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The setup used by Ray Kimber and engineer Graemme Brown for the possible SACD release was considerably more complex. As well as the four Neumann mikes, they also used two front-facing DPAs, just in case we changed our minds post-session. All six mikes were amplified by the Millennia preamp, which fed a multichannel EMM Labs DSD converter. The digital data from this Ed Meitner–designed unit were stored on a Genex GX9000 hard-disk recorder, with safety copies made simultaneously on three Tascam DS-D98HR digital DSD recorders. Cables were, of course, all Kimber, including Ray's impressive…
Needless to say, this is all speculation. Beethoven was, after all, a composer, and a pretty good one at that. Sophisticated internal organization is abundantly present. Many of the variations seem to lead almost organically into each other, such as the initial ten, the centerpiece, and, most notably, the last five. Perhaps the strongest evidence of a grand design can be found in the work's overall symmetry. The concluding 33rd variation pays homage to the tradition of repeating the theme at the work's conclusion, except that in this case, the simplistic waltz that began the piece is…
Beethoven's <I>Diabelli Variations</I>: the Finest Hour of Piano Music in the World Robert Silverman
Sidebar 1: Robert Silverman
In a world that sees wunderkinder of the piano come and go, Robert Silverman has reached a level of musical and technical authority that can be accomplished only after years of deep commitment to the instrument and its vast literature. Many aspects of Silverman's playing are frequently noted: a polished technique, an extraordinary range of tonal palette, an uncanny ability to sing his way into the heart of a phrase, and probing interpretations of the most complex works in the repertoire.
The distinguished Canadian pianist has performed in…
Sidebar 2: Track Information
Variations (STPH017-2) Total Playing Time: 68:03
Ludwig van Beethoven
33 Variations on a Waltz by Diabelli in C Major, Op.120 (1819, 1822–23) 56:31
[1] Theme: Vivace 0:55
[2] Variation 1: Alla marcia maestoso 1:51
[3] Variation 2: Poco allegro 0:53
[4] Variation 3: L'istesso tempo 1:25
[5] Variation 4: Un poco più vivace 1:08
[6] Variation 5: Allegro vivace 1:01
[7] Variation 6: Allegro ma non troppo e serioso 1:51
[8] Variation 7: Un poco più allegro 1:07
[9] Variation 8: Poco…
Sidebar 3: Who Was Who And What Was What
Pianism extraordinaire: Robert Silverman
Production: Robert Silverman, with John Atkinson
Engineering: Graemme Brown, with Ray Kimber, John Atkinson, Brett Terry
Digital Editing & Mastering: John Atkinson
Piano technicians: Russell Sorenson, Lamar Watts
Piano: Steinway (New York) D
Venue: Mark Evans Austad Auditorium, Val A. Browning Center for the Performing Arts, Weber State University, Ogden, UT
Recording Dates: August 14–18, 2004
CD Booklet Design: Natalie Brown Baca
Microphones: two…
Eleven years ago, Threshold Corporation entered the high-end audio market with the first amplifier ever to use sliding bias (footnote 1) in its output stages. Some 10 years later, Threshold spawned another innovation: their so-called Stasis circuitry, which yielded the S-series amplifiers. The SA-1 and its lower-powered sister SA-2 are the latest from Threshold, and are the first Threshold amps to abandon sliding bias for straight class-A operation. Both use the Stasis circuit.
In most amplifiers, the voltage amplification stages are used to drive the output transistors, which in turn…
Sidebar: Specifications
Description: Solid-state monoblock power amplifier. Rated power: 160W into 8 ohms, 300W into 4 ohms. Current capability: 40A continuous, 60A peak. Frequency response: 7Hzצ100kHz, +0/–3dB. Voltage gain: 26.5dB. Input impedance 75k ohms.
Dimensions: 19" W by 8¾" H by 19" D. Weight: 78½ lbs.
Price: $6000/pair (1986); no longer available (2006).
Manufacturer: Threshold Corp., Sacramento CA 95815 (1986); Threshold Audio, Inc. PO Box 41736, Houston, TX 77241. Tel: (713) 466-1411. Fax: (713) 856-0278. Web: www.threshold-audio.com.
Bill Firebaugh's first product, the outrageous-looking Well-Tempered (tone) Arm, established him as one of audio's most innovative designers. At the 1985 Winter CES, he showed a prototype companion product—the Well-Tempered Turntable—and was producing production units by January 1987. He discusses here the WTT's unusual design features. (Readers should note that, since we have not yet tested the new turntable, this interview is not to be interpreted as an endorsement of the product.)
Holt: Bill, what prompted you to get into the turntable business?
Firebaugh: Well, after I had…
I don't know if I could assign a magnitude to the improvement, but you can sure see it when you're making flutter tests. And you can hear it. A friend of mine who has a home-built, very massive turntable like a Micro Seiki, uses a very stiff belt with it, made out of rubber-impregnated Kevlar. He tried flipping it over and he told me he very definitely notices a difference. He always uses it twisted now.
It was while I was experimenting with belts that I discovered something amazing. The belt goes slower than the pulley. And it's not because the belt is slipping, it's more like it's…
Holt: Because the motor normally would have a tendency to cog. It is a hysteresis synchronous type, isn't it?
Firebaugh: Yes, it is. So I asked myself, "What would happen if I just put a certain kind of grease in there?" I happened to have some saltwater wheelbearing grease, which is quite heavy and doesn't get runny when it gets hot. And I squirted that in there, and gosh, that worked great. I mean, it made a difference you could really hear.
Holt: Doesn't it creep up the sides when it's spinning?
Firebaugh: Well, I had to experiment a lot with the viscosity of that…