Comparisons with the Accuphase DP-55, September 1996 (Vol.19 No.9):
Having just reviewed the similarly-priced Sonic Frontiers SFCD-1 CD player (June '96, Vol.19 No.6), I was interested to hear what the Accuphase DP-55 had to offer. The $5995 DP-65 had been favorably reviewed by TJN, and the $21,000+ DP-90/DC-91 pair had so impressed Dick Olsher that he bought the review samples (see June 1995, Vol.18 No.6).
The following impressions were gained with the DP-55 in its optimum setup: no attenuation, and playing through the balanced outputs.
It was evident from the start that…
"Hey! Make sure you mention my name in your article! I don't want you taking all the credit." No problem! Some of the best and least expensive setup tweaks come from Stereophile's readers. Lonnie Ragin (LRagin134@aol.com) came up with two beauties that deserve their day in the sun:
"I posted this online at Audio Review after a listener posted a message regarding cinder blocks used as speaker bases. Instead of using black spray paint, try wrapping them in heavy black trash bags. I tried them with spray paint and the rough surface of the cinder blocks still snagged my carpet. And…
A relevant letter appeared in March 2000: EAR & Water Lily
Editor: I have just read Jonathan Scull's review of the Sony SCD-1 Super Audio CD player in November 1999. Jonathan mentioned Jon Hassell's Fascinoma recording (Water Lily CS-70-CD) I must correct one statement, where Jonathan mentioned the noise and hiss that he heard on this recording. This noise is not due to the 1" Analog Master tape machine that I built for Kavi Alexander, which is some 8-10dB lower than the noise of the microphone and microphone preamplifier. This is very nearly comparable with digital systems…
"Which way to the four o'clock tour?" It was already 10 minutes past the hour. I was late, but this was the last tour of the day. It would be a very long wait for the next one. "Down the hall and across the quadrangle. They should be leaving the J. Gordon Holt Memorial Library in about five minutes. And welcome to the Las Vegas International Museum of Audio, Video, and Home Electronics." The guard handed me a program and waved me through the front door. Her response seemed scripted and memorized—like something you might hear from a cheap laser-holograph dinner date. I hurried along,…
"It wasn't an easy crusade." Our guide seemed to be echoing my thoughts. "Most who purchased these exotic analog reprostations or turntables already had a large collection of analog LPs. A few sporting individuals, who had fallen for analog's charms with only a handful of vinyl recordings in their collections at the start of the digital age, scraped by as best they could—searching for used treasures. Those in big cities found the quest easier. Some even managed to amass large collections with hardly a new LP in the bunch. Home record-cleaning devices enjoyed a spurt of popularity. By 1996,…
Still, I'm torn. If pressed, I might be willing to admit that the average quality of CDs in my collection is better than the average quality of the analog LPs; only when you get to the top quarter or so will I argue analog's overall sonic superiority. And when faced with purchase of a new recording, I will usually (if a choice is possible) choose the CD over a digitally mastered LP. But not always. On at least one occasion, I bought the LP after owning the CD—and was not disappointed. But I'm definitely in the cheering section for improved digital recording and playback; like it or not, it's…
Set-up of the Cosmos was simple; most of the required effort was expended in freeing it from its substantial packing. If you use SOTA's own armboard, as I did, mounting the arm is merely a job of attaching the armboard to the subchassis with the furnished screws, then bolting the arm into place in the precut hole. (I appreciated the tapped mounting holes and matching bolts provided for mounting the SME, which made it unnecessary to fiddle with tiny nuts under the armboard.) If you are not using a SOTA armboard, you'll need to balance the subchassis with lead shot as per SOTA's…
If any common thread was noted in the sound of the Cosmos with various cartridges, it was one of a clearly defined soundstage combined with a lively sense of reality. It refused to gloss over the warts in a recording, but neither did it appear to emphasize them. It may not appeal to those who prefer to enter the digital age with a turntable whose sonic signature boldly distinguishes it from CD's decidedly cool precision. In that, they may find that the Cosmos does not meet their requirements. I do not mean to suggest that the Cosmos provides a "CD" sound. But it tends closer to the spectral…
Cosmos vs TNT
When I had to part with the Cosmos turntable for those several weeks during the review period, and began in the hiatus to evaluate the new VPI TNT, I immediately noticed a different character to the sound—using the same SME V arm and a Clearaudio Gamma cartridge. Much later, when I returned to the Cosmos (a different sample) from the TNT, this time with the Benz-Micro MC-3, my general impressions as to the major differences between these two turntables were confirmed. Frankly, I was surprised by how obvious the differences were. I had planned, despite the differences noted…
Sidebar 1: TJN's Associated Equipment (1990) The associated equipment used in assessing these turntables included the Benz-Micro MC-3, Krell KC-100, and Clearaudio Gamma and Veritas-S cartridges, Klyne SK-5a preamp, and Mark Levinson No.23 power amplifier. Interconnects were AudioQuest Lapis (early versions). Speaker cables were AudioQuest Green (bass) and Green Hyperlitz (mid/highs) (bi-wire). Other equipment used with one or both turntables included the VTL 90/90 power amp and Vandersteen 2Ci, Acoustat Spectra 11, and SOTA Panorama loudspeakers.
The SME V arm was used for all…
