Author Archives: Paul Wilson

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Are Separate Components Really Necessary?

Posted on by Paul Wilson

When you look at any truly world class audio system, those typically termed as a “1%” system (six figures in cost and up), almost always will they be comprised by separate components. Very often, monoblock amps, separate preamps and other individual components populate these systems. 

In the more recent past, upper tier components such as amps, preamps and DACs are showing up with power supplies in a separate enclosure. Even DACs are now available as monoblock componentry. Naturally, these designs claim sonic benefits, but they also have two undesirable conditions – increased cost and storage considerations. 

Most audiophiles will either lack the resources, or the desire, to purchase a DAC that sells for $40K, $50K, or perhaps even more to reap the benefits separates claim to provide. Many audiophiles are not going to make a significant investment in an audio system, especially one that utilizes far too much space in the home. Yet they do want and demand superior sonics. 

So the question becomes, as the audiophile hobby progresses and technology improves, are separate components really necessary? Are they even required for premium sound? Can a one box solution provide a commensurate audio experience found with separates? 

I see this as an easy question to ask yet a difficult one to answer. 

In the early 1960s, as the proliferation of solid-state components grew, designers were certainly aware of the fact that circuit boards, transformers, power supplies and capacitors all vibrate and introduce electrical interference. “Common Mode Rejection” is not a term invented yesterday. Perhaps there was little done to alleviate such sonic degradation, but they knew it existed. 

Today, designers are absolutely aware of the debilitating effects hum and vibrations can have on an audio signal. It makes sense, therefore, that separate components were popularized – the need for sonic purity and excellence won out over convenience and cost. 

The evolution of high performance audio over the last fifty years has seen the hobby essentially divide itself into two categories – world class, or superior systems utilizing separates, and more budget minded systems with integrated components. At least to a point. 

What then, are some of the advantages of separate components? 

For one, sonic purity. Having separate components eliminates sharing common power supplies, transformers, capacitors and circuit boards. Furthermore, the chassis can be heavy walled and internally shielded so vibrational energy, be it internal or external, may be somewhat mitigated. 

There are also heat advantages as separating the amp from the preamp tends to enable cooler operation overall. And as the need for massive heat sinks are lessened, chassis weight is therefore reduced. Because there is not a common power supply and other related componentry, separates are typically not as suspect to vibrational energy bleeding into the signal chain. At least in theory. 

Perhaps less important, but seen by many as a notably essential condition, separate components offer the flexibility of mixing and matching various brands. This allows utilizing various features and benefits of one single component over another in a system. 

Some will point out that separates do a better job of sending a signal from the amp to the speaker. Additionally, there is perhaps increased freedom in amplifier selection because all components stand on their own – not interdependent on each other. Proponents of monoblock amps will appreciate the opportunity for a bi-amped speaker configuration and shorter speaker cables – both generally recognized as a sonic advantage. 

Integrated components have their own advantages, and their popularity is growing as the gulf between the two is not today as wide as it once was. 

Probably the two most important factors in choosing integrated components are space considerations and cost. Having, in some cases, a “one box solution” means lower cost and if space is a problem, well, the benefit is obvious. I cannot even begin to imagine what I would do, or where I would put my system if I did not have a dedicated audio room. My audio rack would never fit in my den and more to the point, it would look silly being there. 

There are also design benefits. Integrated components have a shorter signal path which is theoretically advantageous. And because it is a one box solution, manufacturers can design the overall component for maximum performance. Power supplies and capacitors have vastly improved in quality over the last twenty years. 

And in what is almost certainly seen as a happy coincidence, utilizing integrated components means fewer connections and therefore fewer audio cables. 

No longer are integrated amps, preamps and DACs simply a budget oriented stereo component potentially shunned by audio purists. Manufacturers have awakened to the fact that consumers are very desirous of the convenience and space considerations integrated components offer. Consumers are not, however, willing to sacrifice sonics to enjoy the ancillary benefits integrateds provide. Basically, they want both – performance alongside convenience. 

Very often, many audiophiles are willing to pay for actually having both. 

I have seen integrated amp / preamp / DAC components sell in excess of $50K. While they are also technically a one box solution, small and compact would never be an accurate description of their size. Many such solutions are large, quite heavy and require proper support – very often more than a typical bookshelf might provide. No one wants their $50K stereo system crashing to the floor in the middle of the night. 

In fact, I have listened to several such systems, and I must admit, some sounded surprisingly spectacular. Matched with a proper speaker system, and a sonically advantageous set up, these systems can potentially deliver exceptionally high-quality sound. 

I have also seen integrated systems that are quite affordable yet also deliver a satisfactory cost to performance ratio. Affordability and performance are more readily available today than perhaps any time in the past. 

Looming in the fringes are the afore mentioned audio purists. They will always eschew integrated components because for years the common belief has been “those” systems are not up to the challenge sonically. In short, separates will always outperform integrateds in terms of creating what I like to call an “oh wow” moment.  

There is also the “wow factor” of walking into a room and seeing a large rack full of audio equipment. I must admit it can be quite impressive. Audiophilia, however, has moved into a new era in the last decade or two. Dedicated audio rooms are not so prevalent today. One box solutions can also deliver an “oh wow” moment. 

No longer is it necessary to have twenty components in a massive rack to enjoy a finely reproduced recording. Maybe the threshold has been lowered or cost has forced more people to lessen their standards. It’s hard to say. What I do know is integrated components are far more widely accepted now than perhaps ever before. 

As for me, well, call me what you will. My system will always be separates. What can I say? Maybe I’m just too much of a purist. 

World News

Friday New Music

Posted on by Paul Wilson

Swift Silver Self – Released

You are correct, there is no title for this release and yes, I was wondering why myself when I first played this CD. I suggest not getting too encumbered by the lack of a title because the music makes up for that quite well. Comprised of the duo of Anna Kline and John Looney, this latest release from the Kentucky pair is a remake, in a way, of Southern music. Kline wrote eight of the nine tracks, and one is a cover. She also performs on each in both vocal lead and harmony roles. Her voice is neither strained nor relaxed, it simply works well within each song. Obviously, she has crafted each track to fit her vocal abilities. This is Southern music and by that, I mean there are hints of blues, rock and folk all mixed up together in one carry out bag. Blending seamlessly is Looney’s lead guitar with brothers Kenny and Hayden Miles on bass and drums, respectively. Each song tells a story, as finely crafted yarns should be, and each song has some measure of Southern roots. Like good Kentucky bourbon, Swift Silver is meant to enjoy. 

Overall: 8

Sonics: 8

Jack Grace Band – “What A Way To Spend A Night” Radia Records

Brooklyn, NY native Jack Grace felt he needed a change, so he packed up his guitar, suitcase, and his dreams and headed to England. Performing around the UK, he, along with Fabian Bonner (bass) and Ian Griffith (drums) wrote and performed new material as quickly as their tour dates changed. This latest release is a collection of songs from their travels that were arranged by four-time Grammy winner J. Walter Hawkes. There are tracks on the more comical side, like “The Monster Song,” and “I’m a Burglar.” There are more serious tracks as well. All eleven tracks are mostly folk stylistically but there are also hints of rock and blues. I was particularly impressed how a horn section was interwoven into a style where horns are not commonly used. There are one or two upbeat songs, but this is music more on the melodic side and having horns is somewhat unusual. Make no mistake, they are arranged so well that the songs would seem shallow without them. All in all, this is wonderful music that does what all folk music should do – tell a story. 

Overall: 8

Sonics: 8

Billy Test Trio – “Coming Down Roses” ATM Records

Born in Pennsylvania, Test is the current piano chair in the Grammy winning WDR Big Band in Köln, Germany. He is also a composer, arranger, performer and educator. “Coming Down Roses” is Test’s debut as a bandleader. His trio consists of Test on piano, Evan Gregor on bass and Ian Froman on drums. Test wrote all but Tracks One and Seven – Cole Porter’s “All Of You” and John Coates, Jr’s “The Prince.” The remaining seven tracks are all originals. This is a work of traditional jazz all performed in a mostly slowed, rather melodic style. It is also music that is quite reflective in its delivery. Test has a master’s degree in music and his skills in arrangements are evident. I am always impressed when a trio sounds much larger than just a band with three instruments. And in this case, that is what the listener will hear. Piano, bass and drums blend together so well, I got the impression there were actually more instruments than there really were. 

Overall: 8

Sonics: 8

Alex Martin – “Folk Songs, Jazz Journeys” Pajarito Verde Music

Question – what do you get when you combine the musical styles of the Brittany region of France, rural North Carolina, Latin America and Prince George’s County, Maryland? Answer – you get the latest release from Alex Martin. Written and mostly recorded during the Covid shutdowns of 2020, Martin and some of DC’s finer musicians put together what may be best described as a traditional jazz, folk, Celtic and world music release of songs that combines music from various parts of the globe. Martin either wrote, co-wrote, or arranged almost all the eleven tracks. Each of these tracks are all part of Martin’s journey and represent the various musical styles he has heard along the way. This is music to which the listener might reflect and think about their own musical journey. 

Overall: 8

Sonics: 8

Tenth Mountain Division – Butte La Rose Self – Released

My first thought when I picked up the new release from “TMD” was that the cover art looked like the Louisiana Bayou. In fact, there is a Bayou State connection. Butte La Rose is where the Atchafalaya River switches course. And if you have ever seen the swamps and bayou sections of Southwest Louisiana, you will be able to appreciate the correctness of the cover art. Hailing from Colorado, TMD’s latest release is representative of songs found in the mountains combined with a Louisiana Cajun style that is both reflective and high octane. Several of these songs reminded me of listening to live music in open air festivals in Lafayette, LA where the music was roaring like a burning fire. Other tracks were slower and they all tell a great story. Track number three, “Highland Morning” was my favorite. This release has it all, rock, folk, country, great guitar riffs, horns, energy, politeness, and the pervasive feeling of a group of musicians having a really great time. Their third release, I look forward to discovering other music from the Colorado guys whose name sounds like a combat unit. 

Overall: 9

Sonics: 8

Steve Goodman – The Best of Steve Goodman Omnivore Recordings

Steve Goodman is perhaps best known for his most recognizable song – “City Of New Orleans.” Covered by various artists, it was initially popularized by Arlo Guthrie but also covered by, among others, John Denver and Willie Nelson, whose version even won a Grammy. A Chicago native, Goodman also wrote the Cubs theme song “Go Cubs Go.” Sadly, and tragically, Goodman died in 1984 at age 36 of leukemia. I cannot help but wonder what wonderful music he would have created had he not been unfortunately taken from this world. I first became a big fan of his in the mid to late 1970’s. His music could be quite serious in nature, but he also had a whimsical side and wrote about subjects that were a comical look on everyday life. One such song is “Death of a Salesman” from the album “Words We Can Dance To.” He also knew how to liven things up as demonstrated on the song “Mama Don’t Allow It” from the album “Jessie’s Jig and Other Favorites.” “The Best of Steve Goodman” is a compilation of his more celebrated tracks and includes studio recordings, live tracks and demos. There is a picture of a very touching note from Johnny Cash on the inside of the CD jewel case. While I enjoyed, and will continue to enjoy, this best of collection, it is the totality of work in a few, all too short years that comprise Goodman’s legacy. Any fan of Steve Goodman will certainly recognize each of these nineteen tracks. They serve of a reminder of what was and what could have been. I will choose to look at them as a celebration of a life, and, an example of the simple pleasure of a great song by a master craftsman. 

Note: This work will be released on November 5th. Sample tracks are not available until that time. 

Overall: 10

Sonics: 8

World News

Deciding On Which Loudspeaker To Use In An Audio System

Posted on by Paul Wilson

An audio system is, at the lowest common dominator, merely nothing more than a collection of parts. Specialized parts to be sure, but regardless, a total systemic approach is needed to complete the intended task – play music. 

What remains as the most difficult in the decision-making process is deciding on how to go about assembling the various components, speakers, cables and storage solutions required to sit in a chair and enjoy a song. Needless to say, there are many opinions, disagreements, and confusion surrounding which component to choose, how best to partner that choice with something else, and well, just about everything. One of the more difficult choices are speakers – the only part of an audio system that converts an electrical signal into music. 

When we look at the width and breadth of available choices in selecting speaker systems, how anyone ever decides on anything seems incongruous with the actual decision making process. With so many choices, options and sonic presentations, actually saying “I want that one” belies the difficulty in reaching any measured conclusion. 

Overwhelmingly, dynamic speakers are the most popular type of speaker system. They offer relatively easy set up and excel in a cost to performance ratio. Most dynamic speakers will perform very well in a wide variety of component variations – such as pairing them with tubes, solid state, low wattage, high wattage and so on. 

However, forgiving though they may be, dynamic speakers are often not correct for the room in which they are housed. Most commonly, small stand mount speakers are put in a room whose dimensions are too large for the speaker’s capabilities. This may easily result in poor performance and the always dreaded blown driver. 

This is the opposite of another condition – placing a large set of floor standing speakers in a room decidedly too small for an adequately employed set up methodology. Large, floor standing speakers prefer large rooms. It is always a wise suggestion to pair the speakers to both the system and the room as well. 

There will be those who will eschew dynamic speakers in favor of another popular type – ribbon type speakers better known as planar transducers. 

Rather than using the cone and magnet type construction used in dynamic speakers, ribbon speakers use two strips of a material, normally thin aluminum, suspended between the north and south poles of different magnets. When the signal electrifies the magnets, the aluminum strips vibrate, thus moving air and producing sound. 

Because of much lower mass, ribbon type speakers are normally capable of producing exceedingly clean, low distortion, less congested, and accurate musical presentations. They are not, however, without their faults. 

Because of low mass, ribbon type speakers normally require significant amplifier power. Because they are di-pole designs, or they radiate sound from the front and back of the cabinet, planar speakers are very often difficult to position in a room. Additionally, to sound their best, ribbon speakers like to be placed well into a large room.

If the listeners available space is a small great room requiring the speakers being placed close to, or against the front wall, getting the most from a ribbon speaker may be difficult. Proponents of ribbon speakers will always side with the amazing clarity they are capable of producing and find little fault with their shortcomings. 

Somewhat closely related is the electrostatic speaker. Rather than using thin aluminum ribbons, electrostatic speakers typically use strips of a plastic material such as Mylar® stretched between two stators. The membrane is charged with high voltage, relative to the stators, and when a musical signal is applied to the stators, an electrostatic field results. These electrostatic fields cause the membranes to vibrate thus moving air and producing sound. 

Like planar speakers, electrostatic speakers can be amazingly clear and accurate. Proponents of both planar and electrostatics very likely appreciate this fact the most. 

On the downside, because electrostatic speakers do require voltage to energize the plastic strips, they must be plugged into an AC wall outlet. Like planar speakers, electrostatic speakers are bi-pole and are typically more difficult to optimize in the room for the best sound. 

Also like planar, their low sensitivity generally requires high wattage amps and they too like to be placed in large rooms. Lastly, bass response is very often compromised because the plastic strips and stators simply cannot generate low, powerful bass. As such, it is very common that electrostatic speakers augment low bass with a subwoofer. Very often the sub is housed in the bottom of the cabinet. 

There are numerous other types of speakers. Horn speakers, for instance, are very efficient and can play obscenely LOUDLY. There are dynamic speakers with both ported and sealed enclosures. Plasma drivers and all different types of hybrid designs. 

In short, all speaker systems do certain things extremely well. Some are easy to use, others are amazingly clear. Some are an absolute nightmare to correctly position, others still are far simpler. 

Another fact is when a speaker system, regardless of the design, creates an “oh wow” moment, the higher degree to which that is accomplished usually means one thing – increased cost. 

Choosing a speaker system is best done in an all-encompassing manner. Everything must be considered – attributes and shortcomings as well. If a very clean, superior transient response speaker is desired, understand what is required to make that happen. If a more user friendly, one size fits all speaker best fits the bill, know that some sacrifices may be expected. 

Speakers are the most personal part of the audio system. They are the most visible and very often the first part of the system seen when entering the listening space. Having the right speakers based on the type of sonics produced, complemented by an appropriately sized room and speakers large or small enough to optimally fit will greatly enhance the listening experience. 

We all have our own preferences. Whether dynamic, planar, electrostatic, horn, whatever the choice may be, all audiophiles should welcome the wide availability of speaker designs. While an absolutely perfect speaker does not exist, the wonderful part of the audiophile hobby is there is something to please almost everyone. 

The trick is simple, deciding which one. 

World News

Stories Told By A Music Library

Posted on by Paul Wilson

Music and stories told go together like cake and ice cream. Much of the music that really speaks to me has a great story contained in the lyrics. Not always is the story readily evident. Quite often, I find myself doing a little investigating to discover the actual meaning behind a song. 

In this instance, however, songs, and their meanings, are not the salient point. I was looking recently at my LP collection in the hope that an album, any album, would speak up and yell “play me!” For a couple of minutes, I aimlessly looked through the titles when I was suddenly struck by something. 

Many of these LPs are themselves a story in my own life.  

My first purchased LP, and the one album I have played more than any music I have ever heard, was Jethro Tull’s eponymous work, “Thick As A Brick.” I have multiple versions in both digital and analog. Every so often, I get the pristine LP copy from the rack, clean it, put it on the turntable, close my eyes and enjoy. It would not be a real stretch to say this one album, first heard when I was 15 on my best friend’s, older brother’s all McIntosh system, is the reason I became interested in the audiophile hobby. 

Another album, AL Stewart’s “Year Of The Cat” contained the song “Flying Sorcery.” This album really brings back memories. I had hopelessly fallen for this girl in high school. My affection, as is so often the case, was predominantly one sided. In other words, she couldn’t be bothered. 

When I first purchased “Year Of The Cat” and heard “Flying Sorcery,” I immediately thought of this girl. Who knows why one reminded me of the other. I even rewrote the lyrics to proclaim my angst for her complete indifference towards me. Yeah, I was struck pretty hard. 

Soon enough, the school year was over and my attention turned towards other matters of importance. What is really notable about this is I can almost completely remember my version of the lyrics when I hear “Sorcery” played. What I cannot seem to recollect, to any measure whatsoever, is the girl’s name. I’m drawing a total blank. 

Is this perhaps an underscore of the power of music? Regardless, it is a story of which I am reminded each time I pull “Cat” out of the LP rack. 

I also remember, shoulder length hair and all, dancing around my bedroom and switching back and forth from the air guitar to the microphone, aka hairbrush, while listening to Deep Purple “Made In Japan.” I also, very vividly in fact, remember my Dad throwing open my bedroom door while simultaneously yelling “turn that thing down!” That happened quite often. I am confident I am not the only adult, when 15 or 16 years old, had a similar occurrence. 

I also wish my Dad was still alive to yell at me for playing music too loudly. Moreover, I now remember those long ago times with great fondness. 

One of my early LPs came about through what might charitably be described as petty larceny. I was an after-school stock boy at a local drug store who also sold albums. I was responsible for applying price tags and putting merchandise on the store shelves. 

When I saw Bruce Springsteen’s “The Wild, The Innocent and the E-Street Shuffle,” I knew I had to have this LP in my collection. My one enduring problem was I could in no way afford it. Part time stock boys are sadly not well paid. 

Another part of my job was taking out the trash to the big dumpster behind the store. Yep, somehow this album found its way into an empty box destined for the dumpster. After work, it was an exceedingly simple matter to retrieve it and walk home. No one, not even my parents, was ever the wiser – except of course, me. 

I still remember my illegal act every time I hear any song from this album. Is this, perhaps, an underscore of the power of music?   

Being a product of the 70’s, and remembering the Vietnam war all too well, quite a few of my LP’s represent a protest of a time when war was in the forefront of so many minds. Perhaps most notable for me are actually two albums, Marvin Gaye’s landmark “What’s Going On” and “Woodstock,” a concert, and an album, devoted to “three days of peace and music.”

In fact, quite a few of my LPs affected me musically. I made the transition from heavy metal to jazz and R&B because of groups like Chicago, Blood, Sweat & Tears, and Earth, Wind and Fire. 

Music may have even influenced how I dressed. In the 70’s, my friends and I listened to mostly the same artists. Those artists, so prevalent at the time, very often wore tie dyed T-shirts and bell-bottomed pants. So then, did I. Of course, dressing the way I did may have been a compliance with how young people of the day dressed. It was, after all, the 1970’s. Was music the real influence? Hard to say. What is absolutely true is one coincided with the other. 

My music library contains many vivid memories. Some of them are cherished occurrences, some are not. I look fondly today at those times so long ago now only a memory. I think of how music has for so many years been a part of my life and influenced many of my life’s events. 

Perhaps this is what music is really supposed to accomplish. We talk often about the emotional connection music provides. What we seldom discuss is the timeframe in which those connections occur. 

I now look at my music library, especially my LP library, in a completely different light. I remember both with fondness, and every so often melancholy, the stories my LP library tells. My perspective has been indelibly changed by these realizations. 

Best of all, it’s now much easier to find an LP to play. I no longer need wait for an album to yell “play me.” Now, they all have a story to tell. I’m better for it and I would not have it any other way. 

World News

Audio Dream Systems – Reality or Fantasy?

Posted on by Paul Wilson

What is your dream system?

Such was the question posed on a web site I was recently reading. Certainly an interesting question because it is quite normal to want something we do not, or quite possibly cannot have. For instance, how many audiophiles can realistically afford a half million bucks for only a turntable or set of speakers – to say nothing about the rest of the system?

I really expected to see lists of dream systems easily eclipsing seven figures in total cost. I mean, if we are going to dream, dream big, right? While I was perusing the many replies to the central question, I was also pondering what my dream system would be. And I “gotta tells ya,” I am thinking way differently than almost all those responders. 

I call them “what if” lists. What if I could have(?) – fill in the blank. While nothing more than daydreaming, for most of us it is a simple, harmless way to pass time. Pondering about what could be. For others, however, it is an inspiration to work harder, invest more smartly and increase how much money might be earned all in an effort to afford better things.  For most people, it’s a matter of perspective. 

From my own standpoint I’m running headlong into the end of my career, not the beginning so my what if lists are simply for fun. Besides, I’m basically happy with my system specifically and my life in general. That said, it sure doesn’t hurt to dream. 

What I found so surprising were the number of responders who had, from my initial opinion, far too lowly goals. There were more than a few who only wanted a basic audio system. Quite a few wanted what was more of a home theater system than a 2-channel system. And while my what if system would only and exclusively be 2-channel, I fully realize many do not feel the same way. Which is perfectly fine. 

Anyone who appreciates, for instance, sports cars may dream about owning what is commonly called a “hyper car.” Names like Ferrari and Lamborghini may come first to mind. But wait, now, if we are going to dream, let’s dream big, right? I’m tempted to dream for something like a Koenigsegg or a Bugatti La Voiture Noir. Needless to say, with a price tag of $18,905,235 USD, the Bugatti takes dreaming big to a whole new level. 

However, is there really anything demonstrably wrong in thinking about roaring down some country road in a 1500Hp car that costs almost twenty million dollars? Is it equally a waste of time to imagine sitting down in a listening chair and playing a song on a two million-dollar audio system?

Take the TechDas Airforce Zero turntable. All tricked out, with tonearm, cartridge and a suitable rack for a turntable weighing in at somewhere around 800 pounds, one could hardly deny this represents a serious commitment to the audio hobby. To say nothing of deep pockets. And it is a foregone conclusion very few of us will ever in ten lifetimes have the ability to purchase a $500,000.00 (more even after adding all the accessories) turntable. Even those of us who can quite likely will not even want one. Is it therefore a waste of time to consider the possibility of such a device in a home audio system? 

What about dreaming for something more realistic? Maybe the next logical system goal is to upgrade the $600.00 turntable to one that costs – tonearm, cartridge, and all, say $2000.00. If that is more reasonable, and something moderately achievable, is that a better use of a what if? Could that also explain why so many of the responses I saw to the central question first seemed to me like they were not aiming high enough? Could they possibly be dreaming about something they actually could make a reality? 

A friend of mine once asked me how much would be required to spend for a “decent audio system.” All he really wanted was something better than a smart phone or one of those round things that play music when told. He wanted to be able to enjoy a favorite song and a glass of wine with his wife from time to time. What a fantastic use for an audio system! 

I told him about $1500.00 (brand new, retail cost) would do so but if he really wanted something nice, $3000.00 to $5000.00 would substantially up the game. I then told him the average cost of a high-performance system was somewhere between $12K and $15K. He was shocked. “For a stereo system” he incredulously asked? I replied, “you’ve seen my system, right?” His answer – “yeah, but I know you’re crazy. I’m not!”

For some, the idea of a $5K audio system is preposterous. A complete and total waste of money. For others, $5k won’t even buy a phono cartridge. It really is a matter of perspective. 

A reasonable question would be what is the difference between planning or simply daydreaming. If our desire is to go from a $600.00 turntable to a $2000.00 one, is that really dreaming or a planned future event? No matter how much I might want a Bugatti, even the inexpensive by comparison one that sells for about $2 million, I’m never going to own one. But an upgrade that represents something far more achievable – maybe so? 

There is certainly no real harm in thinking “what if” as it applies to what our audio system could look like. Perhaps, for many of the responders, going from a $600 turntable to a $2000 one is something more allied with fantasy than reasonable reality. For others, it might not even register. 

And while my dream system, and I am definitely dreaming big here, would easily eclipse $2 million, I fully realize the hubris of such a system. Nothing, however, says I cannot have a wish list. 

And finally, Bugatti has even sold one or two La Voiture Noir sports cars. See, dreams do come true. 

World News

Five New Smooth Jazz Works

Posted on by Paul Wilson

Of all musical genres, smooth jazz, or sometimes called “contemporary jazz,” is my go-to favorite. When I want to become completely enraptured in music, this is what does it for me. 

Born in the early 1980’s, and most will agree in Southern California, smooth jazz had as it’s early pioneer’s artists like George Benson, Kenny G and Spyro Gyra. Soon enough, artists like the Rippingtons and Dave Koz (and many others) took this new sound nationwide and beyond. Others likewise followed and a new genre was born. Today, smooth jazz is enjoyed worldwide. 

I have reviewed five new works by some of today’s better known smooth jazz artists. All these works were released in 2021, one even being released in September of 2021. I have spent considerable time with each, and I highly recommend them all. 

In my normal reviews, I give a separate rating for overall and sonics for each work reviewed. I’ll change that slightly this time and say that musically, I rate each of these works a 10 and all are well recorded so sonics will not be a problem. Those who prefer a number for sonics, think 8 out of 10 at a minimum. 

If you like smooth jazz, I enthusiastically recommend giving these five works a try. If you are new to smooth jazz, or are perhaps looking for a new sound, smooth jazz with its R&B styled, funky beat is sure to get those toes tappin. It would not be incorrect to say these five new releases are among my favorite music of 2021. 

Vincent Ingala – “Fire & Desire” Shanachie Entertainment

Connecticut born, California based Ingala is something of a musical prodigy. He learned to play the drums at age four. A few short years later, he had learned, basically self-taught, the guitar and the saxophone. He released his first full length album at age 17 and essentially wrote and produced all the tracks. Oh, and he almost exclusively played each instrument himself – something he has consistently done on each of his seven releases, including “Fire & Desire.” Nine of the ten tracks were written and produced by Ingala with “Disco Sax” being a cover of Houston Pearson’s 1975 original. Of the ten tracks the pace ranges from moderately mellow on several tracks, to mellow and soulful on two, and really burning down the barn on three or four. Ingala knows all too well how to light things up. He does so to a magnificent degree and throws in some more reflective tempo on “Fire & Desire. 

Adam Hawley – “Risin Up” MBF Entertainment

Say smooth jazz to me and I think saxophone. Guitar, well, not so much. There are, however, exceptions and Adam Hawley certainly qualifies. I have all of his works and each one, including “Risin,” are standouts. His fourth release, “Risin” is a follow up to the 2020 chart topping “Escape,” which itself produced three No. 1 singles. Most notably, “Risin” was recorded during the height of Covid which left a lot of time to try different sounds. Hawley manages to weave a horn section throughout almost the entire work yet keeps a guitar centric theme. Music moves along effortlessly and whether more on a soulful side, as on Track 5, “On The One,” or up beat and fast paced like “Gotta Get Up,” there is something for everyone to enjoy. Hawley has become one of my favorite artists and “Risin Up,” like all his works, is magnificent.  

Steve Cole – “Smoke + Mirrors” Artistry Music

Like many 2021 releases, the latest from jazz saxophonist Steve Cole was recorded remotely. Because of Covid restrictions, the artists recorded their tracks and emailed them for final mixing and production. On the positive side, there were any number of jazz luminaries available to contribute since they weren’t traveling anyway. Cole delivers his amazing sax prowess through slow, melodic tunes, medium tempo tunes, and ‘burnin down the house’ tunes. Of particular grace is Track 3, “Wayman,” a poignant tribute to the late NBA star turned smooth jazz bassist Wayman Tisdale. Cole played on Tisdale’s 2001 release “Loveplay” and calls him an “inspiration.” “Smoke + Mirrors” is representative of what Steve Cole does best, make remarkably enjoyable music that can be listened to repeatedly. I know this is true because I have done exactly that. 

Jeff Lorber Fusion – “Space-Time” Shanachie Entertainment

“The Funkiest Man In America.” This is how Lorber was once described. And while he has seemingly moved on from just his name to the addition of the “Fusion” moniker, Jeff Lorber still delivers a dose of light it up, high octane fire when he so chooses. On “Space-Time,” his latest release, he makes such a choice quite often. Only Track 9, “Day One” is more on the more mellow side. One of the more notable tracks is “Chick,” a tribute to the late, great, Chick Corea. Even that one basically sizzles. Of course, given Lorber once put out a release called “Kickin It,” and his “funky” nom de pleur, setting music to blaze seems to be in his DNA. I, for one, could not be more excited that he does. I have all his releases under both names, and he has never wavered from that high energy, up-tempo, wide-open, funky, R&B inspired sound. If you like music that will prompt you to get up and dance around your listening room, this is one that will make it happen. 

Dee Brown – “Deep Secrets”   Innervision Records

Released on September 3rd, the fifth release from smooth jazz guitarist Dee Brown is primarily a tribute to his late Mother. Making things even more difficult were the Covid restrictions in place during recording. Because of modern technology, this was overcome by remotely utilizing individual tracks emailed in for final production. “Deep Secrets” is so named because of Brown’s deeply held religious convictions. Such is evidenced in Track 7, “Praise Is What I Do.” Brown also was able to utilize jazz titans Blake Aaron, Darren Rahn and Nate Harrison who assisted with the final mixing and production. Musically, “Secrets” is exceptionally well written and produced. It contains noticeable elements of soul and R&B. Track 1 flows seamlessly into number 2 and then to 3 and so on. Before you know it, the 11th track is finished, and you feel good inside. This is my first exposure to Dee Brown. Given what I heard here, it will certainly not be my last. 

For all you smooth jazz fans, I encourage you to give these works a listen if you have not already. And maybe, for others, they will help introduce a new style of music – one that might be enjoyed on those days when music is the only worthwhile endeavor. 

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What Kind of Audiophile Are You?

Posted on by Paul Wilson

Merriam Webster defines the term “audiophile” as “a person who is enthusiastic about high-fidelity sound reproduction.” If you check out the “Audio Glossary” by J. Gordon Holt you will find the following: “anyone actively interested in high quality sound reproduction.” Look through any of the nine million search results I found on Google and the answer is about the same. In short, audiophiles like music to sound spectacular. 

Terms like high quality and high fidelity are decidedly prevalent. 

Being, I completely realize, perhaps somewhat over-analytical, I find a disconnect in any of these definitions. My issue is how do we define “high-fidelity” or “high quality,” or any similar description, and incorporate that into describing the term audiophile? 

We can claim we strive to make our music true to the recording. However, in only but exceedingly rare instances were any of us actually in the studio during recording. Because we were, in fact, not, how then do we make an accurate comparison? How does one audiophile know if their musical portrayal is more or less accurate than another system’s presentation? How are we to ever know if what we hear musically is consistent with what the studio recorded? Answer – we can’t. 

There are many ways and devices to play music. An Apple iPod sells for about $200.00. A home theater processor may be purchased at a big box store for as little as approximately $600.00. In our own niched hobby, it is entirely possible to put together a system many would classify as “high end” for roughly a $1000.00. If we strictly limit ourselves to most published definitions of audiophile, such as the two previously mentioned, any of these devices could conceivably apply. 

What about those systems we call 1% systems? You know the ones; they sell for insane amounts of money. Low to mid to upper six figures. Maybe even seven figures. How well do they compare to a studio recording? Answer – there’s really no way to know unless you were there at the time of the recording – which was not the case. 

System cost has no real bearing on an accurate and intimately informed comparison to a studio recording. I would submit system cost has likewise little association to what constitutes “superior sonics.” 

The real disconnect in this is how each individual music enthusiast defines how music is supposed to sound. Will an iPod sound as good as the big box receiver? Most of us will likely say no, it will not. Will either of them sound as musically fulfilling as the $1000.00 put together system? Probably depends on how “high quality” as it applies to music is judged. But off hand, I would think most “audiophiles” would again say no, they do not. 

Manifestly, judgments of superior sonics are individually based. 

Like many audiophiles, I enjoy reading a variety of web sites. I was intrigued by a comment on one site where the responder began by declaring “I AM NOT AN AUDIOPHILE.” His was certainly a defiant tone. Confusingly enough, this responder then described in great lengths what had been done to his audio system to enhance the sound. Reading the description sounded like something created by a Frankenstonian mad scientist. I had visions of wires and things strung all over the room. Sort of over the top for a person who was categorically not an audiophile. 

So, if you do not classify yourself as an audiophile but you are indeed highly interested in superior sounding music, what are you? How can anyone not be an audiophile yet go to great lengths to ensure recorded music sounds better? Such is the conundrum I find so puzzling. 

It seems, therefore, consequentially illogical that adequately answering this question has anything whatsoever to do with system cost. Take one audiophile who has an investment of $2500.00 in their system. They laud over and are completely mesmerized by the sonics produced. I would submit this applies to quite a few music lovers and systems. 

Conversely, consider a person with a system whose cost is $500,000.00. Setting aside any preconceived notions about the logic of such a large investment, would not the owner of that system be equally mesmerized as the person with the budget system? Could the owners of either system definably be considered as being “enthusiastic” about high-fidelity sound reproduction?”

What then should be said about the person with a “2 Ben” iPod who is equally mesmerized by the sonics their choice produces? Maybe they do not really care what level or quality of sonics a handheld device produces? What if they do? Are they an audiophile? Because there is no empirical standard as to what constitutes “high quality sound,” how then can the term audiophile be applied – to any system, regardless of cost?

I find this labyrinth like examination very interesting. I tell people quite routinely “I AM an audiophile.” I never give one whit of interest if the other person has any knowledge of how that term matters, in any way whatsoever, to enjoying a song. Just like, however, a medal worn on a tunic, I happily and proudly proclaim my dedication to superior reproduced music. 

It is a certainty there are incalculably more people who simply like to hear a song than there are those who are self-described audiophiles. Orders of magnitude more. 

We may chafe and scoff at their reluctance to embrace our hobby, this musical art to which those of us who care are so devoted. We can thumb our collective noses at those reproduction systems we find less than satisfactory – systems deemed not up to the challenge. 

We can spend any sum of money under the sun in pursuit of our own personal definition of “high quality sound.” In the end, however, our own definition is of our own making. We, individually, define our own personal standard for quality sonics and the barometer by which those sonics are evaluated. We are our own judge and jury when defining the term “high fidelity sound.”

So, again I ask, what kind of audiophile are you? 

World News

Why Audiophilia Is A Collection of Unknowns

Posted on by Paul Wilson

Face it, ours is a highly technical, science driven hobby. We have brilliant designers employing advanced engineering and scientific methodologies in order to achieve meaningful advancements. For the average audiophile, some, perhaps even most of this science might be daunting. For many of us, what results is a walk through uncharted territory. A journey through the unknown. Let’s look at a few. 

One unknown is the authenticity of remastered music. These days, high definition (HD) downloads are wildly popular. Several of the more prominent streaming services offer them. There are even companies who specialize in standard CD and HD downloads as their primary business model. 

Have you ever had an HD download or streamed song only sound average and not really noticeably better than a CD quality version? I certainly have. One thing I like to do when I play around with streaming is try and discern differences between an HD track and a standard CD track. I cannot count the number of times I felt like there was no difference at all. I’ve even had times when I thought the CD level actually sounded better. And of course, I have had times when the HD version was noticeably and unquestionably superior. 

On those occasions when CD quality was on par with HD, I have always wondered why. I cannot know how these downloaded or streamed tracks were created. Were the original analog masters (depending on the age of the track) used or some other version? Should such a situation be considered an unknown? I would say yes. Is it also possible my discernments regarding sonic comparisons are skewed? Maybe I was prejudiced against one particular version? Maybe I made a mistake? Yeah, that’s possible. And more unknowns to consider. 

Ours is a hobby seeking an equivalency to how the music sounded when recorded in the studio. Most of us understand we cannot equal live music no matter how hard we try or how much we spend. Approximating the studio recording is an acceptable fallback, and one some systems can come amazingly close to accomplishing. But unless we were actually in the studio when the recording was created, how are we to ever know if what our system reproduces is in any way representative of the studio recording? Sadly, we cannot. We rely on the quality of our system and the indefatigable hope we are coming close. 

Thought about equipment break in lately? That seems to qualify as an unknown on several fronts. First, does component break in even occur? Obviously, this is an individually based belief structure. Assuming the user has an affirmative outlook on the question of break in, questions like how long and to what degree come to mind. 

How long will it take for my new whatever to break in? And if I am not so excited by how it sounds now, or if I’m not hearing the sonic improvements the seller promised, will that change when break in is complete? When I installed my first Nordost Odin power cord I was dismayed for about a week. I didn’t hear any measurable difference. Then one day, I was shocked by the remarkable improvement. I simply had to wait for the cord to break in. 

What about changing technologies? Doing so presents an unknown for certain. I have always been more allied to solid state gear than tubed gear. Of course, that is manifestly a personal preference. Anyone who feel tubes are a superior technology are just as correct in their belief as I am in mine. It’s what’s right for each of us that matters. 

However, I must believe if I were going to change all of my solid state gear to a tubed version I would be filled with trepidation and uncertainty. Considering the number of solid state components in my system, and their cost, making such a wholesale switch would be terrifying – not to mention costly. Worse yet, how difficult would it be to affirm my decision was correct prior to making the switch?

Because ours is a technically advanced endeavor, is not the science behind why and how our systems work to a certain extent an unknown? Anyone who is a physicist may well understand electronic circuitry and how sound behaves in an enclosed space. What of the common, everyday audiophile who just wants to listen to a song and be impressed by what they hear? 

Obviously, there are wildly different levels of technical understanding amongst the width and breath of all audio devotees. Those at the upper end of understanding see things much differently than those at the less knowledgeable end. They are also better equipped to put their knowledge to good use. Understanding the physics and science behind how our equipment works is something nearly all audiophiles could improve. Minimizing this particular unknown is a clear path towards better audio enlightenment. 

Audio, just like the world around each of us is filled with unknowns. Most of us go through our day will little regard or concern for the things we do not know or understand. Perhaps audio systems fall into this category. 

At the end of a trying day, or even workweek, when we settle into the listening chair and play our favorite music, all seems right in the world. Most of us in this frame of mind are hardly concerned about the physics of how our systems operate. We really don’t care if the acoustical panels on the wall are abiding by the laws of conservation of energy. We are not really worried whether or not a different technology would be more sonically pleasing. No, in this frame of mind those things don’t matter at all. 

What does matter is that we can become captivated by the music. We can be transported to a different place and time. All that other minutia can be addressed tomorrow. Or the next day. Or sometime soon. 

Right now, we just want to sit and listen. And the only unknown that matters is how enamored will we become in the process. 

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Has Music Really Changed That Much?

Posted on by Paul Wilson

If there are any benefits to growing older, and as the years pass the more convinced I am there aren’t many, one is being able to witness how things have changed. Times change, my son, and so do our life’s occurrences. As time marches inexorably forward, we become ever more familiar with the phrase “vintage.”

It occurred to me recently, while watching an interview with Robert Plant, at the time in his mid 70’s, not only how much he had personally changed, but also music in general. 

My parents, products of the 30’s and 40’s, loved Glenn Miller and Bing Crosby. My Dad absolutely despised my 15-year-old self’s-musical favorites. This made perfect sense as Black Sabbath was about as polar opposite of Bing Crosby as one could find. Pick a 15-year old’s favorite band back then – it doesn’t matter. My parents hated them all. They also despised how loudly I turned up the stereo. It made for some interesting times for sure. 

But times do change, my son, and now on the precipice of Social Security, I find myself looking back. Looking to those days of yore when what I played was the ONLY music worth playing, or so I thought. 

I am a product of the late 60’s and into the 70’s. Many of the bands today recognized as some of the greatest rock acts ever were just getting started. Bands formed in the 60’s, both in Europe and the US, some of whom have been together for 50 years or more, are now called “vintage.” Looking at Robert Plant in the interview and remembering him on stage in the early 70’s is a stark reminder that time slows for no one. 

In my very early years, I carried with me, almost all the time, an AM transistor radio. The local radio station played all my favorites, and I knew every song in the Top 40 and beyond. At 15, after lots of yardwork, I purchased my first stereo and began buying albums. What then was heavy metal were my favorites. My first absolute favorite, and the one album I’ve listened to more than any other music I’ve ever heard was Jethro Tull’s incomparable “Thick As A Brick.” There was Deep Purple – how many times did I play “Smoke On The Water(!), Lynyrd Skynyrd, Steppenwolf – well, there were many. 

My musical tastes also endorsed groups like Chicago and Blood, Sweat & Tears. I always enjoyed, then and now, talented storytellers like Jim Croce and Harry Chapin – both of whom sadly and tragically passed away well before their time. These performers, and others like them, were the foundation of my musical tastes and have essentially formed my choices in music for decades. 

As the 60’s gave way to the 70’s, music took on more serious subjects. Vietnam, racial injustices, political issues of the day, these and more were on the minds of many of the more notable musicians back then. 

At some point, the “let’s party” crowd turned to what for many is a musical aberration – disco. We wanted to look and dress like John Travolta and dance like Deney Terrio. Discos were the place to see and be seen. From mega clubs in New York to roadside neighborhood joints, disco ruled the day. Until the end of the 70’s when it had pretty much fizzled out. Musically, we moved on. 

The 80’s saw a rise in popularity of stylistically new music in groups like Genesis, Heart, Motley Crue and many more that captured a nation and infused listeners with a new sound. 

As the 90’s took hold, bands like the Foo Fighters and Black Crowes became popular. And as the decades moved on, music continued to change. 

Of course, similar changes were taking place in genres besides rock and pop. Jazz and R&B were also undergoing changes. Traditional jazz, much of which composed in somewhat of an improv style, continues to captivate dedicated listeners. But jazz also morphed into other classifications, none more revered in my mind as the genre known as smooth jazz. 

Hand flip wooden cube with word “change” to “chance”, Personal development and career growth or change yourself concept

R&B saw the creation of absolute masterpieces such as Marvin Gaye’s “What’s Going On.” Some other favorites of mine, groups like Earth, Wind & Fire and Kool & The Gang got me “movin and groovin.” Several R&B bands have also spanned the decades and likewise changed their music as the times evolved. Most notably, groups like The Temptations and The Four Tops come first to mind. 

Even country took on a more modernistic rock tone with today’s artists and less like the twangy sound popularized in the 50’s. 

I enjoyed them all. Still do to many of them. But music for today’s youth, something I once was myself, has passed me by. Perhaps most scary of all, in some ways, I have become my father. 

When I hear some of the music played by today’s 15-year-old kids, I bristle at the thought of how anyone could listen to and enjoy such tripe. It’s just noise! That is my assessment of what many of these kids today are playing. Interestingly enough, such was the exact sentiment my father had about my music, now almost 50 years past. 

For me, I still listen to early Led Zeppelin because seriously, does “Black Dog” ever get old? While I have moved on from Black Sabbath, I still pull “Made In Japan” out of the closet every so often (I feel like I’m cheating if I play vintage music on something other than a turntable), mostly because my aim is reconnecting with my youth. 

Predominately, my time is spent with smooth jazz. What began in the 70’s with Chicago and their horn driven sound has grown today into the Rippingtons, Dave Koz, Euge Groove and more – these musicians grab the lions share of my musical experience. I’ve found performers from other countries, like Igor Gerzina from Croatia and Kayori Kobayashi from Japan, and others who light up smooth jazz in a high-octane fire I absolutely love. 

I often wonder if these 15-year-old kids of today will still be listening to the same music 50 years from now. Will their musical tastes today inform them of the style and genres to which they will cling into adulthood and beyond? Will their children deplore and despise that same basic music because it is so fundamentally different from what they enjoy? My guess is yes, that is precisely what will happen. 

My parents never gave up on Glenn Miller. I have never given up on the music I discovered in the 70’s. Kids of today will almost certainly be listening to, despite anything new they enjoy, the same music they so happily cherish today. 

Life moves ever onward, my son, and music will as well change with the times. Regardless of what we like today, it seems inevitable there will someday be a new style, one that is anathema to what one perceives as good music. I feel like I’ve come full circle. Maybe becoming my dad isn’t such a bad thing. 

World News

Defending The Audiophile Hobby

Posted on by Paul Wilson

For every audiophile reading this article I have a challenge for you. Pretend for a short while you are not an audiophile. No world class audio system. No budget system. No analog. No HD downloads. None of that. The idea of spending five figures, or even more, even less for a silly stereo system is absurd. 

Equally ridiculous in your view is all the time and attention those “audio guys” employ moving speakers around in a room in distances so small, they cannot possibly influence anything. They even spend time talking to each other and go to each other’s homes to hear different systems and talk about who knows what. 

You are perfectly happy listening to music on a smart phone, a handheld device or one of those round electronic things that obey your spoken command. They all sound just fine and allows any listener to enjoy a song and even sing along if they wish. All this money, not to mention the space taken up in the house is crazy. Certifiably crazy. 

Now, what would someone need to tell you in defense of our hobby to alter your beliefs? 

My first comment would be to say that the hobby, while potentially expensive, has nothing to do with purchase price. Individual component costs are irrelevant. It is all about a percentage of disposable income. I would also point out that audiophilia is, and nothing more, a hobby. It is a means to occupy one’s free time. I would then point out that enjoying an audio system is done predominately at home – safe and sound from anything going on outside. Family members don’t have to wonder where you are because they know your whereabouts exactly – in the audio room. I have even made that very point to the wives of audiophile friends before. 

But wait, you say, all that expensive equipment! Certainly, those funds could have been used elsewhere and for more productive means. Yes, possibly, but also keep in mind the audiophile hobby is more about disposable income than purchase cost. I very much doubt many people will actually buy a component costing five times as much as they make. No one in their right mind would deny medical or educational needs of a child or other family member in favor of new speakers. We purchase audio equipment within our means and only when we can afford to do so. 

But what about all that time spent moving, adjusting, hanging those large ugly panels on the walls – what about all that nonsense? It’s just a song! Who cares what it sounds like?

To answer those questions, one needs to have somewhat of an understanding of the physics of how sound behaves in an enclosed space – and the effect music can have. 

When you understand walls, ceilings and floors are stationary and the musical signal is not, and understand further that different frequencies have different wavelengths, some shorter than others, some longer, those questions start to become more clear. 

We move speakers millimeters at a time because the speed of sound in a given room is constant, the room is fixed, and the behavior of reflected sound, even at minimally different angles, greatly influences what we hear. We position our systems to make the most out of room dimensions and the placement of furniture within that room. Acoustical panels are a means to bolster that effort by additionally managing reflected sound. Of course, you may not be interested in the scientific aspects of the audiophile hobby, but I am, I would tell a skeptical interrogator. 

I would further point out, my doubtful music friend, a high-performance audio system is intended to impart an emotional connection, much like the one when attending a spectacular concert or live performance. Everyone has heard live music and found themselves thoroughly captivated. That seldom, if ever happens with one of those round things waiting to be told what to do or play. Convenient, yes. And that’s about all. 

I would remind you of the movie Jaws. In the opening scene, a girl runs down to the beach, takes off her clothes and runs into the ocean. With no music, its nothing more than a girl skinny dipping in the ocean. Add John Williams’ incomparable score, that bum, bum – bum, bum, getting faster and faster – it imbues a sense of urgency. You know something is about to happen, but what? Enter the shark and the musical crescendo causes you to jump in your seat. 

But that can happen if the movie is viewed from a TV, right? Perhaps, but when you go back and listen to that piece of music, it would be really something to hear it as the composer intended. Actually hearing the dynamics and power of the music, hearing how it moves and flows along. Hearing how it ignites an emotional connection – how it carries one to a different time and place. Can that effectively be done with television speakers? 

In my view, no it cannot. Music is much more than notes on a page or the stripped-down playback so prevalent from low resolution television speakers. I would maintain that to really understand all the subtle and not so subtle nuances contained in a recording of live music, one needs the appropriate audio system. Round things that tell time and give traffic updates are not a path to the remarkable experience easily obtained by high-performance audio. You must join the club. 

More than likely, I would tell such a disbeliever that I am an audiophile and I prefer music delivered in spectacular fashion. I will buy equipment I can afford and within my means, regardless of the actual price, and do so without failing family and fiscal obligations. 

I will, additionally, move equipment and arrange rooms to best accommodate how an audio signal is delivered. I will listen to music alone or with friends and will be happily involved in discussing the hobby with others. 

At the end of it all, I’m an audiophile. There’s really nothing more to say. 

Challenge over.