Affordable Audio 2009-02

Affordable$$AudioIssue Number 38: February 2009

T H E E - Z I N E F O R F R U G A L A U D I O E N T H U S I A S T S

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Finding Deals and Being FairBy Mark [email protected]

If you are into buying used audio, at some point you’ve made a terrific score, finding a valuable piece of gear at a nearly ridiculous price. It’s a great feeling, no doubt about it. To me, it’s even better when the deal was made in fair-ness with the buyer fully aware of the value. I guess it is the honest soul within me that just doesn’t like to see some-one blindly screwed over.

Why mention this? Two recent events to be honest. Late last fall I received an email from a widow whose husband was a member of the Polk forum and was looking for help in selling off his gear. She had no idea as to the value, or how to sell it. Working together, I was able to write up the descriptions and give her a starting point for asking prices. The ten pieces didn’t sell all at once, a few went quickly, and other hung around, going through a couple of price drops. In the end, everything was sold and she was able to move on with her life without being scammed out of sev-eral hundred dollars.

The second event involved my own attempt to sell my Polk LSi9 monitors. I had been contemplating the move for a few months; then a bill hit which forced the issue. I’ve always tried to keep close tabs on the going price for my gear. I first placed the speakers on the Polk forum, but it was obvious that the economy had closed many wallets. I got sev-eral messages saying if I only had offered them a month or two earlier, they would have grabbed the LSi9’s.

Since the LSi9’s were in mint shape with original boxes, I felt Audiogon was the next choice instead of the Portland Craigslist. A day or so after Christmas I put them up, with a full compliment of photos (why so many don’t have pics with their ads is well beyond me). Over the month the ad ran, I received offers virtually every day, 90% of which were ridiculous lowball offers. My previous experiences with Audiogon had gone quite well, the offers were at least within the realm of respectful. Unfortunately, things had changed; ripoff artists abound, trolling daily, offering 25 cents on the dollar. The worst part is that by making formal offers and having to wait for me, or any seller to respond, legitimate buyers see that they are second in line and in many cases, just go on to the next advertisement.

This went on for the entire ad time. About once a week a low but fair offer would come in, and after emails and counter offers exchanged the deal would die. Those potential buyers I have no problem with, and enjoyed the com-munication.

The point of this “rant” is that a place that I always felt was overwhelmingly a great location to sell gear, has become infiltrated with those who see sellers as potential victims instead of fellow audiophiles. Had I wanted this level of irrita-tion I would have put them up on Craigslist and waited for the Nigerian scammers to pop in with their grammatically abused emails.

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mailto:[email protected]


What happened to the LSi9’s you asked? Thankfully, a very decent buyer heard of the monitors thru the grapevine and a few days after the Audiogon ad expired emailed me with a fair offer. A few days later we finalized the deal and they speakers have a new home and everyone is happy.

My final thought on this subject is that during these difficult economic times we all should try even harder to practice fairness, especially when buying gear. History teaches us that humanity and decency suffer when hard times are upon a society, but that those who practice respect can help to stabilize a bleak situation, and lay the foundation for the better times that follow.

On the lighter side….. With most of us still spending our free time inside, this is the perfect time to take an hour and clean up our cabling situation. Most of us have between 15-20 different wires hanging out behind our gear. Over time this can turn into a birds nest of interweaving wires. The sonic degradation on this entanglement when power cords are involved is well known. So, why not spend a little time, not money and straighten things up, who knows, you may just eeck out another 1% improvement in sound. If you’re a real fanatic you can do what AudioKarma’s favorite Pioneer poster, Mark W. has created. Something that Mr. Boeing would be proud of!

I would be remiss if I didn’t announce that last year’s host of of the Pacific Northwest Audio Gathering, Arthur, has opened his own used audio shop, The Speaker Magnate in Kelso, Washington. if you’re cruising up or down Interstate 5 between Portland and Seattle, take a break from the drive and stop in and check it out. Best wishes Arthur!

Enjoy everyone,


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Paradigm Monitor 7 v.6 Floor Standing SpeakersBy Dan [email protected]

Specifications:Design MagneShieldTM optional for Black Ash only, 4-driver, 2-1/2-way bass reflex, quasi-3rd-order resistive port Crossover 3rd-order electro-acoustic at 2.0 kHz, 2nd-order electro-acoustic at 700 Hz (lower bass drivers) High-Frequency Driver 25-mm (1 in) H-PTDTM dome, ferro-fluid cooled Bass / Midrange Driver(s) 140-mm (5-1/2 in) M-ICPTM cone, 25-mm (1 in) voice coil, GRIPTM chassis Bass Driver Two 140-mm (5-1/2 in) carbon-infused polypro-pylene cones, 25-mm (1 in) voice coils, GRIPTM chassis Low Frequency Extension 41 Hz (DIN) Frequency Response: On-Axis ±2 dB from 54 Hz - 20 kHz 30° Off-Axis ±2 dB from 54 Hz - 15 kHz Sensitivity - Room / Anechoic 94 dB / 91 dB Suitable Amplifier Power Range 15 - 180 watts Maximum Input Power 130 watts Impedance Compatible with 8 ohms Internal Volume 25.7 L / 0.90 cu ft Height, Width, Depth 93.8 cm x 16.5 cm x 29.8 cm 36-15/16 in x 6-1/2 in x 11-3/4 in Weight (Unpacked) 33.6 kg / 74 lb per pair Finishes Wengé, Cherry, Rosenut, Black AshPrice: $750www.paradigm.com

Many years ago, I owned a pair of Paradigm Export Monitors that I bought from a college student. He had done a bit too much partying and discovered that you can’t pay rent with deposit money from beer cans. I re-member being very pleased with my purchase and I enjoyed them right up to the day they went into storage. I never saw them again, as my locker, along with a few others, was broken into while I was on a 6 month job site out of state. Wanting to start fresh, I went with another brand of speakers and equipment when I got the insurance money. Since then, much has happened with both Paradigm and myself.

Fast-forward to today: Paradigm has grown tremendously, gaining all sorts of awards as well as consistent recognition from the audio press. In late November, I was offered the opportunity to review the Paradigm Monitor 7’s, after men-tioning to the publisher about my previous experience with the Exports. I knew the 7’s were floor standers and I was expecting the traditional wide front of that line from yesteryear. Instead, I was greeted by a very fresh 21st century slim tower. Long gone is the 10-12 inch wide front, and in it’s place is a very svelt, seven inch facing. I knew at that point that I needed to think very differently about the 7’s. As I remembered back to the Exports, they had more of an east coast sound, similar to Boston Acoustics. That impression was soon to change.

DesignThe Monitor 7 cabinet is constructed of ¾ MDF with a vinyl finish imitation wood in 4 choices. The review pair came in a black ash finish. With the black ash you can get Paradigm’s “MagnaShield” for home theater application. The vinyl has a satin sheen to it, which keeps the eye from locking in on the fact that it isn’t real. The fact that the Monitor line is Paradigm’s budget speaker grouping deflects criticism from those that demand veneer. The grill employs my favorite style of attachment: the hidden magnet. No broken tabs with these speakers. The top of the grill and the baffle behind it have a slight arch like all Paradigm speakers. This gives a look of the top of the letter “P”. The baffle is the anchor


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http://www.paradigm.com

http://www.paradigm.com

for all the drivers. Manufacturers who use the raised baffle all make the same point--that by doing this wider dispersion is created. Paradigm calls it an “Advanced Wave Guide Chassis”.

Paradigm manufactures all of its drivers in-house. The Monitor 7 tweeters use a titanium dome, and the bass drivers chassis use die-cast aluminum and polymer with glass injected for reinforcement of the cone. Advanced materials is an area Paradigm has been known to be a leader in research for many years now. The bass driver cones use a car-

bon infused process. All of this technology put together is one reason why Paradigm speakers operate at such high efficiency levels, the Monitor 7’s are rated at 92db.

The tweeter and three drivers work in a 2 ½ way de-sign. The ivory-colored driver acts as an upper mid playing down to 700hz, there dual mid bass drivers kick in, taking the speaker down to 50hz. The forward full nature of the 7’s creates a fine illusion of a speaker that plays down to the upper 30hz level.

On the back-side, there are two fairly large ports; one located behind the tweeter, and the second just above the speaker terminals. Even with two ports this size, I found placement from the rear wall to be a quick proc-ess, although slightly dangerous, due to the extremely sharp floor spikes that attach to the missile-shaped out-rigger feet. Without thinking during the placement proc-ess, I managed to impale the webbing of my hand on one of the points. Therefore, be conscious when mov-ing the 7’s, the spikes are quite nasty.

ListeningMy listening space consists of a great room for lack of a better term. It is 21 feet in length and 14 feet wide. It is divided into a sitting and office area. The ceiling is a surprising 10 feet, which creates much more volume for any speaker to fill. There are three windows all of which have fabric draperies to soften the sound waves. The floor is carpeted. Final placement was 36 inches from the back wall. Distance between the speakers was eight feet, which allowed for a balanced placement dis-tance between the side and rear walls. I did find that I preferred them firing straight-ahead; the result was a more balanced and wider soundstage.

The Monitor 7’s are a high efficiency speaker from Paradigm’s “budget” line. I felt that using my Yamaha DR 840 re-ceiver would be a fair match. For a source, I chose my new-to-me Cambridge 540v2 cdp that I snagged off of Craigslist while on a recent business trip. For those of you new to Paradigm or any speakers running above 90db effi-ciency, make sure to have the volume turned way down. I thought I had that knob low enough. Well it wasn’t! Let me inform all readers right now, the Monitor 7’s have no problem playing loud, and I do mean loud. Thankfully, the neigh-bors with whom I share a common wall were at work, though their cat, Prissy, was not happy I’m sure. Just as im-pressive was the overall clarity during the times I cranked the volume way up. What I have noticed over the years when speaker volume raises into the mid-nineties decibel level is that especially female vocals can become brittle, for lack of a better term. The Monitor 7’s never broadcast that problem.

One characteristic I noticed right away with the Monitor 7’s was the obvious forward-sound they presented. This was not the Paradigm sonic signature I remembered from my time with the Export Monitors. Usually when I hear such for-wardness, I prepare myself for listener fatigue, as the in-your-face sound has a tendency to wear on me rather quickly. But not with the 7’s. It took me a while to figure out why, but I finally think I found my answer; the bass response on the 7’s, though pronounced, wasn’t sloppy with 95% with the music I played through them.


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Recently, I’ve been listening to quite a bit of female vocals. My favorite cd currently is Norah Jones’ tremendous Come Away With Me. The sultry-sexiness of her voice and relaxed presentation matched up well to the characteristics of the Monitor 7’s. Over the years, Paradigm’s tweeters have been known to not shy away from the highest frequencies. The 7’s are no different, and they add a bit of fresh crispi-ness to her vocals that more subdued tweeters would miss.

When it comes to female vocals in the past six months, I have come to believe that Alison Krauss is as good as it gets. Her duet album with Robert Plant, Raising Sand, may just be about as unique as any collaboration in the past 20 years, but it works really, really well. The song, “Trampled Rose”, highlights not only the purity of her voice, but the range and detail that the Monitor 7’s can reproduce. Nuanced within the song are short riffs by various instruments that add so much beauty to the song. Thankfully, the 7’s give those bits their own place in the soundstage.

Budget RealitiesAs our publisher MM and others in the review field try to remind everyone, at this price level nothing is perfect, tradeoffs are made. I must be fair and mention them. I made a trip to a local Paradigm dealer and was able to compare the Monitor 7’s to their next higher line, the Stu-dio Reference 60’s. The biggest difference is richness and depth that adds so much to vocals. But at a cost dif-ference of over a thousand dollars, which makes what the Monitor 7’s do offer all the more impressive.

A second honest weakness involves heavy reverberation of a few songs involving electric lead and bass guitars. At higher volumes the 7’s do begin to stress and become a bit sloppy. Individual notes blur and a hazy quality settles in on the sound. When I first heard this anomaly I thought that I wouldn’t want to listen to any Rush albums as they do employ this style in so many of their songs. I was pleasantly wrong, I only found 3 tracks that presented this issue. Considering the enormity of Rush songs, this is a very small percentage to say the least.

If I have one irritation with Paradigm, it’s their use of cardboard rather than styrofoam for their padded packing. Bluntly put, it’s a royal pain in the butt. The cardboard is folded several times to create the protective buffers, but they aren’t glued into place, leaving the owner a bit confused as the necessary shape and placement.

Final ThoughtsBuying speakers is like purchasing a car: you never get everything you want (unless you’re Warren Buffet). The Para-digm Monitor 7’s offer so very much for such a reasonable price that it amazes me that more speaker companies don’t try to model their budget floorstanders to resemble their sonic signature. Their wide soundstage, coupled with tre-mendous efficiency and near full-range sonic signature make them very hard to beat. The fact that lower-powered amps and receivers would act like a power player matched up with the 7’s should intrigue many.

I was asked by a friend after hearing them and talking about my enthusiasm if I would buy them. I replied absolutely, if the review pair was in Rosenut or Cherry. They made my current speakers sound rather primitive. Guess I’m going on a speaker hunt and guess what is going to be my reference point…you guessed it! The Paradigm Monitor 7’s.

Review equipment:Yamaha DR 840 receiverCambridge 540v2 cdp


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Homegrown Audio Silver Lace and DNA InterconnectsBy John [email protected]

Specifications:DNAproprietary substrate that optimizes conductor placement and re-duces microphonic vibrationsall natural cotton dielectric used throughoutsolid silver 99.997% pure conductorsLOK Silver Point termination (single ended) or Neutrik Silver plated XLR (balanced)Each set of DNA cables is given an individual serial number for qual-ity assurancePrice: .5 meter $525, 1 meter $575 (LOK)

Silver LaceOptimized 8 strand braided geometryIndividually insulated, ultra fine solid silver conductorsFEP Teflon dielectricLOK™ rhodium over silver plated locking-barrel RCA connectorsPrice: .5 meter $245pr, 1 meter $280pr

Homegrown Audio is one of a handful of companies that have brought silver audio cables within the financial reach of the everyday audio enthusiast. During the early years of its existence, HGA sold a lot of product to the DIY market. As a whole, the DIY crowd is a tough group to please, and their acceptance of HGA wire is a testament to the overall quality of their merchandise. In a phone conversation, Holly Frye re-layed stories about the beginnings of Homegrown Audio. It was a captivating story of how an enterprising group of col-lege students formed a successful audio company.1 As its name implies, Homegrown Audio has a philosophy that is markedly different than other “big-time” cable manufacturers. Homegrown Audio’s strategy is to keep the prices of its prod-ucts affordable, and reinvest its profits into the company. 2 If you turn the pages on any major audio print magazine, you will not find any glossy color ads for their products. Cable manufacturers are often accused of soldering ends on “off the reel” wire, hiding it in a fancy jacket, and raking in the profits. Homegrown Audio offers a well-crafted product that is built in-house, and pricing it within the reach of the average audio enthusiast.

For quite some time the premier interconnect cable offered by Homegrown Audio has been the Silver Lace. The Silver Lace is composed of eight 26-gauge silver conductors that are woven in a proprietary Litz braid. 3 The dielectric is FEP Teflon, and an outer jacket is used to maintain the continuity of the braid and to protect the wire from damage. The terminations are a rhodium overlay on top of silver-plated RCA plugs. These RCA terminations are of the locking vari-ety, and ensure that the cables get properly coupled to a component. These cables are fitted through a distinctive wood block that is intended to perform wire management duties and keep everything neat and tidy. There is no mys-tery to the Homegrown Silver Lace cables. This interconnect uses a tried and true Litz geometry, and is produced by industrial braiding machines that ensure a consistent pattern and tension. High purity, solid core silver wire is at the


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1 One of the founding principals of HGA went on to become a vascular surgeon. HGA has people from a wide array of disciplines such as physiology, medicine, music, and physics.

2 Homegrown Audio has the necessary facilities to produce their own wire. HGA does not order off the spool cable, and put their name on it. HGA has industrial braiding machines to produce their proprietary Litz braid. In short, HGA is an actual cable manufac-turer, which cannot be said for many cable companies.

3 Each leg of the Silver Lace cable uses 8 conductors, with a total of 16 for the pair of interconnects.



heart of the Silver Lace, and a Teflon dielectric is once again the favored material for this application. The RCA terminations are a solid, no-nonsense design, which is required to maintain the favorable price-versus-performance ratio of the Silver Lace cable.

Homegrown Audio has recently unveiled their new flagship interconnect. The DNA interconnect has come about as a result of the knowledge gained from manufac-turing the Silver Lace cables. This new interconnect still uses a woven Litz design, and solid core silver wire. A proprietary substrate has been incorporated into the design, which gives the DNA interconnect an air-dielectric configuration. This ma-terial also maintains the placement of the wire within the weave, and dampens any micro-phonic resonance that may occur. Natural cotton insulation is used in the design, which has markedly different performance than the Teflon dialectic. Finally, the DNA interconnects are fitted with upgraded terminations. These cables can be had with the LOK Silver Point RCA ends, or Nuetrik silver plate XLR connectors.4

The primary focus of this review is the Silver Lace interconnects. Holly Frye sent out two pairs of interconnects to place between the amp/pre-amp and the DAC/pre-amp. Two pairs of Audio Magic Illusion 4D interconnects were removed from my system, and served as the reference point for my evaluation of the HGA ca-bles. Holly felt so strongly about the capabilities of the new DNA interconnects that she shipped out a pair to offer Affordable$$Audio readers a glimpse of what the latest HGA products are capable of. The DNA interconnects were placed between the DAC and pre-amp, while a pair of Audio Magic Illusion 4D cables were used between the amp and pre-amp. My reference speaker wire remained in the sys-tem, which is from the Audio Magic Illusion 4D series of cables.

A Jeff Rowland Model 5 amplifier and Consumate pre-amplifier comprise the heart of my review system. A Bolder Cable Company modified Squeezebox is used as a

transport for the Audio Magic Kukama DAC. This system feeds a pair of Mordaunt Short Performance 880 speakers. An Audio Magic Mini-Reference power conditioner provides clean AC current. All components reside in a pair of AV 123 racks.

Woody Guthrie is one of the legends of American folk music, and I suspect few people would disagree with this viewpoint. Guthrie’s music has a time-less appeal, and is still appreciated by fans of the folk genre. In my music collection is Woody Guthrie’s American Song, which is a staged musical, dedicated to Guthrie’s music. One of my favorite songs on this disc is “Pas-tures of Plenty” {Woody Guthrie’s American Song-Cast Album; Self Re-leased WG1001}. Since this song is recorded on a stage, it contains a set of challenges that will unearth any brightness or stridency in a cable. The com-bination of a live stage acoustics, acoustic guitar, fiddles, and female vocals are a devilish combination to get right. The Homegrown Audio Silver Lace interconnects turns in a solid performance on this track. One of the stereo-types circulating in this hobby is that silver cables are bright; and I have heard examples of this being the case. The Silver Lace cable is vibrant and energetic, yet is relatively even in regards to overall tonal balance. Mimi Bessette and Helen Russell sing a beautiful duet in this song, and this cable preserves the sweetness of their vocals. The acoustic signature of the thea-tre is clearly captured in this recording, and is difficult for any component with a tendency towards brightness to get right. The Silver Lace isn’t tripped up by this task, but if paired up with the wrong components I could see where diffi-culties might arise. As a general rule, cables that occupy the sub $300 price point are going to have a distinctive per-sonality, and I would characterize the Silver Lace as being lively and spirited.


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4 The Silver Point RCA end has a solid silver center pin. This pin is formed from four 9’s silver, which is of the same purity as the wire used in the cables. This solid silver pin provides an un-compromised signal pathway. The Silver Lace cables can be fitted with the Silver Point RCA connectors for an additional $80.

While Suzanne Vega is well known for her socially conscious ballads, most fans know that she can turn out some high-energy songs. In 1992 Suzanne Vega decided to branch out, and experimented with an elec-tronic style, which is featured in the 99.9F album. “Rock In This Pocket” [99.9F; AM Records CDB 0005] is a dramatic departure from her earlier music, and shows another side of this diverse artist. The track has a pow-erful electronic bass line that is deceptively complex. I had no complaints with the bass performance of the Silver Lace cables. The lower registers of my system were nicely filled out, and the individual bass instruments could easily be separated. Another observation of note is how this song really expands to fill a room. The HGA cable adroitly handled this task, and this song had excellent spatial characteristics. The Silver Lace inter-connect is a surefooted performer that did not make any glaring missteps during its time in my system. I can see why this cable has been one of the perennial best sellers for Home Grown Audio.

Any interconnect from the <$300 price category that I have heard imparts its own personality, and the Silver Lace is no exception. A well-

implemented silver cable design has distinctive clarity and detail, which is an accurate description of the character of the Silver Lace. However, the Silver Lace lacks the refined and relaxed presentation that can be found in a properly executed copper wire interconnect. High-end silver cables can also possess this attribute, and this sets them apart from their mid-range priced brethren. The Audio Magic Illusion 4D interconnects are smoother than the Silver Lace, and present more fine detail than the HGA cable. The final bit of realism imbedded in a recording is not lost by the Illu-sion 4D interconnect, but this is to be expected from a wire that sells for $1200 a meter pair. Certainly the laws of di-minishing returns are applied to the Audio Magic wire; and the Silver Lace was never intended to be an assault on the state of the art cable market. Of course this takes us to a discussion of the Homegrown Audio DNA interconnect, which is intended to compete in the affordable high-end cable market.

While the Silver Lace cables validated my previous experiences on how mid-tier cables perform, I was not prepared for what I heard out of the DNA interconnects. To be frank, if I did not know that these HGA cables were built from sil-ver wire, I would have never guessed this to be true. The DNA interconnects are relaxed and graceful, with an unas-suming presentation that gets out of the way of the music. When listening to these interconnects, I found that I stopped analyzing the benefits of materials and construction techniques, and just sat back and enjoyed the music. I decided to replay the two previous tracks and catalog the differences between the DNA and Silver Lace cables.

The vocal duet of Mimi Bessette and Helen Russell in “Pastures of Plenty” improved markedly with the DNA intercon-nects in the system. I heard the lower registers of both singers voices fill in, and increase in texture. The fine detail of this song is showcased with the DNA interconnects, however there is a conspicuous absence of high frequency arti-facts that are often mistaken for a detailed top-end. All of the high frequency information is still portrayed, such as the reflections from the stage acoustics, or the sharp edge of the fiddle notes. On this song, I could not detect any of the limitations associated with a cable built from silver wire.

The differences between the two cables on the Suzanne Vega are not quite as readily apparent when I came back to this song. Although the differences between these two cables were once again documented when I swapped the Silver Lace back into the system. The DNA interconnect is so evenly balanced that it becomes unassuming and overlooked. While the Silver Lace says “Hey! Look at me! Look what I am doing to this song! Aren’t I so clear and detailed?!” With the DNA intercon-nects installed, the lower registers of Vegas’ voice gain tex-ture, and complex undertones become noticeable. Even though this is a multi-tracked recording, the perceived space between instruments is clearly delineated, and the definition of the acoustic space is improved. The differences I experience between the two HGA cables are consistent, even if they are not as dramatically portrayed with this song.

The principals at Homegrown Audio have worked diligently to


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position their company as a credible audio manufacturer. HGA maintains sophisticated production facilities that allow the company to own the bulk of the manufacturing process. The Silver Lace and DNA cables are literally “home-grown”, and represent the efforts of a talented and enthusiastic group of people. I suspect the Silver Lace line of ca-bles will remain Homegrown Audio’s bread and butter product for a long time. These cables offer value and perform-ance, which is a combination that the cost-conscious audio enthusiast is looking for. For the audio enthusiast search-ing for the affordable high-end interconnect, the DNA cable is an authentic contender. The DNA interconnect has that enviable balance between warmth and detail. This cable passes on the detail that silver based designs are known for, yet have a relaxed presentation that is easy on the ears. Homegrown Audio offers a 30-day in-home trial period, so auditioning their products is a risk free proposition. If you are in the market for new cables, order up a pair and see what high quality silver interconnects can do for your system. If you are adventurous, try a pair of Silver Lace and DNA interconnects, and make the comparisons between the two designs yourself.







SVSound SBS-01 LoudspeakersBy Jeff [email protected]

Specifications:Speaker type: Sealed BookshelfFrequency Range: 68Hz - 20kHz ± 3dBSensitivity: 85dBDimensions: 12” X 7” X 9.5”Woofer: 1 - 5¼” Tweeter: 1 - 1” Silk Dome Weight 11 lbs (Each)Enclosure: MDF laminated with textured vinyl

Price: $225.00Website: http://www.svsound.com

I am not a frequent poster to the large assortment message boards available to people these days. I do read them while I don’t have enough free time be a particularly active participant. While reading the A$$A Circle on AudioCircle.com one night I stumbled across the “What you would like to see reviewed” section. I thought it was pretty cool that I already had the DIY Paradise Monica DAC that had been requested, but I scanned the rest to see if anything else caught my eye. During this time I was also looking for a loudspeaker company whose products were in the ultra-affordable category for another project that never really materialized, so the request for an SVS re-view struck my fancy. I’m sure a complete home theater review would have made the manufacturer happier. I was looking for an inexpensive pair of sealed 2-way bookshelf speakers. Being the frugal audiophile I really wanted to know what a couple hundred bucks could get me.

I am a sucker for well-packaged affordable gear, and the SVS box that appeared a few days after contacting them for a review sure got them off on the right foot. The loudspeakers were sent double boxed in quality cardboard containers with cast molded Styrofoam packing material. Each speaker was isolated from the other by about 4 inches of air in the box, and wrapped in medium weight plastic. I hadn’t heard the product yet, but my initial impression of their attention to detail was already pretty high.

After removing them from their packaging I noticed some cool mounting options. These speakers can obviously be stand mounted, but they also have keyhole mounting as well as threaded inserts for wall brackets. I felt this was an impressive array of mounting options for such an affordable price.

The small bookshelf speaker that is the SBS-01, sports a 5 ¼” woofer and a 1” soft dome tweeter in a small sealed black box with detachable cloth grills. These specifications are not going to create large theater levels of sound in a room bigger then small closet. Knowing this I was aware of their need for a subwoofer right from the start. I still wanted to test the merits of these speakers on their own. I used them in a several different configurations; some they were clearly designed for and others were for mere curiosity sake.

The SBS-01 speakers seem to have been designed to either be the four primary channels in a small 5.1 system or the rear channels in a larger system. Since I only had a single pair I used them for a short time as the rear channels in my LJM Originals home theater. I liked how they sounded for ambient noise, people talking around a restaurant, or noisy TV/Movie scenes. This is about 85% of what rear channel speakers are used for and they shined at this task. I didn’t like how they sounded when they needed to be more forward, for instance in the movie Seabiscuit there is a lot of rear channel activity. The horses are always running back there. But there is a scene where lighting strikes behind and to the right. There clearly wasn’t enough power to that moment. For most this isn’t that big of a deal, especially for the very low price, but it was a pretty big deal for me. My normal rear channels are very similar to the SBS-01, they use 4.25” drivers with a 1” dome tweeter and there was no comparing the dynamics of this and several other surround moments. My existing speakers, that use less then $50 worth of Audax drivers were consistently deeper, more dy-namic and responsive. Especially considering the 1” difference in the woofer size. I continued other avenues of use for these speakers, even though I was slightly disappointed by the results in their primary use.





https://www.svsound.com/

https://www.svsound.com/

I next tried what I thought would be a suicide mission for the little SVS speakers. I put them in my 2-channel system with my Quicksilver Monos and nOrh ACA2b. First I put this together without any sub. This was the first place I heard these speakers that I was actually impressed. They still had no low-end power, as expected. They did have timbre and presence that I didn’t expect. They turned out to be rather musical when used to play simple strings or solo vocals. The sound was a little bit tangled up in Alison Krauss and Union Station’s string movements, but when I played Jacinta’s version of “Falling Leaves” it sounded much better then I expected. The air and breath was there, the sound-

stage was shallow, and the depth wasn’t at all great but the music was still quite moving. Next I added a sub and played the same pieces again. The sub I used wasn’t my giant 12 inch front firing Titanic, but an Audio Source 10” down-firing sub that was purchased for $79 from Parts Ex-press. The improvement was worth far more then price tag. Once the lit-tle speakers were freed from dealing with the lower spectrum they sounded clear and detailed even in slightly more complicated string pieces. Classical Piano is beyond their realm, but to their credit it is be-yond all of the $225 speakers I’ve ever heard. They still had a flat narrow soundstage, but the imaging cleared up 200%. They became not just lis-tenable but pleasant.

The last configuration I used the SBS-01 setup was as computer speak-ers. My neighbor was raving about his $500 Bose MusicMonitor com-puter speakers. So I loaned him a pair of $399 Dynaudio BMA-5a Com-pact Active Studio Monitors for the privilege of using his Bose for a weekend. On a side note, he didn’t want his Bose back…. Back to the SVS, In the first iteration I paired them with my Antique Sound Labs AV-20 6L6 Mono-blocks. The ASLs had a new cost of around $200 a piece and a used value of around 250 per pair so I was putting $425 worth of tube separates against $500 worth of Bose. Bose lived up to their reputa-tion (among audiophiles that is) they sounded very thick in the midrange with no high-end clarity and the little bass they has was bloated and ex-

aggerated. While I was most satisfied with the SVS speakers in this con-figuration, I still dug out my $25 Sonic Impact 15 Watt Class T amp. (I think it’s much more expensive these days, but still rather cheap!) This turned out to be another excellent combination, while not as musical as the ASLs still very pleasant and had a better frequency range then the Bose. The SBS-01 may well be one of the best computer speak-ers available!

Two hundred dollars doesn’t get you much in the loudspeaker world these days. Even in affordable audio if you only plan to drop 2 C notes you pretty much know you’re looking at either DIY or low end Best Buy garbage. These turned out to be neither, and that alone is saying something. I really liked the detail they exhibited when used with even the most affordable subwoofer. I think these could be great speakers to use in a bedroom or kids room. I unfortunately just didn’t like them as rear channel speakers. To SVS’s defense I didn’t have the rest of their theater, and I didn’t have one of their famous subs. I can without reservation strongly recommend these as computer speakers, add just about any amp and you will have a dynamic duo if there ever was one.

Equipment used for review:Roku Soundbridge M1000 Network Music PlayerCambridge Audio 540D DVD PlayerSony STR-DA5ES ReceiverQuicksilver Audio Silver Mono amplifiersAntique Sound Labs AV-20 Mono amplifiersLJM Originals Audax based 5.1 speaker systemBose MusicMonitor loudspeakersVampire Wire 12 AWG speaker cablesAudioquest CV-4 speaker cables







Audioengine AW-2 Wireless iPod Transmitter/ReceiverBy Mark [email protected]

Specifications:Range (typical): 30ft (9 meters)THD+N (A+weighted) < 0.03%Wi-Fi Frequency Band: 2.4-2.4835 GHzLatency: < 20mSecDimensions (each): 100 x 30 x 10 mmAudio frequency response: 20Hz to 22KHz (+/- 1.5 dB)Output Voltage: 830 mVChannel Separation: 65 dBPrice: $169www.audioengineusa.com

“Mojo: magical power <works his mojo on the tennis court>” From Merriam-Webster Dictionary.

Some companies just like some people have it, a knack, an ability to hit just the right button at the right time. Making them the envy of everyone around them. My best friend has mojo, as does Apple Inc., BMW in this decade has ridden the mojo express as well. In audio, the call is much tougher, but I would like to nominate Audioengine for this distinc-tion. The gang from one of the three places I like to live in America, Fort Collins, Colorado, have an absolute knack for hitting the bull’s eye on everything they bring to market, both in design and sales. Their first three products, the A5 and A2 powered speakers and the AW-1 wireless transmitter, have received unqualified praise throughout the audio/iPod community.

The most recent addition to the Audioengine line up is the iPod-powered AW-2 wireless transmitter and socket pow-ered receiver unit. It is the answer to the one limitation the original (A$$A winning Best of 2008) AW-1 had, that the transmitter needed to be plugged into an electrical socket after coming out of the iPod. This limited the AW-1 from be-ing carried around from one spot to another without contemplating where it could be plugged in again.

The AW-2 kit consists of a rectangular transmitter, a wireless USB receiver, a wall wart plug, and a mini-headphone to stereo RCA female plugs. The transmitter is the same width and depth of the current generation iPod/Touch/iPhone (in or out of the iPhone’s airport mode). The AW-2 also works with iPod Nano’s. I need to be clear on this: Older genera-tion iPod’s and Nano’s unfortunately do not work, make sure to consult Audioengine’s website for compatibilty. At first, I thought this lack of compatibility would end my opportunity to review the AW-2. But, since I’m a teacher, I had plenty

of students who were more than willing to lend me their very new iPod to test the AW-2.

As I mentioned above, the tethered power requirement of the AW-1 was it’s one limitation. Thankfully, the AW-2 solves that problem; the engineers at Audioengine came up with a way to draw energy via the iPod’s dock connection port. Other products have figured out how to draw power, but not for the level of sophistica-tion that the AW-2 had in mind. Even more impressive is the advanced broadcast capability that the AW-2 offers. It operates within the 2.4 GHz bandwidth, cre-ating thirty-seven subsections to broadcast the signal in 2hz wide channels on two bands. The signal is split in half, thus protecting against signal loss. It doesn’t stop there, but I’ll spare you my explanation and en-courage those interested to read all the well-explained technology in the “Specs” tab for the AW-2 on Audio-engine’s website.





http://www.audioengineusa.com

http://www.audioengineusa.com

ListeningJust like with the AW-1’s, the AW-2’s easily exceed their rated dis-tance of 30 feet. With a constant signal. I was able to go some 80 feet before dropout occurred. That distance included two commercial-thick grades of drywall, and three cubicle dividers as the receiver unit was plugged in at just 24 inches above the floor. While using a borrowed iPod at home, our home received many calls on our 2.4Ghz cordless phone. Not once did the AW-2 drop the signal. The same holds true for the wireless router that I em-ploy at home, and for that matter, the ones the neighbors use as well.

How does the sound quality rate, one word, exceptional! Using Ap-ple lossless I could not detect any difference whatsoever, from a song played via AW-2, or thru my own iPod hooked up through the headphone jack into the same preamp/amp combination. After several songs looking for differences over a few days, I gave up. No matter how hard I strained to detect a difference, I couldn’t find it.

Final ThoughtsI appreciate companies that use their initial success and build upon it, not with something totally different, but as a natural expansion of their current product. Audioengine has always been about using the iPod to create a wireless ste-reo system. They started with the A5 powered speakers in conjunction with Apple’s Airport Express. Then, seeing an opportunity to solve the signal dropout issue and build upon the wireless concept the AW-1 came on the scene in late 2007. Now with the AW-2, Audioengine has completed the next step in creating a wireless music system. With an iPod in your pocket, and the receiver hooked into pairs of A5 speakers, one can have music in up to 8 rooms of a house. The AW-2 is 21st century cool!

Manufacturer’s comments:First I’d like to thank Mark for this great article. Who doesn’t like to hear praise like this? You never quite know, when you introduce a new product, whether that product will receive wide acceptance or not. You really sit on pins and needles, hoping folks will like it. Feedback like Mark’s lets us know that we’ve succeeded. It’s a great feeling!

A brief technical comment on the iPod compatibility issue, in case folks were wondering why all iPods don’t work. There’s a chip in the later generation iPods, called the Authentication chip, that is required for products like this. You can’t control the music from your iPod without this chip. And the chip is not present in older iPods. It’s just that sim-ple.





Revising My Reference SystemBy Todd [email protected]

As an Audiophile, part of my nature is to tweak my system continually to improve the sound and hence get closer to the music. Until recently my reference system has consisted of a VPI HW-19 MKIV turntable, Audio Research SP16 vacuum tube preamplifier, Conrad Johnson MV60SE vacuum tube amplifier, Primare D30.2 CD player and Paradigm Signature S2 monitors mounted on Target, lead and sand filled stands. Additionally my speaker cables of choice are a 10 foot pair of Discovery Cables Essential speaker cables and I also use Discovery Essence interconnects throughout the system. I have had my turntable set up using a Rega RB600 tone arm and a Benz Ruby 2 MC Cartridge running through a Quicksilver Audio MC step up transformer. My listening room is located in our basement which is 13’ X 18’ with 7’8” H ceilings. I have positioned the speakers out from the rear wall 32” and away from the side walls about a foot, toed in sharply, on axis to the listening position.

A neighbor recently had an Audible Illusions Modulus 3A preamplifier for sale that has been gathering dust in his ga-rage for several years due to the fact he had become more interested in home theater. It needed to be cleaned and re-tubed but other than that it was in good shape. Having heard that the Modulus 3A was extremely musical and in-volving I decided to purchase it and give it a try in my system. I spent several hours removing the gunk and grime that

had accumulated on exterior of the unit. I removed each knob, the top and face plate and cleaned each piece thor-oughly with simple green and glass cleaner. Using compressed air I removed 95% of the dust from the interior and then purchased some NOS RCA 6922s vacuum tubes from Antique Electronic Supply.

Once the tubes arrived and were installed I placed the Modulus 3A adjacent to my system and made the connections using the 1 meter Discovery Essence Interconnects I normally use in my system. Fortunately they were just long enough to allow for A-B comparisons with my Audio Research SP16. To say the difference was dramatic would be an understatement! Even though the tubes installed in the Audible Illusion Modulus 3A weren’t broken in, there was a clearer and cleaner picture of the music. The transients were slightly more dynamic; the midrange and highs were smoother but at the same time more detailed. However the most interesting trait I noticed was how individual notes would decay. There was a more natural and slower roll off of each note that sounded more like a recording should sound. As a musician this in particular gave me a reason to celebrate. Every track I played sounded closer to the real thing, the saxophone, the cymbals and in particular vocals sounded much more like an actual performance does. The Audio Research SP16 is a fine preamplifier but it is simply outclassed by the Audible Illusions Modulus 3A. Every one of my Audiophile friends who came to listen agreed that the SP16 was clearly no match for the AI preamplifier. I pur-chased the Audio Research SP16 in like new condition from the local ARC dealer and I have loved the way it rendered musical performances of my records and CDs. It was hard for me to admit that its time had come.

The only issue I had replacing the ARC SP16 in my system was that my Quicksilver MC step-up transformer was not a good match with the Audible Illusions MM Phono Stage. There was a gain mismatch and records sounded lifeless





when compared to the performance with the SP16 phono stage. I attributed this issue to the Quicksilver Audio step-up transformer which only provides 23db of gain.

I decided to look for an outboard phono stage that would be a good match for the Audible Illusions preamplifier. I wanted something dynamic and detailed that would do justice to the high resolution of the Modulus 3A. Additionally I wanted the flexibility to use my VPI turntable with my Sophia Electric Technologies EL34 integrated from time to time. After several weeks of shopping I ended up in Silverdale Washington and the folks at Nuts About Hi-Fi recom-mended I try a Krell KPE Phono Stage they had just taken in on trade. The nice thing was that I would be able to take it home and try it out and return it if there was a system mismatch.

Just as they had said it would be, the Krell KPE with 65db of gain is an excellent match for my Ruby 2 MC cartridge. The soundstage is huge and well defined with a solid bottom end, a clean clear mid-

range and a sweet detailed high end. The Krell KPE and the Audible Illusions work extremely well together. I was ab-solutely stunned by the music coming forth through my speakers.

The quest for great sound has always been a passion for me, whether when looking for a guitar, guitar amplifier or audio equipment. Although there are those people who love the music first and equipment second, I enjoy experi-menting to improve my enjoyment of both. Thankfully there are still dealers out there that will take the time to help with system matching and with a little bit of luck you can turn a diamond in the rough into something that sounds beau-tiful. I can honestly say that my reference system has improved with these changes and it will enable me to provide a better assessment of all the equipment I review, which in the end is the desired result.

Associated Equipment.Audio Research SP16 PreamplifierConrad Johnson MV60SE AmplifierSophia Electric Technologies EL34 Integrated AmplifierMarantz 5001 CD PlayerPrimare D30.2 CD PlayerOppo DV970HD Universal PlayerVPI HW19 MKIV TurntableRega RB 600 TonearmBenz Ruby 2 MC CartridgeParadigm S2 Signiture MonitorsTriangle Stella ES MonitorsWharfedale Pacific Evolution 10 MonitorsDiscovery Essence Interconnects Discovery Essential Speaker CablesEichmann Express Six InterconnectsZebra ZC SP12SD Speaker CablesZebra ZC SP14DBI Speaker Cables







Donald Byrd—The Cat WalkMusic Matters MM BNST-84075Vinyl Double 45rpm Test PressingBy Peter D’[email protected]

A Detroit native, trumpeter Donaldson Toussaint l'Ouverture Byrd II was exposed to some giants of jazz at a tender age, playing with Lionel Hampton while in high school and joining Art Blakey’s Jazz Messengers while in New York pursuing his masters degree. Education seems to have been a constant in Byrd’s life: Not only does he have a BA and an MA, but he has taught music at a number of universities. Byrd’s “style” has evolved over the years from the hard-bop of the fifties and six-ties to jazz fusion and R&B in the seventies and beyond. Un-like many of the artists in this series of Blue Note releases, Byrd is still alive…a testament to good genes and/or a healthy attitude toward substance abuse.

On The Cat Walk, Byrd’s 1962 album, his quintet is composed of Duke Pearson on piano, Laymon Jackson on bass and Philly Joe Jones on drums, with baritone saxophonist Pepper Adams joining Byrd on the front line. The seven songs on the LP are originals, penned in the main by Byrd and Pearson. There are no “standards” on this album…it isn’t that I don’t like standards (I do), but it’s refreshing to hear a full album of “new” work.

Side one is filled by the sultry, sinuous sound of Byrd’s muted trumpet trading the stage with Adams’s sax on the tune “Say You’re Mine”. The trumpet is hard right in the mix, the sax generally on the left, and it works: Byrd’s haunting trumpet interplays gorgeously with the sultry saxophone of Adams. The rhythm section is top-rate, but what really pulls together this track is the piano of Duke Pearson. There are moments in this tune when the spirit of Vince Guar-aldi is conjured forth. A superb way to start the record, “Say You’re Mine” is a standout, but it’s subtle: It doesn’t grab a listener by the throat as does, for example, “A Night in Tunisia” on the Blakey LP of that name.

The band swings a bit more on “Duke’s Mixture” as Byrd unmutes his instrument, and the upbeat mood continues with “Each Time I Think of You”. (Is it me, or do the first few bars of this piece sound like the title tune to a sixties game show?).

Side three leads off with the title track, a Byrd composition which has been described as having (and indeed was writ-ten to convey) a sinuous, feline feel. “Cute”, the most hard-boppish, up-tempo track on the album, features a great drum solo by Philly Joe Jones: At higher volumes it will nearly blow you out of your chair.

The album is rounded out by its longest track, “Hello Bright Sunflower”, which is a sort of fantasy around the first few bars of the classic “Lullaby of Broadway”, and which features Byrd with his mute on again.

And the sound…ah yes, the sound. Absolutely, positively superb. If all vinyl had sounded like this 30 years ago we’d have never invented CDs. The solo instruments emerge from the rhythm as if they were in the room with you. It’s easy enough for the rhythm section on recordings to fade into the background as a morass of sound. Here, the lis-tener can so easily distinguish the separate elements: Each string of the bass, each drum, each cymbal. Such tight-ness in the low frequencies. Such air and sizzle in the cymbals. Paradise.

This is testament, of course, to both the recording and the mastering. Hoffman and Gray have done a fantastic job on this LP, working from some exceptionally strong material. As with the other titles in this stream of Blue Note reissues, sonic quality is extremely high. The Music Matters team knows what they’re doing, and they do it very well.

My review copy, as noted above, is a test pressing, and thus is not necessarily representative of the upcoming produc-tion run (this title is anticipated to ship in February 2009). Previous experience indicates that the production LPs will be, like this test pressing, flat, shiny and flawless. I own every one of the Music Matters Blue Note reissues, and each one is relentlessly consistent in its high production quality.





Likewise, I’ll make no specific comment on the jacket, because I’ve just got a white one, but if The Cat Walk features the same level of attention to detail and quality as the other titles in the series, then there will be no disappointment. The newer gatefold jackets are incredibly thick and shiny. The test pressing innersleeves are the older plastic-lined paper style; in the production run I assume that these will be replaced by the all-plastic pink innersleeves (which, in-terestingly, I now see other labels including in their packaging).

To sum up, Music Matters has again hit one out of the ballpark. The Cat Walk pleases from beginning to end. It’s got great music, great sound, great production and great packaging. How much better than that can it get?

Leo Kottke—6 and 12 String GuitarClassic Records C 1024200 gram “Clarity SV-P II” Vinyl LPBy Peter D’[email protected]

Leo Kottke is a talented and eclectic guy. Originally from Georgia, as a child the guitarist moved frequently around the U.S. with his family. It is perhaps this peri-patetic existence that formed, or at least molded, his talent. And it is quite some talent…though more on that later.

6 and 12 String Guitar (an honest album title if there ever was one) was the 1969 album that put Kottke on the map. Also known as the Armadillo album (though credit must also be given to the ant pictured on the striking black and white album cover), this was not Kottke’s first effort—that would be 12 String Blues, issued earlier that same year. Nonetheless, it was 6 and 12 String Guitar that established Kottke’s reputa-tion—and he was only in his mid-twenties at the time.

Originally issued by Takoma Records (the Santa Monica-based label of the noted fingerstyle guitarist John Fahey), this Classic Records reissue has been pressed on Classic’s new 200 gram “Clarity” vinyl, and offers 14 tracks featuring Kottke on a variety of gui-tars. All tracks save one were composed by Kottke (the exception is Jesu, Joy of Man’s Desiring).

This album, which has been described as “iconic” in its genre, is a masterclass in fingerpicking. In one great stroke, Kottke established a standard for technical and artistic excellence in this style of guitar composition and execution. His virtuosity resulted in meaningful danger as well: His picking style eventually resulted in tendon damage to his hand, which nearly ended his career. By abandoning fingerpicks in favor of fingertips, and using a more classical technical style, he was able to carry on.

In the 1969 Rolling Stone review of this album, Carl Brauer led off with the following: “With all the shit that has been released recently, it was a distinct pleasure to come across this album.” Now, I’d argue that a great deal of music coming out in 1969 was pretty good stuff, so this is high praise indeed. And it’s deserved. I’m a fan of the acoustic guitar, both solo (as we have here, with no other instruments and no vocals) and in small jazz groups (Charlie Byrd’s oeuvre is among my enduring favorites). The skill, the delicacy, the precision of Kottke’s playing is mind-blowing. How can someone possibly be so coordinated? And on top of it, he wrote the songs as well. Astonishing.

The lead-off track on the album, The Driving of the Year Nail, is an energetic, speedy introduction to Kottke’s capabili-ties. Other tracks such as the slide-influenced The Sailor’s Grave on the Prairie and Vaseline Machine Gun are par-ticular standouts on an album where at some level every track is a standout.





This is an album that rewards careful listening. It’s not mellow background music. Kottke’s virtuosity demands to be noticed. Notes cascade like waterfalls, note upon note, without relenting. Put the book down, get comfortable in your chair and just listen.

And you’ll be happy that you listened, because what comes off this slab of vinyl sounds superb. The LP was mastered by Chris Bellman at Bernie Grundman Mastering, and will provide a daunting test of your system’s ability to resolve, and of its capacity to realistically reproduce midrange frequencies.

Classic Records has, in typical form, produced a top-quality LP. The “Clarity” vinyl is, in fact, translucent rather than transparent. On my copy (which arrived perfectly flat and flaw-free), surface noise was virtually non-existent: No pops or tics, and that “rushing” groove noise that exists on even the best LPs is as insignificant as I’ve ever heard it. I can’t say with authority that this vinyl formulation sounds meaningfully better than Classic’s own 200 gram black vinyl, but it is certainly no worse. And, of course, with its gold and black Takoma label it looks very cool on the turntable.

Packaging is excellent. This is a non-gatefold album with black and white art. The LP is enclosed in a plastic and rice paper sleeve and the cover comes in Classic’s newer Mylar sleeve. The liner notes are a hoot, from the self-deprecating biography of Kottke (penned by the performer), to his comments on each of the tracks. Example from Jesu, Joy of Man’s Desiring: “Bach had twenty children because his organ didn’t have any stops.” Hmmm….

I don’t know how many copies of this album Classic has pressed, but I suggest that you haul yourself to your local re-cord retailer (or to your computer) and become an owner. Even for those who aren’t particular fans of solo acoustic guitar, this is one album that is essential in a serious listener’s collection.

System Used for Review

Speakers: Anthony Gallo Acoustics Reference 3.1Turntables: Linn Sondek LP-12 with Ittok LVIII Tonearm, Grado Reference Sonata cartridge, Hercules II Power Sup-

ply, Cetech Carbon Fiber Subchassis and Armboard and Herbie’s Way Excellent II Turntable MatDigital Sources: Toshiba SD-3950 DVD player with Vinnie Rossi mods Apple iPod Classic, 160 gbAmplification: Yamaha MX-D1 Stereo Power AmplifierPre-Amplification: McIntosh C712Cables: Mapleshade Speaker Wire, Blue Jeans Cable, AudioQuest, ProSolutions and AR interconnects

LPs reviewed were sealed, and prior to playing were cleaned with LAST Power Cleaner.

© Peter D’Amario, 2009 Music Omnivore





New Music in the CD DrawerBy Mark [email protected]

It’s been a while since I’ve written some music reviews, during that time I’ve added some interesting cd’s to my collec-tion. All were purchased after getting recommendations, then listening to song clips on the artist’s website. I’m just too cheap to plunk down ten to fifteen dollars on a whim. Secondly, I’ve been trying to expand my musical tastes, Af-fordable$$Audio’s senior writer/associate editor John Hoffman needles me from time to time to pry open my wallet and buy some music. Therefore, here are two recent additions to my col-lection, they aren’t absolutely new by date, but they’re fresh to me and that’s all that matters to my ears.

John Mellencamp: Life Death Love and Freedom Hear Music 2008

Like many 40ish audio fans I first got to know Mellencamp’s work via his first hit “Jack and Diane”. Followed by a live performance during all day summer arena rock concerts. I remember one such event at Folsom Field in Boulder, Colorado where he was actually booed by some because it was his third or fourth visit to the area that year. At the time, I thought he was ok, but nothing special. Then came the release and tour of Scarecrow in 1985. The tour receiving outstand-ing reviews and a few comparisons to Bruce Springsteen. 1987 re-lease of The Lonesome Jubilee only cemented his recognition as a terrific artist.

Some 20 years later, Mellencamp has reached back to his basic mu-sical roots and concern for the plight of midwestern workers with Life Death Love and Freedom. Under the watchful eye of producer T. Bone Burnett, Mellencamp has created a powerful album of modest instrumentation. Gone are the multitudes of instruments, in it’s place is the clarity of just a handful of musicians. Each one given a place to practice their skills. The near sparseness and outstanding work of the studio engineers gives the entire cd a sonic quality similar to a performance on a backyard deck. This cd is the first to be recorded using CODE, a new technology that according to T Bone Burnett and his collaborators allows for the cd or dvd to sound virtually in-distinguishable from the master tapes. After listening I have to agree, the cd sounds terrific, no obnoxious usage of dynamic compression to take away the subtlies of the performances.

Life Death Love and Freedom is a cd full of soul searching lyrics, from the searingly simple opening track “Longest Days” perfomed with just three instruments. This simple performance makes the lyrics all the more absorbing, “So you pretend not to notice / That everything has changed / The way you look / And the friends you once had / So you keep acting the same”.

The most haunting track “John Cockers” tells the story of a man who no longer cares about anything. He has no friends, and he doesn’t care or want to know where his family is at. The anti-social character and emptiness reaches it’s heights in the stanza, “I look out of my window / Into the darkness of night / My head gets to spinning / So I shut out the light”. Only Springsteen sees the struggles of the the downtrodden with the same level of empathy.

After a few listens I came to look upon Life Death Love and Freedom in the same catagory as Bruce Springsteen’s Ne-braska. It’s a beautiful and painful look at the downtrodden in society. It’s not for casual listening, this disc demands your conscious attention. If you give it your focus, the reward is sonically and soulfully satisfying.

(Photo: Mellencamp & Burnett from Picasa website)





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Colbie Caillat: CocoUniversal Republic 2007

In the past few years music has seen a new wave of young art-ists coming on the scene. For my money the best have been female singer-songwriters. My personal favorite of the very lat-est grouping is Colbie Caillat. This fresh-face Californian co-writes all her own songs with a youthful exuberance that makes listening fun. her top forty hit, “Bubbly” became a great weapon in my classroom to focus attention. The students enjoyed sing-ing the lively lyrics and tapping their toes to the positive beat.

Lyrically, Colbie’s lyrics show off better when read, in the song they don’t have the adhesive quality, whether it’s due to the ar-rangement, or her vocals, which are almost too smooth at times can be debated. “One Fine Wire” proves that her lyrics from “Bubby” wasn’t a one-hit wonder. “And I'm juggling all the thoughts in my head / I'm juggling and my fears on fire / but I'm listening as it evolves in my head / I'm balancing on one fine

wire”. Dis-covering the balance on life’s high wire is not something those under 25 years have a solid understanding of. For Caillat to put it into words shows some serious depth between her co-writers/musicians Mikal Blue and Jason Reeves.

The sound quality is only average. Way to many times dy-namic compression of rather obnoxious levels flattens out the sound. Nuances of her voice and instruments are hidden in-stead of allowing to shine. Unfortunately, this abusive use of dynamic compression is almost automatic among new artist. they seemingly are convinced that by making every instrument louder that they’ll receive more playtime on the radio. I believe from the liner notes that everyone in her band, and her father had a hand in the recording process, though the final mix was done by an outsider. Maybe someday the original master will be redone and all the subtleties will emerge

For a first album, it’s an impressive performance. I won’t say it’s on the same level as Nora Jones debut several years back. But on it’s own it stands up quite well. All the tracks show genuine talent and a solid understanding of what makes good songs. Like most first discs, tempo variation isn’t wide. One student pointed out and several agreed that all her songs sound a little alike. I have to agree to a point, as most sing-songwriters initial offering seem to stay in a safe zone of tempo and sound. This will be Caillat’s big challenge in creating a second album, how to expand her repertoire all the while keep-ing her signature sound in place. Nevertheless, a fine first disc from a true talent. (Photo from ShowClix)



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http://www.showclix.com/event_pictures/Colbie-Caillat.jpg



Acoustic Revive: RIQ-5010 Pure Smoky Quartz Insulators, RIQ-5010W Pure Quartz InsulatorsQR-8 Quartz ResonatorsBy Anthony [email protected]

Manufacturer: SEKIGUCHI MACHINE SALES CO., LTDhttp://www.acoustic-revive.com/english/index.htmlUS Distributor: The Lotus Grouphttp://www.lotusgroupusa.com/

RIQ-5010 Pure Smoky Quartz InsulatorSpecifications:Diameter: 50mm Thickness: 10mmLoad Resistance: 200kg (1 pieces)Please take care that the RIQ-5010 is weak in an acute-angled loadFour pieces to a packagePrice: $625

RIQ-5010W Pure Quartz Insulator Specifications:Diameter: 30mm Thickness: 10mmLoad Resistance: 200kg (1 pieces)Four pieces to a packagePrice: $625

QR-8 Quartz ResonatorSpecifications:Diameter:10mm X 3mmWeight: 0.6gEight pieces to a packageEight replacement adhesive sheet attachedPrice: $125

Once more I am looking at some fine products from the Japanese manufacturer Acoustic Revive. Today we are going to examine a few somewhat more pricier audio accessories with the quartz RIQ-5010 and RIQ-5010W insulators, as each set of four retails for $625. To balance this out I will also examine the QR-8 quartz resonators, that come eight a package for only $125 a box. Sometimes with audio equipment it pays to wait when judging price until you weight it against actual performance per dollar. While $625 is not inexpensive if it makes a worthwhile improvement in audio quality then it is worth purchasing. Each Acoustic Revive product that I have reviewed, so far, seems to compliment the others in their approach to bringing a truly organic, relaxed sound to my audio system. When I was asked to have a chance to experience these products in my review system I naturally agreed and awaited their arrival with great an-ticipation. I must say that at $625 for a set of only four insulators I had my reservations, but still I reminded myself to keep an open mind because after all these were Acoustic Revive audio accessories.

First up is a set of four Pure Smoky Quartz Insulators (RIQ-5010), and another set of four Pure Quartz Insulators (RIQ-5010W). The belief of those at the Acoustic Revive research team is that these two quartz products do not gen-erate any tone of their own yet they are great insulators that improve upon the sound of ones audio system. Be fore-warned though that these ores are said to be scarce. The company warns that whenever possible they will product the RIQ-5010 and RIQ-5010W, but when they can not get the ore, production will cease. There is also a note about the fact that you might find impurities or crystal structures inside the pure quartz. Acoustic Revive asks that you please accept this fact as you are dealing with natural minerals. Each one of these is polished by hand by individual workers, not a machine, which goes to show you how much care and attention Acoustic Revive takes in their products before they arrive at your doorstep. My review samples showed imperfections but did not apparently affect the sound in any negative way. The question now arises as where to use these insulators. Looking for help in their website there are three diagrams suggesting that they be used either under the audio components feet, on top of the equipment in vari-





http://www.acoustic-revive.com/english/index.html


http://www.lotusgroupusa.com/


ous different places or even just under a component near the input/output cable. I found that the Pure Smoky Quartz insulators effected the sound differently than the Pure Quartz insulators, and therefore experimentation was essential.

I started by using the clear quartz insulators (RIQ-5010W) under my preamplifier and the smoky quartz insulators (RIQ-5010) under a Blue Circle SB90T hybrid amplifier that I had on hand. Here I felt a strong bass presence that seemed too overpowering. Next I switched the insulators and used the smoky ones under the preamplifier and the clear quartz under the amplifier, but now I felt there was not enough impact for me. Alright I will admit it, I am quite

fussy. Then I spread out the Pure Quartz Insulators on top of the amplifier and the four Pure Smoky Quartz under its feet. This combination worked very well and I even flipped the insulators around top and bottom to see any effect and after trying numerous combinations of this I felt I did achieve a benefit I enjoyed even more so. With a different ampli-fier or preamplifier of course your results may prove different. I was quite shocked though to find that these insulators had such an impact on my system, I really did not expect that. Listening to Luther Vandross (The Ultimate Luther Van-dross), “Take You Out” was impressive. Drums were strong, the cymbals light and airy, while Luther Vandross voice was clear and detailed.

I next turned towards the QR-8 Quartz Resonators that at $125 for eight now felt like a bargain in comparison to the above reviewed quart insulators. At first I though this would be an easy part of the review thinking that I would place a few in strategic places on my preamplifier or amplifier and that would be it. However after reading the website that explains where these quartz resonators can be affective, I was amazed. I do not want to go into every possible combi-nation of places that is suggested where you might try placement of the QR-8's however I suggest you visit their web-site and see for yourself. Again please read the warning about where to place these devices and the caution to do so at your own risk. To give you an example the site explains you might want to try them on loudspeakers, power supply boxes, the power switch on various equipment, the inlet connector of a power supply cable, on the outside of the tray lid of a CD, DVD or SACD player, all kinds of plugs, on the top of the head shell of your turntables tonearm, the ceiling, doors and walls of your listening room and more. To fully test all these places I would need countless hours of listening



and many many resonators. I chose the short path and limited my review to just some of the areas that were sug-gested I try placing them. When you buy yours you may of course experiment to your hearts delight. For this review I placed one QR-8 on my Cd tray lid, five on top of my amplifier, with others on top of and on the back panel behind my preamplifier. The rest were used on various places on my two Legacy Focus 20/20 speakers as well as the glass that covers some of my serigraph art collection that directly faces the speakers. Each individual resonator of course changed the sound very little but when placed all together gave the music a more natural sound. Individual instru-ments took on a more organic texture to them, a feeling of being closer to sounding like live music. It felt as if a thin veil had been lifted and now you could hear the music being performed with greater clarity and with more detail. The resonance of Yo-Yo Ma's cello took on a greater depth and his performance an added dimension. When I first looked at the QR-8's I wondered if I would I be able to perceive any change for this review. These smaller than a dime reso-nators surprised me with the scope of changes they brought to my sound system and at $125 for a set of eight made me happy I had tried them. If I had more on hand for this review I would have indeed experimented even more to perhaps notice other changes as they seemed to have a greater effect as I added more to my system. I was sent four packages of eight resonators to a package to total thirty two resonators with which to play. For most of us four pack-ages or even two would be ample but it will depend on your room and equipment. I felt like it was Easter and I was hiding Easter eggs for the children in out of the way places like behind equipment or in the corners of the glass cover-ing of paintings hanging on the walls. Be careful though, when you start buying these you may find yourself with a room full of resonators and a large smile on your face as you rediscover your favorite music once again in a more en-joyable light.

In conclusion I must say that Acoustic Revive has again come through with audio accessories that enhance the musi-cal experience and brought great joy to my heart. The nice thing about these accessories is that you can buy a few now and enjoy the changes with your system, adding more as the mood strikes and finances allow. There is no need to go out and buy all the accessories in large quantities all at once, although after hearing the end results of listening to them all together I would never tell you not to. Take your time, experiment with each individual product, finding out which ones you prefer and discover how you would like to use them. This is not your simple buy an amplifier set it down within your system approach but rather they work with you audio equipment and environment in many unique ways so experimentation is essential. Have fun with these, discover new ways to get excellent results from them as the pos-sibilities are vast. Let your imagination enjoy the experience as you sit back to listen and let the possibilities unfold in front of you. The RIQ-5010 Pure Smoky Quartz Insulators, RIQ-5010W Pure Quartz Insulators and QR-8 Quartz Resonators are an excellent way to fine tune your stereo in order to get the most out of your existing equipment. It certainly was a great joy to play around with these products in trying to find the optimum placement for use with my individual components and I just hope you enjoy the experience as much as I did.

The Listening Environment:The listening room is 18 foot 8 inches long by 13 feet wide. The room’s cathedral ceiling starts at 8 feet high then slopes upward to 13 feet at its peak in the middle. Flooring is a soft hardwood covering with an oriental rug placed dead center in between (but not under) the listener and the audio system. There are no doors that open or shut into other rooms also there are two large open-ings one facing the speakers and the other to its side and slightly in front of the right speaker. There are three Acoustic Revive RWL-III Panels, one in the center of the Legacy Speakers and two others one behind each speaker, as an acoustical treatment for my room. As for my audio equipment it is tucked nicely inside of a Cherry Synergy Twin S30 Salamander audio rack.

Review equipment:Monarchy Audio SM-70 Pro Amplifier Placette Passive preamplifier (3 input model)Samsung HD-841 universal player Oracle Delphi Mk I turntable with custom made interconnectsGrace 707 tonearm with Denon 301 II MC cartridgeWhest PhonoStage.20 + MsU.20 power supplyLegacy Focus 20/20 loudspeakersPS Audio UPC-200 Power Center, PS Audio Power Port ReceptacleAcoustic Revive RTP-2 Series Power Conditioner Blue Circle BC86 MKIII power line pillows (2)PS Audio Transcendence Silver interconnectsKimber Kable PBJ interconnectsAnti-Cable speaker wire 10 foot pair, Anti-Jumpers for Legacy speakersMonarchy Audio AC-1 Power Cord one 6 foot length Tek Line PC-8 Signature Power Cord one 6 foot lengthMr-Cable Musician Power Cord 9 foot length (2)Cherry Synergy Twin S30 Salamander audio rack



Acoustic Revive: REM-8 EMF Canceler & RCI-3 Cable InsulatorBy Anthony [email protected]

Manufacturer: SEKIGUCHI MACHINE SALES CO., LTDhttp://www.acoustic-revive.com/english/index.htmlUS Distributor: The Lotus Grouphttp://www.lotusgroupusa.com/

REM-8 EMF CancelerSpecifications:size: W80mm X D105mm X H14mmTwo size AAA batteries includedPrice: $550

RCI-3 Cable Insulator Specifications:size: W80mm X D64mm X H30mmAccepts cables size up to 40mm Wide X 30mm HighPrice $150 Each

If you are looking to squeeze the most out of your audio products, you need look no further than the audio accessories from Acoustic Revive. This is after all their specialty. No they do not make amplifiers, speakers, DAC's, Cd players, transports, tuners or even preamplifiers. What they do however, is find ways to get the most out of the above mentioned equipment without the need for you to pur-chase new gear. Do you have an amplifier that you are attached to and would rather keep than to replace with some-thing else, yet you feel the need to upgrade for a different sound? Fear not for Acoustic Revive has many a product available for you to do just that. Today I will tell you of my adventures with their REM-8 EMF Canceler and RCI-3 Ca-ble Insulator. I say adventure because I feel that experimenting with these products is just that, an adventure, a jour-ney of great joy that one would like to embark on.

Starting out with the REM-8 EMF Canceler I was pleased to see how easy it was to use. Put in the supplied battery, flip the switch to turn it on, and then experiment with placement. The idea is to neutralize electromagnetic waves that originate from our audio systems in places such as power supply trans-formers. It is also said to be effective with the output transformers from vac-uum tube amplifiers. Luckily for me I had a Blue Circle SB90T hybrid ampli-fier on loan from Gilbert Yeung. There are further claims that it will have positive effects on video performance due to the fact that its effects stabilize the video circuit. While we are not a video publication here at “Affordable Audio”, I do have a Sony Playstation which I use as a Blu-ray player and can test the effects of the REM-8 with it. To use it simply place the REM-8 under the components power or output transformer, without making contact with the audio equipment, and you are ready to go. On projectors or Plasma TVs Acoustic Revive suggests that you may put it near their power trans-formers or,if you choose, stick it on using Velcro or tape. Back to my audio system I experimented with different placements for the REM-8's and for me I found that one face down on top of my preamplifier with the other face up under my amplifier, worked best for my system.

From the Cd (The Ultimate Luther Vandross) with the song “Here and Now” the REM-8 helped to create a wide soundstage, certainly greater than when no REM-8's were present. Placing two under one piece of equipment did not yield the same result, as using one under the amplifier face up and one on top of my preamplifier face down, in my system. I preferred this particular effect but I suggest you experiment with what works for you and how you want to tailor the sound to your particular liking. I liked the wide soundstage, strong bass presence and vocal textures of Lu-ther Vandross and Beyonce in the song “The Closer I Get To You” from the same Cd (The Ultimate Luther Vandross).









The impact the two REM-8's had on the music was indeed wonderful and I would not hesitate to leave them right there for all my listening sessions.

Time now to try the REM-8 with the Sony Playstation and I will do so by testing it with two Blu-ray movies. One film is a cartoon called “Wall E” (Disney-Pixar) the other “The Dark Knight” (Warner Brothers). All the viewing was done on a Sharp Aquos LC-GP321U 32” LCD HDTV. With “Wall E” I noticed a sharper picture with richer colors. Reds and blue were more saturated and less washed out which gave the picture a definite positive effect in my book. On “The Dark Night” I would again notice more details in the images, even during dark scenes, I was able to pick up more details in the faces and clothing. There were no drastic changes in the picture but they were differences I would rather live with than without and I would think that on a larger TV it would be even more noticeable. The fact that if you buy the REM-8 for your audio system and you can just pick it up so easily to move to your home theater setup makes it even more of a bargain product since it serves two purposes for only one price.

Getting back now to the world of audio entertainment, the RCI-3 is another interesting audio accessory from Acoustic Revive. It is not made from a single material like most cable insulators. The thought behind the RCI-3 is not just to lift the cables off the floor but to also eliminate any resonance coming from the insulator itself. Doing this would thereby prevent any coloration from entering the sound system through the device seeking to isolate the cables. The RCI-3 is made of wood, both maple and ebony. The inside part of this isolator is a blend of three natural ores and where the cable rests on it is a sheet of fo.Q (pronounced pho-cue, like pho in photo and Q like the letter sounds) damping mate-rial. Their website claims that even when cables are short enough as to not touch the floor or when used with some other isolators the RCI-3 can further improve upon the sound. Their feeling is that the resonance control structure and electromagnetic wave absorbing characteristics of the RCI-3 are powerful enough to affect a change even under these circumstances. While not inexpensive at $150 per isolator they can be used more efficiently by placing one on the power cable where there is a lot of different equipment plugged in, into in order to affect change with more than one component while using only one RCI-3 insulator. The claim is that just one of these will effect a positive change in your system when properly placed and that two or three should do the trick with most systems. Acoustic Revive sent me ten to play with for this review and so I was able to place them in various places and experiment with their effects to a much larger degree than you might need in your particular system.

To start out with I placed one RCI-3 under the power ca-ble that was connected to the power supply box which had my amplifier plugged into it. I then proceeded to lis-ten to Billy Joel's (The Stranger) “Movin' Out” song on vinyl with my Oracle Delphi turntable. Here I noticed there was a little more “punch” to the song when played with the RCI-3 inserted. On the song “The Stranger” the whistling in the beginning of the song was slightly clearer but nothing dramatic yet. Next I placed another RCI-3 under the phono cable coming out from the turntable and one under each speaker cable. Now I had a total of four in my system and sat back to listen. No question for me, here I could hear a distinct change in the sound with a much better depth to the sound of the whistling in “The Stranger” as well as more details with the cymbals in the background. I had to see if this was restricted to just use with my phono system so I then moved the RCI-3 from under the phono cable to under the audio cables coming out of the Cd player. I left the other three RCI-3's in place under the speaker wire and power cable from the power supply box going to the wall outlet. This time I turned to Neil Young's (Neil Young Greatest Hits) “After The Gold Rush”, a song that was extremely popular in its time and one I still equally enjoy today. I could now hear each piano note with greater clarity and distinction as well as Neil Young's vocal talent as he sang solo. Also towards the end of the song Bill Peterson's flugelhorn solo was more pronounced and smoother sounding then it was before. Not to stop here, I decided to mix in the last of the RCI-3 review samples within my review system to bring the total to ten RCI-3's. Do you need ten RCI-3's in your audio system? Well no, but then again yes. The more I used the better the distinction between when I had them in and when I did not. A few years ago when my children were teenagers the term, “sweet” was in vogue used to describe something in an extremely positive manor and can be appropriately applied here. Everything that I said about using four RCI-3's were even more pronounced when using ten. I could definitely live with ten in my audio system and at $150 apiece it brought the total to $1500. Four of course would only be a $600 investment and brought me close enough to the sound of what I had



heard with ten pieces for most of us. The law of diminishing returns seemed to be at work here, but if you have the money and desire to effect these changes made with ten RCI-3's was, “sweet” as my kids used to say.

Summing this all up I must say these are two quality products. First there is the REM-8 EMF Canceler which displays its versatility in its ability to move between your audio and video equipment with relative ease. Secondly there is the RCI-3 which can be used not just on speaker cables, but interconnects as well. I used both products together in my system and naturally found them to work well together. A little change here, another there and all of a sudden we have a greater sense of a more realistic presentation than we had before. Ask-ing me which one is more effective is a diffi-cult question to answer as I found both to be

useful just with different equipment is all. I did like the RCI-3 though in that it was useful in taking cables off the floor for a neater look as well as causing an effect on the sound. The REM-8 however with its ability to effect change to both audio and video performance was equally impressive. Each product is unique in its own way and one your audiophile friends will have fun playing with and talking about for hours. As for me I am done talking as all I want to do is get back to my review system to enjoy some music with both the RCI'3's and REM-8's.

The Listening Environment:The listening room is 18 foot 8 inches long by 13 feet wide. The room’s cathedral ceiling starts at 8 feet high then slopes upward to 13 feet at its peak in the middle. Flooring is a soft hardwood covering with an oriental rug placed dead center in between (but not under) the listener and the audio system. There are no doors that open or shut into other rooms also there are two large open-ings one facing the speakers and the other to its side and slightly in front of the right speaker. There are three Acoustic Revive RWL-III Panels, one in the center of the Legacy Speakers and two others one behind each speaker, as an acoustical treatment for my room. As for my audio equipment it is tucked nicely inside of a Cherry Synergy Twin S30 Salamander audio rack.

Review equipment:Monarchy Audio SM-70 Pro Amplifier Placette Passive preamplifier (3 input model)Samsung HD-841 universal player Oracle Delphi Mk I turntable with custom made interconnectsGrace 707 tonearm with Denon 301 II MC cartridgeWhest PhonoStage.20 + MsU.20 power supplyLegacy Focus 20/20 loudspeakersPS Audio UPC-200 Power CenterPS Audio Power Port ReceptacleAcoustic Revive RTP-2 Series Power Conditioner Blue Circle BC86 MKIII power line pillows (2)PS Audio Transcendence Silver interconnectsKimber Kable PBJ interconnectsAnti-Cable speaker wire 10 foot pairAnti-Jumpers for Legacy speakersMonarchy Audio AC-1 Power Cord one 6 foot length Tek Line PC-8 Signature Power Cord one 6 foot lengthMr-Cable Musician Power Cord 9 foot length (2)Cherry Synergy Twin S30 Salamander audio rack





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Staff Biographies:Mark Marcantonio- Editor, Owner, PublisherIs a school teacher in the Portland, Oregon metro area. Audio has been a fascination/budget drain since his early teenage years.

John Hoffman, Assoc. Editor. Resides in the sunny Tri Cities of Washington state. Enjoys spending his time with his lovely wife, Michelle, three kids, two dogs, and one cat. Anybody need an extra cat?

Todd Arthur, is a Project Manager by day and Audiophile by night, who resides in the Seattle Washington area with his wife Roberta and their two sons. He enjoys playing guitar, bicycling and listening to music of all types; especially Jazz and Blues guitar.

Stew Nelless, Currently reside in southern Alberta (Canada) about 150 miles south east of Calgary. I'm in my early 40's , 2 grown kids, been with the same girl for 25 years. One thing I have impressed upon my kids is that music is im-portant in life and we often mark our lives by the music we hear along the way.

Patrick Dillon lives in Austin TX with his wife and son. He works in academia, plays guitars, and considers music a central part of a well-lived existence.

Clarke Robinson is a 37 year old Web Designer from the San Francisco Bay Area. He wastes countless hours of his life listening to jazz on headphones, at times long after his wife and two daughters have gone to bed.

Review Calendar Index:

Issue 1, January 2006Adcom GFA 535 AmplifierLinn Keilidhs SpeakersOutlaw RR2150 ReceiverPolk Audio LSi9 Speakers







Totem Dreamcatcher Speakers

Issue 2, February 2006Advent Baby II SpeakersAudiolab 8000A Integrated AmplifierElectriPrint 300DRD AmplifierEnergy Connoisseur C-9 SpeakersInfinity Kappa 200 SpeakersNakamichi SR4A ReceiverParadigm Titan V Speakers

Issue 3, March 2006

GR Research AV-1 Speakers HSU STF-2 Subwoofer Marantz CD-5000 Sansui TU-7900

Issue 4, April 2006Alegria Audio Rosa SpeakersQSC PLX-2402 AmplifierTotem Acoustic MITES Speakers

Issue 5, May 2006AV123 Onix x-ls Speakers & x-subwooferBozak B-302A SpeakersiPod iPhoto 60 Gig (music server)Zebra ZC-SP12SD Speaker cablesIssue 6, June 2006 Aperion Intimus 533 PT Speakers Sony TA-F444ES Audio Magic Interconnect Cables Adcom GTP 450 Preamplifier/TunerIssue 7, July 2006 Audioengine5 Powered iPod/mp3 Speakers Athena AS-B1 Speakers Insignia 6-1/2" Bass-Reflex Bookshelf Speakers Ramsey SHA1 DIY Headphone Amp

Issue 9, September 2006Behringer DEQ 2496NeoSpeak NeoTetra SpeakersTrue RTA Sound Analyzing Software

Issue 10, October 2006Tyler Acoustics Taylo Ref. Monitors Transcendent Grounded Grid Preamp Headroom Total Bithead Totem Beaks Aperion Audio S8-APR Subwoofer

Issue 11, November 2006Tube Research Labs Modified CD PlayerOnix SP3 MkII Integrated Tube AmplifierBADA HD-22 CD PlayerAlegria Audio Arias SpeakersEra Design 4 Mini-Monitors



Issue 12, December 2006 Atelier Audio First Horn Jolida SJ502A Integrated Tube Amp Polk Audio LSi7 Monitors 41Hz Amp 6 BasicIssue 13, January 2007 RudiStor NX-01 & Ultrasone Proline 2500 Sistema VMPS Tower II SE Technics RS-1506 Aperion Audio Intimus 632 LR Monarchy M24 Tube DAC

Issue 14, February 2007 Audio Nirvana Super DIY Speaker Music Hall a25.2 Integrated Amplifier Music Hall cd25.2 CD Player Era Design 5 Mini-Monitors Lite Audio DAC 62 Hsu HB-1 Mini-Monitors Real Traps Acoustic Panels Sapphire XL vs. Rothschilde A2 Monitors Hemp Acoustic FR8.0 DIYHQ Driver

Issue 15, March 2007 Monarchy AC Regenerator Era Sub 8 Powered Subwoofer Promitheus Transformer Volume Control Bellari VP129 Vacuum Tube Phono Stage Onix CD-5 Compact Disc Player PS Audio Noise Harvester Audio Art Interconnects IC-1 & IC-3

Issue 16, April 2007 Ascend Acoustics CMT-340 SE ASL MG 15 SI DT Tube Amp Interview David Fabrikant NAD 3020 Integrated Amp Oppo DV970-HD Signal Cable MagicCable Sonic Impact 5066 T-Amp Totem Acoustic Rainmaker monitors Underwood XCD-5 (modded Onix CD-5)

Issue 17, May 2007 Audio Magic Mini-Reference Power Conditioner LiTe DAC Ah Pioneer SX-780 RAW Acoustic HT2 Monitors Tyler Acoustic Linbrook Super Mini Monitors

Issue 18, June 2007 ACI Force Subwoofer AV123 x-cs Center Channel Benchmark DAC1 USB Ferguson Hill Mini System Speakers Fostex FE206/208 Sigma Cabinet Jolida JD1501A Integrated Hybrid Amp



Planet_10 HiFi Fonken Speaker Vista Audio i84 Integrated Amplifier

Issue 19, July 2007 AudioArt Interconnect Matching System Basic Guide to PC Audio Bonnaroo Music Festival Harman/Kardon PM665VXi Integrated Amp MapleTree Audio 2SE Preamplifier Zebra Cable Speaker Wire ZC-SP14DBI

Issue 20, August 2007Monarchy NM 24 DAC/LinestagePro-Ject 1.2 TurntableRole Audio Sampan FTLTotem Acoustic Storm Sub-Woofer

Issue 21, September 2007Ascend Acoustics Sierra 1AudioArt Power 1 CordsKEF iQ7 SpeakersSlim Devices SqueezeboxVandersteen 2CI

Issue 22, October 2007Eminent Technolgy LFT-16 Planar MonitorsMark & Daniel Topaz MonitorsPS Audio Quintet Surge SuppressorSetton RS-440 Vintage ReceiverTrends TA 10.1 Amplifier

Issue 23, November 2007A F F O R D A B L E $ $ A U D I Arena X-3 SET Integrated Tube AmplifierEmotiva RPA-1 AmplifierEtymotic ETY Ear PlugsNAD C555 TurntableOdyssey Audio Epiphany II MonitorsShanling PCD-3000A CD PlayerShugaung S-8 Tube Amplifier

Issue 24, December 2007Aperion Audio 422 Harmony 5.1 systemBudget Power Cord ComparisonOnix Rocket RS 450 mini-towersUsher S520 Monitors

Issue 25, January 2008Audiosmile Modified Behringer SRC2496Grant Fidelity CD 327A, PIII, & P307H20 Signature 100Monarchy SE 250Selah MF7Swan HiVi 2.1SEUnderwood Modified PS Audio Trio C-100Virtual Dynamics CablesZingo Cables



Issue 26, February 2008Aperion Audio Intimus 533-T mini-towersBlue Circle DAR integrated ampDignity Audio DA08SE SET tube ampMark & Daniel Maximus Mini speakerstec-on Audio SE34i integrated tube ampTotem Acoustic Forest Tower Speakers

Issue 27, March 2008Audio Magic Illusion 4DCarver C-9 Sonic HologramEmotiva XPA-5Promitheus DACRecording Techniques: Dynamic Compression

Issue 28, April 2008Acculine A3 SpeakersAudio Nirvana Super 12 DriverGrant Fidelity A534B Integrated Tube AmpHarman Kardon 3470 ReceivernOrh ACA2b PreamplifierSkiing Ninja CrossoversThreshold 800A Amplifier

Issue 29, May 2008Audio Nirvana Super Eight Loudspeaker SystemBolder Squeezebox ModificationsDali Mentor 5 TowersHarman Kardon Citation II AmplifierKCI Cables/InterconnectsMonica III DIY DACMusiland MD10 DACPS Audio GCP-200Vandersteen 1C Speakers

Issue 30, June 2008Audioengine AW-1 Wireless USB AdaptorAudioMagic Pulse Gen ZXMcIntosh MC275Oehlbach XXL Phono PreamplifierPolk Audio RTiA3Spendor SP2/3EVMPS 626JR

Issue 31: July 2008Anti-Cable Wire & InterconnectsAura Note CD/Amp CompleterAV123 ELT 525 MonitorsEficion Ficion F200 MonitorsIdeal Innovations 80+ Tube AmpMonarchy M150 Power Supply

Issue 32: August 2008Emotiva XPA-2 AmplifierJuicy Music Tercel Phono PreampJVC XL-Z1050TN CD PlayerTotem Acoustic 5.1 HTSystem



Issue 33: September 2008Acoustic Revive RTP2 & 4 Power BoxesAnti-Cable Digital InterconnectsBESL Series 5 TMW SpeakersGINI LS3/5A Speakers w/B+ Bass StandsMcIntosh MA6300 Integrated AmpTecon Model 55 Integrated Tube USB AmpWyred4Sound MC4 Amplifier

Issue 34: October 2008Acoustic Revive RD3 & Rio 5Emerald Physics CS2 SpeakersGR-Research NEO-1X MonitorsManley Shrimp PreamplifierPlacette RVC Passive PreamplifierXindat MT-3 Int. AmpZVOX Single Speaker Surround Sound

Issue 35: November 2008Acoustic Revive Conditioner RWL IIIAudio Space Reference 3.1 Integrated AmplifierBlue Circle Power Line ProductsDIY Hell: Spirit of the OrionElemental Designs A6 6T6 MonitorsManley Labs Stingray Integrated AmplifierStager Silver Solids InterconnectsYamamoto Sound Craft Audio Bases

Issue 36: December 2008Bolder cable Ultimate IV Power SupplyDIY Hell: Spirit of the Orions Pt 2Grant Fidelity B-283 Tube Processor/BufferLaJoie SJ1 JumpersMarigo Audio TR & VX Mystery FeetPathos Acoustics Classic One MK2 Integrated AmpThree Fine Monitors: Era D5, Polk LSi9, Totem Rainmakers

Issue 37: January 2009Almarro A205A Integrated Tube AmpAperion Audio 4T mini-towers & Hybrid 5.1 SystemBest of 2008 ProductsClear Day Audio Cable productsDIY: TNT Speaker Stands modifiedStudies on Residential Power Line Noise Pt 3, PS Audio Power Receptacle

Issue 38: February 2009Acoustic Revive RIQ-5010 Pure Smoky Quartz Insulators, RIQ-5010W Pure Quartz InsulatorsAcoustic Revive QR-8 Quartz Resonators, REM-8 EMF Canceler, RCI-3 Cable InsulatorAudioengine AW-2 Wireless Transmitter/ReceiverHomegrown Audio Silver Lace & DNA InterconnectsParadigm Monitor 7 v6 Mini-towersSVSound SBS-1 Monitors



Affordable Audio 2009-02

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