Jonathan Scull
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Interviews
Jonathan Scull Jul 08, 2007 Published: Mar 08, 1997 0 comments
Our interview with Hiroyasu Kondo—founder of Audio Note Japan, and a legendary figure in his own time—took place during HI-FI '96 last June at the Waldorf=Astoria. It seemed very natural; the crowd at the Show was very internationalist. Herb Reichert of Audio Note New York found us a quiet corner after lunch, and we sat down to talk.
Jonathan Scull Apr 29, 2007 Published: May 29, 1999 0 comments
A.J. van den Hul calls the Black Beauty a phono cartridge "just for friends." In a way, this Black Beauty was made specially for me—it's been tweaked for an undamped linear-tracking arm. Says so right here on the box: "Forsell Version." But before you explode, know that Mr. van den Hul will be pleased to do the same for you. He'll adjust the suspension of any Black Beauty– or Grasshopper-series cartridge for your arm and 'table. Or, should you specify, for "the preamp and load impedance, a particular brand of records to be played, the type of music generally played (jazz being more dynamic and classical more spacious and detailed), and other personal/sound preferences."
Jonathan Scull Apr 08, 2007 Published: Feb 08, 2000 0 comments
Just after I agreed to review the Accuphase M-2000 monoblocks, importer Arturo Manzano began urging me to take the Accuphase PS-1200 Clean Power Supply as well.
Jonathan Scull Mar 03, 2007 Published: Nov 03, 1998 0 comments
Among the more intriguing audio-related announcements this year was that Koetsu phono cartridges were once again available in the States. In fact, they're being handmade in limited quantities by the sons of founder Yoshiaki Sugano.
Jonathan Scull Aug 06, 2006 Published: Oct 06, 1998 0 comments
The La Luce turntable's elegant form usually stops audiophiles dead in their tracks. Then comes a long, low "Wow." I'm hardly immune myself. And that's not even considering the sound, which has always been wonderful, as it was in the Joseph Audio/Cardas room at CES '98.
Cable Reviews
Jonathan Scull Jun 06, 2006 Published: Jan 06, 1998 0 comments
Ted Denney at Synergistic Research has come a very long way in a very short time. In the past I've enjoyed and commented on his Resolution Reference interconnect and speaker cable. Great stuff, but I'm picky. Then, not too long ago, boxes of his new, top-of-the-line Designers' Reference interconnect began raining down upon us (liveried, I might add, in an extremely vivid shade of green!).
Tube Power Amp Reviews
Jonathan Scull Mar 05, 2006 Published: Nov 05, 1997 0 comments
Just who does Bruce Rozenblit think he is? And why is he saying those things about the late Julius Futterman? Rozenblit, relying heavily for guidance on his Electrical Engineering degree, has crafted an OTL (output-transformerless) amplifier that flies in the face of contemporary design dogma. To hear Bruce tell it, he's tamed the breed—this is how OTLs should have been done to start with, Futterman notwithstanding.
Tube Power Amp Reviews
Jonathan Scull Jul 31, 2005 Published: Dec 31, 2000 0 comments
At the last few audio shows, whenever I heard a pair of the big Cary CAD-1610-SEs, I fair licked my chops. The two-tiered monoblock looked positively stunning in black and polished aluminum, exotic tubes bristling from the top "floor" of its two-story edifice. The Cary always induced pelvic tilt in me—you know, when your lizard brain takes over and tube lust is in the air.
Tube Power Amp Reviews
Jonathan Scull Jun 05, 2005 Published: Sep 05, 1997 0 comments
I'm always eager to fulfill my prime Stereophile directive: "To go where no audiophile has gone before," as JA often quips. As it happens, I've long suffered an itch to audition OTL (output-transformer–less) amplifiers, wondering how eliminating the output transformer might affect the sound. Enter the Graaf GM 200, with nothing but wire between its power tubes and the crossover.
As We See It
Jonathan Scull Mar 05, 2005 Published: Jun 05, 1999 0 comments
Just what is the absolute sound, and how do you get there from here? What the heck are we looking for as we endure the mirth of others while purposefully setting up our high-end systems? Is it, indeed, the sanctified sound of acoustic instruments in real space? Can we ever really achieve that? Or is it the accurate realization of the signal on the master tape? Or—as was recently suggested at the New York Noise single-ended lovefest, covered in this issue's "Industry Update"—are some of us looking for the emotion and the artist's intent?
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