THE HIGH END STUDIO

The CONTINUUM CALIBURN

What costs $90k and goes up to $112k? A TURNTABLE! Yup. For playing those 12 inch black things we called el pees. Some still love their sound. Some have too much money. Some want the best.

(From the Continuum website)

By questioning the dogma that has existed in turntable design for close to a century, Continuum Audio Laboratories discovered several key design parameters that have limited the analogue medium from reaching its ultimate potential. This questioning is the guiding philosophy behind the design of the Caliburn Turntable.

Through the use of advanced 3D artificial intelligence modelling tools (NASTRAN, DYTRAN, PATRAN, Reshape™), a true picture of the forces involved in a turntable emerged. The questions we asked were:

How do the shape and choice of materials affect the dynamic interplay of forces between the various components that make up the complete turntable and tonearm?

Which shapes and combinations of plastic, metal, stone, wood, ceramic or any other materials reduce resonances that are deleterious to the sound of the system?

What effect does putting mass at the perimeter of a platter for “flywheel” effect have on the resonant properties of the platter?

What materials and techniques are best suited to matching acoustic impedance at the boundary between vinyl and the platter mass?

What effect does placement of the mounting feet have on the vibrational behaviour of the chassis and the sound of the system?

Can energy be “drained” and channelled or converted to forms that do not impede the performance of the system? i.e. Do “cones”, “rubber o’rings”, “floating baths” and other tuning devices “drain” energy?

What creates the most noise and resonance in a turntable? i.e external sources, motor and bearings or interactions between the stylus and the record?

Does isolation of a platter by means of a suspension system (to isolate the turntable from external noise) create a range of other perhaps more significant problems?

What sonic effects does the method of mounting a motor have on the turntable?

Can we avoid running vacuum pump during listening?

The list of questions goes on, suffice to say that each and every design parameter and commonly accepted wisdom was questioned at its fundamental level.

Surprising results were discovered which led us to conclude that only a select group of engineers really understood the physics of turntable design.

In fact some designs highlighted a process in which visual aesthetics were generating a set of beliefs about acoustic performance.

The challenge we set ourselves was to build a benchmark to prove beyond all doubt that there was much more information left in the groove than had previously been extracted.

Thus, “Caliburn” was born.

The EMINENT TECHNOLOGY MODEL 17

Here's the world's most powerful subwoofer. It works down to ONE cycle. Drop the needle and blow down a wall. It can't be with you in the same room... can be mounted in the attic or adjacent room... and works like a FAN, with the pitch of the blades corresponding to the tones fed it.

If you play Rap music on it you may die. Things will fall off your walls. Your kidneys will drop out.

Here's what they say/claim:

Want to hear what 5Hz sounds like? A new woofer technology unlike any other and a new product category for home audio. This is the first home audio woofer delivering true response to DC. The Thigpen rotary woofer is the worlds first true infrasonic home audio or home theater woofer. Conventional subwoofers roll off rapidly below 20Hz. With no cone the rotary woofer achieves high efficiency at very low frequencies.

Most subwoofers have a difficult time producing acoustic output below 20Hz at audible levels. They generally require large amounts of equalization, distortion rises rapidly, and even the most expensive available cannot produce significant output below 10Hz. Subwoofer electronics usually contain a cutoff filter which sharply rolls off content to the subwoofer below 20Hz to protect the speaker. On the other hand, the rotary woofer has enough acoustic output to move a open door back and forth .5” between 1 and 5Hz! It has enough output to find resonance frequencies of walls and ceilings in a room. It requires no equalization to achieve flat response to below 1Hz.

The BEHRINGER DEQ2496 EQ/REAL TIME ANALYZER/ MASTERING EQUALIZER

Price: $379.99

BEHRINGER 8000 Microphone adds $49.95

Huh? Something THIS cheap in the HIGH END STUDIO? Well, since the room makes so much difference and since this unit does so darn much to help your room, it's one of those rare bargains you must investigate. This is NO TOY. It's made for professionals but if you use balanced inputs and outputs, you're there!

(From the Behringer website)

With the ULTRACURVE PRO DEQ2496, BEHRINGER introduces an ultra high-precision digital 24-bit/96kHz EQ/RTA mastering processor in a single rack space with dedicated 24-bit/96kHz internal and external processing performance that truly puts the world of professional mastering within reach of every studio. Owing to its two high-performance 32/40-bit floating-point SHARC® digital signal processors and AKM® AD- and D/A converters and 113 dB dynamic range, the DEQ2496 provides unmatched clarity, definition and punch to any audiophile mastering mix thought available only in a high-end professional facility.

Inserted between the stereo output of an analog or digital mixing console, a workstation or master recording media, the ULTRACURVE DEQ2496 dramatically enhances the dynamics of recording material, creating broadcast-ready material previously not available outside a professional mastering studio.

The DEQ2496 features 4 selectable EQ modules with 31-band graphic EQ, 10-band parametric EQ, Feedback Destroyer plus three Dynamic EQs per stereo channel. A patent pending VPQ (Virtual Paragraphic EQ) option allows parametric control of graphic EQs. Effects include a flexible compressor/expander function with peak limiter on each stereo channel, as well as an additional stereo imager and stereo delay for delay line applications. An ultra high-resolution 61-band real-time FFT analyzer with additional auto EQ function makes room and loudspeaker equalization easy. Multi-functional level meters like peak/RMS, VU and SPL meter with dBA/dBC weighting via a RTA mic input provide all the visual control needed. Furthermore, 64 user memories facilitate complete setups and individual module configurations to produce quality masters. Separate RTA mic/line input with phantom power, professional wordclock input and MIDI connections enable full remote control, preset dumps and system updates. Balanced inputs and servo-balanced outputs with gold-plated XLR connectors, as well as AES/EBU and S/PDIF ins and outs (XLR and optical) guarantee compatibility in almost any recording and live situation.

The all-new ULTRACURVE PRO DEQ2496 features an open architecture for future software updates via MIDI, while an internal switch-mode power supply ensures maximum flexibility, noise-free audio and superior transient response at very low power consumption.

Damn! Overkill. Too much is not enough!

Price: $14,790

Reviewers rave rave rave. They're like teenagers who just steamed up the windows of dad's car on a crisp winter night's date.

Hey, it's only money. LAMM gets it right.

(From the Lamm website)

Model L2 Reference represents top of the line in LAMM hybrid and solid-state audio equipment. It is one of the best creations of its designer's professional career--a result of years of intensive research directed at attaining the most accurate reproduction of recorded music. Unique topology and application of the most advanced technological resources and processes bring the L2 near the threshold of excellence in sound reproduction. A main distinction of the L2 from any other comparable type of preamplifiers is its almost inaudible sonic signature. When connected to an appropriate type of power amplifiers, and especially LAMM amplifiers, it assures the extraordinary transparency of perceived sound and recreation of a three-dimensional soundstage in the home, recording studio, etc., without boundaries and limitations.

The L2 features a topology that brings out the most natural sound performance in the audio path, as well as graceful and sophisticated design. Its unique circuitry utilizing specially selected super-linear high voltage MOS-FET transistors ensures a class A operation from input to output, with no overall feedback at any stage. All stages, including high current output buffers, are single-ended. A unique electronic protection circuit enables manual muting of the outputs until the preamplifier has stabilized after a turn-on; it also enables functioning of the preamplifier in a "muting" mode during operation and automatic switching to muting in case the AC line voltage drops or is interrupted. Other features include 3 inputs; 1 tape loop; output signal phase switch; balanced and single-ended outputs; and built-in remote on/off for LAMM power amplifiers.

The L2 has a separate power supply that utilizes a choke contained filter, vacuum tube rectifier and voltage regulator.

Special care was taken in designing a high voltage (+350V) high speed vacuum tube voltage regulator. Using this voltage regulator, in conjunction with other technical aspects, enables the reproduction of tiniest nuances and three-dimensional subtleties in the music palette (provided that such details had not been lost in a recording process). A somewhat unusual combination of high voltage vacuum tube power supply and superlinear high voltage MOS-FETs allows to attain an enormously large output swing while retaining practically constant harmonic contents of the signal with an absolute dominance of the second harmonic.

In designing the L2 special attention was directed toward optimization of the output impedance of the preamplifier with an aim of attaining practically full independence of the output impedance from frequency, as well as to allow the preamplifier to drive (without audible sonic degradation) significant capacitive loads created by many modern interconnect cables.

Each preamplifier is carefully hand-crafted with matched components of the highest quality, some of which include military graded low noise DALE metal film resistors; unique TKD stepped potentiometers (41 detents); PRC wire wound resistors; ELECTROCUBE and ROEDERSTEIN film capacitors; high frequency switching grade CORNELL DUBILIER electrolytic capacitors; specially selected long life vacuum tubes; high quality heavy duty gold-plated RCA connectors; and gold-plated NEUTRIC XLR connectors. The preamplifier power supply features a custom-designed super-low noise toroidal power transformer. AC voltage is filtered by special RFI power line filter.

Summing up the above, we take the liberty in stating that we have been able to create a preamplifier with practically no sonic signature, of course, taking into consideration the fundamental limitations inherent in reproduction of live music by electronic means.

The L2 works on all world AC line voltages (100/120/220/230/240V) without elaborate modification.

I had trouble in school. I'd think up loopholes. I suppose over time I found that my thinking wasn't on the same path as others and so I stopped asking questions. But my loopholing also hurt me in tests where I'd see something questioned as unclear. Also, I tend to take some things too literally. Now, on my best writing days I am a stickler for finding the right word to close loopholes and clearly communicate.

I posted this recently in Audiogon's discussion forum on the NuForce. It'll nicely frame this review:

"I'm pretty sure that one of the things that really muddies the issue is that people get used to whatever sound they've had, and when they try a demo unit at home IT ISN'T what they are used to hearing. I am going through that right now. Different may or may not be better, but it is different and you have to allow for that.

Example: compared to my reference tube amp, the NuForce Reference 9s have a much more dynamic sound. Is it better? My experience has been affected by the bloom of tubes. I have to refresh my thinking in terms of dynamics, soundstaging, clarity, bloom/compression, bass and treble extension. The change isn't a familiar sound (yet) since I am so used to the tube effect. BOTH are, to my ear, excellent. But different."

So how can I give you a feeling for what I hear in the NuForce Reference 9s?

Well, first of all let me refer to the company: it's a small one and they seem to be cutting edge. Patent holders, more patents applied for... a novel circuit approach. You can read about it at their website: http://www.nuforce.com They sell at a very fair price (though some on-line dogs have barked about the cost-of-parts versus sale price. To them I say, "Go bark at your local Mercedes dealer or your local pharmacy or drug company or energy company or even the government.") They appear to have very good customer service. I get the impression they really care about building a superior product. You can be excused for wanting them to be successful.

Since so many have focused on the NuForce Reference 9, I will too, though I spent some time with the 8Bs in my system. One person in the biz suggested the 9s are "more robust." Correctamundo. But I liked the 8Bs too.

I've been a tube guy for many years. My goal is to find 'the' solid state amp which will allow me to sell my beloved tube power amp (an ARC) and not step down. Then I won't have to think about warming it up, or tube replacement. Plus, we moved away from Minneapolis where I could simply drive behind the Audio Research factory and they'd cart my baby away for service. (That was cool!)

I've watched several other tube guys pull exactly that switch over the past year. Each went with some form of a digital solid state amp. Is it the future or a fad?

When I read reviews I sometimes silently shout GET TO THE SOUND!

I like the sound. In some cases I love the sound of the NuForce 9s. The problem will be describing it to you because:

1- Your source will come back to you in audio kharma. Great disc, great sound. Bad disc, bad sound. The good news is that I can detect no euphonic coloration.

2- It doesn't sound like my tube amp, so it'd be a matter of personal taste which is better. Different, yes, indeed.

3- Cables are supposed to make a difference. I can only swap power cords and yes, they changed the sound. The better cords made a more open, sweeter sound, but as a matter of degree, it wasn't a wholesale transformation.

I always thought that TUBE BLOOM meant a fattening of certain instruments. Now I don't think that's it at all. Pardon me. I think it's a softening of the sound MIX in some way. Lesser instruments are enhanced (or leads diminished). This effect is not unlike listening to a compressor.

The NuForce Reference 9, by comparison, adds dynamics to the mix. Drums sound more impactful - there's more "pop" on each hit. Cymbals, by the way, are glorious. Could it be I grew used to highs rolled off in my tube amp? I think the term SOFTENED applies to the sound of the ARC (it's a VT100MKII - a well regarded model, with plenty of bass, and an open sound, btw.)

My impression of the 9s is first and foremost DYNAMIC, then CLEAN.

In their manual they go into description of some other amps' tendencies to mask some of the sound due to the demands of other elements of the sound. This didn't make sense to me till I heard it. On the tube amp, there are passages on certain CDs where, even at what I would say is a relatively low volume level (under 85db C weighted, fast response) the vocals are buried somewhat due to the other thunder. Not so in the NuForce. The vocals are clean and clear (if recorded that way) and not held back at all. Is it the circuitry or the extra power delivery?

They say tube amps sound louder than same power solid state amps. Maybe so. The 8Bs - equal in output to my tube amp - sounded somewhat less powerful than my VT-100MKII. The Reference 9 (is and) sounds MUCH more powerful.

I read a review of another amp in TAS in which it is said the bass is where the ambience is. I agree. These amps have plenty of bass when it's on the disc. Compared to an old old Mark Levinson (as far back as when the man held his own company), there's just the right amount of concussion, skin and stick to a drum hit. (The Levinson has less stick and more concussion). The NuForce seems faster in the bass than the ARC - which seems like a wrong thought when I write it, but it does. (Bass should be slower and easier...?) I think the bass from the ARC is great anyway, so that's a high compliment!

I think the ARC (which I tube rolled) might have the edge (with more edge) on certain reedy instruments and maybe it carries over to voice. I'm not entirely sure it isn't a pleasing artifact. The ARC VT-100MKII is tube rolled with the 6H23EB type 3s (also in my pre) from Kevin Deal/Upscale Audio (and stock ARC 6550s). It could be the cumulative effect of those tubes in BOTH pre and amp gives me that presence in the vocals that one set doesn't.

My quest is for the best possible sound, so the new amps lead me into the dark valley of changing, tweaking other elements to maximize the... best possible sound I can wring from the NuForces.

At this stage (and I'll replace this section if I change my mind or discover new truth) I think the ARC has more magic and the NuForce has more reality. Is illusion better than reality? You know they airbrush sexy pictures of cars, and models. I will listen exclusively to the NuForce for several weeks then go back to the ARC for comparison. I will report back.

My Preamp is an ARCLS5MKIII, modded and tube rolled. My source is a 4x modded Sony SCD-1 (3x Kern, 1xVSE - that's the one I use (on its separate output). My cables are Audience AU24s, balanced ICs. Speaker cables also Audience AU24. My power is dedicated. I use a PS Audio Power Plant P300 on the preamp, an UO on the SCD-1, and various power cords here and there. Speakers are Watt/Puppy 7s. The dedicated room was designed by Rives and contains some RPG BAD panels in addition to those Rives designed. The pre and SCD-1 sit on Aurios in a niche in the wall.

Finally, WHY is this in the High-End Studio section? I (and others) think this is a breakthrough technology and it belongs here for your consideration.

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