August 22, 2019 § Leave a comment
“Members of the Living Stereo cult will know that the LPs under that imprint make almost any system sound silky, sexy and superior, so I turned to an album some analogue purists find a mite brittle, due to its digital origins. Telarc’s Romeo & Juliet/Nutcracker Suite [DG-10068], performed by Loren Maazel and the Cleveland Orchestra, was so free of fatigue-inducing artefacts that I had to question my own prejudices.
Like the Crew Cuts LP, the Telarc recording possessed space and scale so perfectly formed that the audiophilic goal of ‘disappearing speakers’ was repeated and maintained. Stage depth and width were cavernous, individual sounds located precisely as they should be, with an uncanny freedom from any constraints that might be attributed to speaker location. The Wilson Yvettes simply vanished.”
August 12, 2019 § Leave a comment
“The Hathor looks fabulous and plays well, rendering the vinyl experience in all its warmth with accuracy, depth and authority. At $4000, you can indulge in high end playback sans the huge price tag. Matched with good speakers, electronics, and cabling, you have the makings of many magical moments to come. And what’s not to like about that?”
July 23, 2019 § Leave a comment
“Using the Mediterraneo ‘table, I was treated to the deep, sonorous string tone that was one of the highlights of the Lyrita catalog. Trust me folks, strings are done right here, and the Gold Note Mediterraneo/C7 setup gets it. Also, while the clarinet is mildly highlighted, extending ever so slightly forward in the soundstage, it never overpowers the strings that back it.
If you’re in a truly hedonistic mood, do check out the “Eclogue for Piano and Strings” on side two of this album. To me, the Eclogue is near the pinnacle of 20th-century string composition, as it’s just achingly beautiful. When played back through the Gold Note deck, I tend to get the sniffles by the end. The lush string tone and subtle shift in”
July 14, 2019 § Leave a comment
“On the face of it, this Pro-Ject might seem most at home rendering tracks with lots of low-end, but songs stationed in the middle of the register actually feel most natural. The warmth offered here is pleasant and, while there appears to be some rounding off of the treble, we’re treated to a generally cohesive performance.
Sparser arrangements are also beneficial, however, because this isn’t the most spacious of soundstages and can sometimes be cluttered by a throng of instruments. Detail can be lost, and the presentation somewhat muddied.”
July 11, 2019 § Leave a comment
“This chart shows the frequency response and channel separation measurements of the RPM 5 Carbon/Sumiko Amethyst combination. While the response remains flat for most of the bass and midrange frequencies, this cartridge runs about 2 dB hot at 20 Hz before flattening out by 50 Hz. The response remains linear until 3 kHz where we begin to progress to a 2 dB dip centered at 5 kHz. At this point, the Left and Right channels diverge whereby the Left trace gets to a 2 DB peak from 12 kHz – 16 kHz before arriving at a 1 dB dip at 20 kHz while the Right trace gets to its 2 dB peak at 16 kHz before meeting up with the Left channel again at 20 kHz. The channel separation components seem to stay pretty close to each other through most of the range.”