August 31, 2002
Subject: New integrated amp
Hi Wes,
I read your review of the Arcam A85, which prompted me to
audition the amp. My problem is that after auditioning five integrated amps (the Musical
Fidelity A3 doesn't have that low-frequency detail I want, the Magnum Dynalab 208 is
wonderful but too expensive, the Simaudio I-5 is detailed/accurate/lovely but also
expensive, and then the Creek 5350SE and the Arcam) I am now down to two amps: the Creek
and the A85.
In your review, you mentioned that you've also listened to
the Creek. Would you be so kind enough to just let me know which you'd buy if you were in
my place? I auditioned the two and they came really close (it's hard to compare them since
they were in totally different system setups), with the A85 having an edge because of its
possibility for future features. However, the Creek is being sold here in Singapore at a
very good price (about US$1150).
Thanks for your help in advance.
Roberto
Hi Roberto:
That's a tough one because the two are both extremely fine
products, albeit quite different from one another. In a case like this, I think it comes
down to a matter of features and price. On a sheer hi-fi level, I think I'd give the nod
to the Creek, which has greater bass extension and an overall warmth that the Arcam
doesn't share. (Non-audiophiles might prefer the Arcam precisely because it lacks this
touch of sweetness.)
And the Creek is flexible, too -- it has pre-outs and Creek
manufactures a wide range of boards and little black boxes that expand its capabilities.
The Arcam's microprocessor, on the other hand, makes it simple to change display options
and loudness and EQ ranges on the fly.
So, as common-sensical as it sounds, if both offer the
features you want and are so competitive as to sound-quality, perhaps the decision should
come down to price -- and US$1150 is a very good price for the Creek. Too good to
pass up, in my opinion.
August 26, 2002
Subject: Impedance mismatch?
Hi Wes,
Is it possible to run 8-ohm speakers on a 6-ohm amplifier?
I recently upgraded the speakers in my stereo to some wonderful Monitor Audio
floorstanding speakers, and I wanted to move my Bose speakers into my home-theater system.
Unfortunately, after hooking them up, they do not emit any sound at all.
On some further checking, I noticed that the speakers I was
replacing (Phillips, which came with the amp) had a 6-ohm impedance whereas the Bose were
8 ohms. Is there any way to get them working? Thanks very much
Daniel Bruce
Hi Daniel:
If you're getting no sound at all, it's not the speakers
that are at fault (most amps will drive either 6- or 8-ohm speakers). Check that you have
the speaker selector set correctly. If you still get no sound, you may have a blown fuse
-- try your new speakers with that amp and see whether they create sound.
August 23, 2002
Subject: Designing a room
Hi Wes,
Great site, which I've just found whilst following a link
to Perreaux equipment.
I'm in the fortunate situation of being able to design a
new home with a dedicated listening room. Can you point me in the direction of information
which will throw light on the acoustic design aspects of such a room?
Thanks man,
Kevin
Hi Kevin:
Tom Norton's classic article on Stereophile's
great old listening room (aka my old office) contains a lot of great info -- and
it's on the Web. You can also go to Stereophile's Links page and
click on "Equipment Manufacturers," then "Acoustical." You can then
choose from "Room," "Vibration," and "Measurement" -- all of
these offer sites with information. Also refer to Alton Everest's Master Handbook of
Acoustics -- Everest, um, wrote the book on room acoustics, so this one's a must-have
for any audiophile.
That ought to keep you busy for a while.
August, 22, 2002
Subject: CD-changer programming
Hi Wes,
I'm looking forward to your upcoming reviews on hard-drive
CD changers. However, it appears I'll likely be making a move to the Sony changers (455
and or ES models). Since you have a 450 in operation, I would like to get to the bottom of
a particular programming capability and more realistically the feasibility of implementing
and deleting this supposed capability on an ongoing basis. I have this question out in
AudioReview.com, but no one wants to address it.
Here goes -- I'm trying to set up an operating program
which would be comparable to the same way you would setup a five-disc CD changer to play
on a random basis throughout all the five discs that you selected. I understand this could
be accomplished by isolating or keeping one of the eight group files free for this
purpose. Based on the idea that your carousel is fully loaded (with no daisy-chained
units), I understand you could load or configure these five discs into this field (group)
and play them randomly or consecutively.
As well, you should be able to delete them and set up any
other number of discs in the same manner. The question (finally) is not whether it could
be done; it is how cumbersome and time-consuming this process is. Would it be worth the
effort, and at what frustration level? Does anybody out there do this? It's important to
have this particular functionality besides the other programming features such as play
lists and pre-determined group files. Any other related comments also welcome. I'm
assuming if it works here, it should apply to ES models as well. Thanks in advance.
Regards,
Larry Lastiwka
Hi Larry:
I guess I have too much of the "color inside the
lines" mentality, but it never occurred to me to use those category (Sony calls it
"group") buttons for anything besides, um, setting categories, but you're right
and it's a brilliant solution. Simply leave one group button free for your "now
playing" field and then label 5 or 10 or 15 or 50 discs as belonging to it. The
player will then perform random play (disc by disc or song by song -- your choice) until
every song has been played once.
It doesn't take long. Simply reassign the discs already
inhabiting the group (press the "Group File" button, then "Clear") and
then dial up their replacements and re-program their group (press "Group File,"
then press the appropriate button from G1 8). It'll take you longer to choose the day's
discs than to program the player.
August 21, 2002
Subject: New preamp
Hi Wes,
I'm searching for a preamp with balance control in the
$1000 to $2000 price range. I'll be driving a pair of B&W Nautilus 805 speakers with a
Pass Aleph 3 amp. Currently, I'm running my Creek 4240SE as a passive preamp. Sounds
great, but I figure there's probably better out there (although the Creek sounds awfully
good as a preamp). I auditioned the Musical Fidelity preamp, but it seemed to make the
soundstage a bit congested as opposed to the Creek in passive mode. Also, there's the
thing about the balance. My room needs it. I'm open to any suggestion you might have.
Thanks for your time.
Mamoru
Hi Mamoru:
I'm not sure which MF pre you tried -- if it wasn't the
302, you should check it out. A great many preamps in your price range have balance
controls -- at least partial balance controls. Most contemporary high-end preamps use
balance control that allow you to adjust a range of 6 12dB rather than from 0dB to both
channels equal. Some rooms, of course, require that little bit of adjustment on the
preamp's part, but you should try to do as much as possible through speaker placement.
As to great preamps in the $1k-$2k range, there are the
Conrad-Johnson PV14LS, Audio Research SP-16, McCormack RLD-1, and the Blue Circle BC21,
all reviewed on SoundStage!.
August 13, 2002
Subject: Deltron connectors and adapters
Hi Wes,
I am using a Linn LK140, and I am thinking of trying out
other non-Linn speaker cables. As you may know, the LK140 only accepts Deltron connectors
for its speaker output and this leaves me with no chances for making comparisons.
As a hi-fi enthusiast, I am sure you will agree that
changing and trying out other cables is part and parcel of the game, but with the
Deltron-only amp, this is not possible. Thus I need a suitable adapter to connect banana
(RCA) plugs into the Linn.
I have written to Linn, but they said they do not
manufacture such adapters and can only suggest that I surf the Internet to find out more.
I have done so, but I am still unable to find such an adapter. I would thus appreciate
very much if you could lead me to getting an adapter that can connect bananas to the
LK140.
Thank you.
Ben Tan
Hi Ben:
I'm confused -- and I think you might be too. Deltrons are
essentially identical to bananas. They're the same diameter and will fit any connector a
banana will fit in. The advantage they offer over bananas is they have a spring that
places more of the Deltron's body in contact with the connector than a banana. Most cables
are available with banana terminations. What the LK180 won't let you use is any variety of
spade connector, but that's a different story.
The really confusing part of your letter is your request
for a Deltron-to-RCA adapter. Deltrons are speaker-level connectors, not line-level (RCA)
connectors.
August 12, 2002
Subject: turntables
Hello,
I'm an audiophile living in Orlando Florida. I am
interested in getting back into turntables. I used to own a Thorens TD-160c, a very
capable machine. It had no problems tracking my Shure V15 Type III phono cartridge at 1
gram! I was looking at the Music Hall MMF-2.1 'table. It seems to have good build quality
and some sound engineering principles. Would this table be a good match for my Shure V15,
or would the Shure be too much overkill for the 'table? It seems to have a decent enough
tonearm. I was hoping it would be able to track my Shure V15 at 1 gram. Any input would be
greatly appreciated.
Also, do these DJ turntables like the Stanton St-100 or the
Gemini pt2400 make decent 'tables for a high-quality audio system? Will the tonearm of the
Stanton St-100 track my V15? Finally, who makes the arms on all these DJ turntables? If
you look closely they are all the same identical tonearm used on many different tables.
Thanks.
All good wishes,
Tony
Hi Tony:
You're right that the Thorens TD-160c was a great 'table,
but you should not have tracked the Shure at 1g (unless you were tracking it at 2g and
then subtracted 1g back-pressure from the brush). There are two issues First, there's that
brush, which made measuring downforce so difficult. If you didn't compensate for it, then
you were basically floating your stylus inside the record grooves and, quite possibly,
carving vinyl chips out of the side walls as the stylus slammed into one wall, then the
other.
The Shure was designed to track records at 1.25g and
tracking it lighter, you are not making your records safer, but putting them at risk. Make
sure to get the downforce and antiskating set properly.
I know that Gordon Holt and Sam Tellig were gaga over the
V15, but the Type III has got to be at least 20 years old now. Do yourself a favor and buy
a new cartridge -- even ST was impressed by how much better the technology has gotten
since LPs were made "obsolete!" Try the Rega Super Bias I recommend above, for
instance.
As to 'tables, the Music Hall is certainly a good choice --
and far more musical than turntables designed for DJ use. DJ 'tables are all variations on
the Technics 1200 and they are built to have torque and to withstand the stress of
"scratching." That's why all the arms look alike -- they're designed to allow
the DJ to run the record forward and backwards, while holding the cartridge firmly --
details like rake angle and overhand are secondary -- for hi-fi, they are all-important.
DJ 'tables and arms are also designed to be cheaply replaced when they get trashed. A
table built to audio standards will decouple the platter from the motor (DJ 'tables are
overwhelmingly direct drive; audio tables are overwhelmingly belt drive).
The Music Hall, a Sumiko, or a Rega will all sound better
and extract more information from the grooves than a 'table made for
"turntablism." And think about purchasing a new cartridge. The Shure V-15 III,
even outfitted with a new stylus, is a relic from a time when audiophiles tolerated
colorations that would never be accepted today. Besides, it seems as if more progress has
been made in cartridge design in the 20 years since the introduction of the CD than in the
75 years during which records were king.
August 10, 2002
Subject: Dynaudio speakers
Dear Wes,
I own the Dynaudio Micron speakers, as I know you do. I'm
thinking of upgrading to better Dynaudios. You've had a listen to the Contour 1.3s; these
are the speakers I'm considering upgrading to.
I know it depends on taste, the specific room and equipment
used, but are the Contour 1.3s in your opinion any better than the Microns?
Thanks and regards,
Surinder
Hi Surinder:
I think they are.
But...
The Microns are designed to be placed against a boundary,
which very few speakers are. The Microns are extremely well built and they are very good
looking (something they have in common with all Dynaudios). So they're kind of special --
there aren't many speakers that fit all of these categories.
But the Contour 1.3s have a sweeter top end and extend
deeper in the bass. If you mount them on stands and pull them out from the wall, they
sound more open than the Microns, while creating a deeper, more airy soundstage. I believe
the pair of 1.3s I reviewed was finished in Yew veneer, which was better looking than the
birch on my Microns and had a deeper, more lustrous finish. (I like shiny, French-polish
like finishes -- if you prefer duller, satin-type finishes, you might prefer the Microns).
If, on the other hand, you're looking for a speaker that
works well on a shelf or against the wall, the Contour 1.3 won't do as well as your
Microns. And if that's the case, I can't even guess about what will do a better job. If
you find a speaker that does, let me know.
August 9, 2002
Subject: Buying an analog setup
Wes,
I am going to buy a turntable. How should I allocate my
money between the turntable, phono preamp, and the cartridge? I would like to keep it
under $1000.
Paul
Hi Paul:
I'm an old Linnie, so I think the hierarchy should go
turntable, cartridge, phono section. Linn has always gotten a bunch of crap for suggesting
the turntable is more important than the cartridge, but in my experience, the quality of
the TT and tonearm really is the most important element in allowing the cartridge
to extract the music from the grooves.
There are a lot of new, reasonably priced TTs out there
these days. The Music Halls and Sumiko Pro-Jects are very impressive, but I really
appreciate the simplicity and reliability of the Rega Planar 3, which can be purchased
with a Rega Super Bias cartridge for about $900.
The Rega is stone simple and comes in a variety of trippy
colors, if that's important to you. That simplicity means it has almost no isolation from
vibration, so you may have to spend some money on an isolation platform.
The Rega comes with a superb tonearm -- the RB300 -- which
essentially set the standard for well-engineered, affordable tonearms. There are millions
of them in use and it's probably one of the most modified audio products on the planet. If
your interests should run that way, you won't lack for advice on what to do.
The Super Bias is a moving-magnet cartridge. Many
audiophiles prefer moving coils, but they are more expensive and require costlier phono
sections. In this price range, I think you're better off with a very good MM than a cheap
MC. The Bias tracks well and has spectacular race and timing, so well as a natural,
full-bodied sound.
The Creek OBH 8 phono section is seriously good (and can be
made even better later with the replacement of its power supply with a heftier unit). It's
about all the phono section you'll ever need with a moving-magnet cartridge (moving coils
require greater gain and loading options to boot -- all of which add to the cost).
I have almost stayed within the $1000 limit. If you
add everything together at list price, it comes to about $1075. If you buy everything from
the same store, you may be able to negotiate a system price that really is around $1000.
But whether you can or you can't, you'll be buying an analog system that's true to the
music and will allow you to enjoy records for a long, long time.
August 8, 2002
Subject: B&W with Audio Research?
Dear Wes,
I am planning to buy the B&W Nautilus 802
speakers. I wonder whether the Audio Research VT100
Mk III amp would be an adequate power amplifier to drive them. I have been offered a good price for the VT100 together with the
CD3. Alternatively, would a similarly priced
Chord 1200E be a better match for the N802?
Chuah
Hi Chuah:
I think the VT100 would sound
great with the 802s. On the other hand, Abbey Road Studios uses Chord with its B&Ws,
and I heard a multichannel sound demo there (featuring two Chord monoblocks per Nautilus
801) that ranks among the most amazing audio demonstrations I've ever experienced. The
ARC/B&W combo tends to sound powerful and warm, while Chord/B&W sounds powerful
and precise. This is going to sound almost silly, but I'm going to say it any way. Neither
sound is perfect and over time each listener will hear things according to his or her
preferences -- in other words, if precision is your particular passion, the ARC amp will
sound a tad blunted to you, while the Chord will deliver the hyper-distinct detail you
crave. If, on the other hand, you prefer soundstaging and a relaxed presentation, the
Chord will sound overly etched , while the ARC will sound natural and three-dimensional.
Both sounds carry substantial amounts of sonic truth and miss perfection, as do we all.
August 6, 2002
Subject: New speakers
Hi Wes,
I'm going to change speakers -- I now have the
Avalon Eclipse (five years old) driven by a Conrad-Johnson Premier Eleven amp. The problem
is that the Eclipse is not very easy to drive, and because I really like the sound of C-J,
I decided to replace the speakers instead of the amp. I'm considering the Sonus Faber
Cremona. What do you think, considering the Cremona has 90dB sensitivity and 4-ohm
impedance ? And what kind of speaker cables would you use?
Luis Oliveira
Hi Luis:
Yeah, the Premiere Eleven is habit-forming,
isn't it? I have listened to the Cremonas only at Montreal's Festival Son et Image, but I
kept returning to the room to get more of the experience. I really liked 'em and would
love to hear 'em with the Premiere Eleven, which I think would be the perfect match.
As to speaker cables, I've always though Kimber
a safe choice, although I have been impressed with the Shunyata Research cables I've been
using lately.
August 3, 2002
Subject: Speakers with Musical Fidelity
Wes,
I am in the processes of upgrading my amp,
preamp and speakers. I am very interested in the Musical Fidelity A3CR combo,
especially after reading the rave reviews in your column. The speakers I am considering
are the Thiel CS2.3s and the Revel Performa F30s. Will the MF components match up well
with these speakers? I am trying to put together a system that is extremely clear and
articulate, with meat in the low end. Thanks. I look forward to your insight.
Ethan
Hi Ethan:
Oh my yes, MF and either Thiel or Revel will
make very nice music together. Obviously, the two speakers will sound different from one another, but they are both
articulate and musical and I could live happily with either (although I would find it
difficult to actually narrow it down to just one choice). OTOH there are far worse
dilemmas to find oneself in.
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