JV's Reviewer Background

Jonathan Valin -- Wed, 11/18/2009 - 02:16

Musical Interests:
Classical chamber and orchestral music from the baroque through the twentieth century (with a special interest in chromatic, atonal, and serial music of the early-to-mid 20th century), some folk music of the late 50s and early 60s, some acoustic and electric blues, some rock of the 60s/70s/80s, some small combo jazz (particularly piano trios), some pop/jazz vocalists (e.g., Frank Sinatra, Sarah Vaughn), some film music, some Broadway cast recordings, some contemporary pop/country (e.g., Rosanne Cash, Shawn Colvin), some bluegrass, some world music, some techno.

Listening concerns:
1. Realism triggers: Whatever makes me feel less like I’m listening to recorded music on a stereo system in a small room and more like I’m listening to real musicians at a recital or a concert in an actual hall or club.

2. Realism inhibitors: Whatever makes me feel more like I’m listening to recorded music on a stereo system in a small room and less like I’m listening to real musicians at a recital or a concert in an actual hall or club.

Music background:
Long-time concertgoer (orchestral, chamber, opera, recital, choral, pop, rock, folk, jazz, Broadway); avid reader; love music.

Room:
17’ x 16’ x 10.5’ plaster-and-lath room on third floor of very old house, with hardwood floors and thick brick outer walls. Room selectively treated with RPG Abfusors and Skylines, Shakti Hallographs, Synergistic Research ART system, A/V Room Services Metus, other tweaks. Electricity via 20-amp dedicated lines with new service.

Current reference equipment:
Loudspeakers: Magico Q5, MartinLogan CLX, Raidho C1.1, Magnepan 1.7 and 3.7 and 20.7
Linestage preamps: Constellation Audio Virgo, Audio Research Reference 5SE, c-j GAT
Phonostage preamps: Constellation Audio Perseus, Audio Research Reference Phono 2SE
Power amplifiers: Constellation Audio Centaur, Audio Research Reference 250 and Reference 750, conrad-johnson ART, Lamm ML-2, Odyssey Khartago
Analog source: Walker Audio Proscenium Black Diamond Mk III record player, AAS Gabriel/Da Vinci MkII turntable with DaVinci Grandezza MkII tonearm, Acoustic Signature Ascona with Kuzma 4P tonearm
Phono cartridges: Ortofon MC A90, Benz LP S-MR, Clearaudio Goldfinger Statement
Digital source: TBD
Cable and interconnect: Synergistic Research Galileo speakers cables and interconnects, Synergistic Research Tesla power cords
Power conditioner: Synergistic Research Tesla II
Accessories: Synergistic Research ART system, Shakti Hallographs (6), A/V Room Services Metu acoustic panels and corner traps, ASC Tube Traps, Critical Mass Systems MAXXUM amp stands (2), Critical Mass Systems MAXXUM equipments stands (2), Symposium Isis equipment stand, Symposium Ultra equipment platforms, Symposium Rollerblocks, Symposium Fat Padz, Walker Prologue Reference equipment stand, Walker Prologue amp stands, Shunyata Research Hydra V-Ray power distributor and Anaconda Helix Alpha/VX power cables, Tara Labs PM 2 AC Power Screens, Shunyata Research Dark Field Cable Elevators, Walker Valid Points and Resonance Control discs, Clearaudio Double Matrix record cleaner, HiFi-Tuning silver/gold fuses

Jonathan Valin -- Tue, 02/22/2011 - 12:52

We will definitely get together at RMAF, if you go. And if not, in Cincinnati on one of your visits.

Amandela77 -- Tue, 02/22/2011 - 18:43

It would be a pleasure...

Amandela77

Jonathan Valin -- Sun, 02/20/2011 - 14:26

A photo of my latest setup.The electronics are Technical Brain TBP-Zero EX amps on Critical Mass Systems MAXXUM stands, Technical Brain TBC-Zero v2 preamp, TB TEQ-Zero/TMC-Zero phonostage, Audio Research Reference 2 phonostage, Audio Research CD-8 CD player, Walker Black Diamond Mk II record player (with Ortofon MC A90 cartridge), and United Home Audio Level 5 tape deck all sitting on a Critical Mass Systems MAXXUM stand. To the left is the AAS Gabriel/Da Vinci MkII table with Da Vinci Grandezza tonearm and Benz LP S-MR cartridge, also sitting on a Critical Mass Systems MAXXUM stand. The room treatments currently are by Synergistic, Shakti, AV Room Services, RPG, and ASC. The cable, interconnects, and power cords are all Synergistic Research Galileo and Tesla. The speakers, of course, are Magico Q5s.

IMO, this is the highest-fidelity system I've yet had in my room.

Peter Ayer -- Thu, 03/10/2011 - 16:33

JV,
I can only marvel at the level of sonics you must hear from this set up. Thanks for this blog and the photos of your room and current equipment. I have two questions and apologize if this is not the appropriate space in which to ask them. First, as a very happy Mini II owner, I've been following with much interest the new speakers from Magico. I've heard the Q5 and look forward to auditioning the Q3 when it hits the Boston area this Spring. You described the Q3 as sounding "warmer" than the Q5 at CES. Do you think this is in direct response to criticism that the Magico sound is very analytical and somewhat sterile? Incidentally, I don't find it to be so, but many audiophiles do. Perhaps with this voicing and higher efficiency, Mr. Wolf is targeting a larger, new audience with this speaker. Second, I notice that you really like the sound of massive belt drive turntables, as shown in the above photo. I am quite happy with my SME, though I notice that lately there seems to be a small revival going on with direct drive turntables, either older refurbished Japanese tables or new ones like the Dobbins "The Beat". Would you share your views on DD tables and perhaps encourage TAS to explore this topic in the magazine? Your opinions are most appreciated. Thanks.

Priaptor -- Sun, 02/20/2011 - 18:46

Jon,

I have to say, I have not seen this blog site before. This is really very helpful in reading your reviews. I am not sure if all reviewers are doing what you have done, but it really helps understanding the reviewers listening bias when reading their reviews. I use the word "bias" in this case, not as a perjorative term, but as what you prefer as it helps the enduser understand where you are coming from when writing your reviews.

Jonathan Valin -- Sun, 02/20/2011 - 19:35

Priaptor,

If you go to www.avguide.com/forums/high-end-audio/reviewer-background-information, you will find very similar posts from all of our reviewers, explaining their listening biases, describing their listening rooms and sometimes their reference systems, and giving more insight into the kind of music they listen to.

Jon

Hiendguy -- Tue, 02/22/2011 - 14:23

Mr. Valin,
Having been a fan of yours, I have noted the many components that you have auditioned, and the quality of the gear, your current system must be INCREDIBLY realistic, and a joy to behold, I'm jealous!
On a lighter note, I have a question about the Galileo cables that you use, I have often noted that when I view the exploded view of the components, I often note that the internal wiring is of low gauge, plain looking wire to the ac inlet, and balanced, and unbalanced connections, and all other areas of "hook up wire" . Would it benefit upgrading these areas of wire with a "variation" of the wire used in the Galileo system?
Also, how is the TB phono preamp, compared to the Soulution?
Thanks in advance

Jonathan Valin -- Tue, 03/15/2011 - 01:13

hiendguy,

I'm sorry that I didn't reply to this note sooner. I just missed it.

To answer your questions, I'm not sure that wiring a component with Galileo would be practical given its multi-strand construction and use of active shielding/conditioning circuitry. But don't judge the wire used in many high-end components simply by its looks. The wire in the Technical Brain amp and preamp, for instance, including the power cord has been carefully selected and is actually very expensive stuff. It also sounds better than other wire in this application (I have tried substituting different high-end power cords for the TB stuff, and the TB stuff definitely sounds superior to my ear).

I will be reviewing the TB phono preamp and step-up transformer in our upcoming analog issue. I don't want to spill all the beans here, but I can safely say that it is a top contender. I can also safely say that it sounds nothing like the Soulution 750, which is also a top contender, and that neither the TB nor the Soulution sounds like my reference ARC Reference 2.

Jon

Hiendguy -- Fri, 03/25/2011 - 23:29

Mr. Valin,
Thanks for the response about the wire! Speaking of Technical Brain, (without trying to sound selfish, or insensitive), have you heard anything about the company after the quake? What about Audio Teckne? I hope I'm not coming across in a bad way, I was just curious.

Jonathan Valin -- Sat, 03/26/2011 - 00:08

Hiendguy,

No, you are not coming across in a bad way.

I have, indeed, heard from Naoto Kurosawa of Technical Brain (or, at least, I've heard from him indirectly through his daughter Mioko). Naoto and his family are all right. They live in Kawagoe, which is just outside Tokyo; neither their house nor their business facility was damaged by the earthquake. Mioko has written that her father and mother were not short of food or water, though she wrote to me before the recent contamination of the Tokyo water supply. Like most of Japan, Kawagoe was then experiencing periodic "rolling blackouts" due to the added strain on the electrical grid, but that may now have changed.

I do not know how to contact Kiyoaki Imai of Audio Tekne in Hachioji (also a suburb of Tokyo), but I certainly hope and pray that he and his family are all right. Indeed, I hope and pray that all the wonderful people I met in Japan--Hironobu Imai, Tomiko Imai, Isamu Fukumoto, Taro Hirayama, Mr. Matsuzaki, Mr. Nemoto, Osamu Ikeda, and many others--are safe and well and out of harm's way.

Priaptor -- Tue, 02/22/2011 - 14:34

I just noticed something else.

You said you wrote mystery novels. Are you the author of Harry Stoner novels by any chance?? I read a couple of them years ago and really enjoyed them.

Jonathan Valin -- Thu, 03/10/2011 - 14:37

Yes, I am the author of the Harry Stoner novels.

I'm glad you enjoyed them.

LDA -- Thu, 03/10/2011 - 16:07

Hello Mr Valin;

First, please accept my apologies about the topic of my discussion. I tried a couple of times to get your opinions about ARC VS115 power amplifier but I just could not succeed to reach you.. I decided to give it a try again when I saw your freshly written comments here...

I ordered a VS115 along with KT120 vacuum tubes couple of months ago and I am still waiting for it to be delivered with so much passion... Your opinions or maybe just a quick review would be much appreciated... The amplifier will be driving a pair of Proac D28.

Many thanks indeed.

LDA

LDA -- Thu, 03/10/2011 - 16:17

Sorry just wanted to add a couple of things.. The listening area is about 40 metersquares with L shape. I am generally listening to classical music (chamber, symphonic, solo piano or cello, opera etc) vocal and classical jazz including different kind of percussions and instruments (harmonica, bandeon, guitars, let's say lots of acoustic instruments.)

Regards

Jonathan Valin -- Tue, 03/15/2011 - 01:45

LDA,

I use the 120Wpc ARC VS115 in a smaller system in my office; however, I'm loath to comment on its sound as I'm not using the new KT120 tubes that you're getting, which should have a little more power than the 6550s I use and a somewhat different (though I'm sure fundamentally neutral) tonal balance. As for whether the amp has enough power for your speakers and room, the D28 is a nominal 8-ohm speaker rated by Proac at 88.5dB sensitivity. From what I've read, however, that sensitivity rating is misleading, as the speaker actually measured closer to 84dB sensitivity in John Atkinson's tests in "Stereophile." On the other hand, the D28 is apparently a very easy load to drive. At 430 square feet your room, while not palatial, is large. So...when you add a largish room to an 84dB-sensitivity speaker, you're likely to need more power rather than less. Given the KT120 tubes in the VS115, I would imagine that the amp may be adequate up to moderately loud playback levels, especially given the acoustic music your listen to, but plainly you're going to have to decide for yourself if the power is adequate.

LDA -- Tue, 03/15/2011 - 04:34

Mr Valin;

Thank you for your reply. I understand your concern about the different sound character that will be caused by KT120 tubes but still a few words about your general ideas (with 6550s) would be highly appreciated. I think, despite some requests VS115 have not been officially reviewed so far by TAS. I am sure there are other people that would be much pleased with your comments..

Regards,

Jonathan Valin -- Tue, 03/15/2011 - 15:16

Peter,
I don't know if the warmer balance of the Q3 is a response to criticism of the Magico house sound or not. Like you, I do not find Magico speakers to be "analytical" or "sterile." I find them to be neutral, transparent to sources, exceptionally revealing, and extraordinarily lifelike. Look I've lived with and owned speakers and electronics that could fairly be characterized as "analytical"--the original MartinLogan CLS, for example--and no Magico speaker I've heard or reviewed sounds like that. Indeed, Magicos for all their neutrality and resolution have always been just a touch gemutlich, rather like Soulution electronics. Let's face it: What "some" audiophiles (and reviewers or at least one reviewer) don't like about Magico speakers is their bass.

I will be addressing this subject in my review of the Q5 in Issue 214, but let me say in advance that reviewers or listeners are free to like what they like--and to dislike what they don't. I even have a name for this kind of listener, the "as you like it" type. Typically, "as you like it" listeners prefer their music to sound vivid, beautiful, and thrilling. They want the color and drama of music to be accented. They aren't concerned with the absolute sound per se and they don't care whether the presentation is accurate, which is to say faithful to the source.

My second kind of listener is the "absolute sound" type. He wants instruments to sound the way they do in life. If this means that he has to pick a speaker and electronics (or to DSP the sound) to roll-off and smooth down the treble of hot recordings or to add the weight and slam of a Marshall stack to the midbass, he feels he has license to do so in the name of greater fidelity to the "real thing" (although what happens to the "real thing" when the speaker is reproducing cellos or contrabassoons instead of Fender bass guitars is an interesting question).

My last kind of listener is the "fidelity to mastertapes" type. He wants his speakers and electronics and source to reproduce what is on the record--what the recording and mastering engineer intended him to hear. He doesn't want a poor recording to sound "great"; he doesn't want a great recording to sound "meltingly beautiful," either, unless, of course, it happens to be meltingly beautiful. He wants what's there. No more or less.

All of these kinds of listeners overlap to greater or less extents, and there is a little of each in me (and, I think, in most listeners). But when push comes to shove, I'm a "fidelity to mastertapes" kind of guy. I've written about this as long ago as 1992 in "The RCA Bible," and my taste in speakers--which, until Magico, have almost always been planars, stats, or two-ways--reflects my bias toward neutrality, transparency, resolution, seamless top-to-bottom coherence, low distortion, a disappearing act that reduces the sense of listening to a "hi-fi," and realism (when the source permits) rather than romance.

I have no argument with the equipment that "as you like it" listeners or with "absolute sound" listeners prefer. In certain moods, I genuinely like many of the same speakers and electronics they like--which is why I've praised speakers as widely disparate as, oh, MBLs, Rockports, MartinLogans, Quads, Magnepans, and Magicos and was sincere in my praise. But, for me, the words "high fidelity" can only truly mean one thing: fidelity to the source. In my opinion a loudspeaker with a BUILT-IN 6-12dB rise in the midbass, no low bass, 6-10dB suckout in the power range, and a rollercoaster treble ending in a peak CANNOT BE faithful to sources. Ergo, it cannot be a high-fidelity transducer.

The Q5 from Magico IS a high-fidelity transducer in my sense of the word. It reproduces what's "there" without adding emphases of its own in frequency response or the spurious dynamics that come from a whomping peak in the midbass or treble. It is a low-distortion, high-resolution, high-fidelity loudspeaker--the lowest-distortion, highest-resolution,highest-fidelity loudspeaker I've yet reviewed. Here is how the Q5 measures in my room, and please note that the divisions are 5dB:

This does not mean that everyone is going to love it. Like I said, not everybody wants this level of honesty, and I have no argument with people who don't (as long as they don't also claim that what they prefer is "high fidelity" in the only sense of that word that makes sense to me).

staxguy -- Wed, 03/16/2011 - 19:25

What a wonderful graph. Sure beats the response patten of my hammer-substitute Shure SM-58, or my pair of Earthworks QTC-1's (/40's) - ok, not the later, but wow! Sure beats any loudspeaker I have had in my room, hands down. Can't wait to finally audition it, or the little brother, Q3!

What an amazing graph.

Staxguy

trponhunter -- Sun, 04/01/2012 - 18:02

Jon,
That certainly is an impressive looking graph - plus or minus 2db. Where was it taken - is it at the listening position? Also,
I've never seen a system measure effectively flat and not have it sound way too bright. Most systems that sound well balanced usually have a natural high frequency roll off beginning around 1 to 5khz and slowly, smoothly rolling off as frequency increases. Have other speakers in your room exhibited this type of response?
thanks for your time.

Jonathan Valin -- Sun, 04/01/2012 - 18:42

The RTA was taken from the listening position with the microphone on axis with the drivers. While the Q5s are a little bright on axis, when toed out a bit (as Magico recommends) they sound exceptionally well balanced. Personally I am not a fan of speakers with a rolled-off treble.

hltf -- Wed, 01/18/2012 - 23:03

Jon:
I wonder if you have an opinion on the ASR Emitter 2 Exclusive, perhaps in comparison to the Soulution, ARC and other amp/preamp combos you like?
Also, have you any plans to review the new flagship Sutherland phono preamp? I know you like their other phono preamps. It would be interesting to me to read about how you would benchmark this new Sutherland unit relative to the ARC phonostage that you like. Also, perhaps relative to the top of the line Naim phonostage that Wayne Garcia has praised.
BTW, like you, I am a Magico fan and was happy to read about your good opinion of the Q3s at the CES 2012.
Thanks
Hasan

Jonathan Valin -- Sun, 01/22/2012 - 20:15

Hasan,

Sorry for the delay in replying to you but I had the flu.

I'm afraid that my only experience with the ASR Emitter 2 Exclusive has been at trade shows, where its sound has not impressed me strongly one way or the other. I know that our Mr. Pearson once thought very highly of the ASR gear. I myself am not planning to review the new Sutherland phonostage, although I'm sure someone at TAS will review it. I like Ron's phonostages, but did not think the Hubble was as good as the ARC Reference 2. (Of course it didn't cost what an ARC Reference 2 costs, either.)

galbraithmp@gma... -- Sun, 01/22/2012 - 15:16

jon
i recall you reviewd the ML source some time ago and rated it highly. it is only sale now at an attractive price. i am wondering what your impression would be of the size room that would be a good match-assuming adequate power is applied, i.e. how large? i am interested but my family room is 2 story and an open affair with a lot of cubic feet.
thanks and keep up the good work!
michael

Jonathan Valin -- Sun, 01/22/2012 - 20:19

Michael,

The Source is a demure speaker with a smallish woofer and panel that will probably fare best in a small to moderately sized room. If possible, I would to try it first in your family room before closing the deal.

Thanks for the kind words,

galbraithmp@gma... -- Mon, 01/23/2012 - 07:48

jon
thanks for the feedback. i posed the question to martinlogan along with the room dimensions and listening preferences to see what they recommend. however, i agree that an in-home audition would he best. on a related question, have you ever had any experience with the older ml sl3? a used pair is available locally.
on the topic of reissues ( your exchange above), i suspect it would be a slamdunk to get tas readers to ssubscribe to a monthly high res download as long as there was no long-term commitment. perhaps, you could poll the readers to determine the level of interest to assist in marketing the concept to an investor(s)? just a thought. i, too own some of the soviet era recordings, which are fabulous. i picked them up while studying and working in europe starting in the 70s up intil the time i became disenchanted with the disarray in the mgmt of the us foreign service and various multinational corps.
lastly, have you had an opportunity to hear the latest stats from roger sanders? sounds as though they are impressive and quite reasonable in terms of price.
cheers!michael

mich

Jonathan Valin -- Tue, 01/24/2012 - 17:35

I'm afraid that I'm not familiar with the SL3, so can offer no opinion.

I've been pushing for a TAS Record/Download Club, but so far...no dice. While not all Soviet era recordings are great, an awful lot of Supraphons, Hungarotons, Melodiyas, and (par excellence) Novas are sensationally well-recorded--not to mention the fact that these Eastern European players are, to a man, world-class musicians.

I've heard some of Roger Sanders' gear sound excellent. I'm also very high on Dr. West's Sound Lab electrostats, the Logan CLXes (best 'stat and, in certain ways, best speaker I've heard in my home), and of course the Quad 2805/2905.

galbraithmp@gma... -- Wed, 01/25/2012 - 12:03

jon,
thanks again.
you successfull stirred the pot and got me doing some homework on sound lab and the like. after reading your review of them and the references you made to the pipedreams, i also read the white paper they have on their website. i'm not an audio engineer or acoustician, but it is fascinating stuff. wonder if you've seen it. it lays out the science behind pipedreams design approach. it seems compelling in it's critique of most dynamic, planar and stat speakers.
maybe an alternative, i.e. non-tas, approach could be developed for the e european music download mktg concept. is it your understanding that one would have to negotiate a deal with each of the labels-assuming they still exist and there is mgmt in place who could pursue the concept? similarly, i wonder if it would be possible to launch the concept with just one label. their catalogue would have to be compelling enough to warrant putting in place the structure necessary to support the endeavour. just thinking out loud.
do you think the fact that it hasn't been attempted thus far is due to the record labels or simply the lack of interest on the part of some entrepreneur who could pursue the initiative-or both?
michael

Marcel -- Sat, 01/28/2012 - 17:21

Jon,
I was wondering if you could help me understatement what it is that I am hearing in comparing a Soulution 745 player with a Spectral 4000 Pro player. Both are extraordinairy musical but quite differently so. For example with a timpano strike (start of Mahler 3) the soulution lets me hear more of the copper and skin the instrument is made of, whereas the Spectral gives a stronger impression of the impact of the instrument, albeit with a bit less color to the instrument. Since I play with Soulution amps, I had not expected the Soulution player to sound a bit less energetic, due to synergy to with the rest of the system. Could it be that the slightly smoothed dynamics actually are more real? Or is this a typical character of the Soulution?
Looking forward to you view,
Marcel

Jonathan Valin -- Mon, 01/30/2012 - 01:45

Marcel,

I haven't spent any time with Spectral gear in my own system, so I can't really answer your question, save to say that, based on observations at shows (and in the homes of a few of my Spectral-owning friends), your assessment of the differences between the two marques is accurate. Spectral gear tends to be a little cooler, leaner, seemingly quicker on the uptake, and a bit more crisply focused than most other solid-state (the Technical Brain stuff excepted), while, by comparison, Soulution is a bit warmer in tonal balance (though not over-ripe), a bit fuller in the bass (though never dark sounding), with a bit more color and energy on steady state tone and stopping transients, and a bit more "control" when it comes to starting transients. Which presentation is more "realistic" depends on the music and the speakers, as I've heard both marques sound exceptionally lifelike (the "new" 500 Series Soulution gear sounded phenomenally good with Magico Q3s/Q7s just a few weeks ago at CES 2012 and the Spectral gear sounded equally lifelike with Q5s a year or two ago at RMAF on a reel-to-reel tape of "Nojima Plays Liszt").

Marcel -- Mon, 01/30/2012 - 08:06

Jon, thanks!
Marcel

hltf -- Mon, 02/20/2012 - 20:19

Jon:
I would like to ask if you also entertain audio related questions and requests by email? Thank you.
Hasan

Jonathan Valin -- Tue, 02/21/2012 - 13:45

Hasan,

I'm afraid I don't usually answer audio-related questions by private e-mail. Is there something I could help answer on-line in this forum?

Jon

hltf -- Tue, 02/21/2012 - 22:52

Jon:
Thanks for the response. I will think through my issue and perhaps get back to you here.
Regards
Hasan

mmaciag@tampaba... -- Thu, 07/05/2012 - 18:25

Jon,
I see the ClearAudio Goldfinger Statement listed as one of your current cartridges and have also read your comments on the cartridge. In a recent AVGuide publication the Statement was listed as a recommended component and there was a comment that an SRA of 90.5 to 91 degrees was found to be ideal. Is/Was your Statement setup by SRA with a microscope? If so, we you able to set it as low as 91 degrees?
I ask because I have just traded-in my Goldfinger V2 on a Statement, which arrived this morning. I've set it up on my Kuzma 4Point, on a ClearAudio Innovation Wood table. However, even with the VTA at it's lowest setting on the 4Point, with the tonearm far below parallel, the SRA of my Statement is still over 96 degrees!
So, that's why I thought I'd ask about your experience with SRA on the Statement.
Regards,
Michael Maciag

Jonathan Valin -- Thu, 07/05/2012 - 18:41

Michael,

First, yes my SRA is set by camera/microscope.

As for the Satement on the 4P, no, you cannot get 90.5 to 91 degrees on the Kuzma arm because of the height of the arm pillar/arm mount. As a result, the cartridge, though still very very good, is going to sound a bit brighter and leaner than ideal on the 4P. (You can, however, achieve a 90.5 to 91 degree SRA on the Walker Black Diamond or the Da Vinci Master's Reference Virtu.)

Jon

mmaciag@tampaba... -- Thu, 07/05/2012 - 23:34

Jon,
Hmmm, that makes sense. Thanks.

- Michael

Amandela77 -- Sun, 09/02/2012 - 07:38

JV:

The AVGuide Forum and Blog pages have been pretty quiet during the summer months. Just wanted to check in to make sure all was well with you. Looking forward to your extended thoughts on new gear from Carver and Magnepan, as well as updates on the lovely Constellation gear.

Jeff.

Jonathan Valin -- Sun, 09/02/2012 - 10:56

Jeff,

I'm fine. I'm sorry I didn't reply to your note about a visit, but I don't look at that e-mail server often plus I was in Denmark visiting Raidho and others. Just got back a week or so ago.

The reason why you haven't seen blogs from me and others on this site of late is best explained by clicking on the following link: www.theabsolutesound.com. As I write this is still a work in progress (a Beta version), but it's very near going live.

Jon

Amandela77 -- Sun, 09/02/2012 - 12:46

My, oh my!!!
The Beta looks FANTASTIC. It is definitely a major improvement.
I do seem to recall your mentioning that you usually travel during August, but the relative lack of activity on the old site (now I understand why) had me a bit concerned.
Glad to hear that all is well.
In the future, I'll just call when I'm planning a visit to the Queen City.

brion -- Fri, 09/07/2012 - 21:52

This is an old thread, but one thing Jonathan wrote jumps out as a reason that, despite the fact that many audiophiles have great equipment, they do not achieve the same results.
The "room construction" statement explains a great deal of why equipment reviews can vary. I, for example, find that my ASL Hurricanes have a "reality" to their sound in my basement (23' x 45') that they have never achieved in my music room, which was an addition to the house. It is not merely that the room is smaller than the basement at 13' x 20', but that the hardwood floors are not, well...hard enough. The walls, even with ASC's wall damp treatment, just don't have the solidity of the basement (concrete, but with cushy area rugs, ASC tube traps and...well, let's face it: a wider room is better). The upstairs room sounds very good, but never made me do the double take that I did the first time I heard the Hurricanes in the basement, where they had a reality that I'd never heard, even when I had a Versa Dynamics 2.3 turntable back in my California days. When I wrote a review of the Hurricanes for Ultra Audio, I got an email from a reader asking me "...but, didn't you find the Hurricanes a bit 'smeared'?" I was actually speechless, something my friends will say is an impossibility in this lifetime. I wondered at the time, 'what is his room like that he could ask that?????' As HP pointed out in his review, they are excellent on attack AND decay, something that would not allow a description of its sound as 'smeared.'
I think that room construction is extremely important, BUT, I would have to add, from experience, that if a room is very wide, even with lesser equipment, it can make you, as Robert Harley puts it, in issue 226, enjoy the music in a way that you would not with better equipment in a smaller room. Alton Everest, in his book, The Master Handbook of Acoustics, posits that smaller rooms have more problems, and, below a certain cubic footage, just doesn't cut it.

I heard, back in 2003, my Arcam FMJ 23 with a Shunyata Python power cord and Nordost Quattro Fils, hooked up to a cheap receiver, a pair of Infinity Speakers (hardly upper tier ones, either!), in a room that was about 30' x 45' (the owner wrote the Meow, Meow cat commercial, as well as AT&T's "Reach Out and Touch Someone"). The rest of the house was equally big. I sat there thinking, "So, this is what this CD player actually sounds like?!?!?!" As good as it sounded with all my acoustic improvements in my home (and this guy had ZERO acoustic treatment, just a Big. Big. Room), it was astounding that it sounded like a quartet truly getting down. It wasn't the highs or lows, it was the feeling of musicians playing together. In other words, it sounded real enough that any "audiophile" paramaters were left in the dust. I could not have cared less about anything audio: I was just swept away at the immediacy and how close it sounded to what a quarter would, in real life,sound like playing 8 feet away from me (and the music projected - easily - 15' in front of the speakers. The immediacy of it all left me happy AND sad. (I wanted that room: I would have married it.) I left that house KNOWING that a good-sized room - and I don't mean a stadium-sized room, just one big enough to let the sound propogate easily without hitting barriers - gave sound a big, big boost. I'm sure, too, the construction of the house, played a part in it. Those floors were ultra solid.
Equipment is much, but room is ALL.