I have this friend, a smart, good-looking young physicist from Argentina. Naturally, I call him "Gaucho." He lives in a glistening-white steel-and-glass apartment overlooking lower Manhattan. I visit him regularly, usually with a group of audio friends, mainly to compare recordings, drink wine, and talk hi-fi.
One day, unexpectedly, Gaucho invited me over to listen to his system-just me-so that I could tell him what I "really think" of his system's sound.
His digital source is Roon into a dCS Rossini DAC and Master Clock. His record player is the latest SME 20/3 turntable with an SME V arm and a Dynavector XV-1s moving coil cartridge, which feeds a van den Hul Grail SE trans-impedance phono stage. These fine sources feed a 25W Kondo (Audio Note Japan) Ongaku integrated amplifier, which drives a pair of Avantgarde Generation 2 Duo Mezzo horn loudspeakers.
The day I visited Gaucho, it was snowing, and the big flakes swirling past his floor-to-ceiling windows put me in a pleasant, dreamy mood. While I sat on the white couch sipping black tea, he played three digital recordings followed by three LPs. I was listening mindfully but not critically, hoping to get a feel for the character of sound energy coming from the horns.
After the third black disc, he stopped and asked me quietly what I was thinking about the sound. I told him that the main thing I noticed was how all the recordings sounded equally nice, but that both digital and analog sounded strangely the same: ethereal, slightly generalized, and lower in density and contrast than I imagined they should. Had he ever noticed anything like that? He said, "No, but it sometimes feels like there are holes in the music. Not centerfill or soundstage extension-it's just this feeling that some notes have somehow disappeared."
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INSTANTLY ICONIC
AUDIO SALON HOST/ENTREPRENEUR/SYSTEM AND FASHION DESIGNER DEVON TURNBULL'S RECORD-BREAKING ART OF NOISE SHOWING AT SAN FRANCISCO MOMA.
Buckeye PURIFI EIGENTAKT 1ET9040BA1
Back in 2016,' I documented the rise of class-D amps using the early Tripath technology. Used in the Bel Canto eVo 200.2, TriPath cracked open the door to the High End but was never admitted due to a dim and opaque treble.
Moon 891
No less than eight boxes, powered by six after-market power cables, comprise my current reference front-end.'
Clearaudio Signature
The Clearaudio allowed each mix, each sonic artifact, to reveal its unique character.
Gryphon Audio Designs Diablo 333
What's in a name? Denmark-based Gryphon Audio Designs laid down a marker when company founder Flemming Rasmussen chose that name in 1985. Browsing through the current Stereophile Recommended Components list, I only found one other manufacturer that utilizes an animal moniker.
The Rega Naia Turntable. Add Lightness.
To watch as Rega very slowly expands its turntable offerings upmarket requires the patience of a Thomas Pynchon addict waiting for each new tome from the notoriously slow-working and reclusive author.
Phono Preamplifier Seduction
Give me the seduction, give me the pleasure,\" Ron Sutherland was nearly shouting into the phone. \"I want to turn off the analytical mind and just enjoy myself!\"
Record Player Revelations
Like romance or car racing, the act of playing records is tactile by design. Like drifting through curves or making out, spinning vinyl is a learned skill that requires users to touch everything with practiced assurance.
Taking Care of Business
As Jim Austin wrote in this space in the December 2024 issue, following a medical procedure that he had in mid-October, he needed to take several weeks' leave to recuperate. He delegated the magazine's production to Managing Editor Mark Henninger, AVTech Editorial Director Paul Miller, and myself. The three of us worked with copy editor Linda Felaco and longtime art director Jeremy Moyler to produce the issue you hold in your hands.
Estelon X Diamond Mk II
Taste is a funny thing. Love cilantro? Millions swear it tastes like soap.
