the entire issue

AudioEnz
New Zealand’s hi-fi magazine
www.audioenz.co.nz
August 2008
Web page printouts from
the latest issue of AudioEnz
http://www.audioenz.co.nz/acrobat/issues/2008/2008-08.pdf
AudioEnz editor: Michael Jones ph 09-478 1301
Audio Analogue Rossini
By Brent Burmester
August 2008
Audio Analogue Rossini CD player. $2499
Let’s get this over with. Looks beautiful,
sounds amazing. Cheque please, Editor.
No? Oh, very well…
1000 words-worth of picture
Audio Analogue Rossini (click for larger image)
Scrutinise, if you will, the photographs
accompanying the article. Witness the
circular arrangement of control buttons, the
white-on-blue display window, and the very
Rear panel of the Rossini (click for larger image)
line of the thing. The price tells us this is not
a high-end player, but it just reeks of Italian
design flair, and it’s not built anything like
my old Alfa Romeo, which was not so
much ‘built’ as ‘arranged in an untidy pile’.
While clearly the standard boxy form-factor,
the look and construction of this player marks it as something out of the ordinary from first glance.
But, as is so often the case, the outside is not nearly so important as the inside. As our eyes wander around
the interior of the Rossini’s casework, we notice it contains a high quality transport, a great deal of air,
and a fat little toroidal transformer that is clearly over-specified for the job at hand. But there is something
amiss amid the contemporary electronica. It is, in a word, a tube. This little light bulb, a 6922 double
triode, laid out on its side, plays a central role in the player’s output stage, adding amplitude to the output
signal and helping to filter the high frequency unpleasantness that plagues CD.
Valves are not common in the output stages of CD players, but neither are they unheard of. Some might
grind their teeth at the news that the Rossini is infested with a tube, and suppose that this can only mean a
mushy, weak, and over-warm sound. My previous experience with hybrid players suggests this isn’t a
problem, and that an argument for valves can be made based on sound quality. However, I side with those
who view the use of valves as a second-best solution to the unwanted artifacts of digital to analogue
conversion. I think Audio Analogue might agree with me, hence the Rossini’s big brother, the Paganini.
And now for the sound
Let me begin at the bottom: this machine has an astonishing feel for bass. Geophysicists have recently
discovered that the Earth emits a constant low frequency hum. If they need a CD player to reproduce it for
sceptical audiences at academic conventions, this is their candidate. Holy moly. But the show’s not over. At
the other end the Rossini just astounds with its fluidity and lack of grain. There’s no screechy downside to
cranking the amplifier knob around to 11 and letting the growly bits dismantle your room. As I write this
the Chemical Brothers are unscrewing my light fixtures.
And then – the speed. This creature snaps, crackles, and pops like it was intended as a nutritious start to
your day. Soundstaging is nice and deep, and very precise from left to right. Though the sonic image is not
vastly wide there’s an almost surround-sound effect in the way music can sweep past and around the
listening position.
But, as ever, the acid test is the human voice. I pondered long on the programme material I’d use to trip up
the Rossini. I decided on Stina Nordenstam, a singer who’s Dynamite album is recorded very sparely
and with great intimacy, but who’s breathy-little-girl voice can become monotonous when heard on
systems that don’t capture the subtle changes in style and emotion in her singing. The results were very
convincing. My only caution would be that a system set up for maximum detail retrieval might find the
Rossini takes no prisoners with second-rate recordings. Any hardness laid into the voice tracks on a CD will
be exposed without pity. Any fears that the valve-enhanced Rossini might be soft or cuddly should now be
laid to rest.
Since sliced bread?
Perhaps you’re wondering how the Rossini, which has clearly made a positive impression on me, stacks up
against the Cambridge Audio Azur 840C, a rival that also earned my unqualified admiration? My
answer is that the Rossini is equally accomplished, but it will suit a different sort of listener than the 840C.
Where the Cambridge is an unbiased presenter of the musical arts, the Audio Analogue wants you to love
what you’re hearing and infuses what it plays with an extra half-teaspoon of awesomeness. It is, on
reflection, the more Italian player.
Overall, I can do no more than have you re-read the first line of the review. Now, Mr Editor, about that
cheque…
Naim Nait5i and CD5i
By Matthew Masters
August 2008
Naim Nait5i integrated amplifier ($2500) and CD5i CD player ($2700)
Don’t panic. Two words engraved on my
consciousness since March 1978. Not, you
understand, because I developed an early
sense of innate coolness. Nor even an ability
to deal with unusually stressful situations.
More because that’s when I first heard a
new radio programme.
By sheer fluke I happened to catch the first
episode of The Hitchhikers Guide to the
Galaxy and in my 15 year-old way became
immediately gripped by its oddness and
thinly-veiled cynicism about the world. The
panic would come, but later.
In fact, it started when I met Hitchhikers’
creator, Douglas Adams, at a book
signing. This was a moment of high
expectation for me, but instead of the
much-anticipated rays of genius and
humour, all I got was a grunt, sneer and
hastily scribbled signature. Perhaps it didn’t
help that I was completely tongue-tied in
the presence of such perceived greatness,
but really, he could at least have said
something rude. So much for meeting your
idols.
The salmon of doubt
Perhaps that experience explains why I was
more than normally apprehensive about this
months review. I’ve always been a bit of a
Naim fan but never had much opportunity
to get to know the stuff properly. I was
Naim 5i system (click for larger image)
anticipating great things, but fearful of the grunt and sneer.
The Nait 5i and CD5i are the latest
developments of Naim’s established Nait 5i
and CD5i units. Eh? Look, it’s an i, not i. A
small change, but significant.
Actually, reading the specs you’d be forgiven
for thinking that was the only change. The
amplifier still turns out 50w per channel,
there are still only four line level inputs on
the back and, alas, no phono stage. There is
a 3.5mm jack on the front panel for your
iPod though.
Naim CD5i showing disc drawer (click for larger image)
The CD5i seems similarly similar to the
non-italic version. There’s still the gorgeous
hinged drawer and magnetic puck, and still
the rather crude display.
Naim Nait5i (click for larger image)
Thankfully both units seem to have retained
the non-italic models’ better features. Fabulous build quality and controls that are a tactile delight to use.
Oh yes, and the nice proportioned confidently simple styling.
Of all the first impressions, the only one that disappointed was the speaker connectors. Nasty little sockets
that leave no choice but to use banana plugs. Not quite feet of clay, but definitely a bit of a let down.
Life, the universe and everything
With everything placed carefully (reverentially, almost) and allowed to warm up it was time for that first
listen. But what to choose? This was going to be a profound moment and I wanted the music to be
appropriate. I toyed with the notion of spinning Douglas Adam’s favourite, Bach’s Brandenburg
Concertos (the second in particular). Or maybe Handel, or something more modern but still as
communicative, Nick Drake or Lou Reed.
I realised it had to be someone who wouldn’t let me down. So on went Kylie’s Can’t Get You Out of My
Head. Trashy pop, but never disappointing (okay, partly because expectations aren’t high, but I was in idol
protecting mode here).
The surprise was how good the pocket-sized Aussie managed to sound. Even though it’s a busy and
possibly over-compressed mix, there were impressive drive and dynamics to the whole thing. Nothing
(apart from Kylie) sounded terribly natural, but it probably never did anyway. Not a bad start, but hardly a
challenge.
Mostly harmless
It seemed safe to move to something, well, more moving. If not in the right way. I’ve never been much of a
Bohemian Rhapsody fan, and certainly not of the somewhat antiseptic, 25th anniversary remaster, but
the CD5i managed to scrape something extra from the disc, a sense of drama and scale that had always
seemed to be missing from the payback if not from the intention. Suddenly, the track made sense than it
ever had done before. And I actually enjoyed it for the first time. Hmmm… these Naims really do have
something special about them.
It was special, but was it what I had expected? Naim is (rightfully) famous for its facility with rhythm and
communicating the underlying sense of music. Pace-rhythm-timing get repeated like a protective mantra
by Naim enthusiasts. It’s a sound that many can find overbearing, but here I was getting something quite
different. Sure the classic Naim strengths were present, but there was something else too, a maturity and
flexibility that extended well beyond my expectations.
Last chance to see
Stephen Cleobury’s direction of the King’s College Cambridge Choir for Handel’s Zadok the Priest (EMI 5
57140 2) is a fine example. This is a detailed and toppy recording that can sound quite harsh. Not usually a
recipe for enjoyment with Naim, but with the CD5i/Nait5i combination it was quite stunning. Once again,
the scale was extraordinary, but with gentle delicacy and space for all those voices. Somehow I even felt
positive about the coronation it was written to celebrate. Definitely a bit disappointing for a committed
republican atheist.
In fact, it didn’t seem to matter how complex or demanding the music was, the Naims would sort out the
elements then present them in a perfectly-timed and coherent musical picture that helped me understand
– and feel – precisely what the performers were on about.
In the end, I don’t think I could expect anything more of a piece of audio equipment.
Long dark teatime of the soul
My expectations were high. Probably higher than for anything else I’ve reviewed. And just for once, I
actually wasn’t disappointed. Not one tiny little bit. The Naim Nait 5i and CD5i are, in combination or
individually, quite the best pieces of equipment I’ve heard in the last few years. This is Naim that can be
enjoyed by anyone (including long-term Naim-phobes). Being without it makes listening longer, darker
and a lot less enjoyable.
For your nearest Naim dealer
Sugden Masterclass IA-4 and PDT-4
By Michael Wong
August 2008
Sugden Masterclass IA-4 Integrated Amplifier $9899, Masterclass PDT-4 Precision
Digital Transcriptor $8499
Many audiophiles will be unfamiliar with
the Sugden name but JE Sugden & Co.
Limited is one of the most enduring names
in UK hi-fi, having been in business
continuously since the 1960’s. The company
has it’s origins in specialised laboratory and
test equipment. The A21 integrated
amplifier sealed the company’s place in
audio history by being the first
commercially available solid state Class A
amplifier, a breed that would be later
popularised by American heavy hitters like
Mark Levinson and Krell.
The Sugden name soon came to be held in
the same high regard as illustrious UK amp
makers like Naim and Quad. The A21 is still
in production, updated with modern
production techniques, components and
aesthetics.
The Sugden Masterclass amplifier and CD player (click for larger
image)
Sugden is now represented in New Zealand
by Steve Seque of Soul to Sole Audio, the
Hawke’s Bay company best known for their
superb audio racks.
The IA-4 is a stolid beast, facing the world
in true Yorkshire fashion with a thick, no
nonsense aluminium faceplate. The Sugden
Another view of the IA-4 integrated amplifiers (click for larger
offers three single-ended line inputs, one
image)
balanced input, MM phono, tape. On the
rear are single-wire speaker binding posts (unusually equipped with locking collets to tightly clamp
banana-type plugs), vertically arranged RCA input connectors, a set of balanced XLR inputs, and RCAs for
tape and preamp outputs.
The PDT-4 shares the amp’s minimalist control layout with basic transport controls on the front. The rear
carries quality RCA and XLR connectors, an RCA digital output and unusually for a CDP, a heatsink.
A generic plastic remote offers full CD operation but only volume control for the amplifier. Both units are
fairly well made but not quite up to the finish expected of a $10k audio component. The amp had a rattly
lid and the CDP a nasty looking plastic disc tray which fitted poorly in the fascia cut-out.
The Sugdens were auditioned primarily as a pair, with associated equipment from Well-Tempered, Plinius,
Marantz, Denon, Nakamichi, OPPO, Krell, Magnepan, AR, Energy, XLO, Audioquest and DNM.
Turning on
Push what must be the world’s largest on/off button and after short delay you will be greeted by a gentle
click as the protection circuit disengages. Peek through the ventilation slots on the lid and you will see two
LEDs light up. An LED near the front briefly lights up when the remote is used. Very cool. Not so cool is the
cramped action of the volume control and the noise of the motor drive when adjusting volume by remote
control.
Warm up time is short at around ten minutes. The sound is immediately relaxed and inviting. Within the
limitations of its modest output (33wpc into 8 ohms, 40-something watts into 4 ohms), the amp is
effortlessly musical. Spatial performance is very good with the performers and instruments in a clearly
defined acoustic, reproduced with a palpable presence and ambience.
Imaging is a little smaller than life, say 9/10s scale. Focus is very good without the etching that can occur
with some solid state amps. Tonality is good with a smooth, lifelike midrange, there’s just a slight
sweetening and a bit of high end softness, curious given the astounding 300 kHz high frequency
bandwidth. Bass is fulsome and articulate. Very good detail and transparency provides plenty of insight
into the music.
Dynamics are generally good with just a wee softening of initial transients. Vocals and simply recorded
material sound rich and very lifelike but the amp can be caught out trying to reproduce large scale
dynamics or complex music. You will soon know when the Sugden’s reserves are exceeded as its clipping
behaviour will be painfully obvious, the soundstage collapses, accompanied by tonal hardness and
distortion. Keep a close eye on the volume and the amp can be very forgiving, highly listenable and
comparable to the best amplifiers I have heard in the very competitive sub-$10,000 price band.
The PDT-4 CD player’s performance is almost as impressive. The sound is clean and musical, sharing much
of the amp’s sonic characteristics. There’s a slight loss in immediacy and palpability to the sound as well as
a general sense of the sound being a little dry and shut-in on top and a tad loose on the bottom. The Sugden
is very pleasing to listen to and stands comparison with other CDP’s in the sub-$10k band, with the bonus
that this player is easier to use than most, unburdened with the frippery like switchable filters etc. that
plague other high end players.
As solo performers these two Sugden pieces impress with very respectable performances. Use them
together and they really shine with excellent greater-than-the-sum-of-the-parts synergy, opening a sizeable
window onto the musical performance. The sub-$10,000 audio market is extremely competitive with many
excellent local and imported products. These Sugdens may look out of place with their homely looks but
close your eyes and they will stun with their superb musicality.
NAD C515BEE and C315BEE
By Michael Jones
August 2008
NAD C515BEE CD player ($399) and C315BEE amplifier ($549)
Back in 1983 I purchased a second hand
NAD 3020 amplifier – yes, that famous
NAD amplifier – for the sum of $350. While
I was looking at the NAD components under
review I wondered what that would be
worth in today’s money. A quick trip to the
NAD C515BEE CD player (click for larger image)
Reserve Bank’s online inflation
calculator and – crikey! – I paid $987 for
that second hand amp!
That makes the $549 asked for the modern
NAD C315BEE amplifier (click for larger image)
equivalent, the C315BEE, seem incredibly
good value. And the $399 price for the C515BEE CD player is almost a giveaway.
Hi-fi pricing has been on my mind lately. There are far fewer sub-$1000 components around these days,
which makes it harder for music enthusiasts to put together their first real hi-fi system. So I welcome the
introduction of these two components from NAD, particularly as both can be purchased for under a grand.
Features and specifications
The 315 amplifier offers a lot on a compact package. There are six line level inputs (no built-in phono
stage), a headphone socket and a remote control. Perhaps in recognition that ancillary equipment may not
be of high quality or setup may not be optimum, the 315 included tone controls. But there are no flashing
lights, silly featuritus or multiple speaker outputs. Just a focus on reproducing music.
There’s not a lot that can be said about features on CD players these days, as they’re much of a muchness.
Except that the 515 can play back MP3 and WMA files burnt to a CD-R. I used this facility to play back a
talking book I had in MP3 format.
Performance
The C515BEE is a more than adequate performer at its low price. It may lack the heft, detail and ease of
more expensive players, but then that is why they are more expensive. The 515 shows a clean pair of heels
to my DVD player in its ability to play music – to make you think that there are human beings involved in
the production of music. This is an area where DVD players usually suffer and why I always recommend a
CD player for a music oriented system.
The 315 amplifier is the stronger of the two components. It easily drove my 86dB sensitivity Epos speakers
to surprisingly loud levels in my lounge – much better than the Arcam Solo Mini I reviewed in the previous
issue. NAD have long achieved a reputation of producing amplifiers that drive speakers better than their
specifications may suggest. The 315 carries on that tradition.
NAD's characteristic warmth comes through nicely with the 315 amplifier. The broader midrange and
treble are clear and easy to listen to. The bass is a little soft, though.
Plugging my Meridian CD player into the 315 showed a good performance bump in sound, showing that
NAD’s smallest can support better sources.
In combination the 515 and 315 are a potent music making machine. The single-box Arcam Solo Mini
reviewed last issue may sound more refined, but it struggles at volume levels that the NAD amp handles
with ease. The NAD combo also sells for a lot less – the NAD distributor offer a package including a pair of
Energy speakers for less than the Arcam sans speakers.
I really welcome this combo from NAD. It shows that a good sounding component hi-fi system can be put
together at a reassuringly low price.
Archive: Shahinian Arc
By Michael Jones
August 2008 (first published in August 1995)
Shahinian Arc loudspeaker. $5300 in 1995 (around $9000 today)
“The box loudspeaker is a travesty of
acknowledged acoustic principles!" exclaims
Richard Shahinian, speaker designer.
By all accounts a man of genial nature,
Shahinian becomes passionate about music
– particularly orchestral – and loudspeaker
design. More about Dick Shahinian's ideas
on speakers later; first let me tell you a little
about the man and his company.
Although forming the company that bears
his name in 1977, Richard Shahinian has
produced speakers for many years prior to
that date. 1965 saw his first design for
Harman/Kardon. This was followed in 1970
by the Citation 13 speaker, important for
two reasons: it was Shahinian's first
commercial speaker that fired into the air,
rather than directly towards the listener; it
was also the direct ancestor of the
loudspeaker under discussion here, the
$5300 Shahinian Arc.
(As an interesting aside, fellow AudioVideo
scribe John Paul came very close to buying a
pair of Citation 13s several years ago. He
still has the brochure – and would still like a
pair!)
Philosophical concerns
Shahinian literature – when you can find
it-makes for an interesting read. Unlike
many (most?) audio companies, Richard
The review appeared in the August 1995 issue of AudioVideo (now
AudioEnz)
Shahinian makes no secret that his speaker designs are based on, and developed further from, ideas from
many of the audio pioneers – Olsen,
Hegeman, Bailey, etc.
But Shahinian speakers are not mere copies
of old ideas and designs. The application of
ideas are original, and the execution of these
ideas are unique.
Richard Shahinian's main philosophical
point regarding loudspeaker design, which
permeates throughout his speaker designs,
is that of musical waveshapes.
"Since all sonic wave forms [ie, from
musical instruments] are radial in origin,"
argues Richard Shahinian, forward-firing
speakers – virtually all models you'll see in
the shops-cannot properly reproduce music.
This is taken to its logical extremes in
Shahinian's more expensive poly-directional
loudspeakers – the Obelisk, Hawk and
Diapason models (the later two have
separate mid-treble modules, sitting atop
separate bass speakers).
The Arc is not a completely poly-directional
model. Instead it offers what Shahinian
describes as an "indirect presentation" of
music.
Arc of a driver
As a picture is said to be worth a thousand
words, I ask you to look at the photographs
accompanying this article while reading this
description. The Arc is a short,
floorstanding speaker. The drive units-a
cone woofer, dome midrange and tweeter –
are found on the top of the speaker.
But instead of being parallel to the floor, the
top is angled slightly towards the listener, so
that the drive units are firing both upwards
and outwards. On the rear of the speaker is
a passive radiator, a electrically undriven
drive unit that responds to changes in
pressure inside the speaker cabinet (it is a
variation of a ported loudspeaker).
This compact, floorstanding box is deceiving, in more ways than one. Its height is short for a floor-stander
at only 680mm. Yet, with the grills on, the
eye perceives the Arc as being a mere
560mm high-the height of the veneer on the
front panel. They are discrete in
appearance, which makes them very
room-friendly.
You can't see them in the photographs, but
the Arc's sit on little plastic feet –
apparently the Shahinian philosophy
doesn't agree with the use of spikes. I’ll have
more to say about this, and the sonic effect,
later.
While the Arc has been manufactured for
over ten years, the speaker recently
underwent a redesign by Richard's son,
Vasken Shahinian. The shape and
configuration remained the same; the
changes came in the midrange and treble
drive units.
Replacing the former cloth and plastic
midrange and treble domes are two new
designs manufactured in Germany from
titanium, specifically to Shahinian's design.
Familiarity breeds contempt
I’ve been familiar with Shahinian speakers
for several years, but I've never really
warmed to them. When everything was
perfect, they could sound magnificent. But
often, particularly with rock music, they
could take my ears off.
Some Shahinian enthusiasts tried to
convince me that the speakers were simply
very accurate; just “telling it like it was”.
Have you ever noticed how proponents of
hi-fi products that could easily sound hard
or harsh proclaimed its “accuracy”? And
how, when the mark two version later came
out which didn’t suffer from the
over-the-top predilections of its
predecessor, that suddenly that “accuracy”
was no longer needed?
Anyway, I remained a Shahinian agnostic.
New ears
What got me interested in investigating further was an experience in the Auckland Shahinian dealer,
Soundline Audio. I wandered into the store and, while Soundliner Chris Sinclair was busy with a customer,
I went into the sound room.
Now, after spending all day working at Soundline, Chris spent his nights as a recording engineer, recording
and mixing that godawful modern rock music that I dislike. (Having passed another age milestone, I can
now safely proclaim myself a boring old fart!)
On the old Shahinians, I would have been driven out of the room (by the sound, not the music). With the
new Arcs, I could listen. I was interested in hearing more. So began AudioVideo’s first Shahinian review.
Shahinians present music in a different way to most conventional speakers. So much so that, if you've
listened to most of your music through speakers, rather than live, they may initially sound wrong to you
(“they’re different; therefore they're wrong”!)
But listen again and you'll note some qualities to the Arc’s that are rare to find in speakers, no matter the
price.
There’s a sense of openness and space that is intoxicating, which makes other speakers sound closed in.
The Arc's may not offer the pin-point imaging of many speakers, but their recreation of the space of an
acoustic venue (or a studio- created space for that matter) is stunning.
Associated with this is the almost unlimited sense of dynamics. Virtually all speakers compress dynamics.
We may not always notice this – until it's taken away. The Arc’s, from the midrange up, enable the music to
soar free, to ring out, without either squashing the sound or causing it to harden up. This is very rare to
find in a loudspeaker.
Looking at conventional hi-fi parameters, bass extension of the Arc’s in my room was very good. They went
down to 40Hz in my room without any problems – excellent performance for a small speaker. The bass
quality was also very good: articulate with good reproduction of the performers pace, rhythm and timing.
John Paul brought around a CD by jazz/blues singer Joe Williams. He has a deep, rich voice – one that is
easily compromised by under-controlled woofers and out-of-control speaker cabinets. On the Arc's his
voice is deep and rich, but without the false boom and chestiness found in many other speakers.
The upper midrange and treble is a little hot when the grilles are off. But the Arc’s look a little silly with the
grilles off. With the grilles on, the openness and transient attack were still there, and in better proportion.
What I find hardest to describe is the sense of “rightness” about the Arc’s. After a couple of hours with the
Arc’s, it was easy to forget about hi-fi and just listen to, and enjoy, a wide range of music.
There were areas that could be better – the Epos ES25 reviewed elsewhere in this issue, for example,
sounded more transparent. But the Arc’s had a sense of rightness, a sense of whole, that made it easy to
forget hi-fi and concentrate on the important things-the music.
Spike it!
I had my suspicions about the plastic feet on the bottom of the speakers. Like many others, I have found
that most speakers benefit from being rigidly spiked into or on to the floor (depending on whether the floor
is wooden or concrete). That the Arc's wobbled around when sitting on my carpet bothered me.
Suspicions aroused, I looked for a solution. To my rescue came Robert McAdam of Sound Creations,
manufacturer of equipment racks and speaker stands. Robert loaned me one of his "sound plates", a thick
metal plate, spiked in each corner, designed for floor-standing speakers.
Placing the Arc’s on the sound plates improved the sound. The slight blurring of the bass and lower
midrange when the music became complex, that I’d noticed earlier, had gone. The speaker sounded better,
without losing any of its previous positive qualities.
If you ask nicely, and give the secret handshake, Shahinian dealers will tell you about a stand manufactured
by the New Zealand importer. The Arc sits within this ugly, lethal looking, brute of a stand.
Using this stand – which I did not try – requires a modification to the Arc. First, grab hold of a hammer.
Then – and I am not making this up – break off the Arc's plastic feet with blows from the hammer. This
modification is not reversible.
Driving home
My time with the Arc’s was immensely enjoyable. Both music and TV/video sound – there's terrific sound
on many TV programmes – came alive in my lounge.
The question must be asked: are they worth $5300? For certain music lovers, the answer is yes. I can see
many people buying a pair of Arcs, and then forgetting about hi-fi for the next ten years.
Nobody looking for speakers in this price range should not buy any other speaker until they have listened
long and hard to the Shahinian Arcs.
Dealer recommendations: CD players
By Michael Jones
August 2008
Despite the best efforts of AudioEnz
reviewers, we simply cannot cover the
breadth of products available to you, the
buyer. So for this issue I polled twenty hi-fi
dealers about which CD players they would
recommend, and why. Six specialist dealers
responded.
Audio Analog Rossini
Here are their choices:
Audio Analogue Paganini 192/24
$2995
“All sweetness and light, the Audio
Analogue is full of personality as befitting its
Italian design and manufacture,” says John
Ransley from Dunedin’s Totally Wired.
“Sleek, with unique ergonomics, Paganini is
built like a Ducati. It handles like a dream,
taking on every twist and turn in a musical
score, accelerating and stopping with
complete control. The solid chassis, faced
with lovingly machined aluminium,
encloses a powerful and capable disc engine,
feeding data into the highly specified
192/24 upsampling DAC. The remote
control is a beautifully tactile teardrop of
alloy. Midrange quality and openness are
defining characteristics of this player.”
Audio Analogue Rossini $2499
“We have been really impressed with CD
player,” says Neil Young from Eastern Hi-Fi
Newmarket. “In my opinion it outperforms
its more expensive brother the Maestro,
possibly due to its valve output stage.
Cambridge Audio 840C
“Aesthetically, it is my favourite CD player, it is stripped back and minimal, although it retains full controls
on the front. Well worth a listen.”
AudioEnz Audio Analogue Rossini
review
Cambridge Audio 840C $2299
The Cambridge 840 has a lot of fans.
AudioEnz reviewer brent Burmester said of
the 840 “every now and again, however, a
component comes along that seems to have
been made by people unaware of what
might reasonably be expected of such a
thing, so they happily exceed every
reasonable expectation.” Romesh from
Hamilton’s The Listening Post recommends
the player highly, saying “the 840C is a
giant killer. More open and detailed than
any Cambridge before, it is a lively and
engaging player.”
AudioEnz Cambridge 840C review
Exposure 3010s
“Twin Burr-Brown 24-bit DAC's and large
toroidal power transformer with separate
windings for CD transport and audio stages
make for some high-resolution listening,“
says Jay of Christchurch’s The Listening
Post. “The 3010s seems most at home with
strings and horns - jazz ensembles and
string quartets have a very intimate
presentation - inviting deep listening. Lots
of character to vocals, and rich bass with a
beautiful woody timbre you'd expect from
some back-alley Jazz bar.
McIntosh MCD201
“The finest two-channel CD player for both
CD and SACD playback on the market
today,” declares Jay of Christchurch’s The
Listening Post. Hand-made in Binghamton,
New York the MCD201 delivers torrential
levels of emotion from any well recorded
CD. It's difficult to capture the beauty and
purity of McIntosh - it's kind of like the
Matrix - one can’t be told what it is, only shown it.”
Naim CD5i
Plinius CD-101
Rega Apollo
Rotel RCD1072
Marantz CD5001 $599
“This entry level single disc player strikes a good balance between detail retrieval and dynamics without
becoming over grainy or bright sounding,” says Ricky Dasler of Nelson’s Living Sound. “There’s a lot of
good musical attributes to be found in many budget CD players nowdays as the likes of Marantz push the
envelope of silver disc replay quality further and further.”
Marantz SA11s2 $5999
“The new s2 retains the same qualities that made the original a star, but improves on the s1 in almost every
respect,” says Romesh Anandaraja from Hamilton’s The Listening Post. “CD playback is fast, open,
detailed, delicate. SACD adds another degree of sweetness, texture, and liquidity to the all ready excellent
CD playback.”
Meridian G08.2 $7999
“A favourite of many dealers and AudioEnz writers, Meridian is the real deal with a heritage that goes back
to the very first ‘audiophile’ CD player, the MCD,” says John Ransley from Dunedin’s Totally Wired. “The
Meridian sound is as substantial and solid as their players. On this foundation, Meridian builds a detailed
and expansive soundstage. We’d wager that Meridian is also the player of choice for the vast majority of
serious record owning enthusiasts - everything that we value in analogue is there, and if we can’t have an
album on vinyl, the Meridian will deliver what we want from CD.”
NAD T535 $799
“Soundstaging was transparent, structured and disciplined, with plenty of 'space' around instruments and
voice alike,” says Jay of Christchurch’s The Listening Post. “Bass is taut and lively, which nicely
complements the finesse and intimacy of the highs in recordings from the likes of Tracey Chapman or Nina
Simone. I like this player for its emotive presentation and the breadth of imaging. For a sub-$1000 player,
the T535 is the perfect entry level for people who care about music.”
Naim CD5i $2700
“The mark of a good hi-fi is the ability to “take you somewhere special” – music should thrill, relax and
most importantly involve!” says John Vivian of Takapuna’s Shore Hi-Fi. “A no nonsense design, sleek,
beautifully built and most of all very, very musical – that’s why I love the Naim CD5i!” Allan McFarlane
from Wellington’s The Real Music Company agrees. “Detail, tonal accuracy, lively dynamics and rhythmic
layers aplenty, this is a player that effortlessly brings any CD collection to life.”
AudioEnz Naim CD5i review
Naim CD5X $4900
“A real heavyweight contender bringing concentrated doses of rhythm, pace and dynamics along with fine
detail retrieval and composure,” says Ricky Dasler of Nelson’s Living Sound. “This player is more a scaled
down version of the reference series Naim CDX2, than a hot rodded Naim CD5i. Even more of the magic
can be had when the Naim FlatCap 2X ($1800.00) is added to power the analogue stage within the
5X,while the players power supply handles the digital stages.” The CD5X is also a pick of Allan McFarlane
from Wellington’s The Real Music Company, who describes “an organic musicality and spatiality being
delivered” via this player.
Naim CDX2 $9250
“This is a very, very capable player” says Allan McFarlane from Wellington’s The Real Music. “CDs are
revealed with an almost brutal reality that can make some lesser recordings sound just that. Musicality is
however revealed at a much higher level. Control of phrasing, effortless decoding of the most complex
material you place in it, and an at times miraculous accuracy of timing that is both hauntingly slow and
controlled, and punchy and exuberant as required.”
Naim CD555/Naim CD555PSU $47000.00
Ricky Dasler of Nelson’s Living Sound puts his money where his mouth is. “Having lived with this
statement player for over a year now in my home system, it has never failed to impress with its ability to
convey emotion into the listening experience via the silver disc. Not an easy task for digital playback.”
“It has everything that is fabulous about high-end audio: oodles of detail, huge dynamic swings (both micro
and macro), rhythmic drive, agility, subtleness and slam when called for, inky black backgrounds and the
ability to remain unflustered no matter how busy the music gets.”
“The benchmark in CD reproduction,” says Allan McFarlane from Wellington’s The Real Music. Coupled
with appropriate equipment the CD555 allows the spine tingling and tear inducing performances trapped
on CDs that lesser systems are unable to extract at these extraordinary levels. In a nutshell the CD555
draws you into the music. Detail is in proportion to fidelity leaving easy focus on individual lines as well as
musical totality. Bliss.”
Perreaux's Compact two-box Silouette CD player
“I haven't seen many two-box players on the market in recent days, so the SXCD player immediately stood
out as being quite unique,” says Jay of Christchurch’s The Listening Post. “ High-hats and cymbals are
beautifully textured and paced, bass well balanced and snappy. I like this player for its vivid and persuasive
imaging. Plus it's unique design sets it apart from all the other 'stuff' out there.”
Plinius CD101 $5610
“Plinius were reluctant entrants into the CD player game,” says Romesh Anandaraja from Hamilton’s The
Listening Post. ”It’s a terrific machine with excellent dynamics, plenty of detail, and a great sense of
rhythm. All in all real music maker. In typical Plinius style the design is simple yet intelligent, and the
results are world class.” Three AudioEnz writers also loved the sound of the CD-101, if less taken with the
ergonomics.
AudioEnz Plinius CD-101 review
Quad CDP2 $2100
“Very few players can do what the Quad CDP2 does,” says John Ransley from Dunedin’s Totally Wired.
“The Quad CDP2 essentially doubles as a digital preamp with a quality full range volume and digital inputs,
so you can feed other sources in (think Wadia’s new iTransport, MySky or any DVD player) and make the
most of the Quads 24 bit, 192kHz upsampling DAC. All this would be irrelevant if the Quad CDP2 didn’t
cut it soundwise. It’s rich, solid and completely listenable, and a very easy choice.”
Rega Apollo $1650
Allan McFarlane from Wellington’s The Real Music Company applauds “the level of musicality the Apollo
can bring to your collection. Information is apparent in abundance but it is always knitted together in a
highly involving manner.” The Apollo is also a favourite down south. “Our pick under the two grand price
point,” says Ricky Dasler of Nelson’s Living Sound. “Basic and honest with it’s approach to the music
combined with good detail retrieval and pace. Surprising smoothness for a player at this price point.”
AudioEnz Rega Apollo review
Rotel RCD 06 $999
“Value for money supremos, Rotel haven’t let the grass grow under their feet while other companies such
as Cambridge Audio jostle for position,” says John Ransley from Dunedin’s Totally Wired. “The RCD06
builds on previous worthy models, adding considerable sparkle and life. It’s light in its feet, and adept at
unravelling recordings that lower cost machines muffle. If it gives away a little in terms of depth, it more
than makes up for it with enthusiasm and sheer likeability.” The Rotel is also a favourite of Ricky Dasler of
Nelson’s Living Sound. “Strong rhythmic drive and swagger makes this a favourite with our rock and jazz
listeners,” he says.
Rotel RCD1072 $1499
“A great all round player,” says Neil Young from Eastern Hi-Fi Newmarket. “Just a well thought out and
implemented piece of gear, that succeeds in delivering the goods.”
AudioEnz Rotel RCD1072 review
Sugden CD21SE $4299
Sitting in the middle of the Sugden range, the CD21E is “so musical and understated,” says Neil Young
from Eastern Hi-Fi Newmarket. “All the feedback from customers on this CD player is excellent. In fact it is
so good a lowlife took it upon themselves to liberate one from us!”
Triode Corp TRVCD4SE-$2999
“A very popular CD player at the moment,” says Neil Young from Eastern Hi-Fi Newmarket. The CD player
comes from Japan and includes a tube (6DJ8/6922) output stage. “So musical and revealing at this price,”
says Neil that it’s “hard to recommend much else at this level.”
Wadia 581se $16399
“You haven’t heard what the CD format is capable of until you’ve heard it through a Wadia!” proclaims
Romesh Anandaraja from Hamilton’s The Listening Post. Wadia’s entry level offering “makes most
manufacturers reference offerings sound ordinary by comparison. The authority, texture, presence, and
sheer musicality of this machine make it supremely enjoyable.”
The Vinyl Anachronist: The Golden
Age
By Marc Phillips
August 2008
Well, it's that time again… time to re-tip the
Koetsu. The first two times I had to send my
Rosewood Standard in, it was due to my
own negligence/clumsiness. The first time
occurred after I had transported my who
analog rig over a friend's house to
demonstrate how his '80s linear-tracking
Mitusbishi direct-drive turntable was not
the ultimate in turntable design. When I
brought everything back home, I noticed
that the cantilever of the Koetsu was pushed
to the side. Foolishly and hopefully, I
pushed it back straight. It promptly fell
right off.
The second time, I had just purchased a
sealed version of a 180 gram audiophile
pressing of The Clash's Sandinista. I had
just finished side one, and was in the act of
flipping it over when the LP suddenly
slipped out of my hand and slid horizontally
toward my tonearm. In a split second, my
SME V was bouncing all over the platter of
my Michell Orbe and the Koetsu finally
came to rest on the wrong side of the
spindle. I crossed my fingers and hoped that
the cantilever wasn't bent again. It wasn't. It
was completely gone. As a result, I've never
finished the last five sides of that LP. The
memories of that day are still too
emotionally crippling.
This time, I ruined the stylus the
Koetsu Rosewood
old-fashioned way. I played a bunch of records with it. While those first two styli only spent a year on this
wonderful planet of our before meeting
their untimely demise, the third one lasted
well over four years, and probably had
about 5000 hours on it. I've heard stories
about how Koetsu styli last a relatively long
time, and there are rumors flying around of
some old Reds that managed to play records
for 10,000 hours before needing a
replacement. But in the Phillips' household,
folks, the magic number seems to be 5000.
The last time I needed a re-tip, I told myself
that I needed to buy an inexpensive yet
competent back-up cartridge in the
US$300-400 range. First of all, it can take a
month or two to get your new cartridge back
Dynavector's new 17D3
from Japan after the re-tipping process.
Amazingly enough, Koetsu doesn't even “re-tip” your cartridge. They replace the whole cartridge flat out to
expedite the process, which I find absolutely amazing. I noticed this the last time, when that recalcitrant
Clash LP put a small ding in the side of my Rosewood. When I got it back after re-tipping, the ding was
gone! Wow, I thought… they even fixed that, so I won't have to be reminded of my accident every time I cue
a record. I was then told about the replacement policy by a dealer friend of mine.
Second, the first two times I re-tipped my Koetsu, it cost US$880. While that may be relatively reasonable
in the world of premium handmade cartridges, you can still buy an excellent cartridge for that amount of
money. Which is what I did.
The golden cartridge
Fortunately, I was able to get my hands on the latest version of Dynavector's venerable Karat pickup, the
golden-bodied 17D3. Known for its exceptionally short cantilever and neutral presentation, this
low-output MC is different from past versions through a reworking of the front yoke. According to the
Dynavector literature, this seemingly minor modification resulted in such a large improvement to the
sound that this Japanese decided to change the model designation.
At US$900 (NZ$995), the 17D3 doesn't quite fit my “budget-priced” criteria. But it does cost roughly the
same amount as the Koetsu re-tip. And to tell you the truth, the performance of the 17D3 is so strong for
the money, that I can happily alternative its use with that of the Koetsu, causing even more years to pass
between costly re-tips.
No, I'm not saying that the 17D3 is as good as my Koetsu. In fact, the overall presentation between the two
cartridges is different enough to make immediate comparisons difficult, and ultimately irrelevant. The
Koetsu, of course is romantic and warm, with a highly seductive presentation that is downright addictive.
As a lifelong Koetsu man, I've been unable to find any cartridge that can make me stop loving this
cartridge, except for maybe another Koetsu. (I am toying with the idea of upgrading my Rosewood with a
Koetsu Sky Blue Urushi, the first model from the Sugano family to feature all-silver wiring.)
The 17D3 is, however, accurate. It also measures that way as well, something that's rare in the analog
world. The Karat designs have always sported almost perfectly flat frequency responses over the years. I've
always railed against the idea of measured “accuracy” in audio, especially when it comes to analog (hence
my love for all things Koetsu). But the Dynavector makes a very convincing argument for itself by having
very few sonic shortcomings. It may sound thin and cool compared to the Rosewood, but that's due to the
lack of euphonic colorings that are often found in wooden-bodied cartridges. (Or coral-bodied, or
jade-bodied, or bloodstone-bodied…)
Home sweet home
For now, the 17D3 has become a welcome addition to my reference system while my Koetsu travels halfway
around the world. I've even used the 17D3 to review other turntables, such as the Thorens TD-160 HD
(which you can find in the latest issue of TONEAudio). Once the Rosewood comes back (or has been
mysteriously replaced with a Sky Blue Urushi), I'm thinking about placing the 17D3 on a Rega P3-24. For
years, I've been saying that the Dynavector 10X5 (NZ$499) is the perfect cartridge for the P3. I think the
17D3 might be the perfect cartridge for that super-duper P3-24 I described here in AudioEnz a few
months ago.
Again, US$900 isn't chicken feed, but I can't think of another cartridge I'd rather own for less than a grand,
just like I can't think of another cartridge I'd rather own for less than US$500 than that Zu Audio DL-103 I
talked about in my last column.
It's a great time for great cartridges. The Dynavector 17D3 is indeed one of the greats.
Marc Phillips has been writing about hi-fi and music under the Vinyl Anachronist banner
since 1998. His earlier columns can be found on the Perfect Sound Forever website. You can
discuss vinyl with Marc at Vinylanach@aol.com
August music reviews
Eric Bibb: An Evening with Eric Bibb
MC Records
If you don’t yet know Eric Bibb then I wonder where you have been for
the last decade. He is simplest the warmest most accessible modern
exponent of original blues. What we have here is a beautifully captured
night at the Sydney Basement nightclub that is intimate and varied.
The night flows from the sensitive Needed Time through the familiar
Lonesome Valley to the foot tapping Don’t Ever Let Your Spirit Down.
He is never far from his gospel roots and with music like this in my
childhood I wonder if I would still be at the Mt. Roskill Chapel, but
then again, they did preach an awful lot, which is not a feeling that you
get with Eric Bibb. Even when he gets stuck into the politicians in Got
to Do Better you get the impression that he is speaking for us all, not at us. He does keep things light
however. Who else could make a delightful song simply out of the process of breaking in a Panama Hat,
which on a deeper level is about patience and appreciating his lover who cannot be with him.
One is left with the impression of having spent the evening with a modest, insightful and thoroughly nice
guy. It is like making a new friend. Go introduce yourself. John Groom
Crooked Still: Still Crooked
Signature/Ode
Labelled as dark-folk and alternative bluegrass, this is the third album
from the Boston string band who offer atmospheric traditional songs
with a masterfully muted dynamism. Lyrics about being lonesome or
betrayed, about graveyard revenge or a lover lost through drowning,
are intoned with an elegant earnestness that spirits their themes out of
the American traditional country landscape into a contemporary
context; what our forebears learned about “wading deep waters” can
still clearly teach us a lesson or two.
And the platform for the message is a wonderfully woven combination
of precision-picked banjo and soulful fiddle, accented with baritone ukulele and tenor guitar and given
robust breadth by the double bass and cello. This is music that evades the ‘parent’ genre inclination
towards the prim and maudlin. The tones are wry, elusive and whimsical – and really quite irresistible.
Paul Green
Toumani Diabate: The Mande Variations
World Circuit Records
Getting used to world music is not always a matter love at first hearing.
I must admit that when I first heard Toumani playing with his mate Ali
on their early recordings the word that came to mind was “relentless”
though this did soften with further exposure to “nice dinner music”.
Then a music loving and very green member of the family bought us a
copy of the duos In the heart of the moon. This was more like it. Still
not a demanding and fulfilling hi-fi experience, but the recording has
often provided a background listen that is a delightful mixture of
relaxation and fun.
The Mande Variations however is a different kettle of fish. It is a solo
recital from Toumani without accompaniment or overdubs. The recording is sparklingly clear and present
and the music vibrant varied and up lifting. He plays the Kora, a kind of African harp. If the word harp for
you means lightweight distant and classical, then forget it. These are powerful improvised pieces and what
we would call jazz. The instrument is closer to the western harp known as the double strung harp, which
while technically difficult gives a full satisfying sound that is tonally rich. I am learning to play the double
strung harp at present and this recording leaves me overwhelmed, delighted and inspired. I think it is the
beginning of a new love affair. John Groom
Elemeno P: Elemeno P
Universal Music NZ
Although it has an eponymous title, this is actually the third studio
release from Auckland’s (North Shore) favourite cheeky
pop/punk/rock exponents, Elemeno P.
Always one of my favourite live acts, I’m pleased to report that the
album goes a long way to capturing the energy and ‘joie de vivre’ that is
associated with their gigs. Any of you who managed to catch them over
the summer will have heard a number of the tracks on the album as
they were showcased in those gigs.
There is a bit more light and shade on this album compared with their
first couple of releases – signs of a more grown up and confident band?
The catchy first single Baby Come On will be familiar to all (especially now it’s been featured in Telecom’s
YouTube style TV advert). Other stand outs are the slower paced Anna Don’t Let Go (about the concerns
and uncertainty of being a teenager); the shout along gypsy like jig that is Louder Louder (sure to get the
crowd going mad at future gigs) and album opener Beverley Laurel.
The album closes with the down beat Some Things which seems to be about the end to a relationship and is
a fitting close to a well executed, mature, and honest piece of local art.
Nice work! Douglas Lang
John Hiatt: Same Old Man
New West
John Hiatt is an immensely gifted songwriter. His recording career,
which spans well over thirty years, has been patchy at best, with 1987’s
Bring The Family probably his best known and strongest work to date.
His acoustic album from 2000 Crossing Muddy Waters is also worth
checking out. Interestingly enough it revisits some of the same themes
as Family…
Same Old Man marks his debut for New West Records and they seem
to have let him make this one on his own terms. It’s self-produced
without the label interference that has dogged his record output up to now… sounds like a good idea in
principle, huh? Unfortunately it doesn’t work and if it’s not short on interesting material, Same Old Man
really suffers from a chronic lack of production values. The vocal sound in particular is grating over the
length of the CD and makes it hard to appreciate the at times hilarious lyrics and delightful melodic twists
inside. The playing is rough and ready, and not in that good way that made Bring The Family come to life.
To my ears these recordings are really good demos for an album… it’s not a good record but hey, anyone
who can write lines like “they were smoking something in the audience that night smelled exactly like cat
pee”, can’t be all bad? I think this guy is aching for the Rick Rubin treatment. Darren Watson
James Hunter: The Hard Way
Hear Music/Universal
Deep soul singer and guitarist James Hunter is back with his first
album since his 2006 breakthrough People Gonna Talk. In his
previous album, Hunter sounded like he had teleported straight from
the 1960s – the title track could have been a lost Sam Cooke classic.
With The Hard Way Hunter continues the theme with a few updates.
Recorded in analog – very rare these days – at the delightfully named
Toe Rag Studios in London, The Hard Way builds on the success of his
earlier album. Showcased is Hunter’s amazing soul voice, with a little
bit of Sam Cooke and Jackie Wilson, but still unambiguously his own
voice.
The arrangements are with Hunter’s basic band – tenor and baritone sax, double bass, organ, drums and
Hunter’s own guitar – with some additions from Allen Toussaint’s piano, a vibraphone and small string
section.
The results are extraordinary. Every single person who I’ve played this and Hunter’s previous album to has
wanted to buy a copy. You will too, just as soon as you hear it. Michael Jones
Cyndi Lauper: Bring Ya to The Brink
Epic/Sony BMG
Cyndi does a Madonna/Britney - only better!
Bring Ya to The Brink is Lauper’s first collection of original material
for a while, and it’s a gem. Very much dance- based it brings together
Lauper’s production talents with those of a number of the current top
dance producers (including the likes of Basement Jaxx and Scumfrog).
There is a real mix of dance styles on show here from the opening High and Mighty which melts into the
hook-laden Into the Nightlife – both of which sound very ‘now’.
As a contrast, there is a bit of a Lisa Stansfield feel to the vocals on
tracks like Lyfe and Raging Storm. Echo begins with some industrial
sounding synth before it breaks into a gorgeous chorus. Same Ol’ Story is a personal favourite courtesy of
the 70s sounding production (very Donna Summer/Georgio Moroder) and the hook. The album closes with
the slightly slower paced Rain on Me, which is beautifully sung and a great end to the album.
There’s not a bad track on the album, which is consistently strong throughout. It’s also varied enough to
suggest that it’ll stand up over a period of time too. The album is mixed in a way that tracks tend to run into
each other – perfect to keep the punters on the house party dance floor. Expect to hear a lot more of Cyndi
once the weather heats up. A summer special! Douglas Lang
James McMurtry: Just Us Kids
Lightning Rod Records
It seems to fashionable to complain about the political content of this
new James McMurtry offering. I don’t quite get why as I can honestly
say I hardly noticed and secondly as a songwiter he has never been
afraid of telling it as he sees it. As one commentator said “how many
right-wing singer songwriters do you know?”
Just us Kids is a collection of well-crafted songs, self-produced by
McMurty. You are left in no doubt that here you have a man at the
peak of his considerable skills overseeing his finest release since the
landmark Too Long in the Wasteland.
Fire Line Road and Ruby and Carlos are two stand out tracks. One takes on a tale of child abuse while the
other touches on the aging of us all and the journey we are on. McMurtry also doesn’t miss an opportunity
to rock with tracks like Bayou Tortous making a punchy impact. Americana fans should investigate with
haste. Allan McFarlane
Madonna: Hard Candy
Warner Bros
That Madonna and her promotional strategists still regard the persona
of Queen Paramour as the prime route to sustaining fortune and fame
is made explicitly clear with the axis of crotch, cleavage and salacious
mouth which accosts the viewer of this cd cover.
And a loose listen to the lyrics confirms that trumpeting the strumpet
within is what it’s largely all about. The opening song gets no further
than the crude metaphor of “my sugar is raw/I got candy galore/you’ll
be begging for more” – adorned with a repeated gushing promise that
she is “sticky and sweet”, in case you hadn’t caught her suggestive drift.
Elsewhere on the album, it’s a similar unsubtle signal: “Give it to me –
yeah/I can go on and on and on”, or (insincerely asserted) “Sex with you is – Incredible”. It all comes with
the accompaniment of grizzling sleazy synthesizer jingles plus automated orgasmic utterances, and it’s
generally bereft of further meaning.
Only in Miles Away, a sombre reflection on a love that works when it’s long-distance rather than
face-to-face, does Madonna sound emotional and elegant and like she’s got something to say.
Pre-eminently, a vain duty production. Paul Green
Donna Summer: Crayons
Burgundy
Fifty-nine year old disco diva makes accomplished compulsive
come-back album – an absolute ace-up-the-sleeve for party-host djs
with its driving dance rhythms, textural richness and, soaring and
sweeping through it all, Donna’s regal soulful voice. Engineered to fizz
with impact and purpose (open yourself up and move – now!), these
songs have a delicious immediacy and verve, and a promise that they
can hold you indefinitely in their mesmerising grasp.
This is mostly disco power music: lithe and taut instrumentation,
anthemic swell, expansive hesitations before a chorus chant floods
back through, sassy, irresistible. Yet it’s not all relentless step-up
action, with the lady delivering sincerely alongside an acoustic guitar in Sand On My Feet, mixing it with
country blues mouth harp in Slide Over Backwards, and handling the slow and stagy introspection of Be
Myself Again with a mercifully minimal quotient of cheesy grandiosity. Just about everywhere you go here,
La Donna is a marvel – determined, vital and reaching deep. Joyous. Paul Green
Otis Taylor: Recapturing the Banjo
Telarc Blues
Now here’s something as compelling as it is different. Otis Tayor is
joined by some banjo plucking /guitar strumming mates – look at this
line up carefully before you diss anything with the word banjo in the
title – Guy Davis, Corey Harris, Alvin Youngblood Hart, Keb’ Mo’, Otis
Taylor and Don Yappie. Whoa.
What has captivated me about this release is that while the prominence
of the banjo is obvious the different settings and arrangements these
guys find to showcase their artistry is surprisingly diverse. Electric
guitar solos over-laden with blues harmonica and the ever present
pluck of a banjo. Certainly the blues is all prevailing, a hint of bluegrass
is totally unavoidable but the presence of a cornet and traditional French tunes comes as a delightful
surprise. And that’s the word really, this is delightful surprise, truly unexpectedly successful. Well worth
tracking down. Allan McFarlane
The Ting Tings: We Started Nothing
Sony BMG
A two piece from Salford (male drummer; female singer) in the UK –
I’m confident that, even if you don’t think you have, that you will have
heard the Ting Tings already. Their single That’s Not My Name has
been getting a lot of airplay on mainstream as well as the more
alternative stations. If you’ve not heard this then you will definitely
have heard Shut Up and Let Me Go which Apple have been using for
the latest iPod TV ad.
So the sound is stripped back electronica/pop/new wave with a big of a
dance feel to it. Much of the album reminds you of something else that
you can’t quite pin down. It’s pretty inoffensive and instant. However, like bubblegum I have a feeling the
taste will wear a little thin over time, but for the time-being it’s still fruity and fresh.
The previously mentioned ShutUp and Let Me Go is funky and fresh and will get you dancing round your
living room. At times I was reminded of Blondie (Be the One) and of The Photos (Keep Your Head) - a
much underrated band from Birmingham from the 80s.
The other bands currently playing in a similar sand pit are CSS and The New Young Pony Club – dance
based electronica and female vocals, so if you like either of these bands you may well like the Ting Tings.
In summary, likeable and inoffensive, but may start to annoy after a while! Douglas Lang
Various: Verve Remixed 4
Verve
Remixed, rearranged, reprogrammed, re-engineered, reproduced – ad
infinitum from the inexhaustible Verve back catalogue. Some work: a
swinging Nina Simone Gimme Some; the Cinematic Orchestra take on
Ella singing I Get A Kick Out Of You. Some struggle: the laboured
James Brown There Was A Time; a directionless and bland Bim Bom
which is unlikely to enhance Astrud Gilberto’s credibility on the
electro-dance circuit. By and large, it’s hard to escape the sense of
gratuitous software indulgence in the bowels of Verve HQ – execs and
engineers locked in re-cycle mode, hunting the ultimate ‘cool’
re-capture (and big buck back-pat). No problem with this if you feel that those steering the re-construction
have invested heart and heat in the task, but too many of these erstwhile gems are bogged down in churn’em-out soullessness, and idling cold rather than inspiring cool. Paul Green
Mozart: Requiem
LSO Live
Marie Arnet (soprano); Anna Stéphany (mezzo soprano); Andrew
Kennedy (tenor); Darren Jeffery (bass); London Symphony Chorus;
London Symphony Orchestra conducted by Sir Colin Davis.
This is a classic example of issues that should not see the light of day.
Just because the LSO has its own label and clearly the live
performances to record doesn’t mean that a permanent record is
always justified. Here we have a chorus with some quirky mannerisms,
details of intonation and ensemble that would not have passed go in a
studio setting and soloists that at best could be described as adequate.
If you must have “big band” Mozart look elsewhere. Allan
McFarlane