By Michael Miguest
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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 of 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/ 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. FOCAL JM-LAB UTOPIA BE GENERATION II SPEAKERS ARE A HIGH-END AUDIO BARGAIN IF YOU CAN FIND A PAIR2/27/2017 By Michael Miguest
The one thing all Music Lovers should know with regard to ameliorating their high-end audio systems, is that one of the most important components are speakers. Your analog and digital sources are only as good as the electronics and the speakers they feed. Speakers are the final frontier between the music and your ears. An exceptional set of speakers combined with capable electronics will heighten your listening experience. Audio pundits/reviewers will have you breaking the bank purchasing a set of High-End speakers. Anyone looking to upgrade their High-End system's speakers might consider the generation II Focal-JMLab Utopia Speakers. In my opinion, this generation of their Utopia Line represents an incredible value now that Focal has its generation III Utopia line in the marketplace. In 2005, I purchased a pair of Focal-JMLab Diva Utopia Be speakers. These were a part of the 2nd generation of Focal's Utopia Be line. I use a Citation 1 preamp with a VTL Ultra-Linear Deluxe Stereo 90 power amp running GE 6550 output tubes. My tube components in combination with my Focal Utopia speakers exhibit the kind of clarity, transparency and finesse that envelops you in an inimitable musical presentation. Some of the most realistic sounds I have ever heard have come out of these Utopia Be speakers over the years. When I go to a concert, the music feels natural and beautiful and I experience a deep emotional connection.The Focal-JMLab Utopia Be speakers present music in a way that mimics a live experience. They are sonically (and physically) the embodiment of balance. High quality reproduced music will evoke a whole gamut of emotional responses. It is this simple essence that has made music so ubiquitous and indispensable to the human experience. It can calm or excite; it can elevate, transport or restrict, seduce, shock or enkindle. It holds in its power the whole range of human feeling and sonically superior systems will elicit this emotional engagement. If we look at the dynamic range of real life and real music, it can travel from the quietest whisper to the loudest most intense crescendo in a fraction of a second. Such massive swings are impressive and compelling, but what really matters is the speed of response, the ability to demonstrate the dynamic tiny shifts in energy that gives a voice or instrument its expressive power and its ability to communicate.The generation II Focal Utopia Be speakers deliver these essential qualities in SPADES. They simply and accurately convey the sound of real music. What separates the generation II Focal Utopia line from other contenders is: (1) Beryllium Tweeter: Beryllium is 2.5 times lighter than Titanium yet 3 times more rigid and propagates sound 3 times faster. Beryllium allows a single driver to accurately reproduce frequencies over 5 octaves from 1khz to more than 40 khz. (2) Focus Ring: The Focus Ring technology innovates by adapting a rare earth magnet of Samarium Cobalt which has a much higher Curie value. This very high Curie point compared to Neodymium makes it possible to preserve a comfortable safety margin against any risk of demagnetization. (3) Power Flower: The Power Flower structure matches shaped plates to a Multiferrite magnetic circuit and guarantees the maximum performance of the driver thanks to a significant reduction in magnetic losses. (4) "W" Cone: This Composite Membrane Technology uses a high tech structural foam covered by "glass" tissues. By varying the layers of glass tissue and the thickness of foam, it is possible to modulate the characteristics of the membrane avoiding the need to use corrective filtering elements. The sandwich "W" cone of the woofer is highly optimized over its range, in particular in terms of rigidity. This high rigidity allows the membrane to behave as a true piston reducing distortion to an absolute minimum. This results in exceptional dynamics free from compression even at high levels along with ultra low distortion and deep firm bass. (5) Focus Time: The focus Time design is curved to follow the principle that all drivers should be an equal distance from the listener. (6) Gamma Structure: This design insures maximum strength without restricting the movement of air within the interior. The speaker's enclosure reinforcements are designed to act as "wave guides" to prevent the risk of distortion caused by standing wave reflections reaching the rear of the cones. This results in a speaker with authoritative performance, superb dynamics and a more precise sound representation, free from the parasitic vibrations that can mask the detail within the reproduced material. (7) OPC: The Optimum Phase Crossover technology insures the phase between each of the drive units is perfectly matched which allows a loudspeaker system to produce a stable wave front of energy allowing it to reproduce a realistic image of a musical instrument. This translates into a sound that is extremely coherent with natural timbre. Imaging is extremely precise and at the same time dispersion wide so that the results can be enjoyed over a wide listening area. When you examine the many High-End Audio Speaker possibilities in the market place today, for example: Horns, Electrostatic, Planars, Ribbons and other conventional dynamic speakers, and their cost, in my opinion, nothing out there, including Focal's Utopia generation III series, can give you from a price/performance perspective what a "used " pair of Focal-JMLab Utopia Be generation II speakers can. Focal-JMlab Diva Utopia Be Surround Speaker System My next upgrade will be to either the ALTO or NOVA Utopia Be models. Like the Denon 103 and 103r cartridges that I love and are undoubtedly "Giant Killers", so too are a pair of depreciated generation II Focal-JMLab Utopia Be line of speakers. They both deliver a "Rightness" to the musical presentation. Any Music Lover contemplating a speaker upgrade to their existing High-End Audio system would be hard pressed to find any better High-End speakers with this exquisite quality, exceptional value, and absolutely superb performance. In my opinion, the generation II Focal-JMLab Utopia Be speakers, if you can find a pair, represents one of the best Speaker bargains in all of High-End Audio today. By Michael Miguest
Rolling vacuum tubes in tube equipment is a luxury that one does not have with solid state components. The ability to refine the musical presentation of your system is priceless. This factor in addition to a more organic, 3D sound, and a greater sense of where the recorded event takes place is why I prefer the glass. This Blog's objective is to give you a more profound insight to the ART of the roll and its affect on your system's resolution. Resolution is what separates the musically involving systems from those systems that merely reproduce sounds. The ability to be drawn into the recorded performance and feel the intent of the musicians as well as the moment is what allows you to enhance the level of your enjoyment of the music. Most music lovers equate resolution with accuracy. However, I define resolution as a function of the sum of musicality and accuracy. Accuracy in and of itself will never guarantee a musically engaging system. The Concise Oxford Dictionary defines music as "the art of combining vocal or instrumental sounds (or both) to produce beauty of form, harmony, and expression of emotion" (Concise Oxford Dictionary 1992). Tonality, harmonic tapestry, and decay are the elements that when combined with an accurate signal, will provide the emotional connection that contributes to a heightened level of musical satisfaction. My system consists of a VTL stereo 90 ultra linear power amp, a Citation 1 preamp, a Thorens 126 MKIII turntable with a Denon 103R cartridge, an Allnic AU 2000 Step Up Transformer, a Proceed CDD transport, a Monarchy NM24 Dac and a Monarchy AC Regenerator, and Sound Design Lab interconnects. Both my power amp and pre use 12at7 tubes. In my Citation 1 pre my phono stages use 4 Telefunken 12ax7 tubes and the line stage uses 2 12at7 tubes for input and 2 for output. In my VTL power amp, I use 4 GE 6550 power tubes, 2 1964 Siemens e81cc 12at7 input tubes, and 2 Gec A-2900 12at7 phase inverter tubes. In my pre, I had been using 2 1959 Valvo blue label pinched waist 6201 for the output and 2 Mullard CV 4024 for the input. The upper frequency range of my Denon 103R too often came up short on smoothness and could sound somewhat shrill on some LPs with this tube combination. This prompted me to roll some tubes to see if I could ameliorate this deficit. I removed the Mullard CV 4024 and replaced them with my Siemens e81cc. My Citation 1 was now filled with German tube accuracy. I now experimented with different pairs of British tubes to compliment my Gec A2900 tubes to sweeten and enhance the midrange in addition to smoothing my top end. After experimenting with some different Mullards in the input position of my amp, I still felt I could achieve a higher level of resolution. I found it in a pair of 1960 Brimar 4033 made in England tubes from Tubemonger Fine European and American NOS Audio and Guitar Tubes. Whoa! You know when it's Right. What a difference the Art of the roll can make in Resolution. Experiment with my theory in mind. By Michael Miguest
RANDY WESTON BLUE MOSES RANDY WESTON CARNIVAL/ LIVE AT MONTREUX 1974 By Michael Miguest
KEITH JARRETT LIFE BETWEEN THE EXIT SIGNS KEITH JARRETT STANDARDS, VOLUMES 1 & 2 By Michael Miguest
All of the following albums are on the DRAGON label and were recorded Live in Stockholm in 1960 and 1961. MILES DAVIS & JOHN COLTRANE THELONIOUS MONK QUARTET MILES DAVIS & SONNY STITT |
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