Metheny at the Paramount

Went to see Pat Metheny at the wonderful Paramount Theater here in Austin on his Orchestrion tour. Not having heard the new album at the time, I wasn't quite sure what to expect and Pat spent some time trying without much success to explain to the audience how it all worked. He appeared on stage alone, slowly revealing more and more of the accompanying technology surrounding him that allowed him to create the equivalent of a band: drums, synthesizers, other guitar parts, bass etc. It made for interesting visuals too, a drum kit separated out into one stick and one percussive item per frame, stacked up behind him with robotic hands pulsing out the rhythm. He mixed it up and threw in some oldies and some improvisations as well as the whole new album, and as always, he was his charming self who let his playing do most of the talking for over 2.5 hours. Great musician, great venue, decent sonics for an amplified show and a glass of wine made this a far more pleasant experience than some gigs. But, and it's a big but - throw in parking, ticket convenience fees (!), a sitter etc. and the whole evening set me back $200 for two. Live music is essential but who can afford this level of regular attendance?

Elekit amp up and running

Despite the damage to a tube outlined below, the Elekit amp building project proceeded and I'll add pics and details as I get the full story written.

The kit comes with a set of well wrapped parts which are not labelled so you have to spend a lot of time relating these to the packing list to make sure you have all the parts and can identify them accurately. I recommend a thorough review of the instructions to help you accomplish this too as the resulting amp is heavy and densely packed once assembled. Undoing a mistake will prove costly so take your time and really do it one step at a time. Despite reading a review where the the builder put the fuses on the wrong side of the main board, I also made that mistake myself. In part this results from the lack of images in the instructions but also it comes from my own failure to read it all as fully as I might.

First up, you need to separate the circuit board into several parts along precut lines to free up the main board for some resistor installations. The instructions also ask you to solder plate a couple of holes on the reverse side too. No great difficulties here but you need to be sure you get your resistor values clear and don't confuse your 47k with your 33k etc. To make this work for me, I set up a dedicated space for the project which I knew I would not complete in a day or two but which I would return to over the course of a couple of weeks.  Too much to tell in a blog entry -- I'll have the full story in a separate document soon, but rest assured, it's a working amp that's a lot of fun to use. 7 watts of tube glory and a wonderful midrange ease.  Add a pair of sensitive speakers,  a half-decent front end, all joined by some affordable cable and you have real hi-end system. Stay tuned for results.

Virtual Dynamics closes down

Everyone loves to beat up on cable manufacturers, and no doubt Virtual Dynamics fed the fire with uber-expensive lines but I was saddened to learn the company is folding due to economic pressures. In my view, any designer who thinks that applying their skills to improving audio reproduction in the home is important deserves our encouragement. The proof is in the listening but if nobody is willing to try make a better tube, a better cable, a better table or better amp, then we will all be forced to live with what we have. So once someone has developed something new, you can judge it in various ways. You might consider its price relative to others, its parts quality, its claimed benefits, its underlying science, or you might just give it a listen and decide for yourself. It is clear in audio land that just listening is never enough and, in some cases, is not even relevant to forming an opinion.  I heard VD cables and I liked what I heard. If you read around, you'll learn that I was not alone. I did not understand the application of Coulomb Friction that the designer invoked as explanation, but I do know that a set of their lower end David speaker cables made me accept, finally, that cables can make an audible difference.

Few, perhaps none, have copied this principle in their cable designs, preferring instead to work on the metal components, shielding, terminations or some combo of all three in offering their best shot at communicating the signal. What I do know is this company's approach was different, made many people think the designs mattered, and will be missed. On top of this, head honcho Rick Schultz was always a pleasure to deal with and was open to helping. Au revoir, another hi-end company bites the dust.

A footnote -- curiously, a discussion on this topic on A'gon disappeared -- not the first time I've noted this on that forum. Audio Asylum closed one discussion topic on this but left it up for review. Funnily, many people made a big deal of a web review that basically showed the parts in an entry level cable and used it to ridicule the company. I interpreted that whole cable design differently, feeling VD had deliberately put together a cheap cable based on the principles of their more expensive designs as a lure to new customers to try one and see if they would like it, and all at a cost that was entry level (around $100 I think). Well, like everything in audio, interpretation is key. For example, try this review

Paul McGowan on room set up

Paul McGowan explains how to get your room right, in general terms, in this video from the latest PS Audio Newsletter. The newsletter generally is worth signing up for, it appears monthly in your inbox and is not just a sales push, though selling PS Audio's approaches is generally what it's all about. Paul is a generally positive guy who offers great input on the company's own customer forum at www.psaudio.com. If nothing else, the video shows you the cool set up at in their listening room. Maggies, diffusers, prototype amps.....enjoy.

Bye bye Herb

I hate it but it is so, the great Herb Ellis has left us. I can write about it but words won't convey the wonder of his playing. If you need an education, go to YouTube and check the guy out. If you want to listen, really listen, to a player who could comp, solo, accompany, interpret and just plain push that guitar into the realm of true instrumentation, pick up one of his solo albums and just listen. No histrionics, no wailing distortion masquerading as technique, no speed runs feigning profundity, just pure harmonic joy in the instrument. And if you want to know how anyone could live in the same space as Oscar Peterson and thrive - he was that man. Thank you Herb - you made life better. Nuff said.

Reviewer sells cables sent in for review - shock, schlock and lack of facts

One of the complaints of the web is that we are drowning in too much data -- but another is that some postings never die, and can resurface at any time. Both are in evidence in a recent note I came across on Audio Asylum. Not sure how I missed it since I subscribe, but apparently a leading writer in a leading magazine (!) was alleged to have sold his review samples on A'gon. Worse, this was $20k's worth of cable from a high end manufacturer who was not amused. No official response from the 'critic' though he allegedly called the editor of a rival journal a 'fucker' for mentioning it.  Follow the links, it gets more bizarre as a well known amp designer chips in with other stories and a picture emerges of bribery, reviews for sale and general lowlife behavior among some members of the review community. Now read those mags with a better sense of perspective.

http://www.audioasylum.com/cgi/t.mpl?f=critics&m=29508
http://www.audioasylum.com/cgi/t.mpl?f=critics&m=30087

Elekit up next

Flushed with beginner's success, I purchased another kit, this time an Elekit 879s integrated, a good looking 8w three-tube amp from Japan. I purchased from Victor Kung in Vancouver who imports these and translated the manual (which apparently has since been copied by others without permission). Victor has been a great assistance in dealing with a damaged shipment courtesy of the mail service. More pics to follow but the parts quality of the Elekit is impressive and a step up from the S5 amp.

DIY amps

I've been assmbling a kit tube amp from S5 Electronics, a small, 8w 6 tube integrated that lives on a piece of wood, the KL8

Instructions are not the best but suffice to get it done (there is one missing figure and at least one missing step involving the input jacks but you can figure this out easily by the time to get to that stage of assembly). All you need is basic soldering skills (nobody's are more basic than mine), and the final assembly looked like this:

 

Despite their 86db sensitivity, I managed to drive my old Kef 103/2s with this to really pleasing room filling volume. At the very least, this kit tells you what you can achieve with a small investment in decent enough parts, a predesigned schematic and some labor. Sure you don't get anything that looks too good with this kit but you can begin to appreciate how more expensive transformers and caps might improve matters. There's a whole range of DIY forums out there to help (check out, for example, this one )

From here, I plan to move on to another kit, the Elekit integrated which comes from Japan complete with a decent chassis and ultra cool looks. In fact, there are more high quality kits out there than you might imagine and I suspect one could create a really decent amp for a reasonable investment. More as I go.

Review update , preamps and the A'gon world

I spent the last 5 weeks with the Grover Huffman interconnects and speaker cables, for a review hopefully published next month in Aff Audio. Without a doubt, these are the best affordable cables I've experienced, maybe more.

Right now I am moving onto the preamp stakes. Today, I pulled my PS Audio GCP 200 with external PS out for a while to hear my older McCormack TLC1 with the Spectrons. Interestingly, what I lost in uber-clarity, I may have gained in warmer bass and more resolving highs. Stay tuned. Of course, all this is prelude to a new preamp review, and I have the Jaton Operatta in for review this month. First impression, purely on looks alone this is a nice piece. Let's see what it sounds like.

So, naturally, as I start to consider preamps, I check out A'gon to see what is happening in the used market. I have to ask, were sellers always this rude? An enquiry Thursday about a model that I fancied resulted in stonewall silence, followed, three days later by the listing becoming 'sale pending'.  Not even a 'I am close to selling and I'll get back to you if not' reply. When I sell, I answer everyone, no matter how inane, and heaven knows, I've put up with some plonkers there.  A query to a dealer who advertises on A'gon brought a reply from him (polite, constructive and noting that he would love to help if there was no local dealer) but then I hear from the national rep (for a company that has no accurate listing of dealers) who without prompting copies my query to a local dealer who in turn  chastised me for not contacting them directly.....wow, they represent a manufacturer who has an incomplete web site that does not list them as a dealer,  have their own out of date web site (last updated sometime in 2008), offer no parking and no open hours to visit without appointment....and somehow, I am made to feel like the bad guy for failing to remember they represent the company whose amp I thought, last week, I'd like to hear! Life's too short for grudges but I'm no longer interested in that preamp.....

New audio forum launched: The AudioNation

A dedicated group of folks have launched a new audio forum, Audio Nation which is now being launched from Houston TX. The goal is to offer a sort of alternative to A'gon, with emphasis on safe e-commerce and networking among audiophiles. If you have a desire to review, there's an open invitation now for submissions on gear and music but you do need to register. For non-commercial entities, read you and me, membership is free. The business model I presume is based on dealers and manufacturers signing up and advertising regularly. Main administrator, Keith, told me he really wants to create something different here, which is an aspiration I can support. Early days but worth a peek.

Lexicon - Oppo = Oops

Buying hi-end goods often means paying a premium for build quality and packaging, along with the hoped-for sonic improvements. What you don't expect is that you are only paying for the packaging, and it seems Lexicon has been caught red-handed by an excellent review in Audioholics of their new Blu Ray player which noted the new BD-30 is nothing other than an Oppo BDP-83 lifted into a specially made outside cover. Lexcon claim that they made 'modifications' but none are visible or reported. Cue outrage on the forums and sudden revisionism in the discussion sections of published reviews. Well done Audioholics.

Home Theater Review published a rather glowing review of the Lexicon and when respondents pointed out what Audioholics had determined, they took the comments down. The beauty of the 'Net is that it's hard to kill postings and one entrepreneurial soul posted these here. It's not good news for anyone who bought the Lex and it's a little embarrassing surely for the reviewer but maybe he really did see and hear those differences because of the extra Lexicon wrapping :)

Turns out, "rebadging" is quite common in the digital player world, take a look at the images in this post on Steve Hoffman's forum (see msg#19). Somehow, honest relabelling does not seem to be at work in this Lexi-Con example. Just as it did not seem right to relabel that Phillips as a Theta. It's all well and good to call 'caveat emptor' but if you want to kill off high end, this seems a pretty foolproof way to go about it.

Lexicon have made some vague statements about their player being built off the Oppo through engineering improvements at their Indiana plant but so far have been strangely uninformative on what any of these improvements might be. Here's what a technical manager from the company posted to one forum last September before the brouhaha broke:

" Short Answer...Built in America...THX certified...Lexicon Quality and Support...Best Video...Fastest transport...Joe Kane likes it...first shipment expected in late October or early November.

· “What are the differences to the OPPO?”
o When we specified the BD-30 we focused on premium video & audio performance, fast response times, and a mechanical construction that upholds the lexicon tradition of excellence – Some parts are similar to the OPPO due to the fact we purchase subassemblies from the same contract manufacturer. We then ship this subassembly to Indiana and complete the manufacturing in the States. We load in application specific firmware

· “why does the Lexicon cost more?”
o The BD-30 is the highest performance blu-ray player available today and when you see the unit, you’ll realize that the product not only is the highest performance player, but is build to the highest standards in the USA. It is then shipped with Joe Kane’s setup disc and supported with world class customer support.

Stereophile's Kal Rubinson has apparently submitted a review on this particular model (in Dec 2009) which, due to the lag in print publishing won't appear until the March issue, so it will be interesting to see how the mainstream media react. Chris Martens Perfect Vision site is taking heat for his review, which he is gamely and politely attempting to address. Of course, at the end of the day, all this points to the problem of hi-end reviewing not being able to demonstrate that sonic differences are independent of labels and sighted auditions. Plus ca change, but it's good to have the blatantly corrupt exposed.

---

This one will run and run.......except maybe on Audiogon, where posts seem to be censored routinely.

House of Representatives honors Miles Davis and Jazz

It's difficult to understand what any of this really means but it makes a change from the usual HoR divisions on matters some of us hold dear. Here's the language of last month's honor:

RESOLUTION
Honoring the 50th anniversary of the recording of the album `Kind of Blue' and reaffirming jazz as a national treasure.

• Whereas, on August 17, 1959, Miles Davis, Jimmy Cobb, Bill Evans, Wynton Kelly, Paul Chambers, John Coltrane, and Julian `Cannonball' Adderley collaborated to record the album `Kind of Blue';
• Whereas `Kind of Blue' ranks 12th on the list of the `500 Greatest Albums of All Time' published by Rolling Stone magazine;
• Whereas `Kind of Blue' was recorded in 1959, the year Columbia Records declared `jazz's greatest year';
• Whereas `Kind of Blue' marked the beginning of the mass popularity of jazz in the United States;
• Whereas in 2008, the Recording Industry Association of America awarded `Kind of Blue' quadruple-platinum status, meaning 4,000,000 copies of the album had been sold;
• Whereas in 2002, the Library of Congress added `Kind of Blue' to the National Recording Registry;
• Whereas `Kind of Blue' was recognized as the bestselling record in the history of jazz;
• Whereas 50 years after the release of `Kind of Blue' , MOJO magazine honored the Legacy Edition of the album by giving it the `Best Catalogue Release of the Year' award;
• Whereas `Kind of Blue' both redefined the concept of jazz for musicians and changed the perceptions of jazz held by many fans;
• Whereas today, the sole surviving member of the Miles Davis Sextet, Jimmy Cobb, is performing and touring with his So What Band in tribute to the 50th anniversary of `Kind of Blue' ; and
• Whereas `Kind of Blue' continues to be the standard masterpiece of jazz for American musicians and audiences: 

Now, therefore, be it Resolved, That the House of Representatives--(1) honors the 50th anniversary of `Kind of Blue' and recognizes the unique contribution the album has made to American jazz;
(2) directs the Clerk of the House of Representatives to transmit enrolled copies of this resolution to Columbia Records;
(3) encourages the United States Government to take all appropriate steps to preserve and advance the art form of jazz music;
(4) recommits itself to ensuring that musical artists such as Miles Davis and his Sextet receive fair protection under the copyright laws of the United States for their contributions to culture in the United States; and
(5) reaffirms the status of jazz as a national treasure.

Cable wars on the boards

Another potential flame war on cables erupted on the Audio Asylum forum this week when one poster revealed that upon opening up a cable from MAC that it revealed itself as repackaged wire from Canare. Cue the usual outrage from some. MAC replied, reasonably clearly in my view, that yes, they used this wire, it says so on their site (now) and that the price charged represents a reasonable return on their design and manufacturing costs. The discussion flowed over on Audio Circle and it is clear there is a strong undercurrent of belief in some audiophiles that 'value' is measured only in terms of parts.

Cables bring out this tendency more than any other component -- if we reduce every amp or cartridge to its materials costs then I guess few of us would buy anything. However, it is easier to recognize the value added in design, assembly, testing etc. when the component adds some real or imaginary complexity to the basic parts.

My advice for all cable purchasers is to first buy some bulk cable from a DIY store and make up a set of speaker wires. You don't even need to terminate speaker cables so just cut, strip, connect and listen. Now you know exactly what 50c a foot can buy you. Calibrate your ears to this sound and then purchase new cables only if they sound better than this to you, in your system, and you find the improvement to be worth the cost.

Those who do this and find they can keep the home made stuff in their systems are lucky, cloth-eared, cheap, deluded, clever, or any other word you care to use. Either way, it should not bother you. For me, I pull out my old home mades every now and again to remind myself of their sound. When I compare that sound to my reference cables, I always keep the reference in the system but I have to say the sonic differences between the basic and the exotic are not so large that they would matter to everyone. But they do matter to me.

I would like to know how a great sounding cable differs in manufacture and design from my basic 12awg because I am curious about why materials and designs matter. Unfortunately, most cable companies are unwilling to speak clearly on this and hide behind the term "proprietary". In this light, it is little surprise that we see the heated discourse when someone reveals the parts involved.

Cable reviews ongoing and that Spectron stretch...

No sooner had I submitted my Morrow cable review than I set about my next assignment, and wouldn't you know, it's another set of cables. This time I have Grover Huffman designs wiring my set up, including a power cord to audition. Fit and finish is very good but boy, do I hate wrapping my arms around the back of my racks to get at cable inputs. Stay tuned for more.

What this process has taught me, other than small scale cable designers must, at heart, be pretty strange creatures to devote their lives to making this stuff, marketing it, and trying my eke a living out of the results, is that my Spectrons are just plain odd designs for cable folks. Using these amps in bridged mono mode means that any speaker cable must be able to span over 17" of terminal gaps to reach the positive terminals of each amp output. Very few speaker cables come with this amount of spread, if only because few amps are designed like this:



Still, both Mike Morrow and Grover Huffman are gracious enough folks to cope and send appropiately modified cables to work in my set up. Gentlemen both. Now try that with some companies and see how far you get. I am somewhat surprised there is little mention of this stretch in the many published reviews of the Spectron amps, it seems pretty essential to people who will be using it, but there is an exception, Adam Goldfine's review in Positive Feedback makes this point clearly.

Morrow cables, a month later

I've lived with the Morrow Audio SP4 and MC4 speaker and interconnects for the last 5 weeks and am somewhat sorry to see them leave. The full review will be out this week in Affordable Audio (Dec 09 edition) but I can say that despite the plain jane looks, these cables work well with my class D system, giving new life to the upper frequencies though at the cost of a little looseness in the bass compared to my references.

Cable auditions are really a pain. I can understand the cynicism of many audiophiles to the pseudo-science that surrounds many descriptions of cable differences and it's difficult not to view with some suspicion the claims of companies who produce what is essentially a uniquely wrapped wire. I think we should though give some credit to the fanatical people who spend their time trying to ensure their cables carry the audio signal better than others because it's become clear to me, although cable differences are rarely massive, there are some flavors that work better in my system than others. Let's forget the cost of those perceived benefits for now, nobody makes you spend your money on them so why should you be annoyed by someone who does? (Well, the answer to that is because it causes you certain insecurities, but that's another matter).

However, I accept that the lack of any firm empirical data on the ability of listeners to identify reliably and repeatedly the differences between wires should give us all pause. I know the arguments, I accept the difficulties of developing such a trial, but why the leading mags display such disdain towards experimental trials when evidence supporting their position on audible differences would lay this ghost to rest, at least for awhile, really does not serve them well. I've tried to encourage Robert Harley to have TAS take this on head first but without luck. I'm trained in experimental design and can run tests on many human perceptual and cognitive phenomena that often elude simple operationalization, so I know it is difficult but it is doable. One could incorporate lengthy 'at home' auditions and black-box style A/B tests, or do a series of different tests with trained and untrained listeners. No trial would slay all objections from either extreme, but wow, if ever we needed some sensible data, this is one area where audiophiles might gain some much needed credibility.