Peter Breuninger's Reviewer Background
Breuninger -- Sun, 05/30/2010 - 06:50
Musical Interests:
Chamber, symphonic, opera and early music. Areas of focus include 20th century and the avant garde for its complexity and exploration of expression. I’m drawn to dark eclectics such as Arvo Part and Jocelyn Pook. Equaling my classical interest is 50s/60s jazz and swing. I’ll chose Artie Shaw over Benny Goodman and Shirley Horn over Ella Fitzgerald. Artists such as Eric Dolphy and Ornette Coleman echo my love of anything “out there”. This leads to my love of electronica. Composers such as Jorge Reyes, Klaus Shultze and the late Bryn Jones of the Muslimguaze project fascinate me. My popular music tastes include; classic rock to NIN, singer songwriters, and stalwarts such as Frank Sinatra and Mel Torme. I tread gingerly into the country with Cash, Jennings and Nelson. I love bluegrass and finger picking music (exposed early due to the first Philadelphia Folk festivals staged a mile from my house).
Favorite artists/composers:
Classical: Puccini, Wagner, Verdi, Berlioz, Bach, Mahler, Honegger, Stravinsky, Saint-Saens. Jazz: Davis, Dolphy, Coleman, Corea, Jarrett, Rollins, Sun Ra, Evens, Horn, O’Day, Wilson. Rock/pop/other: Airplane/Starship, Zappa, Fleetwood Mac, NIN, Gabriel, PJ Harvey, RL Jones, Young, Joni, Sinatra, Torme, Scruggs, and Doc Watson.
Listening concerns:
1. Realism triggers: space/air, phase coherence for image placement and loudness/dynamics. The more a system or recording reproduces or captures the air of an event and the space within and around the instrument(s), the better. The more a system or recording places such instruments or images in a realistic field, the better. The more a system or recording can reproduce the loudness and air volume movement of being at a live event, the better.
I find I’m drawn into the illusion if the system has wide dynamic capabilities plus has the ability to play soft and loud. Like real life.
2. Realism inhibitors: excessive compression within a recording followed by system mid bass humps. Most every new recording or re-release has compression levels set to maximum. Often, the subtleties of a ppp become ffff. Even Harmonia Mundi is guilty. The 50 CD dhm 1958-2008 box set is, at times, sadly compressed. I’m OK with brightness. I don’t run the other way when a system is revealing on top- only when it’s coarse, if that makes sense.
Music background:
Longtime concert, theatergoer and subscriber; Philadelphia Orchestra, Opera Company of Philadelphia, Lansdowne Symphony, the Wilma, the Philadelphia Folk Festival. I’ve attended numerous Spectrum and Wachovia Center rock concerts. Past board member: Berman-Nelly School of Music. Founder: the Philadelphia Audio Society. I am an Episcopal Minister’s son, sang in the children’s choir, decades of choir and organ listening. I play the electric guitar. I limit my vinyl addiction to 10,000 each.
Rooms:
Number 1: 14x24x8, plaster walls, wall-to-wall carpet over hardwood floor with a wool oriental on top. Bay window overlooking a lighted garden. Three dedicated 20amp lines.
Number 2: 12x20x8, pinewood walls, wall-to-wall carpet over poured concrete floor.
Current reference equipment:
High Resolution, Higher Efficiency Loudspeakers: Coincident Pure Reference Extreme.
High Resolution, Lower Efficiency Loudspeakers: MBL101e.
Vintage Resoluton Loudspeakers: 2 sets of Bozak Concert Grands, one pair outboard bi-amped, 2 sets of Bozak Symphonys.
Display: Pioneer Elite 60” Plasma.
Linestage preamps: Conrad Johnson Premier 10, (2) Motif MC-7s, Sam Kim-Luxman CL-34, Sam Kim-Heathkit AA-11, Walleee Speers linestage.
Phonostage preamps: (2)Motif MC-11s, (2) Denon PRA-2000s (used lineout), Lukaschek PP-1 Phonostage.
Power amplifiers: Jadis JA-500, Krell KM400 Monoblocks, Krell KSA 200, Conrad Johnson Premier One (updated), Melos Gold 400 Monoblocks, Phase Linear 700 Series 1, Komuro 845s, Komuro 212Es, (2)Pioneer M25s.
Integrated amplifiers: Heathkit AA-151, Eico HF-81, Pioneer A-27, Revox B-251.
Analog sources: (3) Pierre Lurne’ Audiomeca J1s (all with outboard standalone motors), Goldmund Studio.
Arms: (4)Infinity Black widows, Goldmund T3, (3)Mayware Formula IVs.
Phono cartridges: van den Hull Grasshopper Gold III, Goldbug Mr. Brier, Cello, Koetsu Std., Audioquest 7000, Klipch MC, Shure Bros. V15 MK III, Signet TK10 w/van den Hull tip.
Digital sources: Sony Vaio Desktop, Emu 1616M outboard sound card/system, Timber TT-1 DAC, Conrad Johnson Premier 9 DAC.
Cable and interconnect: Tara Labs, Crystal Cable and Highwire.
I specialize in both high powered systems and in very low powered systems. Plus, I have expertise in analog with multiple tables, arms, cartridges and reel-to-reel decks.
Equipment strategy is ROI. I will implement new, classic or vintage to achieve audio satisfaction. I believe the loudspeaker is the most important component [in concert with the amplifier.] I am a near-field, long-wall listener.
Other interests/about me:
Competitive road cyclist, USCF ranked master, currently (and subject to race results) top ten ranked in the BAR (best all rider) for the State of PA masters riders 55+, tennis player, fly tier, rod builder and fly fisherman, collector of outsider art. I'm also an artist- medium acrylic. Plus, I’m a car nut- with track experience. I am a Dad, Wharton graduate, investment expert/advisor and FinTech/Internet entrepreneur.
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Many TAS readers will note that Peter Brueninger formerly reviewed vintage equipment for Stereophile. As an old time audiophile (my first amp was a 25 watt Heathkit bought back in '57) I always enjoyed his insightful & well written reviews of equipment, some of which I was familiar with. I now look forward to reading his reviews of modern high end equipment. Peter, maybe you can compare & contrast the high end standouts of the past with those of the present. As a TAS subscriber since '76, let me welcome you aboard.
Peter, i believe you have heard the new Q5's. How would you compare them to your 101E's? Which would you prefer?
Good question, and one that my heart had to ponder upon returning (that afternoon) to the MBL set-up. The Magico's are very different than MBLs. They are a traditional loudspeaker, and one that is as over engineered as a-n-y-t-h-i-n-g on the market. Well you know, you've read all about 'em. That afternoon at Overture, there was a video clip showing the multi-aluminum layers of the skeleton or chassis as Magico likes to say. All this technology to house a front firing traditional though ceramic set of mids/tweeters. I have to say that this a tip top way of insuring correct phase launch. And when you compare and contrast the MBL on this one attribute you will see the difference and dilemma a listener may have. The MBL is a 360 degree radiator. It will gloss over the reproduction of the phase relationships within a recording. Its can’t help it- but this is also its strength, thus the dilemma. Most everything sounds good, holographic. The “you are there” effect. Even on marginal recordings. There is nothing like it! The Magico will reveal correct phase because it’s like a point source, one point. Thus, if a recording has great phase capture, the Magico will play that back and with very low coloration. It’s very cool and very realistic. So the short of it… you must own both.
Sorry about the delay in writing, just picked up the post.
My best!
Peter
Your review of the Fisher 500 inspired me to buy a 400, and I am in love. Might I expect to experience the same improvement you experienced using the EH 7868?
I would expect, based on my testing of NOS vs. new tubes, very good results. Alas, I have not listened to the EH 7868 so I can’t say a thing about them. The cost to try a pair is not chump change but it’s not a car payment either. Give it go and report back .
My best!
Peter
Can you give me info on the Sam Kim (modified ?) Luxman CL-34 ?
Sorry I missed your post RE the Kim mod on the CL-34.
Sam Kim went through the Lux several years ago. He replaced the linestage caps and power supply caps. When I recieved it, I tested it and found it a little hot on top. I let it sit for two years and then tested it again this past winter with various amplifiers. It was excellent this time around. Very open and detailed with a vast soundstage. Where did the hot top go? I dunno. The system was very different than before so you know the deal... it's all about mixing and matching to "get it right". My best, Peter
Hi Peter,
your room,
#1 are your speakers on a floating wood floor
#2 what have you experimented with under your speakers
#3 what speaker cables do you prefer paired up with them and why
Thx
P.S. I own a pair of MBL 101E's and have them paired up with VAC Sig. MK2a pre and Statement 450 mono blocks, front end is a TW Black Knight table with numerous arms and carts placed upon a MInus K platform, 1621a and AA Ref Tube dac for cd but almost all of my listening is vinyl when not listening to my MR-78 moded tuner.
Very good questions...
#1 yes, they are on a floating wood floor in a 1950s split level home.
#2 until last week, nothing but spikes. In anticipation of a new isolation/coupler/footer product I placed the 101E MKIIs on 18x24x2" spiked bamboo butcher blocks (thanks T.J. Maxx) and then placed the MBLs up on top with downward pointing tiptoes so I can make minute positioning adjustments. With the speaker risers in place the soundstage immediately exploded and the bass became much more tight and taunt. It was a very significant change, and to me... a major improvement.
The next day I was reading the Mapleshade catalog and I came upon a statement by Pierre Sprey who asserts that the floor itself (material and type) can be more important than the listening room dimensions (I'm quoting from middle age short-term memory). I agree 100% and I now see a new product category we can all obsess over... speaker risers for floor standing loudspeakers.
#3 I use Tara Labs Omegas and RSCs, they both offer reference level soundstaging with the Omaga's doing way better blacks.
Peter B.
Hi Peter,
"Last week nothing but spikes" ouch! your floor was most likely interacting like a trampoline causing all kinds of issues.
I can only imagine the difference sonic wise across the entire spectrum you are now achieving.
Sorry but can you clarify.
#1 you are now using a 2" thick bamboo butcher block?
#2 the butcher block it's self is spiked?
#3 what spikes are you using and how much do they raise the butcher block off your floor?
#4 You placed your MBL's ontop with downward pointing tiptoes, this is where I'm not sure what you did.
#5 did you use the spikes provided by MBL, if not what
#6 Are you saying when you installed the spikes from MBL that you have the ones in the back higher so the speakers are tilting foward?
#7 If so I have never tried this and don't know of anyone else who has or at least mentioned such, my understanding was that these speakers should be level
#8 the only issue I see is using that 2" thick material plus spikes is you have now changed the height of the speaker allot so you will need to compensate for such, possibly raise your seating poisition but if you are tilting the speaker forward and doing such has no negative effect this might do the trick.
Here are a couple of alternatives for under your speakers, Herbies isolation footers "large ones with titanium centre" and "Symposium Svelte in 19 x 21 size" one under each speaker. You could also try the Svelte Plus but they are thicker.
Peter and Dev, What footers would you recommend for 101's on concrete? I have Mkii's also and it is hard to understand them sounding better by putting them almost 3 inches off the floor. Can you comment?
Hi Cyrus,
I have found speakers do not like to be grounded on concrete, sound different. You do need to experiment to see what your personal flavor is.
In no order;
Sistrum SP1 platform
Herbies isolation footers
Symposium Svelte, 19 x 21. One under each speaker.
Peter, When you say in anticipation of a new isolation/coupler/footer product, do you know of a particular product about to be released? If so, can you tell us about it and who makes it?