The ability to talk about, to write about, how something sounds, to someone not in the same room, is so ridiculously difficult that it bears little resemblance to talking about anything else except, perhaps, emotions (like Love).

For example, take the visual arts. Take ‘paintings’.

CASUAL DESCRIPTIONS

Your friend bought a new piece of art. They like it a lot and tells you it is kind of a cross between a Gauguin and Matisse.

OK. Your mind starts churning up images of their paintings… I think most people would try and think of paintings that would be something nice to look at, rather than some kind of monsterous offspring.

So, already we are trying to interpret what is meant by Gauguin and Matisse: WHICH works of theirs? In what WAY are they combined (color palette? brush strokes? atmosphere? thickness of paint? )? What, is it a scene with blue 2D dancers with orange grass and yellow sky?

DETAILED DESCRIPTIONS

They go further, telling you that there is a lot of good detail, microscopic changes in color, along with great macroscopic-sweeps of changes throughout the piece. The colors are a little ‘hot’ in the middle palette colors, and they are counter-balancing this by choosing a dark matt for their framing of the piece.

So, now we all know exactly what they piece sounds, I mean looks, like, right?

It gets even worse….

COMPARISONS TO THE KNOWN

Let’s say they sent you a photo of the Gauguin and Matisse paintings they think their new painting is an offspring of. So that there is a common frame of reference, kind of like you and your best friend sharing a deep knowledge of how two sound systems sound.

Here are the two paintings:

So, now we all know what our friend’s new painting looks like, right?

A PHOTOGRAPH

Finally they send you a photo. Ah, finally we get a sense of what they bought - not quite the same, but at least we can see that it looks like they have wasted their money. Again.

A SOUNDOGRAPH

Eventually we will have cheap systems that reproduce sound very accurately, as well as a photograph does the visible spectrum today. As we talked about in a previous post, at this future date the hifi system designer as artist will come into their own. When a SOUNDOGRAPH is sent to you, it will likely be, if you are a dilettante , an unreal but very evocative and moving sound that you are receiving - or perhaps your friend is still wasting their money on this futuristic day, yet again.

IN THE MEANTIME

Before digital photography, one often had trusted friends and art dealers whose recommendation they could trust. These friends and dealers were experienced, shared a common approach and similar tastes, and had recommended good things in the past. Yes, they could send a photograph - but this would take several days, and perhaps the painting will not be around that long.

It took a large amount of trust on the part of the purchaser, trust in the person doing the recommending, especially if it was expensive.

It was bought ‘blind’ so to speak.

Just like we buy things ‘deaf’.

In the high-end audio world, we aren’t quite where the art world was back then, yet. Perfect strangers just met on the net are entrusted to make recommendations and bad reviews helter-skelter. Who are these people? Has anyone besides themselves heard THEIR system?

And dealers. Dealers are not tested to see if a common taste is shared, or whether their recommendations are truly well-thought out or are just a way to make a quick buck.

A sad state of affairs.

But, as another previous post said, the way out lies in the hobby centering around people who live up to their good reputations and are willing to put them to the test: dealers, netizens, reviewers, manufacturers… Not everyone will agree with everyone else, but at least they can be trusted to say what they think, and have some consistecy in their approach. And that their approach has something to do with sound, something at least, and not completely to do with dollars or getting home in time for supper or just taking pleasure from the attention gained by shouting fire! or gold!.

Yep, consistency and honesty. That is all we need.

And you might note that the best reviewers have this going for them already. Mike Fremer, J.A., Srajan, Roy Gregory, Art Dudley, etc…. [Not that we have to AGREE with them. Not even most of the time ]

It’s just a start - and only overviews the more complex parts of the line (ignoring the M1… M10 naming simplicity of the preamps and DACs for example). But hopefully it gives an idea of how things are organized…

It is located off our Audio Note distributership page at:

Audio Note Overview

We will keep trying to make the window narrower over time as well

We’ve put up a showcase for the Audio Note U.K. dealers in the U.S.

This should help people learn a little bit about each dealership, what they have on site, their philosophy, etc., specially for those that do not have a website yet.

It is accesible from our front page by clicking on the ‘Audio Note’ button and then clicking on ‘Dealers’ or by useing the following link:

Audio Note Dealer Showcase

There is a disturbing thread on the Audio Asylum… yes, I know that is nothing to post about… but in this case, it highlights why dealers are so despised in this hobby. And since we are a dealer, well, this is not only Annoying, but, well, maybe it is only annoying.

This is the link to the thead:

I just got phone screened by a dealer and rejected.

What is annoying is that this practice is defended by several dealers, and a reviewer. And we know several very successful dealers who do this. No wonder so many people think dealers suck.

Of all the dealers that have an excuse to pre-screen customers, it should be us. What with one $500K system and two quarter million (and one very nice $25K one, too. High efficeincy speakers rock.), are we supposed to answer the phone with “If you are not independently wealthy, at the beep, hang up.”?

Shhhhheeeeooooot, man, life is too short to spend it being rude.

I told myself, when I was starting out as a professional programmer, that if coding ever became a bummer [yes, it was a long time ago ] that I would quit being a professional and go back to doing it as a hobby. It was just too much fun and I didn’t want the business aspect of it to ruin it for me.

And over the decades, although some bosses were downright sleezy, I could still retain my love of coding. I didn’t have to become sleezy [although I did become angry and disgusted a number of times - I’m sure you all can relate].

The point of this is, the day when the business side of this hobby threatens to take the fun out of music, or threatens to turn us into a**holes - we are outahere.

And until that time, we welcome EVERYONE who is actually interested in hearing what we got. Be forewarned, you will be spoiled before you leave.

Funny, most people pre-qualify themselves with something like “I probably can’t afford anythiung you got up there…” [That’s OK, we know are out-a-control] “…but I would love to hear A, B and or C…”[Sure! When is a good time for you?]”… and maybe D too, but that is way out of my price range…”[Yeah, it is pretty expensive, but wait until you here it! It is so awesomely good at….] “…and I’m not really even looking for anything in particular, I like my current system.” [It sounds like your system is well-balanced. No reason to upgrade unless you want to. If and when you to decide to upgrade, give us a call, maybe we can help].

I cannot see how this is anything but common courtesy. I know being nice is out of fashion these days - everybody wants to be Dirty Harry [me, I’ll be Josey Wales ], but seriously, …..

Truth is, most people really *can* afford many things we sell - Audio Aero Prima CD player at around $2K, The Accoustic Zen Adagio speaker at around $4K, lots of Audio Note equipment, Edge G-series amps and preamps, Shunyata entry-level power cords, etc. etc.

But they often really want to be able to come hear the BIG STUFF.

Is there something wrong with that? It is what *we* would want to do if we were them. And heck, we *are* them.

OK, some people come up here to convince themselves (and us!) that their system, or more often: the system that they are going to be able to get for pennies on the dollar when they eventually find it, is better than all of our systems. This can be kind of awkward. But still, even these people are fairly polite and goodnatured, for the most part - especially because we are not interested in being stuck with teaching them that most of what they read about on the forums and magazines is… uh… not really about high-end audio, per se.

We are not evangelical here. We just push play, answer questions, and be polite. And meet lots of very nice people. Where is the call to be rude and nasty?

One thing though, if you want to come up here and listen. please remember… to bring some great music! [Almost all of the music we buy these days was something someone brought up here with them during an audition].

And, anyone know why people patronize these hard agressive dealers who are rude and impolite, and who sell stuff that sucks without blinking an eye? Just curious… Maybe it depends on where you live. Here in Boulder, this would be suicide. Boulder is not that friendly, actually, but to be rude is really bad karma, man.

We moved the Marten Coltrane Supreme speakers over to in front of the Soundlab U1 speakers and the Marten Coltrane loudspeakers over behind the Kharma Mini Exquisite speakers. The ‘Supremes’ are slowly making their way upstairs.

The Marten Coltrane Supreme speakers driven by Lamm ML2.1 amps and Lamm L2 preamp. Source is the Brinkmann Balance turntable with Lyra Titan cartridge and Audio Aero Prestige CD / SACD player / linestage.

The system sounds good - at the volumes we play it at (i.e. below 100 dB) the bass tower’s rear-firing ports did not seem affected by the proximity of the SoundLab speakers. The main towers, being sealed, also did not have too many adverse affects [we still need to move the bass towers farther back, away from the front of the main towers - which improves imaging significantly].

The thing about these speakers, which has been unexpected, is how ‘intimate sounding’ they are. Unlike most (all?) other speakers that produce a large soundstage, which have a somewhat dominating influence, distancing the musicans from the here and now in some way that is hard to explain right now - the listening experience here is more like listening to monitors. Like the musicians are playing music Just For Me.

Still don’t know what to make of this - or whether other people will appreciate this or not. But there is a lot more ‘affection’ for the music in this context - it is much more approachable.

On the other side of the room, behind the listening chairs, is the now sparsely settled showroom 2 with the Marten Coltranes waiting behind the Khamra Minis. This will be the configuration we will use, along with a pair of Audio Note speakers standing by, when the ‘Supremes’ make it all the way upstairs into the big showroom #1.

Being an active audiohpile can be both great exercise, and at the same time requires one to be very fit.

We are talking specifically about ‘active’ audiophiles who mix things up a lot. You know, audiophiles who are on a first name basis with the FedEx guys and gals.

In order to compete against other audiophiles for the title bout in the Audiophile Strongman Competition, the following are recommended exercises:

1. Carry a 120 lb amp up and down 45 steps.[builds strong legs and biceps].

2. Now carry the 120lb amp up and down the 45 steps while it is in its crate. [builds character]

Extra bonus points: Do it while it is snowing and icy.

Extra extra points: Do it while it is very hot and humid while it is snowing and icy

3. Lean over and plug in a power cord into a hospital-grade outlet. At an ackward angle such that one cannot use your body weight to help get it in. Now un-plug it, again without using the body’s weight, and plug it back in. Do it 10 times. Do not electrocute yourself. [builds finger strength and popeye forearms].

4. Practice routing a very stiff and large power cord under a rack and up and over into a power strip. Now do it for a transport, DAC, preamp, and 2 monoblock amplifiers. [develops analytical skills and legendary patience, along with an abilty to ignore situations of disturbingly low aesthetics].

Extra points if the lightweight power strip is made to remain in its correct horizontal orientation.

5. Bend the legs and lean precariously on tip toe over $50K+ worth of delicate and very hot equipment, putting one arm around the front of a equipment rack to stablilze a component while using the other arm around the back to plug in a cable. [develops the core muscles and a nerves of steel].

Extra points if the cable has a WBT NextGen connector which requires two hands - or in this case, one hand using precisely controlled fingers that hold, stabilize, push and twist the connector, over and over again, until it is in place.

Subtract points if the component ends up cock-eyed because of imperfect stabilization technique.

Subtract more points if the WBT did not go on all the way precipitating an embarrassingly loud ground loop. Take two Advil.

6. As quickly as you can [grasshopper], Take a CD out of a top loader CD player / transport in a single movement [builds precise motor control of the finger tips] and put it into a front loader so that it sits perfectly center in the tray [develops a precise feeling for the weight and aerodynamic capabilities of a silver disc].

7. Queue up an LP while straddling a half-dozen power cords, two SET tube monoblocks, a preamplifer’s power supply and without leaving any finger prints on the equipment rack.[Develops a care-free yet zen-like appreciation of the workings of the world].

Extra points if all of the beginning of the first track on the record is prefectly audible and at the correct volume.

Subtract points if the cartridge falls off the outside of the record.

8. Route 100 cables, power cords and interconnects, of various sizes, of various robustnesses, of ridiculously high but damn well worth it cost, in and around components without scratching either the components or the equipment rack. The wiiiiide equipment rack. Witn one side of the rack blocked off by a piece of furniture that appears to allow enough room to get behind the rack but in fact does not. With minimal room lighting. While playing Led Zepelin REALLY really loud. [Develops an ability to curse with the best of them].

Subtract points if a red cable goes into a black connector.

Subtract more points if an input is connected to another input, or an output to an output, and for any cables only attached at one end.

Extra points if the lengths are such that only some cables will only reach to some components, requiring a super-computer-like capacity planning algorithm to be running in one’s head to figure out what goes where.

Extra extra points if the final arrangement of all these cables was actually the optimal one for this system.

——

Those are just a few of the exercises that many audiophiles do, every day, as they prepare for the Audiophile Strongman Competitions. I.E. modifying a typcial system on a typical day.

… and the systems have not been modified. Whoo hoo!

Been so crazy here lately, but the latest string of auditions were either off-site, or did not involve a lot of system changes.

Speaking of which…. see next post.

We held a shootout here a few days ago - $85K Audio Note Ongaku versus $22K Lamm ML1.1 versus $10K Audio Aero Capitole versus $9K Audio Note Conquest Silver. Prices rounded, so don’t quote me to Neli .

The Audio Aero Prestige as serving as CD / SACD player, and sometimes as linestage as well. The Audio Note AN/E Signature loudspekaers were serving as… speakers.

So, with the disparity in pricing - it wasn’t really a shootout. More an investigation into different sounds - how the different amps sounded, given that they are indeed so very different from each other.

We finished up with the Audio Note Conquest Silver 300B amps.

We will try to describe the *differences* between the sounds, as opposed to the sounds themselves.

Going from the Audio Note U.K. Ongaku to the Lamm ML1.1.

The Ongaku and ML1.1 amps resting behind the couch after their workout during the shootout.

The sound was not as big with the Lamm, somewhat more compressed - but perhaps more even-handed because the somewhat rolled-off deep bass [which lends the deep bass a compression-like signature], because of where the speakers were located [in front of the horns, which are out of here as soon as the snow melts. If it melts.].

The Lamm sound was more laid back, the soundstage receeding somewhat, which allows one to better appreciate the music in measured doses when desired, as opposed to being transfixed unable to move for whole CDs at a time [from this description I hope people see that we like both types of soundstaging - really depends on our mood at the time].

The Lamm harmonic color was a little grayer, and the dynamics, as mentioned above, a little less exuberant. This goes in keeping with our general interpretation of the Lamm sound as being stately and sophisticated, natural and self-consistant.

This is not to say that the Ongaku is an exuberant amp either - it is actually quite balanced, unexpectedly so from my point of view, with just a little flavor from the use of the 211 tube. We still have a lot to learn about Audio Note, but it is my current impression that as you move up in the Audio Note line, things become less colored and more accurate and therefore much more revealing of the color and subtleties of the music itself, quite unlike anything else out there. This seems different to me from the brands that, as you go up their line, you get more and more improved versions of their ‘house sound’. ‘Course, you can always tube roll the amp and get just about any sound you want - but I think the point has been made.

Going from the Lamm ML1.1 to the Audio Aero Captitole amp

The Capitole was sweet in comparison with the ML1.1. More euphonic, rounder, less resolution and transparency. For some reason, about half of the people we talk to these days are conscously steering away from high-resolution sound - so this amp, with ‘just enough’ resolution, should really be on everyone’s short list. No one really knows about it, but, especially teemed with the Capitole or Prestige CD player, you can get a really wonderful, Enjoyable and slightly Sweet, sound.

Going from the Audio Aero Capitole amp to the Audio Note Conquest Silver amps

The Audio Note Conquest Silver amps in play. The Audio Aero Capitole amp behind, resting.

Easiest to compare these to the Ongaku.

Less density. By which we mean less resolution, less micro-dynamics, less macro-dynamics, less color. Just less going on. But at the same time, note by note, it was the same: the notes were where they were supposed to be, the rose and fell like they are supposed to, they were just a little thinner sounding. OK, a lot thinner sounding.

Thinner sounding isn’t exactly ‘bad’, though, There is a lightness to the music, very similar to the experience of the $11K Kharma 3.1c versus the $45K Kharma Mini Exquisite, which I think is largely a psychological, not electro-mechanical, experience that is quite pleasant and refreshing. That sometimes a ‘lighter fare’ is as enjoyable, to a listener, as the full-featured experience.

Kind of like comparing the Simpsons [the old shows which had content] with a James Bond movie. One can enjoy both. But one generally prefers, and will actually pay more money for, the Bond movie.

Well, depends on the particular Bond movie

The main listening room is the same as last week, with the Audio Note Ongaku driving the Audio Note AN/E SEC Signature speakers, but with the Emm Labs CDSD / DCC2 SE digital as source replacing the Audio Aero Prestige, which has moved downstairs…

This room did experience a major amp shootout, more in the next post about that…

The showroom #4 is also the same, with the Kharma MP150 amps driving the Audio Note speakers, which at 98 dB are very eifficient… with the Audio Aero Capitole CD player / linestage as source, this system sounds really good. I’d like to hear any other digital amp, or most solid-state amps for that matter, do that.

Showroom 2 has seen lots of changes…

First we had the Emm Labs CD / SACD player with built-in linestage driving the Audio Note Kegons into the Kharma Mini Exquisite loudspeakers. THAT was nice…

The we moved the Meitner upstaitrs on to the Ongaku (can you say transparency? separation? purity albeit not as warm and enaging as the Audio Aero Prestige, but more convincing. So many flavors.) and did the front end with the Audio Note DAC 4.1x Balanced and CDT3 transport and M10 preamplifier.

Much more control and control and, uh, control. Everything was as it was supposed to be. Unfortunately, the 18 watt Kegons have found their first speaker that they just could not get the hang of - at loud volumes - and we’ve driven just about everything here with the Kegons except the soundlabs. The 18 watt Lamm ML2.1 also has problems with controlling the Kharma speakers at loud volumes. Based on what we have found, they really sound best, if you want them to go loud, with the Edge Signature One and Kharma’s own amps (the MP 150) if you want transparency and openness and control, and the Lamm ML1.1, a 90 watt push-pull tube amplifier, if you want tube musicality and openness and control.

We have yet to try the all powerful Ongaku at 25 watts on these though…. Maybe tomorrow?

For showroom 3, which is in the same room as showroom 2, we have…

The Soundlabs taking a break, but not the Marten Design Coltrane speakers, Lamm L2 preamp, LP2 phono stage and Brinkmann turntable / Titan cartridge. Audio Aero Prestige is performing digital source duties.

This is one of our favorite systems. However…

We had to position the Coltranes in front of the Soundlab U1. Impromtu but it seems to work pretty well. I mean, needs lots of trweaking - but we think it will work! The Coltranes like being close to the front wall, and the Soundlabs are kind of a wall…

Now Neli wants to move the Supremes over here on this side of the room [and in front of the Soundlabs!?] , as the dedicated circuits on the other side seem like they are picking up FM radio, secret transmissions from Mars, and other weirdness on several different systems that have lived down at that side of the room.

I now think it is ghosts.

But Neli, if her expression is any indicator, thinks otherwise.

Just a bunch of photos tonight…

The Ongaku is an $85K single-ended triode integrated amplifier that uses two 211 tubes to generate about 25 watts of glorious sound into just about any speaker on the planet.

Audio Note U.K. Ongaku at night with 211 tubes a glowing…

Audio Note U.K. Ongaku at night with 211 tubes a glowing…

Audio Note U.K. Ongaku at night with 211 tubes a glowing…

Audio Note U.K. Ongaku at night with 211 tubes a glowing…

Audio Note U.K. Ongaku at night with 211 tubes a glowing…

Audio Note U.K. Ongaku at night with 211 tubes a glowing…

Audio Note U.K. Ongaku at night with 211 tubes a glowing…

Audio Note U.K. Ongaku at night with 211 tubes a glowing… with AN/E SEC Signature speaker in background.