(12/16/02) Hi Greg,

Just recently purchased a pair of the VR4 SE and I wanted to know how long it took you to break them in? I have to tell you that they sound so amazing with 48 hours of continuous play that I'm scratching my head trying to figure out how much better they can actually get with 200 or 300 hours of play time.

I must say that your review of these speakers is probably the most accurate review I have ever read. Having said that, I get the distinct feeling you could have written 10 more pages if given the opportunity.

Thanks for your wonderful review. And thanks to Albert for what I would consider an absolute bargain in the audio industry!!!!

Frank J. Romantini

Hello Frank,

I'm glad you are enjoying your purchase and have found the new Special Edition of the VR-4 as revelatory as I did. It is truly a milestone, even for Albert.

As to how long they will take for full run in, I am afraid that will be impossible for me to say. You see, mine had a good bit of time on them when they arrived from VSA. My suspicion, based on my past experience with the original VR-4, the Gen II and the original Gen III is that they should reach their very best within no more than 300 hours.

In my past experiences with the VRs, the first real character change that I noted, a slight reduction of the brightness, was logged at about 30 hours. After about 40 hours, the bass began to open up and sound more full and detailed. Things continued to change, sometimes quite drastically, for the first 100 hours or so. After that point, and up until about 300 hours, very minor nuances were noted, but the overall character had settled in and been determined at about that 100-hour mark.

You are right in your assumption that I could have written more about them, but sometimes it is better to say just enough rather than try to be all-encompassing. Thanks for reading The Stereo Times and for taking the time to write.

Greg Weaver

Executive Editor - The Stereo Times

(12/10/02) Mr. Soo,

I have enjoyed reading your reviews of Audio Note gear and 47 Labs gear. As an owner of an Audio Note M6 preamp, CDT2 transport and DAC4.1x, I share your enthusiasm regarding their products.

Do you have any plans to evaluate Audio Note's digital gear? I'm quite certain that you would find the pairing of the CDT2 transport with a DAC3.1x or DAC4.1x to be an intense listening experience.

More importantly, your experience with a reference combination such as the CEC/Wadia and your listening experiences with the 47 Labs Flatfish/Progression DAC would allow for a unique perspective.

While I am less familiar with CEC products, I do have great respect and admiration for the 47 Labs product line - unique and clearly blazes its own trail.

Regards,
Rob Phillips


Dear Mr. Phillips,

Thank you for your suggestions, kind comments, and especially for reading my reviews. Readers like you are the big reason why I am still writing.

Profoundly sharing your respect and admiration for England's Audio Note and Japan's 47 Laboratory, I am also impressed and touched by the obvious devotion and passion as shown in these companies' product offering. Unlike giant conglomerates operating teams of designers and engineers for product development, the owners of Audio Note and 47 Lab, namely Peter Qvortrup and Junji Kimura, are the designers of their own products. It would not be an exaggeration to say their products are labors of love.

The two companies seemingly share a singular dedication to the most comprehensive implementation in signal preservation, using no-feedback amplification and minimum complement of drivers in electrical-mechanical signal conversion. The valve-based AN pursues this end with a sophisticated and vast knowledge base of component parts characteristics and their interactive application in the critical role of signal relay, while 47 Lab tackles the ideal using transistor technology with a fervent principle in component miniaturization and segregation.

I have been very fortunate to have the opportunities of writing about products from these two distinguished companies and designers. The very analytical and delicate sound of the 47 Lab Flatfish/Progression digital front-end provided an excellent foundation upon which the Audio Note M3 preamplifier expounds with magnificence. Even before the two companies' machines were finally in my system together, the M3 had elevated the performance of my CEC TL1/Wadia 27 digital front-end by supplanting the Wadia's internal digital volume control and thus strengthened signal coherence. The arrival of the 47 Lab digital front-end only confirmed both the age of the Wadia from 1996 and the superiority of the newcomer. It was regrettable that Wadia has not been forthcoming towards my repeated invitation for a new Wadia Review. Better luck next time.

There are several reasons I don't have entire systems from both companies. First, I can't afford them. Also, I don't have a proper, second listening room. Finally, even if I had two rooms and the finances, music playing frequency and duration would be spread thin between the two rooms and would become quite minimal to each because I require a minimum of 7 hours of sleep every day. However, if both Peter and Junji graciously decide to send me their entire systems for review, I don't see a problem managing it!

Rob, I can only fantasize about the level of musicality of your Audio Note system. Earlier in the summer, AN's U.S. West Coast Distributor Ray Lombardi and his crown dealer, Joe Cutrufelli of JC Audio in Martinez, CA set up a pure Audio Note suite at Joe's residence, consisting of an CDT2, DAC 5.1x, M5, Conquest Silver Signature, AN-E SEC Silver and the SPx silver speaker cable. I have listened to Joe's system twice so far, and during each session those superlatives just kept banging in my head. Talk about headaches.

On a lighter note, I am happy to say that I am now nearing completion on the $20,000 Audio Note AN-E SEC Silver Madrone Review. It is AN's top-of-the-line loudspeaker in a different finish than Joe's. As for AN's digital gear, I do have a DAC 1.x Signature being reviewed. Please stay tuned for my upcoming reviews.

Happy Listening.

Constantine Soo
 

(11/26/02) Mr. Soo,

I know you have auditioned the Sony SCD 777 SACD player, as well as the Linn Ikemi. I need to top the Arcam Alpha 9 CD player that I currently use and am wondering if you can make recommendations in the $3000.00 area. I have heard a slight difference in the Arcam FMJ 23t and the Meridian 507 from my present player, but not a valuable one. I wouldn't consider the SACD format unless its CD playback is on par with a CD player in my price category. I liked what the cheaper Meridian did with its organized soundstage with classical and am thinking about auditioning its bigger brother the 588. Any recommendations would be greatly appreciated. Thank you.

Mark in Atlanta

Hello Mark,

Thank you for your inquiry and for reading my Reviews in the Stereo Times.

Since I've never used the Arcam and Meridian players before, I cannot say with certainty if either the Sony SCD-777ES SACD player's CD playback or the Linn Ikemi Integrated CD player would be superior to them, and to what extent if so. However, I used a CEC TL1/Wadia 27 combo for many years and it was the 47 Laboratory Flatfish/Progression digital front end, not the Sony player, that came along and toppled the former system's Redbook CD playback excellence. As my review of the Linn Ikemi took place soon after that, I can attest to 2 facts.

First, the Linn surpassed the Sony in CD playback, notably in soundstaging, among other criteria, and the latter machine is no longer manufactured. Second, unless you plan to dispense with significant income, the $3,565 Linn Ikemi represents a worthy consideration in its solid engineering and immaculate sonic representation next to the $8,100 47 Lab digital front end. While it is my opinion that the 47 Lab represents the very best in CD playback, the Linn Ikemi will hold its ground against machines from a large price range even after years of using.

Regarding SACD, having listened to music on the format since 2000, I believe in it, especially now that the Universal Music Group that owns prominent labels like Deutsche Grammophon, Philips, Decca and ECM is planning releases in the format. DG is already marketing SACDs on four DSD-remastered early analog releases, one of them being the quintessential Beethoven's Choral Symphony; although I would prefer the 1984 full-digital version than the 1976 one being chosen. Maestro Carlos Kleiber's mandatory Beethoven Fifth and Seventh Symphonies is also scheduled for future release (see http://www.deutschegrammophon.com/home.html). I believe that once these classical labels start to commit their vast vaults of titles to the SACD format, complimented by more SACD players from different companies, it will be hard for any audiophile to remain inert with Redbook CD.

Still, that prospect is just a wishful one on my part since titles are being planned and released at such at slow pace, it is as if the format was already obsolete. Of course, if you are a jazz fan, the SACD format is much more viable as there are a lot more jazz titles available from just Sony alone, not to mention others.

Last not least, Linn is planning release of its own multi-format digital player early next year. Watch for a report of it here at the Stereo Times.

Happy Listening.

Constantine Soo

(11/20/02) Mr. Soo:

Your 47 Labs Gaincard review was very good. I enjoyed reading it.

I want to ask though how long you were able to burn that OTA cable in. Did
you also use it as speaker cable for the review? I am curious how long it
was burned in because I have heard horrible stories about how long it
takes and how terrible it sounds during burn-in.

Thanks for writing that review, and keep up the good work!

Brandon

Dear Brandon,

Thank you for reading the Review and for taking the time to send me an inquiry. I'm glad you enjoyed the Review.

Mr. Segoshi of Sakura System sent me the OTA's in both interconnect and speaker configurations. The OTA's went through more than 100 hours of burn-in period and the sound was still not to my satisfaction. I was also perplexed at how it sounded when new as compared to that of other cables I have used. My Granite Audio #470, for example, revealed its superiority over my Kimber Kable KCAG silver interconnect the first moment it was plugged in. Despite the burn-in period given, the OTA did not impress me.

As Mr. Segoshi pointed out in the Manufacturer's Response, positive regards for his OTA abound in the form of customer purchases. Nothing speaks louder than actual sales. In this case, it is safe to say that my opinion may well be a result of my personal bias towards silver. It will be vastly stimulating if Mr. Junji Kimura will ever consider using silver to create his new reference cable. If he does that, you can be assured I'll chase him down until I get a review sample.

Happy Listening.

Regards,

Constantine Soo

(10/14/02) Dear Sir,
It is worth additional cost to use in audio chain SCE Audio Harmonic Recovery System?. I use in my system power amp ( Aleph 0-S ), passive preamp ( stepped ladder attenuator ) and two DACs: PT P-3A and ART DI/O.

Regards,
Krzysztof Jozefowicz

Hello Krzysztof.

In my opinion, you are the PERFECT candidate for the device, or one of similar operation such as the True Dimensional Sound PHES or the Margules ADE-24. While I've not heard either of the latter devices in some time, the Source Component Electronics' Harmonic Recovery System still occupies a significant spot on my equipment stand.

The HRS is essentially a class-A, solid-state gain stage that boosts the signal it is given by roughly 3 dB (the specification sheet reads 2.7 dB). Increasing the gain has the effect of lowering the noise floor and providing a more suitable signal for driving the input stage of a power amp. Additionally, it offers a nice high input impedance for those high-output-impedance preamps to be happy with and a nice low output impedance which will drive just about any amp quite well. These attributes are outrageously beneficial to most listeners who are using a passive preamplifier or driving an amplifier from the direct analog output of a CD player or DAC.

For a more complete understanding of what the SCE HRS is capable of affording, please see my original review of the device.

Greg Weaver

Executive Editor - The Stereo Times
The Complete Internet Audiophile Magazine

(10/14/02) VR-4 HSE Review

I just read this review and you got me quite excited. My last speaker was Albert's DB-100 but I had to sell them. Anyway, I wanted to know if you could compare the new VR-4's to his VR-5's or 7's??? Also, do you get the sense that they need some juice to open up? Thanks in advance.
Mike

Hello Mike,

It has been a while since I heard the VR-7 or the DB-99, and since last May
that I heard the VR-5 SE. But I have to say that the 4 Gen III SE is simply remarkable. I think that this new tweeter, which Albert will be using in the new versions of the 5 and 7, is nothing short of revelatory. The bass he has managed to achieve with the VR-4 strikes me a being VERY close to, if not completely matching, the superb bass I heard from the VR-7.

I have to say that for the money, I would prefer the VR-4, as I personally prefer the look and aesthetic it offers (to each his own, eh?). However, a call to Uncle Albert may be in order, at 619-444-7136, to see what he has to say. Oh, and be sure to mention you had just read the review. He likes to know that people get excited over his products. Thanks for reading The Stereo Times and for taking the time to write.

Greg Weaver

Executive Editor - The Stereo Times
The Complete Internet Audiophile Magazine

(10/14/02) Constantine Soo's review of the Linn Ikemi CD player is an absolute delight. It both gives a clear picture of the player's strengths and weaknesses (so few reviews these days seem to find any weaknesses) and it does so in comparison to a decent range of other players. The latter attribute is extremely helpful for the consumer.
Thanks for this fantastic review.

I look forward to the review of Linn's multi-format SACD/CD player next year.
Best regards,

Ray Farris

(10/7/02) StereoTimes.com,
Wow! Thank you for such a gracious and thorough review. We have to agree with Greg that the Lemniscus is "an absolute joy..." It is always exciting to hear what others have to say about loudspeaker that we have spent so much time designing, developing, and building. When their response is this positive, it confirms our feelings that all of our time and energy were truly put to good use.

It is true that the names of our products are a bit "unusual". While many music lovers pursue a "golden ear" philosophy, one should recognize that the ear is simply a transducer, converting a limited spectrum of air bound pressure gradients into complex neuronal patterns. These patterns are analyzed and interpreted within the brain. Literally, we hear with our brains, not our ears. Ergo, we name our products for the pinnacles of perceptual integration and behavior reinforcement.

We would also like to thank Greg for recognizing the quality and the work that goes into our tweeter. One of the reasons that we go to such extremes with this tweeter is to get the open, transparent sound usually associated only with ribbon or electrostatic drivers, but with out the constraints that accompany these technologies (designs).

There is more to the Lemniscus' ability in "getting out of its own way and pulling a complete 'vanishing' act" than a simple MTM design. Our design takes into consideration the acoustic time aligning of the drivers, how the drivers interact with the cabinet and how our crossover interacts with the drivers in the system. In fact, our Acoustically Time Aligned crossover plays a major role in the speakers abilities.

We also agree with Greg that in smaller rooms, or lightly constructed rooms, there can be a lightness of deep bass. This will be true with most speakers that do not rely on a bloating in the bass spectrum. Unlike classic bass reflex , sealed box, or stuffed lines, the q-TSAL couples the bass driver into the room, allowing the system to interact better with the room loading to prevent unnatural, exaggerated bass. One of our goals when designing the Lemniscus was to create a speaker for larger rooms that could both handle great dynamics and remain focused and coherent, yet be equally listenable in smaller rooms.

Again, thank you to The Stereotimes and to Greg Weaver for such a positive review.

Thanks,

Kevin Blair
and the staff at
Buggtussel, LLC

(9/12/02) Greg - read with keen interest your review of the CA Virtuoso cartridge of last year. You mentioned that you had to set VTA just off parallel -could you tell me (if you recall) which direction that was? Could you tell me which end of the cartridge body was tilted "up". I have just purchased the same cartridge and you might save me some time.
Thanks in advance
Timothy A. Purcell

Hi Timothy,

Sorry for the delay. My office at the University of Notre Dame spent the last two days moving – up one floor. How maddening, especially while mired down in the throes of the “back to school” rush. Anyway, I’m back... Please forgive the delay.

As to the vertical tracking angel referred to in that article, the rear of the arm was ever-so-slightly higher. Not so much that you would notice when casually glancing at it, but when looking closely. And it was VERY slight. Good luck. The CA VMk II is a wonderfully enjoyable cartridge. Thanks for reading The Stereo Times and for taking the time to write.

Greg Weaver

Executive Editor - The Stereo Times
The Complete Internet Audiophile Magazine

(9/11/02) Reader Mr. Richard Moss' condensed Inquiry:

Constantine, I read your reviews of Loth-X Ion B and Decware Zen. It was good that you had a chance to review these products--near simultaneously. I'm new to tubes (unless you count Heathkit and Dynakit).

I had more or less decided on Loth, but mulling over compatible amp. The first thought was Orchid/Tulip 2A3 from Antique Sound Lab, but that choice would push my well cost over target. Then I wondered if I could use a headphone amp & called Joe Rodgers at Loth who said he drives Loth Ion with 500 milliwatt--but warned me that issue with headphone amp is its ability to support 8 ohm load. In any case, I got lots of advice at head-fi org that I should look at David Berning's MicroZolt, a one watt "personal amplifier.

Aside from your observation that Decware doesn't have a "tube" sound--my inferential reading of DEC review--the reference to DEC in the Loth review raised an issue: " Decware's 5 Wpc stereo SE84C was inadequate as constant and severe dynamic compressions persisted. "

Should I interpret that conclusion to mean that 1watt or 5 watt SE amps are not an appropriate match for the Loth-X? In other words, might the same have been said about Antique Sound Labs Tulip 2A3 integrated? Or if I had the Time Bottlehead's 2A3 kit? There are plenty of other choices in tube amps: JOLIDA's integrated; a pair of QuickSilver minis (25wt); and antique Fischers on e-bay. Will the Loth-X be happier with a vintage Fisher, or Dynaco, or if money ever came around Audio Note. (except I'm reading that the Fisher tubes aren't replaceable, unless I locate vendor for NOS). In general, would you recommend an amp on the order of magnitude 25 watts for the Loth? Or is the comment on "constant and severe dynamic compression" particular to Decware?

If you have one extra moment to responded: are you saying that the drive in Ion B is the same driver as in Amaze, except that in Amaze the wire peak out a much high level. Many thanks,

'Richard Moss
Law School
UDC 2800 Connecticut
Washgton, DC 275


Dear Mr. Richard Moss,

Thank you for your inquiry to my Loth-X BS1 Review, and for checking out our e-magazine. You have done a good amount of product research certainly. I haven't used any of the other amplifiers you mentioned yet, so I can't comment on their compatibility with the Loth-X BS1. I have also condensed your 2 emails into one.

Your questions are in some way echoing the concerns of another Stereo Times readers who is also considering the Decware SE84C. Knowing that the general consensus among SE84C users shows the amplifier as capable of driving most speakers as Steve Deckert has been claiming, my unique experience to the contrary of the popular opinion is a product of personal preferences.

I look for realism when reviewing, and despite the Loth-x was of 94dB/8-Ohm efficiency, the volume I demanded from an SE84C/Loth-X setup exerted an excessive burden on the Decware to have to perform within the dimensions of my listening room. I do reckon that the result could have been drastically different were the Decware asked to drive the speakers in a smaller room, with less taxing materials, and for an audience less insistent on volume.

As for my comment on the SE84C's sound that there was a "fundamental lack of tube smoothness and transistor-like tonalities", I admit that it can either be a positive or negative criticism, depending on a reader's point of view. It is a positive comment if you strive for a characterless sound. However, if you realize the remedy to the sound of your system, or the one sound you've always been pursuing, is the typically more benign tube sound, or the typically more dynamic transistor sound, then the SE84C may not fit your bill perfectly.

I don't claim to be a marketing consultant or expert, but part of the dilemma that Steve's SE84C faces is the market it is in. It targets the audiophile segment without aiming to satisfy one prevalent emotion of some of the consumers, one created by sheer market value. To most of us, it is of no issue to spend $495 on something we clearly appreciate; the cheaper the better. However, to some serious audiophiles with serious dispensable income, $495 represents not market value, but something they can afford to overlook, something that is meant to be ignored by their standards.

As for the comparison between Loth-X's BS1 & its upper model, the Amaze, I refer you to Mr. Joe Roberts of Loth-X USA.

How Steve Deckert reacts to the existence of this market segment, or how well he is resisting the temptation of doing it, is crucial. So far, he hasn't directed his SE84C towards the multi-thousand-dollar market by putting his design in the fanciest, costliest chassis and thereby raising the cost of admission. Sometimes no news is good news.

Constantine Soo - Senior Editor

(8/22/02) Hello Constantine,
I read your review of ELAC 518 speakers....I am intrigued. Are there any dealers in the US? I would like to learn a bit more about them. Do they need a large room...do they work well with good quality solid state amplification?

If you know of any dealers, I would appreciate your help. I went to the ELAC web site, there were no US dealers listed...I do not know if this was up to date since it did not mention the 518.

Sincerely,
Joe Ciarrocca

Constantine Soo Responds

Dear Mr. Ciarrocca,
Thank you for your email and for reading The Stereo Times. The ELAC 518s are designed to perform in a medium size room as full range speakers. Dependent on the actual dimensions of your room, quality of amplification is paramount. In my opinion, the McCormack DNA 1 Deluxe, complimented by the superlative Audio Note M3 tube preamp, did not unveil the ELAC's full potential in my medium-sized listening room, rendering the sound slightly metallic. For a person who is used to ribbons from Apogee and Genesis, or soft domes from Celestion, I traded the dynamic power of the McCormack for the timbral delicacy of the 47 Laboratory Gaincard "S" (review underway). Depending on your preference of speaker type and amplification, you may just find the ELAC not metallic at all.

If your room is larger than mine, I am confident the ELAC can play still louder, as long as it is aided by amplifiers with not just as robust an output of the McCormack, but also the delicacy of the Gaincard. However, if you intend to use them in a smaller room, you may consider ELAC's smaller 516. Employing the same JET tweeter technology with one less bass unit, the 516 should be able to integrate into a smaller room nicely.

Lastly, regarding United States dealer availability, I would like to refer you to ELAC's U.S. Distributor, Trian Electronics, at 909-686-6301 or 608-850-3600 and their website is http://www.triancorp.com/. Please ask for Mr. Brian Anderson and be sure to inform him that you were referred by The Stereo Times.

Happy Listening.

Constantine Soo

(4/24/02) Dear Perry,
Thank you for your reply. The following is Decware's official response:

Manufacturers Comments:

Audio is a fine balance of compromises. The Zen was designed to sit in the
peak of the Fidelity vs. Power curve I frequently talk about on our web
site. It excels in the things I personally feel are important which is of
course a subjective call.

The goal with the Zen Triode was to reach modest listening levels in
apartment type systems. On efficient speakers it is possible to fill much
larger rooms.

K-Horns are a bittersweet match with a single Zen. The SE84C does not care for complex crossover networks such as those employed by the K-Horn. The K-Horns are so efficient that you're able to drive a pair to substantial levels before it gets ugly. In fact the sound is so convincing that you are literally teased into asking more of the amp than it has to give.

On the other hand if you have a Lowther or similar single driver design
around 98dB without a crossover you can actually play at a level that
significantly exceeds what is possible with K-Horns at 104dB.

Since these amps can be bridged without the typical smearing that can occur in other bridged stereo amps, it is a cost effective solution when you need more power. The Zens put out more power as the impedance drops so you can expect to net an increase of almost 6dB when you bridge a pair of them.

As far as the review goes, I am impressed with care and skill that obviously
went into writing it.

Steve Deckert
Decware / High Fidelity Engineering Co.
www.decware.com

(4/02/02) Hi. This is Paul who owns a pair of Decware SV83M monoblocks. I enjoyed reading Constantine Soo's review of the SE84C ZEN amp. Negative notes regarding the little amp's dynamic capability and dryness aside, I think the reviewer was very impressed with the amp's pure and neutral sound, based on many many positive notes on how transparent and faithful the amp is to the front end in the review. Curiously, I followed the thread and read the Audio Note monoblock's review but didn't find that many passionate superlatives. I just wonder, how long the ZEN amp has been used? Does it have enough time for break-in? Even with the more powerful monoblocks, I noticed a non-subtle difference in dynamic capability when the amps were barely broken in (a few weeks) vs. when they were well broken in (a few months). You may want to at least review the SE84CS (Signature stereo version)which is still affordable at $695 but much better represents the ZEn line. In fact, many happy owners swear it sounds better than the ZEN monoblocks in several aspects. For your information, there are quite a number of happy owners who are successfully using the ZEN amps to drive their speakers ranging from Klipsh (K-Horn, SB3, La Scala, etc.) to Avantgarde Trio. Please check out the ZEN compatible speakers' database at: http://www.decware.com/zspkrview.htm

Response to Paul's feedback to my 15 March 2002 Decware SE84C Review

Dear Paul,

Thank you for reading both my 15 March 2002 Decware SE84C Review and the 5 October 2001 Audio Note Quest Review, I'm glad you found my reports enjoyable to read. Answering your questions: I used the Zen amp for over 3 months before committing any words to the Review.

In many aspects, writing a review is a balancing act. Superlatives used on both Reviews only partially conveyed my opinions toward the equipment reviewed. I urge you not to judge a reviewer's assessment of a product solely by the extent of superlatives employed; but consider the complete context in which the product is evaluated as well. In the SET arena, I haven't encountered anything that can surpass the $4,000 Audio Note Quest monoblocks for less. In the case of the $499 Decware SE84C, while I didn't expect it to do anything exceptionally well in a high-end system, I haven't encountered another $500 amp capable of what the Zen amp actually does. Therefore, to lend proper contrast and weight to my description of the strength of the otherwise laughably midget Zen amp, I intensified the specific perspectives conveyed in the review.

Some designers seek to create a life statement in the form of their products, and in doing so each product will speak to certain tastes while becoming possibly unacceptable to others. Therefore, to avoid discrediting a product in any absolute terms, I try to be fair in describing the upside of the design the same time I am describing its weaknesses. To this end, Paul, I should hope that throughout my reviews, my ability in conveying abstract concepts is improving along with the use of superlatives.

Finally, since you are using Decware's top-of-the-line SV83M monoblocks, you are already the beneficiary of what I thought as the improved setup. I, of course, would love to review such a setup in my 47 Lab digital front end, Audio Note preamp, and Klipschorn-based system. However, the decision of which is not solely up to me: Mr. Deckert, what do you think?

Happy Listening.

Constantine Soo
April 2, 2002

(2/11/02) You mentioned in your review of the Shunyata Hydra that you did utilize the Richard Gray's units in your system simultaneously. Having just purchased a Hyrda myself, I am interested in what sort of results you found when (i) a RGPS was connected to an adjacent plug; (ii) a RGPS was plugged into a socket of the Hydra; and (iii) the Hydra was plugged into a socket of a RGPS? Did any seem superior? Are any inadvisable? What I am especially concerned about is, besides wanting the advantages of the power reserve, How I can protect my most delicate front-end electronics from potential power surges, which is an important secondary purpose one of my RGPSs now serves.

Thank you.
Jonathan
jmeyersca@aol.com

Jonathan,
Thank you for your email and questions regarding the Hydra and Richard Gray devices. I've found the Hydra's work best IN MY SYSTEM when the RGPS's are totally out altogether. I couldn't detect any of the positive differences others mentioned the RGPS's are plugged into an adjacent outlet in conjunction with the Hydra. On the other hand, and like I stated in the review, when the Hydra's plugged into the RGPS, there is a noticeable "fabric softening" affect that occurs to the overall sonic portrait, which took away the immediacy and the presence I enjoy. All in all, I don't know what insurance you get with the RGPS's defending against potential lightening strikes, but I do know I like the Hyrda a lot more for what it does to prevent RFI and EMI from entering my system than the RGPS. Happy listening
Clement Perry

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(1/14/02) I am searching for a good cartridge match for my system. All equipment is approximately twenty years old. The turntable is an Oracle (Delphi Mk. 1?) the arm is a Helius with no model name marked on it anywhere. My pre-amp is a nad 1020A and my amp is a Hafler DH 200. I am presently using Polk RTA 12B speakers. I have just read Greg's August 2001 review of the Clearaudio Virtuoso Mk 11 MM Cart. Do you think this Cart will work well with this system? How can I find out the specs. for the Helius? Thanks for your help.

Bob

Hello Bob,

First, the only Helius tonearm I've ever heard of was the Aurum which was available back in the early eighties. I have no info on it but given it's era, it is likely a low mass arm as that was the direction that most arm manufacturers were going then. Take a look at it. Is it big and massive looking or does it look light and lean? If it is a low mass arm, then your best bet will be to match it to a high compliance moving magnet cartridge.

The rule of thumb here is that Moving Magnet carts are generally highly compliant (less stiff) and are best matched to low mass arms where Moving Coil carts are generally of low compliance (more stiff) and generally match better to higher mass arms. The van den Hul cartridges are medium to high compliance MC cartridges and the Clearaudio MM cartridges are medium compliance. There are contradictions, but not too many.

I hope this helps out somewhat. I really don't know what else to suggest.

Greg Weaver - Executive Editor
The Stereo Times - http://www.stereotimes.com
The Complete Audiophile Magazine
http://home.attbi.com/~analyst18/

To submit feedback to The Stereo Times, click here.

(1/07/02) Firstly I would like to offer my sincere thanks to Stereo Times and particularly Jon Gale for his very thorough, perceptive and articulate review of our Total Eclipses. Jon managed what very few can accomplish, that is, reveal the true essence of a component in such a lucid manner, that the reader is offered a clear picture as to what the product under review is capable. What is becoming a rare event in audio reviewing, namely comparing components to one another in order to determine their relative value and performance, is once again undertaken by Jon in a fearless fashion. Jon was actually the first reviewer to notice the asymmetrical mounting of our midranges relative to the tweeter in our D'Appolito alignment. The sonic benefits of this unique configuration are explained on our website. Also, Jon very aptly described the sonic differences between the Revelator and Esotar tweeters and his descriptions help explain why we opted for the Revelator.

A few specific points to address:

1. Bolts - We used to use black anodized steel. Last year we switched to stainless steel for 3 reasons

2. Stainless steel is ultra precise so we completely eliminate cross threading into the T Nuts;

3. There is a sonic benefit due to the non-ferrous nature of the bolt. The magnetic interaction with the drivers is eliminated;

4. Even in very humid climates, stainless steel will not rust.
   We will gladly provide the black anodized bolts to anyone desiring them.

Grills- we stopped offering them a few years ago since very few customers requested them. More importantly, they can only have a deleterious sonic affect. For those consumers who insist on grills, we offer instructions on how to make your own.

It is especially gratifying as a designer and manufacturer of high performance loudspeakers, to have ones reference speaker so highly acclaimed by reviewers, dealers and most importantly, consumers. The Total Eclipses have been glowingly reviewed by four audio publications, The Inner Ear Report, Soundstage, The Absolute Sound and now Stereo Times.

The Inner Ear awarded the Totals its coveted state of the art four musical note rating, The Absolute Sound
bestowed the Golden Ear Award for 2001 on the Totals, the Soundstage reviewer was so taken by the speakers, he purchased them and now Stereo Times acclaims the Totals as a Most Wanted Component with Jon Gale purchasing his review pair.

While the Total Eclipses were designed to mate optimally with low powered tube amps, they, like ALL Coincident models will sound superb with virtually ALL amplifiers. The high sensitivity and easy load of the speakers will make amplifier choice a personal one. Our customers report excellent matches with a diverse range of amplifiers. The reviewers have confirmed this as well. In fact, Jon obtained superior results using solid-state amplification exclusively.

Our compliments to Stereo Times and Jon Gale for displaying a unique combination of integrity and expertise. Let's hope it becomes contagious.

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