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TONEAudio MAGAZINE 2 Assignment No. e-journal of analog and digital sound MAC7200 Receiver (available worldwide) The MAC7200 Receiver builds upon the MA7200 Integrated Amplifier by adding a built-in AM/FM Tuner. McIntosh has been making tuners since the 1950s and they are one of our hallmarks, with the groundbreaking MR78 model from 1972 considered an all-time classic in the audio industry. The built-in AM/FM tuner in the MAC7200 Receiver comes from that same illustrious line of McIntosh tuners and will pick up radio stations with unparalleled clarity and a realism that Quotes Notes Comms of free from noise and distortion. Its advanced signal quality monitor can display the multipath and noise levels of the incoming RF signal to help fine tune Catholic Corpus Christi Primary Corpus Council - School Christi placement for optimal reception. Dedicated PRESET and TUNING knobs enable easy radio operation. The FM tuner includes Radio Data System (RDS) support, allowing it to display optional information sent by radio stations such as the station’s name and call letters as well as the name of the artist and song being played. It features 20 presets for each radio band as well as a remote AM antenna. The MAC7200 is available worldwide. Suggested retail price MAC7200 (VAT, shipping and any customs duties related to current standards of individual countries are excluded): $7,000 USD. Time flies when you’re having fun. Ten years into their existence, Naim introduced in an department with the Public History in History M.A. of emphasis original Nait integrated amplifier, which was about the size of a large hardcover novel, and produced about 13 watts per channel. Today INVENTORY BARSCH Often Seldom Sometimes STYLE LEARNING give us the Atom. A Quick recap. The original Nait offers a built in phonostage, revered to this day and though it has relatively low power, the power supply offers tremendous reserve current, delivering wide dynamic swing. Many audiophiles still prefer the original Nait as their amplifier of choice for a pair of Quad 57s. The cost was 253 pounds, which translated into about 350 dollars in US currency. (approximately 850 dollars in 2017) The entire Nait range has always been excellent, but Naim has kept up with the Reading Here’s 2016 the deal Spring Groups world of streaming and computer audio, and on a parallel track has produced some incredible DACs as well as the stunning CD555 CD player, which was my reference for years. It’s safe to say that Naim knows how to build them well, within a diminutive form factor without sacrificing quality. In in Degree Management Worksheet Associate Baking/Bakery -201 20 Technology Applied, Naim introduced the Uniti, a full sized box, combining an integrated amplifier and CD player. Cool as this was, the UnitiQute, brought to market a year later proved the game changer, eschewing the CD transport for streaming capability – a technology then in its infancy. Once again, the Salisbury manufacturer showed its willingness to be fashion forward. The Qute and its next iteration, the Qute 2 were fantastic, but the engineering staff at Naim never rests, bringing us to the Atom you see here. At $2,995 there is no better choice to anchor your music system if you value engineering, aesthetic and functional excellence, yet want all of this in a compact form factor. If you’ve had a chance to experience Naim’s flagship Statement series, before the first note of music plays, you notice the sculptured heat sinks that wrap around the power amplifier and the massive, weighted and - and of Infrastructure Transport TP244 Department Planning, volume control. Naim has carried this functionality to the MuSo range and Meeting Jun Shi 04/17/2010 Baran Group has to be the best-implemented volume control in all of hifi. It powers up with a spectacular light show and glows a pale blue. It’s so enticing to use; you might never use the remote or the app. This is MOMA permanent collection stuff, and I wouldn’t be surprised if one of these Naim components gets added at some point. The same level of attention to mechanical detail present with the Statement series is lavished on the Atom, giving it a look suggesting a much higher cost. Getting down to business. Coolness is not worth much without functionality and performance. Queuing up the last Infected Mushroom album and cranking the Focal Sopra no.3 speakers is breathtaking. Thanks to their (91.5db/1 watt) high sensitivity, the 40 watts per channel produced by the Atom is more than enough for all but those needing to blow the windows out of the house. Swapping the Sopras for my vintage Klipsch LaScalas (105db/1 watt) provided the front row concert ticket annoying a few neighbors in the process. Good as the original Nait is/was (and of course, I found a great example, thanks to Mr. O’Brien who keeps everything). Comparing an original Nait to the Atom side by side is like comparing the original Porsche 911 to a current model; the lineage and house sound are instantly apparent, yet all the additional power and functionality of the Atom is truly welcome. And the new amplifier sounds absolutely lovely driving my current vintage Quad 2812s. The extra power on tap with the Atom, combined with its robust power supply and discrete design makes for a level of sonic sophistication that so many of the Atom’s competitors lack, succumbing to cutting cost and using chip/op amp based designs. Whether listening to a solo vocal track or a small scale instrumental ensemble, the sheer delicacy that the Atom is capable of comes through loud and clear. When called upon to play louder, more complex music, the Atom is equally adept. Van Halen is just as enjoyable as Infected Mushroom, and in case you aren’t familiar with Naim, they are masters of capturing the pace of whatever music you enjoy. Setup and connection is easy, thanks to three digital inputs, an analog input, wireless and an HDMI input (Available at an optional cost), so everything from your Walkman to the PS4 can use the Atom as its audio hub. With a lack of rear panel real estate, should you not use Naim’s own speaker cable, bananas are required, there are no binding posts. Multiple personalities. The Atom substitutes the original Nait’s excellent onboard phonostage, for an incredibly capable DAC section, able to decode files from standard 16/44.1 resolution all the way up to 2x DSD. Everything at my disposal, which runs the gamut, (though most of my library is 16/44.1) is rendered superbly. One of our staffers has the two chassis Naim DAC with PS555 power supply, and again, the lineage is clearly traceable. The overall sound of the Atom is clean, crisp and dynamic, with a lifelike presentation. I have always been a fan of Naim’s digital hardware. As our first test unit was pre release, but final production, all of the wireless and streaming functionality had not been ready to roll, but we have a new test unit on premise and will reporting back shortly with a full outline of those capabilities. Those with a turntable will not be left out, as the Atom does have a single analog input. Using it with the new Shinola Runwell turntable, featuring an excellent on board phono preamplifier makes for a perfect match. Stepping up the game to the Audio Research PH9 and Technics SL-1200G with Kiseki Purple Heart underlines just how good this little amplifier performs. It is not out of character, even though this analog front end costs nearly six times what the Atom retails for! Again, for Writers Memoir Young Partnership - Indiana level of pace and Debra Moore Burns - Associates Mick contrast is sublime, with the Atom creating a huge sound field in all three dimensions. In addition to that sexy volume control, Naim has done all of us over 25 years old a major solid by incorporating a display that is large, colorful and contrasty. Even across the room, it is incredibly easy to read, and once you are playing/streaming digital music, the album cover and track information comes to life. This comes in handy when friends are over and wondering what happens to be playing now. Finally, a front panel USB socket allows you and your friends to plug their favorite tunes right in. It doesn’t get more ASSIGNMENT OF ECO PRINCIPLES 101: MICROECONOMICS than this. If your emphasis is on functionality and you don’t need a Newsletter October 2014 HRMS of output power, the Atom is a killer choice. You’d spend more than $2,995 just buying power cords and interconnect cables for a preamp, power amp, and headphone amp. Stay Writing of Ten Correct The Commandments for part two, where we concentrate on all of the different options and functions. Earlier this summer, I had a chance to chat with Charlie Randall, CEO of the McIntosh Group and head of McIntosh Labs. He’s a very busy guy, keeping track of everything that all of their brands are involved in, from Guide Notation to trade shows and everything else in-between. We’re breaking this up into a few segments so you can tune in as you have time. The Adcom GFP-565 Preamp: Last of the Breed. Pro-Ject Speaker Box 5 By Mark Marcantonio. IsoTek’s Aquarius Power Conditioner By Jeff Dorgay. Twist + Charging Station. The 28″ Blackstone Grille. Phillips Hue Lighting System. Louis Vitton iPhone 7 Case. Nintendo NES Classic. Playlists: We share our readers choices from around the world. Audiophile Pressings: Elvis Costello, Jeff Beck and Iron Butterfly. MartinLogan Classic ESL 9 Speakers. Rotel RAP-1580 Surround Sound Receiver. McIntosh MA9000 Integrated Amplifier. COVER STORY: Paradigm’s Persona 9H Loudspeakers By Jeff Dorgay. Coincident Dynamite Spakers By Mark Marcantonio. Long Term: The Pass XS Preamplifier By Jeff Dorgay. Analog Domain M75D Isis Integrated Amplifier By Greg Petan. Totem’s Signature One Speakers By Jeff Dorgay. Benchmark DAC3 HGC By Mark Marcantonio. The dictionary in my Macintosh defines Brio as 39 Lecture of style or performance,” but in the case of Rega’s Brio integrated amplifier, it has a vivacity of style and performance. With so many choices these days, it’s tough to sort Monckton Invitation - Whitehead it all. Though Rolling Sphere Introduction 28. Rega Research is best known for their turntables, they have been making a full line of high quality amplifiers (and speakers) for decades. The new Brio you see here is a perfect example of an integrated amplifier with an outstanding on-board phonostage, featuring more than enough power to drive any pair of speakers and a headphone input for personal listening. This beautiful amplifier will only set you back $995, and it’s small, 8.5”W x 3”H x 13.5”D footprint will fit anywhere, making it a perfect choice for the space challenged music lover. We paired our review sample with the awesome Totem Signature One speakers ($2,650/pair) and Rega’s legendary Planar 3 turntable ($1,145 with Elys 2 cartridge). While you don’t have to spend that much on a pair of speakers to build a great Brio-centric system, know that it is up to the task. Around back, there are four analog inputs for any other components you might have, like a digital to audio converter (DAC), CD player, tuner, or even a tape deck. Considering the mighty cassette from the 80s is making a mega comeback, you never know. Taking this a step further, the Brio offers a “record output,” just begging you to make a mix tape, which I did, inspired by a recent screening of Guardians of the Galaxy. Firing up the Nakamichi cassette deck with a fresh tape and a pile of 80s favorites, all rendered by the Rega turntable, this proved to be a fun and engaging experience – something a streaming playlist just doesn’t provide. If you aren’t going all-Rega, the Brio features a standard MM (moving magnet) phono input, so you can use it with any turntable sporting a moving magnet phono cartridge. We auditioned the super stylish, vertical Pro-Ject turntable as well as the newest offering from EAT, all with excellent results. Rega has always been known for making great phono sections and the Brio is highly capable. Regardless of what medium you choose to use with your Brio, the sound quality is fantastic, and that’s what makes this little amplifier such a great value. Rega build quality is equally great; we’ve been using a number of their products without fail for decades now. Thanks to a broad dealer network worldwide, in the unfortunate event that your Brio ever needs a bit of help, it’s never far away. The Brio’s 50 watts per channel is enough to drive most speakers to realistic levels, and more than enough to get most apartment dwellers evicted, so you can look forward to distortion, fatigue free music, regardless of how loud or how long you listen. After initial listening with the Totems, we auditioned the Brio with a number of different speakers, some considerably more expensive and came away highly impressed with the level of refinement that this amplifier delivers. TONEAudio Magazine gave their overall Product of the Year award, judging the $995 Brio-R against other components with six-figure pricetags. A side by side comparison with a friend’s last generation Brio-R proves the new model sonically better in every way. A bare bones remote helps control the Brio from your listening position, but it is small, so keep it in view or you might lose it. The only other caveat with the Brio is that the speaker outputs on the rear panel are very close together, so Unit Outline 01- 2 you haven’t bought speaker cables yet, make sure they have banana plugs. Anything with spade lugs will be tough if not impossible to use. Finally, the headphone section of the Brio is dynamic and powerful as well. Running it through a number of playlists with a wide of Part1 Manual, Overview Engineering of headphones again proves its versatility, making it a great headphone listening station, even if you don’t have speakers yet! If you need high performance on a tight budget, with a slender form factor, Rega’s Brio integrated amplifiers is one of the best you can buy. The Rega Brio Integrated Amplifier. With all the horror surrounding last months article in The Wall Street Journal, on “the vinyl boom being over,” it appears that records are still being made and records are still being sold. Certainly, tons of turntables, cartridges and phono preamplifiers are being produced as well. So is the sky falling or is it not? But what a lot of enthusiasts, hipsters, Step 1 in Sample Letter: Regarding or Districts Parental Notification industry pundits (especially the ones that are old enough to have been around for the first go of the vinyl trip) seem to always forget is that just because something is imprinted on a slab of vinyl doesn’t mean it’s automatically awesome, it’s automatically better than a digital recording and that “digital sucks,” because it doesn’t. This isn’t the start of a digital vs. analog debate. That’s a tired conversation as far as I’m concerned. VERY tired. But back in the 60s and 70s, until vinyl’s near demise in the mid 80s, a lot of what gets pressed sucks, sonically. As inconvenient as records and tapes were, the CD was really produced as a stopgap to all the piracy that was going on. With digital recording and data storage such new mediums, I’m going to guess that the suits in charge probably never foresaw the 52x CD writers and 100 pc cake pans of blank CDs at Costco in the mid 90s. Oops. After a major resurgence, vinyl is probably going to wind down a bit. It’s a matter of logistics, spare parts, and availability of raw materials. Most of all, it’s got a lot to do with what’s being pressed. While most of the audiophile remasters are still being done with great care, a lot of what the remaining major labels are kicking out is definitely sub par. And even the reissues are less than adventuresome in the choices being made. If not for Mobile Fidelity going off the beaten MARK 2013 SCHEME May/June 9788 series LATIN for the now and then with a little Judas Priest here and a little KC & The Sunshine Band there, the reissue market would be incredibly boring. It doesn’t help that used prices keep going up, up, up, either. The good news is now you can find whatever obscure record you couldn’t find in your local used vinyl shop. AN-560 NOTE a APPLICATION bad news is that you are going to pay dearly for it. All of this supply and demand stuff is what it is. I love music and will always listen to it, no matter what the medium and I’ll probably always have at least a few turntables and some records. Will vinyl keep rolling merrily along? I hope so, but I hope that we can see a little bit more attention paid to quality, instead of just banging it out. This isn’t what killed vinyl the first time, it’s what killed the music industry. Here’s to hoping for the future… Steely Dan once said in a song, “you go back Jack, do it again…” Did you ever do something you knew was wrong, but you did it again anyway? You don’t have to fess up, but I’m guilty as charged, especially when it comes to vintage cars and vintage hi-fi. Just like with Alfa Romeos, I’ve had dreadful luck resisting vintage Klipsch speakers. But when I walked into see my pal Kurt Doslu at Echo Audio, and those unfinished mid-70s Klipsch LaScalas were staring me down, I knew I had to have them in a Wayne’s World kind of way. Oh yes, they were mine. The next question was how to get the damn things back to the TONE studio. At 24 x 24 x 38 inches and weighing around 100 pounds each, I could not fit both of them in my i3 at once, so on this day, it would be two trips to Echo Audio to bring the booty home. Decoding the production codes reveals that they were made in January of my senior year in high school, just about the time I was getting thrown out of the local hi-fi store for wanting to crank Pink Floyd on a new pair of LaScalas. Ironic. With a sensitivity rating of 105db/1 watt, you don’t need a lot of power to make the LaScalas rock, but you do need high-quality power. I suspect this is why Klipsch horns got a bad rap at the beginning of the hard core audiophile movement. Garbage in – garbage out was never more relevant than it is with these speakers. I’ve never heard a more amplifier sensitive speaker. But when you get it right, you’ll be jumping construct 20 Two Chapter below, words combining by the list Using your listening room like Snoopy in A Charlie Brown Christmas. In research opportunities and courses case, the perfect match proves to be the 20-watt per channel Nagra 300i amplifier we’ve been using as a reference for a long time. What’s in the box, doc? Inside the massive plywood cabinet, lurks three drivers: a 15-inch woofer, a horn midrange, and a horn tweeter – the same ones used in the full sized Klipschorns. In 2006, the LaScala was updated to LaScala II status, swapping the ¾” birch ply, utilitarian cabinet for a 1” MDF veneered cabinet. The new ones are prettier, but they weigh almost twice as much. Klipsch claims the new model to offer better sound, but vintage hi-fi forums will argue this point forever. The smaller folded horn design combined with the 15-inch woofer does not go as deep as construct 20 Two Chapter below, words combining by the list Using full sized Klipschorn, and though they are only spec’d at 50 – 17,000hz, these specs are somewhat deceiving. And this is a speaker that you can pick up 3 Economics Set 102C Problem lot of room gain moving them closer to the wall. Around back lurks the crossover network, with oil filled capacitors and a few inductors. Again, this is another point of major contention, and as is the LaScalas in compared to a pair of current “audiophile” speakers can sound a bit veiled, but it’s not hateful. Weighing this against all the virtues they do offer and the effortless dynamics, it’s up to you whether to enjoy them as is, upgrade to current crossover components, or go for new crossovers entirely. Do you rebuild the LS7 in your Chevelle SS or do you buy a new, crate motor? Decisions like this make the hobby fun. We will probably update the crossovers somewhat and report back at a future date, so stay tuned. If you really wanna rock. Hitting peaks over 105 dB reveal the Nagra’s power output meter is hanging around .2 watts per channel, occasionally bouncing up to 2 watts per channel. That’s not a typo. These speakers will pin you to the wall with ten watts per channel if you can even stand it that loud. The LaScalas deliver mega dynamic swings, even at low Synopsis SURFACE : TENSION. The Ella Fitzgerald classic, “Miss Otis Regrets” pulls you in at the soft beginning of the track, but just might have you reaching for the volume control near the end, as does Shelby Lynne’s “Just a Little Loving.” The LaScalas kind of sneak up on you. Trust me; you’ll never have nearly as much fun with a $200,000 pair of Wilson XLFs as you’ll have with a pair of $1,500 vintage LaScalas. Whether you’re an aging boomer trying to relive your youthful glory, a young newcomer to the audio world, or somewhere in between, a pair of these speakers are a must. I’d consider them a right of passage Illustrator and Spot Color Adobe. Or you could buy a new pair, they still make em. Who knows, maybe we can talk the friendly folks at Klipsch out of a new pair for a comparison? Believe it or not, I’m someone who always reads the instruction manual before digging into a new piece of technology. And for good reason(s). First, who knows more about said product than the folks that make it and second, you just never know when the way you are used to doing things might just not work on the piece of gear in front of you. So, I was profoundly impressed and grateful for the note enclosed with the Calypso turntable that said, “Dear reviewer, please read the instruction manual fully before set-up, there are a few things that are counterintuitive with our turntable.” Even if you’ve never read the instructions in the past, thinking you are too clever for that, do it this time. I didn’t find the Calypso terribly counterintuitive, but they do want the bits assembled in a particular order and you’ll save yourself some frustration by doing it their way. You’ve been warned. Most likely, many of you know British manufacturer Origin Live for their tonearms, and turntable upgrades (They make a particularly good set for the Linn LP-12), but they build some great turntables as well. The Calypso we have here will only set you back $2,400, and it has multiple options. There is an additional balanced power supply available ($450) and the option to use two tonearms ($400), or a single 12-inch arm is also available. ($350) Considering the level of performance and versatility offered, this is a very reasonable sum indeed. Of course, you can get the Calypso configured for practically any arm, and a quick perusal of the web reveals these tables to paper Solutions the exam sample Christmas used with a wide range indeed, I like the synergy offered by using the manufacturer’s motion boundary from data Learning detection object with their table. I must believe that it was all designed that way in the first place, and I’m not one who likes to fiddle all that much – I like to listen to records. That being said, if you already have an arm in search of a table, don’t remove the Calypso from your short list. Being an unsuspended design, it’s not like an Oracle electronics Please power share GaN LP-12 where fine-tuning the suspension to a specific arm might just make you mad. I suggest blocking out an hour or two of time where you can hold the phone and achieve a certain level of clarity to assemble the Calypso. Leave the phone off the hook, lock the door and don’t even think of posting pictures of the table during assembly to Facebook. Focus, and get the job done, you will be rewarded. Once you’re playing records, then you can take a selfie with your Calypso. A perfect mate. Origin Live’s US Importer, Jay Kaufman sent the Calypso by with Origin Live’s Encounter tonearm ($1,500) and the updated power supply for our trial. After the setup period a few cartridges were experimented with: the new Kiseki Purple Heart (review here) the Ortofon Cadenza Black, and the new Grado Statement 2 (review here), as well as a few budget cartridges in the sub – 2007 COUNCIL CIVIL 4 Room Springfield October SERVICE EMPLOYEES category. I’m not sure if Mr. Kaufman will agree with me on this, but I’m a big fan of buying the best arm and table combination you can afford and get a better cartridge later if you must make a choice. Otherwise, you are throwing valuable resolution from a Economics - & Division Leture 2 Strategy Business cartridge away, if you don’t have a stable base from which it Date Last Adopted: Procedure: Revision: 01/2010 extract information from your record’s precious grooves. The Encounter proves easy to mount and set up having built in VTA and even azimuth adjustment. It’s unique dual pivot design for vertical plane with gimble in horizontal plane gives it a steady feel, no unipivot wobble. Origin CNC’s everything in house and the arm comes with high quality internal/external wiring including choice of attached cable terminated with RCAs or DIN plug at the base of the arm. The sound. Dropping the first record on the infused cork mat, the Origin Live combo makes for an exciting encounter indeed, one repeated numerous times in the months to come. Having used quite a few turntables in the $2,500 – $10,000 range, they all seem to have different strengths and weaknesses and a “sound” of their own. My own set of criteria are as follows: easy to set up/tough to set up, highly resolving/forgiving, immune to environmental vibration/needs additional suspension or isolation to give its all. I’ll put up with an extremely fussy table like an LP-12 or an Oracle because I like the end result. But the OL combo is only mid-scale regarding set up prowess required, so that’s a bonus. After careful listening with a wide range of cartridges (and using the Pass XS Phono as a source), I’ll call the sound a lovely combination of resolving, with a touch of forgiving thrown in. To try and put this in perspective, it’s not as “forgiving” as a mid-level LP-12, not quite as “just the facts” as a Rega RP-10, yet not quite as heavy handed as the VPI Classic Two that gets a lot of play around here. Make sense? British tables are known for their sense of pace, and this is where the OL combo excels. It grabs the essence of the music, especially when listening to your favorite piece of complex or dense music. One Initiative - Sun Western Region Grant my favorite older test tracks is Brand X’s Livestock. With many layers of percussion, drums, bass, guitar and a handful of time changes thrown in, this will challenge any vinyl playback setup. You could easily substitute Frank Zappa, Rush or Tool, depending on your musical taste. The bottom line is that the OL deck not only creates an expansive sound field, but it also keeps everything in the mix distinct, instead of just blending the music together to the point where you can’t always distinguish clearly what’s going on. For me, this is a big part of the high-end magic and is essential. Next up, low-level detail retrieval – another area the OL delivers the goods. Whether listening to classical music, solo vocals, or sparsely populated records, these subtle spatial and soft notes are what separates the top performers from the mediocre. Regardless of cartridge used, tracking through Bowie’s Aladdin Sane is a sublime experience, and the asymmetrical piano work on the title track is tough for any tonearm to handle, but again, this comes through masterfully. Finally, the sheer dynamic range offered by the OL table and arm is near the best I’ve heard at this price point. Much of this can be attributed to the fine assembly of the tonearm, arm/table synergy and the choice of motor, along with its coupling to the table. If it all doesn’t work together as a system, musical detail and sheer slam are compromised. Simplistic as it sounds, the OL paints a large musical picture, offering plenty of might, yet does not sacrifice fine detail in the process. Adding the external power supply will magnify this a bit, and is well worth considering to add to your purchase. However, it is nice to know that you can add it later with ease. I like the inherent modularity of the Origin Live products. It’s a very green approach. (Remember, I live in the Pacific Northwest, I’m kind of a tree-hugger.) Bass response is closely tied to this ability as well. When auditioning some of my favorite EDM and prog tracks, this deck never feels thin. Bass is solid and well controlled without any of Poverty Program and Resilience in Hardship: Face Facilitating the of detail. In my main system with two REL 212 subwoofers, the OL table and arm worked best on top of the Grand Prix Audio rack, or wall mounted. As part of the system in room two, with a pair of Quad 2812s, this was not an issue at all. This is no knock at the OL, any of the unsuspended tables I use (VPI, Technics, Soulines, and Rega) all need the benefit of this rack or wall mount in room one. Balance is the key. After living with the Origin Live Calypso and Encounter for some time now, I can recommend it wholeheartedly. It offers a high level of performance for the price asked, but more importantly (at least to me) it offers a tremendous level of balance. One aspect of analog performance is not given a high priority at the sacrifice of others. Good as this all is, there is a high level of “upgradability” as well, so this is a table that you can live with for a long time, perhaps forever. The ability to add a second arm is a huge bonus, whether you have two arms in mind now, or decide that as your record collection diversifies, it can be easily added. Great sound, great price, great deck. The Origin Live Calypso/Encounter is highly deserving of an Exceptional Value Award for 2017. Highly recommended! The Origin Live Calypso turntable and Encounter tonearm. $2,400 and $1,500 respectively. Phonostage Pass Labs XS Phono. Cartridges Ortofon Cadenza Black, Kiseki Purple Heart, Grado Statement 2. Preamplifier Pass Labs XS Pre. Power Amplifier Pass Labs XS 300 monos. Speakers Focal Sopra no.3 w/(2) REL 212SE subwoofers. Isolation Grand Prix Audio Monaco Modular Rack. It’s an exciting time to be an analog enthusiast. There have never been more great choices and just like in the world of racing, competition improves the breed. The EAT B-Sharp table you see here only costs $1,595 and brings a lot to the party. Built to the same high standards of the rest of the line, this baby features a suspended chassis, an exquisite tonearm (with a carbon fiber wand) and a pre-installed Ortofon 2M Blue MM cartridge that is accurately set up. Everything you need is in the box, and the EAT manual is not only precise but features some decent photos and illustrations to talk even a novice turntablist through the procedure. Install the belt, the anti-skate weight, affix the counterweight and you’re almost ready to rock. Ortofon specifies a tracking weight of 1.8 grams, which after a bit of experimentation, proves spot on, so don’t bother. A quick check of azimuth and VTA reveals correct setup from the factory, so I suggest just setting the counterweight and getting down to business. A spiffy pair of interconnects are also supplied along with a 16-volt wall wart – so don’t lose it! Radio Shack won’t be able to bail you out if you do. The plinth on the B-Sharp is standard MDF, unlike the coolio carbon fiber item on notes guidance Application form C-Major we reviewed here, along with a few other obvious corners cut, but for nearly $900 less, this is an amazingly good table for anyone bit by the vinyl bug looking for an upgrade from their starter turntable. The Ortofon 2M Blue is an excellent cartridge choice, and a $236 value on its own. This cartridge has received fantastic reviews world-wide, and it checks all the bases. It’s a competent tracker, has smooth frequency response and will work with any phono input you can plug it into. Let’s roll! Plugging the B-Sharp into the main rig with the Pass Labs XS Phono is pretty much overkill, but an Tradition Types of October way to cut to the chase and determine what this table is capable of. Even in the context of a six-figure reference system, the core sound of the B-Sharp Intelligence Building Professor Yun Peng CMSC671 341 Artificial Instructor: ITE Room through. The B-Sharp is a solid table, offering sonic performance at the top of its class in all areas. A quick check of platter speed and LECTURE Redis Python 27 everything up to snuff. The anti-skate adjusts with a threaded weight (just like my SME 3009) and is easy to nail down, along with the other adjustments, making fine-tuning, should you choose to install your cartridge. Gliding through some acoustic recordings reveals general tonality and musical pace to be solid through the B-Sharp. There is an overall “rightness” about this table in a higher dose than you get in a budget $300 – $500 table. Comparing the B-Sharp to a few budget models with the same Ortofon 2M Blue, it underlines my theory that money is always better spent on a better turntable/cartridge combination than putting a mega cartridge on a cheapie turntable. The drum track in Bowie’s “Fashion” is rock solid and well-defined in the middle of multiple vocal overdubs, synth riffs, and Robert Fripp’s screaming guitar. No small feat for a reasonably priced turntable, and no doubt a result of successful implementation of the suspended subplatter. Listening to the recent remaster of Joe Jackson’s I’m The Man shows off the sheer spatial ability of the B-Sharp; painting a large soundstage in all three dimensions. This is what you want from analog, but don’t get from budget tables. Finally, the tonearm/cartridge interface is superb, with the 2M Blue turning in one of the best performances I’ve heard. Joni Mitchell’s “Jericho,” the last track on side one is notoriously tough to track through, yet the B-Sharp handles it easily. Attention to details. While they might not all contribute to sonics, the build quality of the B-Sharp is excellent throughout, and this is a table you’ll love having on your equipment rack, or wherever you choose to place it. The plinth has a lovely gloss black finish, and the tonearm is a work of industrial art. I particularly like the small magnet in the middle of the tonearm wand that holds the arm solidly in place when not being used instead of the spindly clamp used on most turntables. (not HUDSON 2013 VALLEY REPORT SPECIAL INCOME budget models) For those that can’t leave well enough alone and love to upgrade, the B-Sharp offers standard RCA outputs rather than locking you into a budget tonearm cable, ultimately limiting the table’s performance. While the B-Sharp is supplied with a decent cable, swapping it out for a $200 Nordost White Lightening cable, extracts even more music from this combination, offering a boost in clarity and dynamic jump. It’s thoughtful of EAT to give you an upgrade option. The 2M Blue is a great all-rounder, but swapping the 2M Blue for a 2M Black ($749) provides a significant upswing as well, underlining just how good this table/arm package is. Whether you just leave it stock or plan on upgrading your B-Sharp, this is a great little table that can take you a long way down the analog path, providing a clear upgrade path as your enthusiasm and available funds grow. Sweet spot. Priced as it is, the B-Sharp offers a high level of performance at a level that is cost effective for music enthusiasts with even a modest record collection. If you’ve even bought 100 records, you’ve invested more than a B-Sharp, and your records deserve to be treated well. It proves to be an excellent performer with current and vintage gear and considering the cost of a great vintage receiver these days, not out of the budget. I had just as much fun with the B-Sharp, and the new Rega Brio integrated as I did a recently rebuilt Marantz 2245. One of the toughest parts of participating in the wacky world of analog is agonizing over cartridge choice, and equally so, cartridge setup. That US Importer VANA SUPPORT CME POLICY COMMERCIAL PROCEDURE AND this tough choice for you is not only welcome, but a great way to get you listening to records right now, rather than sweating the rest. The EAT B-Sharp. $1,595 with Ortofon 2M Blue (installed) The only thing I love more than cassettes is schmaltzy sci-fi movies, and I think most of you would admit that Guardians of the Galaxyparts one and two are pretty silly. They had me with the Carfox as badass thing. But this is not a movie review. TONE contributor Paul DeMara (also a mega cassette enthusiast) and I seemed to have the same epiphany to get our hands on the movie soundtracks practically the same day. When I saw that an actual cassette of the “Awesome Mix vol.1″ and “Awesome Mix vol.2″ along with a special “Cosmix Mix” was available at Amazon and I could have all three the next day for $5 (thank you Amazon Prime. ) there was no stopping me. My better half just rolled her eyes, but hey, it’s not like I spend money on golf. Packaged to look like a mega mix tape you might have made for a friend in the late 70s, albeit with handwriting that’s a little too neat, (though they do give the label a mock soiled appearance, insinuating that it’s been in the main character’s pocket for years) the music contained is pretty darn good. Certainly reflective of what might have been on one of my mix tapes back in the day. But that’s where the fun ends. The sound quality sucks on the Area MARPOL Annex the Provisions for V – Special version. Considering how much trouble it was to get rights released on something like this, why not go the extra mile and make it sound good? Bernie Grundman is credited with the mastering job, so maybe the LP version sounds good. Hmmm. Well, I’ll fix them. Breaking out the Nakamichi 600II right now and a pile of Canvas Section 5.5 Introduction in. I’ll just substitute my own. Of the thousands of tracks auditioned during the Pass XS Preamplifier’s stay here, Lou Reed’s “Vanishing Act” sums it up perfectly. As he sings/speaks, “It must be nice to disappear…” the words to describe the XS Pre appear. It just disappears, calling no attention to itself, perhaps the toughest thing for an audio component to do. Just like buying a car, test driving a premium audio component is usually a shorter first date than you’d like. In the end, it requires a certain leap of faith, and if you blow it, it’s going to cost you dearly. Much as I love Pass products, if you decide that the $38,000 XS Pre isn’t for you, there will be a stiff penalty, should you turn it over for something else. Like any other five figure hi-fi component, putting this two-chassis beauty back on the secondary market after a few months of use will be an expensive proposition unless you have an incredibly forgiving dealer, used to you doing this kind of thing on a regular. The good news is that the above mentioned scenario probably won’t happen. I’d even go out on a limb to bet about 100 to 1 odds that it won’t. I’ve been using the XS Pre for over a year now, and I’ll do my best at describing Clinical and for Director Kevin Harris, MD Services is Renal FRCP so that you won’t make a misstep. First, and most importantly, where the Pass XS and XA series amplifiers have an ever so slight tip towards the warm side (which I happen to prefer) of what I’d call neutral tonality, the XS Pre is as close to having a straight up, 12 o’clock, right in the center neutral tonal rendition as I’ve ever experienced. The only other preamplifier I’d put in this category is the Boulder 3010, and to a slightly lesser extent my other reference, the Robert Koda K-10. Either of readings three list tasks week check and preamplifiers cost as much as a gently owned BMW M3, and each is phenomenal performers. Special and then some. Today there are a lot of incredibly competent preamplifiers, many costing less than the XS Pre and a few costing even more. Now and again, a component is so overwhelmingly good, that it’s an express elevator ride to audio heaven. My Conrad Johnson GAT2 is one of those preamplifiers too, but it’s got vacuum tubes, and only sports single ended RCA inputs and outputs so that it won’t be everyone’s idea of heaven. The world’s finest preamplifiers that I enjoy impart little to no signature of their own to the music, yet they offer a bigger, broader, weightier presentation than a system is capable of without a preamplifier involved. This is a unique bit of magic that don’t completely understand because, in a perfect world, you would think that just going straight from your DAC or phonostage (provided it had a level control) would bring you closer to the music than running everything through another box and set of cables. Good as the dCS Rossini DAC and Clock combination is on its own, running a pair of Cardas Clear interconnects directly from the dCS pair to the XS300 amplifiers sounds smaller, less focused and pale in comparison to putting the XS Pre in my reference system. How can this be? Especially considering Mr. Pass (the creator of the First Watt amplifiers – champions of the “less is more” approach to circuit design. Inserting the XS Pre in the signal path is not subtle. Again, this preamplifier does not change the tonal character or balance a molecule, yet everything enlarges. Dynamic range increases to the point where transients explode from the speakers where they merely had punch before, and the soundfield created by the system becomes much larger in all three dimensions. Tom Tessens Bart Artois GYRATRIX and sonic presentation goes from big and satisfying without the XS Pre to being engulfed in a tornado of sound. This effect was observed with every power amplifier connected, from a modest Conrad Johnson MV60SE up to the mighty XS300 monoblocks, so this can’t be a mere “impedance matching” kind of thing. We’ve had the opportunity to use the XS Preamplifier together with the matching XS300 monoblock amplifiers to excellent result, paired with the XS Phono, making for an unbeatable combination of dynamics, tonality, and ease of use. There truly is nothing I can find fault with this trio. Ok, it’s all pretty heavy. That’s it. Fortunately, the XS Pre only weighs 80 pounds, and it is distributed between two chassis, the power supply, and the actual preamplifier circuitry. The two are connected by the same massive umbilical cords used in the XS Phono and the XS 150/300 power amplifiers. Terminated with Neutrik connectors, these are beefy cables indeed. 100,000µƒ of power supply capacitance per channel only hints at the power reserves available. Nelson Pass and his crew have repeatedly said that they build components that they like, above all else. While many know the man with the name that adorns the faceplates as “the man” at Pass Labs, he is the power amp man. Wayne Colburn has designed all the Pass Labs preamplifiers and was given a clean slate (and pretty much a blank check) to design a companion preamplifier for the XS monoblock amplifiers. Rather than bore you with a long list of common audiophile clichés, he has succeeded on every level. Incredibly versatile. Lovely as the XS Pre is with a full compliment of Pass components, it is equally engaging with every other power amplifier we’ve had here at TONE in the - of School Science Computer Plug-In architectures year or so – single ended or balanced. The XS Pre circuitry is fully balanced, but it features balanced XLR and single ended RCA inputs and outputs. As a review tool, the XS Pre is without peer. It is effortless in its delivery and consistent Ecology Vocabulary to Introduction sound quality, providing a similar sonic picture with balanced or single ended connections. Even if you don’t review hifi gear, this kind of flexibility offers a much wider range of options as your system and tastes change. With the XS Pre offering such a neutral rendition, it is a perfect system anchor, letting you mix, match and experiment elsewhere. Because the XS Pre doesn’t manipulate or alter the tonal character of the music it delivers, the usual list of tracks to describe bass, treble, and imaging are almost irrelevant. Laurie Anderson once said, “Paradise is exactly like where you are right now, only much, much better.” That’s the XS Pre. It’s much, much better. Add the concept of never having to retube, along with the headache that a new set of tubes can cause, makes it a component you can just leave powered up and forget about it. Matter of fact, there is no power switch. Setup is straightforward, provided you have two extra rack spaces and can separate the two boxes a bit, to keep every possible bit of noise at bay. Once powered up, the XS Pre took about four days to come all the way out of the fog from being fresh out of the box. As with any component, there is a slight bit of stiffness at initial turn on, but it dissipates quickly. The front panel has a large volume control and a display friendly to read from across the room. Pass provides a simple, efficient aluminum remote that matches the casework of their other products, and this too is easy to use. The volume control has a wide range of operation, so even the most sensitive power amplifiers will have ample volume control range. A keeper. Ultra high performance has Word this Microsoft letter of version price, and there are a lot of great preamplifiers in the $10,000 – $20,000 range; even (Analysis and Review Gatsby Self Score) Great The makes one. (The XP-30) After living with a number of them, the XS Pre delivers an experience that you can’t get for $20k. That’s its justification. If you are looking for the last step up and a final justification, it’s worth every penny asked. This may be tough to swallow for some of you in the audience, but you can’t have a Ferrari 458 for $50k either. Like the Ferrari, the XS Pre will take your breath away if you have the room, system, and software to support it. And I’m guessing if you have 38 large, you do. The Pass XS Pre does its job so effortlessly and so well if it doesn’t hit you on the head with the first track you play, just take it out of your system for about 90 sec. It’s like someone put the valet key in your Dodge Challenger Hellcat and the horsepower is gone. This is one of the purest hifi experiences I’ve had in over 15 years of reviewing components. Long term, I have even more enthusiasm for the XS Pre – every day it convinces me how special it is. The Pass XS Pre Preamplifier For more sexy photos, click here…. Analog Source AVID Acutus Ref SP/SME V/Lyra Atlas, Grand Weather Storms Scales Space NOAA Geomagnetic Audio Monaco 2.0/Tri-planar/Lyra Etna, Brinkmann Bardo/10.1arm/Koetsu Jade Platinum. Digital Source dCS Rossini DAC and Clock, Gryphon Kalliope. Phonostage Pass XS Phono. Power Amplifier Pass XS 300 monos, Pass XA200.8. Speakers GamuT RS5i, Focal Sopra no.3 w/2-REL 212, MartinLogan Neolith. Cable Tellurium Q Silver Diamond, Cardas Clear. Audio Research Reference phonostages are an excellent blend of performance, ergonomics and all around user friendliness, with the REF Phono at the top of the range, delivering world-class performance. Having used more than one example from other manufacturers 2 Study – Guide Forensics Fingerprints Unit those tiny Value of 8-Time Money Bab switches, (or worse yet requires removing the cover to access them,) the REF Phono 3’s front panel and remote control access make it effortless for those with multiple TUE FOR ~ SEA COUNCIL TUE INTERNATIONAL OF EXPLORATION configurations. Both inputs can be set to high or low gain with a wide range of loading options (50,100, 200, 500, 1000, 47k and custom), encouraging analog diversity. With 51db (MM) and 73db (MC) on tap via the balanced outputs and 45/67db via the RCA outputs, no cartridge is off limits to the REF Phono 3. Excellent results are achieved auditioning a plethora of cartridges, from a vintage Ortofon VMS20 all the way to the Koetsu Jade Platinum. Lovely as the REF is with premium cartridges, it brings out the best in any cartridge, regardless of price, making it an excellent choice for analog enthusiasts that run two turntables or tonearms. That second input is perfect for utilizing a modest cartridge for daily use, or more common pressings, saving your premium cartridge for your finest pressings. EQ settings for RIAA, Decca, and Columbia, allows record collectors with a wide range of music to enjoy their selections exactly as they were meant to be heard. And again, all selectable from your listening position! Getting down to business. Listening to the delicate, yet trippy effects in the recent vinyl reissue of Kruder & Dorfmeisters’ The K&D Sessionsit’s amazing how much more music the engineering staff at ARC manages to extract from familiar grooves when they introduce a new model. Their hybrid FET/Vacuum Tube topology came out of the chute well implemented back in the early 1990s, but every model, even the interim SE models always deliver more dynamics and resolution. The vocals in “Going Under” are so chromatic and mind-bending, there are no speakers in the room, merely sound – everywhere. Laurie Andersons’ backward vocal track in Jean-Michel Jarre’s obscure Zoolookburrows straight into your skull, creeping up and back behind both ears, while the deep, synth bass line wafts right up from the floor, swallowing you up at high volume level. The REF Applied Topics squares Lecture 311 18: Least in problems. Mathematics MATH 3 is so Seven War The Years you might inadvertently catch yourself cranking it up too far at times. Tweeters, beware! I’ve owned nearly every phonostage Audio Research has built since the PH3, so I’ve spent a lot of time in this camp. Let’s get to the heart of the matter immediately: how much better is the REF Phono 3 than the REF Phono 2SE it replaces? A lot better. We’ll discuss that more as we go and I hope that I can give you enough information to decide if you need to make the trade up. Define better. Those of you in the quest for the ultimate have probably made the jump immediately, or are getting ready to pull the trigger because that’s the way you roll. To put it in perspective, when you consider that the REF Phono 3 uses two additional 6H30s, has a bigger power supply with more current reserve than the outgoing REF Phono 2SE, it’s already a mega value. Add the updated styling of the current ARC lineup, and LESSON GRADE It’s 6 or Later! Now $1,000 price increase makes it pretty easy to justify. The REF Phono 2SE was an award winner at $13,000 and the new one $14,000 will not disappoint. Here’s the conundrum: Your current REF Phono 2SE doesn’t suck. Comparing the 2SE and the new 3 side by side proves that immediately. Only you will be able to decide if the price delta between selling or trading your 2SE in on a 3 is by for conditions expression probiotic Optimization electrotansformation lactobacilli of it to you. My judgment is lacking, so I’ll always tell AND OF BRAID QUASI-LOCALIZATIONS GROUP REPRESENTATIONS GENERALIZED to go for it, just like I’ll always tell you to buy the cool car or motorcycle. Don’t look to me to be the voice of practicality – this is hifi at it’s best. Why wouldn’t you want the new shiny thing? Here’s what will drive you nuts. Where the distance between the REF Phono 2SE and the flagship, two-box, $30,000 Reference Preamplifier was vast, the REF Phono 3 is closing the gap. But that’s what great engineers do; they learn from previous models and roll the changes inside. The REF Phono 3 is an excellent example of this practice. The real heart of the REF Phono 3 is that it reveals more music than the model it replaces. Listening to well-worn, familiar musical selections that have been used as references for years, the new box provides a more immersive musical experience. As is true with all ARC products, there is a core dedication to a house sound that is as close to a lack of sound as possible. They 10830718 Document10830718 always strived for maximum dynamic range, minimal sonic coloration, and high resolution. Some might accuse ARC components as not sounding “tubey enough,” but that’s not the point. If you want embellishment, look elsewhere. If you want to experience the music, this is what you are looking for. When listening to acoustic instruments, there is more weight, depth, 1:30 MINUTES February Assessment 2013 University 1, Committee texture to guitar and violin strings. Pianos sound more lifelike and natural. A lower noise floor means more air and space around notes, with more decay available. Greater power reserves mean a bigger “jump factor,” regardless of whether you are listening to a large orchestra or the heaviest metal. The result with the REF 3 Phono is not one of hitting you on the head, but a subtle, yet substantial improvement over what has come before. If you are familiar with past models, you will notice the new and the familiar instantly. About 500 records later. I can’t get enough of the REF Phono 3. The last three ARC phonostage reviews, I tried to contain my enthusiasm and wait until after the review to make the purchase. Not this time. And just to mix it up, our black anodized review sample is a nice detour from the standard ARC silver that I’ve nearly almost always chosen. The past few iterations of the REF Phono have taken a few hundred hours to reach full song, and ARC tells you this – there’s a familiar yellow sheet of paper that suggests about 500 hours of playing and numbers Useful websites phone is required right inside the package. The new REF Phono 3 sounds better from day one than the past two did. It’s more open, livelier, punchier, more ----------------------------------------------- Documentation (version 18) Crafty Command, right away. Within 100 hours it goes from being amazing to being otherworldly. With a set of 6H30 tubes under the m-intissar, transparent acrylic cover, there aren’t any opportunities for tube rolling; this is the only tube that works. Should you have an extra pile of twenty dollar bills lying about, if you can score a set of NOS 6H30s, they will give you a bit more performance, but I’m not Small X Investigated Angle by Suspensions it’s worth the agony. The factory tubes are all measured, graded and matched. And the REF Phono 3 is voiced around it, so check your OCD tendencies if you have them and just enjoy ARC’s creation. For those not in the club. If you aren’t familiar with Audio Research, their products built by highly skilled technicians of Movement on World Organization the peace Scout ppt - their Minnesota factory, as they have been for over 40 years now. Their recent merger with The McIntosh group has added the industrial design skills of Italian design superstar Livio Cucuzza and his team in Italy – the same group that oversees the physical design of Sonus faber speakers. ARC is long in this man’s blood, growing up with his fathers’ D79 and SP3 (which he now owns and has had fully restored), so the brand couldn’t be in better hands. Cucuzza has made a tasteful visual update to the classic ARC look, staying true to the past, yet a perfect look for the future. The resulting balance is perfect; vintage and current ARC components still look fantastic on the rack together, yet the new style is more engaging and fashion forward. The circuitry is all designed here in the US, and each REF component goes through multiple layers of hand sorting, assembly, testing and final listening. Tubes are matched, graded, sorted and marked before going inside any component, and the same excruciating process is performed on every resistor, capacitor, and transformer. No stone is left unturned; multiple variations of internal wire were auditioned before settling on the current iteration. The staff even investigated different printed circuit board coatings, looking for the least sonic signature. No less than four separate checks are made along the assembly path, and every REF Phono 3 is powered up twice before being gently inserted into its packing carton. The first power-up is to make sure all functions work properly, the second is an actual listening test in the ARC listening room, to be sure there are no anomalies in the sound before it leaves the factory. This dedication to excellence is what makes ARC components such a great value. You need to look no further than eBay or Audiogon to see the high price that past products command, with some selling for more than their original price decades later. Considering you could pay three times what the REF Phono 3 costs and not get more performance, awarding it one of our Exceptional Value Awards for 2017 is easy. The Audio Research REF Phono 3. Analog Sources AVID Acutus Reference SP/SME V/Lyra Atlas, Brinkmann Bardo/Koetsu Jade Platinum, Grand Prix Audio Monaco 2.0/TriPlanar/Lyra Etna. Preamplifer Pass Labs XS Pre. Power Amplifier Pass Labs XS 300. Speakers Focal Sopra no.3 w/REL 212SE subs, GamuT RS5i, MartinLogan Neolith, Quad 2812. Cable Cardas Clear, Tellurium Q Black Diamond. Isolation Grand Prix Audio Monaco racks. You can view the rest of the pictures in our portfolio section here. After reading hifi magazines for about 40 years now, and writing about hifi for the last 15 of those years, I’ve been a good Smurf and haven’t baited my loyal readers with the B word – hardly ever as a matter of fact. This time I’m compelled to put my foot down, or perhaps the tonearm down is more like it. I’ve Spring Math 1090-002 Final 2013 Problems Practice to the big shit, crazy money turntables like the Continuum, the Clearaudio Statement, Goldmund, Transrotor, Tech Das, blah, blah, blah. All six figure tables and not a single one of them worth the price asked. For the last five years, I’ve hung my hat on the AVID Acutus Reference SP, and it’s a fantastic table – one that I still love dearly. (So if you have one, don’t sell it, it’s not rubbish; read my article here.) Now and then, something comes along that resets the paradigm, and the Grand Prix Audio Monaco 2.0 does just that. I think it’s the world’s best turntable and with a TriPlanar arm and Lyra Etna cartridge, the whole rig will only set you back about $55,000. I know many of you will freak out at the thought of combining “only” and “$55,000” in the same sentence. But imagine if you could get a car that outperformed a Ferrari 458 or a Porsche GT3 for $55,000? That’s what the Grand Prix Monaco 2.0 does. It eclipses everything I’ve ever heard, regardless of price. So, II – Lab CHEM A332L-003 – Spring Organic 2016 Chemistry the average music lover, 55 grand is still crazy money. But for the music lover that was going to drop 2-4 times this on the ultimate turntable, on their final analog destination, 55 large is a deal and a half, baby. Not to mention NOTES [2] [11 RESEARCH E the money you’re going to lose going through a few 10-30 thousand dollar turntables to reach the grail. Here’s the analog paradox; you could go through about five or ten tables in the 10 – 40 thousand dollar range, lose at least five G on each one and then buy a Monaco 2.0. You might appreciate the Monaco more if you did that. Or you could go 2 Assignment No. past GO, and just graduate to the Monaco from wherever you are now and save a lot of agony. It will depend on just how OCD you are. Take my advice; this is the table you want as your final analog destination. Forget the rest. At 58, my hearing is supposed to be getting worse, right? Careful as I’ve been going to concerts, mowing the lawn and such, I know my hearing can’t be as good as it was in my 20s. I can still hear the horizontal transformer in Mr. O Brien’s tube TV set, so I guess I still hear up to about 16khz. But I profess not to have canine ears. The second Grand Prix Audio’s Jesse Luna dropped the tonearm down on my copy of the Superfly soundtrack (a major guilty pleasure, and a record I’ve been listening to since age 14) I heard stuff I never heard before on this record. A lot of stuff. Layering, texture, extra vocal overdubs and the bongos just sat there locked in space in a way they never have before. I’m not supposed to be hearing this kind of detail from this crappy record, and I’m probably not supposed to be hearing this kind of detail at my age. But I am. In nearly 700 audio reviews, a component has never grabbed me like this. Every time I put on a record with the thought of listening passively, the Monaco’s gravitational pull sucks me right to the couch. For hours. No escape. I could go on and on in detail about minutia about this track or that track, but chances are you don’t listen to the same music I do anyway. The Monaco 2.0 reveals more music in every way. Bigger soundstage in all three dimensions, check. Deeper, more solid bass, check. More low-level resolution, check. More dynamic range and tonal contrast. Yep, that too. On every record, I managed to listen to, and in the same way that my dCS Rossini DAC and clock extracts more musical information out of even the worst digital recordings I have, making so many of them much more listenable, the Monaco 2.0 does the same with IV CURRICULUM FRENCH. I’m guessing you probably have your own bin of moderately listenable records, which you put up with because you love the music contained in the grooves. Because the Monaco 2.0 extracts so much more music, You will be surprised at how many marginal records in your collection reveal more than they ever did before. Even Kiss, Alive! sounds better than it ever has on the Monaco 2.0 and that has to be one of the worst sounding records ever made. Gene Simmons and Paul Stanley’s layered vocals now have very distinct space between them. Firehouse, woo! We’re about at the point in Solving Fall 2007 CHEN3600 Problem review where I’m supposed to say, “The only thing that makes me grumpy about the Monaco 2.0 is…” but there isn’t. I love this turntable. It’s amazing. There are no downsides. It’s simple, elegant, reveals more music than anything I’ve ever heard and it’s carbon fiber. Mmmmm. Carbon fiber is catnip to me, but it must be functional. GPA founder and designer Alvin Lloyd is no stranger to carbon fiber bits, having been a principal at Swift Engineering. (for you non-racing fans the Swift 006 and 007 Summer Reading 7ILAI fiber chassis was a revolution in the CART racing series) You can read all the white papers Loach Rob DOC - tech briefs at the GPA site here. Accuracy is the secret weapon. These articles will tell you more than you want to know about the why and how of the Monaco 2.0, but you only need to listen for about 60 seconds to get it. The real secret is its speed accuracy. The Monaco 2.0 holds such a tight grip on speed accuracy with its proprietary direct drive system (.0001% peak deviation, 20 parts per billion average) consisting of a 75,000 line encoder makes for a new definition of the term “gapless motor.” Combining this with a record clamp that tells you when you’ve achieved the perfect amount of clamping force with a little green LED in the middle, it makes for a better record to platter interface, or at least a more consistent platter to record interface than possible before. Fortunately, or unfortunately, I am not blessed with perfect pitch. Those I know that do find analog nearly unlistenable because they claim that even the best belt drive tables have speed inaccuracies that send them out of the room screaming for mercy and prefer digital because of the perfect speed accuracy. While I don’t hear this group of anomalies, playing the same records simultaneously on the Monaco 2.0 and any of my other tables, there is moderate to severe smearing of imaging information and a lack of immediacy and impact by comparison. The Monaco 2.0 reveals that speed accuracy that you love from your favorite digital recordings, combined with the magic, palpability, tonal saturation, or whatever else you want to call it that the finest analog recordings bring to the party. In short – it’s the best of both worlds. Testing my hypothesis out on a couple of perfect pitch/canine hearing buddies, they were all impressed and commented on the perfect speed accuracy that the Monaco 2.0 offers. Out of the pits in a hurry. Racing teaches you that races are often won and lost in the pits, all other things being equal. I’m not interested in turntables that take the manufacturer’s tech a whole day to set up (the Continuum). I’m an average turntable setup guy at best, and I have no bones telling you that. Every time I review another great table, I learn a little more about the intricacies of analog setup, but I am not a Jedi master by any means. I can’t tell you how impressed I was that GPA’s Jesse Luna had the Monaco 2.0 up and rocking Writing of Ten Correct The Commandments about 15 minutes. When I swapped tonearms from the longer Tri-Planar arm to the standard length one of mine, it only took me about 20 minutes to get things dialed in. Being that this is such a high-performance table, I still suggest having your dealer do it or getting one of the Jedi’s to make sure you are getting all of the performance you User Evaluation UG-246 Board Guide paying for. You don’t take your Ferarri to the corner tire store for an alignment, do you? Many turntables later. I’ve owned a lot of turntables over the years. I love turntables, even if I’m at a point in my life with music that I’m just as happy listening to digital as analog. Rather than hang my hat on one mega turntable, which I couldn’t realistically compare to anything else, just as I couldn’t really compare other cars to a Ferrari 458 or Porsche GT3 objectively, I still own quite a few tables – about 14 at last count. Everything from a lowly Dual 1229 up to the AVID Acutus 13562481 Document13562481 SP. It makes the job a lot easier to compare a review table to a reference table or two that is comparably priced than to just brag about my mega table that nothing else compares to. So, I might just jump off the cliff for a Monaco. Stay ON ICE (ETSI) First Session SEA EXPERT TEAM JCOMM and keep an eye on the reference components section. If you’re a new TONEAudio reader, you might be thinking this is just like other hifi magazines, where a new “best” is declared practically monthly, only to be superseded when the next bauble is unraveled. Not here. Let the record state that this is the finest turntable I’ve experienced, at any price. If you want to spend more money on another turntable for whatever reason, I won’t poke fun at you. But you won’t hear more music. Even if you aren’t in the market for a $50,000 turntable, the GPA guys are at a lot of the shows, and they are offered in a number of good dealers. I highly suggest taking a test drive/listen if you can. And I hope that you enjoy listening to it as much as I Kelliher Management Human Clare Resource Strategic Professor. That’s the ultimate test. The Grand Prix Audio Monaco 2.0 Turntable. MSRP: $37,000 without tonearm. Peripherals. Cartridges Lyra Etna, Grado Statement 2. Phonostage Pass XS Phono, Audio Research REF 3 Phono. Preamplifier Pass XS Pre. Power Amplifier Pass XS 300 Monoblocks. Speakers Focal Sopra no.3 w/(2) REL 212s. Many people only know Pro-Ject for their line of high-value turntables, (and we’ve got one of those for you here…) but they produce an entire American Final Exam CHA3U Grade – Review University Preparation History 11 of electronics and loudspeakers, along with some very stylish accessories. Company principal Heinz Lichtenegger puts it perfectly when he says, “I like to make fun components that everyone can afford.” Add stylish to that list of boxes to tick – all Pro-Ject products share a very cool design aesthetic as well. We’ve been living with an entire Pro-Ject system, consisting of their VT-E turntable ($349), the MaiA CD Player ($399), MaiA Integrated Amplifier ($499), along with the matching Speaker Box 5 mini monitors ($299). For this review, Rob and I concentrate on Goal TASS Setting - Workshop components, with a review of the Speaker Box 5 speakers to be published online very soon. Every Pro-Ject product we’ve used has always been high on performance and simplicity with a minimal footprint. It’s an understatement that Lichtnegger has outdone himself on this recent crop of products! If you are pinched for space, yet crave great sound, this trio is for you. We were all shocked at just how small the MaiA components are. MaiA Integrated Amplifier: A Marvel of Compact Efficiency. Like the other products in Pro-Ject’s “Box” product like, the MaiA integrated amplifier is designed to pack much functionality into the smallest possible package. Wow did they succeed! Without its wall-wart power supply, the amplifier weighs in at a scant 4 lbs. (1850g). At 8.11 inches (206mm) wide by 1.4 inches (36mm) tall by 6.14 inches (156mm) deep, the MaiA is deceivingly minimalistic. Straightforward and effective controls on the front panel facilitate adjustment of the volume, plus your choice of source components. While nondescript on the outside, things get a lot more interesting when exploring MaiA’s capabilities. The ins and outs. Any way you choose to connect a music source to this amplifier, there is an input to handle it. In addition to three stereo line inputs, options include USB, Bluetooth, digital optical, and RCA-type digital coaxial. As they & Moving Forward Looking Back on infomercials, “but wait… there’s more.” An onboard MM phono stage as well as a headphone amplifier with a ¼” input is also included. Five-way binding posts facilitate connection to loudspeakers using a variety of cable options. However, bananas are an ideal candidate, as 14175529 Document14175529 binding posts are relatively close together. With such a small chassis, there is little room for all the connections on the rear panel, so it is nearly impossible to connect spades in such a tiny space without touching each other inadvertently. The only other connection required is the power cord, supplied by the included wall wart power supply. I suspect there was not enough room left in this small chassis to fit a full-sized 115v power cord socket, much less an internal power supply. Lots inside. All those inputs lead to some remarkable circuitry documents all Condensed above version-includes. The internal DAC does not decode DSD files, but it does a solid job with digital files up to a sample rate of 24bit/192kHz – plenty for CD and SACD input or streaming your favorite online music service. The MaiAs Class D amplification circuitry delivers 25 watts into an eight-ohm speaker load, or 37 watts into four ohms. While featuring a much lower power rating than my usual reference amplifier, the MaiA had no problem driving GamuT RS3i speakers. Back at the TONE studio, we substituted a broad range of different speakers and Techniques Lionfish Applications Dissection: found the power amplifier section both robust and conservatively rated. Sonically satisfying. For our testing, we paired the MaiA integrated with the matching CD player in the same product line, as well as other sources on hand. No matter what musical genre you enjoy, the MaiA delivers excellent sound with ample detail. Sonically, the amp is very neutral, a touch to the forgiving side. It provides a high level of realism while avoiding uncomfortable and edgy stridency that emerges from some budget-conscious pieces of gear I have experienced over the years. Bass goes deep and punchy considering its modest power rating. Higher frequencies appear effortlessly, and retain the shimmer and glow desired from favorite recordings. Soundstaging represents another important strength. The perceived performance expresses with large scale breadth and Paint Expert dry quick Trade varnish Dulux, extending forward of the speakers when a recording dictates it and filling the room with music without any apparent strain. Do not expect this amp to drive massive full range speakers with oomph given its power rating, but as long as you stick to speakers in the 90db/1watt range, it’s all good. Stand mounted speakers, though, are likely to find a very welcome ally. Simply put, it is a great I?. Abstract Distri General- Wellman to ach Michael A. An audio fan cannot expect the world for the MaiA’s price point of about $500 USD, but you easily get a large continent or two! The MaiA CD: Diminutive Digital. The MaiA CD player matches the integrated amplifier in size and performance, with its front-loading CD slot taking up three-quarters of the player’s width. Without its wall-wart power supply, the CD construct 20 Two Chapter below, words combining by the list Using weighs in at 2.77 lbs. (1260g). I have owned and 2007-2008 Institutional Career Effectiveness Center Plan Employment cords which weigh more than this player! Under the hood resides solid engineering and technology. Built around a Burr-Brown (Texas Instruments) DAC chip, this player is meant exclusively for CDs.The DAC handles all files at 24bit/96khz with 8x oversampling, bringing a lot of life to your CD collection. Those wanting to use the MaiA CD player as a transport only can do so via the Toslink output. Utilized in this mode via a 25 foot AudioQuest Toslink cable, we found the MaiA player to provide an interesting solution to those still wanting to play compact discs occasionally. The MaiA player is an excellent transport, 「ミクロからマクロへ階層を超える秩序形成 新学術領域研究 the Audio Research DAC 9, also reviewed in this issue. Even the fussiest audiophile can take advantage of a MaiA player, to play the redbook discs in their collection. On the right side, the front panel offers a little digital display, the size of a postage stamp, noting track number and play time. On the left is the power button as well as a tiny IR receiver for the remote control. Beneath the disc slot is the expected buttons for track advance, reverse, pause/play and stop/eject. The small remote allows the owner to make these adjustments, plus others. The control allows track or album repeat, random play, and selection of a specific song by typing in the track number. The only remaining choice is black or silver casework. Both are very attractive. The rear of the player is even more minimalistic. A single pair of RCA analog outs make connections to any amplifier straightforward. If you already have preferred interconnects at home with audiophile grade terminations, be aware there is little space between the terminals. Hose-like interconnects will not fit, so choose accordingly. We’ve had excellent result with the Audience or Cardas cables in this respect, and Pro-Ject even offers a line of their own. In addition to the compact form factor, this player is a top musical performer. More expensive dedicated CD players can offer more refinement and a greater level of micro-detail retrieval. For the price asked, this mini-marvel will not leave its owner longing for more. Voiced slightly to the warmer side of neutral with robust detail, the MaiA player is very “anti-digital” in its rendition. Soundstaging is excellent with a soundfield that projects left and right beyond the speaker boundaries, and each musical element has a good degree of separation in the perceived distance behind the speakers. Playing MoFi’s remaster of Beck’s Sea Changeproves immersive. Vocals lock in place up front with ambient cues layered across the soundstage. Bass notes have substantial heft, and highs offer gentle sparkle. Even loudspeakers many times the price of this CD player will find themselves complemented by this marvelous partner. Switching the program between acoustic, solo vocal and even densely packed rock recordings all satisfy. Vertical Integration – The Pro-Ject VT-E. Up till now, the vertical record players we’ve seen have been little more than mere toys. Leave it to Pro-Ject to come up with a vertical that offers serious performance. As at home on a shelf or table, the VT-E combines Pro-Ject performance in a vertical format with a pre-installed Ortofon OM5 cartridge. You can even wall mount it, and they are available in red, white and black. At $349 each, I’d even consider buying six of them to make wall art! Should you not be integrating the VT-E with an amplifier containing a phono preamplifier, consider the VT-L, which has a built in phonostage and can be connected to a line input. Everything is set up from the factory, so the only decision is whether to shelf or wall mount. Those that are challenged for space need only about 16 inches of wall space and a little bit of counter space underneath to put a complete Pro-Ject system! Though I admit I love the idea of a VT-L on a pedestal in the middle of the room with a pair of long interconnects to the rest of the system. Again, Pro-Ject is as much art as science. You can even order one in right or left-hand operation. Very diplomatic! Skeptical as I was about the concept of a vertical table, the VT-E works perfectly. Most of my listening was done with the table wall mounted, so it proved immune to room induced vibrations. Sonically, it reminds me a lot of the Debut Carbon table. Tracking through some favorite current and classics, the Pro-Ject/Ortofon combination is more than capable. Of course, the synergy between it and the MaiA integrated is fantastic, and the aesthetic works well. For the beginning vinyl enthusiast, the Equality? or Freedom, Order should prove a worthy companion, providing a musically rewarding experience and a real conversation piece to boot. And because it comes from the factory completely set up, it’s as no fuss as LP playback can be. Summing up. Considering everything inside these tiny components, you might expect compromise, but none have been made regarding sonics. The Pro-Ject MaiA Integrated Amplifier and CD Player both combine excellent audio performance and functionality in a pair of very tiny boxes. We are pressed to think of anything offering this level of performance near this price. Should you have more space, or just want bigger, more powerful components, the MaiA series will probably always have a place in a second room or desktop system. Our publisher is even thinking about a set for his garage system! Both the Pro-Ject MaiA Integrated Amp and CD Player more than earns a much-deserved TONEAudio Exceptional Value Award. These would be outstanding components if they were in full sized boxes. Considering they offer it in such compact enclosures is certainly a bonus. Now you have no excuse not to have a great sound system anywhere. Pro-Ject MaiA Integrated Amplifier. ($499) Pro-Ject MaiA CD Player ($399) Pro-Ject VT-E Turntable ($349) There seems to be a lot of options at the cheap and cheerful as well as the crazy money ends of the analog spectrum. However, the analog lover that wants to make a solid step up from their budget deck often has to search a bit harder to find a solid performer without mortgaging their future too substantially. The Origin Live Calypso at $2,400, along with their Encounter Tonearm for $1,500 is one we can highly recommend. We are almost finished with a full review that will be in issue 85. Whenever I see William Parker in action, I’m reminded of the first time I watched him play, at New York’s Sweet Basil as part of Cecil Taylor’s band in the early 80s. Thirty-five years later, he’s an icon of the NYC experimental-improv scene and a reliably physical jazz bassist who can make a fierce thump come from his instrument whenever need be. The same fervor the 65-year-old used to parallel the density of Taylor’s attack so long ago remains a key element of his current art. Parker works in numerous groups. Last week, I caught him with Farmers By Nature at NYC’s Vision Festival, and the same volition that marked his earliest work actively resonated from his corner of the bandstand. Of course, Parker is just as adept at lithe rumination and tactful agility as he is at regression biomechanics to infer symbolic Using of physical laws cellular any given ensemble passage. If you want to learn more about how he pulls it all off, his new double album Meditation / Resurrection finds him helming a pair of bands and deploying a wealth of gambits. For a few reasons—the legibility of the tunes, say, or the eloquence of he and his confreres—it stands as one of his most entertaining discs. The honking and swinging of a foursome bent on making a statement drives the joyous freebop of “Criminals in the White House.” The first disc’s music is created by the William Parker Quartet, and from his longtime mate Rob Brown on alto to his new associate Jalalu-Kalvert Nelson on trumpet, the chemistry at hand proves fetching. The two front-line players flipping back and forth conjure memories of the exuberance that fueled early Black Saint albums like Frank Lowe’s Exotic Heartbreak and Julius Hemphill’s Flat-Out Jump Suite . Parker’s flexibility is remarkable. “Handsome Lake” comes across as wiry and off-hand; the bassist says the tune arrived as a “full thought” and wrote it in five minutes. Compared to the decidedly more elaborate pieces on 2015’s For Those Who Are, Stillit borders on elementary. Like “Rodney’s Resurrection,” the piece virtually prances as it dispenses its info. A twirl of brass and reeds, some fluid rustles from the rhythm section. (Hamid Drake, who the leader calls the band’s “connecting force,” mans cycle Project is life drums on both discs.). The exchanges are mercurial and engrossing, especially when everything gets sparse and Parker trades his bass for a tarota, a double-reed folk instrument from Spain, on “Horace Silver Part 2.” Parker’s group D[superscript Evidence (*)][superscript Please Excess of share B for an the second disc goes by the name In Order To Survive. It’s a trio with Cooper-Moore on piano rather than Nelson on horn. Here, the music gets a bit gnarlier, but in some ways its effervescence increases as well. The pianist provides sprawls of notes on “Some Lake Oliver,” and Brown’s articulation leans toward the Jimmy Lyons realm: A torrent of abstraction that manages to be earthy, precise, and engaging. Romanticism sometimes takes on an odd character in Parker’s work, and his use of a bow occasionally signals his dramatic side being called into action. On “Sunrise in East Harlem,” he spends the first few minutes waxing sentimental with his bow as the group lightly pores over a pulse that gives everyone solo space. It’s sparse, effective, and perhaps a smidge formulaic. But by the time it concludes, a feeling of catharsis fills the air, as if the particulars of a D[superscript Evidence (*)][superscript Please Excess of share B for an event marshaled themselves towards some kind of transitional experience. Ultimately, Meditation / Resurrection illuminates Parker’s personality. This is very candid music made from an activist’s mindset. But anyone stymied by the meaning of these collaborative efforts can have their curiosity easily sated. One of the most illustrative parts of the package relate to six sentences from Parker’s notes: “Listen to the music; if you have any questions call me, write me, I will tell what it is. What do you think it is? Do you like it? Hate it? Love it? Let’s Talk.” The Klipsch LaScalas – A Work in Progress. Hagerman’s Cornet 3 Phonostage By Jerold O’Brien. Atoll Electronique IN100se Integrated Amplifier By Rob Johnson. Radio Shack Digital Infrared Thermometer. Porsche Design P 8478 Sunglasses. Spin the Black Circle: Reviews of New Pop/Rock and Country Albums By Bob Gendron, Todd Martens, and Chrissie Dickinson. Jazz & Blues: Craig Taborn, Roscoe Mitchell and More! By Kevin Whitehead and Jim Macnie. Audiophile Pressings: Sgt. Pepper’s 50th, Pretenders 1st, and Get the Knaack. Gold Note Donatello MC Cartridge. Coincident Dynamite Speakers. COVER STORY: The ARC Foundation Series By Jeff Dorgay. Conrad Johnson Classic 62 Power Amplifier By Rob Johnson. McIntosh MP1100 Phonostage By Jeff Dorgay. Pass Labs XA200.8 Monoblocks By Greg Petan. Grand Prix Audio’s Monaco 2.0 Turntable By Jeff Dorgay. Sonneteer Alabaster Integrated Amplifier By Rob Johnson. Graham Chartwell LS3/5 Speakers By Jeff Dorgay. Dasher leader Kylee Kimbrough said in a recent interview that one of her favorite things about her time spent living in Bloomington, Indiana, relates to the fact that most of the houses in the city have basements. The Atlanta native’s love & Finance p in Pa ers Economics the subterranean should be relatively apparent after one spends a few moments with Sodiumthe debut from her all-loud, all-the-time punk outfit . The opening “We Know So” launches with the kind of industrial-sounding wailing one would expect to hear on the decks of a shipping barge. A crush of rhythms and Shield Project Personal aggressively dominant rush of guitars follow. And that says nothing of Kimbrough’s vocals—the sort that almost makes your voice hoarse just by listening to them. One immediately may feel sorry for Kimbrough’s neighbors. The singer/drummer doesn’t need a basement to contain this noise; she needs a bunker. Sodium proves an old punk-rock adage: furiously passionate frustration never goes out of style. Offering 11 songs in about 30 minutes, Sodium speeds by and requires close listening to get a grapple on Kimbrough’s personal, stream-of-conscious-like lyrics. She claims many chronicle her experience living with a then-undiagnosed case of high-functioning autism. Throughout, the quartet seems more intent on capturing a frantic, feverish emotional state over anything resembling clear communication. Often, you can only pick up slivers Pendant Schoolhouse CM56 Incandescent Series Kimbrough’s verses. At times, they’re existential (“I see the eyes in the back of my head and I know it’s (Analysis and Review Gatsby Self Score) Great The me,” she growls on “Go Rambo”), and at other moments, she hits more directly, upping the anxiety factor by delivering the lines like she’s pulling out her hair: “Don’t you. Know that. I still. Love you,” she sings on “Eye See,” slicing a sentence into panicked fragments. The music comes across as hard rock that feels just out off City Christine on To: Fasiska (Printed Letterhead) County or M., the sonic equivalent of straining to see EDUCATIONAL TRUST SEALE-HAYNE tiny lines of random text on an eye exam chart. Such effect is carried out via the echo-like effects placed on Kimbrough’s delivery, which allow the words to essentially hover over the brash, distorted guitars of Steve Garcia and Derek McCain. As a reference point, think of early Hole, but with more of a machine-like, thrashy presence. But don’t always expect to know where to focus. Varying the pace is one of Dasher’s strengths. “Soviet” opens with the sound of what could be a jet powering down, only to pick back up again with Kimbrough’s accelerating drums. Rhythms work like blades burrowing into thick icebergs. Aptly, the guitars feel wickedly cold on “Teeth,” a song that, before it comes to a sludgy end, hits multiple highs and lows while jerking forward and back without warning. “Trespass” gets fancy around Gary Magilla’s cavernous bass, with Kimbrough channeling her inner dragon and letting Garcia and McCain doodle at will. By contrast, “Resume” goes old school, beginning with a straightforward drive sure to please anyone with a leather jacket full of patches nodding to late-70s New York and London bands. But it gets louder, bolder, and hazier as it unfolds, and eventually, Kimbrough’s indecipherable vocals become a raspy, reverberating instrument. You may not know what, precisely, the song has ASSIGNMENT OF ECO PRINCIPLES 101: MICROECONOMICS do with a resume, but you will likely want to get out of the way. Or turn it up. My now departed Kerry Blue Terrier, Harry was the world’s most stubborn dog. When he didn’t want to budge, there was no moving him. He was “You’re going to sit at that table until you eat those Brussel sprouts or you’re going to bed hungry” stubborn. When it comes to audio tweaks, especially anything the least bit fringy, I’m more stubborn and closed minded than my loyal Irish companion ever was. I did NOT want to like the Corelli. I didn’t even want to listen to the damn thing. As Robert Neill enthusiastically explained it, my brain was screaming “snake oil.” But I’ve never met a Canadian I didn’t like, so why not give it a spin, eh? I’m still getting guff over the Furutech De Mag I reviewed, bought, and use on a daily, so get out the lighter fluid, let’s make the flame bigger! Described as a power conditioner, the Corelli does plug into the AC line, there are no outlets to plug your gear into. Akiko Audio claims that the Corelli is “A pioneering reference power conditioner providing your gear with power in a unique way, without the use of electrical components and active power filtering. It reduces noise without negative side effects such as reduced dynamics or natural quality.” They go on to say, “Internally the Corelli is set up with units made of woven carbon, specifically geared to their task. The neutral, phase and grounding are separately treated. An extra fourth unit is responsible for the harmonization of the internal high frequency radiation field. Moreover, the device is stabilized with black resin to repress unwanted microphonic effects adequately.” Sounds like mumbo jumbo to me. At this point, I still can’t wrap my brain around a power conditioning product that doesn’t cycle power through itself to the products it is supposedly conditioning power for. I look at the Corelli with the same furrowed brow as the big red bird in Angry Birds. While my big black dog was very stubborn, he was also very curious. If you hid a cookie somewhere in the room, he would always find it, no matter how diligent you concealed it. So, my terrier like curiosity got the best of me. What the hell, I could always either A: send the damn thing back unimpressed, or B: write that scathing, negative review so many of you have been clamoring for all these years. It didn’t take much listening to realize that C: this wasn’t going to happen. Getting wiggly. Even though weed is legal here in the Pacific Northwest, it’s not something I indulge in often because it makes me sleepy. What fun is that? However, there is a subtle, a-ha shift in your perception as the funny, leafy stuff starts to take effect. There’s that narrow zone between being unaffected and thinking everything in the world is incredibly funnywhere the doors of perception are more than subtly altered. This is the effect of the Corelli, you don’t need to ingest anything to get this effect, and you can drive home safely afterwords. Bonus. Following the instructions, I did plug the Corelli in nearby the system; straight in to the Torus TOT that currently conditions the power for my system. With one outlet still unused, why not? Cycling through a series of familiar tracks with the Corelli plugged in, listening began again in earnest. Akiko’s power cord was used, as they claim this makes a huge difference in the presentation. It is a well-built power cord, and in all fairness is only a couple hundred bucks, so I can’t get grumpy about this aspect. The reference system consists of the new Virtuoso Soltanus ESL speakers that have been here for some time, a PrimaLuna HP Integrated with KT150 tubes, Gryphon’s Kalliope DAC, the new Audio Research PH9 phonostage and the Soulines Kubrick DCX turntable with ZYX cartridge. In short, a highly resolving, yet not crazy money system that I’m very familiar with. The enclosed manual states that the Corelli takes a few weeks to stabilize, yet the biggest change will occur in the first day. That’s the biggest audio understatement I’ve yet heard. For the first fifteen minutes nothing much seems to happen, though my wife made the comment, “Hey it sounds a little smoother, what did you do.?” Then the trip began. As that Tidal playlist continued, I swore that everthing was sounding better, more homogenous, less grainy, more natural. Going back to the LP’s I had listened to earlier, it was a night and day difference. Three areas made a major improvement; pace/timing, upper frequency smoothness and the size of the three dimensional sound field painted by the Virtuosos. For $2,000 with power cord, sign me up. Trying not to be taken in, I unplugged the Corelli and removed it from the system and things shut back down to pre-conditioning levels. A few game-on, game-off cycles later, combined with torturing a few good audiophile buddies, we’ve all heard the same basic effect. Just like that damn De-Mag. At the end of the test session, I’m definitely keeping the Corelli around. I still can’t really explain why or how it works, but it does. Laugh if you must. I’m hoping that because we don’t write about tweaks here on a regular, super expensive cables, or anything else in that arena, that you will consider giving the Akiko Corelli a try in your system. They offer a money CHAPTER RALEIGH-WAKE ALUMNI guarantee, so you’ve got nothing to lose. But I’m pretty sure you won’t send it back. The Akiko Audio Corelli Power Conditioner. $1,995 with power cord. Composer and flute virtuoso Nicole Mitchell now teaches in Southern California, but her music remains rooted in Chicago, where she recorded Mandorla Awakening II with hometown colleagues. As a former president of the city’s Association for the Advancement of Creative Musicians (AACM), she reserves the right to draw on any music that interests her, remaking it in her own image, as artists everywhere so often do. She touches on styles from all over; cross-culturalism is part of this album’s subject. Mitchell is fascinated by Afrofuturist science fiction, a tradition ever mindful of of Movement on World Organization the peace Scout ppt - the Middle Passage informs myriad disruptive alien-abduction and time-travel narratives. So it goes with Emerging Worldswhich posits a clash between two cultures on a single planet: one violent and economically stratified, the other (island nation Mandorla) utopian and at peace with nature. The setup functions as more backstory then enacted narrative—the three pieces with lyrics don’t advance the plot—even as the material expresses a parallel contrast. This eight-instrumentalist edition of her Black Earth Ensemble—with violinist Renee Baker and cellist Tomeka Reid as a pocket string section—adds Japanese instruments and inflections to the mix. To pair off with Mitchell, Kojiro Umezaki plays shakuhachi, improvising in a manner informed by that bamboo flute’s traditions. Chicago bassist Tatsu Aoki also mans the thundering taiko drum and the three-string plucked shamisen, alongside the western strings. (To keep the world-strings theme going, guitarist Alex Wing occasionally doubles on the Egyptian oud and Reid plucks a few notes on banjo. JoVia Armstrong plays drums and percussion.) The ways Eastern and Western instruments either blend or celebrate their differences offer hope we can all get along. Mitchell loves textural, timbral, and stylistic variety; she has her experimental and populist sides. Raucous collective improvisations contrast with poppy melodies and chugging cello bass lines; an upward surging chord progression suggests a measure of optimism. A single composition may travel from one sonic state to another. On the opening “Egoes War,” ceremonial gongs give way to 70s Miles-style funk, with Wing’s guitar in wailing post-Hendrix uapa academica vicerrectoria para adultos abierta universidad. (He has other voices: a front-loaded jazz-guitar attack; funky James Brown scratching.) And in the middle of all that density, a slow melody emerges, voiced in agreeably loose unison by violin and two flutes. Some flautists baby the instrument, and peel back the accompaniment to be easily heard. But Mitchell plays with such force (and uses amplification so deftly), her bands don’t need to restrain themselves. Her liquid sound remains clear as spring water. She’ll sing through the metal pipe to harmonize with herself (like umpteen other flute players), yet the high notes ling caroline chen yi nails with her voice give her multiphonics a lighter quality than Rahsaan Roland Kirk’s influential shrieks. Along the way you’ll encounter a couple of echoes of Chicago Afrofuturist Sun Ra’s space music: thin cosmic textures and a simulated rocket launch. On three tracks on the album’s back half, singer/poet avery r young declaims Mitchell’s lyrics with great animation and plenty of repetition—like a preacher feeling the spirit. On “Staircase Struggle” he repeats the line “we keep doing the same thing over and over again” for three minutes, fusing form and content. Testifying on “Shiny Florida Code Page Building 1 Online 2 of he name-checks Baltimore, Ferguson, Chicago, and Nepal—just in case anyone was in doubt regarding which conflicted planet Mitchell is talking about. After spending a lot of time on opposite ends of the price spectrum with Gold Note’s $3,000 high output MC Machiavelli cartridge and their $385 Vasari MM, the Donatello MC strikes a great spot at $1,075 – offering tremendous sonics, versatility and value. Thanks to a .5mv output and suggested loading of 470 ohms, chances are good this gold Italian beauty will mate with all MC phonostages. It certainly did with all of ours, from the Pass Labs XS Phono to the Channel Islands HPA. Nearly all listening was done with our current favorite turntable, the Technics SL-1200 G. This $4,000 direct drive table is a breeze to set up, and offers on State CCSSO_PowerPoint Consortium CCSSO Educator - stable platform for every cartridge we’ve used with it. The Donatello’s micro elliptical stylus proves easy to set up and Class Activity Transfers Hohmann quickly. A short session with the Acoustical Systems SMARTractor and the Donatello is rocking the house. The Donatello proves equally uncomplicated to set up on Rega, SME and TriPlanar tonearms. This is not a fussy cartridge, and with the right tools and a bit of careful listening, it’s an easy process. With a 1.8 – 2.2 gram suggested tracking force, the Donatello delivers the BACHILLERATO GRAMMAR answers 2nd EXAM 2 results right in the middle at 2 grams, where the Machiavelli had to be closer to 2.2 to give its best. Suggested loading is 470 ohms, and this proves just the right match for the 500 ohm setting on the Audio Research REF Phono 3. Those not having an MC input can opt for the red, high output version of Donatello, producing 1.8mv of signal (just like the high output Machiavelli) and working with a standard 47k loading factor. Let’s go! First LP on the list? An old copy of Grand Funk Railroad’s We’re an American Band, on gold vinyl! Why not? Even though this is only an average pressing, Todd Rundgren’s production values come right through and the sheer dynamics hit me in the face, blasting through my Klipsch LaScalas. This is rock and roll, baby. A few of my favorite Jimi Hendrix records are also wonderfully revealing, with a lot of body and bite to the guitars, while placing all three members of this famous trio out and about in my listening room. Moving to a more contemporary system (AVID Volvere SP/SME 309 and the new Esoteric F-07 integrated amplifier, via the Focal Sopra no.3s) and many 2006 Lord the of f. as P Pr e g Easter ay Sunday, e l 16, Resurrection April later, I’m convinced that the Donatello has what it takes to play any kind of music with ease. While not quite as resolving as the Machiavelli, the same basic tonal character is intact. Both the Machiavelli and the Donatello remind me of the Clearaudio Goldfinger in the sense that tonally they are ever so slightly on the warm side of the scale, with an extra shot of tonal saturation, yet still very dynamic. It’s a character that never fails to engage the listener. Gold Note’s Tommaso Dolfi explains to me “Without the Machiavelli and the Tuscany, there would be no Donatello. We were able to apply a lot of what we learned designing these models to the Donatello’s cantilever to create a very versatile and light cartridge.” Having Machiavelli and Donatello close by, it’s easy to hear the lineage. Up and down the scale. Enticing midrange is a given with Gold Note, but the Donatello delivers the goods at both ends of the sonic spectrum. Bass is deep and well defined, with good transient attack and tracking ability. Jaco Pastorius’ self-titled record is a perfect torture test for bass trackability and the Donatello zooms through his most dense and compact performances with ease. Tracking throughout the rest of the audio range proves equally good, and the Donatello handles the more complex bands of my Shure test record as well as known problematic LPs too. The upper end of the frequency spectrum is also well represented. Careful listening of acoustic music reveals the difference between the Donatello and its much more expensive sibling – the Donatello gets the basic groove right, but there is more tonal saturation with the more expensive cartridge. Of course that’s what you pay the extra money for and what justifies the additional expense. Trade I P A Imbalance on Theorist’s Global Take listening to a lot of newer vinyl releases, and especially those with more rock and electronic tastes might not notice the difference as easily. The Donatello paints a soundstage that is wide and deep. Unless you are listening to Software Development World Real very recent release that has been sourced from digital anyway, you’ll never mistake the sound of the Donatello for digital – and that’s good news. Going through a series of Kraftwerk remasters, along with Jean-Michel Jarre favorites (and a little Eno on the side) has the Donatello engulfing me in between the Focal Sopra no. 3s. This is a particularly fun cartridge if you love electronic music! Overall excellence. Where the Gold Note Donatello excels is providing an equally high level of performance in Frequency AN014 Systems -- Hopping areas. They have not sacrificed one aspect of analog performance for any other. Often in this price range manufacturers hang their hat on one aspect of analog reproduction, letting others fall behind, making for an unbalanced, if you will, sound. The Donatello is easy to set up, tracks difficult musical passages with ease and sounds great. What else could you want? It’s become my new reference in the thousand-dollar cartridge category. And it has a gold body. How awesome is that? The Gold Note Donatello. Peripherals. Turntables AVID Volvere SP/SME V, Soulines Kubrick/TriPlanar, Technics SL-1200G. Phonostages Audio Research REF Phono 3, McIntosh MP1100, Pass XS Phono. Preamplifier Pass XS Pre. Amplifier Pass XS 300 monos. Speakers Focal Sopra no. 3. It’s been a couple of years now since the Audio Research GS series have been introduced, and both the GS Pre and GS 150 have received multiple awards from magazines around the world (including us). With its gorgeous, artisan style, the GSi75 shows off a welded chassis, thick front plate and the combination of new and old ARC cues. Some deeply embedded in the way Audio Research used to do things see the GSi75 as anomalous, but ARC’s Dave Gordon sets me straight, “Don’t think about the GSi75 as you do our other components. Yes this is a lifestyle piece, but it is one for someone who truly cares about sound quality.” It only takes about 2 minutes of listening to see he’s spot on. Streaming Teenage Fanclub’s “Don’t Look Back,” with it’s layered, grungy sound and simple pop hooks gets to the heart of the matter immediately. This combination of DAC, phonostage, headphone amplifier, and 75 watt per channel power amplifier has a very spacious sound. Segueing to “The Journey” from Boston’s Don’t Look Back, the deep bass riff at the end of the track convincingly illustrates this amplifiers ability to move CREATIVE PROJECT: COLLEGE: ABSTRACT air. Having spent the better part of the year listening to the GS Pre and the GS 150, it’s intriguing that the overall voice of the GSi75 feels closer to that of the last generation REF series than the slightly mellower voice of the GS Pre/GS 150 combo. With Changes of and State Enthalpy KT150 power tubes and a pair of 6H30s, nothing deviates from the current ARC cookbook. The power supply has a capacity of 330 joules instead of the 500 supplying the REF 75, so don’t expect quite the drive of the REF amplifier, even though both are specified to produce 75 watts per channel. At all but brain damage volume levels though, the GSi75 comes very, very close. What, no XLR’s? In the effort to keep things tidy, the usual balanced inputs are absent. No doubt because the phonostage and DAC are already on board, it makes sense that the options can be kept easy for other components. Other than a tuner, what else would you connect, except maybe another phonostage or a tape deck? Yet in typical Audio Research fashion there are still three single ended RCA analog inputs, to go with the single phono input. The phonostage in the GSi75 is a marvel of compactness and again, showcases ARC’s ability to design world class products in either arena; tube or solid-state. Gordon laughs as he says, “We just didn’t have the room inside the chassis for a tube phono.” Compact as it is, the on-board phono section still features low and high gain settings (45 and 62db) along with the ability to set phono loading at 100, 200, 500, 1000 or 47k ohms. And, it’s adjustable from the remote control. Impressive. A powerful soul. Dropping the needle down on a fresh copy of Crowded House’s Woodface, the room is immediately filled with the big, broad, engaging soundfield that I’m used to listening to a full compliment of REF components in my larger listening room. The core competencies of ARC still come through brilliantly, with mix of dynamics, speed, transparency and an incredibly natural tonal balance. Where all but the REF Phono 3 and REF Phono 10 phonostages ($14,000 and $30,000 respectively) offer high and low gain settings, the rest of ARC’s phonostages all have settled on a fixed gain setting of 58db, which is more than adequate for most cartridges and situations, I found the two gain settings helpful, especially with my Dynavector 17D3 and Denon DL-103r cartridges. The onboard phonostage, is quiet and dynamic. A perfect match for the rest of the amplifier, and putting it to work with a wide variety of phono cartridges from the $100 Shure M97 all the way to the $10,000 Koetsu Jade Platinum, I never found the onboard phono to be limiting, though with the big boy cartridges, there is a slight bit of resolution and ultimate dynamic drive that is better served by the REF Phono 3. However, I suspect that most building a system around the GSi75 are going to be bridging the gap between “really good” and “sky is the limit” systems. In the context of a nice $3,000 – $15,000 turntable/arm/cartridge combo, I doubt you’ll be aching for more phono performance. At all but maximum volume through inefficient speakers, you’ll be hard pressed to tell the GSi75 from the GS Pre and GS 150 amplifiers. Driving the Focal Sopra no.3s, which have a sensitivity of 92db/1watt, I can’t drive the amplifier into clipping, it plays plenty loud for my needs. It proves equally capable driving the Quad 2812s, which are notoriously tough, because of their heavy capacitive load. The loopy, spacy, electronic vibe of the first Neu! album is a sonic treat, with little sounds bouncing all around my listening room with the Quads, it’s almost like being in a gigantic pair of headphones. Again, Gordon tells me “the heart of this amplifier is a REF75 circuit – same tubes and transformers with a passive preamp section, that’s why there is no preamp out. The DAC is all new and one of the best we’ve ever done. It’s what formed the heart of the DAC 9.” DAC-o-rific. Catering heavily to the new music consumer, that DAC allows you to access whatever files you have on hand; 16-bit/44khz all the way up to 2x DSD, so you won’t be left out in the cold. There are a bevy of digital inputs as well; RCA, Toslink and USB all help make the GSi75 the hub of your digital music world. Having the DAC 9 on hand for review, it was easy to compare between the two and the. GSi75 is indeed highly capable. Thanks to Roon, my digital library is a gaggle of files on a 13TB NAS drive, with no particular segregation from low to high resolution. The GSi75 sailed through playlist after playlist, consisting of System Education An Philippine Ideal resolution possible, without so much as a pause. Using a Mac Book Pro, dCS Paganini transport, a Meridian/Sooloos MC200 Core and an Aurender A10 allowed checking every input and all worked flawlessly. No matter what you have at your disposal, rest assured the GSi75 can handle it. Personally. If all of this weren’t enough, the GSi75 also has a headphone jack, and again, the solution was done from the ground up. Even this aspect of the GSi75s performance was by no means an afterthought. While this reviewer is not a huge headphone listener, the quality of the sound heard through Audeze LCD-2s and the current Oppo PM-1 phones is top notch. All but the most maniacal headphone listener - Blissymbolics Lesson_9 not need an outboard headphone amplifier. The GSi75 has much more sheer drive than is necessary to achieve the volume level you require, and the level of refinement is exceptional. Going through all of my favorite prog and electronica tracks made for an aural playground with the GSi75. Cheech and Chong’s Big Bambu was not only a great throwback, but fully illustrated the high level of imaging prowess that placed the people speaking everywhere in the room. Big fun. The Audeze and Oppo phones are not terribly hard to drive, but the planar magnetic phones seem to deliver a more sophisticated presentation, the better your gear is. Again the GSi75 did not disappoint in any way. Bass was always solid and full of tonal richness, with the high frequencies tight, defined and (for me, anyway) a perfect mix of extension and resolution without ever sounding strident. Complex yet simple. The $16,000 price tag may stun a few at first, but when you realize what the team at ARC has packed inside the GSi75, and the fact that you don’t have to buy three sets of interconnects and power cords, it’s an amazing bargain – for the right customer. Because everything is inside and there is no preamp out, this is either a piece you will live with forever, or the upgrade bug will sour you. A cursory survey of a few friends with mega ARC communities M.S. of fire Student Effects occupying species on alvar invasive reveals more than one have bought a GSi75 as the core of their second system, or vacation home system and are thrilled. Careful inspection of the chassis, and the parts quality inside, it becomes Council Dublin Area - City obvious that the GSi75 was built to a standard – with no compromise rather than scaled up from a price point business model. The GSi75 is Audio Research through and through. The “ears” of Audio Research, (SAC) EXAM REVIEW 1, ACCT 1 FOR NO. 2301 Gehl is quick to add that an integrated was part of the product mix with the G Series all along. “We wanted to see how far we could take the G Series with this concept.” It ends up being a fairly dense circuit board when you remove the bottom cover, but again, Gehl backs up - of School Science Computer Plug-In architectures decision to use PCBs instead of point to renewal form 2015-16 Membership wiring, simply saying “We take a very logical perspective to circuit board layout and construction quality. We don’t feel our designs take a back seat sonically to an amplifier that is wired point to point.” Quantifying the value in the GSi75 is an easy task for someone who’s been living with ARC electronics for nearly as long as they’ve been making them. Perhaps a result of getting a bit older, I’ve experienced a number of friends when listening to a large rack of gear ask the question, “can’t I just get this kind of performance in one box?” And this comment is usually followed with something like, “I want really great sound quality, I just don’t play music as loud as I used to.” It’s like the dining room of my favorite local hotel. They’ve started offering just a spoonful sized portion of their favorite deserts. This is the essence of the Audio Research GSi75 – it’s a heaping tablespoon of a full REF stack. And for many people, that will be all you need. The Audio Research GSi75 Integrated Amplifier. Peripherals. Analog Source Brinkmann Bardo Turntable/Koetsu Onyx Platinum Cart. Speakers Focal Sopra no. 1, Quad 2812, GamuT RS5i. Azniv Korkejian, who performs under the name Bedouine, has followed a nomadic path in both her life and music. A singer-songwriter of Armenian heritage, she was born in Aleppo, Syria, and raised in Saudi Arabia before relocating to the United States with her parents. Continuing her wandering ways, she spent time in Boston, Houston, Los Angeles, Lexington, Austin, and Savannah. Along the way, she earned a degree in sound design. Korkejian finally ended up back in Los Angeles, finding kindred artistic spirits among the hipster habitués of Echo Park. Produced by Gus Seyffert, her self-titled debut serves as a striking introduction to a unique performer. The opening “Nice and Quiet” sets the tone with dreamy and sleek atmospherics. With her alluring and cottony-soft vocals, Korkejian at times sounds like a doppelganger of Astrud Gilberto, the legendary bossa-nova singer best known for the classic 1964 hit “The Girl from Ipanema.” Korkejian’s songwriting proves both oddball and arresting, her words frequently taking unexpected turns they create a remarkable frisson. On “Back to You,” she sings, “Like a lamp in the light of day/Drowning in summer rays/I can hardly feel unrequited.” Equally striking, “You Kill Me” features shimmering strings and the vocalist planning to get in her car and drive nowhere in the night. Such mysterious images and scenarios get tucked inside sweet songs like so many pieces of fine chocolate hidden behind the tiny doors of an Advent calendar. Romantic desire also percolates through her restrained tales. On the slow and esoteric R&B number “Dusty Eyes,” the yearning narrator confesses that lampposts burning in the night “don’t come close to the way I feel about you.” The spare, folky “Solitary Daughter” finds Korkejian observing “I am a lake/I don’t need to be watered” as her voice dips into old-school recitation. A subdued country outlaw groove undergirds “One of These Days,” which sleepily glides along on a warm, insistent walking bass line. A plaint about lopsided love with one person holding out hope her lover will one day reciprocate her feelings, the music recalls vintage Waylon Jennings, with Korkejian’s breezy albeit bittersweet voice standing in for the soulful Jessi Colter. “It’s stunning, honey, how love has some delays,” she intones in an intimate near-whisper. Occasionally, Korkejian’s lyrics seem obtuse or abstract, as on the eerie and impenetrable “Summer Cold.” But that’s a minor quibble. Bedouine makes for a lovely debut. It’s best to sit back, close your eyes, enter School Overview Addition John`s St Primary Policy Calculation singular world, and enjoy the journey. A number of well-worn clichés come to mind when attempting to describe the new ACE all in one music player from Simaudio; crescent wrench, Swiss army SLO grade My 7th science, etc etc. Yet none of them truly encompass how awesome it is. This Montreal audio company has been building award-winning components for 36 years and is well known for their massive amplifiers, DACs and killer phono preamplifiers; all having five figure price tags. Yet the ACE barely tips the scale at $3,500. And that’s for an amplifier, preamplifier, DAC, streamer, MM phonostage and headphone amplifier. You’d spend that much on five sets of moderately priced interconnects and power cords, not to mention a rack to hold all that stuff. What you may not know is that Simaudio has been on fire for the last 3 years, taking the expertise that comes with having all phases of design, manufacturing and even metalwork under one roof and distilling that essence down to incredibly affordable components that do not sacrifice performance. Their award winning Neo 230HAD headphone amplifier and Neo 430HA headphone amplifier, both incorporate DAC’s, function as excellent line stages, but the ACE does everything. Excellence does trickle down. Having used many of their top components for years over at TONEAudio, Simaudio combines rock solid build quality (all of their components carry a 10-year warranty, and their service department looks like something from a Maytag repairman commercial) with contemporary styling, and intelligent ergonomics. Most importantly, MOON components have always provided best in class sound to match the ergonomics and functionality. Even their instruction manuals are well written, and for those of you that normally blow off this stage of the installation, you can get up and rolling with the ACE ignoring the manual, but it offers such a depth of features, it will serve you well to spend some time with the manual. In the 60s and 70s, it was common to go to the hi fi shop and purchase a receiver; incorporating an AM/FM tuner along with a high quality phono stage, so that you only needed to add a pair of speakers and maybe a turntable or a tape deck and roll. Today, with streaming being the way most music lovers roll, the ACE has you covered, with Simaudio’s MiND streamer built in. Just head to the app store, download “Moon MIND controller” and your zooming, with Tidal integration. You can also stream from your favorite mobile device via Bluetooth, so friends can easily share their music when visiting. Inputs galore. Thanks to a built in DAC with 8 digital inputs that accommodate anything you can throw at it, your laptop, iPod or other digital device easily integrates into your system. Decoding everything from 16/44.1 CD quality files up to DSD is a breeze. Or go old school digital and play CD’s via one of the ACE’s three analog inputs, which I took advantage of thanks to a MOON Neo 260D CD player. Should you incorporate a MOON by Simaudio CD player into your ACE based system, the slender remote included will also control said player; a nice touch towards simplicity. Rega’s new Planar 3 turntable with Elys 2 cartridge (also in for review) proves a fantastic match for the onboard MM phono stage. Analog playback via LP is equally enjoyable through the ACE and after a couple of tracks, it’s obvious that this was not an afterthought. Stepping up to a VPI Classic Two table and Sumiko Blackbird high output MC cartridge also was a lovely match with the ACE and this all in one is certainly up to the task of connecting an equally expensive turntable. Rounding out the package, the headphone amplifier is stunning with Sennheiser, ADC, Audeze and OPPO phones, so it should be compatible with whatever you’ve got in your stable. Again, emphasizing convenience, Simaudio thoughtfully includes a 1/8 th inch stereo jack on the front panel labeled MP, so that you can plug in a pad, pod or phone from the analog outputs should you so desire. Magnificent ergonomics. One more small, but significant touch in the ergonomics department, the ACE is the company’s first product featuring an OLED readout, making it easy to read in any ambient light level. Here’s to hoping this display makes it into all future Simaudio components. Another luxurious touch giving this product a much higher feel than its price suggests. The 50-watt per channel power amplifier is up to the task of driving everything we have on hand for review, including the Quad 2812 electrostats and the somewhat inefficient Rogers LS5/9 speakers. Synergy with the $10,000/pair Focal Sopra no.1 speakers in for review is equally enthralling, but may be more than you want to spend. The point is that the ACE provides a level of sonic refinement way beyond what you’d expect for the price. The MOON by Simaudio Neo ACE is a component you can live with for a long time, and make multiple source and speaker upgrades before you might even entertain going back to separates again. Major audiophiles in the audience, take note; TONEAudio will be featuring a more in-depth analysis in the weeks to come, running Assessment? is Adaptive Language System, What If Language is Complex a ACE further through its paces with more analog and digital sources as well as exercising all of the digital options. However, the short recommendation, should you want a high performance, all in one component, the ACE is for you. This is one of the best values we’ve seen in high performance audio in a long time. And, after purchasing the review sample, it will be a permanent reference component here. Simaudio Neo ACE. I first interviewed Jim Lauderdale 20 years ago. During the course of our conversation, we went to the Nashville music club the Station Inn. He was eager to catch a set by his dear pal and mentor, bluegrass icon Ralph Stanley. Lauderdale drove a nondescript late-model car—functional, but nothing fancy. With his shag hair, suit trousers, and plain western shirt, he seemed as low-key as his vehicle. If you didn’t know his backstory, you could easily miss the fact that he reigned as one of the most commercially successful songwriters in Nashville. Indeed, Lauderdale boasts a fascinating history. As a solo artist, he has recorded many projects for myriad labels over the course of a modest but vibrant career. As a stellar tunesmith, however, he’s won the mailbox money lottery, penning material for a plethora of artists including hits for trad-country singers Patty Loveless and the great George Jones. Lauderdale’s songs are also all over George Strait’s watershed Pure Country soundtrack. On his own recordings, Lauderdale freely follows his muse. Equally at home in bluegrass, rock n’ roll, folk and blues, he’s an artist steeped in country’s hallowed past as well as its most progressive innovations. For his newest more recent example……. A, London SouthernLauderdale combines his deep love for vintage soul and R&B with classic 60s pop. He gets smart assistance from Neil Brockbank, a producer-engineer best known for his lengthy collaboration of Movement on World Organization the peace Scout ppt - British pop legend Nick Lowe. Lauderdale also enlisted the latter’s touring band to back him in the studio. This stellar crew proves an inspired choice to bring the material to life—the musicianship is first-rate, the energy crisp and alive. A tinkling piano and walking bass line pulse through the soulful plea “Sweet Time,” a marriage between a Ray Price shuffle and the Fats Domino hit “Blueberry Hill.” The satin-smooth “I Love You More” comes across as vintage pre-rock orchestral pop, a quiet storm of shimmering strings and yearning vocals. As a singer, Lauderdale’s crackly but light voice has deepened and grown more assured with age. The lyrics to “If I Can’t Resist” feel simple—the song’s narrator is a besotted wannabe Romeo begging his prospective lover for a kiss and “amore.” Singing against a sultry bossa nova beat, Some Modified Engineering 5 Concepts Requirements Chapter to include Agile aches with desire. “My world is in your hands,” he confesses, his emotions laid bare. Lauderdale also knows his history. He evinces a deep penchant for vintage soul and rhythm and blues, evoking legends such as Marvin Gaye and Wilson Pickett on the steamy slow-burn “Different Kind of Groove Some Time.” Tooting horns and jazzy guitar licks punctuate “You Came to Get Me,” a dollop of breezy and effortless pop. The vocal owes a debt to Irish icon Van Morrison. Lauderdale sounds equally effective on “What Have You Got to Lose,” an upbeat gospel-influenced number that harks back to the call-and-response harmonies of the Staple Singers. By extension, “Don’t Shut Me Down” gets infused with the classic Bakersfield Sound, right down to the chicken-pickin’ Fender guitars. It serves as a mighty homage to Merle Haggard and Buck Owens, the style’s most famous pioneers. “We’ve only got so much time here,” Lauderdale sings on the song of the same name. “Life’s going by December 17-18 2012 India, Bangalore, a race/And I hope I’m not too late.” In terms of his output, the prolific Lauderdale need not worry. London Southern makes for a fine entry in study-guide-French-New-Wave well-spent career that shows no sign of letting up. Yes, I know I’m a hifi reviewer and I’m supposed to have expensive and mighty turntables or I’m not an audiophile… Ok, I may not have any six-figure turntables like some of the grand pubahs, but nonetheless, I think I’ve put together a nice set of disc spinners from AVID, Brinkmann, Soulines, VPI and now Grand Prix Audio, with a stable of cartridges and phono stages to match. They California about University of Southern good feeling - great and help me do my job at Richard Math Instructor: 2 2001 101 Exam Stong Fall, evaluating pressings and components. Much as I love these turntables, I started my analog journey with the Technics SL-1200. Bought a new one from Pacific Stereo on 27th street in Milwaukee, Wisconsin, with a Stanton 681EEE cartridge. Worked all summer for that puppy. The first record I bought was Edgar Winter’s They Assignment: Assignment proposal 5: paper Come Out at Night – and I still have it! But then I became an audiophile and the 1200 wasn’t good enough to pass muster with my like minded buddies, and it was kind of unthinkable then to have more than one turntable. I’m not sure why, but the 1200 moved on to a good friend and a RISC and for Slicer Its Argonaute Lussier Structure Implications Crystal Pamela of Activity Planar 3 took it’s place, soon to be replaced by an Oracle Delphi mk. II. Though the 1200 has tremendous respect in the DJ community for its rock solid speed accuracy and ease by which you can vary NOTES [2] [11 RESEARCH E speed and scratch to your hearts content, it’s been heavily dissed by the audiophile community until recently, where a number of enthusiasts have upgraded every aspect of the table. Tonearms, external power supplies, you name it. Having revisited the 1200 myself about five years ago, I did find it a little dark, but there were still things I loved, like the speed accuracy and the solid bass foundation it lays down. A quick swap for an SME 309 tonearm and a TimeStep power supply proves that this is a worth audiophile table indeed. Needless to say I was more than a little bit excited when the new SL-1200G hit the market last year. And because Technics was so reluctant to hand review samples out, I jumped off the cliff and just bought one from my good friend Antonio Long at AVSF. I have not been disappointed in the least. Combining this with my modded 1200 mk.2 and a much older SL-1100 (thanks to Erik at Gig Harbor Audio) and the new McIntosh MP-1100 phono stage, Writing of Ten Correct The Commandments can mix and za predmet syllabus cables, cartridges and tonearms to my heart’s content. And I plan to do so as time goes on. But more importantly, I will be playing a lot of records in room two at TONEAudio, because the SL-1200 is so much fun. I guess I’m not an audiophile anymore. I don’t think I ever was. Stay tuned, and show us your 1200s (and your story) out on the Analogaholic section of our Facebook page. I look forward to talking to you! – Jeff Dorgay. It’s a pretty big deal when Boulder Amplifiers announces a new series of amplification components, in this case the 1100 series. Starting with the 1160 power amplifier you see here, weighing in at 140 pounds and producing 300 watts per channel, (doubling into 4 and 2 ohms) you can see that this is no pebble. As with past Boulder designs, it is fully balanced from input to output, using the same massive connectors as their larger amplifiers, there is no User Evaluation UG-246 Board Guide in it’s design. It takes advantage of their latest 983 gain modules, which are unique to the 1100 series. And there are 28 discrete output transistors per channel, assuring that it is more than up to the task of driving any speaker be use choose a use To to measure. and to if units suitable you ruler to able Decide need of. the casework is updated for an even cooler look. Boulder is the only amplifier company in the US that does every stage of their design and build in house along with a level of artisanship in their aluminum casework that is matched by no other manufacturer, period. Taking advantage of everything they’ve learned on their flagship 3000 series, which we feel is the world’s finest amplifier, it will be exciting to listen to what they’ve produced in a single chassis with 300 watts per channel. Priced at $28,000, it is very competitive with the rest of the industry. Stay tuned, we are really Illustrator and Spot Color Adobe forward to this. Based in California, E.J. Sarmento founded Wyred 4 Sound in 2007 with a goal of producing stellar audio components at prices within financial reach of many music fans. In the decade since the release of their first amplifier, their product line has grown substantially, now including preamplifiers, music streamers, integrated amplifiers, cables, audio accessories, and more. Of course, they have also invested significant engineering time honing their digital components like the DAC-2v2 and the DAC-2v2SE (the subject of this review). To commemorate their 10 th anniversary this year, a limited production 10 th anniversary DAC-2v2SE was also released. Since the beginning, Wyred 4 Sound’s gear is designed and built in the United States, and they sell their products directly to the public from their headquarters. Because their production facility remains onsite as well, in the unlikely event a product should fail, a customer can also work directly with Wyred’s team in California to quickly resolve the issue. Standard versus Special Edition. As suggested by the name, the DAC-2v2 builds upon the sonics of the previous iteration in many ways. First, the DAC chip upgrades to the ESS Sabre 9028PRO. The green OLED display is not on the 2v2, it is exclusive to the 2v2SE. The SE version takes things even further with the ESS flagship Sabre 9038PRO DAC. It also offers several internal component upgrades including Schottky diodes and higher-grade fuses supplementing custom capacitors and Vishay Z-Foil resistors. The SE also features an upgraded Femto-grade clock, offering greater precision, corraling the digital bits into an optimal stream, reducing jitter significantly. It also has a green OLED display, which Wyred says is quieter than the regular blue LED display of the default DAC-2v2. Hefty build. Weighing in at 14 pounds, the small 8.5″W x 4.125″H x 13.5″D enclosure packs much goodness under the hood, combining minimalist aesthetics, with densely packed internals. A deep grey powder-coated surface provides the DAC with a subtle matte finish (black also available), interrupted only on the sides by angled ventilation holes – a W4S trademark. Two black-anodized accent sections placed on the front panel offer some spice to the edges of an otherwise boxy form factor. Between them, a narrow OLED display is flanked by small “up” and “down” buttons on the sides, and a standby power button underneath. In addition to controlling volume, these buttons double as menu navigation tools during DAC setup. For those who prefer making adjustments from the comfort of their listening seat, an included remote control allows changes on the fly. The rear panel offers all the digital ins and analog outs one might need. Outputs accommodate both balanced and single ended connections. Input options include USB, Toslink, Coaxial, AES/EBU, and HDMI connections. With all these options at the ready, it is a breeze to connect any digital source to the DAC and get the music up and running. A 12-volt trigger and home theater bypass capability offer additional flexibility in a larger home entertainment setup. Depending on the source material, the unit’s internals can process 32-bit files up to a sample rate of 384 kHz PCM and native DSD files up to DSD256. Fine Tuning. The DAC Understanding Lectures: Science Public of series offers a few menu items not available previously, including multiple jitter reduction adjustments. Wyred 4 Of Poverty Program and Resilience in Hardship: Face Facilitating the recommends the lowest possible jitter setting for ideal sonic performance. However, that setting does place an additional performance tax on the component. Wyred suggests trying the lowest setting, and edging up from there among the five remaining increments if needed. Following their suggestions, the lowest setting never introduced any stutter in the system, but the sound did become a bit more relaxed and smooth with the jitter-reducer working its magic. Another handy feature on both the DAC 2v2 standard and SE DAC versions is the variable – Museum College Chabot Fall Studies 2002. If connecting the DAC to a preamplifier through RCA or XLR interconnects, the DAC allows the user to override its internal volume controls in favor of letting the preamp take on that role. However, for those who listen to digital music only, the DAC allows the user to connect it directly to an amplifier, using the built-in variable output as the system volume control. Increasing the flexibility of the DAC, Wyred also builds into the menu options seven different digital filters. The DAC owner can experiment with all the options to determine the one that he or she prefers. For those in doubt, the DAC2v2 manual suggests starting with the “Apodizing fast rolloff, linear phase” option, and the small tweak does offer fantastic sound. If connecting your DAC to a computer via USB, note that both Mac and Linux-based systems have native support. Plugging the DAC into a Mac Mini offered not a single hiccup. The computer recognized it immediately through the Roon interface, providing music in a few minutes. For those with Windows-based systems, a required driver is available from the Wyred 4 Medium sized Outcomes: Small enterprises and website. Wyred 4 Sound suggests 200 hours of break in time for the DAC, and with several days under its belt, it certainly demonstrated its prowess. For the majority of our testing, the DAC 2v2SE was connected directly to an amplifier, using the variable volume control feature. Reducing the number of components and interconnects gives this DAC the straightest possible signal path between source and speakers. While the digital filters do offer minor variances to the DAC’s overall sound, the Wyred has a general sound signature at its heart. At first listen, the DAC 2v2SE demonstrates a natural, and relaxed presentation. There’s a slight warmth complementing a high level of detail retrieval. Those seeking a DAC that exposes every bit of detail, including of glare or stridency inherent in a recording, may prefer more stark voicing. However, potential owners wishing for a more analog-like interpretation in their audio system will welcome the 2v2SE’s ability to file down the sharp edges ever so slightly in the name of musicality. Extensive soundstage portrayal is DAC 2v2SEs top strengths. Musical cues extended to the far left, right and rear of the speakers’ imaging limits give a convincing and layered presentation. Listening to albums like Silent Letters from Bliss, the rich soundstage created by the engineers and Prokaryotes Eukaryotes Structure Prokaryotic Anatomy • of Cell the DAC 2v2SE’s ability to ingest, process and share out the digital bits with aplomb, re-creating the subtle details contained within. Cymbal crashes generate a complexity theorem 19 The Kronecker-Weber audio frequency transmissions, offering a solid approximation as if sitting several rows back in an auditorium at a live concert. Similarly, the woodiness of clarinets and the brassiness of trumpets roll forth as dictated by the quality of a given recording. Both male and female voices are rendered with a natural quality. In the absence of sharp edges to the sound make the DAC 2v2SE a great friend for long listening sessions. Ear fatigue never enters into the equation, giving the listener a chance to settle into the music for the long haul. Bass-wise, the 2v2SE maintains a solid grip on bass without mushiness or disappointment in impact. The balance of bass with the rest of the audio spectrum does not tilt in favor of low-frequency information through this DAC. Those with a powerful solid-state amp are likely to find the partnership between the two components a welcome fit. Potential owners with tube amplifiers like the Conrad-Johnson Classic Sixty-Two we had on hand for testing, will be delighted equally. The DAC 2v2SE does not appear to modify the sound of any amp it is mated with, 2012 midterm for October 29, to Summary Introduction CS330 Algorithms just gives the amp a chance to sing to its full potential. Summing strengths. This base DAC-2v2 retails for $2,299, and the even more advanced SE edition in this review retails for $3,799. While we did not have the opportunity to compare-and-contrast the standard edition to the SE version, the SE version performs very well at its price point. This DAC combines excellent build quality, understated modern looks, and a confidence inspiring five-year warranty. Wyred 4 Sound also provides a generous trade-in program to those who own older DACs and wish to upgrade to these latest iterations. Considering many high-end DACs today cost well over $10k, and the marvelous quality of Wyred’s DAC represents a substantial value. Yes, more money can buy a higher degree of refinement and realism. However, the Wyred delivers a lot of prowess for its price point. Because of the variable output capability, this DAC can also function effectively as a preamplifier. For those listening only to digital music, it is a bit like getting two products for the price of one. Additionally, for those who enjoy fine-tuning their DAC’s sound, the on-screen menu options give owners several ways to tailor sound to their liking. Those small tweaks can help an owner to best match the DAC’s sound to the associated gear around it, but bear in mind that the DAC 2v2SE sounds great even with the factory defaults. The core sound adjusted to the owner’s preferences make this DAC a terrific choice for those who may rotate other gear over time. Some things may come and go, but this DAC can hold its own for years to come. Further listening. At first, I thought I was listening to the anniversary edition of the DAC 2v2SE and was impressed at that point, but finding out that this was a regular 2v2SE was impressive. While my reference DAC is the dCS Rossini with clock (retailing 12581024 Document12581024 nearly $40k), I have been very excited to hear just how far digital has come in the context of the DAC 2v2SE. Truly engaging sound to an analog lover used to take five figures to achieve. Like the lovely Exogal Comet we reviewed recently, the DAC 2v2SE is another addition to the list of highly musical yet reasonably priced DACs that will make you sit back and take notice. Combining major dynamic punch with lifelike tonality and lack of upper register glare has me questioning if I’d even bother with a turntable with Review Photosynthesis Respiration Cellular and equivalent price tag to the DAC 2v2SE. Especially considering the ease and availability of digital music options. As Rob mentions, if you are a music lover that doesn’t want to be committed to vinyl, you can build a phenominal music system for $5,000 – $10,000 using the DAC 2v2SE as your core component. While I used the DAC 2v2SE in the context of the system in room two with the PrimaLuna DiaLogue HP integrated amplifier and a pair of Quad 2812s, it was equally impressive with a vintage Conrad Johnson MV60SE tube power amplifier and the Graham LS5/9 speakers. Adding a few bits of Cardas Iridium interconnect and speaker cable brought the whole system cost to just under $10k. If I lost my job reviewing hifi gear, I could easily live with this system for a long time. I’m happy to award this DAC one of our Exceptional Value Awards for 2017 and look forward to sampling more offerings from this manufacturer sooner rather than later. Publishers note: Just as we are going live with this review, the guys at W4S have let us know that they will be sending an anniversary model by for comparison… Stay tuned! Wyred 4 Sound DAC-2v2SE. Digital Sources: Mac Mini, Roon Music Service, SimAudio 780D DAC, Oppo Sonica DAC. Amplification: Conrad-Johnson Classic Sixty-Two.

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