Jason Victor Serinus

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Jason Victor Serinus  |  Jan 12, 2011  |  0 comments
Derived from Finite Elemente’s Emperor rack, the Soundbase equipment shelf ($1800) is filled with aluminum foam whose random patterning allows it to absorb energy and dissipate it as heat. Immedia’s Stirling Trayle notes that the shelf works as well for turntables as for other components.

Each Soundbase comes complete with four Cerabase Slimline coupling feet that use a combination of three internal ceramic ball bearings and stainless steel for ultra-efficient energy transfer. The Cerabase Slimlines are also sold separately for use under components ($550/set of four). Their three internal ceramic balls represent an advance in “resonance deflection” technology for the company.

Jason Victor Serinus  |  May 26, 2023  |  0 comments
I admit that I didn't get what the Fink Team of Essen, Germany was all about until I met the man himself, Karl-Heinz Fink, who is well known within the industry for designing many important loudspeakers marketed by other companies. Fink, who also owns the Epos loudspeaker brand, began his own engineering company 40 years ago. Then, about seven years ago, the late and revered Ken Ishiwata of Marantz asked him to build a big speaker for Marantz. Out of that came the Borg, a two-way system with an AMT tweeter that was launched five years ago. The Borg Episode 2 (€30,000/pair), which is marketed by the Fink Team, replaces the original model.
Jason Victor Serinus  |  Feb 09, 2019  |  5 comments
My first room, sponsored by House of Stereo, showcased Bob Carver's attractive Crimson 350 monoblock amplifiers ($9500/pair), a Bel Canto Black EX preamplifier/DAC ($18,000), Wolf Audio Systems' Alpha 3 music server with Flux Capacitor Clock ($6750), the striking KEF Blade Two speakers ($25,000/pair), new Audience Front Row cabling, and Stillpoints Aperture room-treatment panels.
Jason Victor Serinus  |  Feb 19, 2018  |  77 comments
The Nonesuch Records CD Steve Reich: Pulse / Quartet arrived with its sonic bonus unheralded. With no MQA designation on the album cover or disc, few would have known of its MQA provenance had not posts appeared on Facebook that, when inserted in a player capable of decoding MQA, it can deliver high-resolution MQA.
Jason Victor Serinus  |  Dec 24, 2012  |  7 comments
Just in time for the New Year, Cookie Marenco of Blue Coast Records has released the first-ever DSD (Direct-Stream-Digital) download of the San Francisco Symphony Orchestra's recording of Mahler's Symphony No.1. Recorded live in Davies Symphony Hall in September 2001, shortly after 9/11, and first released as a hybrid SACD in 2003, the recording is one of the only four Mahler symphonies in SFSO's complete Mahler cycle that were recorded directly to DSD.

The Mahler 1 files, available in four formats, are all derived directly from San Francisco Symphony's master, not from a copy of the SACD. The formats include two DSD formats: DFF and DSF. For those whose computer playback software or DACs are not equipped to play DSD files, 24/96 and 16/44.1 PCM files in WAV format are also available.

Jason Victor Serinus  |  Mar 29, 2019  |  9 comments
The first and only time I heard a live performance of Mahler's five-movement Symphony No.7, from Michael Tilson Thomas and the San Francisco Symphony, I left Davies Symphony Hall confused. The bad press that the 70+ minute work has received for over a century, mainly for its innate ambiguity, convinced me that it was, at best, a problematic work—one that Mahler might have eventually revised had he lived long enough. But after listening to DSD128 files of Iván Fischer and the Budapest Festival Orchestra's new recording of the symphony for Channel Classics, released March 29 in SACD format, I've come to consider it a somewhat shy flower that puts on a brave face and remains in the shadows until a strong conductor coaxes it into the light and convinces it to share all of its bloom and fragrance.
Jason Victor Serinus  |  Jul 22, 2017  |  5 comments
The latest installment in Ivan Fischer's near-complete Mahler cycle for Channel Classics, the Symphony No.3 (CCS SA 38817), renders the myriad beauties of this most wondrous of symphonies into an unforgettable experience. No matter what layer you audition on the two-disc hybrid SACD set, or whichever resolution DSD files you download—I listened in DSD128—you will discover the Budapest Festival Orchestra, Cantemus Children's Choir, Chor des Bayerischen Rundfunks, and alto Gerhild Romberger portrayed in stunning sound, with pounding percussion, cutting brass, tinkly triangles, and celestial children's voices laid out before you in a seamless soundstage.
Jason Victor Serinus  |  Jan 13, 2014  |  0 comments
Moon by Simaudio of Quebec showed its two newest slim-box Evolution Series components. The first, the Moon Evolution Series 760A dual-mono, class-A/B balanced power amplifier ($8000), is "conservatively rated" at 130Wpc into 8 ohms, and boasts a zero global feedback circuit, proprietary output transistors, and class-A output to 5 watts. The company's Costa Koulisakis claims of its unrelated Evolution Series 820S power supply ($8000)—intended for use with the Evolution Series' 740P preamplifier, 610LP and 810LP phono preamplifiers, and 650D and 750D CD/DAC transports—"We've never done a better power supply in our lives." Together with other Evolution series components, the system produced notably spacious sound.
Jason Victor Serinus  |  Jan 14, 2007  |  2 comments
Having waxed ecstatic over the big Märten full-range loudspeaker on display at last October's Rocky Mountain Audio Fest, I was delighted to discover the somewhat smaller $30,000/pair The Bird on display in two virtually square, air-walled conference rooms at the Sands/Venetian Convention Center. The three-way speaker, with a 6 ohm impedance, boasts a frequency range of 28Hz–45kHz, and is 89dB sensitive at 2.83V.
Jason Victor Serinus  |  Aug 04, 2022  |  0 comments
With the support of Seattle's 76-year-old Hawthorne Stereo, Focal Naim America presented a system described by the company's Tom Graham as "The best of the best of what Focal and Naim have to offer." The sound in the large room was extremely open and spacious on a 16/44.1 wireless stream of a very naïve sounding soprano singing the "Pie Jesu" from John Rutter's Requiem.

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