search

Editor: As a publisher myself, a number of thoughts occurred to me after Michael Fremer's review of the Cyberlight interconnects in the August issue.

This is not the first time there has been a remarkable difference between Mr. Frember's observations and JA's measurements. I recall a similar situation when Mr. Fremer also gave a rave review to a KR amplifier, which was found to be practically defective when measured. You ran the review at that time along with your measurements. As before, Mr. Fremer gave unconditional rave and recommendation to a product…

Editor: I was not surprised that Mr. Fremer expressed a strong preference for some "interconnects" that almost surely have audible linear and nonlinear distortions. Any dyed in the wool vinylphile clearly prefers music playback containing audible distortions. The same can be said of those who wax poetic about SET amplifiers.

There have been many instances of equipment reviews in your magazine wherein the equipment measured poorly but got a rave review. This just goes to show that listener preference (even a highly skilled professional listener) and high…

Editor: I had to rub my eyes. There it was, in glorious print, "I really don't see how the Cyberlight P2A and wave cables can be recommended. I am puzzled that Harmonic Technology, which makes good sounding, reasonably priced conventional cables, would risk their reputation with something as technically flawed as the Cyberlight."

Finally, a review with some backbone and truth!!! Or should I say, a reviewer with some backbone and truth. Well done, JA.

Now lets turn our attention to Michael Fremer. I give him high marks for integrity and standing on…

The Coltrane is the company's "statement" product, and at $50,000/pair, you expect more than a short riff improvised on a familiar theme. Olofsson…

Impressions
There's a brassy-sounding big-band album by Ella Fitzgerald, arranged and conducted by Bill Doggett, called Rhythm Is My Business (LP, Verve V6-4056)—a great title, and a perfect description of one of the Mårten Coltrane's strongest suits. Get it…

Description: Three-way, reflex-loaded floorstanding loudspeaker. Drive-units: ¾" inverted diamond-dome tweeter, 3.5" ceramic-cone midrange unit, two 9" ceramic-cone woofers. Crossover frequencies: 300Hz, 4kHz. Frequency response: 20Hz–100kHz, ±2dB. Sensitivity: 89dB/W/m. Nominal impedance: 4 ohms. Supplied accessories: polished-steel stands with Black Diamond Racing cones and pucks.
Dimensions: 44.5" (1130mm) H by 12.3" (313mm) W by 24" (610mm) D. Weight: 104 lbs (47kg).
Finishes: High-gloss black with wood front panel in maple, cherry, oak, or walnut.…

Analog Sources: Simon Yorke S7, T+A G10 turntables; Immedia RPM-2, Graham 2.2, SME M2 tonearms; Lyra Titan & Helikon mono, Shelter 301, 501, 901 & 90x, T+A C 10 cartridges.
Digital Sources: Musical Fidelity Tri-Vista, Krell SACD Standard SACD players; Alesis Masterlink CD recorder.
Preamplification: Manley Steelhead, BAT VK-P10SE phono preamplifiers; Musical Fidelity kWP preamplifiers.
Power Amplifiers: Musical Fidelity kW, Yamaha MX-D1, Music Reference RM-200.
Loudspeakers: Wilson Audio WATT/Puppy 7, Sonus Faber Stradivari Homage,…

I measured the Mårten Design Coltrane with the speaker biwired with the supplied Jorma cables and supported by the Black Diamond Racing cones and pucks, to allow its reflex port to be raised sufficiently high above the floor. Because of the speaker's bulk, it was not possible to raise it several feet from the floor for the acoustic measurements, as is my normal practice. I therefore had to window the time-domain data more aggressively than usual, to eliminate the effect of a strong floor reflection. This reduces the resolution of the farfield measurements in the…