AudioKeyREVEIWS! Magazine - Canada/English - Issue 3

AudioKeyREVIEWS !

TWINAX ETHERNET

A TRIO OF ETHERNET CABLES

PARASOUND P6 &A21+

AMPLIFIERS

DUNDEE 6 SPEAKERS

AURORASOUND VIDA

PHONO PREAMPLIFIER AND MORE…

Music is art, art is music.

MUSIC REVIEWS

106 110 112

RECOMMENDED COMPONENTS

IN THE NEXT ISSUE REVIEWS ON OUR WEBSITE

Front Inside Cover: Joan Miro, Blue

Back Inside Cover: Vincent Van Gogh, Vase with Flowers

The Other Art. It is my belief that the artist and the musician are not only creatives, but they access heart and soul and experience, perhaps, in the selfsame ways. My own love for art and music are inseparable. And so art, music, and those things which facilitate the music, shall share theses pages.

LETTERS TO THE EDITOR - SEND HERE

The Last Platform You’ll Ever Need

It’s four years now since AudioKeyReviews or AKRMedia hung out its shingle for business, began its online presence, and subsequently published its first US magazine—AudioKeyREVIEWS!— which is nearing its third year of publication. Yay!

In putting together the various media—website and magazines—I have utilized my skills as a writer (fiction, nonfiction, technical), an editor, a “wanna-be designer,”a longtime audiophile/music lover, and a businessman. I promised myself when I left IT that I would only do something that I absolutely loved and that utilized the various skills nurtured over many decades.

The past several years have given me an opportunity to gain a great deal of insight into the audio world and to meet some great people and some rather interesting people. The sordid details and the naming of names, however, will be left for the book. The good people for whom I am so grateful are the utmost professionals, of exceptional character and high integrity, and just good, all-around salt-of-the-earth folks.

I have also been able to put together three reference systems capable of analyzing personal audio components as well as two-channel components via systems that easily stand toe-to-toe with far more expensive systems. And this allows me to critically review components from a position of, well, technical strength. Each and every component in the various reference systems is a top award winner, Best of the Year product, or even a Breakthrough product.

Now in addition to reviewing all manner of components from personal audio to two-channel audio, I begin the process of bettering my reference systems, but not via new components, as that would upset the synergy of the carefully curated systems. Now I improve my systems by using tweaks. And in this edition of AudioKeyREVIEWS! Magazine you’ll be exposed to the first few tweaks (the ones that made the cut), with many more to come.

Sincerely,

K.E. Heartsong Editor-in-Chief

THE CREW

K. E. Heartsong

Managing Editor

Kathe Lieber

Senior Editor(s)

Andre Marc

Gérard Rejskind

Reviewer

Charles Brown

Andre Marc Columnists

Kathe Lieber

Gérard Rejskind

HermanMiller

PARASOUND

By Andre Marc

P 6 & A 21+

We recently reviewed the superb Parasound JC3+ Phono Preamp (LINK when live), as well as the Halo Hint 6 integrated amp (https:// www.audiokeyreviews.com/the-reviews/ parasound-hint6), and were excited at the prospect of more Parasound products coming our way. First in for review was the Parasound A21+ stereo power amplifier. It supercedes the A21, which had enjoyed a 15-year run in the

designer John Curl, whose circuits are the beating heart of many of Parasound’s products.

A quick overview of A21+ shows us the power increased from 250 wpc to 300 wpc over its predecessor. We also see an improved power supply, lower noise and distortion numbers, as well as some cosmetic changes. Internal connections and wiring have also been upgraded. The A21+ retails for $3,150.

The A21+ is equipped with XLR and RCA

company’s lineup. We also received the P6 preamp with built-in DAC module and phonostage.

Parasound has proven that it offers extraordinary products at much lower prices than most of the competition. This was accomplished thanks to carefully cultivated relationships with factories in Taiwan. The attention to detail and the build quality are top notch, making Parasound one of the premier values in high end audio. Of course, the last piece of the puzzle is the relationship with

jacks around the back, as well as gain settings for different environments. The speaker binding posts and connectors are of excellent quality. The build is pretty much over the top, with the amp weighing in at 71 pounds, a big portion of which is the beefy power supply.

The P6 multifunction preamplifier, which retails for $1,599, is chock-full of goodies. It has the potential to eliminate several boxes and cable hookups for the prospective user with the inclusion of a world class DAC and a Moving Magnet and Moving Coil phono input.

Imogen Cunningham - Lily

The USB input on the DAC, happily, does DSD256. There are also legacy coaxial and optical digital inputs, and they decode up to 24/192 PCM.

The P6 seeks to overachieve in the feature department with subwoofer outputs and control, a high current headphone amplifier, balanced inputs and outputs, and an Auxiliary input on the front panel. There is even an oldschool fixed line output for recording, tone controls, and a 12V trigger. Of course, a full function remote is included as well.

ears, it had excellent soundstage depth, leading-edge precision, and extremely quick transients. It seemed to bring us one or two rows closer to the action. There was a sense of ease as well, as if the amplifier was barely working, yet producing big, open, and transparent sound.

We were quite taken by the ability of the A21+ to grab hold of the speakers and not let go, regardless of the genre of music. Our first encounter with this was the Japanese SHM SACD of Tons Of Sobs, by the legendary

SETUP AND LISTENING

We set up the A21+ and P6 separately in two different systems. We then brought them together for the final stretch. We wanted to know how each performed on its own and to have fewer variables. The A21+ was matched with a Rogue RP5 tubed preamp, a Sonore microRendu streamer, a Bryston BDA-3 DAC, Mangenpan 1.7i speakers, and a Rega Planar 6 turntable, and Parasound’s own aforementioned JC3+ phono stage. Cabling was Black Cat and Audio Art Cable.

After a month or so of continuous use in our system, we formed a pretty informed opinion on the character of the A21+. To our

British blues rock outfit Free. From the first few notes of “Songs of Yesterday,” you would have to try hard to resist jumping out of the listening chair with excitement as the propulsive bassline set the stage. When Paul Rodgers sings the opening lines, “Sing me a sad song, a song of yesterday,” his bluesy soul stylings were mesmerizing. The A21+ lit a fire and reproduced the album with the energy and impact it deserved. Not only did the A21+ produce weight, impact, and drive, but it also excelled in its rendering of tonal accuracy, something essential for our ears. We dove into the Mobile Fidelity SACD reissue of Santana’s 1969 self-titled first album, an album we never

seem to tire of. Yet via the A21+ we still discovered new sonic realms even here, as well as heretofore unheard nuances on the recording. Quite a feat. We heard organ lines intertwining with Carlos Santana’s guitar and the Latin percussion in ways we had not previously.

In memory of the recently passed Jeff Beck, we streamed quite a bit of his classic mid 1970s output, including SACD rips of Blow by Blow, Wired, and Rough And Ready. These albums showcase some of his best playing and arrangements and his knack for picking sympathetic bandmates. His arrangement of The Beatles’ “She’s a Woman” is startling, with talk box, a funky back beat, and a great Les Paul tone. Another standout is “Blue Wind,” composed by keyboardist Jan Hammer. The A21+ made Beck’s guitar sound like it was right in the room with the listener. You could sense the cabinet moving air, and it also spotlit the rather dated drum sound. We found the A21+’s sense of easy and effortless power addictive. It made some amplifiers sound a bit anaemic by comparison.

Coherence is another area the A21+ excelled in. Everything seemed to be properly placed in the soundstage presentation, and I would venture to guess this may be the result of the low distortion and extremely low internal noise design.

The P6 preamp was matched with an Audio Research VS55 amplifier, Spendor S3/5R monitors, a Sonore microRendu streamer, and a Rega Planar 3 turntable. Cabling was Black Cat and Transparent. We used an Audio Art Cable power cord on the P6 as well.

It was clear as day that the P6 was a clean, smooth-sounding preamplifier. It was also obvious that the internal DAC was top-notch, essentially being tonally spot on with dozens of recordings we are intimately familiar with. We were not too surprised, as the internal DAC in the Halo Hint 6 Integrated amp was equally impressive. It reproduced high-resolution digital files of all sample rates and flavours with precision, and is far more than an addon. It did especially well with DSD, with

numerous ripped SACDs cued up for enjoyment. In fact we lost track of time as album after album, distilled by Roon, floated by with the analog-like tonality DSD is known for.

The internal phono stage, used with a Rega Planar 3, surpassed all the modestly priced standalone phonostages we had on hand. We enjoyed spinning records, and the MM output was more than satisfactory. Clearly, attention was paid to low noise and high fidelity. Having MC capability is a nice addition as well.

We also, just for kicks, used the P6 to drive a pair of Focal self-powered monitors, and the match was excellent. There was an immediacy and satisfying drive that we usually experience with high-quality active speakers. For those with limited space who prefer a tidier setup, it is a great way to roll.

COMBINATION OF THE TWO

Putting the A21+ and P6 together and using the balanced XLR connections produced spacious, open, clean sound. No doubt that there’s synergy here. I ultimately did prefer a high-end tube preamplifier with the A21+, mostly because that’s how my ears are calibrated. The P6 was definitely a tad more transparent and lower noise, however.

The pairing also offered up convincing true-to-life dynamics and scale. Instruments and voices appeared with excellent holographic width and depth. Without a doubt, the A21+ had reserves of power to allow for this impressive presentation. The P6’s transparency and low distortion also deserve credit.

For practical purposes, it was a superior pairing. We were able to leave both units on at all times for on demand peak performance. We were also impressed with the P6 with regard to

gradations in volume steps, one of our pet peeves, to satisfy. Enough steps makes it much easier to find the sweet spot for each album.

CONCLUSION

It is virtually impossible not to come away impressed with what Parasound has to offer with the A21+ power amplifier and P6 preamplifier, DAC, phono state, and overall control centre. For under $5,000, you get a combination that seems to me virtually impossible to beat, considering the sonics and feature set. The pair will remain in my system for some time as a reference, they are that good.

The A21+ will without a doubt drive any speaker. Its build quality and parts quality instil confidence in its durability. The P6 preamp does everything well and is a truly modern control centre. The fact that both products are attractive in silver or black is a nice bonus. Highly recommended for those who need power, superb sound, and functionality.

PRODUCT INFORMATION

Parasound Halo P6 Preamplifier/DAC/Phono preamp: $1,599

https://www.parasound.com/p6.php

Parasound Halo A21+ power amplifier: $3,150

https://www.parasound.com/a21+.php

AKRM

DUNDEE 6

By Charles Brown

DUNDEE 6

Ladies and gentlemen, let me introduce you to two Canadian gentlemen with a cumulative total of 60-plus years’ experience in the hi-fi industry: acoustic engineer Mark Kinzie, 30 years with Tannoy Inc., managing Tannoy North America’s custom division; and John Kuntz, master cabinetmaker, designer and manufacturer of studio monitor speakers for Sony recording studios and many more high-profile venues. John and Mark have come together after years of working successfully in the audio field to create BSC Research, with a shared vision of assisting and redefining a renaissance in horn design.

Mark and John are the designers, creators, and manufacturers of the Dundee 8s dual concentric horn speakers—check out my review of the Dundee 8s here: https:// www.audiophilia.com/reviews/2022/9/23/bscresearch-dundee-8-loudspeakers; and their bookshelf speakers, the Dundee 6s, a slightly smaller version of their Dundee 8s. I would normally say “so-called” bookshelf speaker because the Dundee 6s must by any standard be the offspring of the ancient Elohim

themselves, the giants of The Book of Enoch. These have to be the largest bookshelf speakers I am familiar with. Each speaker weighs in at 61 pounds, and measures 18.5” in length, 23.8” in height and 14’’ wide. This is not meant to alarm you but to give a clue as to the sheer power and all-encompassing soundscape these speakers put forth. The speakers sit on their own stands and could outperform most of the floor-stand speakers on the market. They have an SPL rating of 94dB, just 2 points less than their granddaddy, the Dundee 8s, at 96 dB. Great with low wattage SET amps. All the BSC Research wood grain speakers are made from solid wood with a veneer on 19 mm substrate finished in either high gloss or satin. Painted cabinet speakers are made from 19 mm premium finished MDF with a urethane system to an outstanding level of finished polish. Any colour you can find on automobiles, John can manifest on your Dundees. I saw in their warehouse a pair of Dundee 8s in an Irish emerald green with a hint of black throughout. The colours and finish were stunning.

The Dundee 6s are a back-loaded horn design whereby only one high-sensitivity full-

Vincent Van Gogh - Sunflowers

Mark Rothko - Violet Green and Red

DUNDEE 6

range driver is placed in combination with a back-loaded horn cabinet. It works so that the driver emits high and mid frequencies straight ahead, and the bass frequencies are amplified in a back-loaded baffle. “Back-loaded” means that the acoustic pressure into the baffle is pushed by the back side of the driver’s diaphragm, bringing forth a faithful solid bass range response from your recording. If you look at the tweeter and woofer of these speakers, you will notice the tweeter is not out in front of the woofer but set back into the woofer. The overall idea for this design is to remove all possibilities of the woofer’s vibrations impacting the tweeter. Setting the tweeter back restores a broader spectrum of directional sound and an overall better listening experience. This is exactly what you hear with the Dundee 6s. Moreover, on the back of each speaker there is a set of contour control toggle switches that help to adjust bass, midrange, and upper frequencies according to the acoustics of your listening room. Very handy and useful, indeed—so why are there so few horn speakers on the market? Well, the engineering of a horn speaker with a cabinet, whether you use unique horn design software or through trial and error construction, is a harrowing adventure. Poor design elements tend to be uncharitably exaggerated by horns, and it takes excellent engineering and crossover electronics to

ameliorate some of the natural reality of horns. For example, the classic critique aimed at horn speakers is their unusual colouration. Cup your hands around your mouth and recite

something from Walt Whitman. Listen to your voice. Notice how your natural timbre changed? The same tonal change will exist

DUNDEE 6

when an original sound source is sent through a canonical or rectangular-shaped speaker. However, with proper design and effective filters in the crossover, the natural resonance or colouration of a horn can be significantly reduced and brought back into a more neutral environment. In the Dundee 6s, there is not a hint of obnoxious colouration, or what could be described as a “shouty” resonance. In my opinion, they have in fact successfully created the best of what horns can do, and I have been listening to these results for months now.

Finally, with the renaissance in SET amps, or high-quality tube amps, the best qualities of horn sound—transient detail, micro-dynamics, and accuracy of harmonic tonality, are now back in full force. (I used the Allnic T-1500 MK2 Single-Ended Stereo Integrated Amplifier at home for my entire test period with the Dundee 8s Horn Speakers; here is my review of the South Korean SET amplifier: https://www.audiophilia.com/reviews/ 2022/9/23/allnic-audio-t-1500-mk2-singleended-stereo-integrated-amplifier. This beauty was on loan to me by Don Corby of Corby’s Audio, here in Southern Ontario.

Now to my first selection. From the most recent stunning compilation of Rachmaninoff’s sacred choral writing based on the Russian Orthodox liturgy comes “All-Night Vigil” with the Kansas City and Phoenix Chorales on Chandos, conducted by Charles Bruffy. I have two other outstanding recordings of masterpieces of the Russian Orthodox liturgy that include works of Rachmaninoff and Taniyev, both sung by Russian choirs. It is

almost impossible to imagine the Russian Bass being replicated anywhere else in the world, but I must admit to a slack-jawed moment listening to Bruffy’s performances with this combined choir of 56 members, of which 16 choristers are basses. It was recorded in Kansas City’s Cathedral of St. Peter the Apostle, brilliantly. The Dundee 6s pick up the definable contours of this music, bringing us as faithfully as you can imagine into the authentic resonance that emanates from these glorious choirs throughout this Cathedral. I have seen, stood in, sat in, and wandered around in admiration many of the major cathedrals of Europe. I don’t know the Cathedral in Kansas City. But what I hear through this recording and through the Dundee 6s is as musically religious an experience as you could hope for. The technical efficiency of these speakers creates a natural presence of resonant Cathedral sound that is forward, large, and with a deep sonority. The mid and treble ranges are not harsh, but very prominent and yet perfectly balanced by

DUNDEE 6

the human bass voice. I turn up the volume, then turn it up again. It is striking how there is, to my ear, no modulation distortion. I am inside the Cathedral, basking in the musical and liturgical genius of Rachmaninoff’s music.

planet—-the oceans. The piece was premiered with the Seattle Symphony orchestra on June 20, 2013, under the baton of Ludovic Morlot. Become Ocean has 630 bars of music with one bar of silence. The three main sections of the orchestra—the brass, woodwinds, and strings—have sequences of sound of contrasting lengths that swell to climaxes and then fade; at three spots in the music, these asymmetrical sections of the orchestra arrive at their climax together and fade similarly. Now, if you’re asking me whether there is a theme that you can follow, the answer is no. There is a seven-note pattern played by the piano that pops up quite regularly; there are beautiful minor-7th harmonies with higher discords of 4ths, 9ths, 13ths, etc., that show up in the trumpets and throughout the orchestra with higher discord. At bar 316, midpoint through the piece, a massive palindrome begins. But the overall impression is 42 minutes of sound with the sense of watching an unconscious reality.

How do the Dundees handle this piece?

What a sound! And that low C below the bass clef in these magnificent basses at the end of the first Amen is beautifully audible.

Ted Gioia devoted an entire article to the composer of my next listening example---the ambient minimalist John Luther Adams, https://tedgioia.substack.com/p/the-brilliantbad-decisions-of-john. Perhaps we should use Adams’ own description of his work—sonic geography. Become Ocean is a 42-minute piece for orchestra illustrating what the composer believes is the ubiquitous and life source of the

audiokeyreviews.com

Well, this unique piece of music simply would not translate to the listener through most bookshelf speakers. It’s like listening to the great deep dark opening canon of Gorecki’s A Symphony of Sorrowful Songs started in the double basses, then joined by the low range of the cellos, violas, then lower violins, reproduced through your regular tiny portal; it doesn’t work. The dark muddy constructed sounds at the opening of Become Ocean can be utterly incomprehensible unless reproduced with tonal exactitude and clarity.

The Dundees do this. Once the textural density and depth are handled, the rest of the piece becomes intelligible. The crescendos carry no level of modulation distortion, even the largest one. We are now carried along the metaphorical currents of Ocean, an arresting experience through the Dundee 6s. Let’s end this review with a brief listen to Manfred Honeck’s Reference recording of Brahms’ Symphony No. 4 with his beloved Pittsburgh Symphony Orchestra. The recording itself is state of the art, all the more outstanding for being recorded live with an absolutely silent audience. This is Brahms at an Olympian level, equal to the milestones of the past. As a violist with the Vienna Philharmonic, Honeck gets the depth and richness out of the lower strings that is heard only from first-rate European orchestras. But what lends a most gratifying resonance for me—who loves the sparkling clarity and colour definition of the best French orchestras of the past—the woodwinds and particularly the brass are never subdued in their lines, offering, shall we say, an “American” uniqueness to the ensemble sound---thus bringing a welcome ear colour to Brahms’s work. The attacks in the strings that Honeck demands of the Pittsburgh offer a definitional clarity to Brahms’ writing as heard through these speakers. No congealed, warmed- over pudding, here; nothing but tonal clarity.

The Dundee 6s by BSC Research will absolutely delight any audiophile who is interested in a clear, vibrant, detail-defining, lifelike presentation of the sound source. Classical music lovers rejoice, but all types of

listeners will be enriched by these speakers. As outlined above, the directionality of the horn fills the space between you, the listener, and the speaker with an all- encompassing presence of sound; a balanced midrange, a dry clear upper range, and a warmish/dry bass tone, with no timidity or ambiguity. Would you like to hear the opening of Mahler’s 8th with some volume? Fear not, the Dundees will deliver the opening of the heavens like you’ve never heard before. Modulation distortion— what’s that? Because of the speakers’ design and the use of high-end Solen parts in the crossover, there is no colouration in the sound, but an unchanging presentation of the original sound at all micro and macro levels of volume that creates a dimensionality of depth and clear presence.

I also played a few pop pieces during my enjoyable time with these speakers. Eva Cassidy’s Autumn Leaves is beautifully recorded, allowing the Dundees to display with even greater authority the original microdynamics you hear from the studio guitar player. The beginning of Fleetwood Mac’s Dream has a punch and a vivacity that is electrifying, especially with the original vinyl flowing through my KC Vibe phono amp. Everything sparkles and illuminates the microcolour of the band’s opening. Bass is dry, audible, with the necessary transient punch from the drummer, and scintillating metallic cymbal sound that yells forward texture in spades.

In conclusion, let me say that these speakers are a portal of excellence; create the proper downstream equipment and you will

have a sound source for life. If you want a horn speaker with vivacity, immediacy, transparency, a high level of sensitivity and liveliness without fear of the classic odd colouration in sound that has characterized some horn constructions in the past, this is the speaker for you. Highly recommended.

I wish to thank Mark Kinzie and John Kuntz of BSC Research, the manufacturers and Isik Kayhan of Apple Tree Hifi in Baden, Ontario, the distributor--- https://apple-tree.ca, (519) 589-8483 —for giving me time with their product. If you want a horn speaker with vivacity, immediacy, transparency, a high level of sensitivity and liveliness without fear of the classic odd colouration in sound that has characterized some horn constructions in the past, this is the speaker for you. I am thoroughly impressed, and I wish John, Mark, and Isik the greatest commercial success possible with their new Dundee 6 bookshelf speakers.

THE COMPANY

BSC Research

Apple Tree Hifi

Baden, ON

https://apple-tree.ca, (519) 589-8483

GRACE NOTES

By Kathe Lieber

CANADA’S TROUBADOUR: GORDON LIGHTFOOT, 1938-2023

The news broke on May 1. It was true this time—after several premature announcements of his death, Gordon Lightfoot was gone. (A death hoax on Twitter in 2010 had reached the very much alive singer on his car radio as he was driving home from a dental appointment.)

Hearing the news, I’m sure I’m not the only one who went straight to my music library and played Lightfoot songs on rotation for several days. If you were to ask me my favourite Lightfoot song, I’d be hard pressed to narrow it down. These are songs I’ve gone to over the decades for solace and spirit-lifting—folk songs, ballads, country songs, wistful love songs, songs deeply rooted in the history of Canada.With each listening, I hear something different—an especially resonant chord or a felicitous turn of phrase that speaks straight to my heart.

The country-wide outpouring of grief when Lightfoot died bore witness to how

deeply the singersongwriter and his songs are embedded in Canadian music. We can all think back to a time when a particular song served as backdrop to a life event—falling in love, falling out of love, being far away from the love of your life, feeling down and out… So many of these sweet and bittersweet songs, over so many years, were sung by our national troubadour. Twenty studio albums (plus a final posthumous album that’s about to be released), four live albums, 19 compilation albums, 47 singles. While the statistics are impressive, it’s the heartfelt lyrics and the memorable melodies he left us in his distinctive baritone, accompanying himself on the 12-string acoustic guitar, that are indelibly engraved on our national psyche.

I saw Lightfoot in performance twice in the 1970s. He wasn’t really playing to the audience in those days. It felt more like being admitted to an intimate jam session in a coffee house. He was already well known as a singer and songwriter in Canada, and his star was on the rise in the United States. “If You Could Read

GRACE NOTES

My Mind” had been a major hit, reaching number five on the Billboard Hot 100 en route to selling more than a million copies.

JUMPING GENRES

As the boundaries between categories of music began to blur, Lightfoot, originally considered a folkie, proved his ability to compose and sing in different genres and at various venues, from coffee house to concert hall. He played 170-odd shows at Massey Hall in Toronto, his favourite venue. And the fans loved him, turning out en masse to cheer on their hometown boy (he’d long since moved to Toronto). His first appearance on the Massey stage was as a boy of 13, then as part of a barbershop quartet at 17. From 1967 on, he played there at least once a year. The concert hall closed down for renovations in 2018, and when at last the doors swung open again three years later, the opening act was…yes, Gordon Lightfoot, playing three shows in a row. His very last performance would be in Winnipeg, in October 2022. There were three standing ovations that night.

Lightfoot could be sweet, but never saccharine. In fact, some of his best-known songs are clearly inspired by bitter break-ups and the ensuing sadness or anger. Some are

downright defiant. Listen closely to the lyrics of “For Lovin’ Me”: “Now there you go you’re crying again…But then someday when your poor heart is on the mend/I just might pass this way again.” Oof.

Lightfoot songs have been covered by a who’s-who of artists, including Peter, Paul and Mary, Bob Dylan, Ian and Sylvia, Joni Mitchell, Neil Young, Johnny Cash, Don McLean, and Barbra Streisand—and that’s just the tip of the iceberg. Elvis covered “Early Morning Rain” in 1972, changing a chord and adding a harmonica track played by Charles Ray McCoy. Frank Sinatra apparently threw down the song sheets for “If You Could Read My Mind,” saying that he just couldn’t sing it. (Lightfoot always laughed when he told that story.)

“Motor City madness has touched the countryside And the people rise in anger and the streets begin to fill

And there's gunfire from the rooftops and the blood begins to spill…”

INSPIRED BY HISTORY

Lightfoot will perhaps be best remembered for his songs that take a page from the Canadian history books. One such is “The Wreck of the Edmund Fitzgerald,” inspired by

the 1975 sinking of a heavily laden ship in a hurricane on Lake Superior. Lightfoot recorded the song in a single take. The enduring tribute to the lost crew members came to take its place among his major hits.

So did “Black Day in July,” Lightfoot’s response to the 1967 Detroit Riot.

“We are the navvies who work upon the railway

Swingin' our hammers in the bright blazin' sun

Layin' down track and buildin' the bridges

Bendin' our backs 'til the railroad is done.”

“Oh, the song of the future has been sung

All the battles have been won

On the mountaintops we stand

All the world at our command We have opened up this soil

With our teardrops and our toil.”

“Canadian Railroad Trilogy” was a seminal song for Lightfoot. It was commissioned by the Canadian Broadcasting Corporation (CBC) for a special broadcast on July 1, 1967, to mark Canada’s centennial year. Those were heady, optimistic times, as millions flocked to Expo 67 in Montreal and the whole wide world seemed to open up. Lightfoot wrote and composed the song in three days flat. The lyrics pull no punches in describing the sweat and blood involved in the construction of the Canadian Pacific Railway, completed in 1885.

(According to Lightfoot, Queen Elizabeth II told him that she was especially fond of that

song.)

A review of a concert Lightfoot gave in Minneapolis mere months before his death paid tribute to Gordon Lightfoot the Legend, with a capital L. The golden voice was no longer in evidence, dimmed by age and health issues (he’d survived a stroke and an aneurysm that left him in a coma for six weeks in 2002 and affected his vocal cords). Gaunt but fully present, Lightfoot brought the audience to their feet with “Song for a Winter’s Night,” against a backdrop of green and red lights, complete with fake snow, on a steaming-hot night.

Lightfoot himself was modest about using the L word. As he told an American interviewer, “The term legend is overused way too often. I've certainly been around a long time and been at it now over 50 years but I don't consider myself a legend. I'm a guy who likes to sings my songs in front of people who want to hear them. I work at what I do and I enjoy it.”

An unflinching documentary, Gordon Lightfoot: If You Could Read My Mind, premiered at the Hot Docs Festival in Toronto in 2019. Three marriages and several tempestuous relationships, six

children, alcoholism and sobriety—the man was no saint.

But coming back to Lightfoot’s lasting legacy —well, I lied. I can narrow down my favourite Lightfoot songs —to two, anyway. That would be “Song for a Winter’s Night” and “Early Morning Rain.” No doubt you have your own candidates. Excuse me as I go to have another listen, and no doubt add to that short list.

Thanks for the songs, Gord.

P.S. One more thing: stay tuned for details of a star-studded tribute concert, with appearances from Murray McLauchlan, Tom Cochrane, Burton Cummings, and others.

AN IMPRESSIVE DISCOGRAPHY

The Lightfoot discography spans more than 60 years, starting with his first album, “Two Tones at the Village Corner” in 1962. A final album, “Gordon Lightfoot at Royal Albert Hall,” will be released on July 14, 2023. Lightfoot’s ultimate gift to music lovers includes 26 of his most beloved songs, among them “Did She Mention My Name,” “If You Could Read My Mind,” “Early Morning Rain,” “Ribbon of Darkness,” and “The Wreck of the Edmund Fitzgerald.”

The album showcases his greatest hits, recorded live in London in 2016 and presented with no edits or remixing. The two-disc set includes 26 tracks, among them

“Carefree Highway,” “The Wreck of the Edmund Fitzgerald,” “Sundown,”

“Minstrel of the Dawn, and “If You Could Read My Mind.”

For the full discography, go to www.lightfoot.ca/alblist.htm

FACTS AND FIGURES

Born in Orillia, ON, on November 17, 1938

Vincent Van Gogh - Lallee des Alyscamps Arles

Wassily Kandinsky - Autumn Study near Oberau, 1908

WIREWORLD ETHERNET

By K. E. Heartsong

Awhen your system is at, well, reference level—“exceptionally transparent and resolving, detailed, and eminently musical”—how can you efficiently and cost-effectively improve it? Improve it, that is, while keeping all current components “signed to long-term contracts.” In other words, while maintaining the continuity of your reference system. Tweaks was my answer to the previous review and that holds true for this review as well. Tweaks?

“What are tweaks? First, tweaks are things that can ostensibly improve the fidelity—the overall sound—of your audio system for relatively little money. Tweaks can be wires or cables or risers that keep cables above the floor. Tweaks can be isolation platforms or stands or isolation feet or pucks or cones. Tweaks can also be spiked feet (surface-

materials—particular kinds of wood or carbon fibre or stones or a composite material. Tweaks can also be devices purposed with diminishing Electromagnetic Interference (EMI) or Radio Frequency Interference (RFI), etc. Or perhaps tweaks can be the combination of an inert, composite material embedded with, say, electronic innards—internal trap circuits—that defeat EMI and/or RFI.”

Some say that tweaks are, well, a version of “snake oil,” not dissimilar from that sold to Dorothy (see Wizard of Oz). Certainly, there are tweaks that are, well, ineffective. But to classify all tweaks in a similar fashion, certainly with respect to cables and wires, is like saying that all metals—gold, silver, platinum, brass, copper, iron, lead, nickel, etc.—are “the exact same and we might as well call them all…brass.” Seem like a winning argument to you? Yeah.

Joan Miro - Woman, Bird, and Star

The tweak currently under review is a series of ethernet cables from WireWorld, a company established in 1980 by David Salz, who applied the adage “necessity is the mother of invention” to produce cables and wires that would improve the music and video of his clients (or reviewers).

REFRAIN: Unlike most reviews, this review will be non-sequential, as it will start with how the equipment actually sounds and not the process of physically “undressing” it and/or laying out its various accoutrement, specifications, etc. Think of this review then, as a non-linear movie—Memento, Kill Bill, Pulp Fiction, Eternal Sunshine of the Spotless Mind, The Queen’s Gambit, In the Shadow of the Moon, etc.—that likewise starts at the end and winds its way to the beginning.

THE SETUP

For this review, I again used my most transparent and resolving electrostatic headphone system to more easily determine the differences, if any, between the various WireWorld supplied ethernet cables.

I began with that Basic Black ethernet cable that we all receive with our various streamers, DAC/streamers, etc. Its analysis would serve as the baseline for evaluating the suite of WireWorld cables—WireWorld Platinum Starlight 8 Twinax (Silver), Starlight®

8 Twinax Ethernet Cable (Red), and the Chroma™ 8 Twinax Ethernet Cable (Yellow)— currently under review.

The system used for the cable review comprised the Mola Mola Tambaqui as both

DAC/Streamer, the Silent Angel Bonn N8 Pro Network Switch, the Blue Hawaii Special Edition (BHSE) Electrostatic Headphone Amplifier, and the Dan Clark CORINA Electrostatic Headphones (review coming). Analog cables and power cords were Audience Front Row and AntiCable. Power conditioning was provided by the TORUS POWER RM20.

I kept things simple in terms of the streams that would be used for evaluation. I utilized Dave Brubeck’s “Time Out” (Take Five, Columbia), Ólafur Arnalds “Árbakkinn,” and Joan Shelly’s “We’d Be Home” (Joan Shelly, No Quarter). My familiarity with the various pieces would make the evaluation all the easier.

I had spent quite some time with the various cables, and as it came time for the head to head to head reviews, I began the proceedings again with the Basic Black ethernet cable.

THE SOUND

Basic Black Ethernet Cable

“Time Out,” “Arbakkinn,” “We’d Be Home”

The one word that best describes the Basic Black ethernet cable’s relative voice is opaque. Relative to the WireWorld trio, its opacity would tamp down transparency and resolution while making detail retrieval all the more difficult from a higher noise floor, at the same time greatly diminishing both air

and ambiance. Joe Morello’s cymbals did not attain their airy, well resolved ambiance, nor was there the same level of dimensionality. The sound stage volume, as a result, was compressed. And given the Basic Black’s limited or truncated frequency response, bass was also diminished, the treble abbreviated, and overall engagement with the music was not as immersive or natural.

I would characterize the Basic Black ethernet cable as perhaps a high-school musician playing unpaid gigs here and there and “good enough,” but not yet skilled or experienced and maybe, just maybe, in the end, only quasi-talented.

Chroma™ 8 Twinax Ethernet Cable

“Time Out,” “Arbakkinn,” “We’d Be Home”

The WireWorld Chroma 8 Twinax ethernet cable is less opaque, more open, with improved dynamics, and an expanded frequency range relative to the Basic Black. The Chroma 8 Twinax’s bass goes deeper and is tighter, though it still does not have the impact of its siblings. Further, tone/timbre are more natural and more musical, which draws you into the music, unlike the Basic Black, which holds you at a distance. Resolution is improved as well and Joe Morello’s cymbals and bass drum are, respectively better resolved and

more extended. And in terms of the voice, there is less sibilance and the voice is now richer, more robust, and not characterized by the relative thinness of the Basic Black. Overall, the Chroma 8 Twinax, relative to the Basic Black, has more transparency, is more coherent, more dimensional, and more immersive. It also extends the frequency range. I would characterize the Chroma™ 8 Twinax ethernet cable as a discovered musical talent with all the goods and the natural ability, but it has yet to acquire the skill of the journeyman or master musician. Small off-thebeaten-path concerts and the coffee house are the boot camps of sorts where they excel, though refinement and nuance and air between notes is only grasped at by the Chroma™ 8 Twinax.

Starlight® 8 Twinax Ethernet Cable

“Time Out,” “Arbakkinn,” “We’d Be Home”

The Starlight 8 Twinax brings better refinement and nuance, more air and ambiance with more natural tone/ timbre, which together are immediately more immersive. Cymbals are now light, airier, and beautifully resolved. Suffice to say that the Starlight 8 Twinax is much less opaque than the Chroma and certainly the Basic Black. Further, what the

WIREWORLD TWINAX ETHERNET

added air and ambiance bring to the performances are greater dimension and an expanded soundstage. Dynamics are more impactful (see Joe Morello’s bass drum), transient responses more energetic, and bass notes are weightier, more transparent, and more easily resolved. The “inner volume” of the bass drum now begins to come into play. Sibilance is also much reduced. Overall, the Starlight 8 Twinax is far less opaque, of greater texture, with improved, realistic, and more natural tone/timbre, and it is more palpable. Its frequency response is still more improved.

I would characterize the Starlight® 8 Twinax ethernet cable as the very talented journeyman musician who plays at mid-tier to high venues across the country, has gained a name and a following, and clearly understands refinement and nuance. This musician has also begun to understand that air and space and nuance are part and parcel of a next-level performance, where quiet gives relevance to the notes. The confidence is there but in the end, the jazz master’s inherent superb talent escapes.

Platinum Starlight 8 Twinax Ethernet Cable “Time Out,” “Arbakkinn,” “We’d Be Home”

The Platinum Starlight 8 Twinax, which has become the ethernet cable of choice at Casa Heartsong, steps things up quite a bit across all relevant categories. The

refinement and nuance, air and ambiance rise far above all the preceding ethernet cables and together with improved tone/timbre, facilitate the most open, natural, and immersive performance. The Platinum Starlight 8 Twinax is more transparent and resolving and able to “unearth” detail to a far greater extent than its siblings; no doubt the solid silver (OCC®-7N) plays an instrumental role here. There is greater weight across the entirety of the frequency spectrum, which introduces greater palpability and a you-are-there corporeal reality for both performers and instruments. None of its siblings possessed this trait, certainly not to this degree. The weight referenced above also instigates greater dynamic impact as well as greater treble energy. Overall, the Platinum Starlight 8 Twinax recreates the most transparent, resolving, detailed, natural, and immersive performance of all ethernet cables here at Casa Heartsong, to date. It handles the full frequency spectrum beautifully.

I would characterize the Platinum Starlight 8 ethernet cable as the most exceptionally skilled and experienced musician—the master musician—who as a result plays with skill, refinement, and nuance, and who possess the ability to pull you into the performance via unmatched talent, exceptional pacing, and the ability to place air and space between notes. Platinum Starlight 8 provides a performance with overriding confidence and certainty and ability.

NOTE: For those who may be less able to parse differences in a given cable’s abilities onthe-fly, I’d suggest the Long Term Trade Out (LTTO). That is, live with the cable for a while —several days, a week, month, etc.—then remove it and replace it with your prior ethernet cable. You should have a pretty good idea after this what’s what in terms of sound.

CONCLUSION

Yes, that last six feet or two metres of ethernet cable can decidedly make a difference, despite the miles and miles of wire/cable that precede it. After all, the folks who bring us the various cables for our systems, or at least many of them, have put in crazy hours on research and development working out ways to make it so. That is, making sure that the last measure of cable will improve or even dramatically improve the fidelity of your audio/stereo/video systems via the reduction of the various nasties —jitter, EMI, RFI, etc.

WireWorld has done its work with regard to its triumvirate of ethernet cables—

WireWorld Platinum Starlight 8 Twinax, Starlight® 8 Twinax Ethernet Cable, and Chroma™ 8 Twinax Ethernet Cable—that will absolutely improve the signal intended for your stereo system (or even your TV). So if you’re using the Basic Black or Grey or White cable, well, fuhgeddaboudit. There’s better to be had out there with a good two- metre, well engineered ethernet cable from WireWorld starting at $87.

That being said, we highly recommend the WireWorld’s ethernet cables. And as you go up

the line of ethernet cables, our recommendations get higher still, until you reach the WireWorld Platinum Starlight 8 Twinax, a decided BLUE MOON AWARD winner.

Pros: Inexpensive tweak that brings improvement to your music streams and, no doubt, your video streams as well.

Cons: None.

COMPANY WIREWORLD

Platinum Starlight 8 Twinax (2m): $1,500

Starlight® 8 Twinax Ethernet Cable (2m): $350: Chroma™ 8 Twinax Ethernet Cable (2m): $125

wireworldcable.com

info@wireworldcable.com

(954) 474-4464

AKRM

THE OVERVIEW

By Gérard Rejskind

AMPLIFIERS, FROM CLASS A TO CLASS D

If I tell you that some product you’re thinking of buying is rated “Class A,” you will certainly assume that it is of the finest quality available. In the case of audio amplifiers, you could be right, but the term is a little misleading. To understand this “class conflict,” you need to understand how most amplifiers, tube or solid state, work. Because we require enough power to feed notoriously inefficient loudspeakers, it is common to use two distinct amplifier sections, made up of one or more transistors or vacuum tubes, one to amplify the positive half of the audio waveform and one for the negative part. With proper design, and with amplifying devices that are well matched, push-pull amplifiers (as they are known) can and do give outstanding results.

But there is actually a problem. Though the waveform may look perfect at or near maximum power, at very low level the two halves don’t match up so well. Distortion may be low at the amplifier’s rated maximum power, but it may rise, or even soar, at low level. And much of our listening is done at low level. It is the low-level signal that provides clues as to timbre, harmony, and the acoustics of the acoustic space where a recording was done. That’s where amplifier “classes” and the subtleties they bring become important.

CLASS A

Class A operation minimizes the low-level problem by letting the two amplifier sections overlap in operation. That gets rid of the discontinuity around zero volts, but there is an environmental cost, especially with tubes. Class A operation is highly inefficient. A Class

Pierre Auguste Renoir - The Umbrellas

A amp wastes current, and much of that current is merely turned into heat. In summer that will make additional demands on your air conditioning if you have it, or on your body if you don’t. You won’t leave such an amplifier idling when you won’t be listening.

Class A operation is hard on the amplifier itself as well. Heat accelerates the deterioration of most electronic parts, especially capacitors. Considering the price of most Class A amplifiers, that might give you pause. Repairs are expensive, and so is shipping.

By the way, I keep seeing non-pushpull amps and even preamplifiers described as “pure Class A.” I have no idea what that means. Some low-powered but (often) very good amplifiers are single-ended, which means they don’t need to worry about pushpull and the different classes.

CLASS B

A Class B amplifier runs far more efficiently, because each push-pull section takes care of its own half of the waveform without overlapping with the other. Class B amplifiers are widely used at outdoor concert venues, where raw volume is more important than musical finesse. Class B is considered unsuitable for high fidelity…with one exception.

In the late 1940s, an American company, McIntosh, began making high-quality studio amplifiers using Class B operation. These

were of course tube amps, and McIntosh got around Class B’s well-known drawback with a special “bifilar” output transformer. That didn’t yield the very lowest distortion, but Mac amps were popular with studio engineers because they could deliver rated power with acceptably low distortion without any adjustments. To my knowledge, no other manufacturer of highend audio amplifiers has ever used Class B.

CLASS AB

The obvious compromise is to let the complementary amplifier sections overlap, but not completely. The “handoff” between the two takes place at a level at which the amplifying devices are reasonably linear. Most modern high-fidelity amplifiers use Class AB circuits, because they offer satisfying power but low distortion. Sometimes amplifiers will be rated as Class AB1 or Class AB2, depending on the amount of overlap between the two circuits.

But here’s an unexpected aspect. An amplifier with (say) 150-watt maximum power may be advertised as operating in pure Class A up to a level of 15 watts. As we know, those first watts carry a lot of fine musical detail. On the other hand, all audio designers know that if a Class A amplifier is pushed hard enough, it will “derail” into Class AB operation. That detail is less likely to be found in the ads.

CLASS C

No, this class wasn’t forgotten. Yes, there are Class C amps, but they are used in automation

and robotics. You won’t run across them at your audio dealer’s.

CLASS D

This is a frequently misunderstood class, because it is so different from the other amplifiers I have been discussing. It’s often called a switching amplifier, and it is sometimes mistakenly referred to as a digital amplifier. Class D is important, however, because a majority of modern amplifiers, including those in radios, cars, phones, tablets, and the majority of receivers operate in Class D.

Class D amplifiers are quite complex, and for that reason they are usually implemented with chips, that is integrated circuits. The signal is not amplified in the usual sense. Rather, it is converted into a series of high-frequency pulses, whose width is proportional to the frequency of the audio signal at the moment it is sampled. The resulting pulses contain a great deal of distortion, but because the frequency of that distortion is so high, it is well above the audio bandwidth and can easily be filtered out. Some two decades ago, several expensive Class D amplifiers were introduced by highend companies, apparently under the impression that clients were paying for the name rather than for the sound. They didn’t stay on the market for long. Though Class A and Class AB remain the mainstay of the high end, Class D has pretty much taken over the popularly priced market. Many of these amplifiers are astonishingly good, and the

chips will only get better.

CURRENT DUMPING AND FEEDFORWARD

This is yet another class of amplifier, though it doesn’t have a letter after its name. Current dumping is a patented version of feed-forward, a system first described in 1937. Since it sounds like a variation on feedback, used in nearly all amplifiers, I’ll begin by explaining feedback.

It’s simple enough in principle. We know that no amplifier is perfect. What we do is take a small sample of the signal from the output of the amplifier, bring it back to the input, and add it to the signal in inverse phase, to act as a correction signal. The difference can be dramatic, at least on paper: an amplifier that has 1% harmonic distortion under open-loop conditions (i.e. with no feedback) can exhibit distortion as low as 0.005%, which seems virtually perfect. That perfection is clearly overkill, however, and it comes at a cost. There’s a flaw that even some designers haven’t considered, and it is this: how can you correct a signal that is already at the output? With steady-state test signals, that is no problem, of course, but such is not the nature of music. A high-feedback amp is slow to react. Give it the snap of a guitar string or a snare drum, and the leading edge of the note will go through the amp as though it were open-loop. The music will be harsh and tiring.

The best practice is to design an amplifier that sounds good even without feedback, then

add a small amount of feedback to fine-tune it.

NOW LET’S LOOK AT FEEDFORWARD.

In such an amplifier, for instance the Quad 405 (the very first such amplifier that I’m aware of), there are two amplifying sections, operating in parallel with no time lag between them. One is a small Class A amplifier, which can be made to perform nearly perfectly. The other, the “current dumper,” is a much more powerful Class B amplifier, designed for high efficiency rather than low distortion. The small amplifier is arranged so that it controls the operation of the larger one. The output, theoretically, would have high current and zero distortion. Of course, such perfection is never achieved, but we can come close enough for all practical purposes.

The patent expired a long time ago, and several designers in Japan and the US have developed variants under the names “FeedForward” and “Super Feed-Forward.”

I leave to the reader the task of imagining the catastrophe resulting from trying to apply both feedback and feed-forward.

How much does all this matter? That has long been a subject of controversy. Some years ago, certain audio reviewers

“determined” that all properly designed amplifiers sound alike, because their flaws are negligible alongside those of loudspeakers and sources. I wish it were so,

because then you could simply buy the cheapest products, confident in the knowledge that no one has designed anything better. Sadly, that is not the case.

AKRM-C

HEARING IS BELIEVING

Wassily Kandinsky - Autumn near Murnau, 1908

By Andre Marc

AURORASOUND VIDA

Japanese hi-fi manufacturer

Aurorasound is one of those firms that defines the mythical standing of the Japanese artisanal philosophy. That, in particular, means building gear in small numbers, with great attention to detail, and not being shy about carving their own paths in design and features if they feel it should be so.

introduced back in 2010. I was very intrigued, especially after reading our esteemed editor-inchief’s review of the Aurorasound HEADA headphone amp https:// www.audiokeyreviews.com/the-reviews/ aurorasound-heada. He loved it, and now it’s easy to understand why.

The VIDA MkII phono stage is a two-box

David and Goliath in the modern era, with small shops competing with behemoths like Sony and Marantz.

When I was offered the chance to review the Aurorasound VIDA MkII phono preamplifier, I jumped at it. The VIDA was first

connected with a nicely built umbilical cord. The combination is gorgeous to look at, with a retro faceplate and old-fashioned knobs and buttons, a wood enclosure, and a handcrafted feel. The preamp handles both MC and MM cartridges, with a very cool feature, one I always

audiokeyreviews.com

Odilon Redon - The Buddha, 1904

hope for but rarely see: two phono inputs, which lets you switch between two turntables. There are different loading and gain options for various cartridges as well. An additional feature that I really like but also

that is used to demagnify MC cartridges by using currents to cancel out magnetic fields. Aurorasound recommends using it every few months.

The design is LCR (L=Inductor

rarely see is a MUTE button. When engaged, it glows a soothing orange. As if that were not enough to surpass expectations, a Mono and Stereo switch raises the stakes. A selectable subsonic filter for use with warped records and to reduce rumble is a nice touch. And just when you think they have covered all the bases, there’s a Degausser switch around back

C=Capacitor R=Resistor}. According to Aurorasound, the main goal for the current version of the VIDA was the cleanest, shortest signal path possible, and the elimination of mechanical or electronic noise, with improved channel separation. It should be noted XLR connections are available as a premium addon. The price of the VIDA MkII with the

standard connections is $4,999. We also received the premium umbilical cord upgrade with the unit, which costs $399.

Aurorasound has several other phonostages in their lineup, including VIDA Prima and the flagship VIDA Supreme. Aurorasound also makes preamplifiers and tube amps, as well as the aforementioned HEADA headphone amplifier. The company is based in Yokohama, Japan.

SETUP AND LISTENING

The VIDA MkII was installed in a system consisting of a Rega Planar 8 turntable, an Audio Research LS26 preamp, and the recently reviewed Sonnet Kratos Monoblocks amplifiers (LINK), a pair of Magnepan 1.7i speakers. Cabling was Audio Art Cable and Black Cat Cable. The VIDA MkII was plug and play, and all I did was dial in the settings for the Rega cartridge.

My plan was to listen to a series of records with several phono stages I had on hand, then play the same records through the VIDA MkI. It turned out to be a good plan, as I was able to clearly hear the differences and what the VIDA MkII was bringing to the table. Spoiler: the Aurorasound was easily the best-sounding and most musically rewarding phono preamplifier, along with the Parasound JC3+, I have heard in my system. It simply checked every sonic box I’m partial to: richness of tone, superb soundstage depth, and overall coherence.

One record that really stood out during the review period was a hard-to-find 1991 repressing of Home To Home from 1969, the one and only album by Fairfield Parlour, a British progressive band that changed their name from Kaleidoscope. The music is incredibly melodic, with lyrics written by lead singer Peter Daltry, a poet by trade.

When I played the record through other phonostages, there was little dimension and a flatness of sound. The noise level was too high as well. When I put the needle down with the VIDA MkII in the chain, the record was really transformed. It sounded like the musicians were living and breathing entities, the surface noise was pushed way into the background, and the separation of instruments was far superior.

The two standout tracks, among other selections that were gems in their own right, “Aries” and “Soldier of the Flesh,” turned into mini rock operettas, with soaring vocals, piano, and yes, Mellotron! I have a sneaking suspicion Freddie Mercury had heard this album in the years prior to joining Queen. The tracks had the sense of drama and scale. The piano and lead vocals were holographically rendered, to the point that one was tempted to reach out and “touch” them.

Next up was folk troubadour Mark Fry’s lost classic, Dreaming With Alice, from 1972. Now And Again records produced a meticulously pressed and packaged two-disc reissue. The liner notes and sound are excellent. The album

AURORASOUND VIDA

was originally released on RCA records, but never got its just due. This version was cut

Water. Many consider this to be the British band’s magnum opus, with hard-hitting bluesy

It is very much a time piece, with quasirenaissance themes and production techniques from the era, like tape delay and even sitars. The songs hold up. There are excellent melodies and very engaging instrumental passages. Tracks like “The Witch” hint at midperiod Donovan, with mostly acoustic accompaniment. This album was a sheer pleasure as it unfolded with the Aurorasound, producing amazingly precise transients and rhythmic flow.

We then went with something less obscure, an original A&M pressing of Free’s Fire And

Now.” The music packs a punch, with Paul Kossof’s massive Les Paul and Marshal amp sound and Paul Rodger’s throaty vocal delivery.

The band’s secret weapon was the rhythm section of Simon Kirke and Andy Fraser, who propelled these signs forward with finesse. The title track is epic, and the Aurorasound made it sound fresh and vibrant. It also brought out the melancholy in the ballad “Oh I Wept.” Simply addictive.

Ultimately, the VIDA MKII arranged all the musical frequencies correctly, but more, much

more than that. It captured the essence of the platters spun. Liquid midrange and tightly controlled bass is high on my list, and the VIDA MKII delivered that in spades. Best of all, the high end was extremely natural, with no grit or dulling over.

In the end we were taken by how quiet records were with the VIDA MkII in the system. There simply seemed to be more music and less everything else. Perhaps the most important aspect of the performance was its tonal accuracy. Album after album was rendered with superb coherence and depth. As a final note, we feel the upgraded power umbilical cord is a worthy purchase. It did make a subtle yet discernible improvement in imaging and noise floor.

CONCLUSION

The Aurorasound VIDA MKII phono stage is simply a wonderful piece of playback gear. It had no flaw that I could put my finger on, sonically or ergonomically. It looks amazing, is built with precision and craft, and has more features than most vinyl enthusiasts are accustomed to. Clearly, founder and designer Shinobu Karak’s 30 years of experience with Sony and Texas Instruments has paid off in his circuit designs. The real wood enclosure, which can also be ordered in black, is the icing on the cake.

At $4,999, the VIDA MKII is a class leader at this price point. If you’re looking for super analytical sound and overbearing faceplates, it

would be wise to look elsewhere. However, if you’re seeking sound with soul that grabs the music and treats it with tender loving care, the Aurorasound MKII is just the ticket. This will be a tough sample to send back. So, I’ve decided to buy it!

By the way it has easily won our DIAMOND AWARD for its undoubted excellence.

PRODUCT INFORMATION:

AKRM-C

These are the most immersive, dynamic, detail-rich, nuanced, elegant, engaging, emotional, and yes, musical speakers I have ever heard. By far.

Timothy Roth, Positive Feedback

PARASOUND JC 3+ PHONOPRE

By Andre Marc

PARASOUND JC 3+ PHONOPREAMP

Once audiophiles move up the ladder with high quality turntables and cartridges, the next step is finding the right phono preamplifier. The turntable, cartridge, and phono stage trio (and sometimes tonearm) leave many variables, so choosing a phono preamp that fits the technical parameters, and is a good fit sonically, can be a challenge.

The JC 3+ evolves from the JC 3, with some considerable changes. Probably the most consequential is the addition of new loading options on the back panel, which is variable from 50 to 550 ohms, as well as 47K MM loading. Listeners can also fix the loading at 47k for MC. This opens up more possibilities for matching with different esoteric cartridges. Another big change is the redesigned

Enter the Parasound JC 3+. It is the evolution of a design by one of Parasound’s sonic architects, John Curl. Curl is also responsible for Parasound’s best known amplifier designs. We won’t parse through the entire history of his association with Parasound, but, suffice to say, his work endures today. We recently reviewed the Parasound Halo Hint 6 integrated amplifier and were highly impressed by its performance as a Swiss Army Knife of audio products, with a world beating onboard DAC, and superb phono stage.

power supply. A much larger transformer was employed to maximize dynamics. Various other critical parts and circuit signal paths were refined as well. Interestingly, the JC 3+ has its own onboard AC line conditioner to ensure the lowest noise possible. There are RCA inputs and both RCA and XLR outputs, and even a switch for true mono. The build quality and finish are superb, with very high quality connectors, knobs, and switches all round. The case can be ordered in silver or black. The Parasound JC 3+ retails for $3199

Edward Weston

PARASOUND JC 3+ PHONOPREAMP

THE SETUP & LISTENING

We dropped the JC 3+ into a system consisting of a Schitt Freya + preamp, an Audio Research VS55 power amplifier, and Acelec Model One monitors. We used two turntables, both the remarkable and recently reviewed Rega Planar 10, and the more modest Rega Planar 6. Both

organized sound being picked up by the stylus with even complicated pieces of music.

For example, on a record we use quite often, Traffic’s uberclassic jazz rock masterpiece, The Low Spark Of High Heeled Boys, the attack on the piano was far more realistic. The layers of percussion and the drive

had Rega cartridges installed. Cabling was Audio Art Cable. No special tweaks were used aside from an Audio Art Cable power cord on the unit. Everything was plugged into a Bryston power conditioner. We left the unit on at all times.

From the first time I dropped the needle, it was clear to these ears the JC 3+ was several classes above what I was used to. The most obvious areas where I heard very clear differences from every other phono stage I have had in house, either via an onboard module of an integrated amp or a standalone unit, was the separation of instruments, and the absolute precision of the bass frequencies. Another area where the JC 3+ brought listening to vinyl to another level was how it

of the rhythm section were unparalleled. One could also hear Steve Windwood’s voice with more character, and even little details like lips parting, and microphone pops. But it all came together as a coherent fabric.

A recent acquisition, a brand new vinyl remaster of Mawood, by the We Want Sounds label, is one of the best known albums by legendary Egyptian singer Abdel Halim Hafez. It is one long performance piece, recorded live, split over two sides. Of note, the album features the great Omar Khorshid on guitar. The somewhat primitive recording came to life via the JC 3+, with the entire band and orchestra laid out across a perceived soundstage. Hafez’s voice was a thing of wonder, and the distinctively tinged oriental

PARASOUND JC 3+ PHONOPREAMP

and modal flourishes came through with amazingly realistic dynamics.

We took a left turn and pulled out a stack

The Sun”. The album was well recorded, with lots of space in the arrangements and Haslam’s voice front and center. Hearing these songs

of albums by Renaissance, the sublime English progressive folk rock band that was at their peak in the 70’s. We started with Prologue from 1972, the first album to feature lead vocalist Annie Haslam, who would reign supreme for the rest of the band’s career. Her voice is otherworldly, infinitely soaring to the heavens. On key tracks like “Kiev” and “Sounds Of The Sea”, the sprawling arrangements are rendered with such distinction through the JC 3+ it was easy to suspend belief and imagine being in the 10th row at one of their legendary concerts. The band really started hitting their stride with the follow up from 1973, Ashes Are Burning. The sound was a bit more streamlined, but no less adventurous. There were even a few radio ready tracks like the very catchy “Can You Understand” and “Carpet Of

with very quiet backgrounds, superb timing, and spot on tonality, was really a highlight of my time with the JC 3+. The same assessment applies to the album that came after it, the epic Turn Of The Cards. It was hard not to get goosebumps hearing “Mother Russia”!

We finished up with the some classic rock in the form of an original A&M pressing of Free’s Best Of Free. While a bit skimpy, there are twelve high energy tracks with which to enjoy the voice of Paul Rodgers and the fierce guitar of Paul Kossof. The JC 3+ let the heavy crunch of “Fire And Water” and “All Right Now” come through with realistic bite. It also handled the sly groove of “My Brother Jake” beautifully. If making records fun to listen to is the goal, the JC 3+ succeeds with flying colors!

PARASOUND JC 3+ PHONOPREAMP

maximizes the performance of virtually any commensurate turntable. Its incredibly low noise floor and transparency are unmatched at this price. Is there better? I would venture to guess so, but at a steep cost.

The unique part about a high quality vinyl playback system is that it is a sum of its parts. Matching a turntable with the cartridge that satisfies, and a phono preamplifier that brings out the best in the pairing, is no easy task. Of course some turntables allow for juggling tonearms as well, which adds another layer. The JC3+ worked as a perfect dance partner with both the Rega Planar 10, and Planar 6. It will likely perform as well with most turntables and cartridges on the market

The Parasound JC 3+ is not entry level, but at a buck under $3200, it is a stone cold bargain. Finding fault with the sonics and

build is a fool’s errand. If you want pure solid state, accurate vinyl playback, the JC 3+ is a elsewhere. If you have spent upwards of ten grand on your turntable and cartridge, the JC 3+ is a must audition.

Product Information:

Parasound JC 3+ Phono Preamplifier:

$3199

https://parasound.com/jc3+.php

AKRM

RECOMMENDED COMPONENTS

Welcome to AudioKeyREVIEWS Magazine Canada’s Recommended Components, which will become part and parcel of each of our various issues. The purpose of this section is to acquaint the reader with products—speakers, DACs, amplifiers, preamplifiers, turntables, headphones, IEMs, streamers, portable audio, etc.—that we feel are quite exceptional and rise above their like brethren. There will be three categories— Budget, Mid-Tier, and Top-Of-The-Line. In our Budget Recommendations there will be products that compete far above their respective price point and are, generally, also built to reflect this.Our Mid-Tier Recommendations will encompass those products within arms reach, in terms of relative affordability, that present value and a challenge to the vanguard of their respective product niches. Finally, our TOTL Recommendations will be composed of those products that are at the cutting edge of technological advancement now happening across the world. The three categories of recommendations will rotate across the various issues of our magazine and there will also be a fluidity to the products within the various lists. Things change and especially now given our current technological epoch. The various lists, however, will be fixed on the AudioKeyReviews.com website.

RECOMMENDED COMPONENTS

AURORASOUND HEADA $2999: If you’re looking for an endgame headphone amplifier and even if your headphone amplifier is more expensive, try this one, you may be quite surprised. That said, the Aurorasound HEADA headphone amplifier is a top echelon component and an easy DIAMOND AWARD winner.

SILENT ANGEL RHEIN Z1 $2299: The Rhein Z1 and Forester F2 combo played far above the league that their combined price would indicate. For many, this $3,900 combo may well represent an endgame streamer/ power supply capable of exceptional fidelity with DACs from entry level to those on the cutting edge.

ABYSS AB1266 PHI TC $5999: I think that I’ve said it all. The Abyss AB1266 Phi TC is a phenomenal headphone. It brings an undying passion for musicality and a ferocity for transparency and clarity and detail retrieval, formerly the domain of the best electrostatic headphones. But this planar headphone speaks that language—electrostatic—fluently and well.

RECOMMENDED COMPONENTS

TORUS RM20 $3999: Can you say pristine, natural, open, and unhindered frequency response? Wide dynamic range? And there were oceans of detail, air, microdynamics, and ambience rendered by the Torus RM 20. It was not subtle. On the contrary, it was stunning.

RSX POWER8 $399: The RSX Power8 clearly holds to the dictum, “Do no Harm,” to the system in which it is being utilized. What it, in fact, offers is pure, clean power, a testament to the meticulous parts selection, research, and conscious minimalism all employed in its design. suffice to say, that it has no competitors at 3 to 4 times is cost.

GESHELLI LABS ERISH2 [E2] $219.99, JNOG2 [J2] $249.99: Disinterested in ostentation, Geshelli Labs believes in real world pricing with high fidelity performance. Their JNOG2 plus ERISH2 are a petite and potent bargain. With just enough character to put flesh on bone, the classy little twosome sets your music free without excessive color or dispensable features.

IN THE NEXT ISSUE

AUDIO

LIIONIDAS EXTREME SPEAKER

SEISMION 54 AMP STAND

TRI-ART PREAMPLIFIER

TRI-ART AMPLIFIER (MONO)

SILENT ANGEL Z1 PLUS

RSX MAX POWER CABLE (not pictured)

AND other reviews, columns, interviews, videos, etc.

MUSIC

VIDEO REVIEWS

1.

2.

3.

4.

5.

6.

7.

GRIMM AUDIO MU1 STREAMER

Music is art, art is music.

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ABYSS HEADPHONES

ANTICABLE

AUDIO ART CABLE

AUDIENCE

BOENICKE AUDIO

DAN CLARK

GESHELLI AUDIO

GRIMM AUDIO

GTT AUDIO

HEADAMP

HERMAN MILLER

HIGHEND-ELECTRONICS

LEMAY AUDIO

LYRIC AUDIO

MADLY AUDACIOUS

CONCEPTS

MAPLE HIFI

MOJO AUDIO

MOLA MOLA

MYTEK

SONIC ARTISTRY

TORUS POWER

TRI-ART AUDIO

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