Guy Lemcoe

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Guy Lemcoe  |  Dec 14, 2017  |  First Published: May 01, 1995  |  8 comments
I first learned of the Kuzma Stogi at the 1993 Winter CES in Las Vegas. In VPI's room at the Sahara, a portly, black tonearm was sitting proudly atop the new VPI TNT Series 3 turntable. Pointing straight at me from the center of its massive, exceptionally stout frame was a tapered armtube the diameter of a swollen thumb. The fact that this unknown (to me) tonearm was chosen to sit atop a turntable as respected as the TNT told me I was looking at a serious new product. VPI's Harry Weisfeld was standing nearby, beaming as usual, to answer the barrage of questions that sprang from my lips as I leaned over for a closer inspection. Who? What? Where? When? Why? How much?
Guy Lemcoe  |  May 11, 2017  |  First Published: Aug 01, 1993  |  6 comments
When Tom Norton asked if I'd like to review an entry-level turntable from SOTA, I responded with a resounding "Yes!" I've long felt that there's a conspicuous absence of affordable, good-sounding record players on dealers' shelves. With the AR ES-1 package deals no longer available and the Rega 3 now selling for $775, at $599, SOTA's new Comet promised to be stiff competition for the Basiks, Revolvers, Duals, and Thorenses of the world. Also, due to my tenacious embrace of vinyl, I try to encourage as many music lovers as I can to experience the satisfaction derived from LPs and the fun and excitement of collecting them. If I can point them in the direction of a competent, sanely priced analog rig, I'll consider a good part of my mission accomplished.
Guy Lemcoe  |  Mar 03, 2007  |  First Published: Nov 03, 1992  |  0 comments
What's 1/16" narrower, over 1/2" shallower, and 3/16" higher than the Mirage M-3 loudspeaker? The new Mirage M-3si, that's what. Though the published dimensions for the old and new speakers are the same, my eyes told me there was a difference between them when I had them side-by-side in my listening room in Santa Fe. Being the compulsive type, I got out my trusty tape measure. No, my eyes had not deceived me—the M-3si is skinnier and taller. As I waltzed them into position, I sensed they weighed about the same as their predecessors; close enough that setting them on Arcici Super Spikes is a two-man operation. Though either speaker makes a definite presence in a room, I still find their high-gloss, black finish (the only finish available) unassuming, attractive, and elegant.
Guy Lemcoe  |  Sep 30, 2007  |  First Published: Oct 30, 1992  |  0 comments
EDDIE DANIELS: ...This Is Now
Eddie Daniels, clarinet; Billy Childs, piano; Tony Dumas, Jimmy Johnson, bass; Ralph Penland, Vinnie Colaiuta, drums
GRP GRD-9635 (CD only). Bernie Kirsh, eng.; Eddie Daniels, Billy Childs, prods. DDD. TT: 64:31
Guy Lemcoe  |  Sep 12, 2014  |  First Published: Aug 01, 1991  |  0 comments
666acoustat1100.jpgAcoustat Model Twos have been my reference loudspeakers for almost five years. I remember, on first hearing them in a high-end store in Illinois, how they let the music through in a way new and important to me. I knew I must own them! They seemed, despite their imposing appearance, to step aside when the music came on. The effect was akin to having a door opened onto the performance. One became privy to intimate details captured in recordings which are rarely heard outside the concert hall. Not veils, but flannel sheets were lifted from the sound! If one fussed around enough with placement, the Twos truly disappeared into the soundfield—music came from in front of, to the sides of, between, and behind them as if they weren't there. Focusing them like a fine camera lens on the listening chair created a "sweet spot" which, when I sat therein, raised within me a sense of awe usually associated with things magical. You knew when you entered this space, for it was different from that surrounding it. The musical presentation assumed an almost holographic palpability.
Guy Lemcoe  |  Dec 31, 2008  |  First Published: Jun 01, 1991  |  0 comments
MIKE GARSON: The Oxnard Sessions, Volume One
Mike Garson, piano; Bob Summer, trumpet; Bob Shephard, sax; Rick Zunigar, electric guitar; Brian Bromberg, acoustic bass; Billy Mintz, drums
Reference Recordings RR-37 (LP), RR-37CD (CD*). Keith O. Johnson, eng.; J. Tamblyn Henderson, Jr., Marcia Martin, prods. AAA/DDD. TTs: 49:53, 75:51*
Guy Lemcoe  |  Jun 06, 2008  |  First Published: May 06, 1991  |  0 comments
Psst! Got a minute? I'd like to bend your ears a bit and tell you about a component that'll lift you from the doldrums of audio angst and transport you to the relaxing calm induced through the enjoyment of music. That's what it's done for me, and I'm so excited about it I can't wait to tell you.
Guy Lemcoe  |  Sep 08, 2020  |  First Published: Feb 01, 1991  |  2 comments
The $1200 D-105u, the top of Luxman's CD-player line, is novel in its twin-triode vacuum-tube amplification in the analog output stage. This configuration is said to provide high linearity with low distortion and that hard-to-quantify musicality found in tubed products. In addition, the D-105u incorporates an anti-vibration laser pick-up mechanism and a high-mass magnetic disc clamper, the latter feature said to mass-load the disc center to minimize spindle-motor microvibration, thus improving tracking accuracy for lowest error rate.
Guy Lemcoe  |  Oct 07, 2020  |  First Published: Feb 01, 1991  |  2 comments
At $1295, the Tercet Mk.III represents a step up from CAL's $750 Icon, which I enthusiastically recommended back in April 1990 (Vol.13 No 4, footnote 1). Externally, with the exception of a wider and slightly thicker front panel, it appears to be a carbon copy of that unit. Like the other products in California Audio Lab's stable, the Tercet Mk.III is designed from the ground up in-house.
Guy Lemcoe  |  Nov 29, 2010  |  First Published: Jun 15, 1990  |  0 comments
The name "Audio Research" will be familiar to many readers of this magazine. It belongs on the list of that select group of manufacturers who continue to offer the audiophile and music lover equipment which enables him or her to truly enjoy the muse. With equipment of this caliber, one is no longer caught up in the anxiety-inducing process of listening to (evaluating) the equipment used in the presentation of the music. Instead, the listener can focus attention on the much more important message uncovered in the music via the performance and conveyed through the network of transducers, cables, tubes or FETs, more cables, more tubes or FETs, and more transducers, to the brain. If this process has been successful and our sensitivities heightened, our souls will be touched.

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