Collectible / Audiophile CDs & LPs

I found this article online which interests me and repost its extract here for subsequent reading. I did not write the article.

CDs - It is very important to buy good quality CD pressings. Everyone who collects LPs seriously has in mind the quality of pressing – the first pressings by particular record labels were better than later ones; they were and are still more collectable and also more desirable sonically. The rationale is that as pressings continue, the master tape deteriorates and the sound becomes less like the original.

For some reason, not much is written about superior quality of collectable CDs. I decided to pen down this article after I became a proud owner of four Japanese first pressing CDs. These Japanese first pressings were collectables because they sounded superior sonically. I bought The Best of Vienna Boy’s Choir, Bill Evans, a Horowitz in Moscow, and an extremely expensive Cliff Richard; I think the Cliff Richard CD actually had a price tag of HK$2,900 and therefore required some considerable thoughts before I parted with my money.

In any event, the real purpose of me relating this is that I was charmed and also surprised at the real excellence of the recordings in question. Played through my system, I must say that the sound reproduction was stunning. In the old days, all one could get from a compact disc was a rather small, mean and unpleasant sound. Now this is not necessarily true; at least not with the right equipment and the right pressing. These pieces of music were thoroughly engaging. When I played Bill Evans and compared to an ordinary Bill Evans pressing, the difference was frightening!

Audiophile means lovers of sound in Latin. The benefits of audiophile LPs include low surface noise and better dynamics already present on CDs by definition. However, while CDs as a format do not have these limitations, they often suffer from the same poor mastering processes (such as mastering from sixth/seventh generation masters) and a 'pile it high, sell them cheap' mentality that results in CDs which can sound shrill, unexciting and dull. In contrast, audiophile CDs are often mastered from the original master tapes using meticulous mastering processes, allowing the sound of the original recording to be presented as accurately as possible.

Standard CDs are often pressed on cheap aluminium while most audiophile CDs are mastered onto 24k gold plated discs, the latter have the advantages of having a longer life span than traditional aluminium discs and are also more effective as a playing medium. This is because the gold surface is more reflective and easier for a CD player laser to read more accurately. In a nutshell, analog sound waves that are heard by the human ear are converted to 1s and 0s to be recorded onto a CD, and then the CD player converts these 1s and 0s back into sound waves when the CD is played. The gold surface on audiophile CDs allows the succession of 1s and 0s that are stored on the surface to be read as accurately as possible, allowing the CD player to convert the 1s and 0s into the most accurate representation of the analog sound wave that was originally converted into these 1s and 0s. This arguably results in better sounding CDs which have a smoother, less clinical and more analog type sound.

Audiophile CDs available include 1) Mobile Fidelity Sound Lab (MFSL), arguably the best new release audiophile CDs currently available. MFSL introduced their range of gold plated CD releases in the 1990s, which have been mastered using the same meticulous mastering processes as their LPs, but are each pressed on 24 karat gold plated CDs as part of their 'Ultradisc' range. In similarity to their LP releases, MFSL audiophile CDs are made from the original master recordings and are often far sonically superior to their standard CD counterparts, having a smoother and more analog sound. MFSL CDs are often only released for a short period and then go out of print. Earlier releases are often highly sought after. All releases come in 'lift lock' style cases, which raise the CD when opened. Some older releases also came in 'long boxes' which were larger boxes containing the CD. These are now extremely rare as many people discarded the long boxes.

MFSL also introduced a range of hybrid SACDs and hybrid surround sound SACDs. SACDs have a higher sampling rate than standard CDs and so arguably have a much smoother sound. You can play these hybrid SACDs on a standard CD player, allowing you to enjoy the benefits of MFSL's mastering processes, but they can also be played on an SACD player to enjoy the full sonic benefits of the SACD format. As such these releases offer exceptional value for money.

2) DCC released a variety of albums on audiophile CDs, including arguably the best sounding releases of The Doors albums. Now very rare.

3) CBS Mastersound were released as CD equivalents of the half speed mastered audiophile LPs (see Audiophile LP Guide) from CBS Mastersound. Popular releases included Pink Floyd's 'Wish You Were Here' and in similarity to many of the rare Mobile Fidelity releases, they were released in 'long boxes'. Now very rare.

4) Others. There are many other audiophile CDs released and often plated on 24k gold from other labels - most of which offer the same benefits if they have been mastered from the original tapes and care has been taken during the mastering process. 24k plating does little to improve the sound of a poor mastering job though, so its always worth checking if the release has been mastered from the original master tapes and there is some note of a careful mastering process.

LPs - Overview

It is no exaggeration to say that vinyl has experienced something of a resurgence in the last decade. In a world of musical convenience gained from the introduction of CDs in 1983 and more recently mp3 players, many ask what the appeal of vinyl is and why people are still buying. It would be easy not to understand its appeal if you have never heard how good an LP can sound on a good music system. From the moment you open a record, the size of the artwork, its touch and smell suggest that its something special, beyond the simple convenience of CDs, but nothing comes close to the experience of listening to it. If you are using a good turntable and hi-fi, playing a record can be a wonderful and enjoying experience, arguably being a much closer experience to hearing the music live - with an analog medium sounding less artificial than CDs and compressed digital formats.

The increase in vinyl sales over the last decade are not just from 'normal' LPs you can still buy in some stores and online, but also from the sale of audiophile vinyl pressings, which are manufactured with much greater care and always arguably sound much better than cheaper releases. Please find below a comprehensive overview of audiophile vinyl pressings - how they're made, what the big labels are releasing audiophile records and links to reviews of some of the best sounding releases we've heard. Think of us as your guide to the best quality records now available, allowing you to listen to your favourite albums fresh, enjoy as close to a 'live listening experience' in your home as possible and gain the best possible listening experience from your music system.

LPs - General Overview:

- Vinyl Quality. Most audiophile LPs are now released on vinyl weighing either 180 grams ('180g') or 200 grams ('200g') and are denoted as such to indicate the greater quality of the vinyl used, often being 'virgin vinyl' meaning purer vinyl is used rather than the recycled plastics used in the production of standard LPs. A result of the greater quality and weight of the vinyl is usually lower surface noise and less cross talk. Please note: earlier audiophile LPs (including those from MFSL, Nautilus, Nimbus Supercut, etc.) were released on standard weight vinyl, but the quality of the vinyl used was very pure and as such, the quality of the sound on these releases is as good - or in some cases better, than the quality of newer releases. Furthermore, heavier vinyl arguably has a longer life and can withstand repeated plays more than the cheaper, less pure vinyl used on standard LPs.

- Original Master Tapes. Audiophile records are often mastered from the original tapes that were used to record the album in the studio or live. This is in contrast to many standard LPs which are mastered from sixth, seventh or even eight generation copies or dupes. With each successive copy sounding less like the original tapes and losing something in the copying process, mastering from the original tapes means that the sound of the resulting record will be as close as possible to the sound of the original tapes and thus as close as possible to the experience of actually being there during the original recording. Many audiophile records are mastered from the original tapes and clearly state this on the record, for example, Mobile Fidelity Sound Lab (MFSL) releases are all labeled 'Original Master Recording' to make this as clear as possible!

- Half Speed Mastering. Half speed mastering refers to the speed of mastering the original recording onto the master lacquer, which is then used to make the masters that press each LP. Many standard LPs are mastered at standard speed, which means that the master tape moves at the same speed as the original recording session and the master lacquer moves at 33 13 rpm. In contrast, it is also possible to run each of these machines at half speed. As a result, there is twice as much time for the cutting stylus to cut every possible detail and delicate groove modulation, resulting in LPs where you can hear details and nuances on your favourite albums that you never heard before. Furthermore, mastering at half speed uses less power and as a result the cutting head amplifiers use only one fourth as much power, resulting in much greater head room, better dynamic range, frequency response and lower distortion. This is another reason why resulting audiophile LPs can sound much closer to the sound of the original recording in comparison to standard LPs.

- Mastering Process. Audiophile LPs are produced with much greater care and consideration at every stage of the mastering process. Some labels clearly state a special feature of their mastering process. For example, Classic Records use tube amplification in every stage of their mastering process, following the logic that tubes sound warmer and less clinical than transistors and as such, the resulting LPs should follow suit. In many cases, mastering engineers may have to work with master tapes that are damaged or which need level adjustments to compensate for deterioration.. It is an art to do this and to still achieve a sound as close as possible to that of the original recording. In some cases, there will be master recording notes to work with, but damage to a recording tape over time can mean that some albums take considerable time to master properly. In any case, there are some clear cases of significant improvements in sound from some audiophile LPs when compared to original pressings, for example with Carole King's Tapestry from Classic Records, which sounds much more realistic and less 'EQ'd' than standard original pressings. There are some mastering engineers who have achieved small celebrity status for the quality of their mastered albums, for example Steve Hoffman and Bernie Grundman.

- 45rpm, One-Sided LPs, etc. Many audiophile labels have recently released some LPs which are playable at 45rpm. This is an extension of the logic used for mastering at half speed. Mastering an LP at 45rpm rather than 33rpm gives a greater groove length in which to press x period of music, which should arguably result in greater detail and resolution. One sided masters follow similar logic, with the suggestion that this results in one perfect playing surface.

- Direct to Disc. Some audiophile LPs were released using this process, which means that the pressing is made live, with the signal from the session going through to the cutting lathe. The logic behind this approach is that the resulting recording should be devoid of the limitations of a recording medium and should have low distortion, excellent dynamic range and the widest possible frequency response. However, the practicalities of this approach have meant that these releases tend to be solo performers and are of the majority jazz albums. Furthermore, modern digital and 'lossless' recording techniques on newer albums mean that the benefits of this approach are arguably less important now.

- Original artwork, labels, and inclusions. Most audiophile LPs include where possible accurate reproductions of the original cover art, LP labels and any other inclusions which were included at the time of the original release. Such dedication allows you to enjoy the record as if you were buying it for the first time again, but with the advantages of the better mastering.

- Poly-lined inner sleeves. Most standard LPs are packaged using cheap paper sleeves, or in worst cases cardboard sleeves, which can scratch and scuff the vinyl when removing and replacing it before and after play. In contrast, most audiophile LPs are packaged with poly lined inner sleeves, which include a sheet of poly lining to protect the vinyl from getting damaged and for safer storage. Mofi refer to their version of these as 'rice paper inner sleeves', which are also now available in packs of 10, 25 and 50 so that you can replace cheap inner sleeves with these superior replacements.

Audiophile Labels

Mobile Fidelity Sound Lab (MFSL or Mofi) was one of the first companies to release audiophile records in the late 1970s. Denoted as 'Original Master Recording' due to the mastering from the original tapes at half speed, Mobile Fidelity went through several periods as a company, which is reflected in the dates of their releases. However, the philosophy of releasing the best possible sounding releases has remained, as has the company's dedication to presenting luxury packages that include original album artwork and sleeve notes wherever possible.

The earlier releases from the 1970s and 1980s, were pressed on 'super vinyl', which was standard weight (as most audiophile releases during the period were), but was an extremely pure vinyl produced by JVC in Japan, so pure infact that it is translucent when held to the light and feature 'an extraordinarily quiet playing surface, extreme durability and a lifespan many times exceeding conventional pressings'. In 1979, Mofi released their LP master of Pink Floyd's 'Dark Side of the Moon' which was a huge seller and became the benchmark hi-fi system test LP for years to come. Following this release, Mofi started to release further releases from 1980 onward. These earlier pressings have some of the most quiet surfaces available of any audiophile LPs. In fact, many near mint and mint examples have next to no surface noise and the level of resolution is incredible. Many releases from this period often sell for high sums second hand, but they are still usually the best sounding releases of the album in question available and likely to rise in value in future, thus also being an investment to some buyers. These releases were mastered by Stan Ricker and Jack Hunt.

Mofi also released three now legendary LP box sets. The first released in 1982, 'The Beatles Collection' is legendary as being the best sounding release of the fab four's albums ever available. The second released in 1983 was 'Sinatra, a collection of his best albums from the Capital label years. The third released in 1984, the 'Rolling Stones Collection' was a collection of their first albums, none of which was released separately (only 'Some Girl's and 'Sticky Fingers' - two of their later albums, were released separately by Mofi). Each box collection is expensive to obtain, but are worth every penny and are arguably three of the best audiophile collections ever released and were all individually numbered. These box sets also included the 'Geodisc' which is arguably one of the best cartridge alignment tools available, but is now available from Mofi and is in store. During this period, they also released several UHQR (Ultra High Quality Records) titles which were pressed on 200 gram (200g) vinyl and marketed as sounding better than their standard counterparts. They also released some cassettes during this period using the same mastering processes, but these are rarer and arguably less desirable now than the LP releases.

The next wave of releases came in 1994 and were referred to as the 'Anadisq' series. These used a different vinyl compound and were released on heavy 200 gram (200g) weight vinyl and mastered using the 'Gain system'. These releases were also all individually numbered.

The original company folded in 1999, but was resurrected by Music Direct and is now releasing audiophile LPs and CDs again. Its debatable whether the newer LP releases equal the quality of the earlier releases, but the company still follows the same 'Original Master Recording' philosophy. These newer releases are mostly released on 180 gram (180g) weight vinyl and include some 45rpm releases.

Classic Records are a recent US audiophile label dedicated to producing high quality new LP pressings. Each release is mastered at half speed from the original master tapes using an 'all-analog mastering process' which also uses tube amplification at every stage of the mastering process. The majority of their releases are pressed on high quality 200 gram (200g) weight vinyl, which has virtually no surface noise and sonically superior dynamics. Classic Records are also highly dedicated to releasing each album with the original artwork, LP labels and any other materials which were included with original pressings. Their dedication to this is shown in the quality of the each release, with albums having thick, heavy duty sleeves, and many being presented exactly how they were when originally released. For example, Led Zeppelin's III has the original wheel cover, 'In Through the Out Door' includes the brown paper bag cover and booklet, The Who's 'Tommy' includes the original booklet and tri-fold sleeve. In short, Classic Records have aimed for each release to be a sensory experience, and as close to the experience of buying the original LP as possible. As a result, their releases allow you to enjoy the experience of buying your favourite albums over again, being in sight and touch exact replicas of their original counterparts, but with the advantage of the quality of the LP included, which in many cases far succeeds the quality of the standard LP release.

Classic Records are critically acclaimed for the sound and presentation of their releases, many of which are now considered to be the definitive releases. These include the Led Zeppelin catalog, which sound of which is breathtaking, The Who catalog, and many more. They are also due to release the Beatles catalog in late 2007 or 2008 - so we will get to enjoy these albums once more and see if they equal or exceed the quality of the Mobile Fidelity releases!

Nimbus Records have achieved somewhat of a legendary status within the audiophile circle for their 'Supercut' releases, which were only available by mail order through the Hi-fi magazines 'Practical Hi-fi' and 'Hi-fi Today' in the early 1980s. Nimbus mastered each release from the original master tapes using the best available mastering processes. Infact, Nimbus employed many techniques for each release that were not commonly used. For example, generally when bass moves from channel to channel on an LP, groove modulation is employed to reduce the movement of the stylus and this results in this bass being centered more over both channels. Most audiophiles would argue that this - and in fact anything, which changes the original recording should be avoided although this is common practice on most LPs. For example, the release of 'Joan Armatrading' had bass moving from channel to channel in several places, but Nimbus did not limit this, resulting in an outstanding pressing. Nimbus also had the ICI company produce an extremely pure vinyl for the LPs, which has amazing frequency reproduction and is virtually noise free - similar in quality to the 'super vinyl' used on earlier Mofi pressings. Due to their rarity and small pressing quantities, they are often more expensive than audiophile LPs from other labels, but the sums paid can be justified by the outstanding quality of the pressings and the fact that they tend to rise in value over time and as such are deemed as investments by some audiophiles. Other releases included Pink Floyd's 'Wish You Were Here', Beatles 'Sgt Pepper' and Wings 'Band on the Run' and many other excellent titles.
Nautilus At a similar time to the original Mofi LP releases, Nautilus released a comparatively smaller - though excellently mastered number of audiophile LPs in their 'Superdisc' series. Most of these were mastered at half-speed and pressed on high quality standard weight vinyl. These are also rare releases and were released in limited quantities. Nautilus also released some direct to disc releases.

CBS Mastersound This label released a large range of half speed mastered LPs during the 1980s, all mastered on excellent quality vinyl and using the best available mastering techniques. These releases also include a 'CBS Mastersound Information Sheet' (where still included), detailing the mastering processes used. These releases are arguably sonically equal to many of the earlier Mofi releases, but often do not command such high sums and as such are usually quite a bargain. The exceptions are for some of the releases which are outstanding such as Pink Floyd's 'Wish You Were Here'.

Sheffield Lab released a range of audiophile LPs during the 1980s, many of which were mastered direct to disc.

Pure Pleasure are quickly gaining an excellent reputation for releasing excellent sounding jazz and blues releases on 180 gram (180g) vinyl, many of which are mastered from the original master tapes.

Sundazed are dedicated to releasing older rock, folk and psychedelic albums, which have included much of the Bob Dylan catalog (in original mono), the Byrds catalog (also original mono) and many more. Each release also includes faithful reproductions of original artwork and LP labels and are pressed on high quality 180 gram (180g) weight vinyl. The Bob Dylan releases are arguably the best sounding versions of these albums available, each having a much fresher sound than on standard pressings - which in some cases can be surprising, for example with 'Highway 61 Revisited', on which 'Like a Rolling Stone' sounds much fresher than most other versions available.

Warner/R.T.I.These releases are mastered at half speed, often by some celebrity mastering engineers, including Stan Ricker - who mastered many of the earlier Mofi LPs. They are pressed on high quality 180 gram (180g) weight vinyl and are always presented with high quality thick artwork sleeves and LP labels.

DCC released a small number of audiophile LPs, most notably the Doors catalog, which were arguably the best releases of their albums ever available, many of which were mastered by Steve Hoffman.

Japanese LPs are often highly regarded for having excellent sound quality and for being produced on excellent quality vinyl. They can usually be identified by an 'OBI strip', a long piece of paper around the cover with the album details in Japanese. Some releases are also pressed on red vinyl, which some argue has greater sonic qualities than standard black vinyl, though this is debatable and arguably depends more on the actual quality of the vinyl used.

Conclusion: Audiophile LPs are generally more expensive as a rule of thumb in comparison to standard LP releases, but as the saying goes, you get what you pay for. The greater care, craftsmanship, presentation and most importantly the sound quality of audiophile LPs mean that you are getting something truly special, that will allow you to get the very best out of your music system, and enjoy music the way it was recorded and supposed to sound. Many people who head audiophile vinyl are surprised by the details and sounds they can hear on their favourite albums that they have never heard before and the entire experience is like buying the album for the first time and enjoying how good it sounded when you first heard it. What's more surprising though to the majority of converted vinyl enthusiasts is how much better audiophile LPs can sound in comparison to their CD counterparts, making a real case for vinyl as a format and a luxury for any high end music system that deserves only the very best.

DIY class T amplifier

A class T amplifier is an audio amplifier which uses Tripath (since insolvent) chip based on Class D topology instead of being a different class of amplifier. It is a high order switching chip amplifier that uses a spread spectrum PWM technique to generate the audio output. This output is then filtered through a simple second order low pass passive filter to remove the ultrasonic switching residue and leave the audio signal to be sent to the loudspeakers.

I have come across numerous rave reviews on class T amplifiers and that their excellent sonic qualities far exceed many other amplifiers costing 100 times their price. Review 1: http://www.stereophile.com/solidpoweramps/1006sonic/ Review 2: http://6moons.com/audioreviews/trends/ta10_2.html plus many others. Nothing transpired and this information only remained at the back of my mind until the recently concluded KLIAV Show 2008 where I finally got to hear a class T amplifier myself. It is an amplifier in wood casing named Charlize with Tripath TA2020 chip (max output of 10W into 8Ω / 20W into 4Ω) driving a pair of horn speakers in diyParadise room. I thought to myself how natural the sound was.

I gathered more information at diyParadise and diyForum websites and even chatted with Yeo as I was keen to buy an unit of Charlize in kit form for RM350 (diyParadise also sells Charlize as finished product for RM1,000). I like the idea of assembling my very own Charlize in a small wooden jewellery box just like what was featured in their website but with RCA connectors and speaker binding posts fitted in more properly instead of them sticking out midway from the wooden casing. Just before I could place my order, I chanced upon another class T amplifier also in kit form but uses Tripath TA2024 chip (max output of 6W into 8Ω / 11W into 4Ω, both ratings @ 0.10% THD) being retailed at a hard-to-resist price of RM55. Given its price, I thought the capacitors and resistors must be of inferior quality which may need to be replaced for this class T amplifier to really sing properly. I have since ordered this kit and would need to listen to it with my loudspeakers to assess whether the 11W output is sufficient for my applications before I replace any of its components. I hope not to go overboard and work within my original budget of RM600 for the finished amplifier.

The TA2024 is a stereo bridged amp. This could be seen from the schematic in the dual push pull transistors for each channel and the 2 sided output filters. The chip is designed to run off 12V DC, so the bridged mode is needed to squeeze more power out of the 12V. It cannot be bridged further. Most of those who have written about this amplifier rave about its sound qualities, often comparing it favorably to valve amplifiers. What is the difference of TA2024 from Charlize (TA2020)? I have only heard Charlize once and never did any direct comparison between the two but after reading the comments of many others who have written on these Tripath chips, TA2020 seems to have a smoother, fuller sound and a bigger soundstage than TA2024. There is also slightly more power from TA2020 before clipping. TA2024, however, is the winner for micro details, the magical thing that valve amplifier lovers seek.
What would I be driving my class T amplifier (hereinafter referred to as T-amp) with? Most probably a pair of 86dB/1W/1m Q Acoustics 1010 bookshelf loudspeakers that I picked up during KLIAV Show 2007 meant for my second system in the bedroom/study although I also have another mint pair of audiophile loudspeakers in Epos m5. I only intend to set up a small system for nearfield listening with no intention for yet another hifi system as I already owned a decent-sounding system at home which I enjoy listening to immensely. Listening to my main system has always put back a smile to my face whenever I am feeling a little down from work pressure.

After I sold off my Sony TA-F5000 integrated amplifier, I had always fancied buying a Musical Fidelity X-80 (40W) integrated amplifier for my bedroom/study because of its looks and small footprint. Sonic quality is decent. The local agent, LTB Enterprise has some brand new units but still maintained their selling price at RM3,200 each, too pricey as far as I am concerned. I then lowered my choice to a NAD C315BEE integrated amplifier but felt its sound is a little too harsh to my ears and its full equipment size rather unsuitable. All these until the T-amp came along.

I have maintained in LYN forum from day one even before I received my first T-amp board that I am not expecting it to sound as good as the resident amplifier in my system. My first T-amp fitted with a discrete attenuator actually sounded very good and far exceeded my expectation so much so I later built another unit for my office. I am quite a perfectionist and have taken great pain to select the peripheral parts and assemble both my T-amps. Read about my listening to the T-amp where I have dedicated a separate article on it. An interesting article where TA-2020 chip based T-amp is built DIY, detailing parts used, the process and rationale: http://ta2020.huuryuu.com/index_e.html

Further thoughts: If only the JVC SX-WD1KT wood cone single driver loudspeakers could be gotten at a more affordable price, I am of opinion that these are even better suited for my T-amp based system for my bedroom/study. The system would probably be the only system I ever need to accompany me to my sunset years if they could last that long.

My Hifi System

Hifi, short for high fidelity, has been a part of my life for the last 16 years and my current system which resides in a living hall measuring roughly 25' (W) x 30' (L) x 12' (H) comprises of Roksan Caspian m-series 1 CD player (digital source), ProJect RPM 5 turntable with Ortofon OM20 mm cartridge (analogue source), a much improved ProJect phono box mk1, SimAudio Moon i-3 integrated amplifier and Sonus Faber Concerto Home loudspeakers. Cables and accessories include vdH First interconnects, vdH Source interconnects, vdH D-502 tonearm cables, vdH CS-122 hybrid speaker cables, Russ Andrews PowerMax AC cables, WireWorld Stratus 5 AC cables, White Carrara marble platform, untempered glass platform, Vibrapods and Isobase copper footers.

I subscribe to Zen values of less is more and in keeping things simple in life; my hifi system also a result of this belief and hence integrated amplifier and CD player instead of separates like pre and power amplifiers, and CD transport with DAC. The golden rule of 40%-30%-30% allocation on loudspeakers-amplifier-source is observed so as not to spend too excessively or too miserly on an equipment and keep my system strictly within context. I believe in the adage of our hifi system being as strong as its weakest link. I listen mainly to vocals and instrumental music of jazz, classical, traditional Chinese and contemporary genres whereby the emotional aspect of music presentation and PRaT (Pace, Rhythm and Timing) are of utmost importance to me. I rarely go for hard hitting rock music.

My hifi system is set up in the living hall (instead of within a dedicated listening room) as I wanted music to be part of my family's lives and all of us to enjoy it rather than me alone. Music would normally be played when we read or attend to the garden just outside the living hall and I am now past the era of sitting alone in the sweet spot listening to details (or to dogs barking in Roger Waters’s Amused to Death CD) or the three dimensional soundstage. And being in the hall, my hifi equipment must not only sound good but look good too, thus their small footprint and esthetic appeal so as to blend in with the interior decoration. I prefer to listen to my equipment in as is where is condition without tweaking in order not to adversely affect their resale value should I opt to dispose them off in future.

I currently owned approximately 250 and 65 different titles of CDs and LPs respectively, enough to cater to my listening needs of a lifetime. I shall only buy more CDs and/or LPs if I do come across very good ones or those which appeal to my music taste. I do not foresee myself embracing SACD format either in the near foreseeable future or beyond that.

Do I consider my hifi system high end? The answer is NO and it is in fact more of a lounge system to enjoy good music.
Sonus Faber Concertino/Concerto Home loudspeakers

Concertino Home is the baby of the previous affordable Concert series of Sonus Faber which also include Concerto Home and Grand Piano Home. Both Concertino Home and Concerto Home are standmount loudspeakers finished in solid Walnut and leatherette. I owned a pair of these loudspeakers for many years after switching over from Epos ES11/12. To me, they are very natural sounding transducers especially in the midrange (tone and timbre of musical instruments) and are about refinement and body which would require substantial yet good power amplifiers to drive them well. I love their sound a lot and could have easily live happily-ever-after with this pair of loudspeakers if only I had not chanced upon a NOS pair of Concerto Home (tagged as poor men' Electa Amator) at a hard-to-resist price which I subsequently picked up, this at a time when these models are no longer in production for many years. Both the 2 models sound alike, obviously cut from the same cloth but with Concerto Home, musical instruments sound even more real, more emotional and more dramatic. The grandeur scale of soundstage width, height and depth together with all three departments of highs, midrange and bass of Concerto Home are audibly much better. Size of string instruments in acoustic guitar, violin, cello, guzheng, pipa and erhu are more lifelike and sound very much like the real things themselves. Very palpable indeed so much so I had goose bumps when I first heard them. A review of Sonus Faber Concerto (Classics) by Martin Colloms in Stereophile in 1998: http://www.technologyfactory.be/reviews/SonusFaber/concerto_stereophile.pdf

SimAudio Moon i-3 integrated amplifier

SimAudio Moon i-3 integrated amplifier, in my opinion, is a remarkable and worthy partner to both my two pairs of Sonus Faber loudspeakers with its substantial power output (2 x 100W rms into 8Ω / 2 x 160W rms into 4Ω / 2 x 200W rms into 2Ω) and excellent sound quality. It has both an active pre-amplifier and power amplifier in a single chassis; the pre-amplifier adopting JFET technology and the first 5W output are in class A. Its overall sound is fast, well-timed, rhythmic yet refined and smooth (with midrange sounding quite liquid) - a blend of only the good sonic attributes from the solid states and valves amplification combined. This integrated amplifier refutes my long time preference for MosFet design (with passive pre-amplifier) over bipolar design (with active pre-amplifier), resolves multiple voices and instruments well and will stay unconfused even during complex music passages. Reviews: http://www.soundstage.com/revequip/simaudio_i3.htm and http://www.stereophile.com/artdudleylistening/945/. And for those who could read the Chinese language, another review: http://www.allhabit.com/thread-93194-1-1.html

Roksan Caspian m-series 1 CD player

Roksan Caspian m-series 1 is my current CD player after having owned several other players such as Marantz CD72IISE / CD63KI / CD19a, Rotel RCD1070, Sony XA5ES, Enlightened Audio Designs T-1000 transport & Theta DSProgenyA DAC, and Wadia CD23 in the past. Internally, it has 2 separate transformers and uses a Burr Brown DAC with 24 bit resolution and 192 kHz sampling rate which translate to a more stable sound with lots of details. A review: http://www.dagogo.com/RoksanCaspianCDplayer.html
Analogue Source - turntable

My parents never owned a single record when I was young and I grew up listening to 8-track cartridges and cassettes much later. I could only afford CDs after I started working. I had often visited my classmates’ home during my school days and heard music being played through turntable setups. The sound struck me then as extremely big in scale and direct sounding so much so I have always sought for these sonic traits in my own hifi system. I could only come close but not able to attain them completely with my digital source spinning the 16 bits / 44.1 kHz CDs.

I went retro and bought my first turntable two years ago after hearing the renowned Linn LP12 turntable playing Holly Cole Trio’s Don’t Smoke in Bed and Carol Kidd’s When I dream records in Linn’s room at KLIAV Show 2006. As I am very familiar with the songs being played (I owned these two albums in CD), I was thoroughly stunned as I had never heard these two ladies sing so well in my own hifi system; no, not even when my Theta DAC or Wadia CD player were in place. The organic richness and texture of their voice (the emotional appeal) were beyond any description with words. The scale of singers and the accompanying instruments were almost lifelike and present in the hotel room.

Another reason I went retro is when I picked up CDs to replace those old cassettes I was listening to during my growing-up days, I discovered the sonic quality of these reissued CDs left much to be desired, a result of recording companies making use of old master tapes that have deteriorated in condition. I was thinking that I could instead hunt for used records in mint condition but alas, Chinese records especially those by Taiwanese artistes are so scarce and hard to come by in Malaysia.

As of now, I owned a ProJect RPM 5 turntable with Ortofon OM20 mm cartridge. This turntable betters the sound of its younger sibling of Xpression II when fitted with the same cartridge by quite a considerable margin especially in the scale of soundstage width, height and depth and is all about refinement and a suarve approach to music making. A review: http://6moons.com/audioreviews/project3/combo.html

I have always perceived Rega turntables as ugly looking with their plain and bigger-than-usual plinth and smaller-than-record platter (I still feel the same now) but after listening to their entry-level P2 with the cheapest yellow-coloured Audio Technica AT-91 mm cartridge, I am totally smitten by their sound which is more immediate with more attack and PRaT than my ProJect RPM 5. A few people have advised me to at least go for their latest P3/24 (its performance in stock form considered to be on par with my ProJect RPM 5) if I were serious in going the Rega route. I have since ordered and shall be receiving my P5 cherry soon. I shall fit my brand new Denon DL-160 high output MC cartridge onto it and post more thoughts and impression in due course upon its run-in. Yes, all equipment need to be run-in.

I may have been too obsessed with my turntable and records hunting for quite a while, so I guess I need to cool off a bit now.

Phono stage

This is picture of the internal of ProJect phono box mk1 (the only equipment I bought used and already modified), its design supposedly an 'Actidamp II' by Dr Sykora, a Czech audio designer who also designed the Clearaudio Basic phono box and these 2 designs are reputed to be almost identical. The original parts used by ProJect are those of inferior quality and some were with unsuitable values but my unit has seen these replaced with audiophile grade parts and tweaked to a spacious and super sweet sound but a tad slow by my standard. In a direct AB shootout with a Vendetta Research phono box, I thought my phono box completely beat the former. I may need to source for a dedicated PSU to further enhance its performance by improving speed and may opt to DIY (a cheaper approach) on this. The diyforum to modify the ProJect phono box mk1: http://www.diyaudio.com/forums/showthread.php?s=e23299f52061859dd16f720492829cad&threadid=21833&highlight=
Cables

The cables used in my system now are essentially vdH cables which I perceive as more natural sounding overall than those from Chord Co, KimberKable and XLO Electric that I owned in the past. I like vdH First metalless interconnects best with their slightly darker but refined yet extended highs (as opposed to splashy highs with sibilance), natural midrange and powerful bass with lots of PRaT and I used them to tame the bright sound of digital playback and bring it closer to that of analogue playback. When they are used in lesser systems, others often find vdH First to sound dull and lack airiness and details.

I am of opinion that cables are accessories to fine tune sound of hifi systems once all equipment are in place and had over a long period of time only been using freebies and el-cheapo ones. Although sounding less prestine with lesser grade of copper, they are neutral and will not impart any sonic character onto our hifi systems. Cables have 2 properties which could not be dispensed with - a good electrical connection of the correct electrical parameters for its job, and long enough to reach where they have to. Many knowing aficionados would opt for a decent length interconnects for it is a 'high impedance interface' where we seek low measured Capacitance. Speaker cables ought to be kept as short as possible because amplifier to loudspeaker connection is a 'low impedance interface' and we seek low 'self inductance'.