Gramophone Dreams

It was a cold March-in-Brooklyn morning. Clouds had been shedding wintery mix since daybreak. By 9am, birds were flash-mobbing my window, demanding suet. But I was frozen—unable to pull my mind loose from the grave flowings of American composer Ned Rorem's Book of Hours, as performed by Les Connivences Sonores on the album Musikalische Perlen (24/48 FLAC, Ars Produktion/Qobuz). The sounds in my room were sensuous and mesmerizing, and I needed to float in their mysterious energy as long as I could.

I was listening through the most compelling sound system I had assembled since I started writing for Stereophile. The dCS Bartók DAC/streamer was funneling the harmonic purity and hypnomagik of Odile Renault on flute and Elodie Reibaud on harp into HoloAudio's appropriately named Serene preamp, which was feeding Elekit's TU-8900 300B/2A3 kit amplifier, which was sending a few of its triode-tube watts to the TAD's $32,500/pair Compact Evolution One monitors, more compactly known as the TAD CE1TX.

I wish that all who love LP playback as much as I do could hear a Thorens TD 124 or Garrard 301 or EMT 930 in their systems, but those products are subject to the vagaries of supply and demand: They are rare and pricey.—Art Dudley

Since the 1980s, I've been asking every speaker designer I meet, "What amplifier do you recommend using with your speakers?" Annoyingly, they always say, "My speakers are easy to drive. Any amp will do." Whereupon I'd whine, "Aww, come on man, don't feed me that. What amp did you use when you were designing the speaker?" The closest any manufacturer came to providing a real answer was Wendell Diller of Magnepan, who, when I reviewed his .7 quasi-ribbon speaker, said, "We used an amp of our own design. It's not for sale. But any amp that doubles its power into 4 ohms will be fine." Wendell's answer helped me choose effective amplification and feel more confident about my conclusions.

Unlike loudspeaker manufacturers, headphone manufacturers know that which amp a reviewer uses could make or break a review of their product. So, wisely, they seem grateful when I ask for guidance.

As an upstart journalist-flâneur, my basic urge is to step on the gas and let my '54 Buick careen down the freeway, crashing into guardrails on both sides. Old Buicks were built for that, and I would love to take readers on one of those kinds of rides.

But when I write this monthly column, I find myself aiming for a different feel, more like driving cross-country in a '70s Ford station wagon, documenting motels and gas stations. A trip where it's fun to roll easy, take in the views, and stop at every car museum, snake farm, and stalactite cave.

This month, I'm going to put some miles on the Ford's odometer as I investigate the effects of Ron Sutherland's newest current-drive creation: a $3800 transimpedance moving coil headamp called the SUTZ. Along the way, I will also re-review Dynavector's $1250 DV-20X2 moving coil cartridge and examine what might be the sweetest spot in Dynavector's cartridge lineup: the $2150 XX-2 MKII.

Everyone knows I'm a lucky guy. I was born in Chicago in nineteen-hundred and forty-nine, and as far as I can tell, that was the perfect year to be born. I missed the war, plague, and Depression horrors of the first half of the 20th century, and I witnessed the art, music, and cinema inventions of the second half.

In last month's Gramophone Dreams, I explained why doing any sort of empirical study of high-quality digital sources was extremely difficult. That any success I might achieve as a reporter would boil down to my ability to employ metaphors to describe a DAC's clarity and dynamic personality. Concocting metaphors for DAC reviews is risky because it assumes readers will be familiar with the sound of my amplifier and speakers and, ideally, with one of the DACs I'm using in the comparison. That's a lot to assume.

Whenever I install a new, in-for-review DAC, after some amount of spaced-out not-listening listening I find myself just sitting there, being happy I got the damn thing working. Once I recover from the stress of installation, my brain begins, without prompting, to examine the character of sound coming out of my speakers.