E-ZINE

FRUGAL

ENTHUSIASTS

Affordable$$Audio
Issue Thirty-Two: August 2008

JVC XL-Z1050TN CD Player

By John Hoffman
johnhoffman@affordableaudio.org
Specifications: P-E-M, D-D (Converter Pulse Edge Modulation Differential Linearity error lens converter) Phone jack with level and output level, Display off & mode, Random, repeat, editing mode, side A/B, Program, manual search, Fixed & variable outputs, Digital and Coaxial out with on/off switch, Index, fade, volume. Size: 17-3/4"W x 13-1/2D x 4-1/2H, Weight 18 lbs.
Few people would argue with
the premise that the sound quality of compact disc players has steadily improved over the years. The audio community is a diverse crowd, and there is a niche of hobbyists who appreciate the attributes of vintage electronics. Actually, any enthusiast who has been around this hobby for a while, or knows of the history of audio can appreciate certain historical components. In spite of technical advances or the passage of time, the audio community has consistently held certain pieces of equipment in high regard. Very few individuals would disagree with the classic tag given to the Quad ESL-57 loudspeaker, or the Mark Levinson ML-2 amplifier. The Linn LP-12 is still considered by many to be a benchmark for analog playback, and Koetsu cartridges built by the elder Sugano are highly prized by the discriminating analog aficionado. Typically audiophiles do not hold older digital components in high esteem, and advocate replacing them with current production players. After all, designers have learned a great deal about digital architecture, and it is only logical to assume that a new machine will outperform the digital dinosaurs of the 1990s. Audio enthusiasts should base their beliefs on experience, and determine for themselves if vintage digital components are capable of quality musical reproduction. I can tell you that there is at least one nineties era CD player that is capable of high quality digital playback, and will give many highly regarded current production budget decks a run for their money. I recently acquired a JVC XL-Z1050TN CD player to use as a transport with an Audio Magic Kukama DAC. During the process of purchasing the DAC, I spoke with Henry Lamb who is the designer of the Kukama. Henry had many positive comments about the JVC as a transport, and he used a JVC XL-Z1010 as a transport during the development process of the Kukama. I was fortunate to quickly come across a mint condition player on Audiogon. The XL-Z1050TN retailed for $800, which was a princely sum in 1990. Current market prices for this player sit around $250, but I was able to snare mine for a bit less than a pair of Benjamins. The JVC is used primarily as a transport, although I have to admit to being happily surprised when I ran it as a stand-alone CD player. In the 1990s, the mainstream audio companies were staking their reputation on the quality of their compact disc players. These were heady times, and the heavyweights of the electronic industry competed with each other to produce

Affordable$$Audio

the finest CD players. The development costs of these machines were incredibly expensive, and this limited the players to those companies with significant financial resources. While the boutique audio companies were relegated to modifying a platform that was already in production. The JVC XL-Z1050TN was a top of the line player in 1990, and offered the sophisticated K2 DAC chipset. The K2 format is an innovative high resolution encoding system that offers higher performance than what could be achieved in a standard 16-bit recording. The studio recording is a 20-bit master, and it is then compressed to a 16-bit code. The K2 chip system in the JVC CD player then expands the code back to its 20-bit size. 1 For all practical purposes, JVC pioneered one of the first high-resolution recording formats with the K2 format. 2
The flagship players of the early 90s were finely crafted machines. The chassis of the JVC XL-Z1050TN contains substantial amounts of metal, and weighs in at a respectable 17 pounds. A large percentage of the overall weight of this player can be contributed to the large power supply transformer, and the sophisticated power supply. The laser is a three-beam configuration, and the optical lens is produced from precision ground glass. The disc sled assembly is robust, and has a graceful operation that current production entry-level players cannot emulate. The digital output circuit has a true 75-ohm output, and uses an isolation transformer to combat ground loops and RF interference. 3 The JVC XL-Z1050 is an elegant CD player, with a visionary design, high-quality parts, and superior fit and finish. While the JVC is a testament to Japanese engineering, the relevant question is, can this ancient CD player produce high quality sound? In my system, the JVC XL-Z1050TN is primarily used as a transport for an Audio Magic Kukama DAC. I also use a Bolder Cable Company modified Squeezebox as an alternate transport. The pre-amplifier is a Jeff Rowland Consummate. Power amplification duties are taken care of by a Jeff Rowland Model 5 amplifier. The amplifier drives a pair of Audio Nirvana Super 12 drivers, which are housed in Lovecraft Design cabinets. An Audio Magic Mini-Reference power conditioner is tasked with the duty of providing clean AC to the system. All cables and speaker wire are from the Audio Magic Illusion 4D line. Audio Magic Extreme series power cords are fitted to all components that have removable cords.4 These components are housed in a pair of stands from AV123. Frugal audio enthusiasts have recognized the superior capabilities of the transports contained in 1990s era CD players. The savvy audiophile could pick up an older Sony ES, or Pioneer Elite CD player for pennies on the dollar. Pair a classic high-end player up with a digital to analog converter, and a high performance digital rig can be had for a reasonable price. The JVC XL-Z1050TN is a fine transport, and I have used it with several DACs. The sonic signature of the JVC is consistent, and I can account for its effects that it contributes to the performance of the digital front end. This player does a nice job of extracting the fine detail in a disc. The XL-Z-1050TN is remarkably free of haze, and it does not have a dry or etched tonal presentation. When compared to the Bolder Cable Company modified Squeezebox, the upper midrange of the JVC is slightly pushed forward. Vocals are a bit more prominent, and horns have a bit of extra bite that is not present on the Squeezebox. Dime Store Life by Mary Karlzen [Yelling At Mary; Atlantic 826462] frames the character of the JVC quite succulently. Karlzens vocals contain plenty of detail, and are very smooth. There is a small boost in the upper midrange, which pushes the vocals and acoustic guitar a bit forward in the mix. This extra energy can make it appear that the bass information is slightly diminished. However, the JVC has a smooth

JVC produced the highly regard XRCD encoded discs. These discs are encoded with the 20-bit information. The XRCD discs can be played back on any machine, although it requires a JVC K2 chipset to recreate the 20-bit format. These discs are highly regarded by audio enthusiasts for their excellent sound quality, even if they are not played back on a JVC machine.
The K2 technology and XRCD are still in production. In 2007 JVC exhibited the K2HD version of their recording system. The Elusive Disc Inc acquired the JVC production facilities for XRCD in 2006. According to Elusive Disc, XRCD sell quite well, and are one of the most sought after high-resolution formats they stock.
Modern CD players often use a pulse modulation transformer in this circuit. They are less expensive, and smaller, but should have the same result as the isolation transformer.
The JVC has a captive power cord, and would have to be fitted with an EIC receptacle to use an aftermarket cord.
presentation that is enchanting. Many vintage players have a flowing presentation, but in the process lose the fine detail of the music. This combination of detail and graceful presentation separates the XL-Z1050TN from the pack of affordable CD transports on the market. The JVC XL-Z1050TN is a 16-bit player that utilizes the proprietary JCE 4501DAC chip set. The Audio Magic Kukama DAC is also a multi-bit machine, and is built around the Burr Brown PCM 1704 DAC chip. It comes as no surprise that the JVC and Audio Magic units share some similar sonic characteristics. The JVC produces a wide soundstage, and it has a respectable amount of depth. Instruments and vocalists are properly spaced in the soundstage. The ability to recreate the spatial traits of a recording is very unusual for a 1990s era CD player. Many audiophiles rejected compact discs due to the perceived inability to present space in an accurate manner. I suspect that the issues with early CD performance was due to limitations in the mastering process, and not the players themselves. Be Careful of My Heart [Crossroads; ELEKTRA 9 60888-2] by Tracy Chapman contains acoustic guitar, mandolin, bass guitar, bongos, and tambourine. The JVC neatly places each instrument in the soundstage, and does a good job keeping them separate. The Audio Magic Kukama DAC presents more detail than the XL-Z1050TN, and this is evident by a slight smearing of all the instruments by the JVC. The size of instruments is slightly smaller with the JVC CD player, although this aberration would only be noticeable if you have a high-end digital player on hand to compare it to. Given the modest price that the JVC can be found for on the used market, it is one of the audio bargains that cost conscious audio enthusiasts are always on the look out for.

When I compared this player to a Phillips DVP 642 DVD player, the JVC easily outperformed it. The Phillips player is actually a respectable budget player, and I keep it on hand as an example of what an inexpensive CD player can achieve.5 In this case, the Phillips is over matched, and its shortcomings are laid bare by a direct comparison to the JVC. Live This Life by Big and Rich [Horse of A Different Color; Warner Bros. 48520-2] highlighted the strengths of the JVC CD player. The vocals on the JVC natural sounding, and were smooth and easy flowing. In contrast, the Phillips struggled, and had a harshness that was clearly evident. When compared to the XL-Z1050TN, the Phillips had a two dimensional soundstage, and all the instruments had some degree of haze surrounding them. Martina McBride contributes the background vocals on this song, and she sounds stunning on the JVC. The Phillips suffers from a bit of grain, and has an issue with proper tonal balance. The back up vocals are far less engaging, and the loss of fine detail robs the song of its emotional content. To be fair, the Phillips is the least expensive machine that any audio enthusiast should consider owning, but this vintage JVC CD player offers a significant gain in performance to cash strapped audio enthusiasts. The JVC XL-Z1050TN CD player does not perform at the same level as the current crop of flagship CD players. The JVC is 17 years old, and it does imprint its personality onto the music. This player does have a slightly forward tonal
The Phillips DVP-642 resides in the sub $100 class of digital players. While it is inexpensive, its performance is better than the Toshiba 3980, or Sony SCD-595 that I have heard.
balance, and the bass response can sometimes be a bit lighter than a person would want. There is some loss of fine detail to the music. A modern high performance digital component will generate larger instruments, while the JVC struggles with this task. It is easy to lose sight of the strengths of this player when picking apart the individual flaws of this machine. In spite of all its shortcomings, the XL-Z1050TN excels at playing music. The JVC correctly presents the critical aspects of a song, and therefore still has value in the modern world of audio reproduction. For the audio enthusiast with a limited budget, one of these players could be an excellent acquisition. The JVC CD player will perform well, and free up cash that can be allocated on other components in the system. Not every vintage CD player is going to be that mythical audio bargain that has been forgotten by the audio community. While the flagship CD players of the 1990s can be a great deal for the frugal audio enthusiast, the JVC XLZ1050TN may very well be one of the special players that have stood the test of time. In 1993, Stereophile gave this machine a Class C ranking in their recommended components section. Blindly purchasing components based on recommended component rankings is a bit risky, but it does make sense to look at what performance characteristics of the JVC allowed it to attain this coveted recommendation. My listening sessions with the JVC show it to be a highquality transport. The XL-Z1050TN is a fine stand-alone CD player, can that unearth all the critical aspects of a recording. Fans of vintage audio equipment will undoubtedly appreciate the virtues of this player. Audio enthusiasts with limited funds in their audio kitty should consider one of these players as a way to obtain high quality digital playback without breaking the bank. Despite the passage of time, The JVC XL-Z1050TN CD player has a lot to offer the modern audio world. If you get an opportunity to buy one, it would be a worthwhile audio purchase.

Juicy Music Tercel Phono Preamplifier

By Anthony Nicosia

anthonynicosia@affordableaudio.org
Specifications Phono Stage Topology:3-stage Class A Triode with passive RIAA filters, zero feedback Tubes:2 x 12AT7 Dual Triodes; 1 x 12AX7 Dual Triode Gain:42dB in MM; 62dB with optional LOMC installed RIAA:+/- 0.2dB 20Hz - 20kHz Hum and Noise:75dB Input impedance:MM= 22k - 68k ohms adjustable + 0pF - 50pF loading; LOMC = 90 ohms Output Impedance:160 ohms Max Output Voltage:2.5V rms @ 1kHz Inputs/Outputs Phono Inputs:2 MM std; 1MM + 1 LOMC Opt. Main Output:1 RCA Power Supply Primary Voltage:120VAC std. 240VAC opt. Line Cord:IEC Connector/6-foot cord B+ Supply:Unregulated C-L-C with 1,380uF storage Filaments:Regulated 6.30VDC Physical Dimensions:14-1/2"W x 3"H x 10"D Weight:12lbs Packed:16"W x 16"L x 10"H Options LOMC:Optional LOMC transformers with 20dB additional gain Kit Construction Experience Level:Intermediate/Advanced Construction Time:About 12 hours Available in Kit form or factory assembled: -Tercel kit with 2 MM inputs: $495.00 -Adding the LOMC (low output moving coil) to that kit is $345. -Adding factory assembly (with or without LOMC): $100.00 email: info@juicymusicaudio.com Website: http://www.juicymusicaudio.com/index.html
Without even looking at their website if someone were to say juicy, I would think peach. First thing you see product
wise when you look at their website is the Peach II Line Stage Preamplifier. This is an excellent marketing idea, and also lots of fun. This review however is not about the Peach II. Today I would love to introduce you to the all-new redesigned Tercel Tube Phono stage preamplifier. The Tercel is a phono only preamp for use with an integrated amplifier or line section preamp (AUX level). This is the same exact phono circuit used in their top of the line full function BlueBerry Xtreme II preamp that has gotten such great reviews. I mated this with my Oracle Delphi MK I turntable with Grace 707 tonearm and Denon 301 II MC cartridge. Since the Denon is a low output Moving Coil cartridge the Tercel needed to be fitted with the LOMC option for an additional cost of only $345. LOMC stands for low output moving coil also referred to by Mark as the cream. When I inquired to know further details about this LOMC option Mark Deneen sent me the following note: Our LOMC option consists of a pair of premium Jensen transformers as the front end which then feeds the regular MM phono stage. So, the MM stage has 42dB gain, and the transformers add 20dB ahead of that for a total of 62dB. The output of the phono stage is buffered with a low impedance driver so that you can have no worries about what cable you use, or how it will interface to your linestage.

Mark Deneen the founder of Juicy Music is my type of person. He states, in his website, that his personal goals in founding the company are as follows; to have fun doing his work, create products that please people and to make an honest living doing the above. This is a refreshing approach and one I firmly believe is well worth pursuing. Mark has been active in the world of audio since 1974 when he started a company called Paragon Audio, which he later sold to BSR/ADC. After switching over to the micro-computer industry after 20-some years he finally returned to what he calls, those lovely tubes. I for one am glad he did, as I too am a lover of tubes. If you notice all his products are tube oriented. Please do not miss out on Marks FAQ about, The Common Questions We Get About Tubes as it is very insightful and fun. So what is this Juicy Music Mark is referring to in his company name? Mark is seeking to create products with transparency, clarity and spaciousness. When his product creates this sensation of lively music with all of its naturalness and dynamics he refers to as juicy music. All Juicy Music products are designed and built in California, which is something I believe Mark should be proud of. Every product they make is actually broken-in for 24 hours prior to shipping to the ultimate consumer. Therefore any further break-in is just your ears getting used to the Juicy Music sound. Perhaps he is right as it took only about of listening to the Tercel for a large smile to begin forming on my face. For this review I asked Mark to send me a factory assembled unit rather than chance anything but a perfect sample for my review. If you have the technical know how and the equipment the kit version will save you $100 at only $495 for the basic model without the cream option. The Tercel comes equipped with two 12AT7 and one 12AX7 dual triode tubes. These tubes are quite common and easy to replace if necessary. The three tubes are placed on top of the unit where it is easy to see them. This is a good thing because I just love watching tubes glow in a dark room while I listen to music enjoying a glass of Cabernet. I prefer this to hiding the tubes away inside the unit where I am not allowed to enjoy the glow. To the left of the tubes is the transformer and below that the on/off button. There are also two buttons, one labeled ph1 and the other ph2. They stand for Phono 1 and Phono 2 respectfully. If the LOMC option is installed, like mine was, the Phono 1 is for low output moving coil cartridges. Phono 2 would then be for MM (moving magnet) cartridges. Everything is nicely packaged in a wooden case supplied for Mark by an outside vendor. This wooden chassis is quite solid and adds an elegant appearance to the Tercel. To the rear is an IEC outlet where you may play with difference power cords to your hearts delight. Please note that the Tercel does come with a 6 power cord as standard equipment. I think that is a nice touch, as it is very convenience if you want to plug and play right out of the box. Especially nice is that fact that the power cord is a full six feet long. I dont like those three foot ones, as it is difficult to plan where to place your equipment with such a limited amount of movement at your disposal. The Tercel is quite elegant looking mounted in its beautiful wooden chassis, with three Ceramic Tube Sockets installed onto its black top. Also of note is the white lettering used on the top as it adds a nice elegant touch against this soft black background. Six gold plated jacks and more white lettering adorn the back of the Tercel further enhancing its beauty. It would be a good idea to read the manual first as it has some important information in it. For example the manual warns: DO NOT plug the output of the Tercel into a connection marked PHONO or RIAA.

The one thing I love about reviewing a phono preamplifier is that I now get to listen to my vinyl collection without having to slip in some CDs. Oh I still like my CDs but they certainly are not as fun as dusting off some vinyl, smelling those old cardboard jackets, then taking the vinyl in hand to do the ritual cleaning before you play the records. First off I pulled out my Miles Davis, Kind of Blue album, and played So what. When you first hear the Tercel you will notice that the soundstage is just right. Not monstrous rather more in line of a small club setting. It makes the performance feel quite intimate. Miles Davis on trumpet, John Coltrane on tenor saxophone and Julian Adderly on alto sax all sounded clear and distinct yet soulful. When Evans played the piano you could clearly hear the individual piano keys being played. Tubes and jazz are a great combination and the Tercel did not disappoint. Moving next to, Colors of the Day: The Best of Judy Collins, and the hit song Suzanne the soundstage once again proved to be a strong point. You could easily listen to Judy playing the guitar, as she sings, and hear the subtle resonance from her guitar. If you play this album please do not miss the song Farewell to Tarwathie. Here Judy is singing against a backdrop of Whales playfully calling to each other as they swim. Judy shows the full range of her voice and the Tercel has no problem following right along to the enjoyment of all. Even the whales sounded in harmony. Not forgetting to audition a male vocal I next turned to Bob Dylans John Wesley Harding album. With The Ballad of Frankie Lee and Judas Priest the Tercel seemed to take the slight edge off Dylans voice, making it that much more listenable. Of course that is what tubes do when compared to solid-state devices. Drums, bass guitar, vocals, harmonica were all clear yet smoother and less forward with the Tercel then when played through the Whest. Rock and Roll however is more difficult for tubes as it challenges its weaknesses in the lower bass regions and ability to bring out individual instruments played together in a large group. The Tercel however seemed not bothered at all by the Whos Live at Leeds album. When playing the hit song, Summertime Blues I noticed excellent detail with the ability to separate both individual instruments and background vocals. The beautiful guitar solos on the opening of The Magic Bus also came across without a hitch and when the vocals chimed in they added a nice layer to the music. Even the drum work that followed and quickly receded did not complicate things for the Tercel that seemed more than up for any challenge, both complex and simple. Of course a review of vinyl would not be complete without a listen to the Eagles famous, Hotel California album. Life in the Fast Lane was dynamic and clear. Stereo separation and soundstage was again a strong suit for the Tercel. Hotel California had nice warmth to it when paired with the Tercel and managed to achieve a holographic depth to the sound that I found a joy to hear. When comparing the $2595 Whest to the $940 Juicy Music Tercel let us put aside price for the moment. The Whest being a good solidstate design had a more forward attack on musical passages while the Tercels all tube-design was more relaxed and at ease with things. The Tercel managed a more 3-D depth to music while giving away some slight high-end sparkle and lower bass strength. Tubes have a way with vocals that people find mesmerizing and the Tercel certainly was strong in that department. Now lets talk about the obvious difference in price, $1655 in favor of the Tercel. So what do you do with that $1655 savings that might improve upon an already excellent design?

nity Audio amps, as well as Legacy Focus 20/20 and Klipsch Klipschorn speakers, I can change things around to listen to either combination depending on the music I will be playing. Not limited by its modest price, especially when used with moving magnet cartridges where the cost is only $495 in kit form or $595 factory assembled, the Tercel competes with more costly phono stages and does an excellent job of doing so. In the final analysis it really does not matter which choice you make, whether solid-state or tube amplifiers, to pair with Mark Deneens phono stage. The basic sound of the Tercel is built on a strong foundation and understanding of phono amplification. These personal choices of amps, power cords or tubes will only enhance your enjoyment of the Tercel and not define it. If this is a taste of Juicy Music, give me more. Now I wonder what the BlueBerry Xtreme II Full Function Preamplifier with Remote ($1695), Peach II Class A Line Stage Preamplifier with Remote ($1,495) pCAT Lynx Class A Triode Mono Block 25W of Pure Class A amps ($3,495/pr.) or Merlin Line Stage Preamplifier ($795) sound like? You have got to think they will be Juicy. Manufacturers Response: Thanks for taking the time and interest to review my Tercel phono preamplifier - I enjoyed reading the review. As the designer I am always infinitely curious how others interpret my intentions and execution. The review was very complete, and I think very accurately captures the essence of the Tercel. I wanted to add a few small comments, or clarifications. Every JuicyMusic product is designed and built by hand entirely in California. Even our beautiful wood cases are made here by local craftspeople. The hand-crafted wood chassis of the Tercel can be bought in mahogany, walnut and maple. The Tercel has two phono inputs that are relay switched allowing easy integration of tables with two arms, or two tables. One of the inputs can be configured for Low Output Moving Coil cartridges. The standard Moving Magnet input has a user adjustable load switch inside for changing the resistance and capacitance of the input by changing a DIP switch. And finally, although the Tercel shares the identical circuit design as our much more expensive BlueBerry, we do use less costly coupling capacitors in the Tercel to accommodate the price difference between the units. In my direct listening comparisons, there is about a "5% difference in sound." Sincerely, Mark Deneen JuicyMusic

The listening environment: My listening room is long by 13 wide. The rooms cathedral ceiling starts at 8 high then slopes upward to 13 at its peak in the middle. Flooring is a soft hardwood covering with an oriental rug placed dead center in between (but not under) the listener and the audio system. All surfaces are left untreated and there are no doors that open or shut into other rooms. Review equipment: Dignity Audio DA08SE integrated mono amps (imported by Monarchy Audio) Monarchy Audio SM-70 Pro Amp Oracle Delphi Mk I turntable with custom made interconnects Grace 707 tonearm with Denon 301 II MC cartridge Whest PhonoStage.20 + MsU.20 power supply, Whest Phono Stage Interconnects Legacy Focus 20/20 speakers Klipsch Klipschorn speakers (1989 version unmodified) RTP-2 and RTP-4 ultimate Power supply box PS Audio Power Port Receptacle Blue Circle BC86 MKIII power line pillows (2) Anti-Cable speaker wire 10 pair, Anti-Jumpers for Legacy speakers Anti-Cable Interconnects PS Audio Lab Cable II power cord one 3 length Monarchy Audio AC-1 power cord one 6 length Tek Line PC-8 Signature Power Cords (2) 6 lengths Mr-Cable Musician power cord 9 length Black Diamond Racing Cones (#3 & #4) Audio Prism IsoBearing (Isolation Globes

JVC XL-Z1050TN CD Player

By John Hoffman
johnhoffman@affordableaudio.org
Specifications: P-E-M, D-D (Converter Pulse Edge Modulation Differential Linearity error lens converter) Phone jack with level and output level, Display off & mode, Random, repeat, editing mode, side A/B, Program, manual search, Fixed & variable outputs, Digital and Coaxial out with on/off switch, Index, fade, volume. Size: 17-3/4"W x 13-1/2D x 4-1/2H, Weight 18 lbs.
Few people would argue with the premise
that the sound quality of compact disc players has steadily improved over the years. The audio community is a diverse crowd, and there is a niche of hobbyists who appreciate the attributes of vintage electronics. Actually, any enthusiast who has been around this hobby for a while, or knows of the history of audio can appreciate certain historical components. In spite of technical advances or the passage of time, the audio community has consistently held certain pieces of equipment in high regard. Very few individuals would disagree with the classic tag given to the Quad ESL-57 loudspeaker, or the Mark Levinson ML-2 amplifier. The Linn LP-12 is still considered by many to be a benchmark for analog playback, and Koetsu cartridges built by the elder Sugano are highly prized by the discriminating analog aficionado. Typically audiophiles do not hold older digital components in high esteem, and advocate replacing them with current production players. After all, designers have learned a great deal about digital architecture, and it is only logical to assume that a new machine will outperform the digital dinosaurs of the 1990s. Audio enthusiasts should base their beliefs on experience, and determine for themselves if vintage digital components are capable of quality musical reproduction. I can tell you that there is at least one nineties era CD player that is capable of high quality digital playback, and will give many highly regarded current production budget decks a run for their money. I recently acquired a JVC XL-Z1050TN CD player to use as a transport with an Audio Magic Kukama DAC. During the process of purchasing the DAC, I spoke with Henry Lamb who is the designer of the Kukama. Henry had many positive comments about the JVC as a transport, and he used a JVC XL-Z1010 as a transport during the development process of the Kukama. I was fortunate to quickly come across a mint condition player on Audiogon. The XL-Z1050TN retailed for $800, which was a princely sum in 1990. Current market prices for this player sit around $250, but I was able to snare mine for a bit less than a pair of Benjamins. The JVC is used primarily as a transport, although I have to admit to being happily surprised when I ran it as a stand-alone CD player. In the 1990s, the mainstream audio companies were staking their reputation on the quality of their compact disc players. These were heady times, and the heavyweights of the electronic industry competed with each other to produce the finest CD players. The development costs of these machines were incredibly expensive, and this limited the players to those companies with significant financial resources. While the boutique audio companies were relegated to modifying a platform that was already in production. The JVC XL-Z1050TN was a top of the line player in 1990, and offered the sophisticated K2 DAC chipset. The K2 format is an innovative high resolution encoding system that offers higher performance than what could be achieved in a standard 16-bit recording. The studio recording is a 20-bit master, and it is then compressed to a 16-bit code. The K2 chip system in the JVC CD player then expands the code back to its 20-bit size. 1 For all practical purposes, JVC pioneered one of the first high-resolution recording formats with the K2 format. 2

JVC produced the highly regard XRCD encoded discs. These discs are encoded with the 20-bit information. The XRCD discs can be played back on any machine, although it requires a JVC K2 chipset to recreate the 20-bit format. These discs are highly regarded by audio enthusiasts for their excellent sound quality, even if they are not played back on a JVC machine.
The K2 technology and XRCD are still in production. In 2007 JVC exhibited the K2HD version of their recording system. The Elusive Disc Inc acquired the JVC production facilities for XRCD in 2006. According to Elusive Disc, XRCD sell quite well, and are one of the most sought after high-resolution formats they stock.
The flagship players of the early 90s were finely crafted machines. The chassis of the JVC XL-Z1050TN contains substantial amounts of metal, and weighs in at a respectable 17 pounds. A large percentage of the overall weight of this player can be contributed to the large power supply transformer, and the sophisticated power supply. The laser is
a three-beam configuration, and the optical lens is produced from precision ground glass. The disc sled assembly is robust, and has a graceful operation that current production entry-level players cannot emulate. The digital output circuit has a true 75-ohm output, and uses an isolation transformer to combat ground loops and RF interference. 3 The JVC XL-Z1050 is an elegant CD player, with a visionary design, high-quality parts, and superior fit and finish. While the JVC is a testament to Japanese engineering, the relevant question is, can this ancient CD player produce high quality sound? In my system, the JVC XL-Z1050TN is primarily used as a transport for an Audio Magic Kukama DAC. I also use a Bolder Cable Company modified Squeezebox as an alternate transport. The pre-amplifier is a Jeff Rowland Consummate. Power amplification duties are taken care of by a Jeff Rowland Model 5 amplifier. The amplifier drives a pair of Audio Nirvana Super 12 drivers, which are housed in Lovecraft Design cabinets. An Audio Magic Mini-Reference power conditioner is tasked with the duty of providing clean AC to the system. All cables and speaker wire are from the Audio Magic Illusion 4D line. Audio Magic Extreme series power cords are fitted to all components that have removable cords.4 These components are housed in a pair of stands from AV123. Frugal audio enthusiasts have recognized the superior capabilities of the transports contained in 1990s era CD players. The savvy audiophile could pick up an older Sony ES, or Pioneer Elite CD player for pennies on the dollar. Pair a classic high-end player up with a digital to analog converter, and a high performance digital rig can be had for a reasonable price. The JVC XL-Z1050TN is a fine transport, and I have used it with several DACs. The sonic signature of the JVC is consistent, and I can account for its effects that it contributes to the performance of the digital front end. This player does a nice job of extracting the fine detail in a disc. The XL-Z-1050TN is remarkably free of haze, and it does not have a dry or etched tonal presentation. When compared to the Bolder Cable Company modified Squeezebox, the upper midrange of the JVC is slightly pushed forward. Vocals are a bit more prominent, and horns have a bit of extra bite that is not present on the Squeezebox. Dime Store Life by Mary Karlzen [Yelling At Mary; Atlantic 826462] frames the character of the JVC quite succulently. Karlzens vocals contain plenty of detail, and are very smooth. There is a small boost in the upper midrange, which pushes the vocals and acoustic guitar a bit forward in the mix. This extra energy can make it appear that the bass information is slightly diminished. However, the JVC has a smooth presentation that is enchanting. Many vintage players have a flowing presentation, but in the process lose the fine detail of the music. This combination of detail and graceful presentation separates the XL-Z1050TN from the pack of affordable CD transports on the market. The JVC XL-Z1050TN is a 16-bit player that utilizes the proprietary JCE 4501DAC chip set. The Audio Magic Kukama DAC is also a multi-bit machine, and is built around the Burr Brown PCM 1704 DAC chip. It comes as no surprise that the JVC and Audio Magic units share some similar sonic characteristics. The JVC produces a wide soundstage, and it has a respectable amount of depth. Instruments and vocalists are properly spaced in the soundstage. The ability to recreate the spatial traits of a recording is very unusual for a 1990s era CD player. Many audiophiles rejected compact discs due to the perceived inability to present space in an accurate manner. I suspect that the issues with early CD performance was due to limitations in the mastering process, and not the players themselves. Be Careful of My Heart [Crossroads; ELEKTRA 9 60888-2] by Tracy Chapman contains acoustic guitar, mandolin, bass guitar, bongos, and tambourine. The JVC neatly places each instrument in the soundstage, and does a good job keeping them separate. The Audio Magic Kukama DAC presents more detail than the XL-Z1050TN, and this is evident by a slight smearing of all the instruments by the JVC. The size of instruments is slightly smaller with the JVC CD player, although this

concentration. Chapters are lengthy and references to important findings and models need to be followed to grasp the details Levitin seeks to convey. The author clearly was annoyed at the comments by Steven Pinker, author of several similarly-marketed cognitive science works on language, that music was no more than the auditory cheesecake in evolutionary terms since the final chapters spend so much time disputing this argument in favor of a more essentialist view of music as fundamental to human experience. This provides the reader with the context, a view of current debates within cognitive science, and in my view adds value to this book by presenting the science, disagreements and all. Next time you have to justify your obsession to others, this book will equip you with the data and theories to slay the cynics who think all audiophiles dupes or fanatics worshipping at the altar of cult engineering and buying (dearly) into fads and magic pebbles. Levitin has established a beachhead for the serious study of music listening in all our lives, and audiophiles can both learn from and be grateful for this text. Strongly recommended.
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EricPowley, Aordable$$Audio,February2007
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How The Squeezebox Changed My Life Part 1, The Reawakening
By Steve Rogers Less then a year ago I was something of a Hi-Fi dinosaur. My system, if not vintage, was certainly venerable. It consisted of Mordaunt Short MS20 speakers, a NAD 705 receiver, an Arcam CD 7 SE CD source and a Thorens TD 104 turntable.
My old stereo note wife's cosmetics on the speakers. --------------------------->
The Arcam was the most recent item purchased a mere 8 years ago, whereas the Thorens deck dated back to my student days almost 30 years ago. On the whole I felt satisfied with the sound and most of my hard earned cash went into CDs, Concerts and Downloads. My main problem was organizing my large CD (and smaller static) record collection. The CDs took up a lot of space and were scattered all over the place. Most were in the white cupboard you can see to the left of the dinosaur system but some were at work, and some were scattered around the house in the kids rooms. <--------------CD Madness this collection us out of control. As a professional programmer I was aware of digital formats and indeed some of my friends at work used there home PC as a music server. They tended to store there music in MP3 format which is low quality and not for me. Furthermore my PC was in a different room from my Hi-Fi and I didn't want the hassle of running a cable from my PC to the Hi-Fi. Using my PC as a CD player would also involve a loss of quality when the digital data on the CD is read and converted to analogue data which is then sent to the preamplifier. This is done by a unit called a DAC (digital to analogue converter) there is one in every CD player and also on every PC sound card. I suspected that the DAC in my PC was lower quality then the DAC in my Arcam CD player. However the idea intrigued me so I started to read around and learn about DACS and streaming. Then I read about Logitech's Squeezebox (http://www.slimdevices.com/pi_squeezebox.html). If you are a reader of this magazine you probably know about this amazing device but for me it was a real eye opener. The Squeezebox is a device with two functions: It has a wireless network card so it can receive data via the internet or your home network. It receives the data in digital format. It has a DAC that transforms the digital data it has received into an analogue signal that can then be passed directly to you pre amplifier or integrated amplifier

Vampire Weekend Self Titled XL Recordings XLLP318 Vinyl 33rpm Album

By Peter DAmario

peterdamario@affordableaudio.org
This self-titled first album by Vampire Weekend, released in 2007, has
been well-reviewed in the mainstream music press, and continues to gain mixed reviews among listeners. The album is well-crafted pop: No grinding guitars, no muddy vocals, no misogynistic lyrics. These guys are clean-cut Ivy Leaguers, showcasing a somewhat self-conscious intellectual bentnot just in the lyrics (the most likely place to hear it), but also in the arrangements, which make full use of strings, organ, harpsichord and chamberlin (a cousin to the Mellotron). In this regard, they resemble much less an early R.E.M. than they do the Talking Heads. Clever music with clearly understoodthough still occasionally head-scratchinglyrics. It works. The entire first side of this LP is strong, from the peculiar Oxford Comma (superb lyrics) to the catchy A-Punk (the instrument that sounds like pan pipes must be the chamberlin). Cape Cod Kwassa Kwassa (huh?) doesnt sound like it should work, but indeed it does. One is reminded throughout the album that this is an album by a group of Columbia undergraduates, and that they are young folk. M79 (the name of the bus route that runs across Manhattan on 79th Street from East End Avenue to West End Avenue), Cape Cod Kwassa Kwassa and, in particular, Campus remind the listener of this. There are a couple of miscues: Ive listened to One (Blakes Got a New Face) many times in an effort to understand it. Finally I gave up: Its just kind of silly, and the caterwauling chorus detracts from whatever charm may lurk in clean arrangement and the obscure lyrics. I Stand Corrected isnt silly, but its dull. Walcott, the penultimate song on side 2, is a song that tells a story of sorts. Its a song about a Vampire Weekend (dont ask me to go into detailbut the name of the album precedes the band) and it hasif youll let me wax a bit poeticand elegiac aspect to it. To me it is the climax of the album and has more weight than the rest of the songs odd, because reading the lyrics there is little sense of the dramatic. Credit the vocals and, again, the arrangement. The observant reader will note that I own the LP of this album, which has also been released in CD format. The LP came with a link to a free download of the album in MP3 format. It would have been nicer if they had included the CD along with the LP, but the vinyl was reasonably cheap, so Im not aggrieved. I burned the MP3s to a CD and I play it in the car, where its low-fi is not an issue. I have not listened to the official CD. The physical product has its good and bad points. The vinyl looked clean upon removal from the sleeve, but there were a few loud pops throughout. It was otherwise very quiet, and sounded fine. I assume that the music is a digital transferthe entire project (recording, engineering, mixing) seems to have been handled by the band and their friends and family members, and given this it came out pretty well. Mastering is by Emily Lazar and Joe LaPorta at The Lodge in Greenwich Village. Packaging is unimpressive. Money was certainly saved on the outer jacket, which looks amateurish (though I really like the photo on the front cover). The back of the outer jacket lists only the songs and the timingsa real opportunity for advertising the band was lost here. The LP itself was encased in a cheap paper inner sleeve. Unimpressive. On the other hand, the lyrics insert contains detail on the production of the album. There has been more than a little hype about this album, so much in fact that it has become polarizing, and folks are, I suspect, making decisions about its worth before they hear it. This is a shame, because it is a strikingly impressive initial effort from this band. The tunes are catchy, the lyrics clever (on the whole) and the arrangements are often gorgeous. Even if youre not a fan of todays indie releases, this one is probably worth a listen. You may find, as I did, that you play it more than you expected to, and even whistle a tune from it occasionally.

Crazy Horse At The Fillmore 1970 Classic Records 44429-1 Vinyl Single 33 rpm Album
I managed to get through the first twenty or so years of my life knowing little about Neil Young, and barely listening to him as a solo artist at all. Sure, I liked CSNY enough, but tended to fast forward through Youngs songs. This ignoranceblissful or otherwiselasted until Christmas 1978, when my then-girlfriend gave me the triple vinyl album Decadeyou know, the one with the gatefold photo of the artist in front of an evillooking clamlike fireplace. A few listens to this album and even some of the more raucous songs began to sound a lot better. At one level, Neil Young fits into the same category as Bob Dylan to me: Great Songwriters with Bad Voices. This does absolutely nothing to detract from his their respective oeuvres, howeverand this recent release from Classic Records is a solid testament to this. This LP is issue #2 in the Neil Young Archives Performance Series (has anyone ever seen issue #1, by the way?), and consists of songs selected from a two night run at the late great Fillmore East in 1970. Some have noted that this LP contains only the electric set (including Crazy Horse), and that a solo acoustic set exists as well; regardless, this LP is electric only. On this album, Young is accompanied by Crazy Horse: Danny Whitten on guitar, Ralph Molina on drums, Billy Talbot on bass and Jack Nitscke on electric piano. This set is electric, and boy, does it ever rockthough not frenetically. There are only six tracks on this album, which starts off with a relatively relaxed Everybody Knows This is Nowhere, the title track from what was then his recently-released album. The performance is superb: OK, the nasal vocals are nothing to write home about but the instrumentation is superb, particularly the guitar/bass interplay. The quality is maintained through out the rest of the album, which includes Winterlong, a particularly driving version (is there any other kind?) of Down by the River, Wonderin, Crazy Horses Come on Baby Lets Go to Town, and the climax of the album: The 16 minute long version of Cowgirl in the Sand with its extended jam. There is apparently some controversy over Cinnamon Girl not being included on this albumits on some bootlegs, and would have been a nice addition here. A consistency of performance extends to the entire album. Folks, if you are a fan of the electric guitar, well manipulated, you should not miss this LP. There are concert albums that so lack energy that you might be forgiven for thinking that they were recorded in a studio: This is not one of them. There is a sense of immediacy in the performance that is enormously attractive. A particularly nice touch is at the end of the album: As the band has left the stage, the PA system begins playing Sweet Baby James, which would have just been released a few weeks before the concert. Nice. I was not quite 11 years old when this concert occurred, but 38 years later I sure wish that I had been able to attend. While the feel of the album is faithful to the feeling of a live performance, I am happy to report that the sound quality is closer to that of a studio performance. Having just listened to another bands more or less contemporaneous live concert recording (wherein the vocalists generally sounded like they were singing from the bottom of a barrel), this Chris Bellman-mastered LP distinguishes itself by its clearly-rendered vocals, tight bass without muddiness, and the clear rendition of individual instruments throughout. Its a testament to the recording that even on my tertiary system (Im at

From the Pulpit---August '08

By Stew Nelless

stewnelless@affordableaudio.org
Last month I went to some lengths to hand write a nice column suggesting the end of craftsmanship and
all that entails. Unfortunately, Mark simply didn't have the space to post it (it was a jpeg file and quite large). This month I tried to create my own font based on my handwriting, such as it is. I'm still working on that. But this was started as I was thinking of how we create a persona or identity on the Internet. What can we do to promote our individuality and yet make our words accessible to those out there on the Internet that may want to gain from our personal experiences? Unfortunately, the answer is not easy. Do we scribble notes on paper, then scan them into a program, try to clean them up and publish them on the Internet? Do we create web pages that jump out at the reader? Do we add music and audio? And if we do this, what will make our page standout against the sea of mediocrity that is the Internet? Please don't misunderstand me. Without the soapbox that is the Internet, many would not have a voice. And as Al Gore (whether you love him or hate him) rightly points out, the Internet can be a vehicle of democracy at the most basic, grassroots level. Yes, we need to guard against the zealots out there that might have you believe the sky is falling (and I guess to some point it is in fact.), but there is room for moderates to actually educate themselves, and make prudent choices based on their gathered information. This is especially true in regards to consumerism for its own sake generally, and also in respect to audio and video equipment specifically. So what is the audiophile or music lover to do? Well, solace can be had remembering that, if they chose their equipment wisely by purchasing quality items, at worst they will have old good stuff. Who out there would be unhappy owning a Conrad Johnson, Audio Research, or MacIntosh pre/power combination? Or Vandersteen, Magneplanar, Martin Logan, Spendor, or Thiel pair of loudspeakers? Or an Oracle, Linn, VPI, Well-Tempered, or Clearaudio based vinyl rig? (sorry for not listing every possibility here, I know there are droves of Technics turntable fans, JBL pro monitor fans, etc. out there. these brands are listed only for illustrative purposes). The key here is to seek out products from companies that actually care how their gear sounds and who are dedicated to the long-term enjoyment of their gear by their customers. And more often than not, these companies are smaller specialist firms (even mighty Linn is peanuts compared to Matsushita). Even smaller than Linn are uncountable droves of dedicated makers working hard to exercise their skill and craft to end up with a product that can actually be purchased by real folks who work for a living. And I'm not suggesting that doctors and lawyers and other professionals don't work, but their incomes are such that, should they decide to want an audio or home theatre system, they just go buy it, without too much thought to it other than what it might cost and how exclusive is it? (which really is not on the minds of the designers of said equipment---or shouldn't be). Most everyone else has to budget and plan an audio purchasebecause so few of 'us are well heeled. And that's where Affordable$$Audio comes in. We can and do educate our readership. We inform our readers about new and exciting ideas and products out there and those that are coming on strong in the various reviewer-based, and consumer websites. We can promote ideas that our readership can do themselves, like Mark's excellent DIY music server article in December '07 (if I remember correctly), that will result in performance matching (or nearly so) that of much more expensive components and systems. Another example is my review of the 41 Hz amp6 basic kit. Numerous excellent loudspeakers have been reviewed in Affordable$$Audio, including some by me available for as little as $10 in thrift stores, and new ones at $300 or less (see Sean Fowler's review of the AV123 ELT 525M monitors in July's issue). And we can do all of this at no cost to you. No hidden agendas are here either, so you can be assured that if someone at Affordable$$Audio is recommending an item , it isn't because something can be had by the reviewer, or the publisher. It's because the writer believes that what they are writing about warrants some consideration by some of our readers, and that they have some reasonable first hand knowledge of the product (often in-house for a month or two). I have a year's worth of reviews that I could write and submit, but won't. Why you ask? Because it becomes way too much to digest in a single issue, even if all or most of them are of the same sort of product. And how much jargon do people really want to read? Personally I'd gladly read 500 words that mean something rather than 250 that mean absolutely nothing in practical terms to the reader. It's a little something I picked up while in university and will continue to believe and promote until I take my last breathe--- economy of of words. Say

Review Calendar Index:

Issue 1, January 2006 Adcom GFA 535 Amplifier Linn Keilidhs Speakers Outlaw RR2150 Receiver Polk Audio LSi9 Speakers
Totem Dreamcatcher Speakers Issue 2, February 2006 Advent Baby II Speakers Audiolab 8000A Integrated Amplifier ElectriPrint 300DRD Amplifier Energy Connoisseur C-9 Speakers Infinity Kappa 200 Speakers Nakamichi SR4A Receiver Paradigm Titan V Speakers Issue 3, March 2006 GR Research AV-1 Speakers HSU STF-2 Subwoofer Marantz CD-5000 Sansui TU-7900 Issue 4, April 2006 Alegria Audio Rosa Speakers QSC PLX-2402 Amplifier Totem Acoustic MITES Speakers Issue 5, May 2006 AV123 Onix x-ls Speakers & x-subwoofer Bozak B-302A Speakers iPod iPhoto 60 Gig (music server) Zebra ZC-SP12SD Speaker cables Issue 6, June 2006 Aperion Intimus 533 PT Speakers Sony TA-F444ES Audio Magic Interconnect Cables Adcom GTP 450 Preamplifier/Tuner Issue 7, July 2006 Audioengine5 Powered iPod/mp3 Speakers Athena AS-B1 Speakers Insignia 6-1/2" Bass-Reflex Bookshelf Speakers Ramsey SHA1 DIY Headphone Amp Issue 9, September 2006 Behringer DEQ 2496 NeoSpeak NeoTetra Speakers True RTA Sound Analyzing Software Issue 10, October 2006 Tyler Acoustics Taylo Ref. Monitors Transcendent Grounded Grid Preamp Headroom Total Bithead Totem Beaks Aperion Audio S8-APR Subwoofer Issue 11, November 2006 Tube Research Labs Modified CD Player Onix SP3 MkII Integrated Tube Amplifier BADA HD-22 CD Player Alegria Audio Arias Speakers Era Design 4 Mini-Monitors
Issue 12, December 2006 Atelier Audio First Horn Jolida SJ502A Integrated Tube Amp Polk Audio LSi7 Monitors 41Hz Amp 6 Basic Issue 13, January 2007 RudiStor NX-01 & Ultrasone Proline 2500 Sistema VMPS Tower II SE Technics RS-1506 Aperion Audio Intimus 632 LR Monarchy M24 Tube DAC Issue 14, February 2007 Audio Nirvana Super DIY Speaker Music Hall a25.2 Integrated Amplifier Music Hall cd25.2 CD Player Era Design 5 Mini-Monitors Lite Audio DAC 62 Hsu HB-1 Mini-Monitors Real Traps Acoustic Panels Sapphire XL vs. Rothschilde A2 Monitors Hemp Acoustic FR8.0 DIYHQ Driver Issue 15, March 2007 Monarchy AC Regenerator Era Sub 8 Powered Subwoofer Promitheus Transformer Volume Control Bellari VP129 Vacuum Tube Phono Stage Onix CD-5 Compact Disc Player PS Audio Noise Harvester Audio Art Interconnects IC-1 & IC-3 Issue 16, April 2007 Ascend Acoustics CMT-340 SE ASL MG 15 SI DT Tube Amp Interview David Fabrikant NAD 3020 Integrated Amp Oppo DV970-HD Signal Cable MagicCable Sonic Impact 5066 T-Amp Totem Acoustic Rainmaker monitors Underwood XCD-5 (modded Onix CD-5) Issue 17, May 2007 Audio Magic Mini-Reference Power Conditioner LiTe DAC Ah Pioneer SX-780 RAW Acoustic HT2 Monitors Tyler Acoustic Linbrook Super Mini Monitors Issue 18, June 2007 ACI Force Subwoofer AV123 x-cs Center Channel Benchmark DAC1 USB Ferguson Hill Mini System Speakers Fostex FE206/208 Sigma Cabinet Jolida JD1501A Integrated Hybrid Amp

Planet_10 HiFi Fonken Speaker Vista Audio i84 Integrated Amplifier Issue 19, July 2007 AudioArt Interconnect Matching System Basic Guide to PC Audio Bonnaroo Music Festival Harman/Kardon PM665VXi Integrated Amp MapleTree Audio 2SE Preamplifier Zebra Cable Speaker Wire ZC-SP14DBI Issue 20, August 2007 Monarchy NM 24 DAC/Linestage Pro-Ject 1.2 Turntable Role Audio Sampan FTL Totem Acoustic Storm Sub-Woofer Issue 21, September 2007 Ascend Acoustics Sierra 1 AudioArt Power 1 Cords KEF iQ7 Speakers Slim Devices Squeezebox Vandersteen 2CI Issue 22, October 2007 Eminent Technolgy LFT-16 Planar Monitors Mark & Daniel Topaz Monitors PS Audio Quintet Surge Suppressor Setton RS-440 Vintage Receiver Trends TA 10.1 Amplifier Issue 23, November 2007A F F O R D A B L E $ $ A U D I Arena X-3 SET Integrated Tube Amplifier Emotiva RPA-1 Amplifier Etymotic ETY Ear Plugs NAD C555 Turntable Odyssey Audio Epiphany II Monitors Shanling PCD-3000A CD Player Shugaung S-8 Tube Amplifier Issue 24, December 2007 Aperion Audio 422 Harmony 5.1 system Budget Power Cord Comparison Onix Rocket RS 450 mini-towers Usher S520 Monitors Issue 25, January 2008 Audiosmile Modified Behringer SRC2496 Grant Fidelity CD 327A, PIII, & P307 H20 Signature 100 Monarchy SE 250 Selah MF7 Swan HiVi 2.1SE Underwood Modified PS Audio Trio C-100 Virtual Dynamics Cables Zingo Cables Issue 26, February 2008
Aperion Audio Intimus 533-T mini-towers Blue Circle DAR integrated amp Dignity Audio DA08SE SET tube amp Mark & Daniel Maximus Mini speakers tec-on Audio SE34i integrated tube amp Totem Acoustic Forest Tower Speakers Issue 27, March 2008 Audio Magic Illusion 4D Carver C-9 Sonic Hologram Emotiva XPA-5 Promitheus DAC Recording Techniques: Dynamic Compression Issue 28, April 2008 Acculine A3 Speakers Audio Nirvana Super 12 Driver Grant Fidelity A534B Integrated Tube Amp Harman Kardon 3470 Receiver nOrh ACA2b Preamplifier Skiing Ninja Crossovers Threshold 800A Amplifier Issue 29, May 2008 Audio Nirvana Super Eight Loudspeaker System Bolder Squeezebox Modifications Dali Mentor 5 Towers Harman Kardon Citation II Amplifier KCI Cables/Interconnects Monica III DIY DAC Musiland MD10 DAC PS Audio GCP-200 Vandersteen 1C Speakers Issue 30, June 2008 Audioengine AW-1 Wireless USB Adaptor AudioMagic Pulse Gen ZX McIntosh MC275 Oehlbach XXL Phono Preamplifier Polk Audio RTiA3 Spendor SP2/3E VMPS 626JR Issue 31: July 2008 Anti-Cable Wire & Interconnects Aura Note CD/Amp Completer AV123 ELT 525 Monitors Eficion Ficion F200 Monitors Ideal Innovations 80+ Tube Amp Monarchy M150 Power Supply Issue 32: August 2008 Emotiva XPA-2 Amplifier Juicy Music Tercel Phono Preamp JVC XL-Z1050TN CD Player Totem Acoustic 5.1 HTSystem