By Michael Miguest                                                                                                                                                                 

Last year I retired my Proceed CDD transport with a mint Mark Levinson 390S I found on ebay. The Proceed CDD was always tagged as the poor man's Mark Levinson. Feeding it to my modified Monarchy NM24 tube Dac, it provided me a formidable digital front-end for many years. However, the Mark Levinson 390S is on another level. The build quality, parts, and design are exceptional. The 390S has the HDCD decoder inside. It utilizes the 37 transport that in and of itself, is an inimitable  work of art. The 390S' sound when combined with my Monarchy NM24 Dac that uses two 1965 Siemens & Halske CCa tubes, and powered by my Monarchy AC-Regenerator set at 120 hz is very life-like, with full bodied, articulate, tuneful bass, an exceptional musical mid and airy, fluid highs with incredible 3-dimensional sound. It throws a wide and deep soundstage as it breathes the music and subsumes you in a more realistic. quasi analog presentation.

Let's talk HDCD which is the subject of this blog. This format is High Definition Compatible Digital. Professor Keith O. Johnson co-invented the HDCD technology with Pflash Pflaumer, and in 1996, they formed Pacific Microsonics to introduce the concept of high-resolution audio. In 2000, Microsoft purchased Pacific Microsonics and continues to incorporate HDCD technology into its PC offerings. Johnson now consults with Microsoft; his latest project, Speaker-Correction, uses modeled correction of speakers to improve computer sound and can be found in XP software.

In the midst of his work as a developer, Johnson's ongoing relationship with Reference Recordings gives “The Professor” a platform with which to engineer and experiment with loudspeakers, microphones and other equipment designs. To record renowned ensembles such as the Dallas Wind Symphony, Chicago Pro Musica and the London Philharmonic, Johnson uses some manufactured equipment — Tascam recorders, Microsonics Model 1 and 2 HDCD processors (he's admittedly biased) and a Neumann U47 here and there — but mainly uses gear he's either custom-built or extensively modified at his shop in Pacifica, Calif. 

 HDCD is claimed to improve Audio CD in two general ways. One is to increase the available dynamic range - from the 16bit standard of Audio CD to (a claimed) 20bits (Reference Recordings do 24 bits). This nominally represents an increase in dynamic range from around 90dB to 114dB. The other is to mimic a wider effective bandwidth and provide an audible effect that makes musical transients sound more like you’d hear using a sample rate higher than the Audio CD standard. It is important to bear in mind each of the various types of alteration it can apply are provided as options from a ‘menu’ that those recording/mastering a disc can choose to apply (or not!) when making a specific HDCD. 

The expansion of dynamic range is said to be achieved using two methods. The first is a form of soft limiting for musical peaks. The second adjusts the gain for long quiet passages of music to make the recorded sample values larger. This makes them bigger compared with the quantisation level. Effects like these may well be applied when recording and mastering anyway. But the key feature of HDCD is that it should embed ‘control codes’ into the audio data that an HDCD player can detect. They then tell it how to ‘correct’ the alterations done during recording and mastering the CD. 

The sound difference between red book and HDCD is not subtle. It is more dynamic, expansive, lively, beautiful. and 3-D. My connection to this digital presentation in HDCD is much closer to analog and as a result, listening fatigue and digital glare are markedly close to non-existent. The Reference Recordings by Professor Keith O. Johnson are exemplary and will go toe to toe with sacd or any other digital format.

In conclusion, it's ironic that this format which Professor Johnson co-invented in the mid 1990s is teetering on extinction. My thanks to Professor Keith Johnson and Reference Recordings for keeping this format on life support by continuing to record titles in this extraordinary sounding format. It's also ironic that not that long ago vinyl was in a very similar place and now is the De Facto standard of quintessential sound reproduction. This clearly brings to mind the old adage: "The more things change, the more they stay the same".

https://referencerecordings.com/

By Michael Miguest

​https://youtu.be/CHhqZaMsliA

By Michael Miguest

By Michael Miguest
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When my brother sold appliances, one of his most successful pitches was "Why not buy your last purchase first " ? Those customers with the financial where with all bought into the wisdom of his question and subsequently bought the high end: Sub-Zero, Wolf, Bosch etc...

This review is for Jean Nantais's Classic Lenco (Plain & Simple). I am no stranger to Jean Nantais' work. I reviewed his Reference MKIII in November 2015 Blog Archives  The Classic Lenco is the Turntable that started Jean Nantais' idler-wheel drive Lenco revolution and his subsequent Lenco evolution.

Jean's product range consists of (1) Classic (Plain & Simple), (2) Classic MKII, (3) Reference MKII (4) Reference MKIII, and (5) The Ultimate. Jean had been asking me to review his entry level Classic (Plain & Simple) and a collaboration between Jean and a client of his who lives close to Chicago allowed me to do this review at his home.

As I stated above, I had reviewed his Reference MKIII witch had his updated platter that features extreme accuracy in machining which takes speed stability to another level along with the sound of the alloy chosen for the platter, provides across the board sonic improvements.

Jean's client had a dedicated music room and his system consisted of all Heed Products http://heedaudio.com/. The Classic (Plain & Simple) had the Graham tonearm mounted with a ZYX 100 Ultimate cartridge that was only a month old. I must admit initially, my expectations were not high having reviewed the Reference MKIII. However, evaluating audio involves a certain amount of hearing through a system, placing things in context, in order to realize what it is you're listening to and the merits of that listening experience. Albums listened to for this review included: CHET Chet Baker, "88 Basie Street" Count Basie & His Orchestra, Still Live Keith Jarrett, Dreams and Daggers Cecile Mclorin Salvant, Soul Trane John Coltrane, The Emerald Forest - Original Motion Picture Soundtrack Junior Homrich, Brian Gascoigne, Ertha Kitt and some of his client's Hungarian music.

It didn't take long for me to realize that Jean's Classic (Plain & Simple) delivers a performance that was competitive with his Reference MKIII. In other words, a high-end turntable that delivers more bass control, greater detail, finer high frequencies, extraordinary imaging, a greater sense of timing, relaxation, and an even greater sense of naturalness at a price point that the greater majority in this hobby can afford. Jean's Idler-wheel drives provide the superior speed stability over other systems which leads to superior timing, PRaT and flow, transient speed (leading edge of instruments) which makes identifying different instruments in a mix easier as well as communicating a sense of a live event. 

Then there is mass: a high -mass wooden plinth (which absorbs without absorbing too much; and doesn't reflect like metal or stone) not only absorbs and kills off noise, thus lowering the noise floor as to once again make differentiation and identification of instruments easier, but also restores the full spectrum of bass. The wooden high-mass plinth restores all of the information, and therefore  doesn't appear immediately more detailed, because with full bass spectrum restored it yields a more natural sound closer to a live event. As you move up Jean's product line, the final element is the sound of materials. Each wood has its own sound (and yes, some woods sound bad) and every metal also has a sound, which increases detail, along with a full spectrum and an extraordinary sense of realism (the metal he chose for the Reference and Ultimate bearings he chose for this reason).

In conclusion, the Classic Lenco (Plain & Simple) is roughly $2500 base price and you supply a Lenco which Jean can help you obtain. Above the Plain & Simple is the Classic Lenco MKII, which has a better sounding plinth (different materials), better exterior woodwork, and shares most of the parts of the Reference Lenco MKII. It is priced at $3800 base price. Above this is the Reference Lenco MKII ($7250), which has a better plinth again over the Classic Lenco MKII, being the same plinth as for the Reference Lenco MKIII (which has a better chassis, bearing and platter than the MKII, and is priced at $12,000). Then finally the Ultimate. Any of his lower models can be traded towards his upper models so value is not lost ( you can trade a Reference Lenco MKII, towards an Ultimate Lenco). Bottom line, there are no tables at the price point of the Classic Lenco (Plain & Simple) which will compete. As my brother would ask, why not buy your last Turntable first?

By Michael Miguest                                                                                                                                                                      

https://youtu.be/uIi0xm_tlCU

By Michael Miguest

By Michael Miguest

"Good Vibrations" is a song composed and produced by Brian Wilson with words by Mike Love for the American rock band the Beach Boys. Released as a single in October 1966, it was an immediate critical and commercial hit, topping record charts in several countries including the US and UK. Characterized by its complex soundscapes, episodic structure, and subversions of pop music formula, it was the most costly single ever recorded at the time of its release. "Good Vibrations" later became widely acclaimed as one of the greatest masterpieces of rock music.[12]https://en.wikipedia.org/wiki/Good_Vibrations#cite_note-FOOTNOTECandelaria2014130-13


However, vibrations when it comes to your high-end audio system is unequivocally "Bad". This review is for Todd's Amcan Isolation Footers. There’s little to debate about the effects of unwanted vibrations in a high-end system. The audible annoyances of untamed vibrations in your system and listening room can wreak havoc on your entire listening experience. There are a plethora of isolation products marketed to audiophiles claiming to reduce, eliminate or drain vibrations from our audio components. From the utilitarian to the esoteric as well as from a few dollars to several hundred dollars, the options and combinations in the audio marketplace for consumers are almost endless. One of Audio Cognoscenti's missions is to identify and inform audio consumers about audio products that will provide the same efficacy or better than those that are priced at the high end of the audio spectrum, yet sanely priced. 

I have been using Black Diamond Racing Cones in my system since the late 1990's. At $60 for a set of 3, I found this tweak affordable. The cones came in the Mk.3 and Mk.4 versions which differed in material structure and manufacturing technique. Subsequent sonic differences also resulted. Neither was supposedly better or worse, they simply worked better in different situations. I experienced increased resolution and transient attack. My bass improved as my bottom end became tauter, better defined and more articulate. To say I had become use to my sound having used this product for almost 20 years would be an understatement.

Over these 2 decades, I read about other isolation products and Stillpoints in my opinion, emerged as the de facto vibration control product of the audio status quo. However, I could not justify this product's cost. In fact, I thought then and still think it is insane. At the same time, my curiosity was piqued by this product that ostensibly would be capable of affording me even greater performance than my BDR cones. I was adamant in my resolve to find a product as effective as Stillpoints with a price point that I was comfortable with.


I was attending a DIY audio group meeting with my very close audio/personal friend who introduced me to this group. We met Todd Kubon for the first time at this listening session. Todd had samples of his products along with a scientific perspective that intrigued me. I expressed my interest in doing a review of his brass footers and he gave me six to experiment with.


I decided to use Todd's footers under my tube Harman Kardon pre-amp and my VTL power amp. I started by replacing my BDR cones only under my pre-amp with Todd's footers leaving the BDR cones under my power amp. As stated earlier, I am very familiar with my system's sound and wanted to hear the difference if any with only the pre-amp using Todd's footers. I listened to my system this way for a week. Todd's isolation footers only under my pre lowered the noise floor allowing me to hear more of the subtle tone and body clues of the various instruments. I also noticed greater gain (enhanced power) along with a greater accuracy and a more detailed soundstage.


I then replaced the BDR cones under my power amp with Todd's footers. I listened to my system with Todd's footers under both my pre and power amps for another week. This combination resulted in greater tonal richness in the presentation of the body of the instruments. There was greater clarity and resolution of very low-level information. My bass dynamics were also improved. Very low bass notes became more audible and more defined. Notes seemed to stop and start more quickly which gave the presentation a greater dynamic agility which conveyed more of the musicians' dynamic expression with a wider, deeper soundstage and a more lifelike reproduction.


In conclusion, I removed Todd's isolation footers and put my BDR cones back under both my pre and power amps and listened for another week to confirm the differences I heard. No Contest! Todd's isolation footers were transformational with regard to my system's musical presentation. It was simply more natural and more musical with Todd's isolation footers.These audio isolation footers are CNC milled in your choice of 303 Stainless Steel, Brass, or pure Copper. The footers are then filled with proprietary silicone, which acts like a spring. The footers are designed to be used either with or without screws. When used without screws the weight of the audio component activates the isolator by compressing the silicone against the cylindrical steel walls. The resulting effect is a blacker, quieter, more accurate and detailed soundstage. This is known as Constant Natural Frequency Isolation (CNF)

​www.amcanaudio.com/
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By Michael Miguest



​Axpona also known as Audio Expo North America is North America's premier event for audiophiles and music lovers. Hundreds of dedicated listening rooms and table displays will feature the world's finest audio equipment. This 3 days audio expo is being organized by Audio Expo North America, LLC. The venue of this event is The Westin O'Hare which is based in Rosemont, Illinois, United States of America. The event will be held from 21 April 2017, Friday to 23 April 2017, Sunday. Axpona 2017 will showcase a wide range of products and services related to audio and music sectors from the leading exhibitors. The approximate number of exhibitors that will exhibit at this event is over 400. Over 5,000 visitors are expected at this audio expo. The frequency of Axpona is annual.

​​By Michael Miguest

There are only three elements to sound (phase, frequency and amplitude) and time coherence is smack dab in the middle of the phase element. This Blog's objective is to impart the quintessential importance of accurately dialing in the vertical tracking force of your cartridge which will enhance your listening experience by increasing coherency.



Coherency is defined as: logical and orderly and consistent relation of parts. If you have not accurately dialed in your VTF, you can still experience all the individual sounds in the right volume proportion with excellent attack and decay. However, it will sound as though there isn't a musical whole but rather many separate musical parts occurring more or less simultaneously and inexorably deprived of audio coherency.


This lack of coherency mitigates fooling the brain into thinking that you are listening to the real thing. When it is right, you simply forget that you are listening to the components of your system which allows you to relax and emotionally connect with the recorded event. This audio coherence provides greater focus giving instruments and vocals a higher level of delineation and more air around them in addition to longer decays. Pace, rhythm, attack, and timing are ameliorated portraying a more natural, involving realistic musical whole. The caveat: tiny changes can have quite dramatic effects on the sound, so proceed slowly and be prepared to work backward and forward around a mean point. I would recommend the VPI digital stylus force gauge from Bob's Devices  Stylus Force Gauge to accomplish this task. 



This begs the question why should VTF have such a dramatic impact on a system's musical performance? Although it’s impossible to be sure, my thinking is that it’s a function of the generator itself. As you adjust VTF you alter the cartridge-ride height and thus the angle of the cantilever. This in turn alters the relationship between the magnet and the coils around it -- or the opposite in the case of a moving-coil cartridge. Either way, the nearer the moving element is to the neutral position the more superior the musical presentation. Move it away from that point and both the suspension compression and the electromagnetic interaction will start to vary, damping the movement and altering the peak value of the signal generated. Get the moving element as near to the neutral position as possible and you afford it the ultimate freedom to react and the widest range of reaction -- which is exactly what it sounds like when you get the VTF spot on.




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