fineTONE ...an audio odyssey

Great Little Phono

2011-11-19T15:53:00.043+08:00

This is the second and final instalment of my extensive mods to Musical Fidelity V-LPS phono stage. It responded well to component changes that when it is done, every single capacitor on board has been replaced with something else. I like the final product a lot that I term it my "Great Little Phono".

I began the mods by having the JRC5534D op amps in RIAA equalization stage at IC201/IC301 replaced with OPA627BP which accorded the phono stage a tremendous jump in overall clarity and a velvety feel, followed by removal of filter caps no longer required at C207/C209 and C209/C309. The sound, although precisely clear and pleasant, lacks some ultimate bass weights and the recapping of Jamicon polarized electrolytics with higher ripples content and lower impedance Panasonic FM/FC restored balance and every spectrum of frequencies sound in correct proportion thereafter. Modders tend to stop here after adding an improved power supplies but it merely provides a solid foundation for further mods, IMHO. Or course, there is always risk of going overboard and the final product may turn up too clinical sounding or unmusical.

I fitted in 4 pieces of Wima FKP2 polypropylene caps, replacing the stock RFI filtering ceramics ones at C206/C306 and C222/C322 and not expecting much of sonic improvements but fact that Musical Fidelity is also replacing ceramic caps with polycarbonate/polyester ones in their factory upgrades is motivation enough for me to do likewise. End result is indeed positive. Gone are the irritating edginess to sound and in place thereof a mildly warm and lush presentation with much nicer edges. Probable reason being, ceramic (especially C0G/NPO ones) has lower impedance than film cap and works better as a RF filter but film cap will sound better although, at best, it could filter out RFI just as good but not better. All caps impart their mojo onto sound and that of ceramic is far from pleasant.

Up next are the replacement of both 10uF polarized electrolytic input caps at C205/C305 and 100uF non-polar electrolytic output caps at C216/C316 with Vishay Roederstein MKT1813 4.7uF polyester type, its size and lead spacing fit the V-LPS board like a glove and with sonic that I enjoyed immensely with my T-amps. These caps lend a palpable, rich and liquid presentation to V-LPS. See http://www.ecp.cc/cap-notes.html for an interesting read on selection of coupling capacitors. As I am reverting to film caps, I opted for a value much lower than stock, reason being Musical Fidelity could have probably adopted a higher value since they are using electrolytics (with higher AC voltage across the cap by design) for coupling and the general consensus is to use a value 10 times greater than what is required, so I am basically undoing the compensation made by MF, see http://sound.westhost.com/articles/capacitors.htm and the comments made by Werner in vinylengine forum: "For coupling using electrolytic caps, we actually need non-polar ones but could wire 2 polarized electrolytics in anti-series, i.e. their negative poles together and the dangling positive poles one each in the circuit holes. This halves the apparent capacity of the couple, so we need 2 of 10uF polarized electrolytics to replace one 4.7uF non-polar. An even better thing would be to add a bias voltage to the coupled-caps' centre points, as is done with the output coupling caps of the Analog Addicts Phono circuit."

His other comment (although meant for the 2 op amps per channel Cambridge Audio 640P) deterred me from entirely doing away with input caps: "Input caps keep the (very low, but still ...) bias currents of input stage transistors from flowing through the cartridge. They do not block any appreciable DC, and do not directly influence the op amp output DC offset. However, they do so indirectly as bridging the caps would create a new path for the bias current, so that the net voltage on top of R17 changes and thus the DC balance around the input stage changes too. The RIAA op amp has a lot of DC gain, so any natural offset of its op amp will be blown up. Hence, we can not do without an output cap. Likewise, even when the input stage op amp gives a low offset in that circuit (and why would it, with the transistor diff. pairs so unbalanced!), the tiniest amount of offset it creates must not reach the RIAA op amp, see reasons above. So that cap there is needed too."

I was initially a bit hesitant to replace the unbranded stock film caps which bore an uncanny resemblance to Taiwan made polycarbonate type seen in online pictures. I knew they are probably dirt cheap but was unable to ascertain whether they have been pair matched for both channels in RIAA section until I measured them. No, they are not. Their sonic signatures include a rather forward, flat and having a plasticky sheen to sound with a certain degree of mid bass hump. Perhaps V-LPS could have been voiced to sound exactly that. Tight-tolerance LCR Components FSC/FSCEX polystyrene caps are eventually fitted into RIAA equalization stage. These caps sound natural, wholesome and possess great treble extension that opened up the entire sound stage (height, width and depth) considerably. I am not into sound staging but could not help noticing the beautiful effect of layering after the caps change. They have a blue foil marking at one end, not polarity marking but "the outer foil to be connected to the lower impedance node. In the context of RIAA equalization stage of V-LPS, the output of the op amp and the inverted input are both low impedance, the node in the middle where all RIAA parts join by comparison is a high impedance node, so the marked ends are to be fitted towards the inverting input and/or the op amp output. C212 and C312 and C213 should point towards pin 6 of IC201. C210 and C211 should point towards pin 2 of IC201. Pin 6 is basically more or less 0 Ohm whereas Pin 2 is 82R to ground, so either node qualifies as low impedance". (Thorsten Loesch)

The only pair of resistors I replaced in V-LPS are grounded output ones at R209/R309 where I opted for 100K ohm over the stock 10K ohm so as to adopt a lower value for my output caps and with objective of matching output impedance of V-LPS to input impedance of my Simaudio i3 integrated amplifier closely to attain a more optimised interface between the 2 equipment. I heard a less noisy presentation with lower noise floor, better control and greater dynamic contrast thereafter.

The stock 12V DC 500mA wall wart measured to supply 20.5V DC without load is being replaced with another bigger 12V DC 1A unit that supplies 16V DC unloaded, an used unit with compliments from CM. The benefits of improved power supplies are known to all, ie. a cleaner sound, improved headroom, larger and better defined sound stage. A phono stage only draw the current it requires, hence having a more capable supply (usually triple the current available) is more than adequate. If it is way too high, some problems either in the form of component destruction or a change in the way how the circuit operates (possibly distortion) are to be expected.

I have recapped my V-LPS with caps from element14 and RS Components, nothing fancy or of boutique quality and price. Total costs of all new components including the 3 new op amps amounted to RM350 (US$110), pushing the full cost of my modded V-LPS to RM850 (US$270). The improvements in sound quality far exceeded the costs incurred and I have yet to come across a phono stage a few times its full cost sounding anything like it, at all. It has immense clarity, a huge soundstage, excellent treble extension that is beyond reproach by any standard, spot-on timbre and tone of instruments, liquid, organic and rich sounding, a dramatic presentation, palpable and solid imaging, expressive, agile, rhythmic and extremely dynamic. No, it does not transform all my LPs to sound better as only the better sounding ones actually sound better whereas mediocre ones worse. It does not smoothen out the presentation nor does it veil transients and inner details found in the grooves of LPs. On the contrary, I could now hear the individual violins within their section in a classical concerto/symphony performance when I only heard a mass of violins in that section previously. I could also hear lots of not-so-subtle details in the midrange now. It really is that transparent yet coherent sounding!
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Modding my Musical Fidelity V-LPS

2011-10-14T19:39:00.069+08:00

I listen to music in the living area and prefer my hifi gears to be slim, compact and minimal in term of box-count. As I own an integrated amplifier, my idea of the ideal phono stage would be an inbuilt module (1 box plus a pair of interconnects lesser) but alas it is not to be. Enter the Musical Fidelity V-LPS phono stage that I bought 2 ½ years ago and in use since.

The circuit of V-LPS (http://www.vinylengine.com/turntable_forum/viewtopic.php?t=36631) is exactly identical to those of its bigger and dearer siblings in kW and various versions of X-series phono save for some updates in later incarnations and the power supply circuitry. It draws 12V DC unregulated input voltage from either a wall wart or transformer and regulates the voltage down to 9V DC single supply with a LM7809 regulator on the phono board and into a JRC5532DD op amp for rail splitting whereas the X-series phono stages require 12V AC input voltage regulated up to 15V DC for each positive and negative dual supply using other LM7815 and LM7915 regulators. The later version of X-series phono should technically sound better than V-LPS as op amps are operating at optimum voltage but at nearly 3 times the price of latter (during launch), it is clearly not value for money.

The sonic quality of V-LPS in stock form is pretty good, one that I really like and could easily live with had I not have heard what it could be transformed into by using slightly better parts. My version (PCB 2300 issue 02) has the 8-pins SSM2210 dual-matched NPN transistor at IC202/IC302 in first stage and purportedly operating in class A mode with signals passing through a push-pull circuitry before the main pre-amplification and op amp equalization (input of MM signals) at second stage. Residue DC voltages along the signal path are being coupled with electrolytic capacitors, a choice probably to keep costs in check. Some measurements noted from an online review: Noise Ratio (MM @ 5mV, 1kOhm): 84dB / (MM standard system): 81dB / (MC @ 0.5 mV, 20Ohms): 74dB ; Gain (MM): 42dB / (MC): 60dB ; Headroom (MM): 21 / (MC): 3.3mV ; Input impedance (MM): 50k+74pF / (MC): 99Ohms ; Output resistance: 440Ohms.

The intent to mod my V-LPS has been firmly planted in me since day one of its acquisition but I procrastinated until recently when I have the JRC5534D op amps in the equalisation section replaced with the highly-rated OPA627BP, claimed to be 'objectively one of the best op amp for Audio, especially in EQ stages, and among those which would subjectively deliver some of the best sound quality' but left the JRC5532DD op amp in the power supply section intact and later recapped the entire Jamicon polarized electrolytics with low equivalent series resistance (ESR) and high temperatures Panasonic FM/FC, a choice largely influenced by capacitor size and cost factor.

I have the 220pF and 22pF capacitors at C207/C307 and C209/C209 respectively removed. The 220pF blue-coloured film capacitor, most likely polypropylene is probably a filter capacitor fitted between the positive and negative inputs of op amp to remove the HF hash of JRC5534D but tend to overload output after the op amps were replaced with other low noise FET type such as OPA627BP in my case and where a HOMC is plugged into the MC stage. Another online forumer has suggested a 1 meg resistor be inserted between pin 3 and pin 4 of SSM2210 dual-matched NPN transistor in the event of overload with MC stage, obviously he did not remove these capacitors. The 22pF ceramic capacitor is again not required as unlike JRC5534D, pin 8 of OPA627BP op amp is not connected to anything within.

I ordered some Wima polypropylene capacitors together with the Panasonic FM/FC electrolytics but have yet to use them to replace the ceramic RFI filter capacitors at C206/C306 and C222/C322 for fact that ceramic capacitors especially the NPO/C0G ones possess excellent low impedance up to the MHz range and are technically better suited for bypassing duty. It would be entirely different had the ceramic capacitors been found in signal path instead. However, I may eventually use these Wima capacitors although not expecting a marked audible improvement in sonics.

The modifications see an increase in resolution, definition, soundstage size and PRaT, essentially better in all areas but its overall sonic character remain exactly same. The only downside I observed thus far being rumbles from needle drops are more pronounced than before. I have yet to replace the non-polar output capacitors, a critical component influencing how V-LPS sounds and undecided whether to opt for an unregulated transformer-based power supply or otherwise but at this juncture (midway through the mods), I wish to thank my friends for all their help and the sharing of many technical pointers especially CM for the soldering job and tracing the root cause of my MC overload problem.

I shall update more after completing the remaining mods.
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My LP12 saga continues

2011-07-27T17:22:00.067+08:00

The truth is I became very fascinated with LP12 ever since I owned one (or was it before I even had one) that I spin it several hours a day to play music. It sounds so addictively captivating to me that it makes me sit down wanting to listen closely, draws me deeper into the music and enables me to understand complex pieces better. Consequentially, my collection of records grows just as quickly and I stopped listening to CDs for quite a while now. There is simply no urge to, at least for the time being.

The aesthetic appeal (visual feel) of my hifi gears is of paramount importance to me, so apart from sounding good (aural feel), my LP12 must look its part too and my vanity led me to acquire a newer unit couple of years younger and in such an excellent condition that its plinth, main and sub platters are almost flawless. I have also picked up few other near-mint used parts and such actions incurred me card interests and losses when I eventually passed on the duplicated items to their respective new owners.

The plinth is an untouched fluted Afromosia or African Teak that has very beautiful grains. It is an extremely hard wood harder than Walnut which I adore and is one of the better sounding LP12 plinths around, according to Chris Harban of Woodsong Audio (http://www.woodsongaudio.com/). His oiled and hand-polished plinth made of exotic woods remains a dream of many a LP12 owner and I certainly hope to own one in the near future if my enthusiasm in LP12 has not dimmed by then.

I set up my newly acquired LP12 on my own this time around after dismantling it to thoroughly clean (including those hidden under the main platter like the motor pulley and belt guide) and swap few parts, putting to good use the tips from CM and through browsing of online articles & forum threads. The legacy and labour-of-love of CM still linger in this deck as the rebuilt Valhalla, motor brass bearing assembly (plus oil treatment) and top plate were all transferred there. It is the best sounding LP12 to have graced my system thus far with its tighter, leaner, more bites yet refined-sounding sonic characters with non-excessive blooms. 3 key words to adhere to in the setting-up of LP12 are "level", "square" and "tight" with the ultimate aim of attaining a perfect vertical bounce with no lateral movement. I have also ensured that the alignment of cartridge and the rotational speed of platter at 33 1/3 RPM are both spot on,

This present LP12 of mine is fitted with a late pre-Cirkus bearing and an epoxy-braced steel subchassis of which I also hope to replace the latter (an apparent weak point in the entire LP12 design) with either a Sole, Klone or Rubikon eventually. The sonic improvements of fitting one of these aftermarket subchassis are supposedly very significant.

Friends tend to ask why I opted for the Rega RB700 instead of a Linn Basik / Akito / Ittok / Ekos tonearm on my LP12 and the answer that I repeated so often is I already owned a pretty decent tonearm and therefore no immediate need to spend further but the combo turns out to sound truly amazing to my ears despite beliefs to the contrary. There is a Mr Tibbs who has found great success with RB1000 on his LP12; his own comments are found in several online forums. A hifi buddy who fits a RB300 to his LP12 confided in me recently that he found the Ittok slow and muddy sounding after some extensive comparisons in his system which goes to prove that there is perhaps truth to the comment made in a Naim forum thread (http://forums.naimaudio.com/displayForumTopic/content/1566878604389493):

"I too had read about the incompatibility problem of Rega and LP12, but pointed out that this was only likely to be a problem on older LP12, ie. pre Cirkus units. You may recall that the incompatibility debate was 'hottest' at the time when the Roksan Xerxes was a contender vying for the king of the turntables title. On the Xerxes, bass using the Rega was just fine, and, the combination was often preferred in demonstration to the LP12/Ittok. This led some to argue that what was at fault was not the Regas's performance at all, but the LP12, ie. the Rega was highlighting bass performance deficiencies in the LP12. Of course, we have to remember that all this was happening at a time when souping up the Rega was uncommon. (Since then, as we all know too well, the Rega has fronted many a Gyrodeck and many other high end decks, to the great satisfaction of many enthusiasts, who are initially impoverished by the substantial outlay required to own a quality deck).

Coincidentally, almost as if in response to this criticism (and significant lost sales to Xerxes converts), Linn announced the release of the Circus kit, which, magically, had the effect of removing some of the bass bloom of the LP12. Of course, with the seeds of discontent having been sown in so many enthusiasts minds re the LP12/Rega combination, it seems that no one really seriously bothered with the combination ever since. Indeed, such is the strength of the myth today, it now firmly resides, unchallengeable, in the subconscious of many dealers... who are more than happy to trot out the same old criticisms (I prefer to call it an inability to consider re-examining the validity of an argument in the light of new evidence). Of course, the same people are also conveniently forgetting the baseboard changes (and Trampolin), which also have the effect of taming the bass.

However, if I were to be even a tad cynical, I might be tempted to conclude that Linn were more than happy to let the Rega/LP12 incompatibility myth/problem persist. This is because if they were to invite the same comparison of the Rega/Ittok on the Cirkus decks, the Rega might well perform well enough to seriously dent the sales of that arm, and possibly kill off all sales of their Basik and Akito arms in one fell swoop! In the commercial sense then, you could argue that Linn played this one very cleverly indeed. Of course, with significantly lower profit margins for selling the cheaper arm (as compared to Ittoks), dealers themselves have a significant incentive not to sell the cheaper arm. Factor in that they also have to modify the LP12 to make the Rega fit, and there is yet further erosion of an already slim profit margin, (which is why many decks come factory fitted with Rega's).

So, to conclude, I have to say that your observation about how successful an RB300 is on an LP12 does not surprise me in the least. That a fettled RB300 might do even better, is more tantalising. Indeed, in the other forum I noted that someone reported that a fully fettled Rega, fitted to a 'modern' LP12, 'slaughtered' an Ittok. High praise indeed, and certainly plenty of food for thought, especially given the cost of second hand Ittoks - at least if you are not bothered about what company you LP12 keeps."

Alright, it is time to move on.
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Linn Sondek LP12

2011-06-20T11:10:00.091+08:00

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The above is the latest addition to my music playback system – a 30 years old Linn Sondek LP12 turntable bearing serial number 35xxx fitted with Rega RB700 tonearm, Michell Tecnoweight and Denon DL-160 high output moving coil cartridge.

The turntable was purchased used from UK and has just been restored to pristine condition. It had arrived in a generally fair state considering its age and needed a major overhaul with replacement of few worn-out parts plus some restoration works, hence it was delivered straight to a friend (CM) upon its collection from Cargo Village in LCCT Sepang and payment of 10% sales tax to Malaysian Kastam. The turntable was quickly stripped down to loose bits within some 20 minutes.

The plinth is a fluted Afromosia without corner bracing and there were some scuffles on its frontal panel, a small dent right in the middle of outer top edge behind and was mildly warped. To rectify these defects, lacquer on the varnished sections and black paint at its bottom were painstakingly stripped off, dent and scuffles patched with wood fillers before the entire plinth was sanded down to smoothen out any unevenness and to a fine finish. CM's own words are: "Surface preparation is of utmost importance" and he set out to work on it meticulously before applying several coats of Walnut wood stain with oil and then rubbed off with plain cloth so as to give the plinth a rich colour in satin finish without use of any lacquer. The end result is a beautifully restored plinth as could be seen from the 2 pictures above.

The turntable is fitted with an early Contrology-made Valhalla but it was dead on arrival. CM rebuilt it by replacing the critical parts including capacitors, IC chips, crystal, bridge rectifier, thermistor, varistors, 15K resistors with new and better-rated parts sourced from RS Electronics / Element 14 / Jalan Pasar and incorporated the factory upgrade in new diode modification found in later Valhalla into it. The end result is a super Valhalla being given a new lease of life and tuned to supply a constant 85V to the LP12 motor and starts or stops smoothly without causing any shudder to the turntable and most important of all, a spot-on 33 1/3 RPM speed that will surely give any brand new Hercules II a run for their money if one is not keen to play 45 RPM records on the LP12.

The motor is a 31 years old Philips unit that has its plastic thrust bearing partially worn-out. CM serviced it by cleaning the belt pulley, removed dirt accumulated over the years with an air-pressured blower before replacing the plastic bearing with a smaller SKF metal ball bearing and a custom-designed brass bearing housing after which the motor runs frictionless that no vibration could be felt when our hands are placed on the top plate nearest to the motor. This translates to a lower floor noise and inner details are more discernable.

The stainless steel top plate was chemically cleaned and buffed along its lines after which the 2 screw holes which had sinked slightly resultant from its overtightening to the plinth previously were duly rectified.

The subchassis supplied with LP12 in the early 80s is the spot-welded type but mine was fitted with the epoxy glued-on type, obviously having been replaced by the previous owner. The latter type of subchassis is clearly a better unit that yields better sonic quality over the former type. I had prior to this purchased another near mint epoxy glued-on subchassis with black liner bearing, hence these 2 newer items were fitted into my LP12 at the end of the restoration process.

The LP12 platters are made of Mazak 8 alloy of magnesium and aluminium. Earlier platters actually have a higher content of magnesium over aluminium, heavier and their finish duller than newer ones. These earlier platters are quite sought after by those LP12 owners who love the vintage flavour due to presence of midrange magic (thicker, warmer, forward-sounding vocals which bloom and have body) and there are more bass weights and grunts to the bass, albeit slower. Newer LP12 platters have better treble heights and sound more dynamic, spacious (but slightly hazy), leaner and faster which are more preferred by modern day fundamental Linnies. The thin layer of lacquer coating of both the platter and subplatter tend to discolour and disintegrate over time. CM scrapped off the old lacquer of my units with paint remover and then sprayed a new thin layer of lacquer onto them after which they were polished to an even surface finish.

The new parts replacing worn-out ones include an armboard spotting the new Linn LP12 logo with Rega cut, 1 genuine belt, 1 Rega platter mat, 1 genuine suspension kit (3 springs, 3 top grommets, 3 bottom grommets and 3 Turret nuts), 4 rubber feet, 5 M5 tensile screws, 6 genuine plastic clips (genuine P clip too) and 1 Michell Unicover (arriving soon). I had wanted to acquire a brand new genuine Linn clear lid and hinges but as these items are removed and put aside during listening sessions, I scrapped the idea and opted for the more affordable and stylish acrylic cover in Michell Unicover.

The Rega RB700 tonearm (£460), Michell Tecnoweight (£89), 2mm 3-points alloy spacer and Denon DL-160 HOMC cartridge are from my previous Rega P5 swapped with a recently-acquired brand new Rega RB250 tonearm plus the original RB700 stainless steel counterweight thrown in. A word of appreciation here to the friend who had suggested that I swap them. CM mounted my RB700 tonearm onto the Linn armboard with drilled-through screws and nuts and this method (as opposed to use of wood screws like those on a Rega P5) supposedly improves the bass responses. The original cartridge clips of RB700 were quite badly corroded and replaced with 24K gold-plated ones after which the solder joints were sleeved with heat shrinks in matching colours. The cartridge was then perfectly aligned using the Rega Stevenson Arc.

CM did not use any talcum powder to fit the suspension kit into the turntable. Once properly setup, my newly restored Linn LP12 sounds way better than my previous Rega P5 in the overall balance of presence, lushness, sound staging capability and PRaT although my tonearm, cartridge and phono stage remain unchanged. I have also tried out an earlier heavier platter and whilst I love the midrange magic and weightier bass I heard with most genres of music especially vocals, I thought music was overly warm and too fat for string instruments such as violin and Chinese pipa. The newer lighter platter resonates more and is more at home with all types of music except that it could sound a little too devoid of character and slightly diffuse on another LP12. I managed to eliminate any such shortcoming by opting for a pair of WBT 2016 interconnects fitted with Swithcraft RCA plugs (soldering job again by CM).

A lot of us would surely love to own a spanking new Linn LP12 if only we could ever afford one but a top-spec LP12 at RM72,000 is clearly beyond my reach and Linn no longer sell a basic LP12 table without Linn Majik PSU and ProJect 9cc carbon tonearm. Newer LP12 with corner-braced plinth and lighter platter presents music in a more 'modern' (faster, tighter and bass firmer) sound and is claimed to be more consistent-sounding between one unit from another. When we are buying used, I am of opinion that we should opt for a latest minter rather than an early unit like mine and every LP12 purchased used ought to be serviced and set-up properly prior to it being plonked into our systems. I am extremely lucky to have known a very capable friend in CM who has rebuilt my LP12 from the condition it was in and saved me lots of money in the process. IMHO, the newer LP12 excites us more whereas an early LP12 soothes us. I favour an in-between of the two and that is exactly what my LP12 is now. There is no hard and fast rules to this preference for it is whatever that floats your boat!

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Rega's Belt Upgrade

2010-07-31T20:03:00.020+08:00

It's another long while since I last posted an article! Attributes are my work commitment coupled with a lengthy break that I took from being too preoccupied with hifi that also see me skipped the recently concluded KLIAV Show. Music playback should rightly remain a passion to us, not an obsession.

I picked up a Rega white-coloured belt from the local distributor, Asia Sound Equipment Sdn Bhd (ASE) recently. This item, initially offered by Rega as a limited edition product at a premium price, is now a standard upgrade item at a more down-to-earth price. Eddie Tan of ASE told me that the white belt is made of silicon which has better grip over the standard black ones but I believe it is actually a higher grade of rubber without the carbon compound. It has a smoother profile and definitely grips better over the black belt bundled with my Rega P5.

My P5 turntable is fitted with an imported aftermarket acrylic platter and the Groovetracer Deluxe sub-platter. The white belt brings about a subtle but audible improvement to the sonics. It enhances further the similar improvements by the Goovetracer sub-platter in the sense that music becomes more tangible with image of main voices/instruments better defined and more vivid. Inner details in the background are now clearer and more easily discernable. My P5 also runs slightly quieter and I adduce that this is further reduction in noise floor. To me, such improvements must be a result of correct timing in spinning records due to better grip, mechanically. My verdict: I love it a lot and I find great joy in listening to my records all over again.

Flat earth audio

2010-01-26T13:18:00.020+08:00

As with many others who are into music playback, I was thoroughly fascinated by the stereo imaging and sound staging capabilities of my hifi system when I first embarked onto my audio journey. I would seat myself in the sweet spot for hours and be on the constant lookout for placement of singers/instruments and the inner details available in the CD recordings (nowadays my favourite listening position seems to be on the long couch located on the left plane of my louspeakers). I love the organic texture and body of vocals and tone richness (timbre) of natural instruments and these qualities meant everything to me then, until a hifi buddy pointed out that there are actually far more important aspects in our enjoyment of music, ie. the pace, rhythm and timing (PRaT). As I am very much a lover of female vocals (till todate), he asked me to listen to track 3 (Babes in the Wood) and track 8 (Adam at the Window) of Mary Black's Babes in the Wood CD with 2 different CD players and true enough, one of the CD player played these tracks better than the other – music has more tempo and made more sense to me. I never look back since although nowadays I seek the middle path between 'flat earth' and some 'pretty sounding' qualities. I must clarify that PRaT is not all about playing music furiously fast and the rhythmic flow to slow music rendered them equally intoxicating. I owned an extremely fast sounding dedicated CD transport in Enlightened Audio Designs T-1000 in the past and coupled with Theta Progeny-A DAC plus its external anti-jitter and external power supply, what I experienced were first rate clarity, superbly fast transients and great dynamics but sadly no PRaT to speak of that I later sold them off.

Extracted from elsewhere:
Naim/Linn were the original 'flat earthers' since 1970s, an audio community more concerned with notes than with noise, emotion rather than location. Their systems could play in time, maintaining the fundamental structure of the musical performance whilst actually holding a tune. Rather than needing to know exactly where the musicians were standing on the stage they were more concerned with experiencing the passion that drove them to get up there in the first place. That spirit lives on amongst 'flat earthers' who have no need to justify their systems using tired 'hifi' criteria when in fact their rigs actually groove, connecting on a truly emotional level, offering both vibe and drama—words that real people might actually use to describe real music. This is where it all began...

Why 'flat earth'? The term was originally used in a somewhat derogatory manner by some in the UK hifi press when the Linn/Naim axis that had dominated the industry during the 1970s and 1980s gradually began to loose momentum. It is used by those who like pretty sounding hifi that usually can't hold a tune or play in time. Things now have moved on to the stage where 'flat earthers' are rather proud of the term! How can they take offence? Their hifi actually plays music!

Naim and Linn both sold their hifi using the concept that the actual portrayal of music was the most important factor – this brought forth the concept of the 'tune demo'. The idea is that in any A/B demo of two components, one usually allows the listener to 'sing the tune in their head' far easier than the other. This component is the better one, regardless as to how pretty the other may sound – i.e. musical content over presentation! Now 30 over years on it is hard to believe how radical this approach was, but bear in mind that hifi was then still being sold almost entirely on specifications. It is still sadly very often the case that an expensive high end audio system actually holds a tune far worse than a basic transistor radio!

The other key concept that both companies firmly believed in was 'front-end first' i.e. that the source component is by far the most important element in any audio system. If the information is not there at the start it can not be brought back later, no matter how good the amplifier or speakers are. Garbage in, garbage out. With any budget the majority of cash should be sunk into the source components, it is absolutely amazing to hear what quite affordable amplifiers and speakers are capable of when fronted with a real heavyweight source. This is in their opinion unquestionably the correct approach to selecting a audio system that is enjoyable to listen to in the long term.

Far too much audio equipment sounds unnaturally pretty: Hifi systems that produce 'smooth' or 'liquid' hi-hats and cymbals are inherently wrong. Hifi systems that produce 'soft' snares are equally wrong. A cymbal is in effect a bit of sheet metal formed into a slightly conical profile that is repeatedly hit with a wooden stick... sweet, smooth, delicate... yeah right. A snare drum is a metal or wood cylinder with a taut tuned skin on the two flat ends, with a series of tensioned metal springs on the underside, picture this construction in your mind, now hit it hard with a wooden stick. Did you get a soft sound? Audio systems with great gobs of bass may at first seem impressive, but try following the actual tune the bassist is playing, or hearing how the bass line grooves in with the drums. Slow fat bass is wrong bass.

The mainstream hifi press seems to be in a very sorry state at present, lacking any real direction, consistency or continuity, and giving the impression that advertising revenue is the sole driving force. The ideologies and products portrayed within the glossy pages are for the best part questionable and often laughable. The qualities that seem to hold the most appeal to reviewers seem to have little or nothing to do with the accurate reproduction of music. Bland systems to play bland AOR music on would appear to be the order of the day."

Music playback with Computer Hardisk

2010-01-11T19:38:00.067+08:00

Happy New Year 2010!

It has been a long while since I last posted an article to my blog. I have just realised there are some questions posed which I have yet to respond to. My humble apology and I shall revert shortly! My hectic work commitment has been rather unkind to my blogging activities but perhaps the main reason could be that I am running short of topics to cover until I ventured into digital music playback with computer hard disk couple of days ago. As for the platform, I settled for the user-friendly iTunes from Apple Inc.

I first experienced iTunes at a wedding reception in Concorde Hotel, KL that I attended recently. I found the love ballads by Nat King Cole played through a notebook computer and some professional audio gears during the function admirable enough in the sense they sound extremely clear, detailed and spacious. So, after further online reading, I decided to give it a trial myself since I already owned most of the gears needed (save for some additional storage space in an external hard disk) including an USB-equipped DAC. iTunes ver 9.0.2, a freeware from Apple Inc., could be downloaded from: http://www.apple.com/itunes/download/

The audio format of the latest iTunes is actually Apple lossless M4A and not the lossy compression of AAC which I had initially mistaken for. This error of my part has prompted Justblair to point out that other lossless compression files actually sound way ahead of AAC as per his comment below.

My USB-equipped Musical Fidelity V-DAC is part of my bedroom/study system comprising of a Sansui CDX-310 cdp, a TA2024 T-amp and a pair of Pioneer pure-malt loudspeakers. Cables used are anything fancy but freebies. I would rate my V-DAC only as decent, just-a-touch better than the internal DAC of my Sansui cdp but quite inferior to that of my Roksan Caspian m-series 1 cdp. This could perhaps be caused by the inadequate wall-wart PSU powering the V-DAC or the less-than-desired optical link I have been using all these while. At its price point, I seriously doubt the award-winning Cambridge audio DAC-Magic is any better than the V-DAC, though. I have not carried out a comprehensive comparison to confirm my hunch. It is not my duty to do so as I am merely a music lover, not a reviewer!

Listening to my computer hard disk in my bedroom/study system, I found that I am hearing more details, air and stereo separations than the CDs played through my Sansui cdp plus V-DAC though optical link. The soundscape of music is much bigger and the presentation more forward. I even found the bass definitions of the former to be better defined and more powerful. My verdict is I love it that I picked up a made-in-Japan 500 GB Buffalo external hard disk to explore further (it could be relegated for data backup duties if I were to dislike iTunes after extensive trials). The irony is that it is even dearer than a 1.0 TB Buffalo external hard disk which comes equipped with an external power supply. Huh!

I did not plug my computer plus V-DAC into my main system, hence no comparison nor comment is possible. My take is that for iTunes to sound better than CDs playback in my main system, I would be required to procure an external DAC capable of at least the same sonic quality as the internal DAC of my Caspian cdp. This, I am not prepared to. I am also not willing to give up all my CDs picked up throughout the 19 years' period, as yet. Perhaps later but then there would be back-up requirement so that I do not lose all my music! I would instead prefer to explore new music with my computer hard disk instead of buying new CDs every now and then. A 60-minutes CD would take up approximately 1.0 GB of storage space plus the picture of the album, hence my new external hardisk should be able to accommodate give-and-take 450 CDs, allowing for 10% empty space. Wow, I would be getting so much more music with so few possessions!

Addendum on 20.01.2010:
More hours of listening to music with the computer hard disk further reinforced my initial impression as reported above. The most apparent improvement over playback of original CDs music were ripped from are improved clarity and larger scale of soundscape. The organic feel and liquidity to midrange is non-existent, though. I opine that music played through computer hard disk sound more digital than through a CD player proper. Dare I believe that playing music from the computer hard disk through my V-DAC is better than a competent enough CD player? I honestly do not think so for I would require a better (read more expensive) DAC. See a review of Weiss Minerva DAC here: http://www.computeraudiophile.com/weiss-engineering-minerva-firewire-dac-review

I also observed that the playback of music from computer hard disk connected to an external DAC with the USB connection zapped the resources of my computer (a Dell Vostro 1520 Notebook with Intel Duo Core T6670 chip @ 2.2 GHz processing speed, 4.0 GB RAM, 320GB HDD and using Windows 7 in 32 bit environment) substantially.
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Sonus Faber Concerto Home and speaker stands

2009-11-16T21:16:00.027+08:00

This is not a review of Sonus Faber Concerto loudspeakers but merely how the original stands uplift their performance:

my main system in the living hall

I have always been a great fan of smallish standmount loudspeakers. And I reckon I shall continue to own loudspeakers with small dimensions in the near foreseeable future with no intention to switchover to bigger ones or floorstanders. Bookshelf-type or those in the budget sector aside, well-designed and quality standmount loudspeakers must be coupled to their original or type of speaker stands they were developed with to sound their best.

A case in point is my Sonus Faber Concerto Home. Many have claimed that Sonus Faber loudspeakers would only sing well when paired with their own speaker stands and sound mediocre with others but did not elaborate further. Hence, I had been a skeptical miser and refused to fork out RM1,800 for their matching stands. I was hoping to buy them used in immaculate condition but this did not materialise. In the meantime, 3 pairs of ex-demo locally-made Empire 24" 6 or 4 pillars metal stands, either empty or filled with industrial sands and lead shots, provided stand services to my Concerto Home. I have missed out a lot sonically without realising what they actually were, until now that is.

I finally bought a pair of height-adjustable walnut finished hardwood with 'marble' (look more of man-made stone to me) base speaker stands yesterday. Switching over to them immediately transformed the entire tonal character and soundscape of my system. In CD playback, even with my vdH First Classic interconnects still in place, the sound now is alive and lively with lots of vitality and midrange warmth. The soundstage opens up and becomes more three-dimensional. Bass attack is full of visceral speed and more natural to my ears. Truly fantastic! In comparison to the sandfilled metal stands, the sound previously was somewhat deadened, lacked liveliness and very much bottom heavy. Switching over to my LP playback (with vdH Thunderline interconnects), every areas which I have just described are even more pronounced. Wow!

Which particular area constributes such a vast difference to the overall sound? I would tend to feel that it is the choice of rigid natural hardwood and non-resonant stone to make the speaker stands as sandfilled metal ones obviously overdamped the sound to extent of it being deadened and lifeless, certainly not the interface nor bolts coupling the speakers to their stands. For owners of older series of Sonus Faber out there, if you have yet to try out your loudspeakers with their hardwood stands, you do not know what you have been missing. These stands would really make your Sonus Fabers sing!
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As I see it …

2009-11-09T15:56:00.031+08:00

1. In continuing with my previous blog posting, I had successfully abstained from buying any music software for the past 3 weeks - an achievement of sorts for me in view of fact that I still checked out music outlets in Rock Corner and Victoria Music. I would continue to practise restraint until something good or irresistible such as Teresa Teng's 淡淡幽情 Japan-pressed CD (another album I grew up with) comes my way. The CD was sourced in Hong Kong by a friend but yet to reach me as of to-date. The aim here, really, is to curb the growth of music software which I do not listen to and in trimming my personal belongings down to bare essential.

2. We hifi buffs or audiophiles are strange creatures; we need to constantly be in touch with fellow audiophiles to talk about hifi, listen to others' system, exchange notes and spread poison among ourselves. The moment we become a lone ranger, the passion in us would somehow diminish. Some of us are known to participate and post comments in audio forums or have started blogs to rant and vent on subjects pertaining to hifi. You are currently reading one! H1f1 pandemic at http://h1f1.blogspot.com/ is another latest addition to the local scene. Do check them out.

3. The pricings adopted by a large majority of local hifi distributors are too high, way higher than the recommended-retail-prices (RRP) in the West. These distributors often quip that equipment imported onto our shore are subject to import duties but why do they conveniently omit fact that we are yet to be subjected to VAT/GST as in the West that in a way offset the import duties? Do the maths yourselves bearing in mind that import duties are levied on costs and not retail prices. Their high prices would perhaps be justified by the enormous monthly rental charges paid to shopping malls they are situated in. I opine that such higher pricing would only deter some of the potential customers to part with their hard earned cash and instead source for equipment overseas. There are of course exceptions, as usual. Over to you, the local distributors concerned!

4. The quality of life in the city is slowly but surely receding with pace more hectic and frantic nowadays compared to the serenity our parents used to enjoy in the past. We often need to put in longer than the required hours in the office and spend a fair deal of time commuting between office and home. Inevitably, this sapped away our energy and took away the time we would sit down to listen to music. Music would only be played in the background as part of the multi tasks we undertake and this give birth to downloadable music formats stored in computer hard disks, dedicated multimedia hard disks and handhelds in iPods, mobile phones and others. My view is that new music would eventually, in the near foreseeable future, be released in such formats and no longer in ordinary 16-bits Red Book CDs, SACDs and surely not vinyl LPs. As such, it may not be wise now to spend too huge an amount on a highend CD player or for that matter, a turntable. The entire new reissued LPs priced at RM181.90 each in Rock Corner is no consolation either!

5. As I blog solely on my personal audio journey (odyssey) and there are only so much available to write unless I were to upgrade or add equipment more often (which I pray not to), I would go slow in churning out new articles for my blog from now on. This does not in any way imply that I am giving up on my audio journey and quest. I stumbled upon the following comments on first pressings of CDs and LPs vs their respective remastered versions and the difference in sonics between first pressing CDs and LPs which I myself could not have put them any better. No translation; they are in the Chinese language in as-is-where-is basis:

"因為當年生產 CD 的時候是刻意要給人與 LP 與別不同的感覺，所以在混音 (remaster) 中多少添加了點【激素】，聽起來感覺上比較剛勁，硬朗！令人有一種一聽鐘情，特別刺激的新鮮感。所以基本上任何頭版 CD 都跟頭版 LP 的表達有一段距離甚致大不相同！不過由於頭版 CD 仍然是當今最 analogue 的數碼產品及較 LP 方便等原因，它仍舊是發燒友的不二之選！但近年再版的 CD 包括那些 SACD 更是【激素之王】，正是【為發燒而發燒】的產物，與原盤所表達的情感更相距十萬八千里！那些只喜歡追求官能上得到刺激的【發燒友】應該添置一台 EQ 才對！就好比天然 33C 對人工 48F，聰明的你會挑那一位？
頭版 LP 基本上是第一個誕生的音樂藝術原型盤，是帶有那個年代的製作特式及當時音樂人所想表達的獨有客觀環境等原素，是不能隨意加減混音再版的。嚴格來講，任何再版的 LP 都有不同程度的【失真】！LP 聽起來感覺上比較剛中帶柔，感染力比 CD 更加通透持久，餘音盪漾，越聽越令人回味！此一境界，由於是先天的絛件所限，CD 是無法達致的！即是說，世上任何【貴價】的 CD 機，都不及一般 LP 唱盤【好聲】！(以同樣都播放頭版作比較)
REMASTERING CREATES DISTORTION. AND MORE REMASTERING, MORE DISTORTIONS! THE FIRST EDITION CDs/LPs SOUND BEST. THE EARLIER THE PRESSINGS, THE BETTER THEIR QUALITY! JAPANESE PRESSINGS ARE ALWAYS THE BEST IN THE WORLD! – Sam the Record Man "

【剛中帶柔】? Well said. It explains why people are still listening to LPs in this digital era!

Enjoy the music!

Addendum on 12.11.2009:
I picked up from my friend the Teresa Teng's 淡淡幽情 CD (TACL 2400) yesterday - a 1995 pressing by Taurus Records, Japan (original album released by Polydor in 1983) also available at HMV Japan at ¥2,448 net (applicable for order of min 4 CDs) before addition of the courier charges. I found its sonic quality truly fantastic - airy, treble unforced and extremely natural. I was so captivated that I dug out my other Japan EMI-Capitol CD (pressing by Toshiba in 1994) of Holly Cole Trio' s Yesterday & Today album for a quick spin and listen (I have not listened to this CD for a long time, definitely not after my recent upgrades). Stunning! The nuance in tonal colours is equally vivid and easily discernable. Sam is clearly spot-on! I suddenly remembered I spotted a Japan-pressed CD of The Eagles' Hotel California album at a local music outlet days ago. Oh no, not again …

My music collection

2009-10-21T15:12:00.027+08:00

We humans are known to hoard things just like squirrels and in the process create the constant need for larger storage space and clutter our surroundings. It is environmental-unfriendly and not a cool act to me who have all along been espousing my intrinsic love for minimalism and carrying lesser personal belongings which include amongst others my ever-growing collection of books, LPs and CDs. I shall leave the subject of books out as it is unrelated to music playback and concentrate on the latter two music formats.

I like exploring new music, filling up gaps of my collection with music missed out earlier and actually embarked upon a hunt for old albums (mint/NOS LPs and reissued CDs) to replace those cassettes I grew up with, especially during era when I was a young teenager full of ideals and dreams but foolish at heart. The end result is my collection of LPs and CDs grew so rapidly that there were actually 293 and 95 titles during a recent count. In August last year, I only had 250 and 65 titles respectively. I would still be oblivious to this revelation had my other half not commented that of late I am so engrossed in picking up music software whenever opportunity avails itself!

It is a known fact to many that the first-pressing albums are usually the best sounding of the lot and reissued ones are only a compromise, the consolation being their music contents are only available in such reissued formats and we have no other choice unless we search the used market. At the rate I am going, it is inevitable that I do end up with some albums which do not tickle me at all. These are not bad music or their recording lacking per se but just do not seem to strike a single chord with me. There are also others which I have subsequently picked up their different variants with better sonics. How do I deal with these music software? I sell them off at a discount of roughly 25% from their original purchase prices but usually in excellent mint condition and on top of that a significant portion are the first pressings. This time around, I have identified 53 CDs and 14 LPs. Anyone who is keen, kindly contact me via e-mail to which I shall revert with the titles of CDs and LPs concerned. I would definitely need to trim down my existing collection and go slow in further acquisitions.

I picked up 2 more CDs during the last weekend (and thus getting the comment from my wife); the first being a jazz album in Carol Kidd's A Place In My Heart CD and the second a mandarin pop album in Tanya Chua 蔡健雅's 若你碰到他. Carol Kidd's album was first released in year 2001 subsequent to her much acclaimed "When I Dream" and is backed by Robert Farnon Orchestra. Further details here: http://www.linnrecords.com/recording-a-place-in-my-heart-hdcd.aspx. I paid RM44.00 (US$12.22) for it and have been enjoying it a lot from day one itself. As for Tanya's album, I actually picked up her first batch imported CD with a complimentary coupon from Starbucks Coffee Taiwan at RM41.50 and am still discovering and getting myself accustomed to her style of music.
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Sit back … have a cup of coffee … and enjoy the music

2009-10-12T14:10:00.039+08:00

Most of us (the so-called audiophiles) suffer from varying degree of 'audiophilia nervosa' and constantly upgrade our music playback systems either by adding accessories or changing gears, cables included. I am no exception and truth is some upgrades do not bring about real improvement to sonics but merely differences which I could go without. There are also audiophiles who only listen to CDs/SACDs with their high-end systems tweaked to approximate the analogue sound. This is interesting for I wonder wouldn't it wiser to add into their systems, a decent turntable and phono stage. I have done likewise with no regrets!

It was on a late Sunday morning when I penned down this short posting, fresh from shower after clearing my weekly house chores, with a cup of coffee in hand. I powered up my main system and gave the newly acquired reissued copy of Teresa Teng's 15th Anniversary 180 gram single (817143-1) LP a quick spin on my Rega P5. I am not exactly a big fan of her but found this album to be a good sampler of her work over the years. I began to enjoy her songs instantly. The same, however, could not be said when I playback the same album through an early 24K gold CD (since sold off to a friend) nor even the JVC K2 XRCD2 with 19 songs in total (don't mind parting with it now).

The album was first released in 1983 by Polydor (now Universal Music) marking Teresa Teng's 15 years anniversary with the recording label and a compilation of her hit songs throughout the period but not those from her earlier stints with Yew Jou (宇宙) Records and Life (丽风) Records. During her heydays, Teresa Teng's voice was such a hit throughout Asia especially in places with large Asian populace that it was often claimed, "有华人的地方, 就有邓丽君的歌声" or wherever there are Chinese people, Teresa Teng's voice could be heard.

The single 180g LP contains only 14 songs and has 1 song less than ordinary CDs, ie. her rendition of 月亮代表我的心 (the moon represents my heart) is missing. I could easily live with that as I strongly feel that the best artiste who sang this song best is Chyi Ching (齊秦).

Have fun listening and enjoy the music. Do check out this cool webpage: http://philip.greenspun.com/materialism/stereo
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A mention of 2 amplifiers

2009-09-29T14:04:00.095+08:00

fineTONE was basically created by me with the primary aims of: (1) stirring up interest in music playback, a dying hobby with each passing day; (2) sharing notion that we could attain a thoroughly-satisfying sound without need to spend mega bucks on cost-no-object gears; (3) providing insights of some DIY projects that I have personally undertaken; and lastly (4) penning down thoughts (some could be quite wild indeed) and latest news on the subject of music and audio gears.

The recent emergence of several new audio blogs to the local scene has really been encouraging and should be applauded by us, folks with likewise hobby. It would be redundant, however, if the topics so covered by the local blogs overlap with one another. Consequently, my approach and subjects chosen ought to be radically different!

I am sure that a well-setup (read expensive) system in a dedicated sound room with careful attention paid to room acoustics, racking and power supplies would sound incredibly awesome than more down-to-earth systems residing in the living halls. And such systems would justify the use of exotic cables in attaining micro details, accuracy in tonality (音質) and timbre (音色). However, I am more inclined towards the macro dynamics, PRaT and musicality-as-a-whole perspective. When asked if I would opt for the pre and power separate amplifiers route if I were to upgrade from my present Simaudio Moon i3 integrated amp, my honest answer is, "I don't think so" for I cherish simplicity and minimal box count with lesser cables. I am also consulted as to what integrated amplifiers are to be acquired at a given budget of say RM5,000 and RM8,000. On both occasions, I think I may have answered Krell KAV-400xi, an amplifier readily available locally but I myself would likely bypass it for another 2 amplifiers currently not having any distributorship in Malaysia. My sincere apology. Which 2 amplifiers? The answer is LFD Zero LE Mk4 and Lavardin IS Reference. Sam Tellig of Stereophile pronounced the former amp the best-sounding integrated amp in his review here: http://www.generubinaudio.com/sitebuildercontent/sitebuilderfiles/lfd.pdf and his review of the latter amp here: http://www.soundscapehifi.com/lt-stereophile-rev-mar2005.htm. See also the comparison of the latter amp pitted against Naim SuperNAIT: http://forums.naim-audio.com/eve/forums/a/tpc/f/48019385/m/3732986417 and excerpts of rave reviews compiled by Soundscape Hifi, S'pore: http://www.soundscapehifi.com/lavardin-reviews.htm, all which only made me drool!

Addendum on 01.10.2009:
I am flattered to find many responses to my above posting after being away from my desk for one and a half days! I must clarify that fineTONE is merely a blog and not a website comprising of equipment reviews or other uniformed contents. I also opt for a more 'freestyled' approach in subjects covered and have chosen in this posting to mention 2 integrated amplifiers which sparked my interests after reading raved comments by others even without any audition. The 2 amplifiers are currently not being distributed in Malaysia (a shame if we're deprived of great-sounding gears just because they are not sold on our soil) but if their sonics are really as positively raved by so many others and a posting like this is able to generate enough curiosities that turn into demands, perhaps a local hifi distributor should consider picking up the distribution line. This is pull strategy in marketing term as opposed to push strategy whereby a distributor sends a new equipment for review and it starts selling thereafter. If this does not materialise, we could always fall back to sourcing them from overseas. Do note that I am extremely fond of either ordering or physically picking up equipments from abroad myself!

If only I had the means, I would certainly love to own a pair of Harbeth loudspeakers (which eluded me all these years), a LFD / Lavardin integrated amp (MOSFET design with passive pre) with inbuilt phono card and a Naim cdp which shall be icing to the cake. Life goes on as usual in the meanwhile with heaps of other more important commitments to be met before fulfilling an aspiration in hifi, a hobby to me.

I have also written to Mr Howard Popeck of Stereonow Ltd in UK, a dealer of LFD gears who professes to being able sell to all countries with exception of USA, Belgium and Holland in the meantime and he replied me enclosing a 25-pages pdf file which I append its extract below (removing the sales pitch part) as the original version is way too long. Have fun reading it and you be ultimate judge to the content yourself!

"The LFD File or … Howard Popeck’s combined knowledge of LFD amplification (one of the UK audiophile industry’s best kept secrets) and associated products gathered over many years and right up to 21.09.2009 (last update) in which he promises to tell "the truth, the whole truth and nothing but the truth”. The document is a work in progress because Mr Popeck learns more on the capabilities of LFD equipment as Dr. Bews reveals more of his magic, his philosophy and his designs.

Why I chose LFD? In a nutshell … 100% reliability, impeccable design expertise, over-specified, very high musicality, can bring out the best in even cheap speakers, UK-built and, with a very enlightened and cost-effective attitude to owner upgrades. All that and a complete absence of hype, bullshit or egomania.
I don’t stock Naim, but it’s true to say that I very much like the sound of some of their earlier offerings and from my personal perspective, LFD equipment encompasses all of the very finest attributes of early Naim equipment – but without any of the characteristics that seem to irk and irritate some people on some forums that host Naim-basing threads. LFD? Unhesitatingly recommended!

The back story … Well … it’s hard to ignore the facts, however inconvenient they may be – if one truly believes in integrity rather than insincerely repeating the speechifying.
The fact is that quite a few of my friends have owned and continue to own LFD equipment, including the legendary DAC-3 (just 75 made and now out of production because of the unavailability of the preferred chipset) and I’ve not been able to demonstrate anything more satisfactory – at any price.
Moreover, they didn’t buy their LFD stuff from me and yes, we all remain firm friends. I’d be an idiot to ignore the reality. For many experienced and might I say more mature listeners who’ve ‘been around the block’ quite a few times, LFD is the ultimate – if musical credible reproduction is valued more than anything else..
On top of this, despite its stark appearance, LFD gear doesn’t look, feel or weigh sufficiently badly enough to justify being housed in a bunker! Wife acceptance factor (WAF) is quite high. Sometimes very high.
On top of this, I’ve owned and continue to own pieces from LFD’s past. Their integrated amps, in terms of sheer listenability without any fatigue whatsoever are frankly astonishing. The current iteration of those early designs is even finer. Moreover the LFD linestages (preamps) and the LFD power stages (power amps) are outstanding.
I’ve owned numerous Krell power amps, Audio Research power amps and Accuphase power amps. The finest, in musical terms of all of those was the Accuphase P-60 full Class A. That’s now in Belgium. My LFD PA3 mono power amps are everything that the P-60 produces, but with substantially more muscle and with superior low-volume detail retrieval.
In fact the PA3s sounds like Class A, but aren’t Class A. These are my reference power amps. The line stages and phono stages are, within their respective price bands, in a class of their own.

What’s the difference between the integrated Zero Le Mk3 & Mk4?
I caused a bit of a fuss revealing the Mk4 version. Here’s the situation. Mk4 was/is my unofficial term. Recently, after the serial number #400 of the Series 3 was shipped, Dr. Bews decided on a small modification to slightly change the extreme bass characteristic of the Mk3. To make it slightly more towards the extraordinary bass performance of the LFD NCSE super-integrated and the PA2M (SE) power amp. It’s unofficially the Mk4 – and there’s no increase in price.
In my opinion, for most users, this small change is comparatively insignificant and not worth the hassle and cost of return a pre #400 unit for the change.
If you want the next stage up, then you should seriously consider the NCSE super-integrated. Here’s what can you expect if you upgrade from a Zero Le Mk3 to a LFD NCSE, the logical step up. This super-integrated has a speed, weight and solidity to the bass which is quite far ahead of the Zero LE Mk3. In fact the bass is so taut, musical and defined that it is the benchmark standard through the entire LFD range. By this I mean it is slightly ahead of the range-topping PA3 mono amps and equal to the magnificent PA2M (SE) twin mono in one chassis power amp.
Let me be clear here in that the treble detail on the LFD NCSE is no better than the LE Mk3 simply because that unit is excellent in this respect and a hard act to follow. The midrange of the LFD NCSE is as detailed, but slightly more forward in presentation to the LE Mk3.
Where the LFD NCSE really scores is in detail retrieval at low and very low sound pressure levels. The comparison is extraordinary. At low levels the LE Mk3 (although superb, in isolation) seems a bit lightweight and a little feeble.

The LFD isolation feet :
There are three ‘values’ of LFD Sorbothane isolation pads. These thick Sorbothane discs sit inside carefully machined stainless steel cups and look rather fine – in addition to making a significant contribution to reducing microphony.
• Level ‘A’ is for units from around 5kg to around 8kg i.e. one pad per around 2.5kg
• Level ‘B’ is for 8kg to around 15kg i.e. one pad per around 5kg
• Level ‘C’ is for beyond 15kg.
Dr Bews feels that three pads are better than four!
Interestingly for say a 15kg item, using 6 x ‘A’ @ 2.5kg capacity each will not be as effective as say 3 x ‘B’ @ 5kg capacity each.
Do please bear in mind that while LFD units have no interference problems by being stacked on top of each other, the weight adds up quite quickly. Thus merely having say the MCT on top of the NCSE or vice versa would require level ‘c’ as the base three with 3 x ‘b’ in between the top unit and the one below.

The new and rather remarkable LFD Hybrid loudspeaker cable :
Overview - This cable uses PC-OCC multi strand and LC-OFC ribbon that is relatively expensive and labour cost is high (it’s a pain to make), but it’s the only way the makers have found to make a really good sounding single wired speaker cable.
LFD have been trying to manufacture this super single wired speaker cable from copper for nearly 10 years. The LC-OFC ribbon gives the very good bass and the PC-OCC multi strand gives a nice midband/top, either cable made as a single wired speaker cable have issues at the top end or the bass. It might be a mad idea, but it works, it is really comparable (not the same) with their reference silver speaker cable, at a lower price.

The fuller story
Okay. First things first. All conventional speaker cables have are marked +ve and –ve so that the positive from the power amp is easily connected to the positive of the speakers. These markings are only for illustrative purposes i.e. the construction of +ve strands and the –ve strands are identical. I won’t get into the issue of directionality here, even though I have heard this curious effect myself, as long ago as 1979. That’s a story for another time.
Secondly, with all audiophile matters like this it’s crucial to distinguish between ‘different’ and ‘better’. Some people get ‘it’ right away and other don’t. Over the years, I’ve found the following statement to be the most useful in such situations: “For a sound to be ‘better’ it must be different from the preceding sound. However, being different does not automatically mean that it is ‘better’”
Or put different, one person’s perception of ‘better’ is different from another person’s. Which is just as well really because otherwise none of us would be able to help buyers chose.
The LFD Hybrid RC speaker cable is unique in its objectives, unique in how it achieves those objectives and unique in what if offers the end-user.
This cable has one conductor made of solid core cable and the other of multistrand flat ribbon cable. For the purposes of this discussion we’ll assume that the +ve is marked red (positive) and the –ve marked black (negative). You start by using the cable conventionally i.e. red at the amplifier to red (+ve to +ve) at the speakers, and so on.
The first thing you’ll notice usually (and of course the extent of this is very system dependant) is an uncanny clarity to the treble detail, a mid range openness and clarity that is extraordinary and a very tight and solid bass. These speaker cables, like all speaker cable does benefit a little from an extended burn-in process. However the effects described above are immediately noticeable for most listeners. Over time, they become refined.
Here’s where the clever bit comes in. Play a well defined track with a noticeable bass line. Preferably, to make this immediately easy, jazz, blues or rock. This will give you bass sound #1. The free Stereonow Bass Test disc #1 is ideal for this.
Then, reverse the connections on both the amp and the speakers. Thus the red +ve is now attached to the -ve on the amp and the –ve terminals on speakers and the black (-ve) is connected to the red +ve terminals on the amp and the red +ve on the speakers.
Taking care to listen to the same track at the same volume as previously you’ll hardly notice a change in the mid or top. However in many instances a significant change in the bass performance will be apparent. We’ll call this bass sound #2.
Bass #1 will be different (yes, that word again) to bass #2. It’s up to you to decide which is better for you.
What’s the point of this you might wonder? Am I correct?
Some speakers if placed in a room less than optimally e.g. too near a rear wall or too close to a corner can on some music give a bloated, plodding bass. Experimenting as described above could possibly reduce that effect.
Another example might be with stand mounted speakers that are sounding a little bass-light. Experimenting as described above could possibly increase the bass depth.
Sometimes these effects are dramatic and sometimes less so. There is no way, and I mean No Way that the effects can be predicted in advance. Anyone who in instances like this claim they can very probably lie about other things too!
So in summary, the benefits of the LFD Hybrid RC speaker cable are in the bass area. It is, if you like, a sort of bass adjustment device. And of course when compared to inferior speaker cables, the usual LFD attributes of terrific detail without harshness, unrestrained dynamics and the open, spacious mid range are immediately apparent.

The limited edition (16 units only) LFD NLE power amp :
The NLE is a rather special power amp designed and built to Stereonow’s requirements. An initial run of just 16 units is now in production. Its bass characteristics are derived from the LFD state-of-the-art PA2M SE twin mono power amps but at 40% of the price. The mid range and top are as close to the characteristics of the very highly regarded LFD Zero LE Mk3 (now Mk4) integrated amplifier.
Stainless Steel front panel.
A very conservative 60 watts RMS into 8 ohms and at least 90 into 4 ohms. V x a for short periods, e.g. to milliseconds is between 200 to 300 depending on the load. 36 months parts and labour warranty.

The on-board phono stage for the LFD Integrated Zero LE Mk3 :
For the money, the on-board phono stage on the LFD Mk4 zero LE integrated amplifier (the phono stage being no different to the one on the Mk3) is fantastic value. It is switchable internally by making or breaking a pair of soldered links. This is nowhere near as complicated as it might seem. Dr Bews is convinced that sonically this is superior to the sound you would get from a silver plated switch.
The onboard phono stage is not, repeat NOT retrofit-able. This means it must be ordered at the time that the amplifier is ordered. This is because the board layout for the one with phono stage is different from the one without.
Sonically this is the most musically credible phono stage I have heard under £600. The UK retail price for the on-board LFD phono stage is £250 inc VAT.
Of course, it’s not just Dr. Bews’ excellent design of the phono stage (bearing in mind his state-of-the-art and not for sale battery-driven stage is used by SME’s R&D department) but the fact that by being hard-wired into the circuit board you avoid the effects of external interconnects and related issues.

FAQs on LFD equipment :
1. Issues with volume control at low sound pressure levels
Question:
I have a new LFD Zero, with the silver casing and single set of speaker terminals. My one issue is that with my Opera Grand Mezzas, I have almost no play on the volume pot. Whisper to a scream is barely a nudge of the dial, never over 7:00 on the dial for room filling sound. Would attenuated interconnects help give more volume control range or is there a better solution. This is very difficult adjusting at low volumes.
Answer:
I understand your problem in general. What you don’t mention if this occurs when using all inputs, or just one. One issue might be that if you have a phono stage, you might be using MM cartridge into an MC loading. Alternatively you may have a digital device that is giving too high a signal level.
Either way though, the most elegant and least damaging solution (and I have used these myself with a STAX preamp which had oversensitive inputs) are the Rothwell Attenuators. Great value. I cannot sell you any as I’m not a retailer for them, but I do recommend them unhesitatingly based on my direct personal experience. The link supplied here is of relevance, and might be of interest. http://www.tnt-audio.com/accessories/rothwell_e.html

2. The PA2M evolving into the PA2M (SE)
Question:
“Has the PA2 ever existed as a stereo amp in one box and if so, is that the evolution that has led to the PA2M? Also, did the PA2M evolve into the PA2M (SE) - or have all of these been the same and the confusion is that owners don’t know what they have?”
Answer:
The PA2 stereo is bit like the PA1 you have (sonically and power etc.) has not been sold for at least 8 to 9 years. The PA2M (mono amplifiers in one chassis) was first developed in 1995 and was made in to PA2M (SE) about 3 years ago. The SE version came out of PA3 development, i.e. cheaper version of PA3 with two mono amplifiers in one chassis. Some customers want a single chassis, slightly lower quality and a cheaper price compared to PA3. And that’s precisely what they get with a PA2M (SE)

3. Suitable cartridges for an LFD phono stage:
Question:
It is pretty clear that we are both impressed by the products that Richard at LFD has produced. I have auditioned may items which do not seem to match up with LFD within & beyond their price ranges…here is my question. Do you have or have you had the chance to listen to the LFD MMC phono-stage? & if so what Cartridges would you recommend which would work well as i am currently looking to upgrade my phono-stage / cartridge.
My system comprises of LFD pre & Power (updated by Richard) LFD Cables, Transparent Audio cables, Michell Orbe/ SME IV (complete VDH 501 silver cabled), Magneplanar 1.4’s. Looking forward to hearing from you.
Answer:
Yes, I have heard the MMC at a friend’s home. It is a first-rate phono stage. However, whereas LFD amplifiers don’t in my view have many rivals, the recently released PS Audio Phono stage (I’m going to be getting one within the next fortnight) at around £780 (roughly half the price of the LFD MMC) puts the value aspect of the LFD into some question.
On balance, I suspect the LFD will be marginally more natural. My good friend Christopher Breunig (writes for Hi-Fi News) wrote that the PS Audio retrieved more detail than he’d heard previously. But then again, he’d not experienced LFD.
Re cartridges, given that I have used most of it, and even though I don’t sell cartridges, my preference would be for anything from the Dynavector range, possible Benz and possibly the newly released Audio Technica AT OC9.

4. LFD Versus Anatek
Question:
I am in the market for a phono stage, I have narrowed it down to a LFD MC1 or a Anatek MC1 in your view what would be the best choice, cartridge is the Sumiko Pearwood.
Answer:
As you probably know, it’s always my policy to be as truthfully as is possible re audio matters. With this in mind I have to tell you that although I cannot sell you an Anatek, I have heard it in a customer’s system and it sounded very good. Certainly if you can pick one up for a good price you are most unlikely to be disappointed.
Personally though, when it comes to phono stages I’m and LFD man through and through. Despite my Sale-or-Return policy, I’ve never had one returned, other than a customer having traded up to the next LFD level. Additionally, considering the vast (in hi-fi terms) resources of SME it’s interesting to note that they selected Dr. Bews (LFD main man) to build for them a cost-no-object phono stage. In short, all SME’s R&D is and has for some years used the battery-driven LFD phono stage. My guess is that they concluded that he knew as much about vinyl replay credibility as anyone.
There is as you might expect a ‘trickle-down’ in terms of performance all LFD phono stages, both new and pre-owned have the characteristic of tremendous dynamics, noise-free performance and treble sweetness which is almost valve-like. They all have it. the more expensive ones do it better than the less expensive ones.

5. The LFD Anniversary phono stage
Question:
Is it going to appear, ever?
Answer:
The Anniversary phono stage, if Dr. Bews gets around to it – which is doubtful currently – is going to be based on a mains powered version of the LFD battery disc stage. Unfortunately it is going to take a VERY long time to produce anything sonically better than the MCT (or SE version of it) as it is currently, since the these are rather good, i.e. they are the best sounding mains powered phono stages regardless of price.

6. A LFD SACD player?
Question:
Are we likely, in the foreseeable future, to see an LFD SACD and/or DVD-A machine?
Answer:
No. Dr. Bews is only interested in the 2-channel market, small though it is. He takes the view that the uncertainty (format wars) in the market has effectively destroyed the market for very high performing 2-channel digital replay, except for components that offer the capability of decoding both formats. What’s more unfortunate, is that most Audiophiles don’t have any (or only a small amount of) software to take advantage of either SACD or DVD-A.

7. Balanced (XLR) versus single-ended (RCA) at LFD
Question:
What is the LFD view?
Answer:
LFD believe in simplicity, so over-complication should be avoided. Balanced operation has advantages in environments of high noise or where cables have to be very long. Studios are a good example. The domestic environment normally doesn’t require balanced operation from a technical viewpoint. Balanced operation came about, because certain US manufacturers could give some technical bullshit to sell their amplifiers!
Balanced operation invariably adds complication, which can lead to problems, so why make the life of an amplifier more difficult than it needs to be?
It’s difficult to make a simple amplifier sound really good and so doubling the amount of circuitry (as often happens in balanced amplifiers) just makes it more difficult. When LFD amplifiers interface with amplifiers with balanced inputs or outputs, they prefer to use specially designed transformers to convert between single ended and balanced operation. This is simple, but does put demands on the circuitry and the design of the transformer.

8. Digital inputs in LFD amplification
Question:
To date, they have chosen not to build digital inputs into their amplification – even though they built CD players and DACs. Why is this?
Answer:
One has a decision regarding gain control (pot) and input switching, i.e. to perform these functions in the analogue or digital domains. LFD believe that these two functions are best carried out in the analogue domain, since a well designed analogue linestage possess a much lower noise performance compared to the output of a DAC; and also NO analogue source is compromised by its conversion into the digital domain using A/D converters.
Obviously digital sources must be converted into analogue prior to gain control and switching. Our digital to analogue converter switches between 3 digital inputs, so multiple high quality digital sources are catered for. The inclusion of cheap D/A converters in an analogue amplifier would compromise the performance of digital sources to an unacceptable level. It takes a lot of effort, time and money, to manufacture excellent sounding D/A converters.

Dr. Bews talks about the Anniversary Linestage (12/08/09) :
This is what he told me 22/08/09 and is unedited: “The Anniversary Linestage is similar to LS3, but the switching of inputs is simpler and each input is total isolated from each other since the grounds are switched as well as the positive (produces a slight click when inputs are selected, compared to LS3). Also the inputs and 1 and 2 use reference silver wiring. Parts are slightly different. The sound is more open and has more scale with Anniversary linestage.
Anniversary power amplifiers are same as PA3 technically, but parts are different, elna silmic capacitors and more tantalum resistors, etc. ALL wiring is multi diameter silver wiring (even the wire to the electrolytic capacitors!). It is very GRAINFREE, makes other amplifiers sound crude (including my own).
It has a tube type of midrange (good tonal colour and scale), but the bass is defined, which is a big advantage against tube amps. Sometimes you think detail is missing, but is because the grain has been removed.
The Anniversary stereo amplifier is still not available since no back panels yet, they will arrive in about 6 weeks, but the sound is almost there, but not quite. Anniversary Stereo power amplifier (two mono amplifiers in one chassis) will be available in about 8 weeks I imagine. It will be more forward sounding like the PA2M(SE) compared to Anniversary power amplifiers, but will have superior midrange compared to PA2M(SE).”

My observations on the LFD Anniversary series :
I believe it’s fair to say that until the Anniversary series, all other LFD equipment was built to a price. By this I mean that the best possible quality was achieved within the price band and that anything sonically superior to the best that could be achieved within that band moved into the next price band up. In contrast it seems that the Anniversary series has (and continues to be) developed as a cost no object exercise. Or, put differently, these models are the very best that Dr. Bews knows how to build currently, given the level of expertise and the quality of the components available. My guess is that he didn’t have one eye on the price.
Anniversary units are expensive, but not excessively so. The quality of the components including the complex multi-diameter silver wiring is the very best that money can buy. LFD Anniversary models are by no means the most expensive in the world. They are by no means the most expensive in the UK either.
I’m not going to be writing a ‘review’ of the units here. Apart from anything else, I’ve not heard them in familiar surroundings. However what I can do is give you an insight into Dr. Bews’ objectives. My comments here are based on an in-depth face-to-face discussion with him in late July 09.
It’s important I think to get some idea of the words he and I use to describe the sonic performance of audiophile electronics in general and LFD in particular.
One word he and I both use a lot is ‘compelling’. By this we mean the tendency of a piece of equipment to make you want to listen. And by this we mean paying attention to the music rather than having it playing as a background.
Another word we use is ‘lively’. By this we mean that the sound is full of life and energy, being clear, distinct and vivid. For us, and people like us, vivid is a key component of compelling. We doubt if it’s truly possible to have achieve a compelling sound without it being lively. However, we are very mindful that some makers produce equipment which is both brash and bombastic. By this we mean that the music might be ‘translated’ by the amplification into being aggressive – whereas when it was written originally it wasn’t this at all. By bombastic we mean equipment that is designed to sound impressive when in fact properly engineered audiophile amplification should not add that characteristic at all; it should be letting it through (if it’s there in the first place) rather than adding it if it isn’t there already.
I could go on and on (and on) about descriptive terms here, but it’s only of limited value. So I won’t. What I will do though is to try and describe the objectives and achievements of the Anniversary series – in relation to the other LFD models.
Let’s take the word ‘lively’ for example. For most users in most systems, the comparatively modestly priced integrated Zero LE Mk3 (unofficially Mk4) is the most lively in the entire range. It’s part of it’s charm and why it performs so well in demonstrations. It’s not that the other models in the range are slow, or dull or boring. They are none of those. It’s just that, well … the LE Mk3 is very lively. However in comparison to the super-integrated LFD NCSE, it’s a bit light in the bass.
Ordinarily you’d not notice this. The LE Mk3 does have great bass. It’s just not as weighty as the LFD NCSE and in fact not as weighty as the NLE or PA2M (SE) either. However, neither the NLE nor PA2M (SE) are (irrespective of the partnering LFD preamp / linestage) quite as lively as the Zero Mk3. You can see where this is leading can’t you? You’re probably saying, well why can’t he build a unit which is as lively or even livelier than the Zero Mk3 with the bass characteristics of the LFD NCSE? It’s a good question. A very good question in fact and I’ll come back to it shortly.
Next, we come to the crucial area of mid-range neutrality. Coloration is most easily noticed here. All LFD amps pay particular attention to minimising this. All LFD amps have very low mid-range colouration and the PA3 monos monoblocks have less coloration than any of the others. This is what you’d expect given that other than the Anniversary mono amps, the PA3s are LFD’s state-of-the-art offerings.
However the PA3s are not as lively as the Zero Le Mk3. But they are less coloured in the mid. The PA3s have a deep, rich and nicely warm extreme bass, but they don’t sound as fast in the bass as the LFD NCSE. See the problem?
Okay, so where does this take us to? First, Dr. Bews tells me it is very difficult to (for example) combine extreme liveliness with state-of-the-art mid range neutrality. To take another example, deep, solid bass which is both tuneful and tight is in itself hard to achieve and much more so if you want to preserve liveliness too. And that’s before we’ve even consider the effects of pace, rhythm, timing, stereo image, height, perspective, low sound pressure level detail retrieval and tonal consistency across all sound pressure levels. A complex balancing act.
Thus what the Anniversary series seeks to achieve is to combine all the best aspects of every one of the different LFD models in one preamp (linestage), one twin mono (in one chassis) power and one pair of stereo power amps. This has taken literally years to achieve. Both Dr. Bews and I seriously doubt if there is a truly perfect amplifier built by anyone. It might not even be possible. Based on what I’ve heard so far, he’s got as close to anyone in achieving it – via the Anniversary series.

Important news on LFD amplification and Townsend loudspeaker cables :
Here is what I received from Dr Bews regarding a problem that has developed with one of a pair of PA2M power amps which were working perfectly until the owner used some second-hand Townshend Isolda DCT loudspeaker cables.
“I think it could be inappropriate cables, if the sound is there, but interference is also present. If interference is the only output from amplifier, it could be the sound attenuated and distorted, i.e. fuse (quite likely since speaker cable was changed). Also we do not recommend the Townsend speaker cable (old version, without Zobel network), since the old cable was very capacitive and can cause problems of stability. If you want a ribbon type sound (good bass), it’s the geometry of the conductor (see our hybrid ribbon), not the rubbish Max talks about regarding characteristic impedance.” "

DIY Silver Interconnects (updated)

2009-09-10T15:30:00.104+08:00

I view owning music playback systems at home more of a hobby and refrain from spending too excessively on a single piece of equipment or entire system at the expense of other needs. I am a firm believer in cables to extent that cables could make or break a system (although they could not restore what is missing along the chain) but am often reluctant to pay exorbitant high prices of new ones. Although not exactly a miser (and certainly not a cheapskate), I strive for middle path in audio, just like in life, the neither-here-nor-there type of boring guy. Worse, I might even be accused of being a 'sour-grape' ranting now!

A friend contacted me recently, wanting me to lend my ears to evaluate a short 2.5' pair of DIY silver interconnects without preliminaries. I obliged and collected the cables which had already seen some 30 hours of action. Further listening in my main system lent another 20 over hours to them. My past experience with Kimberkable Silver Streak interconnects had me believe that silver cables require more than 200 hours to fully bloom and sound good but the DIY silver interconnects sound pretty decent in my main system that I was reluctant to part with them after their evaluation. My friend has to spare me 10' of the silver wires, 10' Teflon jacket and 5 metre length of WBT 4% silver solder to enable me to DIY my own interconnects. A big thank you goes to Wong!

The silver wire is AWG-24 solidcore of 99.9% purity sourced from a jeweler in US at US$2.50 per ft and the Teflon jacket at US$8.00 per 100 ft. I made use of my 2 new pairs of Neutrik RCA plugs sourced from Farnell during the time when I was assembling my T-amps and my 2.5' (0.75m) pair of DIY interconnects cost me RM120.00 (US$33.00) in total. Highly affordable! See this webpage for the entire story and process which include the polishing of silver cables, inserting them into Teflon tubing and the number of twists recommended so as to rid RFI and minimise capacitance: http://www.laventure.net/tourist/cables.htm

The sound: The DIY silver interconnects replaced the resident vdH First Classic interconnects in my main system which connect Roksan Caspian m-series-1 cdp to Simaudio Moon i3 integrated amplifier. Let me first describe the characteristics of my vdH First full carbon interconnects: their high frequencies are slightly recessed (darker sounding) but extended, image of main vocalist/instrument laidback, thick-sounding with authoritative bass and excellent PRaT. One would usually perceive the cables to be very natural without anything amiss if no direct comparison is carried out. I am in a dilemma as there were times when I simply adore them but loathe them on other occasion; the very reason why they remained in my system until the DIY silver interconnects came along! Substituting them with the DIY silver interconnects revealed a subtle (pronounced when fully broken-in) but audible difference. The highs are slightly more prominent and leaner but I’d certainly not label them as bright sounding, a more forward image and inner details are brought to the fore. Instrument tones and cymbals sound airier, slightly richer and more apparent. Scale of soundstage is huge and deep. Excellent, I love such sonic traits! What about their weaknesses? I thought the proportion of bass to the overall sound and PRaT capability was just a tad lacking if compared to the vdH First full carbon. Cranking up the volume of the amplifier sort of rectified such inadequacies. These could also be attributed by the newness of the DIY silver interconnects which have yet to be properly broken-in as they diminish gradually with more hours being clocked.

As I remember things, my former Kimberkable Silver Streak interconnects fitted with WBT midline RCA connectors sound a lot brighter and took a long time to be tamed. The DIY interconnects which are only terminated with inexpensive Neutrik RCA connectors do not exhibit such unforgiving characteristic and they definitely better the sonics of many more expensive interconnects, some models of vdH interconnects also included. Wong later confided in me that his friend in US prefers these DIY silver interconnects to vdH MC Silver ones. Good things in life are meant to be shared, hence at their mere price of RM120.00, it is a no brainer not to try these interconnects out if you are also seeking for more zest from your system, just like me!

Addendum on 22.09.2009:
The impression on the sonics of DIY silver interconnects above was on my friend's 2.5' pair terminated with Deltron nickel-plated RCA connectors. Mine with Neutrik gold-plated ones exhibit some subtle but discernable differences from the beginning (A-B comparison yet to be conducted at this stage) - slightly lesser highs and more prominence in the low frequency region, possibly sonic traits of my choice of RCA connectors. The slight lack of PRaT and proportion of bass to the overall sound reported earlier turned out to be a non-issue as my interconnects are being broken-in. They actually sound calmer, unhurried and are more relaxed. My DIY silver interconnects are not any brighter-sounding than the conventional copper interconnects, perhaps only a tad more revealing. Truth be told, I'd prefer a slightly brighter balance and am perplexed by this contrasting sound character from my former Kimberkable Silver Streak. It could be due to the single solidcore wire being used for the construction of interconnects instead of multi-strand wires of varying thickness (as less cable surfaces translate to less brightness). Or the very grade of the silver wire itself. I also do not discount the RCA connectors being culprit although I believe that no RCA plug could possibly attribute such a vast difference to the overall tonal character. See footnote below. My pair of interconnects have clocked 50 hours and still counting by Sunday through listening to my collection of CDs with volume level of my amplifier being cranked up higher than usual. It finally struck me that the cables actually sound rather flat and are not as dynamic as my vdH First Classic; the latter cables ideal for low-volume listening during the wee hours into the night or errr… morning. Il Divo's The Promise album when listened through my DIY silver interconnects sounded more resolved with the singers' distinct voices easily discernable and are more coherent but as for Andrea Bocelli's Amore album, my take is on vdH First full carbon, anytime. Conclusion: A pair of great-sounding interconnects for the price of a steal, almost. Their suitability of use in our system is dependant upon the type of music we listen to and how we like our system to sound. If we are seeking for absolute tonal balance and timbre over dynamism in music, getting a pair of silver interconnects is a way towards achieving the goal. Your take, really! Do also check out this webpage: http://www.venhaus1.com/diysilverinterconnects.html where importance on the use of high-purity silver wires and good RCA connectors is stressed.

Addendum on 03.10.2009:
Wong and I finally performed a shoot-off between the 3 pairs of DIY silver interconnects terminated with different RCA plugs on Friday evening after work. They were also compared against vdH First Classic, again. The outcome? we heard no audible difference between the 3 pairs of silver interconnects apart from the shorter 2.5' pairs sounding slightly more immediate than the 5.0' pair terminated with Canare F10 gold-plated RCA plugs. So there is no difference with more expensive RCA plugs? Maybe there is, but Wong and I did not hear it, probably due to my system being not transparent enough to reveal them. Having said that, I am not prepared to spend RM700 worth of RCA plugs on wires costing only RM100!

The subtle differences between the DIY silver interconnects and vdH First Classic I reported earlier turned out not so subtle after the former cables have clocked more than 100 hours. The sonic differences were actually very apparent with biggest distinction between them being there is more energy to lower treble/upper mid region in the silver interconnects whereas vdH First Classic exhibit more energy in the lower mid/upper bass region. With silver interconnects, one would be transported to the front row, centre seat of a live performance (without use of microphone as observed by Wong) and acoustic/string instruments such as piano, violin, guzheng, pipa sound more real. There was also more air to the sound and the whole presentation was relaxed, unrushed but just a tad slower. I opine that my system sounded more natural and 'accurate'. Wong loves them a lot. So do I but as the characteristics of these interconnects are mutually exclusive from those of vdH First Classic, my personal preference is the latter interconnects as they are more dynamic, more incisive rhythmic drive and more coherrent – very Naim-like but minus the brightness and the upper frequencies' harshness. I also thought Diana Krall Trio sound more musical, rhythmic and less 'noisy' through the vdH First Classic than the silver interconnects. Music could be played very loud or softly without distortion (noisiness) or missing the inner micro dynamics respectively!

Footnote:
Silver vs Copper from Dr Richard Bews (LFD)'s point of view which probably explains the sound I was hearing with the DIY silver interconnects:

"Pure silver is a better conductor than pure copper as it possesses greater purity and transparency but poor quality silver often sounds a lot worse than poor quality copper. Choose a very pure silver cable and make sure that the crystal structure is defined and not distorted by the mechanical processes used to form the strands. In general, continuous cast silver of at least 5 nines pure are preferred but I don't believe purity of the silver (or copper) beyond 6 nines pure has any benefit.

General experimentation, listening tests, shows that a given diameter of silver or copper has a subjective "frequency response". Unfortunately I’ve no technical explanation of why this appears to occur, except that the electromagnetic radial field structure that gives rise to skin effect within the conductor when a current flow, may be responsible. The subjective "frequency response" of a conductor is tilted towards the low frequencies as the diameter increases. This is why certain diameters are chosen for single strand cables; i.e. for interconnects around 0.6 mm diameter for copper and 0.9 mm diameter for silver. I must emphasis that the dielectric surrounding the conductors, the material used for the outer jacket and exact crystal structure of the conductor’s influence the sound as well.

Through subjective evaluation, I've established that when many single strand conductors of the SAME diameter are put together to form a multistrand cable, the subjective frequency response is widened relative to the frequency response of the single strand. This would suggest that multistrand cables are therefore more preferable to single strand cables, However, I've not talked about the subjective "time response" of single or a multistrand cable. Unfortunately it appears that a single strand cable seems to "ring" at a particular frequency (related to its diameter) and has a fast decay. Whereas multistrand cables on the other hand, again "rings" at a particular frequency (related to the diameter of the strands), but the ringing is much longer in duration.

I believe that neither cable solution is correct, since the fast decay of single strands tends to lead to subjective comments like: tight, fast sound, but not rich or warm. Whereas a multistrand cable can often sound: warm, slow with some smearing. I must point out that copper is much easier to work with, since its subjective "frequency response" is wider than that of silver for comparable single strand conductors. That is why many silver cables appear to sound not quite right, sometimes they might be a little bright or coloured. "

Tsai Chin's new album release

2009-08-25T21:30:00.057+08:00

The latest new album (爱像一首歌) of Tsai Chin (蔡琴) or Cai Qin in simplified Chinese, is available in CD+DVD packs in music outlets throughout Klang Valley since last Saturday. The album encompasses the rearranged 'Prayers' (祈祷) that I blogged about sometime in May this year and are offered in 3 different variants and prices – locally pressed CD, Germany pressed CD or Japan pressed 24K gold limited edition CD.

Tsai Chin started her singing career circa 1979 after winning a singing competition with her rendition of 恰似你的溫柔 in her unique low pitch during an era that is dominated by female vocals in high pitch and she became an instant icon with audiophiles who are into Mandarin songs since then. This time around, Universal Music must have chosen the theme and the rest of songs for this album to complement 'Prayers' as the songs are from Taiwan's 校园民摇风 era in the 80s where simplicity and nature rule. Such songs were usually accompanied only by either a guitar and/or harmonica in the past.

I bought the 24K gold LE CD which is purportedly pressed in Japan (Hmmm... could this be just a marketing ploy as Hong Kong is known to make excellent sounding 24K gold CDs in the past?) and am of opinion that the particular CD is overly done as it sounds way too smooth and tried to emulate the LPCD sound. I love the 'Prayers' though and find it excellent (clarity and tonal balance are superb) especially the backing vocals and the sheer dynamics of the song peaking. The same, however, could not be said of the rest of the newly rearranged songs as Tsai Chin, at her present age, could probably be already 'over the hill' to sing many of them now. Just compare them to those from her older albums and you will get my drift! Some may disagree with me and are definitely entitled to their opinion as "To Each His Own"!

Addendum on 03.10.2009:
I may have been quite critical of Tsai Chin's latest album; this is not without reason for I have been a fan of her since the early nineties and currently own 2 LPs and 7 CDs of her albums including the latest. I have even attended her concert in 2007 after hearing her self-proclamation to be the Chinese version of Frank Sinatra, Barbra Streisand and the likes. Perhaps she was but clearly she no longer sound like one in her latest album!
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Musical Fidelity V-DAC

2009-08-06T23:56:00.056+08:00

Different people tend to listen to different genre of music with different gears altogether; some do so with computers, some with DVD or Blu-ray players they watch movies with, some with iPods / squeezebox / multimedia hardisks whereas some to conventional hifi systems. The only aspect most listeners share being medium is inevitably digital and it requires a digital-analogue-converter to convert the digital bits into analogue sound waves which are audible by our ears. Most of the gears mentioned above come fitted with an inbuilt DAC but their sonic quality could always be bettered by addition of a good external unit.

The Musical Fidelity V-DAC is one of such external DAC and is highly affordable, small in size and offers a true 24bits/192kHz upsampling via coax, optical and USB inputs. It is part of Musical Fidelity's recently launched V-series products ("V" stands for VALUE) offering superb performance at modest prices by slashing costs of non-functional parts (fancy metalwork, thick face plates and lavish packaging) and concentrates on functional electronics beneath the modest package. The V-DAC uses a Burr Brown 1792 chip, a SRC4392 upsampling chip and a Texas Instruments TI2706 chip for USB users, all relatively decent chips. The V-DAC does not have any front panel but inputs at one end and outputs at the other which has the profound effect on cost saving and attains a shorter signal path in the internal layout of PCB. It is also claimed to be a technically accurate and has virtually perfect frequency responses (+0.3dB 20Hz – 20 kHz) which translates to excellent sonics.

The V-DAC is claimed to uplift the performance of entry level CD players into high-end territory although it should not be expected to work miracles and improve upon digital signals that are already poor to begin with but it should render them more tolerable to our ears. Music files such as WAV, AIFF or FLAC formats in computers passing through the V-DAC are claimed to sound better than the original CDs these files are ripped from whereas MP3 files done at bit rate of 320kbps were found not too bad sounding altogether. How interesting! I must buy an unit to try out myself and I actually did just that before the last weekend (This is my second V-series component, my first being the V-LPS which I like a lot). My initial impression of the V-DAC after connecting it with a 2.0m unbranded optical cable to my bedroom system comprising of Sansui CD-X310 cdp, TA2024 T-amp and Pioneer Pure-malts loudspeakers is a slightly thicker, meatier and weightier sound. I shall post further update on its sonics in due course. The main competitor of the V-DAC is Cambridge Audio DacMagic which I personally find its sonics a mite too clean and clinical. A review on the V-DAC plus comments by readers could accessed here: http://www.avguide.com/blog/the-little-dac-could. Forum with balanced comments by owners of the V-DAC: http://www.head-fi.org/forums/f7/musical-fidelity-v-dac-owners-391721/

A downloaded picture showing internal of the V-DAC

I favour simplicity and having minimal box count in my system; my newly acquired V-DAC is an antithesis of such belief, though. I had already in the past taken the route of dedicated CD transport-external DAC and am against trotting the same path again (I owned the Enlightened Audio Designs T-1000 CD transport, Theta Progeny-A DAC, Theta TLC anti-jitter box and Theta dedicated PSU for Theta TLC previously). Until now, of course! The V-DAC is not immediately meant for my main system for I definitely am in need of a dedicated CD transport for it to better and eventually replace my Roksan m-series1 cdp. On the other hand, I do look forward to having it in my main system so that I could build a common 12V DC PSU to power it and my V-LPS phono stage together and thus saving the costs of duplication.

It is quite apparent to those who follow my blog that I personally prefer the sound of vinyl LP playback to that of CDs. A personal friend and former colleague (GM of company that I was the Accountant) who visited me last Saturday had listened to both mediums in my system concurs with me. He is a keen music lover but was never into vinyl LP playback confided in me later that LPs "sound very alive, direct and exhibit a high level of realism as opposed to the ever cautious and trying-to-be-perfect sound of CDs". He also pointed out that he did not detect any of the surface noises usually associated with LP playback in my system. I beamed in pride and explained what I already knew to him. I would surely procure more LPs but not CDs and envisage LPs to be my main source of music. The music I already owned in CDs may be ripped into lossless compression formats stored in either a multimedia hardisk, squeezebox or perhaps even an iPod matched with the highly acclaimed Wadia 170 iTransport (iPod dock). See excerpt of the latter's rave reviews here: http://www.musicdirect.com/product/82178. And perhaps this is how V-DAC could justify its existence in my main system later. If the plan does not materialize, I could always fall back to acquiring a dedicated CD transport from 47Labs or its likes. Or back it goes to my bedroom system again. The V-DAC is really that versatile!

For those who are keen in acquiring the Musical Fidelity V-DAC, please contact Mr Tony Lee of LTB Enterprise (local distributor) at 019-338 8577.

Addendum on 10.08.2009:
My Musical Fidelity V-DAC is a brand new unit. Fresh out of its blister pack, it already sounds quite impressive although absolute airiness was slightly lacking. The review on its sonics detailed here is after some 16 hours of playing music. First of all, I dispel notion that its PRaT capability is poor in the review by UK's What Hifi. Far from it, I thought it sounds extremely rhythmic (I could no longer tolerate slow-sounding equipments lacking in PRaT no matter how well they sound in other areas nowadays. The driving force and rhythmic thrust propelling music forward and thus attracting us to keep on listening and tap our toes is of utmost importance to me). My V-DAC is being powered by the 500mA 12V DC wall-wart PSU bundled. It fills more flesh to bones of music than the inbuilt DAC in my NOS Sansui CD-X310 cdp and sounds slightly fuller yet tonally rich, and less lean than before. There are more extensions to both the top and bottom frequencies with the V-DAC, more so for the latter. It also lent a powerful bass weight to the overall sound. The top of V-DAC metal casing feels warm to touch, although not overly so which leads me to think that it actually requires more current than that provided by the 500mA 12V DC wall-wart PSU. A dedicated regulated PSU unit from a toroidal transformer capable of at least 3A plus a more decent 75Ω coax cable should bring about some further improvement to its sound. My initial impression on the looks factor of the V-DAC which has no front panel but only inputs at one end and outputs at the other is that it is a plain old Jane but it later endeared to me as being more practical and really more functional than having form, especially if we were to connect it to our computers. The sound emanated through the DAC has a certain rightness which will grow on us. It certainly did so to me. Verdict: A truly musical sounding equipment yet so affordable from Musical Fidelity!
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KLIAV Show 2009

2009-07-28T15:53:00.041+08:00

This is the sole annual HiFi show in town held in J.W. Marriot during the last weekend of July (gone were the days when we also have the AV Fest organized by the folks at Star publications); this year's event was held from 24th till 26th July 2009. I am a confirmed workaholic who spends significantly long hours at work throughout the year but comes KLIAV show, I'll be there on the first day on Friday itself with friends and a colleague after lunch. A not-too-inexpensive sumptuous lunch is on me, as usual. This year, Jerry joined Adrian (brought along his junior), Lai (only joined us since last year) and me in attending the show.

I shall not attempt to report on the show which is not my intent in the first place but instead mention items or rooms that caught my attention. First, there is the Marantz KI Pearl CDP in anodized black being showcased at Wo Kee Hong room at list price (or was it actually R.R.P.?) of RM11,550. It sure looks and feels substantial in weight. Exorbitant price? You decide but net prices of Marantz products by the dealers are only a fraction of their list prices and this is amongst the few limited units of extremely fine-sounding CDP allocated for Malaysia. A rare gem indeed as far as I am concerned!

Next, there is the AVP Soundcraft room, the current distributor of Simaudio equipments from Singapore. I did not even sit down to listen but felt the sound emanated from the Simaudio power amplifiers to be extremely powerful and high in PRaT delivery yet so refined (I am having a discontinued baby Simaudio Moon i3 integrated amplifier at home myself). I bumped into Panzer of desirableaudio blogspot there enquiring on the Moon LP5.3 phono stage and later Wong and his friend at the 4th floor where music software are sold. I was told Hifikaki would be attending the show the following day.

IMO, the other rooms with better sonics are RAVE Audio with Gryphon amplifiers and Audio Perfectionist with McIntosh amplifiers although I did not stay to listen long enough as time is scarce and I wanted to cover the entire show leaving enough time to shop for music software. I tried hard to like the new Krell S-300i integrated amplifier setup in Norman Audio room but had to concede that its sound, although powerful, was somehow coarse. As usual, I also bumped into personal friends who possess such high enthusiasm in audio playback and these include Peter, Lee and Arthur this year but failed to meet up with Lim whom I corresponded through e-mail shortly prior to the show and Chan who sms-ed me on Sunday.

The biggest attraction to my group of friends and I (with exception of Jerry) is the music software on sale so much so that Lai went back the following day to procure more CDs, so I was told. He left early on the first day as he did not want to miss his weekly badminton session. Hah! If only he was so enthusiastic in work matters! I picked up 2 CDs and 2 vinyl LPs for RM190 in total. The CDs are Hong Shao Xuan (洪邵轩), a Singaporean male artiste from the era of Eric Moo (巫啟賢) and Singapore folk songs (新谣) (I still have my "明天 21" cassette up to now), singing popular Chinese hit songs from 1950–1980 in a serially-numbered limited edition CD (only 1,000 copies made) direct from its master tape by Pisu-18 Studio and Yamaha's Jazz - Hollywood Elegance. Hong's vocal prowess is superb, the way he renders the songs fantastic and the CD's great sonics render the CD a rare find indeed! I had initially thought it sounded very analogue in my system but upon closer scrutiny during countless later listening sessions, I'd pronounce it as digital but minus the digital nasties and one of the better digital recording done very right. The songs I like best from the CD thus far are track Nos. (1) 梦湖, (3) 不了情, (5) 月光小夜曲 and (7) 庭院深深. The LPs are Diana Krall's new and 12th album – Quiet Nights and Crystal Gayle's Miss the Mississippi (1979). I love the entire music software I acquired at the show - a good mix of old and new numbers!

The audiophile in me

2009-07-13T17:58:00.045+08:00

Am I really a music lover first instead of an outright audiophile as ascribed by me in my earlier blog posting? I'd certainly like to believe so although I must admit that I love exploring different audio equipments and had already spent a not-too-meagre fraction of my hard earned money on them. I have changed audio equipments numerous times over (it's not how much my present system costs but rather how much was actually lost in the process of changing gears) and up to this very moment, although I am quite contented with my existing ones, I wouldn't discount off not replacing at least a component or two in the near foreseeable future. This problem is compounded by fact that I tend to get excited rather easily over audio equipments be it the sonic quality, looks or perceived value for money and not helped by my increasing interest in vinyl playback which I only ventured into few years back.

IMO, my present audio system sounds quite musical and engaging which could be listened to for a long period although it may not be the most transparent, highly-resolved, tonally superior and whatnot. To me, a musical system must not attempt to curtail our music tastes and dictates what we should listen to but instead connect us to all aspects of any performance in various genres of music and enables us to feel recharged after listening (for music nourishes our souls) especially after a stressful day at work. It should also be quite balanced in term of muscularity (yang) vs. femininity (yin). When we setup our system in a dedicated sound room, the tendency is we'd seek details and transparency as the lower frequencies are well-contained in the room. As my system resides in the open living area, I opt for fullness to the lower midrange and bass weight which represents the foundation to music. This is an acquired taste (of which not everyone may concur) and explains why I love vdH cables a lot.

Spot-on timing is paramount. Music is a melodious expression of emotion and when we listen to live music, we tend to get connected with these expressions (the melody from its relationship to notes and beats) as musicians there synchronize in time; the more they satisfied or exceeded our emotional thresholds and the better we would feel thereafter. When we listen to recorded music at home, all frequencies ought to reach us without any fluctuation in timing so we could enjoy them. Our system must be capable of sounding fast and slow enough when music demand for such contrasting speeds in timing; reason why I strive for PRaT excellence. I found an interesting interpretation of PRaT online: "PRaT is commonly associated with the toe tapping. Some seem to equate PRaT as the equivalent of dynamic swing which contributes to musical climax, but it is actually more than that. The progression of a musical note can be roughly seen as comprising three elements: the initial attack, the main thrust, and the subsequent decay. Audio equipments with good PRaT capability get the correlation of the three elements in correct proportion, and contribute to the involvement and pleasure when we listen to music. Some have opined that single-ended audio equipment generally has better PRaT than push-pull counterparts. I tend to agree. That makes PRaT the more elusive factor in audio is largely the situation that all elements could be there, and therefore nothing seem missing, but they are not in the right proportion to one another. When this happen, audiophiles may detect something not right about the presentation, but the exact "what's wrong" may well elude them. For example, when the initial attack of the musical note is de-emphasized, music may seem lifeless or sluggish. Conversely, when the decay of a music note is not given its due, music may seem fleeting, dry or tense. On first listening, every part of the musical note seem to be present, only after careful audition does it become apparent that something is not right with the presentation. I have not read this, but my search of the "textbook definition" has lead me to the following long article by Martin Colloms on the subject: http://www.hificritic.com/downloads/Archive_A7.pdf"

When one first embarked upon the audio journey, he or she would tend to seek power adequacy, centre imaging, soundstage size (width, height and depth), resolve and absolute clarity, timbre and tonal balance, analogue sounding, midrange liquidity and tone richness, PRaT and other sonic qualities. I am no different and have paid not too insignificant amount of "tuition fees" to get to where I am today. The equipments I'd part my hard earned money nowadays must be "Jack of all trades" to sound acceptably good in all areas. To demand for more, one must be prepared to spend silly money for "Law of Diminishing Return" would kick in and be very applicable. I have also mellowed down significantly over the years and my present day motto is to ENJOY THE MUSIC instead of continuing the elusive search for the perfect sounding equipments.

I'm not here to boast that I already owned the best-sounding equipments nor they are giant killers as it's without any doubt that there are so many better-engineered and finer-sounding equipments available out there, many of which I'd love to own if affordability is not really an issue. Many of us love giant-killers but the big question here is, is there really one in the first place? The adage of "we get monkeys if we only pay peanuts" rings very true indeed even in hifi. For instance, I recently heard a Tom Evans Groove+ phonostage and I fully concur with claims like: "faint nuance and details are brought into a high resolution focus" and "you have really not heard what is on your records". It's that good but its price is a deterrent to many would-be buyers. Me? It's surely tempting but at this juncture, I'd try to convince myself that the money could be better spent on my son's quality tertiary education few years down the road or towards paying off my housing mortgage.

From my observations, I notice that many audiophile folks do spend a sizeable amount on cables, footers and other sound-tweaking accessories to fine tune their systems apart from their main equipments on one extreme end. I always advocate in getting the basics right and do not subscribe to such acts as I thought many of these gadgets are under-engineered and overpriced. IMO, these folks are in for a rude awakening if one fine day they were to remove every single accessory and just site their equipments directly on our solid Malaysian home floorings! On the other extreme end, there are few electronic-inclined folks who must equate science to system building and claim that our hearings are flawed and not to be trusted. I do not buy such logic at all. System building is a dynamic process and continuous improvement is never static. It's ongoing and enjoyable and we should be having fun ourselves!

I embraced the vinyl LP playback not too long ago and the sound quality from this medium has never fail to amaze me since. After having gotten accustomed to the analogue sound, I now find the CDs sound clinical and sterile, not organic enough and rather 'predictable'. I strongly feel that a newcomer like me must not be a miser but is willing to spend on both the hardware and software to enjoy this analogue medium in the digital era. What have I been listening to lately? I picked up 8 LPs within the first week of July itself with all of them either brand-new reissues, sealed NOS copies or in mint and hardly-played condition. They are Belafonte Live at Carnegie Hall, Brahms Piano Concerto No. 2 - Emil Gilels/Fritz Reiner/Chicago Symphony Orchestra, Walton Facade - Suites from Orchestra / Lecocq Mamzelle Angot - Suite for the Ballet, 曾庆瑜 - 誰會想你, 銀霞 - 你那好冷的小手 (第三張專輯), 銀霞 - 蝸牛與黃鸝鳥 (backed by 旅行者三重唱), 陈慧娴 - 花店 (1985) and 邝美云 - 再坐一会.

Anyone who is keen to walk down memory lane or in picking up some great-sounding but very scarce Chinese NOS vinyl LPs should visit Nova Hifi S/B located at No. D-9-1 Jaya One, PJ or call Mr MK Lai at 019-222 6129.
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Fu Qiong Yin (符瓊音)

2009-06-27T23:54:00.015+08:00

I am presently in the midst of some last minute push to meet a deadline in work commitments. The end result is time is so scarce that I could not update my blog proper but still want to share this:

Fu Qiong Yin (符瓊音), a Malaysian lass who won singing competitions in Malaysia and Hong Kong (2005年 TVB8 全球華人新秀歌唱大賽) apart from being the second place winner of Super Idol 2 (超級偶像 2) in Taiwan has just released her debut album entitled 粉紅色點唱機 on 5 June 2009 comprising of popular hit songs in the eighties, namely:
01. 我是不是你最疼愛的人, 原唱：潘越雲
02. 留不住的故事, 原唱：黃鶯鶯
03. 酒干倘賣無, 原唱：蘇芮
04. 逝去的愛, 原唱：歐陽菲菲
05. 海海人生, 原唱：陳盈潔
06. 夢醒時分, 原唱：陳淑樺
07. Saving all my love, original singer: Whitney Houston
08. The way we were, original singer: Barbara Streisand
09. Stupid cupid (duet with mom), original singer: Connie Francis
10. The rose, original singer: Bette Midler
11. Hero, original singer: Mariah Carey
12. My heart will go on, original singer: Celine Dion

I heard her first and seventh songs through the local 988 radio station and thought that she does possess a powerful voice and sounds splendid and is as good if not better than the original singer, Michelle Pan for the first song. I would definitely pick up a copy of this CD which I believe has yet to land on our shores.

Enjoy the Music & some Music

2009-06-04T20:09:00.111+08:00

I constantly remind myself that I am first-and-foremost a music lover and then only an audiophile. I love listening to music from young and music is in my blood by now. I'd listen to music (encompass songs) for their musical content and most of times from the very first track till the last on CDs/LPs rather than selectively or to how well they sound (it's ideal to have both). I could listen to a newly acquired CD several times over in a single day and would have done the same with LPs if not for the fear that it will prematurely wear them out. A LP must be rested for at least 6 hours before its next subsequent play. I also enjoy mainstream pop music rendered by Neil Diamond, Celine Dion, Michael Buble, Il Divo and a couple of others, hence my main system must not be too revealing to the extent of being unforgiving and unable to playback music by these artistes. Most of the mainstream pop CDs, especially those pressed in Malaysia, are overly equalized, bright sounding or become unbearably noisy during passages where multiple voices or instruments overlap with one another. I tame the brightness of my CD playback with a pair of vdH First full carbon interconnects but they also cut out substantially the micro details and immediacies (sonic traits sought after by audiophiles) at the same time. It's a dilemma to me and I had mentioned this often enough. The PRaT capability of my main system is beyond reproach though.

As I look as things, we do require a fairly decent system for music enjoyment. Not necessarily be too highly priced but it ought to be carefully matched and synergized with well designed equipments where any listener (requires no "golden ear") could tell the difference between mediocre and excellent sound quality. The better the quality of music reproduction simply means the better connected we are to the music.

I had recently picked up a A2HD2 (new mastering technique by Rain Forest Studio, China; its details here: http://rfs.21hifi.com/htm/review/040625/412.htm) CD entitled Lily - Voice (好声音 - 陈洁丽), a compilation album from her previous 5 studio albums. Played through my highly-revealing and transparent 10W T-amp and Pioneer pure-malts system, the CD sounds spacious, with lots of micro details but way too bright for comfort. In my main system, it sounds much better and reasonably detailed enough. I find the mastering of this CD excellent but the music (the way she renders the songs) sluggish and utterly boring.

I'd hunt for CDs/LPs that I love to listen; an example being Chen Ming-Shao (陈明韶)'s 浮云游子 album, her second and released way back in 1980 when I was in Form 3. I literally grew up listening to this album on a 8 tracks cartridge (transferred from a LP) and knew every single song very well. I bought her compilation CD with songs from both her albums in year 2000 when it was released but had somehow felt its sonics merely acceptable and hoped to own the original LP instead. The continuous search and long wait finally paid off as I have just picked up an unplayed NOS copy of this LP with 12 songs. Their titles are: <浮云游子>, <老人与海>, <龙龙的笑>, <我思我盼>, <桂香飘来的路上>, <轻问>, <偶遇的女孩>, <小木船.>, < 你爱听的一首歌>, <秋旅>, <惜> and <落潮>.
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For Chinese pop songs, I personally prefer those sang by Taiwanese artistes (each is distinctly different and unique) over those who hail from Mainland China which I thought are mere copy-cats with a monotonous and uninspired style of singing although many do possess great voice. For singers/performers from Mainland China, I am of opinion that we should listen to what they truly excel in – the traditional songs backed by traditional instruments such as erhu, guzheng, pipa and others. A great album to own, jointly mastered by Doug Sax and available in made-in-Germany LP and XRCD2, is Ling Ge (伶歌) a.k.a. The Song of Songs. The album sounds rich, spacious and with a well defined soundstage. For those who read the Chinese language, a brief introduction on this album in Chinese language (traditional) is appended below:

"「伶」是中國古代對於歌者的稱呼，「伶歌」則是歌與樂的結合。瑞鳴音樂 2008 年的大製作「伶歌」邀集「非物資文化遺產」京劇傳承人關棟天、京劇老生泰斗于魁智兩位當今京劇界聲名最隆的「南關北于」首次攜手獻聲，更有名淨孟廣祿一聲裂石驚霄漢、程派著名青衣劉桂娟繞指柔克百煉鋼，及京韻大鼓名家馮欣蕊和被譽為「百年難遇」的京劇小神童陶陽傾情獻唱。「伶歌」所動員的器樂演奏陣容更是驚人，張強的紫]拂動歷史、戴亞的笛簫洞穿時空、趙家珍攜千年古琴雅意絕倫、常靜將一副箏撥出了萬古情愁，愛樂與國交兩大頂級交響樂團更是使出渾身解數，動情演出。

整張專輯十首曲目都是中國古典文學尚品與各家戲曲的著名橋段。李白《將進酒》中的深沈吶喊、《江河水》中大提琴、洞簫與老生泰斗的抑揚聲線交織、《梅花三弄》西方小提琴與中國古琴奇妙對比、《憫農》的琅琅童音、《蘇武牧羊》的滄桑深邃、到岳飛《滿江紅》的中國大鼓與西洋大鼓對話，每一首均是以結合文學、戲曲與說唱藝術的中國經典文化為主體，再融入西方音樂的形式與元素，將流傳千載的今古傳奇，化為這張獨一無二的「伶歌」。

迴腸盪氣就聽這張『伶歌』！音響論壇主編劉名振：「本專輯巧妙將西方交響樂團與東方樂器、演唱結合得不露痕跡，流暢至極，一點沒有勉強與不和諧之處。演唱的名角表現精彩至極，無論是老生、旦角、童聲都充滿了表情，將這些中國名詞或名曲詮釋得淋漓盡致。」"

Addendum on 11.06.2009:
My blog is nothing more than a personal electronic journal to me; it jots down how I feel and view certain music and equipments to play them. I do read my own postings from time to time and would add-on or correct the grammar mistakes spotted without altering their main thrusts.

Lately, I was privileged to have been invited to listen to a few systems more exotic and cost a few fold my own system. I could only drool. I was even lent a pair of interconnects to try out in my system and had initially found them exhibiting greater clarity, tonal balance and presence than my yet-to-fully-run-in vdH Thunderline but after prolonged listening, I began to notice that they are a little too forward-sounding and attention-grabbing. There was also some mild lift in upper midrange and they lacked the fullness in lower midrange and the more relaxing characteristic of my vdH Thunderline. The irony is, I actually owned a pair of the same interconnects somewhere in my storeroom. Hah!

In concluding, the moral of this posting is... ENJOY THE MUSIC!

Rega P5 turntable revisited

2009-05-24T14:31:00.261+08:00

I had blogged on my Rega P5 turntable recently. It was more on the excitement and a certain degree of unsureness over its acquisition, set-up by a first timer (and that's me), sound quality in general, addition of some third party upgrade parts and how the acrylic platter transformed the sound. This is a follow-up, zeroing into the subject of subplatter and other areas omitted earlier.

What's in a Rega turntable? Having lived with a P5 for 7 months by now, I find it downright simple with minimal parts count and build quality rather basic. I'd rate it as musical sounding though, especially its rhythmic flow and ebb of music which inadvertently set listeners' feet to start tapping and the bringing out of air guitar from nowhere into play. There are many other turntables out there capable of sounding more accurate, dynamic and three-dimensional than the Regas but most are either not musical enough or beyond my reach. A review on both P5 and P7: http://www.stereophile.com/turntables/1204rega/ and a forum discussion on Rega P5: http://www.zerogain.com/forum/showthread.php?t=7041&page=1&pp=15

Rega turntables are deliberately tuned to run slightly faster to attain the famous British rhythmic bounce which is not only highly addictive but renders listening a pure joy although Roy Gandy purportedly denies such allegation. In my opinion, the subplatter (the small flywheel beneath its main platter that holds the belt from motor pulley) in a P5 and lesser models which is cast from mold and made of phenolic (definition here: http://www.wisegeek.com/what-is-phenolic.htm) is the weakest link and has 2 obvious imperfections. Firstly, it is not perfectly round and attributed to higher 'wows & flutters', thereby affecting pitch stability. Secondly, its diameter is a tad smaller and caused speed (measurable by stroboscope and light at certain frequency) to run faster than 33 1/3 and 45 r.p.m. and compromises focus/absolute clarity. See footnote below. The subplatter in P7 and P9 is made of aluminium alloy and a perfect round; its exact diameter not known but I suspect it is same as the phenolic unit in lesser models. Rega hides the slight lack-of-focus with their selection of material for their platters, ie. glass for P3-24 and P5 whereas ceramics for P7 and P9. Both these materials share some common sonic traits – they ring, emanate a bright and pitchy sound and require damping with felt mats; they also tend to emphasize more on the mid bass and this complements the British pop and rock music well. Rega's apparent lack of enthusiasm in vertical tracking angle adjustment could probably be interrelated, as lower VTA translates to the suppressing of excessive brightness.

The tonearm fitted to P5 is RB700, an identical tonearm as the much acclaimed RB300 but finished in silver colour, fitted with tighter tolerance bearings internally and needs to be three-point mounted. Its design is again basic and would benefit from upgrades like counterweight replacement and/or Incognito rewiring to further enhance its performance. Many third-party companies produce replacement counterweights with each offering a different design philosophy, fit 'n' finish and attention-to-construction detail. I replaced the stock stainless steel counterweight with Michell TecnoWeight, a well crafted and reputed to be the best of the lot counterweight - its centre of mass at stylus level improves tracking and minimizes stylus/record wear (I also found the RB700 tonearm more sophisticated). Its use requires the disabling of spring-loaded vertical tracking mechanism of Rega tonearms and enables accuracy of 1/10th gram adjustment in VTF. Audible improvements include better extension to both frequency extremes and a better defined three dimensional soundstage. Full details here: http://www.vinylengine.com/michell-tecnoweight.shtml

I also replaced the stock glass platter and mat with a 24mm thick acrylic platter sourced from Deutschland. What I heard with it are detailed in full in my posting on Analogue Source - Rega P5 turntable. Another obvious benefit unrelated to sonics is that my newly cleaned records would remain clean with no mat around. Do allow me to enthuse on my use of a 190g acrylic record puck instead. I had been rather lazy all these while and the truth is I hardly make use of any of my three different record weight/puck/clamp (a made-in-USA Locus Design 340g stainless steel BasiClamp record weight (subsequently sold to a hifi acquaintance), a made-in-Germany Delta Device 190g acrylic record puck and a made-in-England Michell record clamp). The primary purpose of a record weight/puck/clamp is to flatten warped records by coupling them to the platter and this minimizes mistracking and prevents the damaging subsonic rumbles (the gyration of loudspeaker woofers when warped records are played). Some listening sessions lately with the 190g acrylic record puck reveal a subtle but real enhancement to sound – a darker background, less graininess with instruments sounding more vivid and palpable apart from the sound of being dampened – fuller, weightier and reduced sibilance; more of the "on steroid effect" akin to switching from a 16 bits normal CD to a 20 bits XRCD. Its downside is a slight loss to pace, rhythm and timing; and perhaps this could be reason why Rega does not encourage the use of any record weight/puck/clamp on its turntables. An interesting read on use of medium weight record clamp: http://www.soundfountain.com/amb/puck.html

A transparent dust cover is supplied with every Rega turntable; its use is what its name suggests, ie. to keep dust away but its presence on the turntable could adversely affect the sonics from vibrations induced thereof. See excerpt of the review of P7 in HiFi Critic of UK which confirms this: "Straight out of the box. P7 (fitted with Exact MM cartridge) stepped in at 47 marks. ……. Everything was 'good', not remarkably so, just well ordered, stable confident, easy on the ear and on the mind. Bass was quite tuneful and flowing; low bass was a mite lean. The stereo soundstage was stable, well focused and with good image width and depth. Treble was sweet and notably tidy. The Rega P7 would certainly have passed muster with the moderately priced Exact, but the 10X5 further confirmed its credentials. Installing the Dynavector cartridge led to a mildly rougher sounding treble than with the Exact, but the unmistakable improvement in bass crispness, overall dynamics and front to back clarity of the more costly MC cartridge was quite apparent, resulting in a gain of 8 marks. A decent test score of 55 was awarded with no dissent, but installing the lid (operated closed) resulted in a 12 point drop to 43 marks, in our view."

The subplatter is an integral part of Rega turntables and affects how they sound; the phenolic unit in a P5 and lesser models is clearly a compromise. The solution would be to replace it with a precision machined third party subplatter. At present, Groovetracer™ seems to offer the best 3-piece-assembly subplatter with the main hub machined from 6061-T6 aluminum, its bearing axle is hardened RC62 ground steel and the record spindle machined and polished from stainless steel. The benefits, extracted from Groovetracer's website, include lower coefficient of friction between the bearing surfaces and minimizes vibration for a lower noise floor, the record spindle is decoupled from the bearing axle to further reduce vibration transfer to the playing surface, three point Delrin interface in Reference model between the subplatter and platter ensures positive contact and also minimizes vibration transfer, 0.001"or better concentricity between the axle and hub offers vast improvement in pitch control, and extended length record spindle (14mm) permits the use of clamps like my Michell record clamp.

My Groovetracer Reference subplatter arrived from the States in immaculate condition on 28.05.2009. It was double-boxed and well cushioned by small pieces of polystyrene inside both boxes. Frank Smilie or his staff sure did an excellent job in the packing and paid attention to every single detail. He responds to e-mails promptly too. Kudos to Frank!

The installation of the subplatter and Zirconia ball is pretty straightforward with Frank's simple but well-written instructions. I found the diameter of Zirconia ball larger than Rega's 4.74mm steel unit. No measurement was made though. Once done, I noticed that the bottom section of my acrylic platter is raised up by 2mm from the Cherry wood surround of my P5 (I've added a 2mm thick brass spacer to the bearing assembly on top of the plinth so as to elevate the acrylic platter from the wood surround), then it struck me that Groovetracer supply their own 26mm thick acrylic platters whereas thickness of the unit I am having is only 24mm. The length of bearing axle of the subplatter must have been custom built to cater to their acrylic platter and not mine. It appears that I should now remove the 2mm thick brass spacer to regain the correct VTA. (PlS: I did removed the spacer but the increase to height of the acrylic platter is inadequate to dispense with it altogether. It was refitted after a good and thorough polish with Brasso.) The top plate of the stainless steel section (just below the spindle) that fills up the centre hole of the acrylic platter is recessed by another 2mm with same result expected from the use of Rega's 12mm glass platter. Hmmm... I was hoping that it'd be at same level. A sapphire thrust plate is integrated into the bottom end of the bearing shaft; this must be good stuff! The stainless steel spindle, with diameter of 7.15mm, gives a loose fit (as opposed to interference fit from Rega's phenolic spindle) to records. My acrylic platter spins smoothly without the slightest wobble, unlike when used with Rega's phenolic subplatter. Excellent!

Listening impression - The first LP I listened to with my new subplatter is Ben Webster – At the Renaissance, a recording made in 1960 and reissued by Analogue Productions. I immediately noticed loudness of the music to be a tad softer with volume set at my usual listening level. I cranked up the volume and my system soon gained more details and dynamic contrasts. This should be what people termed as lower noise floor! What I heard further: voices of people talking in the background (akin to those at the beginning of Limehouse Blues in Jazz in the Pawnshop album) of this LP are more discernable, instruments sounding leaner with better precision (as opposed to fat, bloated and vague previously). The high frequencies are slightly lesser but I perceived the sound to be more natural that I did not miss any treble diminution. I spinned the Aaron Copland & Gian Carlo Menotti - Piano Concertos's LP next. This LP, being a new digital recording and a low serially numbered original pressing by Analogue Productions, sounds pretty impressive as usual with dynamics, dynamic contrasts and immense clarity of instruments so apparent that would easily put many decent-sounding CDs to shame. I checked out my P5's new PRaT capability by listening to Money for Nothing in Dire Straits – Brothers in Arms's LP before I called it a day. The result: absolute speed and the rhythmic bounce are without doubt a tad slower than before. What I gained instead are precision, neutrality and music sounding more natural.

I picked up an used but mint copy of Michelle Pan (潘越云) - 情歌 unplugged version of 原音再现 LP recently. Before the subplatter change, I thought it's quite a lemon with its sound almost muted, lowly resolved and with extremely low gain. What captivated my interest though, are the content of the LP – her songs and the way how they were rearranged and sang. A quick spin before leaving for work this morning highlights the prowess of new resolving capability of my P5. The sound opens up tremendously and live instruments are easily discerned with its resolution now not very far from a CD. One word to describe this: Amazing!
.

The Groovetracer Reference subplatter is not cheap; its full costs inclusive of air mail postage and 3% PayPal surcharge exceed the price of a brand new Rega P1 turntable in Malaysia with enough change to pick up a brand new record. Its sonic benefits though, are clearly superb and a-must-have for all Rega turntables. The precision build and materials used combine makes it the best subplatter, better than the unit in P7 and P9. In my opinion, the performance of my upgraded P5 now could be easily be equaled to turntables costing twice its costs and of all the upgrade parts. Two turntables immediately came to mind are VPI Scout and Clearaudio Performance. I consider myself a music lover first and a keen audiophile later; I am prepared to forgo focus/absolute accuracy if such an improvement is gained at the expense of absolute PRaT and overall musicality, the very reason why I find turntables tuned to highlight bass, bass weight, slam and attack on percussions unmusical to my ears - they are all about dynamics and excitement. Rega turntables (and few other British makes) stress on the rhythmic bounce which draw us into the music and enable us to listen for many fatigue-free hours. The sonic improvements brought about by the change to Groovetracer subplatter are clearly not about gaining dynamics and excitement. The rhythmic bounce may be a little lesser but at the same time I've gained abundance of resolution, finesse and further naturalness – music sound unforced and flowing!

Footnote:
Q: How does the Rega stock subplatter which is slightly smaller in its outer diameter measurement affect the sound?
A: Smaller diameter attributes the subplatter to spin faster and consequently music sound faster, full of vitality and more appealing to our ears (as we concentrate on the bigger picture rather than the details). Spin too fast and we'll hear the Chipmunks effect. The downside is some lack of clarity and details. Disbelieve? Check out the different speeds on an open reel tape player for proof. To attain correct speed, the outer diameter of the subplatter must be enlarged and details would snap into focus. We get to see more vivid details including clearer outline of the main object(s) as we attain perfect focus just like photo shots with SLR cameras.

Reply from manufacturer:
"Y.C.,
I'm glad you received your subplatter in good order. I will point out a couple of key notes on your review that come to mind:-

Firstly, the zirconia ball is only 0.02mm larger than the stock Rega unit and will not affect anything dimensionally that would alter the function of the bearing. The difference is miniscule to say the least.

Secondly, the stainless steel spindle diameter is the most common diameter used today. I can only assess that your stock Rega spindle is slightly bulged due to the inconsistent press fit with the stock subplatter assembly. If you take it apart you would see what I mean. Actually, the fit is the same as 95% of hi-end turntables I have ever encountered. This is the way records are supposed to fit, not tightly coupled to the spindle. I guess it is personal preference when it comes to this but believe me, it is a lot better than having to make spindle holes in LPs larger.

Third point on the "critical" dimensions of my subplatter are all that matter and mimic that of the stock Rega unit so you can use it with any platter you wish to place on it. We want the record playing surface level to be the same (or within a few thousands of an inch) which is the most important feature. I see that the manufacturer of the acrylic platter you own sent you a 2mm spacer to raise the bearing assembly to clear the plinth. I make an acrylic platter specifically for the P5 that doesn't necessitate the implementation of a spacer. I'm sure that you raised the tonearm by 2mm to offset this anomaly.

The final point I will make is that the sapphire thrust plate which is integral with the bottom of the bearing shaft has a huge influence on the performance of the bearing assembly. The precision build and materials used combine to give you the best subplatter available today for your Rega. I am glad you are happy and over the next several hours after the bearing runs in, you will become increasingly pleased, I'm sure. I think you will be very happy with the performance of your P5 now. It should keep you interested in playing records for many years to come. Thank you again for taking the time to comment on your purchase.

Best Regards,
Frank"

Let there be no darkness in the world, happiness be in abundance like flowers blossoming

2009-05-12T22:49:00.021+08:00

The above caption is direct translation of "让世间找不到黑暗, 幸福像花开放", part of lyrics of a recently rearranged song entitled 'the Prayers' or 《祈祷》 sang by Tsai Chin (蔡琴). She first presented the song to live audiences of Sichuan, China as a form of offering renewed prayers plus hope to next-of-kin of calamity (earthquake with massive casualties a year ago) victims.

It is reported that she has just recorded the said song using a Manley Reference Cardioid microphone in a recording studio in USA. Are we expecting another new album release from her by Universal Music? I certainly look forward to it.

To listen to the song in MP3, click here: http://ent.csonline.com.cn/yyzjc/200905/t20090511_944383.htm I dedicate the song to all in search of hope and inner strength in facing their struggles and endeavours. Full lyrics of 《祈祷》 :

作词：翁炳荣
作曲：日本古曲
制作人：詹凌驾
编曲：Martin Tang

让我们敲希望的钟呀, 多少祈祷在心中
让大家看不到失败, 叫成功永远在
让地球忘记了转动呀, 四季少了夏秋冬
让宇宙关不了天窗, 叫太阳不西冲
让欢喜代替了哀愁呀, 微笑不会再害羞
让时光懂得去倒流, 叫青春不开溜
让贫穷开始去逃亡呀, 快乐健康流四方
让世间找不到黑暗, 幸福像花开放
让我们敲希望的钟呀, 多少祈祷在心中
让大家看不到失败, 叫成功永远在
让大家看不到失败, 叫成功永远在

Musical Fidelity V-LPS

2009-04-22T17:05:00.101+08:00

My brand new Musical Fidelity V-LPS phono stage finally arrives from UK today, after a long wait of 5 weeks. The sweetest part, however, is seeing the words of 'DUTI KASTAM DILEPASKAN' stamped on its envelope, ie. having Malaysian custom duties waived by the local authorities. This phono stage is unavailable in Malaysia; I was made to understand that the local agent needs to order at least 100 units (minimum order quantity) at one go and he does not foresee there would be enough demands to justify doing so.

The V-LPS is part of Musical Fidelity's newly launched V-series products (apparently "V" stands for VALUE) offering superb performance at modest prices by slashing costs of non-functional parts (metalwork, front panels and packaging) and concentrates on functional electronics beneath the modest package. It is purportedly built from the same op amps based circuitry of X-LPSv8 minus the front panel and has inputs at one end and outputs at the other. This has the profound effect on cost saving and attains a shorter signal path in the internal layout of PCB. It is also claimed to be a technically accurate phono stage and has virtually perfect RIAA correction (+0.3dB 20Hz – 20 kHz) which translates to surprising good sonics. Read more about the cost saving philosophy on V-series products by Musical Fidelity here: http://musicalfidelity.com/products/vseries/overview.html

The V-LPS, designed in UK and assembled in Taiwan, measures 170mm (L) x 95mm (W) x 40mm (H) is relatively small although there are smaller units of phono stage available out there. It is finished entirely in black with a blue coloured LCD on the side where the output connectors are located; its layout no different from the Lehmann Audio Black Cube which I had all these while loved to own but deterred by its uncompetitive pricing. A 12V DC 500mA made-in-China wall wart power supply unit is bundled with the V-LPS. Specifications: Input Impedance: MM=47KΩ MC=100Ω / Input Sensitivity: MM: 3.5mV MC: 450μV for 300mV out / Total Harmonic Distortion: MC= 0.01%, MM= 0.01% @ 1kHz, 300mV out / Signal-to-Noise Ratio: MM: >80dB MC: >70dB “A” weighted / Input overload margin: MM: 15dB MC: 22dB.

I plugged the new V-LPS into my main system through its MC input. It works perfectly. My first impression is it has more than adequate gain for my Denon DL-160 high output MC cartridge (2.2mV) with loudness of my record playback now exactly same as my CD playback at a same volume. Or was it slightly louder? Its sound, fresh out of packing material, is aggressive with occasional shouts, flat and slightly out-of-phase although centre imaging is reasonably well projected. This is not unlike the sound after fitting in a new stylus and the V-LPS needs to be broken in before fairer comments could be made.

My V-LPS was not fully broken in as I was penning this article. I have, however, continuously powered it up for the past 90 over hours and listened to no less than 15 different records during which its sonic traits I picked up thus far are as described below. The gain of its MC input is very sufficient for my application and the loudness of my record playback now is indeed identical (perhaps just a tad higher) as my CD playback. I hear a lot more details (both instruments and ambience noise) from my records which were previously vague through my highly-modified ProJect mk1 phono box. Along with this, I also hear more of surface noise and the irritating occasional crackles and pops became more pronounced than before. Highly revealing! I was expecting V-LPS to sound sweet with its bass slightly slow as with other Musical Fidelity products but it turned out the opposite, ie. transparent enough, unrefined at times and reasonably well-timed bass which is a lot faster than my other phono stage. It is dynamic and incisive sounding with instruments and voices sounding bold and more authoritative. It conveys a huge sound field and digs deep into both extensions that subtleties in high frequencies and movements in the low bass grunts are clearly audible. I find the sound airy and thought the V-LPS extracts everything available on records – instrumental lines and voices, the space in which they exist and the surface noise. There is very little veiling, additional sweetening or unnecessary warmth but instead the as-is-where-is sonic performance and every musical nuance found in the grooves of records.

My experience with external phono stages in my own system is limited to NAD PP2 and the highly-modified ProJect mk1 phono box but unlike these entry-level units, the V-LPS does not concentrate in projecting a smooth sounding midrange but opens up both extreme ends (treble and bass) considerably. I have yet to hear the X-LPSv8 hence no comparison against it is possible. I would think that cheaper electronic parts in op amps, capacitors and resistors are being used in V-LPS (built to a price point) and replacement of some of these parts could bring back the missing tone richness and midrange liquidity that I truly cherish. Nevertheless, well-mastered original and a select few of reissued records sound fabulous with the sonics surpassing that of CD playback with its sheer airiness, speed, slam and dynamics but minus the predictable 'mechanical' sound of the latter. When I listened to my reissued Ella and Louis record, I found myself being transported back to the 50s era and their music really touched my soul. I may opt to upgrade the wall wart power supply unit to a linear transformer-based power supply and/or replace some electronic parts in the V-LPS circuitry down the road but that would be story for another day, if I do eventually get to it at all. What matters most at present moment is to enjoy my music on records with the V-LPS. A truly great-sounding and great-value gear to me and it would remain in my system for a long time to come!

Addendum on 19.05.2009:
The impressions on sound of my vinyl playback through the V-LPS were made before its full 'run-in'. As of now, with the unit almost broken in if still not completely so, the overall sound is way smoother with the rough edges gone and few of my LPs are beginning to sound rich and liquid, an example being Antonio Forcione & Sabina Sciubba - Meet Me in London's LP. Its highly-revealing nature has toned down a little; less of the irritating occasional pops and crackles (or could it be that my ears have gotten used to them and my brain automatically filtered them off?) but insufficient to prevent me from detecting a major weakness in my vinyl playback. I shall come back to this below. The bold and incisive sound, however, remain. Although the sound does not break up, I find the gain of its MC stage at 56.5dB a tad too high for the Denon DL-160 MC cartridge in my system with Simaudio Moon i-3 integrated amplifier that has an active pre-amplifier.

I acquired the V-LPS under the belief (whether rightly so or otherwise) that its circuit design is excellent. It is claimed that the V-LPS has basically the same circuitry as X-LPSv8, a much-improved version from the earlier X-LPSv3 and derived from their kW550 integrated amplifier. MusicDirect of USA pronounces that "…the "v8" version for 2008 really bested the older "v3" version in their reference system". What I heard thus far: the dead quiet backgrounds, its extremely low noise floor and great extension at both frequency extremes sort of confirmed my belief. I had initially contemplated building myself a single opamp-based VSPS from ground up using a pre-printed circuit board or acquiring an off-the-shelves (either the Cambridge Audio 640P or Musical Fidelity V-LPS) phono stage and to perform upgrades by replacing the supplied wall wart and electronic parts therein with a linear power supply unit and premium parts such as Blackgate capacitors, Shinkoh resistors and the likes respectively. The aim here, really, is about improving futher an existing fine-sounding phono stage. A long thread at vinylengine on DIY upgrade (parts replacement) on Cambridge Audio 640P could be accessed here: http://www.vinylengine.com/phpBB2/viewtopic.php?t=9098&postdays=0&postorder=asc&start=0&sid=6eacd8bbb708897ac2a995eda3f4490b. I did not get to hear both these phono stages prior to my acquisition of the V-LPS but was informed that their sound characteristics differ with one sounding spacious and the other rich. I opted for the latter.

Okay, back to the question of the so-called major weakness in my vinyl playback system. What is it? For the first time now, I am hearing a slight lack of "focus", ie. absolute clarity. My earlier upgrade from the stock glass platter with its mat to an acrylic platter has refined the sound substantially to the extent that instrument edges are so refined compared to the metallic edges and sibilances emanated from the stock platter. The V-LPS enables the slight blurriness in instrument edges to be revealed to me. How would I overcome the problem? I thought the answer lies in acquiring a precision machined alloy Subplatter – The Groovetracer Reference Subplatter!

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A tale of two vdH interconnects

2009-04-16T17:36:00.066+08:00

Hifi is never static but a continuous journey towards our very own audio nirvana, hence I named my blog as such: finetone …an audio odyssey (meaning a continuous audio journey). I enjoy my journey thus far and am not obsessed with its final destination (if there is any in the first instance) as the invaluable experience gained with affluence of time has further enhanced my music enjoyment and reshaped many of my beliefs. Many a time, I do rave and heap high praises on a select few of audio gears but never resort to black mouthing others not of my flavour either in my blog articles or forum discussions. Hifi, to me, is much about attaining the correct blend of neutrality, definition and musicality through 'mix & match' exercise. And I subscribe to belief that there are no bad audio equipments per se!

I had recently brought home 2 pairs of vdH interconnects for evaluation in my main system with the intention to assess their compatibility and to replace the vdH First Classic (beige colour) between my CD player and integrated amplifier. A pair subsequently ended up replacing the vdH Source (orange) interconnects from my phono stage to integrated amplifier instead. These are a pair of NOS vdH Thunderline (red) which I preferred over the other newer model of vdH Integration (apple green) that Martin Colloms raves highly in its review in UK's HiFi News as the interconnects to have finally beaten his all-time favourite of vdH First Ultimate. The improvements which vdH Thunderline brought to the sound of my vinyl playback are a more refined and extended treble, total elimination of midrange coarseness and a much more powerful bass. With vdH Integration, the sound is fairly identical but generates a far wider and spacious soundstage, a little brighter balance to the extent of inducing some sibilance and a more modern and hifi-ish sound overall. As my system is already pretty well endowed in such areas, I perceive vdH Thunderline as being more musical and presence of vocalists is felt more. Some folks may label vdH cables as van den Blur and compressed-sounding cables but I really thought otherwise after having owned and used many other cables in the past, some pretty exotic and others more affordable ones, which include amongst others XLO Electric Reference Series (Type 1 analogue interconnects, Type 4 digital coaxial cables, Type 6a speaker cables and Type 10 power cords), Kimberkable (Silver Streak interconnects and 8TC speaker cables), Chord Cables (Cobra 3 interconnects and Carnival SilverPlus speaker cables), Monster Cable Interlink 400 and Audio Note AN-C interconnects. Fact is, I find vdH cables extremely balanced and good in PRaT although they may not be the last word in transparency.

As for interconnects between CD player to integrated amplifier in my main system, I am still using the vdH First (full carbon) Classic. Extremely natural sounding but I do complain of a slight lack of absolute airiness and ultimate transparency and being a little too laidback at times. vdH Thunderline may again be the answer but I would have to try them out first. Later.

I have been listening to quite a fair bit of Cheer Chen 陈绮贞's songs over the radio lately. Great style. I also owned her highly acclaimed and original Taiwan-pressed Adventure 华丽的冒险 CD mastered by Doug Sax of the former Sheffield Lab, USA where total album sales in Taiwan alone for this particular CD exceeds 300,000 copies. I tried very hard to like the CD but in the end concluded that the sound although extremely clean and spacious, is in fact sterile and clinical sounding.

I have tweaked my recently acquired Rega P5 turntable by adding a Michell tecnoweight, acrylic platter and several record clamps. Another new addition, a Musical Fidelity V-LPS phono stage shall be arriving from HTFR of Birmingham, UK any moment now after having waited for more than 6 weeks for their stocks to be replenished. More update in due course.

With my analogue source quite adequately setup for the time being, I went out and procured several mint copies of audiophile-grade classical records recently, albeit more selectively now than before. 2 records which stand out and I thought sound great both in musical delivery and sonics are Tchaikovsky 1812 Overture and Debussy Iberia (reissues by Speaker Corner Label). The whole piece of 1812 Overture symphony is so listenable and very unlike my former Telarc CD which was more meant for listening to the digital encoded Canons. I gave away the said CD to a hifi buddy many years ago. After a long day at work in the office, I look forward to listening to a record in the comfortable home environment in the evenings.

What to listen to

2009-03-29T16:22:00.024+08:00

What do we seek from our audio playback system? I subscribe to the universal values, ie. the correct tonal balance, timbre reproduction and PRaT (pace, rhythm and timing).

Excerpt of an AudioEvidence article which best explains this:
" … there is a philosophy not shared universally, and the way in which the audio (Hi Fi) magazines rave about the reproduction of music can create a problem and a kind of audio neurosis in their readers' mind. It was these magazines which created the idea of "visual images" when talking about music. The awful "sound stage" concept has become paramount; if you can create a sound stage, the battle is won! I disagree! Now I am not suggesting that some sort of visual impression of a performer on stage or in the studio is not quite fun; however, to make it the big deal that some magazines have, is a disservice to the cause of better music. Sound staging has outstripped the importance of correct tonal balance, and timbre reproduction, and a sense of energy and life which is what is surely to essence of good music. ……to the extent that some listeners are so preoccupied with the size of a musician, or the size of the singer's mouth!!

So what I believe magazines should be trying to engender is a sense of enjoying the equipment yes, enjoying the music certainly, and getting away from the concept of "Hi Fi" and "audiophiles", and looking instead to encourage a quality in audio equipment which speaks of delivering the music in a more enjoyable, rich and vibrant way. Music should have a flow and emotional impact, and "imaging" can be relegated to and relatively distant position. After all, at a concert how much time do you spend considering imaging, highs and lows of the performance!? …"

Full article could be accessed here: http://www.audioevidence.com/cgi-bin/news/newsscript.pl?record=6

Many of us would usually argue that as long as we ourselves and not others like how our system sound, that be the ultimate approach. And there are some who love their system to sound slow, warm and way too smooth. I beg to differ! Those of you who have been exposed to music will agree with me that music scores are written with certain pace in mind, eg. adagio – leisurely (66 - 76 m.m. = metronome mark), moderato – moderately fast (108 - 120 m.m.), allegro – fast (120 - 168 m.m.) and et al which all musicians have to adhere to during the recitals. Rendering them at different pace other than what they were originally intended to be is called "improvisation” and we certainly do not require our systems to improvise or interpret music otherwise. How to tell at which timing the music is spot on? My answer: attend more live musical events.

An article on Pace, Rhythm and Dynamics by Martin Colloms which I hold dearly to: http://www.hificritic.com/downloads/Archive_A7.pdf
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Pioneer Pure-Malt Speakers

2009-02-24T23:40:00.100+08:00

My first encounter with Pioneer S-A4SPT-PM Pure-Malt loudspeakers was two years ago. I first knew about their existence from the internet and got myself pretty excited prior to seeing the physical units. I saw them later during The KLIAV Show 2007 and like their looks a lot but had thought that their sound, being driven by a Pioneer integrated amplifier, was nothing really to shout about. I was sure of attaining better sound from them and had craved to own a pair of these 'unique' loudspeakers but their retail price in Malaysia deterred me. I persevered and it paid off for today I picked up a brand new pair of these loudspeakers at a fraction of their earlier asking price.

The Pure-Malt loudspeaker cabinets are made from recycled white oak hardwood from retired barrels used for ageing malt whiskey for 50 – 70 years instead of MDF boards laminated with wood veneer or vinyl. The malt whiskey barrels were in turn made from oak trees of 100 years' old. For Pioneer's eco-friendly efforts, the Clean Japan Centre awarded the loudspeakers a resource recycling technology prize. The accompanying sheets state that the recycled white oak hardwood provided by Suntory Limited Corporation "makes a surprisingly rich bass sound, maximizing speaker drivers’ performance, and representing the richness of the music" by suppressing unwanted reverberations.

The loudspeakers are small, with their cabinets measuring roughly 10"(h) x 6"(w) x 8"(d). I love handcrafted hardwood furniture and find the loudspeakers well-made and full of character. Each cabinet carries a different serial numbers and is different with its own unique look due to the individuality of wood staves (may even have nail marks or whiskey stains) pieced together to create the cabinets.

Listening impression – these 84dB/1W/1m loudspeakers actually have some decent bottom extension from their small 4" woofers although they are mated to none other than my 10W TA2024 T-amp with full discreet parts and a attenuator. I am not too bothered with their low sensitivity as I am aware that what is more important is their measured impedance and relative easy (flat) load to amplifiers. As I listen to them nearfield at moderate level in my study, they sound extremely rich, highly expressive and detailed with a lush midrange and warmth although fresh from their boxes.

Do allow me to digress a little: I recently performed yet another sound shoot-off between my T-amp with full discreet parts and attenuator against an unit where only its input and PSU filtering capacitors are replaced with Vishay Roederstein MKT 1813 2.2uF 63V and Panasonic FM 470uF 25V respectively and fitted with an Alpha 50K linear volume potentiometer. The overall sound of both T-amps were very much alike but upon closer scrutiny, the other T-amp sounded brighter and has a tendency to over-emphasize the upper midrange and lower treble which creates a rather lean midbass. Overall bass is lightweight and soundstage although wide was flat. The use of attenuator over linear potentiometer rendered the sound less bright but with its highs more extended and bass fuller. There is more body to sound which is more transparent, more expressive in term of micro dynamics, has better macro dynamics and a 3 dimensional soundstage. Its (attenuator) use in T-amp with SMDs results in a rather dulled and blurred sound. The discrete parts restored the clarity and details much needed.

Coming back to the Pioneer Pure-Malt loudspeakers. Stereophile's review (http://www.stereophile.com/thefifthelement/1207fifth/index1.html) concludes that these loudspeakers are only fine but not great sounding and the reviewer does not see them being the center of someone's sole serious stereo. Huh! As much as I would agree that their diminutive size would restrict the ability to be played loud to the SPL required in the living area or a dedicated listening room, I beg to differ on their sound quality, especially in tone richness and timbre of instruments reproduced from CD playback. Violin, hard to be correctly reproduced through CD, sounds pretty close to the real thing itself through these Pioneer Pure-Malts. Piano sounds equally real and tone of these two instruments is not unlike that from vinyl playback, the very hallmark which pulled me towards it. Gone were the smeary and harsh high frequencies. A special mention must be made here with regard to tone of drum beats from track 9 of Usher test disc. The sound of skin of drum being hit is easily distinguishable and not woody nor the typical hard hitting sound which I am accustomed to hearing all these while. The PRaT, intensity and dynamics of sound from their small cabinets are amazing.

My Q-Acoustics 1010 have now been relegated to perform transducers' duty in the office.

Added on 03.03.09:
The tone I am hearing through the Pioneer Pure-Malts reminds me of my former Audio Note SORO SE (single ended) integrated and 300B Kit 1 power amplifiers. I could safely vouch that the sound quality of my modest second system now is even better with its immense clarity, abundance of micro details and PRaT (the fundamental aspect of music making) which most valve (tube) amplifiers are insipid and could only envy. Although musical instruments now sound extremely rich, the sound is very different from those which emanate from valve amplifiers – great transparency (as though a veil has been lifted off from the plane of sound), no valves' euphony nor smothering/masking of real tones. Amanda McBroom’s voice in her Dreaming album sounded course and powerful. So is Mary Black's No Frontiers album, as bright sounding as ever. Every other CDs decidedly sound better.

Due to my newfound listening joy, I listen less to my main system of late which I now find as lacking and may see some drastic overhaul. All of us do go through different phrase in life at different point in time and to which I am no different. I would need to ascertain whether I could do away with having a main system in my living area and only live with a small system (built around the Pioneer Pure-Malts and T-amp) and to contemplate disposing off the equipments lock, stock and barrel. For those of us who attend musical live events from time to time, it would be impossible for our hifi systems to reproduce the absolute scale and dynamics of those events. To me, quality should always prevail over quantity.
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Random Thoughts

2009-01-30T18:26:00.032+08:00

It is now the first month of both International and Lunar calendars; I hereby wish everybody a very Happy New Year. I celebrated this Lunar New Year with my family at my parents' new home in JB after being host for the immediate past 3 years. The festive season enabled my siblings and I to get together as many of us are already settled down with growing kids and work/reside in different states. We hardly meet on other normal days.

A great reunion time which also meant no music listening to my main hifi system for the entire week I was away. Music playback was only limited to a system made up of Denon DCD-690 cdp, Celestion 7 standmount loudspeakers, my 2nd T-amp, Monster interconnects and cables. Overall impression: a modest system which sounds pretty good and very enjoyable although all components (my T-amp exempted) are more than 15 years' old now and have thus aged significantly. The first thought to hit me was if a modest and simple system could sound this good, do I really need my more expensive equipments? Further listening to my room system of Sansui CD-X310 cdp, Q-Acoustics 1010 bookshelf loudspeakers, my main T-amp (with full discrete parts and 24-steps attenuator) and el-cheapo cables at home further reinforced such a thought. Could I live with a pair of NOS Epos m12.2 of which the local agent is clearing at attractive low price instead of my Sonus Faber Concerto Home loudspeakers which require amplifiers capable of churning out substantial wattages in order to drive them well and as such my Simaudio Moon i3 integrated amp too? Perhaps I should just dispose off them and park the proceeds in return-yielding investments for my post retirement use. If only life could be simpler than this!

I like possessing minimal personal belongings both at home and in my office, being less crowded by things and having more free space around me. We really need very little possessions to live decently – a case in point is when we are away from home, having only a suitcase with few items therein. Most of time, a fair portion of our belongings are either redundant or purely decorative in nature, ie. having more forms over their functions.

Back to the subject of high fidelity. Coincidentally, a forumer at LYN rightly pointed out that the Sonus Fabers are capable of producing real thick tones of instruments just like how the real things should sound and that not many transducers are capable of this feat. What a timely reminder! I have almost forgotten that I had earlier vowed myself to keep the Concertino/Concerto Homes (these are at the entry level into the realms of Sonus Fabers) for good although they might turn out to be only average sounding after the excitement of new acquisition has simmered down for they are a pair of handsome-looking furniture with solid Walnuts. So, the Sonus Faber Concerto Homes stay put and so is the Simaudio Moon i3 integrated amp for together as a pair they produce one of the most refined, smooth sound with organic warmth and texture, great rhythmic flow and possessing excellent bass weight that many system could only envy. They suit the genres of music that I enjoy most and usually play. I would like to try out Kimberkable 8TC cables again and if found to be suitable, to eventually replace the vdH CS-122 hybrid cables in my main system. I have previously owned the older 8TC in blue and black colours which I did not like as much I should have and price of the newer series has increased many folds. The vdH First interconnects may also be replaced for they are a tad too laidback, one-noted and lacked absolute airiness although I find music through them sounding extremely natural. In hifi setups, it is all about the "best compromise for the least trade-off". I had wanted to tame the harsh high frequencies of my digital playback with vdH First but in the process, I find subtle details, bass blooms and grunts may have also been removed. Apparently the trade-off now is not the least or so it seems.

Many folks are curious as to how good the class T amplifiers really are in comparison to commercial ones. My take on this subject after the excitement of my experience with TA2024 chip based T-amp has mellowed down is it is very good and dependent upon the other parts used within the circuit inclusive of the volume potentiometer. It lacks absolute bass weight unless loudspeakers of 95dB and above are being deployed and many DIYers have got around this shortcoming by tweaking with bigger capacitance' electrolytic capacitors in its PSU section. In my opinion, doing so changes the characteristics of the T-amp with some detrimental effect to other areas such as its macro dynamics and details. It wins hands down if its use in within confine of small listening area and absolute wattage is not required upon.

I have always fancy owning a valve power amplifier with simple circuit design yet having good sounding and durable parts again and thought that I may one day build or commission a DIY sifu to hand build such an amplifier for me but I doubt it would have the ability to really drive my SF Concerto Homes decently without much strain. I have found my former Audio Note Kit 1 with 300B valves to be too slow sounding and lack the power to drive even a pair of Mordaunt-Short 10i Pearls. The only valve amplifier which has managed to excite me thus far is the Conrad Johnson Premier 11a, a stereo power amplifier with 4 units of 6550 valves in push-pull configuration. My DIYed passive preamplifier has been built for such purpose or dream in advance. I have yet to seriously test-drive and perfect it.

At present moment, I enjoy listening to the records with my Rega P5 turntable with Denon DL-160 high output MC cartridge after replacing the RB700 tonearm's stainless steel counterweight and glass platter plus its felt mat with the Michell Tecnoweight and Acrylteller acrylic platter respectively. I bet Roy Gandy would disapprove of such tweaks although they are reversible but the benefiting effects are very pronounced to my own ears. I, however, concur with his view that VTA on a Rega turntable only need to be in ballpark figures and need not be exact as rigidity of mounting the tonearm to the table is certainly more important. I have only fitted a 2mm thick alloy spacer although I am in need of 3.6mm height to the pivot point of the tonearm but hear no adverse effect as I did with my former ProJect turntables.

I could not attest as to how good the modified ProJect Mk1 phonobox I am having now really is but based on my gut feel, it is only decent sounding and my vinyl playback could definitely be improved further with a better phono stage. My quest for simplicity in life and hifi design has brought to my attention the 47 Laboratory Model 4712 PhonoCube phono stage which further led me to RJM’s PhonoClone, a design which mirrors/clones the PhonoCube. However, these phono stages are meant for the low output MC cartridges with their 75/90dB gain from its only 2 stages in circuit design. From there it led me to VSPS, a non-inverting single stage phono box capable of 40/50dB for MMs and high output MCs. I already bought a VSPS PCB and received my free Burr Brown OPA2111 stereo opamp meant for evaluation from T.I. Inc, USA to start off yet another DIY project by using either the 1,000pF Cornell Dubilier 1% silver mica or Wima FKP2 5% polypropylene capacitors and the rare 732K and 105K 0.1% ceramic resistors in the RIAA section of the phono stage. The trick here would be to opt for pair matched capacitors and resistors. VSPS uses a toroidal transformer capable of at least 35A and with 2 secondary windings of 12V AC each to be bridged to attain output current of 15V DC. The problem with DIY, is certain parts have to be bought in minimum quantities which would result in us having some extra pieces and the risk of having to replace certain parts later should the sound not be up to our expectations. Alternatively, with the Pound Sterling exchange rate favouring me currently, perhaps I might be better off by buying in London, UK the Creek OBH-15 phono stages which Martin Colloms awarded 35 marks to its 37dB gain MM section. It uses a 24V AC wall wart and I wonder whether I could further improve upon its sound and build a common PSU for both my Rega P5 turntable and the said phono stage.

On the software front, I picked up a couple more of LPs and CDs which are worth mentioning here:
(1) Sonny Rollins's Way Out West, a new LP by Fantasy Inc, USA for RM56 (S$23) – fabulous sounding although this is clearly a reissue of which its sonics has been 'watered down' from its first pressings.

(2) Tchaikovsky Piano Concerto No. 1 performed by Lazar Berman / Herbert von Karajan / Berliner Philharmoniker. This used but mint copy of 1976 original Deutsche Grammophon LP puts my original 1994 CD of the same piano concerto performed by Martha Argerich / Claudio Abbado / Berliner Philharmoniker to shame especially in LP's superb resolving capability, tone and timbre of instruments and sound staging.

(3) Cai Qin's No Regrets (蔡琴-不悔) new album which comes in CD+DVD. She renders 6 new songs since joining Universal Music plus 4 presumely oldies live from her recent concert performances in Mainland China. Till now I could only confirmed 2 of the songs she performed live as oldies. My personal rating: good but not excellent.

(4) Lily Come Face to Face with Chris (鮑比達與陳潔麗) CD. This is my first Lily Chen's CD and my first impression of it was only so so, however after more listening sessions, I thought the album is very good.

DIY Passive Preamplifier

2008-12-26T00:36:00.026+08:00

The DIY passive preamplifier is a spin-off project of my T-amp adventure. I was (and still am) so mesmerised by the sonic quality of my T-amp with full discrete parts and fitted with a 24-steps discreet Dale resistors attenuator which I find as much more transparent and natural sounding than even the SimAudio Moon i3 integrated amplifier in my main system. This led me to embark on the DIY project by copying and in the hope of attaining an equivalent performance from the Audio Synthesis Passion at just a fraction of its cost with use of a good quality attenuator, Teflon-insulated high purity (99.99%) silver internal wires, 4% silver solder lead, good quality connectors and an input switch. The DIY passive preamplifier is purely passive and has no gain but otherwise performs all the functions of a conventional preamplifier (it has 3 inputs) with minimal degradation to the delicate audio signal. However, just like the T-amp, it may not be everyone’s cup of tea as most people actually prefer active preamplifiers with more drive capability and dynamics. Nevertheless, if properly matched, any passive pre-amplifier is capable of producing a far more transparent and natural sound if it is compatible enough with other components of our system right from the source, cables and power amplifiers.

To ensure full compatibility, the output impedance of the CD player/phono stage must be low, ideally 600Ω or less. The output voltage from these components ought to be high since this (together with the power amplifier and loudspeaker sensitivity) will determine how much volume would be available. Passive preamplifiers tend to exhibit an output impedance that changes with level and is sometimes higher than that of a conventional active preamplifier, hence the absolute need to use cables of short length, screened and have a low capacitance at the output of the passive preamplifier. As for power amplifier, a little more gain of 30dB or more may be required and this could alternatively be stated as the power amplifier's sensitivity for full output - 1V for maximum output is ideal. The power amplifier's input impedance is also relevant due to its loading effect upon passive preamplifier’s output impedance and hence the source's load driving capability and requirement of the minimum input impedance of 20KΩ attenuator. Audio Synthesis Passion uses a 15KΩ attenuator. The aim here is to raise the input impedance and lower the output impedance as much as possible.

The Elma stepped attenuator fitted with Shinkoh resistors (http://www.hificollective.co.uk/components/shinkoh_stepped_attenuator.html) really stirred up the interest in me and I may opt to replace my existing unit with it. Read the description on sound through it from paragraph 5 onwards under 'Testing the Attenuator', an event, although to a lesser extent, that I have personally experienced before and could readily relate to.

An interesting read on passive pre-amps: http://www.rothwellaudioproducts.co.uk/html/the_truth_about_passive_pre-am.html

to be continued: the internal of the DIY passive preamplifier

Analogue Source - Rega P5 turntable

2008-11-06T19:53:00.244+08:00

I hardly listen to music from the sweet spot nowadays. Music would be playing in the background while I read, do my house chores, get some work done / surf net on the computer or lie down doing nothing on the sofa. Hence I pay more attention to tone, emotional aspect, rhythmic flow and ebb of the music over the 3 dimensional sound staging capability of my system.

The sound which I seek is the middle path of today's 2 extremes - overly analytical accuracy vs. valve lushness. I am more of a midrange guy rather than a basshead and like a lush to almost liquid midrange, smooth natural highs and decent but controlled bass. Music must be involving to me, hence I do not opt for highend brands after having owned such gears in the past which I enjoy very little. In my opinion, their main misgiving is they tend to push the limits of their own sonic traits of resolution, neutrality, soundstage, slam, dynamics but these rarely integrate well resulting in music to sound cold, detached and incoherent to my ears. A highly-resolved system would sound superb with well recorded/mastered CDs and LPs but unforgiving at the same time resulting in a big chunk of our software collection unlistenable.

I listen primarily to 16bits/44.1kHz CDs as most new music releases are in this format and for convenience sake. I went retro and embraced the analogue source of turntable 2 years ago. I have explained why I did so in my article on My hifi system. An interesting article outlining such a similar move which I could identify my action with could be accessed here: http://www.forbes.com/forbes/1997/0707/6001444a.html.

I upgraded my turntable twice since then as I wanted my analogue source to have slightly better resolution and to bring its sound closer to that from CD playback so as to enable me to realise more of the rich presence, organic wholeness and freshness of sound that the LP playback is really good at. This analogue medium, although antiquated, clearly demonstrates its superiority in sound over CD playback with its sheer simplicity so much so listening to LPs has often been likened to seeing through a piece of slightly dirty mirror with scratches whereas listening to CDs to seeing through a reassembled broken mirror. With highly resolved digital format of SACDs, it is still same but with a broken mirror assembled from even smaller pieces. The vision of Jeff Goldblum going through the teleportation process in his 1986 movie of 'The Fly' always flashed back in my mind whenever I listen to CDs right after the LPs.

My immediate previous turntable was a ProJect RPM5. I have often felt its sound is not immediate enough, has lesser PRaT than even a Rega P2 and is rather laidback (probably also an attribute of the Ortofon OM20 MM cartridge). I have seriously considered some turntables of the next level up such as Roksan Radius 5, ProJect RPM 6.1SB, Clearaudio Emotion and Michell Tecnodec but in the end Rega P5 prevailed over others. 2 factors come into play here, namely their respective nett selling price and I do not want to end up with an obsolete turntable just few years down the road.

I set up my Rega P5 turntable recently although having bought it from overseas some 2 months ago. I had wanted to sell it off without opening its sealed box but to no avail, either due to present adverse economic outlook or the P5 is a mid-end turntable and not that sought after as its sibling in the P3 (despite my low asking price) or I am destined to live with a P5 afterall. Why have I attempted to sell the turntable since I already bought it? I was in a bit of dilemma as on one hand I wanted a better turntable whereas on the other hand, I felt that a Rega P3 might be good enough for my listening needs and I do not intend to buy a lot of new LPs which are so much more expensive than CDs. My CD playback through the Roksan Caspian M series-1 cdp is quite listenable and its sound ressembles that from LP playback in a certain way. I have since fitted in a brand new Denon DL-160 high output MC cartridge to the P5. Read about this cartridge and other Denon cartridges here: http://www.high-endaudio.com/RC-Denon.html.

I opened up its box at 5.00AM in the morning of 30.10.2008 after finishing work just before I went to bed. I was extremely tired then, hence I only fitted in the Denon cartridge and continued with the set-up of the P5 two days later. I have checked its alignment with a ProJect protractor (the Stevenson Arc protractor is more suited for the Rega turntable) and fitted in the stock stainless steel counterweight. I turned the tracking force control knob to 1.5 and pulled the bias adjustment slider also to 1.5 before checking the VTF (vertical tracking force) reading on a digital meter borrowed from a friend. I readjusted the counterweight position to enable the meter to show 1.5g after which I thought the turntable is ready to spin records.

As I lift the armlift lever to place it onto a record, alas I found that it could even track it without me lowering the arm lift. The VTA (vertical tracking angle) is certainly out and the height of 17.6mm Denon cartridge appears to be too tall for the P5. I need the Rega 3-point 2mm alloy spacers but how many units do I need? I discovered later that Rega cartridges are 14mm in height which means I need 2 pieces of the 2mm spacers. I managed to source for a Rega 3-points all-in-one phenolic height adjustor at RM65 from the local Rega distributor, Asia Sound Equipment S/B and would try to finish setting up my turntable during the coming weekends. I am in no great hurry as I feel a slight discomfort having to remove and re-affix the tonearm back onto the plinth but I guess I do not have much choices unless I revert to Rega cartridges like the Rega Exact at RM945. Roy Gandy of Rega does not subscribe to VTA settings; an article explaining rationale of his thought: http://www.n.mackie.btinternet.co.uk/documents/regaonvta.html

Judging from the few records I listen to, I thought the sound from the P5 is crystal clear, immediate and more forward-sounding than my ProJect turntable. In stock form, the bass of the P5 clearly is much better than that of the P3 although I thought I also heard some mild lift in upper midrange (probably an attribute of the stock glass platter of which in my opinion could easily be cured by replacing it with an acrylic platter). I have since ordered a 24mm thick acrylic platter from Acrylteller Deutschland, a Michell TecnoWeight and a Michell record clamp for the P5. The stocked subplatter and spindle of the P5 are made of phenolic/plastics and I hope to also acquire a high precision machined aluminium/stainless steel unit and the dedicated PSU later, all in good time to complete all possible upgrades to my P5. I have bought a Locus Design BasiClamp (340g) record clamp much earlier on.

Update on 23.12.2008:
I took a long drive down to Singapore on 13.12.2008 and picked up 2 turntable related items there: a 3-point 2mm alloy spacer for S$40 from Asia Sound Equipment P/L and a brand new reissued Ella and Louis LP by the Speaker Corner Records label. I fitted in the spacer and the Michell Tecnoweight to my P5 and rechecked alignment of my Denon DL-160 MC cartridge with a downloaded Stevenson arc protractor proper on 19.12.2008. There is quite some offset angle required, more to the left and I wonder if this is really so. Is overhang sufficient? Subsequent listening to my LP collection including 李烁 - 相见欢's LP (purportedly pressed in Germany), the last 2 tracks on both sides of the said LP which have never sounded good on my 2 former ProJect turntables now sound exactly same as the outer tracks. This allayed my fear that the alignment of my Denon cartridge is not done correctly. The sound from vinyl playback now is really good with more than decent extension to both the top and bottom ends, more so for the latter. I have been spinning LPs almost non-stop whenever I am home since then and thought I am hearing new things which I have never heard before with my ProJect RPM5, for example I never remembered hearing a saxaphone playing to the right of Diana Krall's Sleigh Ride in her Christmas Songs' album. Could this be the placebo effect or is the Rega P5 really so much better than the ProJect RPM5? There are abundance of details, all sounding vivid and extremely rich in the Ella and Louis LP; it is definitely a gem.
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Update on 06.01.2009:
I only start to make use of my newly acquired acrylic platter on my P5 after receiving 2 units of brass shims from Acrylteller. The P5's wood surround is some 2.5mm taller than its plinth, hence I need one piece of these shims on the plinth (and under the ball bearing housing). My first impression on the acrylic platter: I am using it without any mat and the music (and vocals) thus far exhibited more of resolution, preciseness and in-the-face type of details, slam and dynamics. My vinyl playback now sounds extremely close to CD playback in my system. Compared to glass platter which I thought treble was a bit hyped-up and some mild lift in upper midrange, the acrylic platter nullify these effects and tonal balance appears to be more neutral overall.

Spinning the Aaron Copland and Gian Carlo Menotti piano concertos LP under Analogue Productions label, I heard for the very first time vinyl playback in my system has such awesome speed in attack, slam and dynamics far exceeding that of CD playback and with lots of presence. As for the Art Pepper meets The Rhythm Section LP, a reissue by Analogue Productions label that I am thoroughly familiar with, music takes on a less hurried (more relaxed) approach with instruments sounding fuller, richer, less shrill and with less sibilance. Bass also gained tremendous weight and my P5 now sounded so different from before with more finesse and reduced hardness. Spinning a 1978 (31 years now) almost mint copy of Mozart’s Violin Concerto Nos. 3 and 5 LP, the tone and timbre of Anne-Sophie Mutter’s violin is so real as though she is performing live in my living hall. I have yet to hear a CD system capable of attaining this feat. Nancy Bryan sounded so velvety and creamy (distinctly analogue) in her
Lay Me Down LP, a limited edition copy of yet another Analogue Productions’ titles.
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Some extract comments of Rega P5 from audio magazines:
ABSOLUTE SOUND 10/06: "A low vibration / low coloration design; as close to set it & forget it as you're likely to find."
ABSOLUTE SOUND 9/05: "One of the most musical front ends I've heard anywhere near its price. I prefer its overall musicality to almost any digital system & several more expensive analog rigs. Compared to Rega P3, the P5 is quieter, had tighter & deeper bass, a more three-dimensional soundstage & better highs. While the P3 is quite the bargain, the P5 is noticeably superior & worth the extra cost. If you believe your audio system should help eliminate stress rather than increase it, the P5 will prove highly rewarding. Its engaging musicality, easy setup & ease of use should delight music lovers."
STEREOPHILE 4/08: "Gets the musical essentials down right"
HI-FI CHOICE 2/08: "Great sense of timing, market leading resolution & phenomenal tonearm - hard act to beat."

DIY Class T amplifier - further development

2008-10-05T16:38:00.261+08:00

I am no audio DIYer and have only a superficial understanding of audio electronics when I embarked on the DIY T-amp project. I have, however, built an Audio Note Kit 1 300B valves power amplifier in the past based on step-by-step instructions during which I learned how to use the soldering iron quite effectively, could differentiate between good joints from bad ones and also learned a couple of tricks. I have relied on online comments made by others who experimented with their T-amps before me and also acted on my gut feel in other areas to complete both my 2 units. I have owned and listened to numerous amplifiers in the past, yet I am still thoroughly charmed by the T-amp’s sonic qualities. Read about my listening to the DIY T-amp.

I learned a lot from the T-amp project and my findings and/or rationale of some of my actions are as follow:
(1) Input capacitors – The primary reason for their presence on the T-amp is to block DC current while allowing AC (Audio) signals to pass at the input line. I had initially thought they were only meant for signal filtering just like signals into individual loudspeaker drivers. The explanation by Blair Thompson, aka Justblair at the bottom of this article is a good read.

The input capacitors affect sonic qualities of the T-amp most as a change in these capacitors would make it sound very differently. Some folks went on to claim an improvement in resolution and soundstaging capability of their T-amps after using certain capacitors. In my case, I opt for moderately-priced metalised polyester film capacitors of Vishay Roederstein MKT1813 2.2uF 63V and Vishay Roederstein MKT1822 2.2uF 100V which are available at RS Components/Farnell in my 2 units of T-amp instead of exotic boutique ones. Of the two, I prefer the former more as its sound is much more relaxed, open-sounding, sweet and velvet-like. An article on capacitor test which include the Vishay MKT1822: http://www.humblehomemadehifi.com/Cap.html

We could try out any other capacitors between 1.0uF to 3.3uF so long as they could fit onto the T-amp boards. The use of capacitors with higher capacitance value though will lead to 'thud' sound during powering up.

(2) Power filtering/buffering electrolytic capacitors – Low ESR capacitors should be used here and many folks have reported a more dynamic, more punching solid bass to the sound of T-amp after a change to these capacitors. I opt for Panasonic FM series 470uF 25V ones.

I discovered that the ideal value of these capacitors on the T-amp should be 470uF 25V by accident after listening to my colleague’s unit on 27.09.2008 while we were troubleshooting a soldering-induced problem on his board. I had listened to and compared both our T-amps whereby mine has the 4 stocked capacitors replaced by Vishay MKT1813 2.2uF 63V axial type polyester film capacitors and Panasonic FM low ESR 1000uF 16V electrolytics whereas my colleague only changed the input capacitors to the same Vishay MKT1813 capacitors. Mine is also with a 24-steps 50K Dale resistors attenuator whereas his an Alpha 50K carbon potentiometer. PSU used is a 12V DC 2.5A SMPS, source a Sansui CD-X310 and transducers Q Acoustics 1010. I had reported at LYN forum that the difference in sound of our T-amps as very substantial and initially preferred the unit with Panasonic FM capacitors. The overall scale of music and tonal balance sound larger and more balanced respectively, the low frequencies also carry more weight which adds to the foundation of music making. I had concluded that the stocked buffer capacitors of 220uF 25V must be replaced, inferring that my choice of Panasonic FM 1000uF 16V is correct.

An afterthought to what I had reported earlier - upon further reflection, I found that Vishay MKT1813 capacitors when paired with the stocked buffer capacitors of 220uF 25V produce a livelier highs and midrange. Vocalists sound more airy and micro details are more easily picked up, the very feeling which evokes goose bumps in us (the very hallmark of TA2024 chip itself). With Panasonic FM capacitors on board, the image is bigger and music carries more weight but some of the micro details are overshadowed by the dominant bass weight and a shift in tonal balance from yin to yang which could be a tad tiring over long period of listening. Perhaps, an in-between value used here may be desired so as to strike a balance and this could be reason why finished T-amps usually come with low value capacitors in the buffer section. It was after my listening to the newer board with stocked 470uF 25V presumely general purpose capacitors in buffer section which confirmed that it has indeed more micro details than my well run-in old board and sufficient bass weight although a little flat in comparison to my old board, possibly attributed by the absence of discrete resistor-type attenuator.

(3) Volume potentiometer – I opt for a 24-steps 50K Dale discreet resistor type attenuator for use as volume potentiometer instead of carbon type like Alps RK27 Blue Velvet as my past experience with Audio Note Kit 1 power amplifier clearly demonstrates that the former gives a far more transparent sound, better tonal balance, 3 dimensional soundstage and a killer midrange (tone and body) to-die-for over the latter. I had fitted onto the said amplifier a surprisingly cheap 100K Alps Blue resistor type potentiometer (its construction similar to present day TKD resistor potentiometer) that did not last very long and was replaced with a 100K Alps RK27 carbon type potentiometer shortly thereafter. Consequently, I lost the body and liquidity of midrange that I cherish.

I am often fascinated by the pursuit of others for transparency and musicality through the use of discreet resistor type attenuators in passive pre-amplifiers. Some interesting sites: http://www.eastmarinedrive.com/contents/non-static/passive-content.htm; and http://www.mh-audio.nl/MySystem/hifi.asp.

The selection of resistance value for volume potentiometer is dependant upon the input impedance of T-amp and some folks have also reported much success with 20K ones. With higher resistance value, the entire range of the volume potentiometer would be playable without the T-amp sounding way too loud. For more information, see: http://www.goldpt.com/info.html.

(4) Surface mount devices (SMDs) - I am of opinion the SMDs on my T-amp boards are of inferior quality and value of some are not according to those specified in the Bill of Materials. Replacing these with better grade ones or discrete components should improve sound of the T-amp. An article on understanding and working with SMDs: http://www.geocities.com/vk3em/smtguide/SMT-GuideV1-3.PDF and a YouTube video: http://www.youtube.com/watch?v=3NN7UGWYmBY&eurl=http://www.curiousinventor.com/guides/Surface_Mount_Soldering/101

(5) Internal wires – I only use very cheap AWG-26 multi (7) strands copper wires which cost me RM0.30/metre for internal wiring of my 2 units of T-amp. I have braided the single run of wires for signal just like those from Kimberkable PBJ interconnects with no shielding so as to filter out stray RFI (Radio Frequency Interference) picked up with 'Capacitive Cancellation' phenomenon by the crossing of wires in the cable. I have personally heard the PBJ sounded so much better than its shielded version of KC1 and also the tone richness of SilverStreak that PBJ clearly could not match let alone the full silver KCAG but as I am only using a short length of less than 9" in total, I opt for copper instead of silver which I thought is more suited to the sonic character (see Summary below) of the T-amp. As for the wiring to speaker binding posts and 12V DC, I have twisted and used the same wires in double run instead of thicker wires.

(6) Light Emitting Diode (LED) – I installed a blue coloured LED each to both units of my T-amp, tapping from the 12V DC input which powers the board and wired it parallel. A LED needs a resistor connected to its anode (+ve) leg so as to limit the current passing through. From the calculation, a 1W 1K resister is adequate for 12V application but in reality, we may need a higher value as the LED is merely for pilot light and need not be overly bright. A self explanatory article: http://www.kpsec.freeuk.com/components/led.htm

(7) Switched mode power supplies (SMPS) - I have been using a RM33 12V DC 36W 2.5A computer-notebook-style SMPS all along. I had originally wanted to get another similar unit as I have 2 units of T-amp but my colleague convinced and bought me a Meanwell S-50-12 SMPS for RM55 on 11.11.2008. The difference in sonic quality is substantial and the extra amount of money spent is well-worth. Coincidentally, size (width and depth) of this SMPS is identical to casing of my main T-amp and looks very much the dedicated external PSU specially made for it.

The Meanwell S-50-12 SMPS has 4.2A on tap and its DC voltage could be increased to 14V maximum. Even at 12V setting, it sounded so much better than my other SMPS – the sound becomes fuller, more 3 dimensional and the amplifier behaves like a 50W instead of a mere 20W. It is less flat-sounding and less tiring over long period of listening with ample of reserves when demanded upon. A really excellent stuff.

The wiki of diyAudio.com (http://www.diyaudio.com/wiki/index.php?page=Class+D+Amplification) states that 3A – 5A regulated supply is typically aplenty as the T-amps only draw about 300mA with a musical signal, with many loudspeakers. Even when a battery is to be used, its recommended amperage-hour is 7Ah. I would think the T-amp does not only draw 300mA constantly with musical signal all the time as very loud and complex music passages with lots of bass will definitely draw more current. And with difficult load loudspeakers (their impedances dipping very low), the T-amp will require even more current. With the T-amp driving medium sensitivity loudspeakers of benign loads and music not being played to head banging levels, 4.2A should be more than sufficient.

In my opinion, SMPS is cheap, convenient and the Meanwell is with flexibility of switching to a slightly higher DC voltage. Apart from SMPS, there are the linear power supply and 12V DC 7Ah batteries. On sonic quality of using these different means to power up the T-amps, do check out comments by a reviewer who has used all three to power his T-amp: http://www.tnt-audio.com/ampli/amp-6n_e.html

Summary: The TA2024 chip is designed primarily by the now defunct Tripath as a multimedia amplifier, its main characteristics - ultra clean sounding and prominence to the highs and upper midrange. Bass is slightly lacking. Use of suitable valued low ESR electrolytic caps would restore the balance slightly (I found success with Panasonic FM 470uF 25V ones). Replacing SMDs with discrete components and/or using a full resistor attenuator will further 'cure' the ultra clean sound and render the T-amp slightly more 'dirty', colourful and musical. A few of us have heard a T-amp board with most of its SMDs replaced with discrete components, its sound as what I have ascribed. We also heard how the Vishay MKT1813 2.2uF 63V metalised axial caps made the T-amp even more musical, especially in the midrange. All harshness and hardness from the stocked input caps were totally eliminated.

What am I on now? I have joined a fellow forumer at LYN in performing a ‘mad’ modification of removing all the SMDs and replacing them with discreet components (completely ignoring the benefits of the former over the latter) in the hope of milking the very last bit of performance possible from the T-amp.

I appreciate Justblair’s mention of my review of the T-amp at Post 621 in a diyAudio forum on Sure Electronics board (http://www.diyaudio.com/forums/showthread.php?s=7baaed79463029223d2c822c871e5fc5&threadid=112395&perpage=25&pagenumber=25) and his website (http://www.justblair.co.uk/blog/12-audio/27-welcome-to-malaysia.html).

I have in the evening of 04.10.2008 installed a flag counter to provide me with an indication of number of visitors to my blogsite and must say I am deeply honoured to have close to 50 people from all over the world visiting it within the first 24 hours.

Justblair's explanation on input capacitors:
"... The best solution is to have no capacitors in a circuit altogether. However, the capacitors have a very useful property in the sense that they block DC signals while allowing AC signals (ie Audio) to pass. To understand how, look inside the capacitors. There are two layers of conductor, separated by a very thin layer of insulation. What happens when electrons are removed from one side than the other (ie a positive charge) is that electrons on the opposite layer are attracted to the positive charge, they flow in.
. Of course when enough have flowed in, they stop, and we have no current, ie the DC current has been blocked. Add some electrons to the now positive side, and the electrons on the other side will no longer be in balance and will flow away from the plates until equilibrium is now reached. Remove them again and the opposite occurs. What is happening now is that the AC signal occurs on the other side of the capacitors as a reaction to the AC signal on the source side, or to put it another way, AC signal has been allowed to pass.
. The fact that we get a filter this way is almost consequential. If we want the amplifier to feed a high range speaker we could use very small input capacitors to restrict not just the DC but also the slow charging AC (lower frequencies). Capacitors also filter low frequencies apart from DC current. It has to do with the charging and discharging times. That is where the resistor comes in. It reduces the current, meaning the capacitor takes a finite time to discharge and recharge. If the frequency of the signal is low enough, it changes aptitude (voltage) more slowly. The capacitor discharges quicker than the change in source signal, so the source signal does not pass through..."

Added on 12.12.2008:
I have finally completed the modification of replacing the entire SMDs with discrete components on my third T-amp board on 04.12.2008 after acquiring an Antax 18W fine tip soldering iron. This T-amp board subsequently found its way into the casing of my first T-amp pictured above. The replacement discreet components and their respective costs (all from Farnell) used on my third T-amp board are as per below:-
Vishay Roederstein MKT1813 2.2uF 250V caps (2) - RM14.66 ;
Panasonic FC 470uF 25V electrolytic caps (2) - RM4.82 ;
Vishay BC 0.47uF 63V caps (6) - RM15.84 ;
Vishay BC 0.1uF 63V caps (6) - RM7.02 ;
Vishay BC 1000pF 400V caps (4) - RM2.68 ;
Vishay BC 100pF 50V caps (2) - RM2.58 ;
Panasonic Audio Grade 1uF 50V electrolytic caps (2) - RM1.90 ;
Vishay BC 1% Metal Film 20K ohm resistors (4) - RM1.68 ;
Vishay BC 1% Metal Film 10 ohm resistors (2) - RM0.84 ; and
Vishay BC 1% Metal Film 8.2K ohm resistor (1) - RM1.48.
Total: RM53.50
.
If electrolytic caps are to be used (I myself use such Panasonic 1.0uF caps in C5 and C17), their polarity must be observed. A better way to mount the resistors on the T-amp board would be to let them stand vertically instead of being horizontal as in my case. I could hardly find enough space to mount them in R9 and R10 so much so that I need to remove the 10 ohm resistor after having soldered it properly and in the process accidentally lifted the soldering pad of R9 bottom and ended up having to tap its leg to the blotch of solder below C28 bottom. Please exercise care and do not solder and desolder many times as the soldering pads could come out quite easily. If the power buffer caps are to be replaced, the stock caps should to be removed prior to the soldering in of the discrete components.

This modification is rather 'mad' as I put in discrete components onto a T-amp board meant for SMDs. It took me 6 hours to complete my entire modification but I feel the outcome to the sound changes of the T-amp totally fantastic, no regrets. Most important of all, at the end of day we are using it to listen to our music. On its sound quality, after playing music for many hours now, it is beautiful and easily some 20% better in all areas (resolution, airiness, decay, expressiveness, micro details, timing, 3D soundstaging, dynamics and even dynamic shadings) in comparison to my 1st board. As I am using a discrete attenuator rather than a carbon type volume pot, I find the high frequencies extended yet not bright sounding to the extent of being unforgiving as reported by a LYN forumer. Total cost for replacement discrete components is RM53.50, almost the price of 1 T-amp board. However, to me, the mod is well worth every sen spent so for those who could handle the soldering iron reasonably well and are deliberating whether to perform the mod or otherwise, my advice would be to go for it and tell me later if I have been incorrect in my assessment. I would even go further to pronounce that my T-amp with full discrete components will take on and give many highend amplifiers a run for money. What it could not produce in quantity (huge wattage) is compensated by the sheer quality it oozes.

A week after I completed the modification, the sound of my T-amp with discrete components is very different from the time it was newly done. I have used bigger than usual capacitors (Vishay Roederstein MKT1813 2.2uF 250V in the input stage and Vishay BC 1000pF 400V in the output biasing stage) and a result of this is my T-amp sounds so much more smoother and fuller. Absolute speed is just a tad slower compared to my other units of T-amp with SMDs or even another LYN forumer’s unit where most SMDs were replaced with discrete components. I have not installed any additional PSU cap(s) so as to maintain the same level of 'micro details' and overall balance of sound. I thought its timing now is almost perfect. I also hear no noise nor distortion after replacing the SMDs with discrete components but I must admit that the super clean and almost clinical sound of the stock T-amp is now gone. Could whatever distortion induced be the 'even-order harmonic distortion' which are so pleasing to our ears? Yes, you got me correctly, I am inferring that my T-amp with full discrete components is sounding pretty close to a valve (tube) amplifier not only in its smoothness, warmth and micro dynamics but also with its timing gotten right, lots of rhythmic bounce and sufficient bass and bass weight we could possibly seek from an amplifier. Shocking, but the sound of my modded T-amp is that good and extremely transparent at such a low price without any use of fancy powercord, interconnects or speaker cables.

I am certainly not the only guy to have raved that the T-amp sounds pretty close to a valve amplifier as many others have actually indicated their preference of T-amps over their other exotic valve amplifiers. Enjoy tweaking and listening.
.

DIY Class T amplifier - listening to it

2008-09-09T03:18:00.058+08:00

I have finally assembled my own T-amp today (06.09.2008) although it is still yet to be fitted into its wooden casing (which needs more time to complete as its sidewalls are very thick and require some chipping away of wood beneath the 10 manually drilled holes). I made a power wire with some AWG-26 multi strands wire (doubled and twisted per side) soldered to a DC male connector for use with a computer-notebook-styled 12V DC 2.5A SMPS (switched mode power supplies). I then proceed to de-solder out the 3-pins input connector from the PCB board, thoroughly sucked away all the stale solder and cleaned the 3-holes area with thinner before soldering in a pair of Neutrik RCA-plugs plus a 50K (Dale resistors) 24-steps attenuator.

I connect the T-amp to my Q-Acoustics 1010 bookshelf loudspeakers (sitting directly on the wooden flooring) with some el-cheapo hotwires. Source is a sub RM200 mass-market LG DVD player. After ensuring all connections are proper, I powered up the T-amp, hit the play button on the DVD machine and waited eagerly. No sound, the whole setup is dead quiet, no hum, no buzz – either a very good sign or I may have wired-up the amplifier wrongly somewhere. Momentary suspense. I cranked up the volume and now the sound comes about, softly at first but gradually gets louder as I turn the knob of the attenuator. Great!

What did I hear?

- Initial impression is a well-defined and clean sound with highs a little lacking and some boom to the lower mid / upper bass region. Clarity is good but nothing spectacular as yet.

- Midway through playing the third CD, I began to notice both macro and micro dynamics have improved substantially with great swing from the quietest to loudest passage. The forceful rendition of voice by a female vocalist, sound of her breathing and her lips parting come out so well pronounced.

- Playing the fourth CD (a female vocalist rendering some 90s pop songs in jazz style), timing and rhythmic swings are thought to be great. Sibilance associated with this CD is almost all still there. But hey, wait a minute, bass digs deeper now with less boom than earlier.

- Tonality / tonal balance and timbre of acoustical instruments are thought to be good. Liquidity of vocals, a sign of great midrange, however, could not be attained, probably a limitation of CD playback through a DVD player rather than by the T-amp.

- Size of image is big, I have yet to position my loudspeakers properly to try out the 3-dimensional sound staging capability of the T-amp. Currently, they are positioned 3 feet apart from one another and each of them sits on a stack of magazines. Within this setup, I hear the T-amp images well, vocals well fleshed out (as opposed to cardboardy sound) with decent sound stage and depth. I would think the sound staging capability would not be any lesser than most other amplifiers and shall comment once I have fitted my T-amp into its casing proper and after listening to it in my main hifi system.

- Details through the T-amp playing at moderate level is good; sound of people talking, glasses clicking and cash register at the background of beginning of Limehouse Blues of Jazz at the Pawnshop 1 come out crystal clear. (When this track was played through a mid price Marantz integrated amp few years’ back, an acquaintance had sarcastically enquired whether we were actually listening to silent music!) Listen also to the ending passage of Randy Crawford’s Diamante to a dog barking and sound of waves hitting on shores in the background of Priscilla Chan (陈慧娴)'s 痴情意外.

- Bass – a lot of energy in this region but its definition is rather vague at this juncture; the T-amp certainly needs more hours to be run-in. However, I must admit with good recordings, definition of bass is all there and well defined.

- Treble – Clean and extended yet not harsh nor ragged sounding.

- Overall, the T-amp is sounding much more musical and relaxed now after 8 hours of playing music non-stop compared to when it was just powered up for the first time. Its well-timed rhythmic swing and slightly forward sounding midrange certainly makes listening to music through it addictive enough for me in not wanting to stop listening to more. I am listening to Jazz in the Pawnshop now - great music sounding even better through the T-amp. And I thought it sounded pretty close to analogue (a fellow forumer at LYN reminded me I was actually insulting the digital medium!).

My T-amp has clocked approximately 20 hours by now (07.09.2008); still a long way to go before it is fully run-in. It now sings much better and sounds more beautifully than yesterday and by right I should have just left it alone to continue singing. However, the curiosity to tweak got the better of me and armed with my soldering iron, I removed the 4 capacitors on board. I replaced the input capacitors with a pair of Vishay Roederstein MKT1813 2.2uF 63V Metalised Polyester Film Axial Type capacitors and as for the buffer capacitors, with a pair of Panasonic FM 1000uF 16V electrolytics.

How did the change in capacitors affect the sound of my T-amp? I shall come back to this shortly after describing the bookshelf loudspeakers that I paired with my T-amp. Q-Acoustics 1010, to me, have almost perfect highs and midrange which are seamlessly integrated and at their selling price, are second to none. Their weaknesses though, are they do not have any ‘real’ bass to speak of and they do not throw a big soundstage like many other loudspeakers. Being a midrange guy, I could easily live with such shortcomings.

I had initially placed the pair of loudspeakers sitting directly on the wooden flooring in my bedroom but after a couple of hours of listening to music through them on Saturday afternoon, my ears could no longer take to the hard and ‘overpowering’ bass I was getting from them so much so I inserted a stack of magazines under both loudspeakers. I had also mentioned with normal recordings, bass definition of T-amp was a little vague.

Immediately after the capacitors change, I only detected subtle differences. First, the hardness and ‘overpowering’ bass I was hearing through the stocked capacitors are now gone. Bass is now softer with bass lines slightly better defined (less of the mini-compo effect in bass I thought I was hearing at times earlier). I thought this is how my Q-Acoustics 1010 should actually sound.

I also thought the highs now sounded more refined and slightly airier and midrange especially in vocals sounded less forceful than before. Is it a good thing? Hmmm ……

Previously, I had asked whether the midrange and highs of my T-amp are really better after the capacitors change by me. I have listened to several more CDs since then and my answer now (08.09.2008) is a resounding YES. Vocals sound airier, livelier and less forceful (hardness in midrange greatly reduced). I would think a CD player proper is required in my setup to totally remove any hardness remaining. The overall sound now is a touch more gentle compared to before.

A CD I used of late to test vocals and resolving ability of amplifiers is Il Divo’s first album (Sony BMG 828766765427) where 'Unbreak My Heart' is the first track therein. This is a non-audiophile CD and I only owned a local-pressed copy. With most amplifiers, this CD would sound rather noisy as Il Divo is a group comprising of 4 male soprano singers brought together by Simon Cowell (yes, the outspoken judge of American Idol). After the capacitors change in my T-amp, Il Divo sounded extremely close to what I am hearing through my Simaudio Moon i-3 integrated amp and this is really stunning as the resolving ability of my T-amp has now surpassed that of Exposure 2010S integrated amp, a Stereophile Class A component currently retailed at RM4,300 in our country.

In concluding my review, I would say even in its stocked form, the T-amp kit (TA2024 chip) at RM55 (throw in another RM100 or so for some decent RCA plugs, speaker binding posts, wires, a volume potentiometer and casing) is a well-designed amplifier which sounds great and in fact a giant killer. It would easily surpass the sound quality of many entry level integrated amplifiers, my former Sony TA-F5000 (with some very good Japanese internal parts) included. If any of us are on the lookout for an amplifier, it would be almost a sin not to explore and consider picking up the T-amp. And after some modifications which include the change in input and PSU capacitors plus others (change in critical SMDs to decent-grade capacitors, resistors and inductors), its sonic qualities should be raised to even greater heights, the sound after that surpassing many mid-priced integrated amplifiers. Many of us would be pleasantly surprised, charmed and could live happily-ever-after with this little gem.

added on 16.09.2008:
I replaced the LG DVD machine with a RM300 NOS Sansui CD-X310 CD player in my T-amp system on 11.09.2008 and after some 30 over hours of running-in the CD player by playing music, the system is sounding really marvelous. My tiny Q Acoustics 1010 (86dB/1W/1m) loudspeakers do not sound like small loudspeakers at all as I am getting lots of bass both in quantity and quality (goes very deep) and overall, a relaxed yet extremely dynamic, expressive and high on PRaT sound and the system certainly is giving my main system a run for money and in fact better in certain areas.

Which areas, you may ask? It is the directness, expressiveness and micro dynamics …that magical thing that it's hard to put a finger on. Magic is about as close as I can come to describing it. The sort of thing that triode lovers rave about although they don't really sound like triodes.

Listening to Nigel Kennedy performing Vivaldi's Four Seasons (EMI 724355635328) would easily endear the tone of his violin, mood and totally different interpretation of these pieces. And certainly not all affordable amps or systems could attain this!

Collectible / Audiophile CDs & LPs

2008-08-24T15:30:00.040+08:00

I found this article online which interests me and repost its extract here for subsequent reading. I did not write the article.

CDs - It is very important to buy good quality CD pressings. Everyone who collects LPs seriously has in mind the quality of pressing – the first pressings by particular record labels were better than later ones; they were and are still more collectable and also more desirable sonically. The rationale is that as pressings continue, the master tape deteriorates and the sound becomes less like the original.

For some reason, not much is written about superior quality of collectable CDs. I decided to pen down this article after I became a proud owner of four Japanese first pressing CDs. These Japanese first pressings were collectables because they sounded superior sonically. I bought The Best of Vienna Boy’s Choir, Bill Evans, a Horowitz in Moscow, and an extremely expensive Cliff Richard; I think the Cliff Richard CD actually had a price tag of HK$2,900 and therefore required some considerable thoughts before I parted with my money.

In any event, the real purpose of me relating this is that I was charmed and also surprised at the real excellence of the recordings in question. Played through my system, I must say that the sound reproduction was stunning. In the old days, all one could get from a compact disc was a rather small, mean and unpleasant sound. Now this is not necessarily true; at least not with the right equipment and the right pressing. These pieces of music were thoroughly engaging. When I played Bill Evans and compared to an ordinary Bill Evans pressing, the difference was frightening!

Audiophile means lovers of sound in Latin. The benefits of audiophile LPs include low surface noise and better dynamics already present on CDs by definition. However, while CDs as a format do not have these limitations, they often suffer from the same poor mastering processes (such as mastering from sixth/seventh generation masters) and a 'pile it high, sell them cheap' mentality that results in CDs which can sound shrill, unexciting and dull. In contrast, audiophile CDs are often mastered from the original master tapes using meticulous mastering processes, allowing the sound of the original recording to be presented as accurately as possible.

Standard CDs are often pressed on cheap aluminium while most audiophile CDs are mastered onto 24k gold plated discs, the latter have the advantages of having a longer life span than traditional aluminium discs and are also more effective as a playing medium. This is because the gold surface is more reflective and easier for a CD player laser to read more accurately. In a nutshell, analog sound waves that are heard by the human ear are converted to 1s and 0s to be recorded onto a CD, and then the CD player converts these 1s and 0s back into sound waves when the CD is played. The gold surface on audiophile CDs allows the succession of 1s and 0s that are stored on the surface to be read as accurately as possible, allowing the CD player to convert the 1s and 0s into the most accurate representation of the analog sound wave that was originally converted into these 1s and 0s. This arguably results in better sounding CDs which have a smoother, less clinical and more analog type sound.

Audiophile CDs available include 1) Mobile Fidelity Sound Lab (MFSL), arguably the best new release audiophile CDs currently available. MFSL introduced their range of gold plated CD releases in the 1990s, which have been mastered using the same meticulous mastering processes as their LPs, but are each pressed on 24 karat gold plated CDs as part of their 'Ultradisc' range. In similarity to their LP releases, MFSL audiophile CDs are made from the original master recordings and are often far sonically superior to their standard CD counterparts, having a smoother and more analog sound. MFSL CDs are often only released for a short period and then go out of print. Earlier releases are often highly sought after. All releases come in 'lift lock' style cases, which raise the CD when opened. Some older releases also came in 'long boxes' which were larger boxes containing the CD. These are now extremely rare as many people discarded the long boxes.

MFSL also introduced a range of hybrid SACDs and hybrid surround sound SACDs. SACDs have a higher sampling rate than standard CDs and so arguably have a much smoother sound. You can play these hybrid SACDs on a standard CD player, allowing you to enjoy the benefits of MFSL's mastering processes, but they can also be played on an SACD player to enjoy the full sonic benefits of the SACD format. As such these releases offer exceptional value for money.

2) DCC released a variety of albums on audiophile CDs, including arguably the best sounding releases of The Doors albums. Now very rare.

3) CBS Mastersound were released as CD equivalents of the half speed mastered audiophile LPs (see Audiophile LP Guide) from CBS Mastersound. Popular releases included Pink Floyd's 'Wish You Were Here' and in similarity to many of the rare Mobile Fidelity releases, they were released in 'long boxes'. Now very rare.

4) Others. There are many other audiophile CDs released and often plated on 24k gold from other labels - most of which offer the same benefits if they have been mastered from the original tapes and care has been taken during the mastering process. 24k plating does little to improve the sound of a poor mastering job though, so its always worth checking if the release has been mastered from the original master tapes and there is some note of a careful mastering process.

LPs - Overview

It is no exaggeration to say that vinyl has experienced something of a resurgence in the last decade. In a world of musical convenience gained from the introduction of CDs in 1983 and more recently mp3 players, many ask what the appeal of vinyl is and why people are still buying. It would be easy not to understand its appeal if you have never heard how good an LP can sound on a good music system. From the moment you open a record, the size of the artwork, its touch and smell suggest that its something special, beyond the simple convenience of CDs, but nothing comes close to the experience of listening to it. If you are using a good turntable and hi-fi, playing a record can be a wonderful and enjoying experience, arguably being a much closer experience to hearing the music live - with an analog medium sounding less artificial than CDs and compressed digital formats.

The increase in vinyl sales over the last decade are not just from 'normal' LPs you can still buy in some stores and online, but also from the sale of audiophile vinyl pressings, which are manufactured with much greater care and always arguably sound much better than cheaper releases. Please find below a comprehensive overview of audiophile vinyl pressings - how they're made, what the big labels are releasing audiophile records and links to reviews of some of the best sounding releases we've heard. Think of us as your guide to the best quality records now available, allowing you to listen to your favourite albums fresh, enjoy as close to a 'live listening experience' in your home as possible and gain the best possible listening experience from your music system.

LPs - General Overview:

- Vinyl Quality. Most audiophile LPs are now released on vinyl weighing either 180 grams ('180g') or 200 grams ('200g') and are denoted as such to indicate the greater quality of the vinyl used, often being 'virgin vinyl' meaning purer vinyl is used rather than the recycled plastics used in the production of standard LPs. A result of the greater quality and weight of the vinyl is usually lower surface noise and less cross talk. Please note: earlier audiophile LPs (including those from MFSL, Nautilus, Nimbus Supercut, etc.) were released on standard weight vinyl, but the quality of the vinyl used was very pure and as such, the quality of the sound on these releases is as good - or in some cases better, than the quality of newer releases. Furthermore, heavier vinyl arguably has a longer life and can withstand repeated plays more than the cheaper, less pure vinyl used on standard LPs.

- Original Master Tapes. Audiophile records are often mastered from the original tapes that were used to record the album in the studio or live. This is in contrast to many standard LPs which are mastered from sixth, seventh or even eight generation copies or dupes. With each successive copy sounding less like the original tapes and losing something in the copying process, mastering from the original tapes means that the sound of the resulting record will be as close as possible to the sound of the original tapes and thus as close as possible to the experience of actually being there during the original recording. Many audiophile records are mastered from the original tapes and clearly state this on the record, for example, Mobile Fidelity Sound Lab (MFSL) releases are all labeled 'Original Master Recording' to make this as clear as possible!

- Half Speed Mastering. Half speed mastering refers to the speed of mastering the original recording onto the master lacquer, which is then used to make the masters that press each LP. Many standard LPs are mastered at standard speed, which means that the master tape moves at the same speed as the original recording session and the master lacquer moves at 33 13 rpm. In contrast, it is also possible to run each of these machines at half speed. As a result, there is twice as much time for the cutting stylus to cut every possible detail and delicate groove modulation, resulting in LPs where you can hear details and nuances on your favourite albums that you never heard before. Furthermore, mastering at half speed uses less power and as a result the cutting head amplifiers use only one fourth as much power, resulting in much greater head room, better dynamic range, frequency response and lower distortion. This is another reason why resulting audiophile LPs can sound much closer to the sound of the original recording in comparison to standard LPs.

- Mastering Process. Audiophile LPs are produced with much greater care and consideration at every stage of the mastering process. Some labels clearly state a special feature of their mastering process. For example, Classic Records use tube amplification in every stage of their mastering process, following the logic that tubes sound warmer and less clinical than transistors and as such, the resulting LPs should follow suit. In many cases, mastering engineers may have to work with master tapes that are damaged or which need level adjustments to compensate for deterioration.. It is an art to do this and to still achieve a sound as close as possible to that of the original recording. In some cases, there will be master recording notes to work with, but damage to a recording tape over time can mean that some albums take considerable time to master properly. In any case, there are some clear cases of significant improvements in sound from some audiophile LPs when compared to original pressings, for example with Carole King's Tapestry from Classic Records, which sounds much more realistic and less 'EQ'd' than standard original pressings. There are some mastering engineers who have achieved small celebrity status for the quality of their mastered albums, for example Steve Hoffman and Bernie Grundman.

- 45rpm, One-Sided LPs, etc. Many audiophile labels have recently released some LPs which are playable at 45rpm. This is an extension of the logic used for mastering at half speed. Mastering an LP at 45rpm rather than 33rpm gives a greater groove length in which to press x period of music, which should arguably result in greater detail and resolution. One sided masters follow similar logic, with the suggestion that this results in one perfect playing surface.

- Direct to Disc. Some audiophile LPs were released using this process, which means that the pressing is made live, with the signal from the session going through to the cutting lathe. The logic behind this approach is that the resulting recording should be devoid of the limitations of a recording medium and should have low distortion, excellent dynamic range and the widest possible frequency response. However, the practicalities of this approach have meant that these releases tend to be solo performers and are of the majority jazz albums. Furthermore, modern digital and 'lossless' recording techniques on newer albums mean that the benefits of this approach are arguably less important now.

- Original artwork, labels, and inclusions. Most audiophile LPs include where possible accurate reproductions of the original cover art, LP labels and any other inclusions which were included at the time of the original release. Such dedication allows you to enjoy the record as if you were buying it for the first time again, but with the advantages of the better mastering.

- Poly-lined inner sleeves. Most standard LPs are packaged using cheap paper sleeves, or in worst cases cardboard sleeves, which can scratch and scuff the vinyl when removing and replacing it before and after play. In contrast, most audiophile LPs are packaged with poly lined inner sleeves, which include a sheet of poly lining to protect the vinyl from getting damaged and for safer storage. Mofi refer to their version of these as 'rice paper inner sleeves', which are also now available in packs of 10, 25 and 50 so that you can replace cheap inner sleeves with these superior replacements.

Audiophile Labels

Mobile Fidelity Sound Lab (MFSL or Mofi) was one of the first companies to release audiophile records in the late 1970s. Denoted as 'Original Master Recording' due to the mastering from the original tapes at half speed, Mobile Fidelity went through several periods as a company, which is reflected in the dates of their releases. However, the philosophy of releasing the best possible sounding releases has remained, as has the company's dedication to presenting luxury packages that include original album artwork and sleeve notes wherever possible.

The earlier releases from the 1970s and 1980s, were pressed on 'super vinyl', which was standard weight (as most audiophile releases during the period were), but was an extremely pure vinyl produced by JVC in Japan, so pure infact that it is translucent when held to the light and feature 'an extraordinarily quiet playing surface, extreme durability and a lifespan many times exceeding conventional pressings'. In 1979, Mofi released their LP master of Pink Floyd's 'Dark Side of the Moon' which was a huge seller and became the benchmark hi-fi system test LP for years to come. Following this release, Mofi started to release further releases from 1980 onward. These earlier pressings have some of the most quiet surfaces available of any audiophile LPs. In fact, many near mint and mint examples have next to no surface noise and the level of resolution is incredible. Many releases from this period often sell for high sums second hand, but they are still usually the best sounding releases of the album in question available and likely to rise in value in future, thus also being an investment to some buyers. These releases were mastered by Stan Ricker and Jack Hunt.

Mofi also released three now legendary LP box sets. The first released in 1982, 'The Beatles Collection' is legendary as being the best sounding release of the fab four's albums ever available. The second released in 1983 was 'Sinatra, a collection of his best albums from the Capital label years. The third released in 1984, the 'Rolling Stones Collection' was a collection of their first albums, none of which was released separately (only 'Some Girl's and 'Sticky Fingers' - two of their later albums, were released separately by Mofi). Each box collection is expensive to obtain, but are worth every penny and are arguably three of the best audiophile collections ever released and were all individually numbered. These box sets also included the 'Geodisc' which is arguably one of the best cartridge alignment tools available, but is now available from Mofi and is in store. During this period, they also released several UHQR (Ultra High Quality Records) titles which were pressed on 200 gram (200g) vinyl and marketed as sounding better than their standard counterparts. They also released some cassettes during this period using the same mastering processes, but these are rarer and arguably less desirable now than the LP releases.

The next wave of releases came in 1994 and were referred to as the 'Anadisq' series. These used a different vinyl compound and were released on heavy 200 gram (200g) weight vinyl and mastered using the 'Gain system'. These releases were also all individually numbered.

The original company folded in 1999, but was resurrected by Music Direct and is now releasing audiophile LPs and CDs again. Its debatable whether the newer LP releases equal the quality of the earlier releases, but the company still follows the same 'Original Master Recording' philosophy. These newer releases are mostly released on 180 gram (180g) weight vinyl and include some 45rpm releases.

Classic Records are a recent US audiophile label dedicated to producing high quality new LP pressings. Each release is mastered at half speed from the original master tapes using an 'all-analog mastering process' which also uses tube amplification at every stage of the mastering process. The majority of their releases are pressed on high quality 200 gram (200g) weight vinyl, which has virtually no surface noise and sonically superior dynamics. Classic Records are also highly dedicated to releasing each album with the original artwork, LP labels and any other materials which were included with original pressings. Their dedication to this is shown in the quality of the each release, with albums having thick, heavy duty sleeves, and many being presented exactly how they were when originally released. For example, Led Zeppelin's III has the original wheel cover, 'In Through the Out Door' includes the brown paper bag cover and booklet, The Who's 'Tommy' includes the original booklet and tri-fold sleeve. In short, Classic Records have aimed for each release to be a sensory experience, and as close to the experience of buying the original LP as possible. As a result, their releases allow you to enjoy the experience of buying your favourite albums over again, being in sight and touch exact replicas of their original counterparts, but with the advantage of the quality of the LP included, which in many cases far succeeds the quality of the standard LP release.

Classic Records are critically acclaimed for the sound and presentation of their releases, many of which are now considered to be the definitive releases. These include the Led Zeppelin catalog, which sound of which is breathtaking, The Who catalog, and many more. They are also due to release the Beatles catalog in late 2007 or 2008 - so we will get to enjoy these albums once more and see if they equal or exceed the quality of the Mobile Fidelity releases!

Nimbus Records have achieved somewhat of a legendary status within the audiophile circle for their 'Supercut' releases, which were only available by mail order through the Hi-fi magazines 'Practical Hi-fi' and 'Hi-fi Today' in the early 1980s. Nimbus mastered each release from the original master tapes using the best available mastering processes. Infact, Nimbus employed many techniques for each release that were not commonly used. For example, generally when bass moves from channel to channel on an LP, groove modulation is employed to reduce the movement of the stylus and this results in this bass being centered more over both channels. Most audiophiles would argue that this - and in fact anything, which changes the original recording should be avoided although this is common practice on most LPs. For example, the release of 'Joan Armatrading' had bass moving from channel to channel in several places, but Nimbus did not limit this, resulting in an outstanding pressing. Nimbus also had the ICI company produce an extremely pure vinyl for the LPs, which has amazing frequency reproduction and is virtually noise free - similar in quality to the 'super vinyl' used on earlier Mofi pressings. Due to their rarity and small pressing quantities, they are often more expensive than audiophile LPs from other labels, but the sums paid can be justified by the outstanding quality of the pressings and the fact that they tend to rise in value over time and as such are deemed as investments by some audiophiles. Other releases included Pink Floyd's 'Wish You Were Here', Beatles 'Sgt Pepper' and Wings 'Band on the Run' and many other excellent titles.
Nautilus At a similar time to the original Mofi LP releases, Nautilus released a comparatively smaller - though excellently mastered number of audiophile LPs in their 'Superdisc' series. Most of these were mastered at half-speed and pressed on high quality standard weight vinyl. These are also rare releases and were released in limited quantities. Nautilus also released some direct to disc releases.

CBS Mastersound This label released a large range of half speed mastered LPs during the 1980s, all mastered on excellent quality vinyl and using the best available mastering techniques. These releases also include a 'CBS Mastersound Information Sheet' (where still included), detailing the mastering processes used. These releases are arguably sonically equal to many of the earlier Mofi releases, but often do not command such high sums and as such are usually quite a bargain. The exceptions are for some of the releases which are outstanding such as Pink Floyd's 'Wish You Were Here'.

Sheffield Lab released a range of audiophile LPs during the 1980s, many of which were mastered direct to disc.

Pure Pleasure are quickly gaining an excellent reputation for releasing excellent sounding jazz and blues releases on 180 gram (180g) vinyl, many of which are mastered from the original master tapes.

Sundazed are dedicated to releasing older rock, folk and psychedelic albums, which have included much of the Bob Dylan catalog (in original mono), the Byrds catalog (also original mono) and many more. Each release also includes faithful reproductions of original artwork and LP labels and are pressed on high quality 180 gram (180g) weight vinyl. The Bob Dylan releases are arguably the best sounding versions of these albums available, each having a much fresher sound than on standard pressings - which in some cases can be surprising, for example with 'Highway 61 Revisited', on which 'Like a Rolling Stone' sounds much fresher than most other versions available.

Warner/R.T.I.These releases are mastered at half speed, often by some celebrity mastering engineers, including Stan Ricker - who mastered many of the earlier Mofi LPs. They are pressed on high quality 180 gram (180g) weight vinyl and are always presented with high quality thick artwork sleeves and LP labels.

DCC released a small number of audiophile LPs, most notably the Doors catalog, which were arguably the best releases of their albums ever available, many of which were mastered by Steve Hoffman.

Japanese LPs are often highly regarded for having excellent sound quality and for being produced on excellent quality vinyl. They can usually be identified by an 'OBI strip', a long piece of paper around the cover with the album details in Japanese. Some releases are also pressed on red vinyl, which some argue has greater sonic qualities than standard black vinyl, though this is debatable and arguably depends more on the actual quality of the vinyl used.

Conclusion: Audiophile LPs are generally more expensive as a rule of thumb in comparison to standard LP releases, but as the saying goes, you get what you pay for. The greater care, craftsmanship, presentation and most importantly the sound quality of audiophile LPs mean that you are getting something truly special, that will allow you to get the very best out of your music system, and enjoy music the way it was recorded and supposed to sound. Many people who head audiophile vinyl are surprised by the details and sounds they can hear on their favourite albums that they have never heard before and the entire experience is like buying the album for the first time and enjoying how good it sounded when you first heard it. What's more surprising though to the majority of converted vinyl enthusiasts is how much better audiophile LPs can sound in comparison to their CD counterparts, making a real case for vinyl as a format and a luxury for any high end music system that deserves only the very best.

DIY class T amplifier

2008-08-13T17:33:00.141+08:00

A class T amplifier is an audio amplifier which uses Tripath (since insolvent) chip based on Class D topology instead of being a different class of amplifier. It is a high order switching chip amplifier that uses a spread spectrum PWM technique to generate the audio output. This output is then filtered through a simple second order low pass passive filter to remove the ultrasonic switching residue and leave the audio signal to be sent to the loudspeakers.

I have come across numerous rave reviews on class T amplifiers and that their excellent sonic qualities far exceed many other amplifiers costing 100 times their price. Review 1: http://www.stereophile.com/solidpoweramps/1006sonic/ Review 2: http://6moons.com/audioreviews/trends/ta10_2.html plus many others. Nothing transpired and this information only remained at the back of my mind until the recently concluded KLIAV Show 2008 where I finally got to hear a class T amplifier myself. It is an amplifier in wood casing named Charlize with Tripath TA2020 chip (max output of 10W into 8Ω / 20W into 4Ω) driving a pair of horn speakers in diyParadise room. I thought to myself how natural the sound was.

I gathered more information at diyParadise and diyForum websites and even chatted with Yeo as I was keen to buy an unit of Charlize in kit form for RM350 (diyParadise also sells Charlize as finished product for RM1,000). I like the idea of assembling my very own Charlize in a small wooden jewellery box just like what was featured in their website but with RCA connectors and speaker binding posts fitted in more properly instead of them sticking out midway from the wooden casing. Just before I could place my order, I chanced upon another class T amplifier also in kit form but uses Tripath TA2024 chip (max output of 6W into 8Ω / 11W into 4Ω, both ratings @ 0.10% THD) being retailed at a hard-to-resist price of RM55. Given its price, I thought the capacitors and resistors must be of inferior quality which may need to be replaced for this class T amplifier to really sing properly. I have since ordered this kit and would need to listen to it with my loudspeakers to assess whether the 11W output is sufficient for my applications before I replace any of its components. I hope not to go overboard and work within my original budget of RM600 for the finished amplifier.

The TA2024 is a stereo bridged amp. This could be seen from the schematic in the dual push pull transistors for each channel and the 2 sided output filters. The chip is designed to run off 12V DC, so the bridged mode is needed to squeeze more power out of the 12V. It cannot be bridged further. Most of those who have written about this amplifier rave about its sound qualities, often comparing it favorably to valve amplifiers. What is the difference of TA2024 from Charlize (TA2020)? I have only heard Charlize once and never did any direct comparison between the two but after reading the comments of many others who have written on these Tripath chips, TA2020 seems to have a smoother, fuller sound and a bigger soundstage than TA2024. There is also slightly more power from TA2020 before clipping. TA2024, however, is the winner for micro details, the magical thing that valve amplifier lovers seek.

What would I be driving my class T amplifier (hereinafter referred to as T-amp) with? Most probably a pair of 86dB/1W/1m Q Acoustics 1010 bookshelf loudspeakers that I picked up during KLIAV Show 2007 meant for my second system in the bedroom/study although I also have another mint pair of audiophile loudspeakers in Epos m5. I only intend to set up a small system for nearfield listening with no intention for yet another hifi system as I already owned a decent-sounding system at home which I enjoy listening to immensely. Listening to my main system has always put back a smile to my face whenever I am feeling a little down from work pressure.

After I sold off my Sony TA-F5000 integrated amplifier, I had always fancied buying a Musical Fidelity X-80 (40W) integrated amplifier for my bedroom/study because of its looks and small footprint. Sonic quality is decent. The local agent, LTB Enterprise has some brand new units but still maintained their selling price at RM3,200 each, too pricey as far as I am concerned. I then lowered my choice to a NAD C315BEE integrated amplifier but felt its sound is a little too harsh to my ears and its full equipment size rather unsuitable. All these until the T-amp came along.

I have maintained in LYN forum from day one even before I received my first T-amp board that I am not expecting it to sound as good as the resident amplifier in my system. My first T-amp fitted with a discrete attenuator actually sounded very good and far exceeded my expectation so much so I later built another unit for my office. I am quite a perfectionist and have taken great pain to select the peripheral parts and assemble both my T-amps. Read about my listening to the T-amp where I have dedicated a separate article on it. An interesting article where TA-2020 chip based T-amp is built DIY, detailing parts used, the process and rationale: http://ta2020.huuryuu.com/index_e.html

Further thoughts: If only the JVC SX-WD1KT wood cone single driver loudspeakers could be gotten at a more affordable price, I am of opinion that these are even better suited for my T-amp based system for my bedroom/study. The system would probably be the only system I ever need to accompany me to my sunset years if they could last that long.

My Hifi System

2008-08-08T19:14:00.288+08:00

Hifi, short for high fidelity, has been a part of my life for the last 16 years and my current system which resides in a living hall measuring roughly 25' (W) x 30' (L) x 12' (H) comprises of Roksan Caspian m-series 1 CD player (digital source), ProJect RPM 5 turntable with Ortofon OM20 mm cartridge (analogue source), a much improved ProJect phono box mk1, SimAudio Moon i-3 integrated amplifier and Sonus Faber Concerto Home loudspeakers. Cables and accessories include vdH First interconnects, vdH Source interconnects, vdH D-502 tonearm cables, vdH CS-122 hybrid speaker cables, Russ Andrews PowerMax AC cables, WireWorld Stratus 5 AC cables, White Carrara marble platform, untempered glass platform, Vibrapods and Isobase copper footers.

I subscribe to Zen values of less is more and in keeping things simple in life; my hifi system also a result of this belief and hence integrated amplifier and CD player instead of separates like pre and power amplifiers, and CD transport with DAC. The golden rule of 40%-30%-30% allocation on loudspeakers-amplifier-source is observed so as not to spend too excessively or too miserly on an equipment and keep my system strictly within context. I believe in the adage of our hifi system being as strong as its weakest link. I listen mainly to vocals and instrumental music of jazz, classical, traditional Chinese and contemporary genres whereby the emotional aspect of music presentation and PRaT (Pace, Rhythm and Timing) are of utmost importance to me. I rarely go for hard hitting rock music.

My hifi system is set up in the living hall (instead of within a dedicated listening room) as I wanted music to be part of my family's lives and all of us to enjoy it rather than me alone. Music would normally be played when we read or attend to the garden just outside the living hall and I am now past the era of sitting alone in the sweet spot listening to details (or to dogs barking in Roger Waters’s Amused to Death CD) or the three dimensional soundstage. And being in the hall, my hifi equipment must not only sound good but look good too, thus their small footprint and esthetic appeal so as to blend in with the interior decoration. I prefer to listen to my equipment in as is where is condition without tweaking in order not to adversely affect their resale value should I opt to dispose them off in future.

I currently owned approximately 250 and 65 different titles of CDs and LPs respectively, enough to cater to my listening needs of a lifetime. I shall only buy more CDs and/or LPs if I do come across very good ones or those which appeal to my music taste. I do not foresee myself embracing SACD format either in the near foreseeable future or beyond that.

Do I consider my hifi system high end? The answer is NO and it is in fact more of a lounge system to enjoy good music.

Sonus Faber Concertino/Concerto Home loudspeakers

Concertino Home is the baby of the previous affordable Concert series of Sonus Faber which also include Concerto Home and Grand Piano Home. Both Concertino Home and Concerto Home are standmount loudspeakers finished in solid Walnut and leatherette. I owned a pair of these loudspeakers for many years after switching over from Epos ES11/12. To me, they are very natural sounding transducers especially in the midrange (tone and timbre of musical instruments) and are about refinement and body which would require substantial yet good power amplifiers to drive them well. I love their sound a lot and could have easily live happily-ever-after with this pair of loudspeakers if only I had not chanced upon a NOS pair of Concerto Home (tagged as poor men' Electa Amator) at a hard-to-resist price which I subsequently picked up, this at a time when these models are no longer in production for many years. Both the 2 models sound alike, obviously cut from the same cloth but with Concerto Home, musical instruments sound even more real, more emotional and more dramatic. The grandeur scale of soundstage width, height and depth together with all three departments of highs, midrange and bass of Concerto Home are audibly much better. Size of string instruments in acoustic guitar, violin, cello, guzheng, pipa and erhu are more lifelike and sound very much like the real things themselves. Very palpable indeed so much so I had goose bumps when I first heard them. A review of Sonus Faber Concerto (Classics) by Martin Colloms in Stereophile in 1998: http://www.technologyfactory.be/reviews/SonusFaber/concerto_stereophile.pdf

SimAudio Moon i-3 integrated amplifier

SimAudio Moon i-3 integrated amplifier, in my opinion, is a remarkable and worthy partner to both my two pairs of Sonus Faber loudspeakers with its substantial power output (2 x 100W rms into 8Ω / 2 x 160W rms into 4Ω / 2 x 200W rms into 2Ω) and excellent sound quality. It has both an active pre-amplifier and power amplifier in a single chassis; the pre-amplifier adopting JFET technology and the first 5W output are in class A. Its overall sound is fast, well-timed, rhythmic yet refined and smooth (with midrange sounding quite liquid) - a blend of only the good sonic attributes from the solid states and valves amplification combined. This integrated amplifier refutes my long time preference for MosFet design (with passive pre-amplifier) over bipolar design (with active pre-amplifier), resolves multiple voices and instruments well and will stay unconfused even during complex music passages. Reviews: http://www.soundstage.com/revequip/simaudio_i3.htm and http://www.stereophile.com/artdudleylistening/945/. And for those who could read the Chinese language, another review: http://www.allhabit.com/thread-93194-1-1.html

Roksan Caspian m-series 1 CD player

Roksan Caspian m-series 1 is my current CD player after having owned several other players such as Marantz CD72IISE / CD63KI / CD19a, Rotel RCD1070, Sony XA5ES, Enlightened Audio Designs T-1000 transport & Theta DSProgenyA DAC, and Wadia CD23 in the past. Internally, it has 2 separate transformers and uses a Burr Brown DAC with 24 bit resolution and 192 kHz sampling rate which translate to a more stable sound with lots of details. A review: http://www.dagogo.com/RoksanCaspianCDplayer.html

Analogue Source - turntable

My parents never owned a single record when I was young and I grew up listening to 8-track cartridges and cassettes much later. I could only afford CDs after I started working. I had often visited my classmates’ home during my school days and heard music being played through turntable setups. The sound struck me then as extremely big in scale and direct sounding so much so I have always sought for these sonic traits in my own hifi system. I could only come close but not able to attain them completely with my digital source spinning the 16 bits / 44.1 kHz CDs.

I went retro and bought my first turntable two years ago after hearing the renowned Linn LP12 turntable playing Holly Cole Trio’s Don’t Smoke in Bed and Carol Kidd’s When I dream records in Linn’s room at KLIAV Show 2006. As I am very familiar with the songs being played (I owned these two albums in CD), I was thoroughly stunned as I had never heard these two ladies sing so well in my own hifi system; no, not even when my Theta DAC or Wadia CD player were in place. The organic richness and texture of their voice (the emotional appeal) were beyond any description with words. The scale of singers and the accompanying instruments were almost lifelike and present in the hotel room.

Another reason I went retro is when I picked up CDs to replace those old cassettes I was listening to during my growing-up days, I discovered the sonic quality of these reissued CDs left much to be desired, a result of recording companies making use of old master tapes that have deteriorated in condition. I was thinking that I could instead hunt for used records in mint condition but alas, Chinese records especially those by Taiwanese artistes are so scarce and hard to come by in Malaysia.

As of now, I owned a ProJect RPM 5 turntable with Ortofon OM20 mm cartridge. This turntable betters the sound of its younger sibling of Xpression II when fitted with the same cartridge by quite a considerable margin especially in the scale of soundstage width, height and depth and is all about refinement and a suarve approach to music making. A review: http://6moons.com/audioreviews/project3/combo.html

I have always perceived Rega turntables as ugly looking with their plain and bigger-than-usual plinth and smaller-than-record platter (I still feel the same now) but after listening to their entry-level P2 with the cheapest yellow-coloured Audio Technica AT-91 mm cartridge, I am totally smitten by their sound which is more immediate with more attack and PRaT than my ProJect RPM 5. A few people have advised me to at least go for their latest P3/24 (its performance in stock form considered to be on par with my ProJect RPM 5) if I were serious in going the Rega route. I have since ordered and shall be receiving my P5 cherry soon. I shall fit my brand new Denon DL-160 high output MC cartridge onto it and post more thoughts and impression in due course upon its run-in. Yes, all equipment need to be run-in.

I may have been too obsessed with my turntable and records hunting for quite a while, so I guess I need to cool off a bit now.

Phono stage

This is picture of the internal of ProJect phono box mk1 (the only equipment I bought used and already modified), its design supposedly an 'Actidamp II' by Dr Sykora, a Czech audio designer who also designed the Clearaudio Basic phono box and these 2 designs are reputed to be almost identical. The original parts used by ProJect are those of inferior quality and some were with unsuitable values but my unit has seen these replaced with audiophile grade parts and tweaked to a spacious and super sweet sound but a tad slow by my standard. In a direct AB shootout with a Vendetta Research phono box, I thought my phono box completely beat the former. I may need to source for a dedicated PSU to further enhance its performance by improving speed and may opt to DIY (a cheaper approach) on this. The diyforum to modify the ProJect phono box mk1: http://www.diyaudio.com/forums/showthread.php?s=e23299f52061859dd16f720492829cad&threadid=21833&highlight=

Cables

The cables used in my system now are essentially vdH cables which I perceive as more natural sounding overall than those from Chord Co, KimberKable and XLO Electric that I owned in the past. I like vdH First metalless interconnects best with their slightly darker but refined yet extended highs (as opposed to splashy highs with sibilance), natural midrange and powerful bass with lots of PRaT and I used them to tame the bright sound of digital playback and bring it closer to that of analogue playback. When they are used in lesser systems, others often find vdH First to sound dull and lack airiness and details.

I am of opinion that cables are accessories to fine tune sound of hifi systems once all equipment are in place and had over a long period of time only been using freebies and el-cheapo ones. Although sounding less prestine with lesser grade of copper, they are neutral and will not impart any sonic character onto our hifi systems. Cables have 2 properties which could not be dispensed with - a good electrical connection of the correct electrical parameters for its job, and long enough to reach where they have to. Many knowing aficionados would opt for a decent length interconnects for it is a 'high impedance interface' where we seek low measured Capacitance. Speaker cables ought to be kept as short as possible because amplifier to loudspeaker connection is a 'low impedance interface' and we seek low 'self inductance'.