Evaluating a lot of top components can make things blend together, especially considering how good gear has become these days. But the Riviera combo is indeed very special. They manage to be highly fast and resolving without being harsh, yet present music with a high degree of tonal saturation without feeling so warm in their presentation that you feel the music is losing pace. Finally, when used with the Sonus faber Stradivaris (which feature a sensitivity of 92db/1-watt) or the Focal Stella Utopias (94db/1-watt) the AFM-25s are both dramatic and dynamic.

Improving with time

These components offer a balance that is so realistic, regardless of the program material being served. Female vocals to hard core metal all delight with the Riviera amplification chain. Those needing still more can step up to one of two larger, more powerful amplifiers, and their flagship preamplifier is said to have even more resolving power. Thinking of the Riviera trio in the context of a final destination system, provided you have an efficient enough pair of speakers to keep them in their sweet spot, there is nothing lacking here. Thoughts of wanting anything more or less than what they offer never came to mind. That’s the ultimate success in an audio component.
The deeper you dive into your music collection, the more you will love the Riviera components. Revisiting recordings you’ve enjoyed for years consistently reveals more nuance throughout. The smallest of details are easier to distinguish, acoustic instruments and the human voice lose that last bit of mechanical nature that they often acquire listening to lesser gear. The balance that Riviera Labs has achieved makes these components worth every penny asked.

42 thousand dollars is by no means inexpensive; considering what one might spend for amplification with whatever pair of mega speakers you would choose, this is not crazy money. And other than needing more power, I can’t imagine musical reproduction getting better than this from a qualitative standpoint. Yet, we must reserve judgement until we hear the top Riviera components.

Much like a Ferrari or a Ducati, you can get similar specs on paper at a lower cost, but you can not get the experience they offer any other way. That is what the APL-10 and AFM-25 deliver. You’ve been warned.

Peripherals

Analog Source Grand Prix Audio Parabolica/Tri Planar 7/Koetsu Jade Platinum

Digital Source dCS Vivaldi ONE

Phono Pre VAC Renaissance

Speakers Focal Stella Utopia EM, Sonus faber Stradiveri

Cable Cardas Clear, Tellurium Q Silver Diamond

__________________________________________________________

$13,995 (preamp)

$27,990 (pair of monoblocks)

www.toneimports.com

www.rivieralabs.com

Removing the Questyle CMA Twelve from its black cloth bag is instantly exciting. Aficionados of fine design, machining, and assembly will really appreciate the exquisite detail and high level of finish the CMA Twelve offers.

It’s no coincidence that Foxconn, the same people who make the iPad and iPhone, build Questyle products and finish the level equally. The tight tolerances are beautiful to behold, with Questyle claiming a machining tolerance of .02mm. The few other manufacturers in the high-end audio world building at this level all have five and six-figure price tags attached.

The CMA Twelve is $1,495, with a $1,995 CMA12 “Master” version. The premium version uses a ROGERS Ceramic PC Board, which Questyle claims to “ensure ultimate performance,” though there is no other indication of upgraded parts in the owner’s manual. Like all other Questyle products, the CMA Twelve is available in a matte black and matte warm gold finish. Its slim form factor of only 1.38 inches (55mm) tall, 12.99 inches (330mm) wide, and 7.87 inches (200mm) deep, makes it easy to integrate into your system and environment. A 5mHz module is also on the rear panel, perhaps anticipating a return of Questyle’s wireless amplifiers.

The front panel features outputs for 4.4mm BAL, 6.35mm (standard ¼”) UNBAL, and 4-pin XLR headphone cables. Moving around back, optical, digital, SPDIF (RCA), and AES/EBU (XLR) inputs should take care of any potential digital source you might have. This is not a streaming DAC, so there is no Ethernet input, and there are no analog inputs either. If you’re using the CMA Twelve as a self-contained, personal listening station, there is no provision for plugging in a phono stage or going line in from your preamplifier.

With several good disc transports on hand from Cambridge, Technics, and dCS to choose from, along with a vintage SONY ES player (with optical output) and Aqua’s new streamer, it was easy to put the CMA Twelve through its paces. When in Rome…

Sonically engaging

The dCS Vivaldi transport revealed the outer boundaries of the CMA Twelve’s performance envelope and was used for most of our disc-based listening sessions. The Aqua streamer was called in to play Tidal and Qobuz files via ROON. Anyone with a bit older CD player can expect an incredible upgrade to their players’ sound. Even if you never use the headphone section, the CMA Twelve is easily worth well more than its asking price used merely as a high-resolution DAC.

Favorite phones from Audeze (Orig. LCD-2), Focal (Stellia and Utopia), and Grado (RS-60s) were on hand for nearly all of the listening sessions – with excellent results. There is no adjustment for headphone impedance anywhere, but this amplifier has no problem driving any load. Questyle claims an output of 2 watts per channel via the XLR output. I was incredibly tempted to plug them directly into our Zu Audio Dirty Weekend speakers (with their 97db/1-watt efficiency rating) to try the CMA 12 as an integrated amplifier!

A big part of the sound (or nearly complete absence of it) of the CMA twelve is its utilization of current-mode amplification, a Questyle patented technology. Those wanting an in-depth explanation of this amplifier orientation can click here to go to the Questyle website. Bottom line, Questyle claims that operating in current mode makes for lower distortion and faster transient response. Running through our usual set of phones, this is a valid claim, especially on musical selections with solo, breathy vocals. Using Johnny Cash’s American Recordings to further investigate this, his signature huskiness is clearer, with more of a resonant ring. Drums and percussion have more power and distinctiveness, without feeling harsh or brittle. Tracking through a number of our favorite Blue Note tracks (high res and CD res versions) easily show off how well this DAC does with acoustic drums, piano, and percussion, offering up a convincingly real presentation of tone, timbre, and attack/decay.

Digital adventures

Taking advantage of the AKM AK4490 chip, and Questyle’s True Direct Stream process does not require any PCM conversion. Music lovers with large DSD collections will experience a higher level of signal integrity than they would with a DAC that must convert the data. Unfortunately, we do not have enough DSD selections here to really comment, other than to say that what we did audition sounded excellent.

As mentioned earlier, the CMA Twelve’s digital performance is so much more refined than any of the other $1,500 DACs we’ve experienced, even if you aren’t a headphone listener, this device is well worth it, as a DAC alone. Using it in this context, with the Aqua LinQ streamer turns the CMA Twelve into an impressive music server, though nearly everything we used in this manner dwarfs the Questyle box in physical size. Merely flipping the front panel switch from Headphones to DAC to get a fixed output and bypass the front panel volume control, again offering slightly more resolution and musical clarity.

With so much emphasis put on high-resolution files, it’s easy to forget about 16/44. Considering that most of us still either have or stream the bulk of our music at this resolution level, it’s important to note that Questyle hasn’t abandoned CD quality resolution in pursuit of high res. Whether we were playing files from a streamer or disc transport (and we highly suggest the $599 Cambridge CXC for this task) the CMA Twelve shows just how engaging CD playback can be in the year 2021.

The overall sound of the Questyle is dynamic and neutral – neither embellishing nor detracting from the music being played. You can easily fine-tune to your personal preference with your choice of headphones. Questyle offers a high/low bias switch on the CMA Twelve’s front panel, offering more current drive for lower impedance phones. Even with a few lower impedance phones, we struggled to hear a difference with this switch in either position, in this case, your mileage may vary, and this is worth investigating.

Going out of my head

Taking advantage of the variable outputs makes the CMA Twelve the perfect building block for a two-channel system, which leads to the only real complaint about this box. With its sonic quality as good as it is, it’s a shame there isn’t a single analog input, so an analog source could be added.

That said, using the CMA Twelve with a handful of solid-state and tube amplifiers from PrimaLuna, Pass, C-J, and BAT was a lovely experience. This is an excellent linestage preamplifier. If you’re a music lover that is purely digital in your musical pursuits, don’t overlook using the CMA Twelve as your core component. Driving a 30-foot pair of Cardas Clear interconnects (RCA or XLR) proved to be a snap for the CMA Twelve, so its small footprint makes it easy to set up close to your listening position and running a long-ish set of cables to a power amplifier and speakers.

A lot to love

In the end, the Questyle CMA Twelve DAC/Headphone Amplifier gets an A and our first Exceptional Value Award for 2021. Would I love a CMA Fourteen, with an analog input and maybe a matching form factor Questyle phonostage? You bet. However, used within its intended purpose, the CMA Twelve is at the top of similar offerings.

Engaging as the CMA Twelve’s sound is, this component’s build quality is without peer at any price. We’ve unboxed enough five-figure components that look like they were made in shop class by comparison. There’s something wonderful about using a component that is this well made, and I hope we see a wider range of products from Questyle in the future.

www.questyle.com (manufacturer)
www.bluebirdmusic.com (US and Canadian distributor)

I have a confession to make. There are multiple records in my record collection that I have bought but still haven’t listened to.

And there are records in my collection that I no longer love. As part of the ongoing new year’s resolution to de-clutter, The LP collection here is getting another round of sort and dispose. This may sound heretical to some of you but about four years ago, Pam helped me go through my collection of about 11,000 LPs and see what I didn’t listen to anymore. So we’re all clear, this was not my wife on my case about having too many records, it was me pondering someday having to move all that vinyl.

It took us a week to go through, sort, re-catalog, and decide what would go and what would stay. A few days later, I had about 3500 LPs in my collection. Erik at Gig Harbor Audio was kind enough to take them all off my hands and give me a fair price for them. (If you bought some cool records at GHA in the last few years, chances are high, there’s a little bit of me in your record collection!)

However, with promos coming in, purchasing some records over the last two pre-COVID years and general entropy, the force is telling me that another round of cleanup needs to happen. Years ago, we picked up the WaxRax RC-2 record cart, and it remains a fantastic tool in the listening room.

So, here’s how it’s breaking down:

The RC-2’s 300 record capacity will hold the top 300 records I hold dear. This will make it easy to roll those records between rooms 1 and 2 for easy equipment evaluation. As I’ve been collecting vinyl from MoFi since day one, an entire bank of shelves will be devoted to MoFi. Everything else will be in alphabetical order for somewhat easy access, and I’m removing the shrink wrap from anything that’s gotten away.

A pair of road cases make the perfect storage space for all of the 45rpm maxi singles in my collection, placed conveniently next to the Technics SL-1200 Mk. 5 with Shure M44 cartridge. But there will be no scratching. Sorry, I just can’t go there.

Finally a new pile of “records that haven’t been listened to” in one crate will be placed front and center to get on top of immediately.

Next, it’s time to get all the CD’s and SACD’s in order.

So far I haven’t found anything that has to go.  :).