My vote for a "Writers' Choice Awards for 2004" goes to Gingko Audio for their Could 10 Platform. The Could 10 should be recognized for its novel technology, affordability, and range of applications. The Cloud 10 impressively tightened the low end and fine tuned the remainder of the spectrum when placed under my Linn Axis.

Apple iPod and iTunes

A second vote goes to the Apple iPod and iTunes software for fundamentally changing the way people listen to music. The ability to create playlists of my favorite music is phenomenal. Our audio hobby is only scratching the surface of iPod's potential as a high end medium.

Ensemble Dichrono Hi-DAC

I heard a lot of stuff this year that I could easily recommend, and if allowed the space would suggest the Amazon Model 2 turntable, the RS Labs RS-A1 tonearm, the ATC SIA2 150 amplifier, and the excellent sounding yet bargain-priced Benchmark DAC1, but given the editorial limitation of two products, my first nomination is for the Ensemble Dichrono Hi-DAC.

The Dichrono provides a very high level of resolution, with a purity of tone and transparency that allows great recordings to sing and lesser recordings to sound lesser. It makes no sins of commission, matching excellent bass extension, tonality, and pace with very extended high frequencies that are never harsh, etched, or forward. Its midrange palpability is the best I've heard in my system, possibly better than that of any system I've heard. It conveys details in a very natural way, without throwing them at you. Other reviewers acknowledged the Dichrono's accomplishments, but were not wooed by its sound. Every component is part of a system, in which it will flourish or not. My E.A.R. amplification and ATC speakers are rich rather than lean in tone, and the clarity of the Dichrono was happily welcomed into that fold.

There are very few artists, in any medium, whose work properly invites the use of the term "genius," and of those, only some of their work is at the genius level. That the Ensemble Dichrono reflected the occasional nature of genius with respect to recording and musical quality did nothing to undermine my appreciation of its sound. Live music doesn't always woo me, yet it nearly always has a vibrancy that recorded music lacks, and the Dichrono provided this vibrancy more consistently in my system than any other source component I've heard.

CEC TL-1 transport

My second nomination is for the CEC TL1, a belt-driven CD transport that may no longer be available, but whose performance requires acknowledgment. The TL1 weighs on the order of 40 pounds, but moves music with the ease and grace of a ballerina while demonstrating the strength and power of Hercules when demanded. I have always used stand-alone CD players because I thought, without actually testing my theory, that transports made no sonic difference. After playing with the TL1, I have changed my mind. With the TL1, details like hall ambience, attack, decay, and imaging were heightened without becoming caricatures of a live performance. Other reviewers have commented on its analog sound, and I agree, but would add that it provides analog sound at its best—sweet, continuous, relaxed and liquid at one moment and brash, full-throttled and wild at the next, just like live music. That's the ticket!

CEC currently offers only the TL51, an entry-level belt-drive transport, in North America, but a German website (www.cec-international.de) implies that replacements for the higher-end transports will be available in future. While that is momentarily disappointing, TL-1s appear on the used market and are worth ferreting out. Given its very apparent build quality, I expect that a used one will outlast many newer products. Very highly recommended.

Benchmark DAC 1

With the digital world all in confusion, the folks at Benchmark had a solution

Dali Euphonia MS-4

For years one stable in my system had been a pair of Proac Response Twos. Only to be briefly replaced by a pair of Spendor 2/3s. With the Proacs retired, it was time for a new pair of speakers. Reviewer duties being what they are, I was given a pair of Dali Euphonia MS-4 floor standing speakers to spread the word about. Many times in life it is either love at first sight or love that grows over the years. Although speaker hunting, for various reasons, I came to this review kicking and screaming and not wanting to do it. But that was a far cry on how the whole process ended up.

The Dali Euphonia MS-4s are second from the top models in a large range of speakers from Danish manufacturer, Dali or Danish Audio Loudspeaker Industry. Only to be eclipsed by the top flight, Megaline, the Euphonia line are impressive in their own right. To list the design features, engineering and build quality alone would take up more space than is allotted here by a large margin. Suffice it to say that these speakers are built to exceedingly high standards. From the specially designed wide band drive units, the carefully constructed cabinets to their benign amplifier load, the MS-4's are very well equipped to deal with any and all competition from competing speaker manufacturers around the world. They are also beautiful as all get out.

Although the MS-4s have been accused by some of my colleagues as leaning on the forgiving side, that is exactly why I love these speakers. They also have not listened to them as long as I have. In fact the MS-4s are very revealing of whatever goes into them, be it electronics or software. They just don't ruthlessly slap you in the face with the information. When in reviewer mode or just plain listening for pleasure, the Dali's use audiophile tools of soundstage, dynamics and detail to bring out the music first and foremost. Instead of heaving out buckets of sonics at you it's the harmonics and precise musical timbers that rub your shoulders after a long day. When listening to the MS-4s you often find yourself saying," Yes I can hear the third violinist chair creaking or the truck passing by the church in that recording but who cares, the music is sounding too good. Although they work well with less expensive gear, a borrowed pair of E.A.R. 509 mono blocks brought out the music in these speakers to a level I thought not possible. Don't short change them when deciding on electronics. Along with their easy load, great looks, solid bass, effortless highs and a truthful yet inviting midrange, it is the music that is served first. What's not to like? My Writers' Choice Awards for 2004 was an easy one. Oh by the way, I did buy the review pair! (see https://positive-feedback.com/Issue14/dalieuphonia.htm for more)

To keep things focused and in sync with the number six of my 6moons site, I've limited my personal "Best of 2004" nominations to six components there. That's left a few unmentioned that stand out from among the many components I've reviewed this year. With PFO's new "Writers' Choice Awards for 2004", I can slip in two more I feel strongly should be on the very top of readers' lists shopping in their respective categories, namely non-remote tubed preamps and tube-driven one-box CD players. To wit, the...

Wyetech Labs Pearl linestage

Wyetech's preamp is unusual amongst tubed devices for its ultra-wide 950kHz bandwidth that goes well beyond all but the most "exploded" of solid-state devices. Because of superior S/N, you get speed and resolution the equal of the best transistorized units. But then you get something no transistor unit I know of can match - layered, three-dimensionally sculpted dimensionality in the soundstage and micro-dynamic jump factor and expressiveness. The Wyetech Pearl is not an overt "deep triode" tube unit at all. It eschews voicing and romance for tonal neutrality. It's special strengths are how it limits its tube virtues to soundstaging and dynamic speed while low-level detail retrieval and frequency response linearity are what you expect from superior solid-state. Harmonic decays are tube-like but in all other domains except the other two mentioned, you'd not know this to be a valve preamp. And that makes it unique in my experience and something I'm considering purchasing for myself, contingent merely on the arrival of the (non-tubed but remote-driven) Audiopax Model 5 preamp I want to hear first before making a final decision. The Audiopax I haven't heard while I'm writing this; the Wyetech Labs Pearl I've listened to for two months now and know inside out. It's built like a tank, has internally adjustable gain, is built like the proverbial brick shithouse and uses the very best of parts. At $5300, it's priced extremely fairly for what you get. The two US dealers make far lower margins than usual (which explains why there's only two dealers) while Roger Hebert of Wyetech services customers direct in those territories not covered by his few dealers. Make no mistake—lack of visibility in this case means the opposite of non-attractive. Like with his amps, Hebert has proven he knows how to design with tubes. Noise and bandwidth issues are left to lesser designers. The 3 x 6SN7-powered Wyetech Labs Pearl is the hammer and most highly recommended.

Einstein Audio The Last Record Player

Which brings me to my second nomination, the Einstein tubed one-box player called, suggestively, The Last Record Player. Top-loading Sony transport, with a very nice remote, extinguishable display, balanced and digital outs, 4 x 6922s in the output stage, a retail of $6850, a two-tone deep-chrome/gloss-black appearance and build quality to die for, this is a natural competitor to the famous Audio Aero Capitole MkII but for at least $2000 less. I'd consider the Siemens NOS tubes which the importer sells for $300/set mandatory to get the best from this CDP but once installed, you'll be rewarded with glorious tone that's not overdone or overtly voiced but simply harmonically developed. Bass is stupendous and the top end mimics why I own the $10,000 tubed Zanden DAC. While the latter is even better when driven by the Accustic Arts Drive-1, it's then also more than twice the price, never mind the need for a superior digital interconnect like the Stealth Varidig. If you don't have $15,000 but want that kind of sound which belongs to a particular school different from, say an Ensemble or Meitner, the Einstein player from Germany is one of the very few entries that'll satisfy your Jones while also making a truly stunning visual statement. My formal review will publish past PFO's deadline for today's awards so if you want more details, you gotta wait a bit but it'll be live before the year's out.

Recordings of Merit: Universal Music and associated labels

I know this is a bit of a stretch, but I have a hard time narrowing it down to a handful of recordings from which to pick. Of all the major labels, only Universal has continued to provide a significant pulse to hi-res recordings (read: SA-CD). Even though they've muddied the waters and insulted our sensibilities with their forays into DVD-Audio and DualDisc, they've kept a fairly steady stream of SA-CD releases coming; this is especially important in a year when you can count the number of Sony releases on one hand! Give BMG credit for the RCA Living Stereo releases, but no other major has come anywhere close to Universal in terms of sheer SA-CD volume.

And what a fabulous year, so far! More of the really great Diana Krall catalogue reissues, as well as the groundbreaking and sonically excellent Girl In the Other Room; both superb Allman Brothers reissues, Eat A Peach and Live at Fillmore East; the excellent Clapton reissues, Slowhand, 461 Ocean Boulevard, and Layla. And then there are the Elton John reissues, especially Madman Across the Water and Honky Chateau.

And who could overlook the stunning Mercury Living Presence releases! All of these discs are a revelation to hear when compared to their Redbook counterparts, whether you're listening in stereo or multichannel. And for all those who would damn the obvious impurity of multichannel playback, I just can't tell you how much enjoyment I've gotten from these discs in surround. In my own system, which I've spent the last couple of years tweaking for SA-CD surround, I hear virtually none of the anomalies that many in audiophile circles have attributed to these discs proper system set-up is essential! Sure, many of these discs have their warts, but even if only Layla had been released this year to finally get to hear this classic sound full-bodied and musically satisfying like never before I'd count it a banner year!

With all the naysayers out there regarding the future of SA-CD, let's hope it continues to be a part of the mainstream. While I'm convinced that it could survive as an audiophile niche market, especially with the fairly impressive flow from all the independents and small labels, It's still really good and reassuring to have a market presence from the majors. My wish list for '05? How about those long-rumored Moody Blues and Steely Dan discs, or more Verve reissues? Regardless, keep up the good work!

I am proud to announce the following two components for my very first Writers' Choice Awards for 2004 with PFO.

Without doubt, many great products have graced my living room during the preceding 12 months; and as such I do recall at least several being "benchmark" products, but since we are limited to only two submissions, I really had to take a step back and carefully evaluate each of these super components on their own individual merits.

Brinkmann LaGrange turntable

Brinkmann has been making excellent components for quite some time in Germany; they don't plaster the pages of print publications with glossy ads and yet they remain in my opinion one of the last bastions of true state of the art, meticulous engineering and manufacturing right down to the last micrometer. The Brinkmann LaGrange turntable with tube power supply, Brinkmann 10.5 tone arm and Brinkmann EMT cartridge run through my E.A.R. 324 phono stage allowed me to hear vinyl like I never have before. This unit's ultimate performance and downright drop-dead gorgeous Museum of Modern Art looks never failed me once and each time I put the needle on the record it makes an emotional connection, the likes I have never experienced from any other source. Add to this the simple ingeniousness of the design which allows for on the fly arm changes and the ability to run any two arms, to the heated bearing which keeps the oil heated for precise bearing tolerances, this turntable literally turns heads. As I conclusively stated in my review (https://positive-feedback.com/Issue13/brinkmann.htm), this is the last turntable you will ever have to purchase, a true reference component in the strictest sense.

Velodyne Digital Drive Series DD-15 subwoofer

Velodyne has been at the forefront of clever subwoofer design since the 80s and with each passing generation imitators followed, but never lead the race. Following my desire to have a truly full range system many subwoofers have come and gone through my living room. The one that remained was Velodyne's ultimate statement product, the Digital Drive Series DD-15 subwoofer. The reasons for this total and defacto knockout product are the many design elements that went into this subwoofer system. A digital switching amplifier with more than 1.5kw of power; a state of the art servo control system; a massive 24lbs magnet structure with 15-inch membrane; and lastly the true coupe' de jour: a (supplied) microphone based, output to your TV screen in real time, digitally corrected room equalization system for subwoofer frequencies only make this the most advanced subwoofer I have ever had the pleasure of reviewing. So impeccably integrated is this unit in my main system that you will shudder in awe of its shear power; listening to my system with the subwoofer taken out of the loop is simply not acceptable! Not only does the subwoofer aide in extending your bottom end by a few octaves, it also manages to eliminate most room dependant frequency problems we all deal with. Anyone serious and determined to realize full frequency response from his system must not look anywhere else for a solution. (see https://positive-feedback.com/Issue16/velodyne.htm for more)

Until next year…

Audio-Technica AT110E Moving Magnet Phono Cartridge

No, it's not officially part of Audio-Technica's U.S. product line. Yes, it's worth seeking out on the gray market. This $60 gem is a tad bright and slightly edgy, but it provides an audiophile-level experience for chump change. Add it to a used Dual or Thorens, and for less than $200 (maybe even $100 if you hit the right yard sale) you'll have a combo that will easily thrash nearly any sub-$500 CD player.

But the AT110E isn't solely for the cash-strapped. It's an easy long-term listen that, unlike some better-known cartridges in its price range, rarely left me cold. Its highs are more extended than you might expect, and so is its bass. The midrange isn't overly sweet compared to the likes of Grado's Black and Green. Sibilance was rarely intrusive, and those who aren't overly sensitive probably won't notice.

Laid back it's not. It may not be the best choice for fans of chamber music or delicate classical pieces. On the other hand, it's performance is comparable to cartridges I've owned costing nearly four times its modest price. It also offers the best overall balance of strengths and weaknesses I've thus encountered for the price. (See https://positive-feedback.com/Issue15/at110.htm)

Technics SL-1200MkII Turntable

There are plenty of enticing turntable choices out there for around $550. I've owned a few myself, Music Hall and Rega models among them. The bad news: they all involve compromises. The good news: the SL-1200MkII shows no more than the competition, yet it sports class-leading assembly quality (the best I've ever seen), silky operation (think of an Acura's manual gearbox) and high resale value (because the DJ market is always booming).

It's not 'pacy' in the British sense of the term. On the other hand, it's far from dull. This disco deck that can keep the beat anytime, anywhere, on virtually any type of material. The SL is unflustered by vibration that would flummox other non-suspended tables. Its tonearm is far better than you'd expect and even incorporates on-the-fly VTA adjustability. Plus, the rock-solid quartz speed control offers a total lack of audible pitch fluctuation. Unlike cheap direct drive decks, this over-engineered workhorse (which was originally intended not as a disco deck, but an audiophile product) isn't notably harsh-sounding or unsettled.

Then there's convenience: switching speeds is accomplished at the touch of a button, without having to lift the platter and manually reposition a drive belt. Detachable headshells allow cartridge swapping in minutes... perfect for mono fans. There's even a cottage industry (particularly KAB Electro Acoustics; www.kabusa.com)catering to the small but passionate clique of audiophile SL fans, offering such goodies as outboard motor controllers, an SME-inspired fluid damper and more. The SL is far from perfect, but for $550, it's an amazing audiophile bargain—a true heirloom product that's worth an audition.

The Rockport System III Sirius Turntable

I'm the new guy on the PFO block who hasn't written anything yet. Since I've never been a writer for an audio magazine before, it feels kinda funny having a PFO Writers' Choice Awards to hand out. So I better go for a no-brainer that won't expose me too much just yet!

My choice is the big black thing that has been in my room for the last two years, a marvel of engineering that simply reveals more of the music in those vinyl grooves than any other turntable I have heard. The Rockport System III Sirius turntable is a technological tour-de-force, and is simple to use and live with (assuming your floor is well braced!) There are lots of opinions about how this turntable "sounds" (personally, I don't think it has a sound of its own)... mostly from folks who have never heard it.

I have. My take:

Music simply flows at the perfect speed, the perfect tone, with the perfect dynamics, and just happens. No noise, all music. At first you have the impression that things have slowwwed down... then you realize there is a lot more information rendered in each musical moment, and you are hearing waaaay deeper into the music. You forget about gear, and rooms, and "your boss," and just connect.

Bliss.

I love mine, and I think you just might like it, too. It has my vote as a Positive Feedback Online Writers' Choice Award for 2004.

Rives Audio Level 3 room design 

The ultimate audio indulgence?

$100,000 speakers... nope! 10,000 rare LPs... not bad, but not the ultimate. There is no doubt in my mind that the ultimate audio indulgence is a properly designed, dedicated room. Even relatively modest gear will bring every recording to life in a room that gets out of the way of the music. Until you hear a room like that, it would be difficult to understand why I feel that way.

I just spent 7 months planning and building a ‘clean-sheet-of-paper,' no-holds-barred dedicated 2-channel audio room designed by Rives Audio. I had done quite a bit of research into design alternatives and settled on Rives... and the result is nothing short of miraculous. It's not perfect... but it easily far outdistances any other room I've ever heard. Richard Bird and Chris Huston of Rives Audio have an unmatched combination of science and real world experience in acoustics, as well as in complete pro and audiophile listening room design

Rives offers different levels of design support, starting at less than $1000. I choose level three, which is the top level of design support, and includes two or three on-site visits. Any construction project has its challenges ... an audio room has a few unique ones. If you are going to go to that trouble... you might as well choose the right design approach. Rives believes in the diffusion approach, as opposed to absorption... ‘live-end/dead-end' (LEDE) is wrong thinking in the Rives Audio book.

The results need to be heard to be believed. (My photo essay profiling my listening room design project will be published at Positive Feedback Online in the near future; you'll be able to see how this was done for yourself.)

The Rives Audio level 3 room design therefore has my vote as a Positive Feedback Online Writers' Choice Awards for 2004.

Headroom Total BitHead Headphone amp/USB Sound Card

The Total BitHead is one of those products that comes along and brings a smile to your face every time you use it. I travel a lot for work, and though I love flying, I hate the noise from both the airplane itself and the inevitable incessant gum chewers that always sit next to me. I find that listening to CDs from a portable player (in my case a Panasonic SL-280) through good quality sealed headphones cuts down the aggravation and allows you to actually enjoy the trip. The Total BitHead is a phenomenally good headphone amp, and a substantial improvement over the Headroom Little Amp that resides in my home system. Cross country non-stop flights are a piece of cake with my Beyerdynamic DT770Pro headphones driven by this amp. Though not universally praised by other headphone enthusiasts, I feel Headroom's cross-signal processing is not just a nice feature, but essential for extended listening sessions. Though very subtle, it reduces listening fatigue and makes listening through headphones just that much more comfortable.

But wait, there's more! The Total Bithead is also a USB external sound card for your computer. Watching DVDs on my IBM T41 notebook computer takes on a great comfort level when things sound this good. And, not just through the headphones. The battery operated Total BitHead (four AAA batteries) makes a superb single input preamp! I use the IBM notebook, to feed the Total Bithead (through the USB port) which in turn feeds a pair of Antique Sound Labs AV-8 tube amplifiers to drive a pair of Linn Kan speakers. This traveling "hotel theater" system fits neatly in an old Samsonite hard shell suitcase and work wonders when on the road. We've had half of our son's hockey team watching DVDs in the hotel room on the PC while relaxing between out of town tournament games. All we have left to add is a small DLP projector and we can have real "home theater in a box." All my previous attempts at a portable system like this failed due to the poor quality of the analog output of the IBM notebook and the inability of any of the small preamps I tried to play with low enough noise. Having the Total BitHead take over as the sound card/preamp is the essential part of this system, which understandably, makes a fine 2 channel music system too, whether playing CDs or music stored on the hard drive. This is one of the best audio products (designed for a specific purpose) I have ever used.

$269; for more information, see http://www.headphone.com

Van Leer Rose by Loretta Lynn

There's been lots of buzz about this CD, teaming up country music legend Loretta Lynn with current rock star Jack White (of the White Stripes) as producer. All the good things that have been said about this CD are true, and those who have been critical are, well, just wrong. Like other iconic voices in country music, most notably Dolly Parton (her recent Sugar Hill recordings) and the late Johnny Cash (his four American Recording releases), Lynn's voice seems to have improved with age and her music has taken on an honesty and artistic sincerity that is missing in much of what country music has to offer these days.

This is not just the best country CD of the past year, but one of the best of the past decade. Every track expresses a deep personal tale, told in a fashion that was once the hallmark of great country music. Though not an audiophile demonstration disk, the sound quality is fine and does justice to Lynn's vocals and the musicians supporting her.

E.A.R. 890 Stereo Amplifier

Designed and built in England and sporting eight KT90 tubes, this stereo wonder is an audiophile amplification blessing of the highest order! It is smallish and stylish and includes cutting edge technology and real designer thought and follow through from the easy to get to and lighted turn on button to the volume controls on the back. It is an ergonomic triumph and will slip easily into any setup, whether single ended, balanced, 4-16ohms, spades or bananas, use as mono block or stereo, and more. It's 100% tube power, very minimum feedback, 100% class A, and runs full out in tetrode push pull. At $5000, it's not exactly inexpensive, but it replaced twin Pass 600 mono blocks in my reference system which sold for $16,000 and sounds superior and vastly more mellifluous.

Sonically, you get 70 fabulous slamming watts per channel at less than 1% distortion and more on demand. I'd guess it will do 110-125 class A watts per channel before clipping which it does as elegantly as fine champagne. It is so very happy running my Avalon Eidolons from delicate airy pianissimos to magnificent fortes. Sound stage and depth are state of the art and definition is superb. Plus, the amp is nigh colorless. I have no idea what it sounds like. It defines neutral. I'm yet to attribute any note of coloration to its output. Running all the time in class A and using specially selected and robust KT90 vacuum tubes is the trick I think, but I don't care. It's state of the art in my play book and my first choice as component of the year. (See https://positive-feedback.com/Issue9/ear890.htm)

E.A.R. 324 Phono Stage

Here is another ergonomic and sonic triumph from E.A.R. and the boys in sunny England. This is a solid state, one elegant box wonder that sounds like Seinfeld, nothing at all. It combines neutral and mellifluous in a way that lets phono cartridges bloom and strut their stuff. It is designed with every kind of adjustment [mostly right on the front] and two phono inputs and offers single ended and balanced outputs. It is so very beautiful to look at in its chrome finish and works like a Swiss watch. Plus, it's very, very, quiet.

It also transports the listener to the best that phono can be. The 324 does not seem to mind it has transistors on board and imitates ALL the best qualities of tube stages without the added noise or colorations. I don't know how E.A.R. does it, but it bests the PHD, Trumpet, Pass XONO, and Art stages by a significant margin, a very significant one I promise you. I've used it for a year and am yet to identify a flaw or a competitor. At $4000, it's not low cost, but it may be your lifetime purchase. I have not found a cartridge, MM or MC, it can't maximize and it puts out a ton of gain. It's not very power cord sensitive which tells me its ultra well designed. It also does not need special footers or suspension treatment. The 324 is a plug and play wonder and one size truly does fit all. It's another state of the art design and my choice for product of the year. (See https://positive-feedback.com/Issue6/ear324.htm)

The Mini Loudspeakers by Nola

This was the first new loudspeaker from Carl Marchisotto's new company, Accent Speakers Technology Limited. It is based on a previous design for another company. Upgrades for this seemingly simple two-way design were a new and improved 1-inch silk dome tweeter plus a new crossover design. The new crossover design is the second time the crossover has been upgraded from the original design.

Here is one of audio's premiere designers tweaking/upgrading a low priced system to sound better than any other I've heard in or near its price range. It is perhaps unique for a designer to continue to improve his lowest cost model after he has done the same for his top model at over a hundred thousand dollars per pair!

What is received for the less than seven hundred dollars per pair is a typical appearing bookshelf size loudspeaker system that sounds almost as good placed horizontally as vertically. That alone is not common. Even rarer is a tweeter that seems to have no significant fault and is flat to beyond 20kHz while being audibly unrevealing of its crossover point/region. Transient response and macro and micro dynamic response is excellent for such a small system. I should add that its midrange is simply musical and that no upper bass fullness is added to compensate for a lack of true deep bass extension. Use alone as a starter pair, it is lacking only the ultimate fullness and sense of power in the bottom octave and a half of the deep bass range. Add Nola's outstanding and very detailed subwoofer, the Tbolt, and a truly full range loudspeaker system is the result. Add a few more of the Minis and an outstanding home theater system performing far beyond its price range expectations is created. Remember that placement is not critical and true bookshelf positioning can be used. Outstanding performance at a bargain price is still available in the audio world. (see https://positive-feedback.com/Issue15/nolamini.htm for more)

The Manhattan Transfer, Vibrate (Telarc SACD-63603)

Take a group of vocalists that are able to turn out a number of fine solo albums on their own, put them together for more than thirty years and this is what can be achieved. No surprise really; after all they have been able to earn Grammy awards both for popular music and jazz. Toss in excellent accompanying instrumentalists and recorded sonics so good that if you adjust your home theater loudspeakers correctly, you are almost there with the Manhattan Transfer.

Instead of sampling the "show off" selections, go to the more subtle ones and see if the group is so attuned to each other that they can approach recording perfection. Try the title song, "Vibrate," "Embraceable You." "Come Softly to Me," and "I Met Him on a Sunday." If these are not done as nearly perfectly as you have ever heard, let me know what group has done them better. Is this the pinnacle of their recording career? Let us hope for at least a few more similar efforts.

Millennia HV3D

John LaGrou's eight-channel Millennia HV3D microphone preamplifier defines not only the current "state of the art" in mic-pre design and sonic clarity. It defines a new degree of rationality for ease of use and confidence in recorded outcomes.

The confidence I allude to here is the relaxed self-asurance that allows "on location" recording engineers to know, with advance understanding, that settings selected on the HV3D will deliver non-overloaded, ambiently-delicate instrumental and/or vocal signals. Except for spectacular final recorded results, nothing is more important for live recording work. Confidence that one has "locked in" the musical quarry allows any recording engineer to carry out his best work.

The Millennia HV3D is configured with XLR balanced inputs for both 48 volt phantom powered mics and for 130 volt DPA (formerly B & K) microphones. Fully balanced signal paths are driven by a hound's tooth clean "minimum amplifier topolgy" that is utterly inaudible. This machine inverts the cynical adage, "garbage in, garbage out." The HV3D delivers no grunge, only sonic glory with input gain levels calibrated in 36 steps at 1.5 dB. In twenty years of using mic pres, the HV3D offers the most impressive, least difficult, and by far cleanest signal path I've worked with. The sonic outcomes it delivers are astounding. My admiration goes to John LaGrou for creating the world class Millennia HV3D.

DK Design Group VS-1 Mark II Integrated

When the PFO Writers were asked to name the "most significant product you heard this past year" the choice was a no brainer for me. From the very first time I heard the VS-1 to right this moment (I am listening to my personal VS-1 as I write this), I am still in shock and awe of this component.

If the VS-1 just did an adequate job as an integrated, given it's stunning good looks and overall design, at the cost of $2995; it would still have been a significant achievement. The fact that it has a wonderful mastery of any music played through it, turning each playing into a live performance of stunning realism makes it the best value of this year and perhaps many past ones.

The VS-1 exhibits sheer power, dynamics and a degree of delicacy that it unsurpassed in this price range. I can't think of any component that passed through my listening room that impressed me more than the VS-1 Mark II. (see https://positive-feedback.com/Issue15/dkvs1.htm for more)

Tift Merritt, Bramble Rose (Lost Highway, #170273)

Many people are familiar with or have discovered Tift Merritt through her new release "Tambourine". But I go back to her debut album "Bramble Rose" for real listening pleasure. Actually the two records couldn't be more different. While "Tambourine" is good, it represents a morphing of country rock into pure rock while packaging Tift into a glamorous star. "Bramble Rose" on the other hand is pure country rock with outstanding engineering, production, and acoustics. Tift wrote every song and plays rhythm guitar throughout, showcasing her considerable talent.

I am not a fan of country music but after discovering Alison Krauss some time ago, I have come to appreciate fine music in all it's forms. Tift Merritt certainly makes this genre worth a listen. Each song is a story told with emotion and backed by fabulous music with unique structure and composition. Most songs are to her lovers present or past, of love lost or remembered; and all of them make you wish she was singing to you.

This is easily the best recording I have heard this year. I almost feel the day is not complete without listening to at least one cut from it. Right now, "Supposed To Make You Happy" is haunting me through the next room. If you like getting truly involved with your music, give "Bramble Rose" a listen.

von Gaylord Audio two chassis DAC

The von Gaylord Audio two-chassis DAC ($10,000) arrived after last spring's HE2004 East show and really took me by surprise. I already owned vGAs Music Reference one-box solid-state DAC ($5,000) and, while I preferred it to everything in it's price class, I couldn't say the same when comparing it to more expensive DACs, i.e., the Zanden Model 5000, the Weiss Medea, the Dodson 218, the Gryphon Mikado or the Lavry DA924. The first, and lasting, impression of the prototype solid-state vGA two-chassis model (now in production) was of such even-handed naturalism that I'm tempted to proffer the comparison I shied away from above—I know first hand the vGA two chassis can best at least three of those worthies. Certainly there are many things to admire in the worthies—I consider all to be on the short list of the best relatively affordable DACs (the Gryphon and the Weiss push the price point a bit). What sets the vGA apart is its frequency integration and coherency, its utter lack of hype. The vGA performs its Class A act without the least bit of sensationalism, leaving you to relish textures and refinement. It even made the Zanden sound like hi-fi, and, if you know the reputation of the tubed Zanden, that's saying a lot. If the vGA errs, it is on the side of excess refinement and subtlety (imagine that being a sin!) at the expense of slightly diminished dynamics and low-end authority. I find it perfectly suited for classical and small jazz ensembles—just my cup of tea—and I haven't met the DAC yet that makes me think of sidelining it.

The vGA has half-a-dozen chips on its board (what vGA calls "multi-chip-combination") and commingles them for a blended effect. Most DACs use just one of the currently popular chips and they reflect the chip's signature—thus their sound resembles other products employing the same chip. The vGA sounds unlike any other product. It has two discrete power supplies, one for the digital and another for the analog section, and the left and right channels are in separate modules on the board—a true dual mono design. The vGA two chassis processes standard Red-book digital—no upsampling or other fancy techno—stuff. It comes with a high-quality detachable umbilical, whose length can be customized, and provides for RCA input/output only.

Harmonix Enacom AC Filter

The Enacom AC Filter ($85) is a passive device that plugs into any handy outlet and works in parallel to your main power. Its simple circuit consists of a high-quality capacitor inside a solid copper barrel with a short umbilical ending in a two-prong AC cord. The Enacom AC has been around a long time. I never tried it before because, frankly, I've not had good experiences with budget AC power tweaks. Then, in the course of my recent survey of the Harmonix product line, it was suggested I give it a shot.

When you put in a Harmonix Enacom AC Filter, especially if it's your first Harmonix product, you will notice a sudden infusion of body and fullness. Soon after you'll perceive the treble is less prominent and aggressive and that the low bass is subtly reduced, but more articulate. Treble noise, grain and other artifact move out—purity and body move in. These are the same effects I hear with other Harmonix products, so I'd venture to say the device also has some of their signature tuning. Nice stuff, and you can't beat it at the price. I use it mostly in the duplex wall outlet of one of my dedicated lines. For a stronger effect I plug it into one of the power conditioner's outlets. The Enacom AC Filter is my choice for Budget Tweak of the Year.

Take note that the circuit is not patented—some manufacturers recommend its use and others build it in. When I brought one over a dealer's house, it did its nice little thing, besting a parallel conditioner from another product line. A month later I came back and did the same experiment, but this time the Enacom made no difference—apparently, the conditioner manufacturer had incorporated the its circuit into his product. So, depending on what else you have, the Enacom AC Filter may be redundant, but you won't know ‘til you give it a try.

Robert H. Levi

In setting down at my desk pondering this idea, a lot of gear went through my mind. One thing that stands out though is not gear at all. It is what Bob Levi has done for the LA-OC Audio Club (see http://laocaudiosociety.com/). Although I have yet to attend one of his meetings (Keep sending those emails Bob, one of these days I will attend. This year I am going to try to make it to your annual Christmas party), Bob has done some incredible things with this once fledging club. With Bob's leadership, talent, industry connections, and general stick to it and "can do" positive attitude, he has brought this club out of the closet and into the mainstream. Look what he has done: Presentations by Richard Vandersteen, Bill Low, Manley Audio (to name a few), god knows how many incredible giveaways, and now a Jazz event that is going to be recorded at his home by Blue Port Jazz for the annual Christmas party-—WOW! If anyone has had a chance to listen to one of Blue Port Jazz's (see www.blueport.com )recordings you are in for a real treat with their delicate, lifelike, and intimate productions.  Jim Merod and Steve McCormack truly know how to get it right. 

Being the founding president of the California Audiophile Society (CAS) which I had great hopes for, I know how hard it is to create a "legitimate" audiophile club where its main goal is to educate audiophiles, bring new audiophiles into the fold, and promote the industry. All of which were my goals of CAS. Unfortunately, wanting to do something and having the time, commitment, and the help to create such a club is something else—for me it was simply too much. I truly admire Bob for what he has done—my hat is off to him. So, with that being said, I elect Bob Levi President of the LA-OC audio club the "Writers Choice Award for his timeless energy, commitment, and philanthropic contributions he has given all audiophiles in Southern California. Once again Southern California is on the audiophile map!  Thanks, Bob.

Auric Illuminator