Audiophilepure

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“I pulled out several of my favorite violin LPs to hear how they would fare with the I1’s phono stage. This last year or so has seen the release of a few newly polished Bach sonatas and partitas, like Julia Fisher’s PentaTone set, recently released on vinyl [PentaTone PTC 5186 664-67] and Giuliano Carmignola’s set of CDs [Deutsche Grammophon Gesellschaft 483 550]. But I turned to an old favorite, Johanna Martzy’s version from her The EMI Recordings box set [Coup d’ Archet 017-19]. The I1’s phono modules tightened up Martzy’s articulation from what I usually hear listening through a tube phono stage. There was less reverberation from the strings off of the body of the instrument than I heard with the CH Precision P1 or the Audio Research Reference Phono 3. The I1 phono modules exhibited a similar lean and slightly dry signature on older Chess recordings, the ones that usually almost drip with moisture. The Best of Muddy Waters [Chess LP 1427] almost made me wish I still had a Koetsu cartridge on hand to slow things down, just enough to see the sweat drip from Muddy’s face.

But perhaps the biggest surprise came when listening to McCartney [Apple PCS 7102]. One of my favorite LPs, I keep two UK first pressings on hand as a failsafe. John was my favorite Beatle, and when I play McCartney I sometimes worry that John is looking from George’s Cloud Nine ready to wreak retribution unless I give Plastic Ono Band or Imagine equal time. Yet, as many times as I’ve heard the LP, the I1 still made me sit up and listen anew. I thought I knew every tiny nuance on this record, but there it was — an entirely new (to me) bright clicking noise of wood claves that had gone unnoticed until excavated by the I1.”

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