The Sound Room

All Things Vinyl, April 5th, 2012, LP Gear Review: Living with the Lyra Delos.

by Oliver Amnuayphol

Remember the Lyra Delos I wrote about way back in the March 2010 edition of All Things Vinyl? Try as I might, I couldn't stop thinking about it: Just reading about all the new-tech hotness that went into the design of the Delos made me really, really want one. And once I saw the line drawing detailing the New Angle damping system? Forget about it--I was smitten. Hooked. Sprung. Completely whipped. I was so consumed by the thought of this golden-hued beauty I actually had a dream about it: The Delos was calling out to me, begging me to liberate it from the distributor's shelf upon which it sat. I mean, I couldn't just ignore it, could I? Allow it to remain confined by some packaging for any longer? That would just be cruel, and I am not a cruel man. I decided the decent--nay, the humane--thing to do would be to allow this cartridge to fulfill the promise of its birthright by letting it trace the groovy contours of as many licorice pizzas as possible. Determined to set free the Delos of my dreams, I ordered one for myself in January of last year and received it in no time at all. I eagerly went about mounting and aligning it on the gorgeous Ortofon AS-212s tonearm that's part of my fully-restored Thorens TD-124 turntable, carefully ensuring I properly dialed-in every set up parameter.

After letting the Delos run-in for a few hours, I cued up Classic Records' reissue of Reiner and the CSO's recording of Scheherazade and sat down for a listen. Almost immediately, the Delos put my ears at ease with its well-balanced and clear yet colorful sound. Tonal colors were spot on, and the Delos' fundamental neutrality always served the music in an honest yet natural fashion. Listening to the second movement from Scheherazade, "The Story of the Kalender Prince," every instrument possessed a richness of timbre, and I could easily distinguish the individual musical threads that were interwoven within the orchestral tapestry. Imaging was also first rate: The soundstage was wall-to-wall huge, with a fine sense of depth and scale to it. Each solo musician's acoustic space and placement was also easily distinguishable, and the sense of being in front of the CSO was uncanny.

I proceeded to spin all different kinds of records, including "Minnesota, WI" from Bon Iver's latest eponymous release. All it took was hearing the first few opening bars to confirm the Delos was neutral enough to do justice to both classical and modern music and everything in between. Listening longer, I could easily hear into what specifically the Lyra cartridge was doing right: Bass was taut, nimble, and weighty; guitars sounded appropriately "crunchy" and distortion-laden; horns had an accurate presence and brightness; and cymbals possessed a fine, bell-toned shimmer and decay. Indeed, the Delos displayed no obvious sonic deficiencies of its own, ticking all of the audiophile checklist boxes: "you are there" realism and imaging; outstanding macro and micro dynamic range; and an overall detailed, highly-textured, yet naturally-presented sonic picture. And perhaps it's that last bit that's really telling of just how far Lyra has come: Never once did the Delos sound artificially "hi-fi" or austere in any way, having an organic wholeness to its sound that's absent from its progenitors. So if you're familiar with Lyra's house sound of yore and weren't exactly sweet on it, it might be time for a fresh listen: This latest Lyra retains all of the detail, precision, and incisiveness of its forbears while never sounding the least bit cold nor analytical--an impressive feat for sure.

 Of course, all the sonic wizardry in the world would be for naught if the Lyra Delos didn't make music as well as it made sound; thank goodness then, it does. Listen to something where the melodic line is the central focus, like Johanna Martzy and Jean Antonietti's recording of Franck's Violin Sonata in A major (Coup d'Archet 001), to hear how effortlessly Martzy imbues every note with a pitch-perfect yet non-clinical precision; or how she moves between playing with grand power or delicate subtlety where called for; or how she deftly combines technical prowess with emotive sincerity to create a sound that is uniquely her own. All of these musically significant cues came through cleanly and clearly and made for the most enjoyable session I've yet had with this record. I've played many, many other records since this Martzy LP, and no matter what, the outcome is always the same: The Delos consistently brings out all of the color, drama and emotion from every one of 'em,  underpinning its delivery with a tunefulness, rhythmic stability and momentum few cartridges can match. The net result? A cartridge that's eminently listenable, one that simply gets out of the music's way to uncover more of the musical goodness hidden within the record's grooved walls. 

So how did this Lyra compare to the discontinued Ortofon Jubilee I cherished for so long? Very, very well. In fact, in my system, I preferred the Delos in every way: It just seemed to let more sonic and musical splendors through, as if there was less haze between me and the music. "Veils were lifted," as audiophiles used to say back in the day, and every record I played sounded as if it "snapped" into a tighter auditory focus courtesy the Delos. I suppose given the age of the Jubilee it could simply have been past its prime (even with the retip I wrote about previously), but there really was no comparison: The Lyra Delos was the most musically convincing cartridge I'd yet heard in my own system--no small feat considering the Delos costs noticeably less than the Jubilee ($1649 vs. $2199), and that the latter still handily bests many pricier cartridges.

So if it wasn't obvious by now, I couldn't be happier with my Lyra Delos: It's unquestionably the best-balanced, most sonically coherent, musically communicative sub-$2k cartridge I've yet heard. Its neutral yet expressive character results in a highly engaging, insightful sound that moves far beyond the audiophile sonic checklist, allowing one to better connect with the music contained on his or her records. Rarely do modern phono cartridges convey the essence of music like the Delos does, let alone without any obvious sonic shortcomings. It's that good. It's so good in fact, I can't imagine there being a better cartridge anywhere near its price. So a huge "Thumbs up!" recommendation for music lovers of any stripe.

 

The Top Ten Classical and Jazz Albums of 2011

 

by Oliver Amnuayphol

What a fine year in music for classical and jazz: We were lucky enough to have a veritable plethora of oustanding releases from both the new school and old guard of both genres--so many of them that I had a very tough time narrowing the list down to just 10 combined. Had I more time, I could've easily created a list each for both classical and jazz. Nevertheless, here are the ones that stood out the most:

 

10) Lang Lang, Liszt: My Piano Hero (Sony Masterworks): Add equal parts composing genius and virtuoso playing and you get Lang Lang's latest showstopper. Lang Lang has always been a polarising pianist, but here his originality and expressiveness do justice to the original "rock star" virtuoso who was Franz Liszt. Best of all, it's available on vinyl and sounds absolutely wonderful as such.

 

 

 

 

9) Harry Christopher's The Sixteen, Palestrina, Vol. 1(Coro): Praise be to the angels we have heard on high: The Sixteen have finally released a full Palestrina album, and it was definitely worth the wait. Here the Sixteen gloriously honor Palestrina's polyphonic masterpieces, imbuing every piece with perfectly blended melodies, beautiful sonorities, and soaring harmonies. Not to be missed if you're a Palestrina fan, or of Renaissance liturgical music in general.

 

 

 

8) Jordi Savall/Monserrat Figueras, Monteverdi- Arie e Lamenti (Alia Vox): How fitting that the two guiding lights of pre-classical music have also created the best early music album of the year. Here Figueras' voice, though mildly weathered with time, is still beauty incarnate, and Savall's instrumental prowess is always mesmerizing. Indeed, great music like this can only be born from a love for the music being made, and Savall's and Figueras' love of early music was only eclipsed by their love for each other. Sadly, Ms. Figueras recently passed away from a year long illness, leaving the world a much poorer place.

 

 

7) Gretchen Parlato, The Lost and Found (Obliqsound): No doubt, Parlato is one of the most inventive vocalists around, expressive like no other. Her soft-spoken style just begs you to listen a little closer, and she infuses every track here with a thoroughly modern and unique vibe. Her accompanying musician's are just as freely creative yet remain firmly rooted in jazz fundamentals and improvisation. Definitely the best vocal jazz album of the year.

 

 

 

 

6) Hans Kennel & Bruno Spoerri, Dusty Vibes (Sonorama): Since Kennel and Spoerri spent their careers plying their trade in Europe, most hardcore jazz fans have never even heard of these two. And what a crying shame that is: The tunes here, aired on Swiss radio over 40 years ago, swing as hard as anything heard stateside at the time. A great snapshot of what good jazz in Europe was like in the '60's. And bonus: Also available in glorious vinyl.

 

 

 

 

5) Alexandre Tharaud, Scarlatti (Virgin Classics): I must admit I never heard of Tharaud before I found this album, and boy am I glad I found this one. There's a keen sensitivity to the way Tharaud interprets Scarlatti, particularly his minor sonatas; listen to how Tharaud creates cascades of pellucid, symmetrical melodies with a touch of warmth--like softly melting icicles on a brisk, sun-kissed winter morning. A stellar album.

 

 

 

 

4) Hilary Hahn/Valentina Lisitsa, Charles Ives - Four Sonatas (Deutche Grammophon): Adding this album might be a bit like cheating, since nearly every Hahn album belongs on a given year's "best of" list. Still, there's a conversational interplay between Hahn and Lisitsa that really lets the dissonant magic in these Ives sonatas shine through, and the pair do a fine job of capturing the lighter, more lyrical sides of these compositions. Indeed, dissonance never sounded so harmonious.

 

 

 

 

3) Brian Carpenter's Ghost Train Orchestra, Hothouse Stomp - Music of 1920's Chicago and Harlem (Accurate Records): One listen to Hothouse Stomp and you'll be longing for Prohibition-era hooch and speakeasies. Carpenter and his orchestra have nailed the feel of the roaring 20s, and every musician here is ferociously wailing his (or her) heart out as if it were for the last time. If your musical tastes lean towards the dance-friendly jazzy, or blues-drenched and blearly (or really, anything in between), this album is a must.

 

 

 

 

2) Jason Adasiewicz's Sun Rooms, Spacer (Delmark): Not since the great Bobby Hutcherson has there been a vibraphonist as uniquely talented as Jason Adasiewicz. There's a bit of the avant-garde vibe to his, um, vibes as well, with an intensity few jazz musician's of any instrument can match. Thankfully, there's plenty of that intensity to go around on Spacer, rhythmically underpinning every piece with a propulsive, forward momentum for Adasiewicz' glistening, angular solos. Without a doubt, the year's best jazz recording.

 

 

 

 

1) Helene Grimaud, Resonances (Deutche Grammophon): If I had to pick only one contemporary classical pianist to listen to for the rest of my days, it would be Grimaud, hands down. One listen to this album and you'll quickly understand why: Like every other Grimaud recording I own, each piece here sounds utterly and fantastically dramatic without the slightest hint of virtuoso showmanship. How is this even possible? I can only guess it's because of her innate confidence to play the music with her emotions first, and to take creative chances few others would dare. And holy cripes does she ever deliver. Grimaud's renditions of Bartok's Roumanian Folk Dances in particular are astounding. If you took away all the other "best of's" I picked this year and left me only this one, I would still be perfectly content. Most definitely, indubitably, positively, the best recording of the year.

All Things Vinyl, July 28, 2011: New Avid Pulsus Phono Stage.

by Oliver Amnuayphol

Ahh, the joys of vinyl. Surely you're reading this blog because you know that good vinyl replay is sonically superior and much more musically rewarding than digital bits in any form--which is why you have the killer turntable, tonearm, and cartridge in your hi-fi rack, no? So if you're addicted to analog, don't forget about the all-imporant last link in the LP playback chain, the phono stage: Using a sub-par phono preamp is guaranteed to reverse a good chunk of the performance you've gained from upgrading your vinyl-spinning rig. And yes, I know I've soapboxed about it countless times before, but seriously, do your records a solid and stay away from cheaply made phono preamps--using one would be like putting bicycle wheels on a Ferrari: You'll simply never get the performance you paid for.

I'm not saying you have to spend obscene amounts of money on a phono stage; the NAD PP3i at under $200, for example, is a stunner: it sounds absolutely awesome for the price, and it even has a USB out if you need to make digital copies of your records. But if you've got the scrilla, something like that stunning Avid Pulsare phono preamp I wrote about in a previous ATV will do as much to peg your analog bliss meter as a similarly priced 'table/arm/cartridge combo, if not more. Of course, at five grand the Pulsare is um, quite ambitious, so if you're looking a little lower down the price range, say hello to its little brother, the Pulsus ($1599). Using trickle-down technology and insight gleaned from the Pulsare, the Pulsus utilizes a similar two-chassis design that separates the phono amplification circuits from the regulated power supply. Gain, capacitance, and resistance are all adjustable via DIP switches located on the underside of the phono pre, and the Pulsus even uses premium caps and Neumann HF correction for its passive RIAA equalization. What's more, the Pulsus can provide up to 70db of gain for low output MCs while maintaining an excellent <-67dB noise floor. Yowzers. And sure, two G's ain't exactly pocket change for a phono stage; but if you luvs the vinyls and spin 'em on a high end rig, the Pulsus should be a great match and quite possibly one of the best sub $2k phono stages yet. Available now.

All Things Vinyl, June 8, 2011: Robert Johnson, The Complete Original Masters.

by Oliver Amnuayphol

If you've been reading this blog for a while, you already know that vinyl has firmly established itself as the software format of choice for those who really love music. Why? Because 1) It sounds better than digital; 2) it looks cooler than anything digital; 3) it almost forces you to listen to a whole album, unlike digital; and 4) it lets you to savor the cover art from your favorite albums in all its original graphic glory--unlike digital. So: Even if, after all of the well-thought-out and supremely analytical reasons I listed, you claim to be a music lover but still ain't spinning them vinyls, lemme mention just one more reason, perhaps THE HUGEST, MOST GINORMOUS reason this year, why you should be marinatin' to your music from vinyl LPs: Because Robert Johnson, The Complete Original Masters, is now available, exclusively from Acoustic Sounds.

Released to coincide with the legendary blues king's 100th birthday, Original Masters is, according to Acoustic Sounds, "Recreated in the historical look and feel of the 12 10" 78-RPM discs that originally carried Robert Johnson's music into the world in 1936 and 1937 (only playing at 45 RPM)." What's more, this individually numbered collector's set (strictly limited to 1,000 copies) is "housed in an actual 78-RPM album book - each "page" being a sleeve holding a single disc - and each vinyl disc is outiftted with reproductions of the original record labels. Also included is a unique booklet with a new 1,500-word essay written by Ted Gioia, Texas-based pianist and music historian, and the author of Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionized American Music (2008); Work Songs (2006); and The History Of Jazz (1997), telling the story of Robert Johnson, complete historic track annotation and discographic data and photos."

As if that weren't enough, this box set also includes The Robert Johnson Centennial Collection (two CDs); Rarities From The Vaults (a two-CD set that includes Rare Victor Blues, recordings from the Sony/Victor vaults, as well as Also Playing, which is other performers who recorded on the same day); and The Life And Music Of Robert Johnson: Can't You Hear The Wind Howl (DVD). And yeah, $350 ain't exactly chump change; but for all that goes into this set, it's very fairly priced. Seriously, I'm saving my pennies to buy this one; check out the video below and see if you don't agree. Available now. 
 

All Things Vinyl, May 11, 2011: Parasound JC 3 Phono Preamp; Ortofon MC 20 Super Anniversary.

by Oliver Amnuayphol

If you luvs your LPs and your hi-fi, you probably already know that a high-quality phono preamp can make or break your vinyl-spinning rig: The phono stage circuits built into receivers simply don't have the physical space required for maximum sonic goodness, and their proximity to the high-noise amplification stages of a receiver (or even many integrated amps) can wreak havoc on the tiny voltages produced by your cartridge's stylus. I've written before about the bennies of a good phono stage (which you can find here), but there's good, and then there's totally, totally boss--like this boss new phono pre from Parasound, the JC3.

What makes the JC3 so special, you ask? Only that it's designed by audio legend John Curl, the same  person responsible for such famed products as the Levinson ML2 and JC1, and perhaps the most famous phono preamp of all time, the Vendetta Research. Curl's goal for the JC3 was to design a supremely quiet phono stage with as little noise interference as possible, which is why the JC3 features separate left and right, dual-mono aluminum-encased amplification stage modules, ultra-short signal paths, mild steel sheilding, and a robust, dual-channel, line-conditioned power supply. What's more, the JC3 even includes a mono switch and XLR/balanced outputs. Whoa. With all that's gone into the JC3, it definitely belongs in the top tier of phono stages; but with a price of only $2350, it should prove to be an outstanding value. Available now.

 

Remember the Ortofon MC 20 cartridge? Long time vinylphiles certainly do: Introduced in the early '80s, the MC 20 was one of the first high compliance MC carts to prove that a musical moving coil cartridge need not always be a low-to-medium compliance design. If you missed gittin' yer paws on the MC 20 the first time around, here's your (2nd) chance: Ortofon has reintroduced the MC 20 Super 25th Anniversary edition in full, golden-bodied glory. Packaged in a serious-looking aluminum "flight" case, it even comes with a headshell for perfect alignment in Ortofon arms. And at only $790, once inflation is factored in, this newly-built classic reissue is actually lower in price today than was it 25 years ago. Brilliant! Available now.

The Top Ten Classical and Jazz Albums of 2010

by Oliver Amnuayphol

Yeah, I gotta agree with Jason: 2010 was a less memorable year than some others for rock music. But it was an outstanding year for new and reissue classical and jazz. More releases on vinyl would've been nice, but it's the music that counts, and we were fortunate enough to get some very memorable recordings. Here are my most memorable from 2010:

 

10) Shai Wosner, Brahms and Schoenberg (Onyx Classics): All it takes is a few seconds of listening to this disc to realize there's a unique clarity and richness to Wosner's playing, and the Brahms and Schoenberg works featured here really showcase his talented touch and musical dexterity. Mighty impressive considering this is Wosner's debut recording effort, and a great preview of the wondrous things to come from this young and gifted musician. 

 

 

 

9) Keith Jarrett & Charlie Haden, Jasmine (ECM): Once again, Jarrett and Haden show why they're considered by many to be among the most talented jazz musicians of all time. There's an intimate, familiar, and highly conversational tone that permeates every track on Jasmine, and the duo pulls so much music and sound from their instruments that you have to remind yourself at times there are only two instruments at play here.

 

 

 

8) Isabell Faust, Alexander Melnikov, Beethoven: Complete Violin Sonatas (Harmonia Mundi): Faust and Melnikov do a great job of letting the appropriate temperament of each sonata shine through while imbuing every movement with excellent verve and emotional intensity--a fine balancing act between two accomplished musicians for sure. Their "Kreutzer" is nothing short of magnificent, and the CD even comes with a behind the scenes documentary DVD to boot.

 

 

 

7) Stile Antico, Sheppard: Media Vita (Harmonia Mundi): Finally, someone has done justice to the unique works of Tudor era maestro John Sheppard. And who else could it be but Stile Antico? This relatively young group have always sounded mature beyond their years, and with Media Vita they've really come into their own. Their performance of the antiphonal title track is especially compelling, full of rich sonorities and a chamber music-like fluidity to their singing. And the sound is A-MAZ-ING.

 

 

6) Julia Fischer, Paganini, 24 Caprices, Opus 1 (Decca): Perhaps the most amazing thing about Fischer's Paganini Caprices is not her technical mastery of the repertoire, but how that mastery is merely the foundation of her supremely musical interpretations. Not bad for someone who decided to record Paganini's dazzling works at the ripe old age of 26. Fischer maintains a fairly relaxed vibe throughout the disc, allowing you to focus on the musical lines instead of the notational complexities (that is, if you want to!). An outstanding recording.

 

 

5) Fred Hersch Trio, Whirl (Palmetto Records): If you've never heard pianist Fred Hersch play, you're in for a treat with Whirl--no other current jazz musician so artfully blends virtuoso improvisation and unique melodies quite like Hersch does, and Whirl overflows with them. The interplay and communication between Hersch, drummer Eric Macpherson and bassist John Hebert is always spectacular, and the sound on the LP is sublime.

 

 

 

4) Hilary Hahn, Higdon & Tchaikovsky Violin Concertos (Deutche Grammophon): While nearly every Hahn album could be on any given year's "best of" list, this latest really shows why many consider Hahn to be one of the best violinists in the world today. Her virtuoso technique on this disc is truly beguiling, and her willingness to put a new spin on that old chestnut, the Tchaikovsky concerto, makes for a very refreshing performance.

 

 

 

3) Joyce DiDonato, Colbran, the Muse (Virgin Classics): One listen to this disc and you'll instantly hear why many opera fans say no current operatic performer does Rossini better than DiDonato. And boy, does her love for Rossini's beautiful arias show: Her lithe, exuberant affections fit naturally with Rossini's music, and her impeccable phrasing and technical prowess on Colbran will make you swoon for her. The best opera disc of 2010 for sure.

 

 

 

2) The Cardinall's Musick/Andrew Carwood, Byrd: Infelix Ego (Hyperion): The folks at Hyperion really know their early music, and this latest in their William Byrd series is a stunner. The members of the Cardinall's Musick ensemble have remained pretty much the same for what seems like eons, and it shows: You just can't get these kinds of soaring harmonies, perfectly-pitched melodies and tightly blended vocal parts without years of singing together. Not to be missed if you're a fan of Elizabethan era music.

 

 

 
1) Johanna Martzy, The EMI Recordings (Coup D'archet): Even though the eight EMI/Columbia recordings that comprise this set are not at all new (in fact they're around half a century old), they will be new to most every classical fan out there. That's because most people have never even heard of Martzy, let alone laid eyes (or ears) on any of her recordings. Search for any of the original EMI/Columbia LPs that are included in this set and you'll soon run up against $1000-plus prices on eBay. That means this Coup d'Archet set is most likely the only chance you'll ever have to hear--let alone own--these recordings in all their analog glory. And hear them you must: These are the most thoughtful, intelligent, and musically expressive performances I've ever heard of this repertoire--said repertoire including the Bach Sonatas/Partitas, Schubert Sonatas/Sonatinas, Brahms and Mendelssohn violin concertos, and Beethoven Romances. What's more, everything about this vinyl box set exudes quality and attention to detail--such as the dead-quiet, 100% analog-mastered 180-gram virgin-vinyl pressings, or the high-quality reproduction artwork of the original LP sleeves, or the sumptuously beautiful cloth-bound slipcase for safekeeping. A full review will be forthcoming, but believe me when I say this set is, by a huge margin, the best classical album release of 2010.

 

 

 

All Things Vinyl, November 16, 2010: Insound's 20% Off Vinyl LPs Promo! Bob Dylan and Rolling Stones Boxed Sets

by Oliver Amnuayphol

 

Luv you some licorice pizzas? How about a good deal? Well the rock music specialists at Insound have got you covered on both counts: Right now insound.com is running some very special holiday promos, including 20 PERCENT OFF the vinyls if you purchase 10 LPs from their "Top 100 VInyl Albums of 2010" list. Veddy, Veddy Nice! And buh-leeve you me when I say their list is full of top-notch albums--like the latest from Arcade Fire, Broken Social Scene, and Belle and Sebastian, among others. What's more, also on the list are vinyls that may have been released in previous years, but are still among their top-selling albums--like Animal Collective's "Meriweather" and Bon Iver's awesome debut, "For Emma...".  And did I mention that you also get free shipping on your order if you spend $150? That purchase amount is pretty much guaranteed if you buy 10 LPs. So if you've been wanting a good excuse to stock up on the vinyls, here's the best excuse ever. Insound, I love you.

If you're looking for the perfect vinyl gifts for someone (or yourself!), check out these three epic box sets that are coming soon to a  vinyl stockist near you: One from Bob Dylan, The Original Mono Recordings, and two from The Rolling Stones, 1964 -1969, and 1971 - 2005. All sets are limited edition remasters pressed on 180-gram all-analog vinyl; the Dylan set comprises his first 8 studio recordings, and the Stones sets include 23 studio albums, two “Big Hits” collections, and two rare EPs between them. The Dylan set won't drop until December 21st, while both of the Stones boxes will be released on November 22 worldwide (and November 23 in the U.S.). Street prices seem very reasonable for all sets; Amazon has their exclusive Dylan box for a paltry $203.35, while the Stones sets are listed around $370 each--not bad considering the number of records in each set. So Santa, if you're listening: I've been a very, very good boy this year.

 

All Things Vinyl, July 27, 2010: Reissue Label Classic Records Sold to Acoustic Sounds

by Oliver Amnuayphol

It's official: looks like Acoustic Sounds has recently purchased specialty LP reissue label Classic Records; here's the email I received this morning from Classic:

Please do not reply to this email. Visit our contact page instead.

Contents: Classic Records Acquired by Acoustic Sounds Classic Records Acquired by Acoustic Sounds

Chad Kassem�s Acoustic Sounds has purchased audiophile industry leader Classic Records. "This is a big acquisition for Acoustic which will enable us to further increase our presence and reputation in the audiophile vinyl market worldwide," according to Kassem. �Over the years, Classic Records consistently was able to license the top titles that audiophiles wanted. Since that momentous announcement of the RCA Living Stereo reissue series in January 1994, Acoustic Sounds has been an admirer and strong supporter of the quality products produced by Classic Records. Classic has always been innovative and has set new standards for sound quality. Hobson always pushed the envelope to improve Classic�s products instead of just accepting the current standards. It is an honor to now own Classic, and I intend to continue to use the innovations that Classic pioneered and the high standards they established,� said Kassem.

Michael Hobson, who founded Classic Records in 1994, will continue in an advisory role to Acoustic Sounds to ensure a smooth transition.

"Classic Records has always been driven by my desire to make the best sounding records possible, and to that end we have successfully innovated over the years such that we are now able to make an LP that sounds better than when we started 17 years ago. I have worked with Chad for over 20 years and have seen Acoustic Sounds grow into a powerhouse in the audiophile market. In many ways having Classic Records join the Acoustic Sounds empire is a logical progression and makes a lot of sense strategically. I am confident that Chad and Acoustic Sounds will carry on in the Classic tradition of the pursuit of sound excellence, and I am committed to making sure that our knowledge base and experience transfers completely,� said Hobson.

Looking back, all signs pointed to dramatic changes over at Classic (check this previous ATV post for a little background), so maybe it's no surprise Classic were looking to sell. So what does all this mean for vinyl enthusiasts? Will Acoustic Sounds continue to press titles under the Classic Records marque, perhaps renewing title licenses that apparently lapsed under Classic? Will we see more Living Stereo reissues, or a re-pressing of that jewel in Classic's crown, Miles Davis' Kind of Blue? Or will Acoustic Sounds now utilize Classic's trademark technologies (Quiex SVP, Clarity pressings, etc.) for their own titles under the Analogue Productions banner? Stay tuned.

All Things Vinyl, July 15, 2010: New Lyra Kleos Cartridge; Avid Pulsare Phono Preamp.

by Oliver Amnuayphol

Good grief, the folks at Lyra must really luvs their vinyls: They're always pushing the envelope when it comes to building state of the art cartridges, like they did with the new Delos. Well now Lyra's one-upped the Delos with the all new Kleos MC cartridge. This latest design from Jonathan Carr features a duralumin body structure with press fit cylindrical elements for a more rigid structure and maximum resonance suppression. The Kleos also incorporates Lyra's all new asymmetrical damping mechanism (details of which can be found here) for increased tracking ability and a more accurate sonic presentation. What's more, this Helikon replacement is also their lowest-priced cartridge with an Ogura manufactured boron cantilever and coil system coupled to Lyra's original line-contact (3x70um) stylus. And of course, every Kleos is hand-built and extensively voiced by famed cartridge craftsman Yoshinori Mishima. All this tech should result in the Kleos retaining all of Lyra's trademark speedy, detailed, and transparent sound while offering a richer, fuller, and more natural sonic presentation than Lyras of yore. Of course, all this cutting-edge tech will cost you: $2750 to be exact. But compared to other perfectionist pick ups out there in vinyl land, the Kleos should stand toe to toe with the best of 'em, even ones costing up to twice the price of the Kleos, which perhaps makes this Lyra the best value in their line. So if you've got a hankerin' for a top-tier cartridge, the Kleos is a must audition. Available now.

And speaking of cutting edge gear, how's about a new phono stage to partner your Kleos? Best known for their exemplary turntables, UK-based manufacturer Avid Hi-Fi recently took the wraps off their first ever phono stage, the Pulsare. Designed to work with both MM and MC cartridges, the Pulsare separates the sensitive signal boards and power supply into two separate boxes for maximum noise rejection. What's more, Avid's phono stage also features fully balanced circuitry throughout, both XLR and RCA inputs, and selectable balanced or unbalanced outputs. Other niceties include front panel-selectable gain/resistance/ capacitance settings, passive RIAA correction, and a hefty 300va, fully-regulated power supply. Like the Kleos, the Pulsare is definitely top-shelf analog goodness and therefore ain't cheap. But with a price of only $4999, Avid's two-box wonder should stand up quite nicely to much costlier competition. You can get yer mitts on one now.

All Things Vinyl, June 3, 2010: Fosgate Signature Phono Preamp and the Fozgometer.

by Oliver Amnuayphol

If you've been around hi-fi for a while, chances are you're already familiar with surround sound shaman and car audio extraordinaire Jim Fosgate, founder of Rockford Fosgate, creator of Dolby Pro-Logic II surround, and holder of over 25 patents. No question Fosgate has an extraordinary legacy in specialist hi-fi components, so when he releases something new it's sure to be a showstopper--like this shiny new phono preamp, simply dubbed the Signature. Courtesy of a joint partnership with Musical Surroundings, the Signature phono preamp resulted from Fosgate's testing of more than 100 different designs over 30 years and is chock-full of all the best features--like all tube amplification and rectification with no solid state devices in the signal path; switchable moving-magnet and moving-coil gain settings (42.5 and 60.5 db, respectively); and variable load settings from 100 ohms to 100K ohms. What's more, Fosgate's SRPP design features a novel power supply utilizing over-spec'd local storage capacitance (instead of regulation) for each tube stage, and internal PC board layout is configured as a "dual-mono" design. With all that's gone into Fosgate's Signature phono stage, it certainly looks the business and should be quite the value at $2499. Available now.

And after you get the boss Fosgate phono pre, how do you make sure your cartridge is sending it the maximum musical goodness? By perfectly aligning your phono cartridge of course! One of the alignment parameters critical to good sound (but often very difficult to achieve) is correct cartridge azimuth, or your cartridge's left-right axial tilt. Simply put, if your cart's azimuth isn't perfect, you're just not getting proper channel balance or separation, let alone fully developed stereo imaging. Unfortunately, you can't just eyeball the azimuth to get it dead-on; usually you'd need an oscilloscope or other expensive gear to set this properly, or hope 'n pray to the vinyl-luvin' gods that your cart's cantilever is perfectly aligned within its generator and housing (for a full explanation of azimuth ins and outs, check out Michael Fremer's great analog piece on the subject here). But now, thanks again to Jim Fosgate's brilliant mind, there's an inexpensive and easy to use tool to help you with that, too--the Fozgometer! This handy-dandy device allows you to dial in your cartridge's azimuth with 100% accuracy by using a “Log Ratio Detector” Jim Fosgate developed for surround processor steering logic circuits to measure channel separation. Simply plug in the leads from your tonearm or phono stage and adjust your cartridge's azimuth according to the instructions until the center LED turns green. Easy-peasy! And believe you me: Once it's dialed, you'll immediately hear improved stereo imaging and soundfield depth like never before. And at only $249, the Fozgometer costs much less and is easier to use than the 'scope or other similar methods, making it an absolute bargain. I'd say get one right away, but you can't: the Fozgometer is back ordered everywhere, so just get one as soon as you can.

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