TONEAudio MAGAZINE The Concierge of High End Audio

Here’s a few extra shots from the Coldplay show at the Clark County Ampitheater.  Review and more pics to follow in issue 23.

For a few years, MartinLogan’s Summit was their flagship speaker, and it received worldwide praise. At the beginning of this year, MartinLogan took what they’d learned building the new flagship CLX full-range electrostatic speaker system and the Spire hybrid, and they created the current Summit X.  Just like the Summit, it features a pair of powered 10-inch woofers with one facing toward you and the other firing toward the floor.

Though it looks similar at first glance to the Summit, the Summit X is a completely different product.  MartinLogan’s Devin Zell told me, “We scrapped the CAD drawings for Summit X.  The panel is new, the woofers are new and the crossover is new.”  ML also added some cool light-blue lights that fire from underneath, giving the speakers a glowy feeling in your room.  “We just did that for fun,” Zell laughed on the phone as we discussed the added bling.

For many of you who like to listen in complete darkness, this is probably not going to be your bag.  But put me on the list of people who like it.  If they could only make them glow lime green to match the LEDs on my Naim and Burmester gear, I’d like it even more.  One handy addition to the lighting is the added LED that lights up the 25 and 50hz settings on the woofer modules, and work quite nicely.  This makes fine adjustment on the speaker easier than it was with the standard Summit.  And yes, you can shut it all off, which should keep all the molemen in the audience happy.

The Subtle and Not So Subtle Differences

For those of you not familiar with the MartinLogan product line, the Summit X has a rated frequency response of 24-23,000 hz (+/- 3 db) comprised of an electrostatic panel mated to a pair of  powered 10-inch aluminum coned woofers at a crossover frequency of 270hz.  It also features a pair of bass level controls at 25 and 50hz, which makes the Summit X easy to adapt to your room.  On paper, the specs are essentially identical to the original Summit that it replaces.

MartinLogan finished the production run of the Summit in 2008, and the Summit X became available in spring 2009. The Summit X carried a price increase of $3,000 over the Summit, and despite rumors that the Summit would be upgradeable to X status, this was not the case by the final release of the new speaker.  Quite a few people at MartinLogan anguished over this, but by the time the design on the Summit X was finalized, there were too many physical changes in the new speaker to make the upgrade possible and cost effective for the customer as well as ML.

Where the last version of the Summit started at $10,995, the Summit X’s base price is $13,995.  As in the past, a wide range of custom finishes is available through the MartinLogan custom shop.

Straightforward setup with care

The enclosed manual with the Summit X should get you set up in short order, and there are really two sides to this story.  The legacy MartinLogan owners probably don’t need much input from me, and many of you have your own theory on how you like your Logans set up.  Personally, I like ’em as far away from the side walls as possible.

While this is not convenient for everyone, the further you can get these babies from the side wall, the greater reward you will reap in soundstage width.  The Summit X worked much better on the short wall (16 feet) of my studio than my reference CLX’s, when on the long wall (24 feet).  With each speaker about seven feet from the side walls, they really opened up.  If you just can’t achieve this in your listening room, some modest room treatment just behind the panel and about two feet in front of the panel on the side wall will help tremendously.

Again optional, but well worth it if possible, is to get everything out from between your speakers.  Because they radiate from the front and back, the stereo image really suffers with a big rack of gear and giant flat-screen TV between the Summit X. Or any other panel speaker, for that matter.

My final listening position had the speakers just over nine feet apart, with the front surface of the panel 42 inches from the rear wall, slightly toed-in.  This put my ear-to-speaker distance just shy of 10 feet.  I would suggest at least a Radio Shack sound-level meter and a test tone disc to fully adjust the 25hz and 50hz controls on the back.  This along with some careful positioning will help smooth out the bass response of the Summit X and give you their maximum drive.

Identical to the last three MartinLogan Hybrid speakers I’ve used, the Summit X will require about 200-300 hours before sounding its best and achieving the maximum amount of integration between the dynamic woofers and the electrostatic panel.  When you first fire them up out of the shipping cartons, the bass will sound somewhat slow and bloated, no matter where you have the woofer controls set.  The biggest improvement will be in the first 100 hours, with incremental smoothness happening thereafter.

Not as sensitive to placement as the CLX, the Summit will still benefit from careful adjustment.  Once you have the speakers where you feel is the proper place, use your measuring devices of choice to get them identically placed from the rear wall in terms of toe-in and rake.  If you can get each speaker within  one-quarter to one-half inch of the other, this will help the image size and focus.  Thanks to longer spikes than the Summit, the Summit X offers a wider range of adjustment on the speaker rake, making them easier to adapt to your listening position.  If you like your seating position further back, angle the speakers backwards more.  If you like to sit closer, you can now angle these speakers from 11 degrees to -1 degree.

The sound

All of the top-range MartinLogan electrostatic speakers share a similar sound; big, open, airy and very dynamic.  As I said in my review two years ago about the original Summit, this is an electrostat on which you can play Metallica if you have enough clean amplifier power.  They are not as dynamic as a pair of Wilson Maxx 3s or some large horns, but the slice of musical heaven these speakers offer cannot be had by cone speakers either.

The Summit X continues this tradition and improves on all of the Summit’s strengths with no downside (other than the increased price).  Even though the frequency response specs are the same, this is indeed a different speaker.  The big improvement is in the quality of the bass response and the integration of the cone drivers.

MartinLogan calls it “Controlled Dispersion PoweredForce^TM Bass” (Say that ten times as fast as you can). You can read the full technical details on their website at:

http://www.us.martinlogan.com/speaker_details/summit_x.html

The bottom line: it works very well.  While the Summit X comes up a bit short in comparison to the flagship CLX in terms of upper bass speed and articulation, I feel that it takes hybrid speaker design to a new plateau.

No matter what kind of music you like to listen to, the Summit X will deliver the goods. The main strength of the Summit X is that it throws a huge soundfield in all directions, giving the listener a very immersive experience.  This is the MartinLogan magic at its best.  These are speakers that you will respond to strongly, or they will not be your cup of tea.

Thanks to that low 270hz crossover point, most of the music is reproduced by the panel, and this coherency is what gives the Summit X most of its appeal.  Male and female vocals are both reproduced exquisitely, and the speaker does an amazing job at disappearing in the room for its size.

When the low-frequency controls are properly adjusted, the Summit X has a substantial amount of deep, controlled bass that should satisfy 98 percent of its owners.  If you listen to a lot of pipe-organ music or club music with a lot of deep bass and the 24hz cutoff of the Summit X is not enough, you can add one or two Descent i subwoofers.  When adding the Descent i to the system and letting the Summit Xs run full range and crossing over the Descent at 35hz, I was getting solid, wall-shaking output when playing the 20hz test tone on the Stereophile Test Disc.

The Burning questions

Analysis paralysis is setting in but people want answers, so I’m going to put my head on the chopping block.  The Summit X is definitely an improvement over the original Summit and in my opinion definitely worth $3,000 more than the earlier model.  Listening to them side by side in the same system, the X model does a better job at bass integration with the panel0 and thanks to the dual woofers, it should not need a subwoofer except for all but the most demanding applications, or for heavy-duty home-theater systems.

Just like the Spire, the midrange in the Summit X is slightly less colored than that in the original Summit, though you don’t notice it until you hear both side by side.  I’ve seen people buy $3,000 worth of wire that didn’t offer anywhere near the improvement in performance that the Summit X does over the original, but I can’t tell you how to spend your money.

The Summit X also edges out the Summit in terms of low-level detail retrieval and microdynamics.  Cymbals and percussion instruments fade out with longer gradations than they did before, and very dense musical pieces are unraveled more easily.  Listening to both speakers side by side, each seemed to be able to play equally loud without fatigue. So this is definitely an evolutionary upgrade.

This builds on the strength of the original Summit – the Summit X is a resolving speaker that can be used to judge source components costing considerably more.  While $13,995 is by no means a budget loudspeaker, the Summit X holds its own in a six-figure system.

The dilemma facing the small group of Summit owners who want to make the step up is the cost of the upgrade.  They’re looking at about a $7,500 investment to make the leap from Summit to Summit X because the current used pricing of Summits is hovering around $6,000.  That’s the tough call and some feathers have been ruffled, but no one said playing the HiFi game at this level was going to be easy.

Tubes or transistors?

The other big question with the Summit X is what to drive them with, and there is a fairly wide range of discussion on this topic.  Many people swear by “tubes and stats,” and I used to use my CLS’s with the legendary Audio Research D-79.  But the current MartinLogan speakers dip to .7 ohms at 20khz, so if you have a tube power amplifier, I might suggest an audition with your amplifier before buying the Summit X, even if it means lugging your amp to your MartinLogan dealer.

The tube amplifiers with which I’ve achieved the best results with current MartinLogan speakers have been the BAT VK-55SE and PrimaLuna Dialog Monoblocks.  Even though these are medium-powered amplifiers in the 50-60 watt per channel range, they offer low-output impedance taps, offering a better transfer of power to these speakers.  I’ve also had excellent results with the Manley 250 monoblocks.

I feel that mating tubes with the Summit X is a case-by-case situation. You’ll know when it’s wrong immediately.  If your favorite tube amp doesn’t have the juice, the speakers that sounded great at the dealer will sound like they have blankets over them in your listening room.  Don’t say I didn’t warn you.  Though these speakers have a fairly high efficiency rating of 91db, the more clean power you can throw at them, the better.  I did not get the same level of dynamic contrast with 70-100 watt amplifiers as I did with 300- 400 watts per channel.

A worthy successor

I’d call the Summit X the Charles Barkley of loudspeakers.  It plays better than it will probably ever get credit for and it would have been a superstar if Michael Jordan (the CLX) hadn’t come along at about the same time.  But it’s still able to mop up everyone else on the court. Well, I can’t compare speakers to cars all the time, can I?

The good news is that the Summit X is about $10,000 less than the CLX, it has a lot more flexibility and it doesn’t require a pair of subwoofers to really give its all.  So perhaps it is a better value for all but the most demanding listener.  The Summit was one of my favorite speakers of all time, and the new Summit X is even better.  Properly setup with electronics to match, these speakers will paint a huge musical canvas for you to enjoy.

If you currently have the Summit, I’m guessing you will probably pass on the upgrade unless you can easily absorb the price difference. For those new to MartinLogan or trading up from further down the range, it is truly a fantastic speaker and a very worthy competitor in its price range.

Manufacturer’s Information

The MartinLogan Summit X

MSRP:  $13,995 (base finish)

MartinLogan
2101 Delaware
Lawrence, KS 66046
785-749-0133

www.martinlogan.com

Peripherals

Digital Sources    Naim CD555, Wadia 781i, Sooloos Music Server

Analog Sources    Spiral Groove SG-2 w/Triplanar Arm and Lyra Skala cartridge, TK Acoustics Raven 2 w/SME iV.Vi arm and Dynavector XV-1s

Preamplifiers      Burmester 011, Conrad Johnson ACT2/series 2

Power Amplifiers     Burmester 911 mk. 3, Conrad Johnson Premier 350, Nagra PSA, BAT VK-55SE,  Moscode 402au, Sanders Magnatech

Interconnects        Shunyata Aurora Speaker Cable     Shunyata Stratos SP

Power Conditioning      Running Springs Jaco and Dmitri, Shunyata Hydra 2, Shunyata Anaconda power cords and RSA Mongoose power cords

Vibration Control    Burmester V2 and V4 racks, Finite Elemente Cerapucs, Ceraballs

Room Treatment       GIK 242, GIK Tri traps, Sonex Classic

Accessories        Shunyata Dark Field Cable Elevators, Furutech DeMag, Clearaudio Simple Matrix record cleaner, VPI 16.5 record cleaner, MoFi record cleaning fluids

Features

Tribute: Michael Jackson Remembered
By Sally Smith Clemens

Old School: Adcom’s GFP-555 Preamplifier
By Mark Marcontonio

Budget Gear: The Moon i-.5 Series
By Mark Marcontonio

The Journeyman Audiophile: Taking
The Technics SL-1200 to the Max.
By Jeff Dorgay

Leica Rolling Stone: The Rocking World of Jim Marshall
By Jeff Dorgay

A 1975 KISS Adventure
I Dreamed I Was On Stage With KISS in My Maidenform Bra
By Jaan Uhelszki

Inside Neil Young’s Archives: A Chat With L.A. Johnson
By Bob Gendron

McIntosh at 60! : A Visit to Mac Headquarters and a Chat With
CEO Charlie Randall
By Jeff Dorgay

Tone Style

The Aston Martin DBS w/Bang & Olufsen HiFi System
Yeah, It’s That Good

Splash Some Color in Your Living Room
The Art of T.Scott Stromberg

Simpsons Stamps
Fun While it Lasts. DOH!

The HP 110XP Netbook
Leave your MacBook at home

The Rebirth of Marantz
The Reference Series Components are Fantastic

Music

Live Music: The TONEStaff Covers Recent Shows
By Elton John, St. Vincent, The Allman Brothers,
Reeves Gabrels and David Byrne

The Art of Music
Ben Fong-Torres discusses the creation of the Allman Brothers
Famous Live at The Fillmore East Album cover.
By Ben Fong-Torres

Current Releases:
Fresh Releases in the Pop/Rock World
By the TONE Staff

Julian Lage From Guitar Prodigy To A
Smashing Debut
By Jesse Hamlin

Audiophile Pressings Presented by Music Direct
Beck, Carly Simon, Chicago, The Doobie Brothers, Neil Young,
Alice Cooper and more.

Woodstock 40th Anniversary Releases
One more for the road
By Bob Gendron

On Choosing Great Demo Music
How to decide what to play, when
By Jeff Dorgay

Reviews

The Burmester 061 CD Player
Art for the Ears Indeed
By Jeff Dorgay

Previews

Fosgate Signature MM/MC Phono Stage
By Randy Wells

Clearaudio’s DaVinci Cartridge
By Jeff Dorgay

The BAT VK-55SE Power Amp
By Jeff Dorgay

The Grant Fidelity RITA-340 Tube Integrated
By Jerold O’Brien

DarTZeel CTH-8550 Integrated
By Jeff Dorgay

Shunyata Aurora Interconnects
By Jeff Dorgay

Reviews

60th Anniversary Classics from McIntosh
By Jeff Dorgay

Sound & Style: The Verity Audio Sarastro II Speakers
By Jeff Dorgay

Sanders Magtech Power Amplifier
By Rich Kent

JL Audio’s Fathom F110 Subwoofers
By Jeff Dorgay

The Morel Octave 5.2 Speakers
By Jeff Dorgay

PMC TB-2i Speakers
By Hood McTiernan

Focal’s Diablo Utopia Speakers
By Jeff Dorgay and Hood McTiernan

The ZU Essence Speakers: Crank Em Up!
By Jeff Dorgay

Headphone Planet:  Carat Topaz Amp and Polestar USB Cable
By Jerold O’Brien

SLUMMIN’
Nak 550 portable and Pioneer 563 Universal player

If you’d like a bit more interactive experience with us and our readers, join us on Facebook chat.  Rather than subject you to the trolling of a forum, we’ve decided to set this up in more of a “salon-like” environment.  We’ll be discussing new gear, upcoming reviews, new music and whatever else is on your mind.

You can join at:

http://www.facebook.com/group.php?gid=102224501230&ref=mf

Stop by and say hello when you have time, we look forward to hearing from you.

After a very nice visit with the folks from Quadraspire racks http://www.quadraspire.co.uk/  we were off to see Sir Elton John.  Full report in the next issue of TONEAudio,due out on the 26th of the month.   Now, it’s off to the REGA factory and owner, Roy Gandy’s  home to get a sneak peek at the latest gear they are soon to release.

Major announcement on Tuesday so stay tuned!

Had a great visit at the Chord Company, makers of excellent British cables.  These guys take their manufacturing quite seriously and build everything in house, no offshore manufacturing here!

The plant is spiffy and ther work is great.  You can’t find a bigger group of music lovers than the Chord folks and the proof is in the final result.  Watch for a review soon..

www.chord.co.uk

After a great morning at the Chord Company, we were takento visit stonehenge…  The most amazing thing is that it’s just off the freeway!  Either way the view is breathtaking and the folks at Chord are wonderful.

Watch for a full factory visit story soon!

The rumors are confirmed.  On September 6th at 8pm, at the Akron Civic Theater in Akron, Ohio, TR will perform this album in it’s entirety.  This is a first, as TR has never performed this record in its entirety live, so some of the tracks have been concert staples for years.  In addition to current bandmates Kasim Sulton, Jesse Gress and Prarie Prince, he will be joined by Greg Hawkes (The New Cars) and former Utopia bandmate Roger Powell.

Rundgren’s wife Michele told us that “The fans were just crazy for this show to happen; it’s all their doing.”

Count on major coverage in the October issue of TONE, we’ll be there before, during and after the show!

You can get more information or purchase tickets at:

http://www.awatslive.com/

We are all excited that Neil Young chose to run Bob Gendron’s article about his new box set in the news section of his website. You can check it out here:

http://www.neilyoung.com/news/index.html

Feast your eyes on this baby!

We just got Dartzeel’s latest integrated amplifier in for review and it is truly a thing of beauty.  230 watts per channel and inputs for just about everything.  It even comes with a super cool USB key to activate it.

Watch for a review soon.  This is a truly amazing amplifer.  Also available in black for those of you that aren’t crazy about gold.

www.dartzeel.com

If you are a big Bob Dylan fan and would like a great news feed, check out www.expectingrain.com

This shoud keep you busy for a little while!

For those of you that enjoy the sound of high performance (engines, that is), Club Mix columnist Scott Tetzlaff is waiting for qualifying to start soon for the Monaco Grand Prix.

Stop by www.formula1.com to keep track of who’s going to be where on the grid Sunday morning.

Hey, we can’t just geek out with stereos all the time!

I had my first experience with LFD  in 1998 when I purchased their Mistral amplifier on the suggestion of my dealer, Gene Rubin, of Gene Rubin audio.  It was such a good amplifier, that even after upgrading my analog front end to five-figure territory, I was still very pleased with the Mistral.

Last year, Gene sent me the LFD Zero LE III, which was basically a Mistral with higher quality parts throughout.  At $2,495 it was an incredible bargain and even at the current price of $3,195 this is still one of my favorite integrated amplifiers.  I am still haunted by the high level of performance by that modest, minimalist amplifier and regret not buying the review sample.

The current offering from LFD, the NCSE (New Chassis, Special Edition) has taken their design even further using Vishay bulk-foil resistors, Shinkoh tantalum resistors, silver internal wiring and a very robust case that adds eight more pounds over the LE III. The faceplate is unusually thick for a British integrated and is similar to what you might see on a big American monoblock.
The four rubber feet from previous versions have now been upgraded to three isolation devices that consist of a viscoelastic foot that fits into a milled aluminum cup. Power output has taken a jump to 70 watts per channel, up from 60wpc in the LE II and 50wpc in the original Mistral.  Even with the power increase, the LFD runs cool to the touch, so it will easily fit in tight spaces without a problem.

Act now!

At $7,500, the NCSE is not inexpensive, but there is an introductory price of $6,000.  LFD had a similar pricing policy with their past models, so if you are intrigued, I suggest getting in at the beginning of the production cycle before the price goes up or something else wacky happens in the currency markets.

LFD is a low profile company that takes pride in hand assembling their amplifiers, but part of what makes the NCSE so special, is that designer Richard Bews assembles each unit personally.  Every aspect of the amplifier exudes craftsmanship with understated elegance. The compact size and dark grey casework will blend into your decor quite nicely.  If you need the approval of your audiophile buddies that own gargantuan amplifiers and huge heatsinks, the NCSE may not pass muster, but the minute you turn it on, I guarantee they will be impressed.

Items for the wish list

I only have two complaints with the NCSE; the lack of a remote control and the crowded rear panel.  I can certainly understand the purist approach taken by LFD, eliminating every bit of unnecessary circuitry from the main board, but an amplifier at this price point should provide a remote, even if a very basic one with volume and mute options.

The RCA jacks and speaker binding posts are very close on the rear panel, too close to use some premium cable with the amplifier, and this amplifier’s performance is worthy of the best cable you can afford.  The speaker binding posts are so close together that many of the larger cables will be difficult if not impossible to use with spade lugs.  If you do not have a lot of room behind the LFD, sticking to banana plugs will be best.

The NCSE features five line level RCA inputs along with a tape monitor input and output.  As you can see from the front panel, there are no markings for the various inputs, so you will have to commit your sources to memory.  A phono stage is not available as an option, so an outboard phono stage will be necessary for LP lovers.  I found excellent synergy between my Lehmann Black Cube SE and the NCSE, using Audience Maestro interconnects.

On to the good stuff…

Anyone who has owned or used LFD gear knows that these criticisms are minor and those willing to forgo some functionality in search of performance won’t find any of this an issue.  As with past LFD amplifiers, the NCSE required about three days of continuous play to settle into its character and sound its best.  Initially, I found the presentation slightly laid back, but with a very wide-open soundstage that spread out behind the boundaries of my room.  Once adjusted to this new perspective, I was reveling in the detail, noticing the sizes and shapes of the presentation in my favorite records.

The NCSE was a fantastic match with the Harbeth Monitor 40.1’s (which you can also get from Gene Rubin), doing what only the best gear does – offering ever bit of nuance your recordings have to give without sounding analytical or harsh. Many have called the LFD amplifiers “tube-like” and I think the NCSE comes even closer to that description than its predecessors.

After hearing “Prophecies” used in the film Watchmen, I had a hankering to go home and listen to my Nonesuch pressing of Koyaanisqatsi. Even though it had been a while since I last listened to this LP, I was immediately struck by the fact that I could make out individual voices in the choir and follow each person all the way through certain passages. While listening to folk-singer Sarazin Blake’s newly repackaged 2007 CD, The Air Your Lungs Forced Out, I was treated to a wealth of information that was downright surprising, relishing the way Blake’s guitar amp would make the snare drum rattle and buzz on certain notes or the way the four musicians would move and shift their positions slightly throughout each tune.

When auditioning the LE III, I was always impressed with the quality of low bass information present, but the NCSE offered more extension and slightly more warmth. On the new MFSL LP pressing of Linda Ronstadt’s Prisoner in Disguise, Kenny Edwards’ bass sounded unusually rich and full without being boomy or over-extended. Low frequency information continued to be tactile and textured throughout a variety of recordings, with just a little more pluck, a little more flesh-against-string and a little more interaction with room boundaries clearly evident.

Into the sunset…

Boxing the NCSE back up at the end of the review, I’m reminded of the ongoing conversation I’ve had with fellow audiophiles about the “Golden Years” system, the one that you retire with after you are finished keeping up with the Joneses and playing the upgrade game. This is an amplifier that I could live with forever.  If sound quality is your priority and you can forgo the remote control, I highly suggest the LFD NCSE.

The LFD NCSE integrated amplifier

MSRP:  $7,500 (introductory price, $6,000)

Where to purchase in the US:

Fidelis AV (the US importer)  www.fidelisav.com

Gene Rubin Audio   www.generubinaudio.com

Bob Mould arrived at Chicago’s Old Town School of Folk Music on the last Sunday in March with the intention of playing an intimate solo acoustic show in support of his new Life and Times (Anti) album. Yet as he’s done throughout his career, the iconic singer/songwriter/guitarist deviated from the script.

Joined by bassist Jason Narducy, a veteran member of Mould’s touring band, the former Husker Du frontman treated the sold-out crowd to an invigorating career-spanning set that culminated with the 48-year-old musician plugging in an electric guitar that spit distortion in a venue renown for quiet and restraint. With his voice in pristine shape and emotions running high, Mould’s gray whiskers and bald head were the only obvious indicators of his status as indie-rock’s elder statesman. Whether excited to test out material from the new record-his second in 13 months-or simply charged by the thrill of delving into his rich catalog, Mould remained engaged from start to finish.

Dressed in a navy blue shirt and blue jeans, the workman-like vocalist didn’t come to chat. “You know me and talking. It’s just better to go…,” he announced before launching into a caustic rendition of “Poison Years,” one of five tracks drawn from 1989’s celebrated Workbook. Similarly, “Brasilia Crossed With Trenton” found him rocking back and forth at the microphone while choking the lifeblood from his guitar, his facial expressions a mess of agitation and disillusion. After he finished the epic tune, mental exasperation forced him to move to another place. “We had another one from Workbook but I’m feeling trapped by my past,” he admitted in the midst of the 90-minute concert.

Mould’s past proved nothing if not cathartic. His cracked falsetto and nasal accents produced the illusion of vocal echoes on “Wishing Well,” a track propelled forward by wavy chords and Narducy’s nimble accompaniment. “See a Little Light” shook and swayed, its bright tuning indicative of the cautiously hopeful lyrics. “Favorite Thing,” a gem from Mould’s days in the 90s pop-rock trio Sugar, jangled with anticipation. “If I Can’t Change Your Mind” persuaded with ringing melodies and magnetic hooks. Throughout, Mould tailored the strumming to each song’s needs. As his right arm loosely dangled over the instrument’s body, his right hand alternately stabbed, snapped, scraped, and swiped at the strings.

Few artists know how to get more from less. Primarily avoiding solos, Mould built songs up to a breaking point and brought bruised narratives into the forefront. Raw and vulnerable, a number of his newest songs seamlessly blended in with time-tested classics. Seething frustration poured through the deceptively mellow “The Breach,” an introspective number that, like many others on this night, tried to make sense of the disconnect, fallout, regret, anger, and ache that stem from troubled relationships.

In this regard, few songs were better than the bittersweet kiss-off “I’m Sorry, Baby, But You Can’t Stand In My Light Any More.” Questioning himself as much as the behavior of his discarded partner, Mould sang “I always find the broken ones/What does that say about me?,” hitting on a subject that has forever been a staple of great pop music.

If you ever doubted the value of buying a $35 case for your iPhone or iPod touch, here’s the proof.  All it takes is a nudge from an unsuspecting terrier’s nose and your iPhone is crashing to the tile floor.  This 30″ drop yielded a $200 repair.

Don’t think you’ll be headed to the Apple Store for a replacement either.  You only get ONE $199 iPhone 3G if you are an existing iPhone customer.  Perhaps the advertising is a bit misleading?  I wish the freindly guy at the Apple Store would have told me something like “guard this baby with your life, because the next one will set you back $600…”  And like other cell phones at the AT&T store, you can’t buy an insurance plan for your iPhone.

The good news: you can have it repaired from Apple for (you guessed it) $200, or if you are very technically inclined can get a kit to repair it yourself for $65.  Usually up for a challenge, I backed down on this one, as my iPhone 3G is only a few months old.

Lesson learned, be careful with your iPhone 3G.

For those of you that were fans of the Aragon and Acurus brands, they are making a comback!  Ex-Klipsch employees Rick Santiago and Ted Moore have purchased the brand and will be starting on new products ASAP.  We will be finding out shortly what, if any plans they have for repairing legacy product.

TONEAudio staff writer Todd Sageser will be taking a trip to their lab very soon and we will have a report on what the new owners are up to.  There are some rumors that they will be bringing on another big name or two in the engineering department, so we’ll let you know as soon as a decision is made.

We wish them the best of luck.

http://www.indyaudiolabs.com/news-page-1.aspx

Just got back from Los Angeles and a few days behind the wheel of the Aston Martin DBS with Club Mix editor Scott Tetzlaff.  The goal was to evaluate the Bang & Olufsen stereo system for the next issue of TONEAudio, but the hidden agenda was to evaluate the thrust of the 510 horsepower, 6-litre V-12 under the hood.

Best of all, on the way home, our pilot on Southwest Flight 500 informed us that we were traveling on a brand new airplane.  New car smell and new plane smell all in one weekend!

If you would like some more information about this beauty, just click the link:

http://www.astonmartin.com/eng/thecars/dbs

If you love tubes as much as I do, you know the lure of finding great NOS tubes.  There aren’t that many lurking in garage sales anymore, so the chance of finding a cache of Mullards or Telefunkens for five bucks is slim to non-existent.  Even the old ham radio operators know about eBay now and price their booty accordingly.

The designer and end user face the same dilemma; where to get the good tubes without breaking the bank.  Many love the sound of the old Telefunkens, Mullards and Phillips 12AX7s, but the best examples can fetch 200 – 300 dollars on the right day.  Just like buying parts to restore a vintage Porsche 356, there are only so many NOS parts to go around and those remaining get more expensive by the day.  Fortunately all but the very best 12AU7’s are still below 100 dollars each, but again as supply goes down and demand goes up, the end result is inevitable.

New New Stock

Having had excellent luck in the past with the TJ Music 300B’s, I was anxious to try their small signal tubes and was pleased with the results.   The folks at Grant Fidelity are now the North American importers for these tubes and you can see their full selection at www.grantfidelity.com  These are brand new tubes, manufactured in Tianjin City, China.

Both the 12AX7 and 12AU7’s are 55 dollars each and for an extra 10 dollars per tube you can get the standard 30-day warranty extended to 12 months.  If you listen to your system fairly frequently, I suggest spending the extra 10 dollars, as tubes will usually fail around 1000 hours if they do not exhibit immediate defects.

First test: Phono

The low noise requirements of a moving coil phono preamplifier seemed like the best place to start with the TJ’s, if they could pass this test, I figured they would probably ace serving as driver tubes.  Unfortunately, my Nagra VPS phono stage uses a 12AX7 and a 12AT7, so I’m going to keep my fingers crossed that TJ comes out with a 12AT7 (and a 6922) soon.

The Nagra VPS is a rare component that does not respond well to tube rolling.  I’ve yet to use a vintage NOS tube that has done a better job than the standard, handpicked EH tubes that Nagra chose for duty in this preamplifier.  Swapping the EH 12AX7 for a very expensive Telefunken just muddied up the midrange and switching to a Mullard slowed down the presentation and increased background noise.

The TJ was a much different story, this tube showed an improvement across the board.  Dynamics were increased, with extension at both ends of the frequency scale, without any harshness.  I dragged out a few favorite warhorses that I’ve heard quite a few times to make the judgment as easy as possible. Right from the first record, Dire Straits Communique, I was impressed.  My copy of this is just an average pressing that you can purchase in any used record store for about $5 and is somewhat compressed.  Just swapping in the TJ 12AX7 gave this record much more impact and I was hearing some low level detail throughout the record that I had to strain to hear before.  Moving on to the second Chicago album (the current Rhino remaster) had the same result.  When using the stock 12AX7, the horns in “25 or 6 to 4” seemed to be on the same plane as my MartinLogan CLX’s, but with the TJ 12AX7, the horns jumped out of the speaker plane and were right in front of me, with the image having much more front to back dimensionality.

Second test:  Driver

The next step was to pop a pair of TJ 12AX7’s and 12AU7’s in one of my Prima Luna Dialogue 7 monoblocks while leaving the other one as it came from the factory.  This time switching to the Harbeth Monitor 40.1’s, I played a handful of Classic Records recent mono jazz releases and switched back and forth between the left and right channels, both receiving the same mono signal, leaving no doubt to the change.

In case you are not familiar with the Prima Luna amplifiers, they are somewhat on the warm, lush side of the tonality scale, which is more often than not a good thing.  You can get a slightly more modern tube amplifier sound by swapping the KT88’s for some NOS Tung Sol’s or similar, but those tubes are fetching upwards of 250 dollars each these days.  That shakes out to almost half the original purchase price!

Fortunately, you can get very close to the same effect with the TJ’s.  If you like the more vintage sound of the Prima Lunas, stick with the stock tubes, but if you would like more punch, this is a great investment that won’t break the bank.

TJ’s for me!

The only thing that can’t be verified at this time is how long these tubes will last.  My experience with current stock Russian and Chinese tubes has shown a lifespan of about 3000-4000 hours with a failure rate of about 25%, so this will remain a question mark for now.  I’ve been running the 12AX7 in my Nagra VPS, which sees about 12 hours a day duty and my trusty Radio Shack stop watch is up to about 1400 hours with no problems so far.  I’ll be sure to report back in about a year, when I’ve run the clock beyond the 5000-hour range.

For now, the TJ’s are highly recommended if the tonal changes I’ve mentioned sound like a plus to you.  I’ve always had great luck with the folks at Grant Fidelity, so you can shop with confidence.

http://www.grantfidelity.com

You probably don’t know Rick Carr…  But he could use a little help.

An employee at the MartinLogan speaker company, Rick has been recently diagnosed with small intestinal cancer.  Unfortunately, he’s in stage IV and his prognosis is that this is “treatable but not cureable” and the doctors are giving him about two years to live.

MartinLogan has donated some speakers that you can buy a $20 ticket to win.  If you are interested, please go to http://www.rickcarrbenefit.com and buy a ticket and a chance to win a pair of MartinLogan Purity speakers or a Depth i subwoofer. (2 pairs of Purities and 2 Depth i’s will be given away)

Even if you don’t need speakers, and can spare the cost of a CD this week, we at TONE join with Rick’s family to ask for your help.  Anything you can do will be greatly appreciated.

Thank you.

Last weekend I had the opportunity to visit the YG acoustics factory in Denver, Colorado.  For those of you not familiar with YG, they have been running a series of ads in Stereophile and a few other hifi magazines with the headline “The Worlds Greatest Speakers.”  It’s a bold claim, but after two days of listening and watching them build speakers, I’d easily say that they are worthy of a spot in the top five.

Just to clarify, I’ll go as far as to say their Anat Reference 2 Professional is at the top of my top five list, but we all have our personal favorite and I have not been able to spend time with the Grand Utopia from JM/Focal yet.  So I’m happy to add YG to the list of world class contenders.

Watch for an upcoming review and interview soon.  And if you are shopping for the ultimate destination in speakers, I suggest adding YG Acoustics to your audition list.

Despite its relatively short history, Mastodon has rightfully emerged as one of the 21st century’s most mesmerizing bands. The Atlanta metal quartet has progressively raised the stakes on each of its four studio efforts, the most recent of which, Crack the Skye, finally garnered the group overdue mainstream attention-and an impressive debut on the Billboard charts. The elaborate record is only the latest mind-boggling statement from a band that isn’t afraid to challenge itself or its audience.

Such ambition was on display April 30th at Chicago’s sold-out Metro, where Mastodon began the dizzying 100-minute show by playing Crack the Skye from beginning to end. With film images related to the concept album’s narratives flashing on a screen behind them, the members focused intently at the task at hand-namely, mastering the array of tempo shifts, revolving vocal passages, and complex fills demanded by the material. Speaking not a word to the crowd, Mastodon created an aura-rich atmosphere rife with roaring volumes, corrugated rhythms, and trance-inducing intricacies. Dynamic and stormy, it was the equivalent of being dragged feet-first into a turbulent spirit world.

Holding his bass at a perpendicular angle to the floor and bending backward, singer Troy Sanders struck his best Phil Lynott poses while continually trading vocal duties with guitarist Brent Hinds. His head branded with a jagged tattoo, Hinds shouted lyrics like an under-siege ship captain barking orders to his crew. Along with guitarist Bill Kelliher-a fellow misfit whose rat-tail hair, mutton chops, and scruffy mustache perfectly sum up the band’s refreshingly carefree attitude towards trends and conformity-Hinds juggled a cornucopia of choppy riffs, spacey hooks, and pointillistic leads. While the duo did their share of shredding and thundering, spaciousness and restraint were also in order.
“Quintessence” benefited from ample breathing room before embracing spongy drones that kicked the song into another stratosphere. Hinds’ nimble finger picking on “Divinations” sent the tune into a series of rollercoaster spins, turns, and dives. And a deliberate intro to the four-part epic “The Czar” came on as an ambient wash, with Hinds and Kelliher’s complementary notes taking on the shapes and textures of falling snowflakes. In terms of merging technical precision, soulful dexterity, and reckless abandon, a better hard-rock guitar tandem doesn’t currently exist.

Perched behind a modest drum set and seated on the floor (sans riser), virtuosic drummer Brann Dailor held it all together. Wrists and arms in constant motion, he kept time and added accents with a technique that combined equal parts power and finesse. On occasion, Dailor pulled double duty, contributing harmonies to “Crack the Skye” and auxiliary psychedelic touches on “The Last Baron.”

If the first half of the concert was music of séances, spells, flashbacks, dreams, and myths, the blustery second half functioned as a crushing blitz of Mastodon’s heavier side and thematic probe of earthly creatures and natural elements. Exploring its evolution in reverse order, Mastodon tore through songs from its first three records by starting with the free-for-all “Bladecatcher” before breaking the a-chronological sequencing by climaxing with “Hearts Alive.” In between, the band threw Southern punches (“Colony of Birchmen”), triggered sonic avalanches (“The Wolf Is Loose,” anchored by Dailor’s kit-mashing), and invoked man-versus-monster tussles (“Seabeast”). On this night, Mastodon left no doubt as to what party proved victorious.

Features

Old School: Bringing Back the Naim NAIT 3R
By Marc Phillips

Budget Gear: Anthem’s Integrated 225
By Jerold O’Brien

The Vinyl Anachronist: Cambridge Audio’s
Phono Preamplifier – Respect Yourself
By Marc Phillips

Maiden Flight: The Premiere of
Iron Maiden’s FLIGHT 666
By Bob Gendron

Caelin Gabriel of Shunyata
Takes Us on a Tour of Their Facility
By Jeff Dorgay

Tone Style

Metallica’s M4 Jacket
Warm Up and Rock

Chrysler’s GEM Peapod
Finally, a Car for Your iPod

Cool Tees:
Celebrate With Some Fresh Gear

The Olympus E-30
You Can’t Always Get What You Want

Metal Ring Tones of Death,
Ray-Ban Wayfarer Sunglasses and a
Caffine Boost Via the Butterfinger Buzz

Sonic Lighter: Raise Your Favorite
Flame With This App

Music

Live Music: The TONEStaff Covers Recent Shows
By Brad Paisley, India.Arie, John Scofield, Spinal Tap,
Chick Corea, Calexico and Keith Jarrett

Current Releases:
Fresh Releases in the Pop/Rock World
By the TONE Staff

Club Mix: A New Crop of Beats From
Some Favorites and the New Guys on the Scene
By Scott Tetzlaff

Audiophile Pressings Presented by Music Direst
Pearl Jam, Marshall Crenshaw, Sonny Rollins, Otis Span,
John Hammond, Plack Sabbath, Louis Armstrong and
John Coltrane

Reviews

The Burmester 061 CD Player
Art for the Ears Indeed
By Jeff Dorgay

Burmester’s 082 Integrated
A Perfect Balance
By Jeff Dorgay

The PNB Audio Groove Master
By Jeff Dorgay

McMini: The McIntosh MC252 Power Amplifier
By Rich Kent

The Naim SuperLine Phono Preamplifier
Analog Mountain Top
By Jeff Dorgay

An Affordable Reference From Furutech
By Jeff Dorgay

AV123 X-Head Headphone Amplifier
By Marc Phillips

Boxless Beauty: The Gradient Helsinki
Series 1.5 Loudspeaker
By Marc Phillips

Mulitpurpose Digital: The McIntosh MCD500
By Rich Kent

An Ear Opener From Rega: The Exact 2
By Jeff Dorgay

SLUMMIN’
Eartha Kitt and Gear Classics

Black leather, long hair, tattoos, and smiles united under the golden mosaic roof of the NY Hammerstein Ballroom to feel the heavy metal thunder of Black Label Society. On April 10th The NYC chapter members brought on the SDMF (Society Dwelling M.F.’s) attitude as BLS performed the new greatest hits CD/DVD, “Skullage”. Representing the West Coast (San Francisco, CA) as a Metal enthusiast and performer it was a treat to begin my recent NY trip attending this bash. Having seen the sold out opening show of the tour back in my home town at the Fillmore on March 6, I was impressed that Zakk Wylde and company had fine-tuned the show and camaraderie even further. Edsel Dope’s band, Dope got the party started with some of his originals, including “Addiction” and finished with a mixed bag of covers, ranging from Billy Idol’s “Rebel Yell” and NWA’s “Fuck the Police.”  Shots were delivered to the band via a Hustler dancer, inviting the crowd to join the after party at the Hustler Club.

Sevendust took the stage next with master metal frontman Lajon Witherspoon.  They played their hits and covered metal standards “Master of Puppets”, “Walk” and closing out with “We Die Young” , pouring out a lot of energy to pump up the crowd even further.  Just before BLS took the stage, they played Patsy Cline’s “Crazy” as intro music.  I had a great time singing along with this one, but it did seem to confuse some of the audience.  I chalked it up to Wylde’s Southern influences.

Then, the enormous BLS banner hit the floor and the siren kicked in; they hit the stage and opened with “Black Mass Reverends.”  Wylde’s voice was heavy with reverb as he ripped away on his new orange Gibson “Zakk Wylde ZV Buzzsaw” guitar, one of only 50 produced.  Nick Catanese lived up to his title of “evil twin guitarist” scorching riffs on his PRS guitars, with the backbone of BLS, JD Deservio on bass and drummer “Louisiana Lightning” cranking out some thunderous beats.  Wylde went on to blast out his hits, “Destruction Overdrive”, “Stillborn”, “Blessed Hellride” and “Suicide Messiah” with he and Catanese using their double stacked Marshalls to blow the roof off the Ballroom.

Zakk swears on every tour he will play the tribute song “In This River” dedicated to the late Dimebag Darrell Abbott (Pantera).  Wylde, put the chest pounding metal studs side of his personality down for a few minutes as he sat down at the piano to play this tribute to his good friend; the piano adorned with a BLS American flag and two large photo banners of Abbot.  “Fire It Up” was laden with multiple crowd delights. Black Label icon beach balls were tossed into the crowd frenzy as t-shirts were shot out of a CO2 cannon. Zakk ended the blaze by soloing ala Randy Rhodes style with the Flying V over his back and with his teeth. A blistering Star Spangled Banner further unleashed Wylde’s guitar playing soul while touching many hearts in the Big Apple.

Leslie West of Mountain appeared as a special guest proving he still has a great voice. West, Wylde, and Catanese all unleashed impressive guitar solos, with both BLS guitarists using double neck guitars. Following the Mountain special was “Concrete Jungle” and the infamous finale of “Stillborn”.
The BLS NYC Chapter shined their faithful colors with hours of metal mayhem, admiring Zakk Wylde as the Metal Messiah and frequent gestures of respect went back and forth between the bandmates. Thankful pointing gestures to the power that be, personal Wylde hugs and lots of one on one eye contact with the fans in the front row were soaked up as Wylde made his exit.

It’s always great to see guys this talented have a dose of humility.  I think it’s safe to say that Zakk Wylde’s Black Label Society successfully destroyed and conquered NY’s Hammerstein Ballroom this evening.

Several hundred guests packed the 9th floor and roof (though most stayed inside in the chilly weather) of Nashville’s ICON condo building in the Gulch Tuesday night for the launch party of One Revolution Entertainment. With a record label, publishing company and other music business interests, One Revolution is the brainchild of Dean Miller, Nashville recording artist and the son of the late country legend Roger Miller.

Nathan Barlowe, front man of the Rick Rubin-produced Luna Halo, sported a newly-dyed semi-Mohawk, while Nashville Music Guide publisher Dan Wunsch, in his ubiquitous baseball cap, worked the room looking for stories and advertisers and beer. Fine young saxman Eddie Vance brought his band up from Oxford, Mississippi to provide a night of funk, fusion and mellow pop radio covers.

The ladies looked fabulous as they always do at Nashville music industry parties, and the food from Maggiano’s was stellar. Also on hand were One Revolution Entertainment’s first two signings, Nathan Lee and Rob Blackledge, both of whom are singer/songwriters whom owe more of a nod to classic rock and Americana than country.

Indie labels popping up on every corner in Nashville, but One Revolution is a little left of center and may be just what Music City needs. The festivities were enjoyed by all, with One Revolution making its presence known in style.

– Rick Moore

Well, we’ve been bashing it on and off for years, but I’ve got a feeling that we are on to something good after all.

The kind folks at Sound HiFi in the UK (www.soundhifi.com) have sent us their power supply upgrade and adaptor plate to mount an SME tonearm to the workhorse SL-1200.  I’ve always felt the arm (and its dreadfully dark wiring) was the weak link in this table, combined with the relatively primitive power supply.  The Sound HiFi mods promise to fix this, and from looking at the goodies in the box, I’m confident.  The armboard is a work of beauty!

Most importantly, the directions for installing the power supply upgrade are concise, well photographed and in color!  Impressive.

Proprietor Dave Cawley is a cool cat that did not make outlandish claims either.  When we spoke, he said, “Look, it’s not a world beater, but I think you will find the Technics deck with the SME arm very interesting.  I made the first one for a customer that had an older SME arm.  I had no idea he would mount a current 309 on the 1200, but it works very well.”

Stay tuned and we’ll keep you posted. (Photo courtesy of Sound HiFi)

Christopher Guest, Michael McKean and Harry Shearer kicked off their “Unwigged and Unplugged” tour in Vancouver, BC last night and played this evening at Portland’s Keller Auditorium.  Watch for a full report next week when issue 21 of TONEAudio is ready for download.

But we will tell you this much; if you are even a little bit of a fan of Spinal Tap or The Folksmen, this is not to be missed.

If you are a jazz lover and haven’t heard of Eastwind Imports, that’s reason number one to head over to their website.  The proprietor Hajime Sato is one of the friendliest guys in the business and he specializes in nearly impossible to find Japanese import CD’s that were originally recorded in Japan.  We’ve reviewed a few of their discs over the last year and every one I’ve had the pleasure to listen to has been of exquisite quality.

Reason number two to zip over to Eastwind Imports, they are now starting to carry LP’s!  When Hajime first opened his shop, I asked him if he would be carrying vinyl and he told me, “as my business improves, I will do my best to stock some vinyl; I love it!”

Keep your eyes on our music reviews, as we have about ten new titles from Eastwind that we will review shortly.  In the meantime, head over to Eastwind Imports and grab a few LP’s!

http://www.eastwindimport.com

Slugs are a way of life in the Pacific Northwest and here’s our way of sharing a little bit of our culture with you.  To keep the slug mood rolling right along, it’s time to spin John Hiatt’s Slug Line.  Hey, what else could we play after seeing this little monster?  Just so you know, this one is about 9 inches long!

What a better way to start Easter morning than cranking up the 8-track deck?  There’s plenty more where this came from!

Finally getting down to some serious listening with the new MartinLogan Summit X.  You can cruise over to the MartinLogan website (www.martinlogan.com) for all the techie bits and some sexier photos, but suffice to say that even after a brief listen, there’s definitely more magic in the newest version of the Summit.  How much?  We’ll see as the hours rack up.

Watch for a review soon and some sexier photos!

And for what it’s worth, I really dig the back and bottom lighting!  I do wish it was blue though…

The recently updated version of Clearaudio’s Goldfinger cartridge weighs in at 18 grams; a heavyweight by any measure and in part due to the body being made from 16 grams of pure gold.  The coils making up the generator are also wound from 24 karat wire.  This cartridge will require a heavier than standard counterweight, so even if your wallet is up to the task,  be sure your tonearm will be also be up to it.  The big question is what does the GF2 bring to the dance and do you want it as a partner?

If one accepts the principles of audio Darwinism, then Clearaudio cartridges have survived because they have continued to adapt to the higher resolution playback systems that can brutally expose the flaws of moving coils, cantilevers and stylus tips.   In the 1990’s, the Clearaudio Insider Wood changed how I listened to vinyl.  It extracted information from the well-traveled grooves of my lps that had been kept waiting in the wings for the proper cues.

When the original Goldfinger was released in 2006,  I took the Clearaudio plunge again with some trepidation. The Goldfinger was heavy and I was always nervous about its vulnerable, exposed canteliver; not to mention the high sticker price (about $8,500 back then).  I lived with the Goldfinger for 3 years.  It rejuvenated my record collection, particularly discs that I have had since the 1950’s and 1960’s.  When the GF2 was announced, my curiosity was piqued and I was anxious to see how much higher Clearaudio had raised the bar.

Setup

I followed Clearaudio’s suggestion and let the GF2 play for about 100 hours with a load of 47k ohms before switching to 200 ohms and eventually settling on 100 ohms. VTA was set to be level, with the body of the cartridge perfectly parallel to the platter.  The cartridge was mounted on a VPI HRX with the 12.7 arm, rim drive, and the SDS speed controller.  Nordost Valhalla interconnects went between my Pass X-ONO phono stage and Pass XP-3 linestage.

From the beginning,  I could hear something special with the cartridge and it improved considerably over time.  After some experimentation, I settled on the factory tracking force setting of 2.8 grams.  The GF2 has an output of .9mv, so it should be very easy to mate with most MC phono preamplifiers.

A definite improvement

Though I could not compare the cartridges side by side, as I had to remove the original Goldfinger and remount the GF2, less than 24 hours had elapsed between auditions.  I felt that after three years of listening to the original on a daily, its sonic signature was well burned into my memory.  What the original did best was bring out the subtle details in my favorite recordings without being harsh and etched; it still had that lovely analog warmth.

The GF2 takes all of these characteristics to the next level with no downside.  Groove noise is lower with the detail and warmth of the original still in place.  However the GF2 peels one more big layer away from the presentation, offering a more holographic soundstage with the images and placement of acoustic instruments having a better and more realistic size relationship than before.

Voice reproduction is the standard that I use for auditioning any component that I am seriously considering.  The GF2 does the best job in exploiting the human quality of vocal recordings that I have ever heard in my system.  On the opening cut of the Tony Bennett and Bill Evans Album (Analogue Productions Original)  “Young and Foolish” has a touch of Tony’s vocal rasp that is perfectly reproduced by this cartridge.  The unique qualities of Sheila Jordan’s voice (Sheila, Steeplechase Records) are characterized by her wavering around the notes which she eventually hits; another bulls-eye for GF2.

Sonny Boy Williamson’s Keep it to Ourselves (Analogue Productions Original) was recorded in a hotel room in Copenhagen. It has an immediacy that few studio recordings can match, including the sound of spittle on the harmonica and the accompanying tap of leather-soled shoes on a wooden floor. The GF2 does an amazing job at retrieving these details as well as the extraneous room noises present.

The GF2 was equally at home with big orchestral recordings.  The opening of the legendary Solti/VPO recording of Wagner’s Das Rheingold (Decca) exposes an unearthly progression of low string chords that gradually build to a crescendo before the first Rhinemaiden’s voice is heard. This effect is nearly inaudible with lesser cartridges but is rendered beautifully by the GF2.  The original 3-microphone Mercury recordings are another great way to road test the GF2; it and the original model were the first to tame the aggressive Dorati recording of Aaron Coplands’s Rodeo on Mercury.

For those of you that delight in microdyamics, Mamba Percussions (Pierre Verany) is one of my touchstone albums for many years. It features unusual South American instruments and a big soundspace.  The GF2 brings these sounds at you with an immediacy that is rhythmically engaging and an in-your-room image that is the essence of “being there.”

If you can’t find this album (no surprise, it never jumped off the shelves in its hey-day), there’s still the old reliable Jazz at the Pawnshop (Proprius). I rarely make it past the first track, just because the performance and musical values of this venerated 1970’s set are a cut below.   However, there is something to be said for listening to something repeatedly on many different analog setups that makes it easy to judge a new component.  Putting that aside, you will hear standing bass articulation which was mercifully overpowered by the upfront reed and percussion players when heard through lesser phono transducers.

How does it sound with the new WB pressing of the first Van Halen album?  For that, you will have to wait until our publisher gets his hands on a Goldfinger, as that is not my cup of tea.

Excellence with a few caveats

Even if this cartridge is well within your budget, there are still a few items to consider before you call your favorite analog dealer and order the GF2.  Tonearm matching is critical; not all arms can handle such a heavy cartridge.  The fragile, exposed cantilever demands great care in mounting and stylus cleaning.  Finally, your phono stage must be fairly flexible in loading to acommodate the break in procedure and ultimate loading.  What worked best in my system may need some fine tuning in yours to achieve perfect tonality.

For those of you that find the GF2 intriguing but are not quite ready to spend $10k on a phono cartridge, the Clearaudio Stradivari offers a decent helping of the GF2 sound for $3,500.  I use one with excellent results on my second table. (a VPI Aries with flywheel, HRX Acrylic Platter/Stabilizing Ring, and running into a second Pass X-ONO). For those who have already invested in a Clearaudio cartridge, many retailers offer an upgrade path that makes moving to either of these cartridges that much easier.

In summary, many would not consider a $10k cartridge a “best buy.” However, if you audition this cartridge in a properly set up playback system,  be prepared to redefine your priorities.  I suspect you will immediately begin working on a strategy to amass the requisite capital for its purchase.

The Clearaudio Goldfinger v.2
MSRP: $10,000

Musical Surroundings
5662 Shattuck Avenue
Oakland, CA 94609
510-547-5006
www.musicalsurroundings.com

Peripherals

Turntables         VPI HRX w/12.7 Arm/Rim Drive, VPI Aries w/10.5i Arm w/Flywheel, SDS Controllers
Phono Cartridges           Clearaudio Goldfinger v.1, Clearaudio Stradivari
Phono Preamplifiers       Pass X-ONO (2)
Preamplifier         Pass XP-20/Lexicon 12HD-B
Power Amplifier     Pass X-350.5/Pass X-3
Speakers        Martin Logan Summit/Stage/Script-i/Descent-I (2)/Descent (2)
Interconnects         Nordost Odin/Valhalla
Speaker Cable     Nordost Odin
Power Cords/Conditioning Nordost Thor/Nordost Odin/Valhalla
Vibration Control     Black Diamond Racing
Room Treatment    Echo Buster/ Corner busters/Bass Busters/Double Busters

The Pacific Northwest music scene has been steadily embracing a pure party music aesthetic over the last year or so, and in that spirit the Yogoman Burning Band delivered a loose and exuberant set in front of a friendly, eclectic and enthusiastic crowd at the “World Famous” Kenton Club in North Portland. Yogoman, based in Bellingham, Washington and led by drummer Jordan Rain, mixes reggae, rhythm and blues and soul into a familiar package. Their fun and celebratory performance was the perfect match for the first warm spring night after a particularly long and grueling winter in this region.

It was a treat to see Sarazin Blake in person after being recently introduced to his latest album, The Air Your Lungs Forced Out. He stood at the rear of the stage and adapted his usually folk-tinged guitar rhythms to the traditional reggae upstrokes, giving Rain (who placed his drum set right at the front edge of the stage) the reigns. Rain also sang lead vocals with a perfectly relaxed tone that makes this music a perfect antidote for the end of a hectic day. Bassist Norah McLaughlin, trumpeter/cornet player Joel Ricci, saxophonist Thomas Akihiro Deakin, trombonist Mars Lindgren and guitarist Josh Holland crammed themselves onto the small stage and provided the audience with an unusually high caliber of musicianship.

You can find out more about Yogoman Burning band by checking out their MySpace page, where you can get more information on their new album, City of Subdued Excitement, MP3 downloads and tour information.

Want to see what 4500 CD’s looks like?

Yes, they are all loaded in the Sooloos and tucked away neatly.  It’s a wonderful feeling.

It’s April 1 and hopefully none of your PC’s have been doing anything crazy.

Working away on the new issue and still ripping CD’s to the Sooloos!  Hope you all had an uneventful April Fools Day…

If you are a fan of Spinal Tap or The Folksmen, two of the greatest bands that never existed, you need to catch the boys on their “Unplugged and Unwigged” tour.  I’ll be there with my Stonehenge shirt on.

Here’s a link for the site  with clever blog posts, tour dates and ticket information:

http://www.unwigged.com/index.php

Watch for the review in issue 21, but I can let the cat out of the bag to tell you the PBN Montana Groove Master turntable is a winner.  Making use of a unique wooden plinth and armboard and the SME 312S tonearm, this table is full of analog magic.

For more information go to:

http://www.sierraaudio.com/index.php?option=com_content&view=article&id=75&Itemid=236

The acoustics of the Shedd Institute for the Arts Theater in Eugene, Oregon was the perfect match for Peyroux’ lush voice.  Touring to support her new disc, Bare Bones, Peyroux is also donating $1 from each ticket to the National Coalition Against Domestic Violence.

She started the show with “Dance Me To The End of Love” from her Careless Love album and then moved right into the title track from the new album, mixing up the material from her last three albums throughout the evening.  While the set only lasted 90 minutes, it was the perfect helping – much like a meal served in just the right proportions where after dessert and a cognac, you feel “just right.”

If you’ve only heard Peyroux on disc (or perhaps the amazingly good LP version of Careless Love on 180g. vinyl from Mobile Fidelity), you are in for a real treat; she exhibits a much wider range of vocal ability on the stage and can really belt it out when required.  Unlike other jazz excursions I’ve heard where the individual players can have a tendency to riff off into infinity, the solos were tight, tasteful and well placed – this was a cracking band!

A gracious host, Peyroux made it a point to thank the audience quite a few times for their enthusiasm and displayed a great sense of humor throughout the performance, commenting on the local crop of organic stimulants to a round of applause.  She then proceeded to introduce the band and ended the set with “Instead” from her new album, quipping “I do know a few happy tunes.”

The only guy she left off the list of kudos was her sound engineer, I don’t think I’ve ever heard a live mix this exquisite, striking a perfect balance of sound level and tonal accuracy. If only all live performances could deliver this level of sound quality!  It doesn’t get any better than this.

On tour for the better part of the year, this is one show you won’t want to miss.  If you like Madeleine Peyroux on record, you will love her in person.

After nearly two decades of delays and multiple format changes, the first
volume Neil Young’s long-awaited Archives series of box sets will be
released June 2 on Blu-Ray disc, DVD, and CD.

While we’re ecstatic, we’re leaving the details to Mr. Young’s Web site,
which provides everything you need to know about the set–including track
listings and why you should invest the extra $100 for the Blu-Ray edition.

That said, we do think it’s a bit lame that two of the discs in the set have
already been released as part of the NYA Performance Series. It’s not like
Young is hurting for material, so why the repeat?

http://neilyoungarchives.warnerreprise.com/shop/vol1/

Happy browsing!

Nope, you aren’t reading the Inquirer, TONE writer Richard Simmons (who wrote the cover story on Chuck D in issue 18) was on his way to work yesterday when a passerby alerted him to the fire beneath his car.  He was able to exit the car seconds before it burst into flames…

For the full story you can read this:

http://www.newsday.com/news/local/ny-licar2412576110mar24,0,7301914.story

stock photo used

After arriving home from Chicago on Sunday, I finally got around to unpacking my luggage.  On my visit to Music Direct last week, they gave me their two newest catalogs and a few of the latest Mobile Fidelity pressings for review.  Fortunately, I hand carried the LP’s on the plane because when I opened my suitcase, there was the customary “we’re the TSA and we went through your things…” tag.

But the Music Direct catalogs were GONE.

I hope the TSA is planning some serious hifi shopping in the near future!  And glad they didn’t grab my Marshall Crenshaw CD!

There’s only two days left until tickets go on pre-sale for Motley Crue’s Crue Fest 2.

If you are a Crue fan, I highly suggest getting in line right now to partake in this six hour mini metal fest.  Last year’s show was awesome (ok Buckcherry kind of sucked) with five bands, a ton of energy and of course Tommy Lee’s portable video camera action to round things out.

Staff writer Marc Phillips and I headed down to the Portland Athletic Club to see the new goodies from ALO Audio’s Ken Ball and check out what the local chapter of Head-Fi’ers were up to.  It was somewhat odd walking past the rows of workout fanatics to the headphone area, but once there we easily forgot about all the iron that was being pumped just outside.

Ken was showing off his new headphone amplifier, a joint creation between he and Vinny Rossi of Red Wine Audio.  Based on the circuit that is in Vinnies latest preamplifier, the Isabella, this amp is a winner for $1000.  It features dual headphone jacks (1/4-inch and mini), a stepped attenuator and of course is battery powered. Watch for a full review on the TONEAudio website very soon.  Impressive!

On the way out, we were the envy of all the workout queens as they looked longingly at our oatmeal-rasin cookies!

If you are a Neil Young fan, check out TONE staffer Lloyd Peterson’s recent posting on All About Jazz:
http://www.allaboutjazz.com/php/article.php?id=31878

The credit for this goes to our newest music writer, Bob Gendron.  I just got an email from him inquiring about this metal festival in Oklahoma, July 7-12.  Click on the link and check this out.  Keel is going to be there along with Twisted Sister and a few others you all know and love.  Don’t miss Rocklahoma!

http://www.feverfest.com

I caught Jon Ragel, the turntablist who performs as Boy Eats Drum Machine, at the Someday Cafe in downtown Portland, and I received a rather special gift after the show. Jon brings copies of his recent album Booomboxxx to sell at his shows, as most performers do. Jon takes it one step further by offering his album in both CD and LP form, and he puts the vinyl into old record covers and hand paints each one. In other words, each copy is a unique work of art.

I chose this particular cover since it was an old RCA Living Stereo (I didn’t spot any Mercury Living Presence covers, in case you were wondering). The fact that the vinyl sounded fantastic–warmer and more revealing than my CD–was an added bonus. Read More »

Adam Decaria from Zu Audio shared a picture of my new Zu Essence speakers with me this morning, straight from the paint booth.  Their master craftsmen went above and beyond the call of duty to paint mine in Golf Yellow, the classic BMW 2002Tii color.  For those of you that don’t know me, it’s one of my favorite colors in the world!  

Needless to say, these babies will make a real statement in my living room…

The great news is that these sound as good as they look and only take up a 12 x 12 inch footprint in your room.  With 97db sensitivity, you can drive em with anything and they sound particularly yummy with your favorite low powered tube amplifier.

For more info, go to:

http://www.zuaudio.com/loudspeakers/essence.html

Review forthcoming.

Well almost.

After a few days of wiring and moving a few things around, the Sooloos is completely hardwired into my music room.  The pair of Store 2’s that hold 2TB each, are neatly tucked away in the record and CD room with plenty of ventilation.  Most of all, when you close the door, the whole thing is SILENT…

The Sooloos Control 5 now feeds to my main system via the digital input of the outstanding Wadia 781i SE (review forthcoming) and to our art directors desktop system via line level outputs on zone 2 and my desktop system via zone 3.  The Sooloos can run all three zones simultaneously and thanks to their Control PC software can be accessed from either of our Mac’s via Parallels on the desktop or via iPhone to cover basic start, stop and pause functionality.

This is the most fun you can have with music with your pants on. 6500 CD’s right next to the listening chair with room for about 3500 more!

If you are not familiar with the Sooloos, you can read our full review in issue 11.  Watch for our long term test report on the web soon.  If you sign up for our mailing list, you will be the first to hear about it….

We are honored to have the music editor and my former cohort from The Absolute Sound, Bob Gendron join the TONEAudio staff. Bob is a cool cat that has a very wide range of musical taste that will only add to the diversity of our music coverage.

Ok, that’s the tidy PR copy. Bottom line, Bob likes to rock and has a great sense of humor, so he’ll fit in just fine here.

And to share his first snibbet of that humor, he suggests this link to channel your inner Diamond David Lee Roth:

http://www.thetyser.com/

AHH HAAAAA YEAAAAAH

TONEAudio is very excited to announce that Lloyd Peterson is joining our staff to add to our already diverse music coverage. In case you haven’t heard of him, his book, Music and the Creative Spirit: Innovators in Jazz, Improvisation and the Avant Garde is a phenominal group of interviews with some of the finest artists in Jazz today.

Pat Metheny called it “Maybe the best book on Jazz I have ever read”.

Lloyd also writes for allaboutjazz.com and has just published an interview with Iraqi musician Rahim Alhaj. It’s a great read, albeit somewhat scary, listening to what this man has been through. Here’s the link:

http://www.allaboutjazz.com/php/article.php?id=31994

I highly suggest this one.

Not just a jazz guy, he told me last weekend when we were at the Portland Jazz Festival discussing the Ornette Coleman/Pat Metheny collaboration Song X “That’s only the beginning. I’m always trying to find something that’s way out there.” So watch for Lloyd’s concert coverage on the PDX Jazz Festival in the April issue, and a lot more in the months to come.

Thanks to all the hard work by Jason, James and Nate at Bloody Monster web design in Portland, (www.bloodymonster.com) we have a new and greatly improved website.  Our blog will now be able to be accessed directly from our home page, so you won’t need to go anywhere else to check up on us.

You can look forward to seeing new content from us on a daily basis very soon, so check back often.  Now, if I can only get all of those CD’s loaded into the Sooloos…