RMAF 2019--MoFi Distribution, Falcon Acoustics, BAT, Dr. Feickert, Cardas, My Sonic Lab

My latest show report from the 2019 Rocky Mountain Audio Fest is now live at Part-Time Audiophile. You can read it here.

Yet another modded Technics SL1200

In response to my latest Vinyl Anachronist column at Perfect Sound Forever, I got the following email from David Bosci. He writes:

"As a life long HiFi nutter with more than 35 years of experience and a long trail of turntables: Dual>Fons/JH>Kenwood DD/SME3>Linn/FR>Gyrodec/Syrinx>Rega>Consonance. I finally settled on a highly modified SL1200 because it was much better than any other turntable I have heard. The best way I could describe the difference would be “pitch stability” or the ability to stay in tune.

Mine is based on KAB unit but with extensive further mods, Mike New bearing & platter, SME 309 tonearm, TTWeights Cu mat, Isonoe bearing & booties, Cartridge Clinic tonearm mounting, Thorens stabilizer etc. Why...because I don’t know a way of buying a turntable as good for anywhere near the same price. It is worth a listen."

Mr. Bosci is one of the rare members of the 1200 Army who have actually heard (and owned) high-quality belt-drive turntables and yet feels the 1200 sounds better. Usually it's quite a different scenario: many former 1200 owners switch to belt-drive once they hear a good design and they never go back, and many current 1200 owners don't feel the need to compare and are happy with "the way things are." I know this is a generalization, but in my experience it occurs an overwhelming amount of the time.

In addition, Mr. Bosci points out one of the strengths of the 1200, and that's pitch stability. Most 1200 fans state they hear pitch variation in most belt drive designs (something that is virtually eliminated with the use of electronic speed control devices...and there's still the fact that the servo of the 1200 often "hunts" for the right speed, causing speed variations), and that's why the 1200 is the 'table for them. But in my opinion, I'd rather have soundstaging, imaging, tonal accuracy, dynamics, realistic transients and decay and a relaxed presentation--things the 1200 does poorly. I think the whole pitch stability argument is flawed at best, simply because the measured pitch stability on most belt-drive designs is NOT in the audible range. If you're hearing pitch problems, it's probably just time to buy a new belt.

Still, I'm running into more and more of these 1200 owners who tweak the holy hell out of their turntables and claim to get excellent results. The point of my column, which Mr. Bosci doesn't address directly, is that tweaking is fine for some, but many audiophiles would rather have a stock product that performs well right out of the box. A heavily-modded audio product can be a nightmare if it breaks down and no one is willing to repair it because it's too complicated or there are warranty issues. I've spoken to at least one audio tech who laughs whenever he sees one of these machines and usually tells the owner, "No thanks."

Then again, most tweakers are fairly handy when it comes to these things and can probably fix most of the basic problems that can occur with a turntable. But if you're not, I suggest you steer clear of these "Frankenstein TTs."

New Vinyl Anachronist column up at Perfect Sound Forever

My latest column at Perfect Sound Forever is up at http://www.furious.com/perfect/vinyl80.html. Against my better judgment, I have once again taken on the Technics 1200 in a piece called "Of Lipstick and Pigs."

Let the chips fall where they may! The next piece I have planned may be even more incendiary; I'm in one of those moods...

Balanced Audio Technology VK-55SE power amplifier and VK-32SE preamplifier

(This was intended to be a sidebar to Jeff's review of these amps. I don't think the actual review was published until several months after I left. I do have to say that BAT gear is world-class, right up there with the likes of Audio Research, conrad-johnson, etc. These amps were among the very best I have used in my own system.)

It's been a few years since I've spent time with Balanced Audio Technology gear, but this company has quietly and steadily moved into the top echelon of amplifier manufacturers over the last few years. I was eager to hear their latest efforts, the VK-55SE power amplifier and VK-32SE preamplifier.

I immediately felt that the BAT combination was simply superb in terms of bass weight and power, with low frequency control that rivaled some powerful SS amps I've been using over the last year. In fact, I was amazed to learn that the tubed VK-55SE only offered 55 watts per channel, since it sounded much more powerful. Through the 90dB-efficient DeVore Fidelity Gibbon Nines, the BAT seemed to offer an unusually high level of control and heft, with all of the low frequencies coming through with a convincing amount of impact and authority.

The BATs were also champs when it came to creating wide-open spaces in my listening room. The soundstage extended easily beyond the room boundaries, and offered a panoramic view of almost every musical performance. On Shearwater's Rook, for example, my brain was able to make sense of the large numbers of performers occupying the space in front of me on each song. These complex passages sounded like they were captured live, with no compression or loss of dynamics as each new bit of musical information flowed effortlessly into the mix. Not only could I hear each musician existing in his or her own space, but I can also sense the interplay between instruments, such as guitar amps bristling against snare drums, or the slap of the bottom E-note on Kim Burke's upright bass bouncing off her body.

Like most great tube amps, the VK-55SE and VK-32SE do need to be warmed up at least an hour before the magic appears. That unlimited sense of bass depth and openness doesn't quick click until everything is hot and glowing. I do mean hot. The BATs are what you might call “winter amps,” which means these babies heated up my listening room like nothing before. If you're used to something like EL34s, you might be surprised at the sheer energy that emanates from the VK-55SE's chassis. Those giant 6C33 output tubes don't just glow—they throb and undulate like a lava flow. As you stand over the '55, you may be tempted to slide off your wedding band and toss it into the bright orange incandescence just so everything will return to normal back in the Shire.

But despite these geothermal concerns, I was very impressed with these amplifiers. They combined the weight and control of the best solid state amplification with the natural, lifelike sound produced by the finest valves. I enjoyed them thoroughly, and recommend them highly.