CAF 2019--David Cope and Old Forge Audio

My latest show report from the 2019 Capital Audiofest is now live at Part-Time Audiophile. You can read it here.

Installation of The Wand Master Series Tonearm

I've just made another change to my review system--I've installed The Wand tonearm from New Zealand on my trusty Unison Research Giro turntable. As the US distributor I've installed a couple of these tonearms in the past, but this is the first arm from the new Master Series and we bought one so I could both familiarize with the installation and, well, up the ante when it came to my analog rig. (The stock tonearm on the Giro is a modded version of the Clearaudio Satisfy tonearm, which is a fine tonearm and has been a steady team player over the last few years.) The current MSRP of the 9.5" Master Series tonearm is $2250...there are also 10.3" and 12" versions available.

The Wand Master Series has the following improvements over the Classic and Plus Series tonearms: easily adjustable-on-the-fly VTA, a vibration shunt/damper (which comes in the form of an oil-filled trough), silver-coated copper wiring and a silver carbon fiber arm tube. You can easily tell the difference between the Master and the others in the line--the Master has a silver arm tube while the Plus and the Classic have black arm tubes. The armrest assembly on the Master is also much more complex.

When I first unpacked the Master from its compact wooden box I was surprised by all the pieces, especially compared to the Plus arms I've installed. My first impression was how daunting it all looked, but once I sorted everything I out I realized that there were several versions of many parts so that the Master could be installed on a wide range of turntables. This is a feature for many premium tonearms--I remember my SME V tonearm and how many extra parts and hardware remained in the box after I was done. Most of these extra parts revolved around the two-piece mounting plates for the arm--different plates work on different turntable plinths, with different screws for different plinth thicknesses.

Finding the right mounting plate for the Giro was the reason why I had to install and uninstall the Master three times. The mounting plate for the Satisfy arm actually has more than one piece, and I had to remove more than I anticipated to set the height of the arm so it would line up with the platter. This is the Giro sans arm, as clean and disassembled as I've seen it. The Wand tonearm can be mounted with any turntable with the right size arm hole in the plinth--23mm to 25mm are ideal, but the mounting plates will work with holes up to 28mm in diameter. If the hole in your turntable is bigger--up to 48mm--Simon Brown, the designer, will send you a fitting. Simon offers a wide range of additional accessories that will help you install this tonearm on a wide range of turntables.

This was the mounting assembly I wound up using. I had tried a couple of the others, but they didn't quite fit. Then I noticed this plate, which had a tiny purple post-it note stuck to it. The note was from Simon, who told me that he designed this particular plate for the Giro. D'oh. (Simon is a stickler for reading instruction manuals FIRST.)

This is what the mounting plate looks like after it has been installed. Notice that Phillips-head screw that keeps the two plates together? Turns out it's very important later. I'm jumping ahead, but when you loosen that screw, it allows the plate to move around in the hole. That's how you set overhang on the cartridge! I like this much more than constantly fiddling with the tiny mounting screws on the cartridge, and those tiny bolts that like to fall into the carpet, never to be seen again.

This is how you position the arm assembly so that the effective length of the arm is correct. You install the spindle (The Wand is a unipivot, which means the arm tube rests on a single point), set the correct height using a notch on the side of the supplied jig (that funky-looking metal thing), and then you place the jig between both spindles to get the distance correct. This jig was so accurate that when it came time to adjust the overhang on the cartridge, it was already close to correct. The jig itself is fantastic--you can set everything but tracking force with it (which is why Simon includes an Ortofon manual stylus force gauge with every arm he sells). You can set overhang and azimuth with it as well.

Whoops, I forget something. The first step in Simon's manual is mounting the cartridge on the arm before it is installed on the turntable. I'm not going to on and on about this, other than it's very easy to do with The Wand--my main problem, as usual, is with the antique mounting hardware required by the Denon DL-103. (My Transfiguration Axia will be mounted after it gets a re-tip, and it will be much easier to mount.) Notice that the holes for the mounting screws are fixed--overhang is set at the mounting plate, which is unique in my experience. Also, Simon includes a couple of small plates that can be installed between the cartridge and the headshell to add weight--a feature needed for lightweight cartridges.

Next, it's time for the armrest assembly, which comes almost completely assembled. You just have to install the cuing level (easy), hook up the anti-skate (the traditional tiny weight/monofilament style) and set the right height of the armrest on the spindle. There's a trick to the angle of the armrest so that it doesn't collide with the arm as it tracks across the record, so that the vibration shunt is aligned, and so the anti-tracking weight hangs loose. Then you route the tonearm cabling through the clip so that the wire makes a nice arc that doesn't touch anything on the arm.

This is what everything looks like after the armrest is in place. That tall tower is the VTA setting, which can be adjusted on the fly. You can also see the vibration damper and its trough, which is filled with oil. Simon gives you three different bottles of oil with different viscosity so you can experiment with the results--or you can choose not to use the oil at all. You can also see the armlock, which hooks onto the same post on the bottom of the arm tube that drags through the oil in the trough.

Here's one more photo of the alignment jig, and how easy it is to set overhang. For me, that's one of the most time-consuming parts of mounting a cartridge--fiddling with the tiny screws, checking the tip of the stylus with a protractor and a lighted magnifying glass, going back and forth until you get it right. Getting the overhang right took much less time than usual. From there it was just a matter of getting the tracking force right (Simon includes a number of plates that can be added to the back of the counterweight, with fine adjustments done with a large, knurled bolt--again, simple.) Azimuth is also adjusted by adjusting the counterweight--a notch on the jig helps with that as well.

Next thing you know, I was finished. It took several attempts because, as I explained, I wanted to try all of the parts to find the right combination to match with this particular turntable. But once I dialed it in, I could probably take this arm apart and put it back together in a relatively short amount of time.

And the sound? Yes, I noticed an immediate improvement in the overall sound of the system--everything sounded more full, with better bass control. I do have experience with this arm and my Transfiguration Axia--that's the combo we used at AXPONA a couple of years ago--so I know I will hear incredible gains in detail once that's back in the system. But for now, I'm content to know I tackled this super-arm, and this will make my music reviews ever more fun than before!

Random Photos from Down Under Audio at the Newport Show

Once again I'm trying to keep this blog infused with new content, and life again gets in the way. Down Under Audio at the Newport Show was a success--it was easily the best show ever for Colleen Cardas Imports both business-wise and sound-wise. Now I'm just incredibly busy dealing with the aftermath. Colleen Cardas Imports is now representing three of the Down Under Audio brands--Brigadiers Audio, Les Davis Audio and The Wand. The first two were no surprise to anyone, since I've been promoting the development of these brands over the last year. The third brand was a surprise since Simon Brown, designer of The Wand tonearm, seemed very happy with selling direct in the US. But everyone involved with this show became family, and Colleen Cardas Imports is finally distributing some amazing analog products--and that now includes The Wand.

The photo above was taken by David Robinson, publisher of Positive Feedback Online. I look tired in that photo because I was tired, but also happy I was to pull off this event. Two rooms, seven manufacturers and countless emails later...we did it.

First, the Axis/REDGUM room was a model of simplicity and ease. Ian Robinson and Lindy Gerber of REDGUM had the whole room set up and running in about two hours, and the sound was superb. (John Reilly of Axis had to cancel a week before the show since he was under the weather, but he's feeling much better now.) Room 1011 was an oasis for me--while the room was always full of attendees, Ian and Lindy always keep things organized and running smoothly. They've done a few audio shows before, and it showed.

The photo above was taken by Dave Clark at Positive Feedback Online. A running theme throughout this report will be that I was far too busy to take my own damned photos.



This is also from Dave Clark. It's the best photo I've seen of the entire system in Room 1012: Brigadiers Audio BA2 speakers, PureAudio Control preamplifier, PureAudio Duo 2 power amplifier, PureAudio Vinyl phono pre, MSB digital stack, Audio Union Helix 1 Turntable, two The Wand tonearms with a Hana cartridge on one and my Transfiguration Axia cartridge on the other, Furutech cabling and power management, Quadraspire racks and Rogoz speaker stands.

Close-up of Brad Serhan's Brigadiers Audio BA2 loudspeakers in New Guinea rosewood. Absolutely breathtaking in both sight and sound. I love these speakers. They did so well at the show.

I almost destroyed this beast. Evidently you're not supposed to pick it up once it's been set. I did exactly that because a) they set it on a really flimsy stand that would not hold it up throughout the show and b) I did not read the email that said don't pick it up once it's been set. I dodged a bullet, however, and didn't damage it. And I have to say it's a spectacular turntable that produced some of the most solid and realistic sound I've heard from analog.

Ian Robinson and Lindy Gerber. In Facebook I wrote:

"Thank you so much to Ian Robinson and Lindy Gerber of REDGUM Audio for being so wonderfully self-sufficient and professional throughout the show. They were a true pleasure to work with and constantly amusing me with their quirky and humorous music selections. Just absolutely incredible people and we're proud to represent them."

"Say hello to Simon Brown, the newest member of our family. He makes the modestly priced The Wand tonearm which is so brilliantly designed that it's right at home on a $40,000 turntable. He's the kind of fun, quiet man who makes me want to jump on a plane and fly to New Zealand because it must be an amazing place if he lives there."

"What can I say about Les Davis, a guy from halfway around the world who has so much in common with me musically? He came up with this simple little device that makes music so much more enjoyable and doesn't cost crazy audiophile prices. I'm very glad he burst through Brad's front door with a sheet of his material and a pair of scissors."

"Meeting Gary Morrison in person was a true pleasure, especially after four years of Skyping. Great sense of humor, nice and wry, and utterly approachable even though he is a genius. PureAudio equipment is the stuff of dreams, and it's so gratifying to hang out with the guy with all the talent."

"Brad Serhan, my brother, who is supremely talented and is far too humble to know it, with Morris Swift, the man who believes in him and keeps him focused and also has such an impressive range of knowledge about the industry. Thank you Brigadiers for fighting this battle with me. Also David Allen who's holding down the fort in Sydney."

I also wrote the following for John Reilly: "Thanks also to John Reilly of Axis VoiceBox, who was under the weather and could not travel to Newport. But in many ways he had the best show because dealers took all our pairs away! See you soon, mate...get well so we can eat more Malaysian food!"

And for my friends at Furutech: "Finally, much love to everyone at Furutech. Cables and power management often get lost behind the scenes, but Furutech has supported our hi-fi shows for years and we owe a big chunk of our success to their extraordinary products. Thanks to Graeme and Frank in Japan and Scot Markwell herein the US."

Les Davis Audio, now open for business!

Brad, Morris, Gary and I in the hallway outside the room, catching our breath.

Doing my part with the social marketing.

Colleen and I stayed up late one night and designed this. It turned out better than we expected!

Once the show was over, I took everyone on a tour of my homeland. Simon, Les, Gary and Brad hanging out with me on the Huntington Beach pier.

We were all coffee-deprived during the show. GOOD coffee, that is. That's Gary, Brad, Lindy and Ian enjoying some nice gourmet coffee made from a French press in some hoity-toity south county strip mall.

Brad and I after dumping off the show gear at Blackbird Audio. That's why I'm all sweaty.

Dan Muzquiz and Brad. Dan was a huge part of our success at Down Under Audio. He's the guy who stored and organized all the gear for us. That was vital to our plan since we moved to New York and I could no longer just stick everything in a truck and head on down.

This is how we left Dan's showroom. Sorry, Dan! We love ya buddy!

After the show, we took everyone to Riverside to visit Leif Swanson and Damon Von Schweikert of Von Schweikert/Endeavor Audio. Leif and Damon have actually been important allies for us in the high-end audio industry--we've shared a room with Leif in the past and he loves the sound of PureAudio amplification with Endeavor Audio loudspeakers. I'll return the favor by saying that the Von Schweikert/Constellation room at the Newport Show was absolutely incredible. Mind-blowing sound. Killer realism. Sound so good I may have wet my pants a little.

Damon (at far left) and Leif (behind the lens) were generous hosts and took us for a tour of their factory and then out to lunch. Having everyone get together like this underlines one thing--many of us in the industry actually support each other even though we may be competitors. We know we're all in this together, and that's how we make this industry grow.

Anyway, I may post some more photos in the coming weeks. Even after two weeks I'm still a bit exhausted. But Down Under Audio was definitely worth a year of my life. In fact, we're already talking about doing it again next year!

Down Under Audio Is All Set for the Newport Show!

We are all set and ready to go for Down Under Audio and the Newport Show! As I've mentioned repeatedly, we will be in Room 1011 and 1012 at the Hotel Irvine from June 3-5. In Room 1011 we will be featuring Axis and REDGUM Audio, and in Room 1012 we will have PureAudio, Brigadiers Audio, Furutech, The Wand and Les Davis Audio.

First up, we will feature PureAudio amplification from New Zealand. Gary Morrison will be there to introduce the the new version of the Duo stereo power amplifier. Gary has changed the design slightly so that this huge pure Class A amplifier runs cooler, and as a result of these mods he feels that the overall sound of the amp is sweeter than ever before. We will also have the Control preamplifier and the Vinyl phono preamplifier in the system.

The system will be fully wired with Furutech, including the Lineflux interconnects, Speakerflux speaker cables, Alpha power cords and the Furutech power conditioner.

Speakers, which I've mentioned, are the finalized versions of the Brigadiers Audio BA2 monitors. I had the honor of sitting with Brad Serhan, David Allen and Morris Swift of Brigadiers to finalize the design in Sydney, so I'm very proud of the result. Both Brad and Morris will be at the show to answer your questions.

Ian Robinson and Lindy Gerber of REDGUM Audio will be manning Room 1011 with the entire Black Series Line of integrated amplifiers including the RGi35ENR (65wpc), RGi60ENR (125wpc) and the RGi120ENR (175wpc). REDGUM manufacturers wonderful high-current amplifiers for hard-to-drive loudspeakers, but they will also be bringing one of their highly regarded CD players, the RGCD5ENR. Best of all, they will be giving away an RGi35ENR to a lucky attendee!

John Reilly of Axis VoiceBox won't be able to make the show, but his incredible little monitors will. They are the perfect sonic match for REDGUM and this will be the first time US audiophiles can hear the combination in all its glory--although Dan Muzquiz of Blackbird Audio Gallery has had both REDGUM and Axis available for demo for a few weeks.

Les Davis Audio's 3D² constrained layer dampers are now in production! We will be performing demonstration so that everyone can hear the sonic differences these affordable devices can make in almost any system! Les Davis himself will be there to show you how they work.

Simon Brown and his The Wand tonearm will make the trip from New Zealand as well. I can't wait to hear this tonearm--despite its modest price it features some truly amazing engineering and can be used with even the most impressive analog rigs!

Speaking of impressive analog rigs, we will be featuring the Audio Union Helix Turntable Designed By Mark Doehmann. I first auditioned this Aussie-designed 'table back in October at RMAF and I'm still haunted by the realistic sound and the incredible design. The Audio Union people demonstrated it for me--they shook the plinth while the record was playing and it didn't skip a beat!

Dan Muzquiz of Blackbird Audio Gallery will also be jumping back and forth between his room with Bob Clarke (Profundo) and these two rooms, and he'll answer any questions you have about auditioning these wonderful components here in the US.

So please stop by! We'll all be available to chat with you, and to listen to great tunes with some of the finest gear in the world.

The Wand Tonearm at the 2016 Newport Show

I'm proud to announce that we will be using The Wand Tonearm as part of our Down Under Audio exhibit rooms at the 2016 Newport Show which will be held in Southern California from June 3-5. The Wand Tonearm comes from New Zealand and is designed by Simon Brown of Design Build Listen Audio Components. Simon and his tonearm received the highest recommendation from fellow Kiwi Gary Morrison of PureAudio--one of the brands we represent at Colleen Cardas Imports. That says a lot, since Gary's amplifiers are among the finest I've heard and feature amazing engineering and design.

The Wand Tonearm is a unipivot that is available in 9.5", 10.3" and 12" lengths. It's designed to work with most cartridges and most turntables--everything from the Technics SL1200 to a Linn LP12 to more exotic turntables (hint, hint). It's considered an ideal match with the Denon 103 (one of my favorites) and the Ortofon 2M line, but it can also be used with expensive cartridges such as Lyra, Dynavector and even my beloved Transfiguration. Its distinctive extra-thick carbon fiber arm tube was designed for maximum rigidity and is much stiffer than more traditional arms.

The most amazing aspect of The Wand Tonearm is its cost. Simon sells the basic Classic model direct from the website, and the Plus version through retailers. The price of the 9.5" Classic arms starts at just NZ$705, which as of this writing is just under $500. You'll have to pay for shipping from New Zealand, and you may have to spend a little extra on a custom armboard, but you'll still be paying less than a grand for an extremely well-made tonearm that has been garnering some impressive reviews and awards.

You can see and hear The Wand Tonearm in Room 1012 at the Newport Show. For more details on the show, check out the website.