Gramophone Dreams

Almost a year ago, a headphone pal loaned me the Zach Mehrbach–designed ZMF Auteur LTD headphones. He said, "Herb, see if you like these." I took them home and right away thought, Wow, these headphones really disappear!

Nothing about their sound attracted my attention. The only thing I noticed, casually, was how relaxed and unbelievably transparent they were.

When I applied for this job, I wrote a pretend review of the Rogue Audio Sphinx integrated amplifier and emailed it to Stephen Mejias, then Stereophile's deputy editor, who printed it and put it on John Atkinson's desk.

Before I sent it to Stephen, I showed a rough draft to my business agent, Sphere, who said, "Herb, you can't turn this in like this."

"Why?" I asked.

"Because you speak as if you are not an audiophile and think you're superior to audiophiles."

My current romance with audiophile-quality headphones began in earnest with the appearance, about 10 years ago, of Audeze's LCD-2 planar-magnetic headphones—these predated the company's patented Fazor elements, said to guide the sound around the transducers' magnet structures—and Schiit Audio's original Asgard headphone amplifier. Together, these groundbreaking products rekindled my interest by making headphone listening into something new and exciting—something less distorted, more dynamic, denser, and more intensely lifelike than what I was getting from my speakers on the floor. Best of all, I could listen while lying in bed with my eyes closed.

We were playing some old, cherished black discs when my partner, bb (the 6'-tall Aries artist), declared, "With records you hear touch, and you are not alone." Long pause. "Just holding the cover brings back memories—that's their humanity."

I will never forget.

In 1988 I had my first experience with Western Electric 300B tubes. It took place on a quiet, streetlights-and-snow night at my friend Ryoichi's apartment on Riverside Drive, in Manhattan.

I had never heard of the late Japanese amplifier designer Ken Shindo, of Shindo Laboratory. But that evening, Ryo's audio system was all Shindo: a hammertone gray Shindo-restored, grease-bearing Garrard 301 turntable sitting on a Shindo plinth of glossy wood, with a Shindo-modified Ortofon tonearm and SPU cartridge, a Shindo moving-coil step-up transformer, and a Shindo preamplifier with a moving-magnet phono stage.

I needed one black tiddledywink (not provided) to use Dr. Feickert Analogue's three-speed, two-motor, two-armboard Blackbird turntable. The tiddledywink was for covering the Blackbird's painfully bright power-on LED so that it didn't blind me when I cued up a record. The first night, in my dark listening room, this tiny indicator sprayed the wall behind and the ceiling above with more light than a bright-emitting 845 vacuum tube.