October 11, 2018 § Leave a comment
“A parting shot here was the use of a good cleaning machine, like the Klaudio. Granted this can make changes that can be heard on almost any table, but the impact it had on the Obsidian and Viper made such a thing almost mandatory. A small change on a normal turntable became a transformation of epic proportions through the Continuum.
This is a truly wonderful deck to experience, or rather not experience. It’s complete absence of sound and total neutrality is not stark, bright, or forward. It’s neutral, but not in a ‘Switzerland’ kind of way. It’s actively neutral, making a sound that is beguiling and exciting because the impact of the Continnums is so minimal on the music. It makes music come to life in a way few other turntables at any price can. ”
October 5, 2018 § Leave a comment
“The sound from the Classic SB and Sumiko Blue Point No.2 was never less than rich and natural, if occasionally restrained through the MM input. The pairing revealed a luminous midrange in the voices of Tom Waits and Crystal Gayle, with all their respective gruffness and gorgeousness intact, in their duets on Waits’s score for the film One from the Heart (LP, Columbia PC 37703). “Picking Up After You” was detailed and continuously musical, with the correct amount of smoothness, and flawless integration that an MC cartridge can deliver. “Broken Bicycles” sounded even more resolved, but the lower end of Waits’s voice was a bit thin. In “Take Me Home,” Gayle’s voice sounded natural and potently transparent, with nothing obscuring her midrange. The Classic SB could dig deeply into vocal recordings.
September 29, 2018 § Leave a comment
“Enter the Acoustic Signature Double X. Its faults are few and minor. Play a recording and you will only hear the information contained in the recording as interpreted by the cartridge. I hate to tell you, but there is indeed a correlation between price and performance. Can you spend a lot less and still hear music? You already know the answer. As for me, could I settle for less musical verity? The answer is hell no! I would never stop wondering. Like the Peggy Lee song, “Is that all there is”. The Double X is the vehicle to bring all the escapist enjoyment your musical heart desires. It is made with all the Teutonic precision that allows Mega Cartridges of any price to perform for you.”
September 9, 2018 § Leave a comment
” was so taken with the two selections from the M&K Roger Wagner Chorale Encore on M&K’s sampler that I managed to find an unopened copy on the Internet of the direct-to-disc original. I’m not sure I’ve ever heard a more immediate, tactile, and transparent choral recording anywhere anytime by anyone (it’s a live recording). You might not think a small chorus with piano accompaniment would be much of dynamic-range test. But this is to reckon without the sheer drive, verve, and near riotous involvement the group bring to the spirituals on side 2. The pots, pans, and assorted other “instruments” that appear in “Dem Bones” are so vividly registered they seem to pop into view before your eyes, and in “Set Down Servant” when the group sings/shouts the refrain “My soul’s so happy that I can’t sit down”—well, that pretty much sums up my response to these fabulous performances, the sonics, and the BLP-1 in reproducing them.”
September 1, 2018 § Leave a comment
“It tracked so cleanly that audible mistracking was rendered essentially theoretical. I threw a variety of 45s and 33s at it, and considered its speed stability to be rock-solid. Further, image stability was locked down with little to no smearing, even when the cartridge was challenged by a tightly packed chorus or complex symphonic instrumentation. During Dave Brubeck’s classic “Take Five” [Columbia], the macro-dynamic envelope was broad and lively, the sax filled with throaty grit and resonant bloom. Generally, the Concept Black conveyed low percussion and drums with great clarity and detail, but Morello’s familiar drum solo verged on the revelatory. It possessed openness and speed, and while it stayed in a pocket to the left of the soundstage, its energy didn’t lay back or sound muted, as it sometimes can. Laid bare with every tap of the drum stick were the tonal and textural colors of the snare, the floor tom, and the bass drum. Cymbals possessed the ring, spacious rattle, and deep-space decay that have always signaled “transparency” to these ears.”