Installation completed, I stepped back and…
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There follows in the manual a discussion of the different thicknesses of vinyl from various labels and how best to compensate for them, and a treatise—far too detailed to go into here—on shifting between the Baerwald and Löfgren overhang values. Suffice it to say that I've never before seen the engineering bases of turntable setup explained so thoroughly. The math is clearly laid out, and the precise adjustments to compensate for the adjustments are explicated to the nines. Competence, elegance, and forethought drip from every plane of La Luce.
Sidebar 1: Specifications
Description: nonsuspended turntable with dedicated pivoted SpJ tonearm and elastic-thread–driven stand-alone motor and housing. Bearing: J.C. Zwart Delrin chrome ball bearing, 55mm diameter. Bearing shaft: polished chrome-hardened steel, 15mm diameter; thin-film Teflon spray lubrication.
Dimensions: 16" W by 12" H by 11" D.
Serial number of unit reviewed: Not noted.
Price: $18,500 with tonearm. Approximate number of dealers: 71.
Manufacturer: Judith Spotheim-Koreneef, Eindhoven, The Netherlands. Web: www.tjbailey.com/spj/products.htm. US distributor…
Sidebar 2: Associated equipment
I listened to the La Luce mostly with the vdH Grasshopper IV phono cartridge, but spent some time enjoying the Cardas Heart I found installed on the arm when it arrived, George in tow. I also auditioned the Koetsu Rosewood Signature Platinum cartridge for two weeks. (More on that little Japanese beauty in an upcoming review.)
The La Luce played alternately into the YBA Signature 6 Chassis preamplifier and the Nagra PL-P, both with their own MC transformers and with the Expressive Technologies SU-1 step-up.
Power amplifiers were the huge…
Blind loudspeaker listening tests are hard work, not least because usually, most of the models being auditioned fail to light any musical sparks. But back in the spring of 1991, when a small group of Stereophile writers were doing blind tests for a group speaker review, one speaker did light up smiles on the listeners' faces, including my own. (We don't talk during our blind tests, but it's more difficult to keep body language in check.) Once the results were in, we learned that the speaker that got the music right in that test was the diminutive ES11 from Epos in England (footnote 1).
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Sidebar 1: Specifications
Description: Two-way, stand-mounted, reflex-loaded box loudspeaker. Drive-units: 6.5" (165mm) mica-loaded polypropylene-cone bass/midrange with nitrile-rubber surround, 1" aluminum-alloy dome tweeter. Measured crossover frequency: 5.5kHz. Frequency response: 53Hz–22kHz, ±3dB. Sensitivity: 86.5dB/W/m. Nominal impedance: 8 ohms (5 ohms minimum at 18kHz). Amplifier requirements: 20W recommended minimum. Finishes available: black ash, walnut, mahogany.
Dimensions: 14.75" (375mm) H by 8" (203mm) W by 9.75" (248mm) D. Weight: 19.5 lbs (8.8kg) each.
Serial…
Sidebar 2: System Context
The Epos ES12s were positioned some 3' from the rear wall of my room (which is faced with books and LPs) and approximately 5' from the side walls (which also have bookshelves covering some of their surfaces). The ES12s sat on 24" Celestion Si stands filled with a mixture of lead shot and sand and spiked to the concrete floor beneath the rug/pad.
The amplifier used was primarily a solid-state Pass Labs Aleph 3, with a Mark Levinson No.333, a tube Mesa Boogie Baron, a tube Cary Audio Design CAD-300SEI integrated, and a tube Audio Research VT100 also seeing…
Sidebar 3: Measurements
My estimate of the ES12's B-weighted sensitivity was 85dB/2.83V/m—slightly lower than specified, but the difference is inconsequential. Its impedance (fig.1) doesn't drop below 7 ohms, meaning that it's basically an easy load for an amplifier to drive. The tuning of the reflex port is revealed by the "saddle" in the impedance magnitude plot at 58Hz, implying only moderate bass extension.
Fig.1 Epos ES12, electrical impedance (solid) and phase (dashed) (2 ohms/vertical div.).
Two discontinuities can be seen in the impedance traces: a slight…
"Hello, I'd like to apply for a Federal Grant? For what? Oh, to design and build a new, high-tech, very expensive turntable. What's that? It plays records. Yes, that kind of turntable. Of course they still make records. Why? How much time do you have? Oh, I forgot—you're a federal employee, you have all day! Well, I didn't mean to insult you. It was a joke....No, I'm serious about the turntable. You do? What kind of music? When are they from? RCA Record Club? Classical Music? 1950s and '60s? Yes. I'll give you $5 each. I know it's generous, but... How much money do I want for the grant?…
Apart from some cosmetic differences, all of the metal components—including the bearing assembly, the VTA adjustment post, arm rest, antiskating mechanism, counterweight assembly, and shaft—are identical to what's supplied on the ACT 2, and machined to the same high tolerances. Speaking of cosmetics, the tapered armtube, with its crossweave of carbon fiber under a smooth, glossy finish, looks cool! Regardless of the ACT 0.5's looks, W-B claims that it's far stiffer and better damped in the audio band than any other arm. Unfortunately, I have no measurable way of verifying these claims.
W…
The Full Circle dug out most of the thunderous, subterranean bass on "Take Me to the Pilot" on the British Dick James Music pressing of Elton John's debut album. (There's no bass on the American Uni pressing, so don't even bother.)
Why take the music apart? The Full Circle didn't. It was impressively coherent from top to bottom, with an overall tonal neutrality and rhythmic certainty that made listening long into the night both easy and pleasurable. The presentation offered not a hint of grain or brightness, and the critical midband was rich, airy, and lush. Speed accuracy was dead on…