As mentioned in the Survey wrap-up, my high-rez, high-…
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If you think I burned out cartridge-wise at the end of my and JE's It's A Mad Mad Mad Mad World cartridge survey at the beginning of the year (Vol.18 Nos.1 & 2), you're wrong. If you think I ought to burn out and give it a rest, you'll be disappointed. If you think analog doesn't matter anymore, you have my semi-sincere condolences. But if you think, as I do, that analog is enjoying a resurgence of epic proportions (twilight or no), and that LP playback has reached a new zenith of musical wonder, then hang on—here I go again!
There's a certain synergy you're looking for when setting up a cartridge. After initial adjustment, place an LP on the spinning platter, lower the cartridge slowly into the groove, squint madly, and try to see how the diamond sets-in to the groove. A light magnifying tube can help here. You want the diamond fairly vertical and "straight in" under its VTF loading. Generally with the van den Huls, the stylus should emerge from the center of the hole in the pole piece and appear from a side view as if the stylus emerges more or less "straight" out of the generator—or a bit more deflected than…
The UK re-release of Island Records' Limited Edition Resurrection Series on 160gm virgin vinyl of Marianne Faithfull's Broken English (M1) finally brings the recording quality this favored artist of ours deserves. We own all her albums, including a desirable Quiex II of Strange Weather, but they all suffer from a blistering, grainy presence region, murky soundstage, and woolly bass. The re-release was extremely well-mastered, Marianne's voice breaking free of the recording to take shape before me. (Watch for other Island re-releases of the B-52's, Free, Cat Stevens, and Tom Waits—if they…
Sidebar 1: System chez Scull 1995
Amplifiers in play during this period were my reference Jadis JA 200s and Forsell's The Statement, which I reviewed last month (Vol.18 No.6). The Statement continued to amaze with its spectacular dynamics and huge, sweet soundstage; the 200s, for their part, never lost their wonderfully elegant musical presentation. Preamp was the CAT SL-1 Signature, clamped and Cable Jacketed on its Marigo power cord and umbilical. Tubes in the CAT were a gracefully aging set provided by Ken Stevens, including a mix of German and Yugo 12AX7s, 12AU7s, and a quartet of…
Sidebar 2: Specifications
Description: Moving-coil phono cartridge. Specifications: Output: 0.55mV at 5cm/s. Recommended load impedance: 200 ohms–47k ohms. Stylus: vdH tip-type 1S on a boron cantilever.
Serial number of unit reviewed: UF4J180.
Price: $5000 (1995); no longer available (2007). Approximate number of dealers: 35.
US distributor: Vanguard Distributing, a division of McCormack Audio Corporation, Encinitas, CA (1995); Stanalog Audio Imports, Hagaman, NY (1999); Bluebird Music Ltd., 620 Wilson Avenue, Suite 360, Toronto, Ontario M3K 1Z3, Canada (2007). Tel: (416) 638-…
"They're cuuuute!" Not a very professional reaction, but what can I say? When the Monster Cable folks pulled out their new Entech Number Crunchers during a recent visit to Santa Fe, I couldn't help myself. I was edging John Atkinson and Wes Phillips out of the way, using my long arms to reach over...gotta get one! There would be time later for the critical evaluation and cool, detached objectivity—first, I had to get one. The Entechs are the Beanie Babies of the audio world
Sure, I was interested in the Monster Cable/Entech story (see Sidebar), and impressed by the reasonable…
Improved resolution of low-level detail was another area where the 203.2 made a big difference. The sense of space around an instrument was reproduced well, as were the image edges—the interaction of the instruments with the space around them. Acoustic discs like Festival had a wonderful, natural feel, with realistic images in a seamless, coherent space. Low-level details—pages turning, music stands being slid—were finely reproduced and helped re-create the original ambience. A really stark example of how the 203.2 handled space, however, was "Take the Highway Down," from Tommy Castro's Can'…
I didn't think I could get the Stereophile Guide to Home Theater folks to send down a high-tech projection TV to really test the integration concept, so I auditioned the 205.2 in the two current reference systems at Casa Damkroger. The first is built around VAC electronics, Thiel CS2.3 loudspeakers, and Nirvana S-L wiring, and the Entech was fed by an Ultech UCD-100 player. In our other rig, Sonic Frontiers and Plinius electronics drove Magnepan MG1.6/Rs via Kimber Kabling, and transport duties were handled by Marantz CD63SE and Parasound CDP-1000 players. Synergistic Research's Digital…
Sidebar 1: Specifications
Description: Stand-alone digital/analog converters. Input complements: 203.2: one 75 ohm coaxial (RCA), one optical (TosLink); 205.2: two coaxial, one TosLink. Output complement: one unbalanced analog. D/A conversion: Crystal Semiconductor 20-bit delta-sigma. Filtering: 203.2: 3-pole analog; 205.2: 5-pole analog. Frequency response: 20Hz–20kHz, ±0.25dB. Linearity, 16- or 20-bit data: ±1.0dB at –100dBFS. THD+Noise: <0.005%, 20Hz–20kHz. Absolute noise floor at 1kHz: 203.2, <–130dB; 205.2, <–134dB. Output level: 2.5V.
Dimensions: 203.2: 6.25" W by 2.5"…
Sidebar 2: Associated Components
Digital front-ends: Ultech UCD-100, CAL CL-15, Parasound CDP-1000, Marantz CD63SE, Philips CDC926 CD players/transports; Denon DVD-3000 DVD player.
Preamplification: Sonic Frontiers Phono-1 phono preamp, VAC CPA1 Mk.II preamp, Sonic Frontiers Line 3 line stage, Rega Luna integrated amplifier.
Power amplifiers: VAC Renaissance 70/70, Plinius SA-100 Mk.III.
Loudspeakers: Magnepan MG1.6 Q/R, Thiel CS2.3, Castle Severn.
Cables: Nirvana S-L; Kimber KCAG, KCTG, PBJ, 4TC, Bi-Focal XL; Synergistic Research Digital Corridor Reference; Synergistic…