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               Jersey City, NJ… Clement Perry… and Music!

On a stormy Tuesday shortly before Thanksgiving, I found myself getting out of bed at 4AM, getting in my automobile, driving to the Atlanta Hartsfield International Airport right in the midst of the going-to-work traffic, finding parking, going through security, taking off my shoes, belt and coat, emptying my pockets, surrendering my business case with a dozen of my most favorite music CD’s, and finally boarding a flight for… I hate to tell you this… Newark, New Jersey. Say where? Yes, Newark, NJ… the place that we used to describe in the cockpit of those Delta jets… “the armpit of the nation”! You’ve got to be kidding me!

Now, why in the world would I do that, especially since I would be returning back to Alabama that same evening with even worse weather and tornadoes in the forecast for north Alabama and Georgia? For two simple and good reasons: to make the acquaintance of a guy I’ve never seen before and to listen to music. Now, you understand more better. Even my wife understood since she has lived with this crazy audiophile for 40 years!

You see, a few weeks before this crazy jaunt, I read a review written by the editor and publisher of this e-zine, and I needed to ask a few questions and share a few of my thoughts with Mr. Clement Perry. I don’t remember exactly how long we talked that day, and who said the most or least, but I enjoyed it immensely. And, evidently, Clement did also, as he later asked me if I would consider reviewing and writing for The Stereo Times.

This I had to think about for awhile. I’ve often been very disgruntled after reading reviews in The Absolute Sound, Stereophile and other such audio journals. I’ve had to question what kind of supplemental extraneous imbibing had they been doing when reviewing that equipment or album? Or, what kind of room were they listening in? And to think that sometimes a review has broken a manufacturer of lesser means, who couldn’t overcome it… even when his product was legitimate. And, yet, if his link in the audio chain had been reviewed in the right synergism, or with different ears, it could have been a different story.

But, I had to think about Clement’s offer. It doesn’t pay much!  But, as we also used to say in the cockpit of that beautiful B-757 and 767: “And, we are getting paid to have this much fun?!” There are some things we have to do for pure enjoyment… for the pursuit of happiness. And, this might be one of those things!

I love music! I love what reproduces music in my listening room! And, I’ve been pursuing this ever since I put my first system together in the summer of 1956. I was an engineering student at Auburn University, and I had to work to put myself through school. I had just finished my freshman year and was working that summer so that I could go back in the fall. Even with money being tight, I had to have music!

My first system consisted of a Garrard record changer with a G.E. cartridge and ruby needle, a Sherwood 20 watt mono integrated tube amp, a University 12 inch coaxial speaker, and 16 gauge zip cord for speaker wire. I made the cabinet for the driver in a friends woodworking shop after work each evening, and I was proud of the results. It was music to my ears! I don’t know how Harry P. or Clement P. would have reviewed this system, but I couldn’t be discouraged, even if they had. Sadly, I had to sell my system the following spring so that I could finish paying for my room and board.

The Summer of ’57… the year stereo became a reality… I put together another system. But, it was not a stereo system, as I wanted to have better fidelity this time, so the money went into one channel. It consisted of another Garrard turntable, a G.E. cartridge, but with a diamond needle instead of ruby this time, a Marantz 40 watt integrated tube amp, two Bozak 12 inch coaxial speakers mounted in one cabinet, and of course, 16 gauge “speaker” wire from the local hardware store. And, of course, it was better sound! I was moving up in the world of Hi-Fi.

The next summer I moved up into “Stereo Hi-Fi,” and even into transistors. I had to go with the new and high tech… leave those old tubes and go solid state. And ever since, I have pursued the unreachable goal of real live music coming from electronics and speakers. I’ve gone from tubes to transistors, and back to tubes. I’ve gone from Bozak Concert Grands and all of those cones to double KLH 9 electrostatics, Magnaplanar Tympanis, and back to simple cones and domes. And, I went from turntables, tone arms and cartridges, and all of those necessary adjustments and tweaking, to the first big Wadia three piece digital front end.

In the midst of all this, I went from 16 and 12 gauge speaker wire to Bob Fulton’s “welding” cables. Wow… his Gold cable was so thick I couldn’t hide it out… it had to lie on the floor, and people coming in would ask, “What in the world is that?” “Speaker cable? You’ve got to be kidding me!” And, I can even remember reviewers, and amp manufacturers, putting Bob’s cables down as just something that a “nut has produced.” “Wire is wire!” Well, do tell!

I sure do miss Bob Fulton. He had to be one of the nicest men in this field that I have ever met. But, I will continue to enjoy the results of the revolution he started. If there is one thing that has revolutionized the world of music reproduction, it would have to be cables. That’s just my humble opinion thrown in at no extra charge.

Lest you think that I did not make it to Newark, let me put your mind at ease… I did. And, Clement Perry was there in his big gold colored Ford Expedition to pick me up. I had emailed him pictures of myself walking with rhinos in Kenya, so that he could find me in the crowd. And, in return, he told me to just look for “a black man who resembles Denzel Washington”. Well, not quite, but he is black.

After being treated to lunch at a high end Japanese restaurant (I hate sushi!), we drove to his place in Jersey City. We first made a stop in the dining room of his house where he had several pieces of exotic looking audio gear set up on one side his dining room. For all I knew, this was his reference system, but I was dismayed in thinking that he listened from across that big eating table with its reflecting surface. He put on a CD, and asked me to listen.

There were the large German Europa loudspeakers that Dave Thomas did an admirable review of in the midst of all the components, and also the Xavian small mini monitors on Osiris stands just inside the Europas. When the music began, it sounded nice and sweet, as I sat with my arms on the dining table. I wanted to ask Clement if he would mind us moving the table so that I could have a better listening spot without the reflections. But, he said, “No, just tell me what you think, from right where you are.” And, I had come to New Jersey for this?

I really thought the Europas were playing. The soundstage was wide and deep. The midrange was focused and tube-like sweet… and, I am a midrange nut. That part has to be right! I can live without the last octave of bass, and even with a slightly rolled off upper end. But, I must have a good honest midrange! You know, the kind of sound that once came from William Zane Johnson’s D79 tube amp driving the final versions of Bob Fulton’s Premiers… with his Gold and Brown cables, of course. That D79 could not go real low with any authority and it rolled off a little too soon on the upper end. But, what it did was make music! It had the warmth and sweetness you die for. It had the slobber factor… you could hear the gal’s saliva as she “purred out” the lyrics. You could count the freckles on the face of the red haired kid on one of Bob Fulton’s records, as the kid sang “Tom Sawyer.” If you ever had a D79, you know what I’m saying.

It turns out that I was listening to Xavian Electronics MIA mini-monitors in Clement’s dining room with the big table in between me and the speakers. Boy, would I like to see what those little babies could sound like in my room! That was a pleasant surprise. And, more surprises followed.

After wanting to move the table to get a better listening position, Clement informed me that this is only where equipment gets burned in and listened to under real world conditions. He then took me upstairs to his “real” dedicated  listening room. I believe, if I counted correctly, we went up to the third floor of his three story brick colonial...to a nicely sized (21 x 17 x 8) attic. Even looking at his reference listening room left me feeling kind of like the time I visited Harry Pearson’s listening room in his old house on Long Island. Both rooms gave me the impression that “I’m never going to really hear the music today.”

As I looked around the room, I was in awe of all the high-end equipment, especially the build quality of the Ascendo System M loudspeakers. Some workmanship there! And, then I saw the two Tact 2150 amplifiers… digital amps?! They are small, but appear of very good external build quality. Maybe I’ve a little negative block here about driving speakers with digital amps. But I can remain neutral, if necessary, and listen before reaching conclusions.

And, in the Acoustic Dreams 4 tier equipment cabinet, were the front end pieces… the Electrocompaniet CD Player (tweaked by Tierry Budge, and used solely as a transport) going directly into the Zanden Model 5000 Mk III DAC, and then to the TactT RCS 2.2X room correction preamplifier where the signal is room corrected and digitized, and then sent digitally to the 2150’s. All cabling is Analysis Plus Gold which, as Clement puts it, “is awfully expensive but makes up for so much of what you here.”

I did not make this trip to swap and tweak, and compare one product to another, but rather to listen… just to listen to Clement’s reference system with my CD’s. I needed to know if we are on the same wave length. So, I sat myself down in the sweet spot while Clement played the maestro and fed the discs to the Electrocompaniet transport. For four hours I sat and listened, and I never tired. I could have gone on forever, except that I had to catch a Delta flight back to Atlanta at 8PM.

What I heard, in a nutshell, were some of the most revealing and pleasing sounds that I have been pleasured to listen to… period! The synergism of Clement’s system provides a soundstage of music that makes you sit and listen, and then ask for a curtain call over and over. I’ve never wanted to total up just how much money is involved in that system, because I don’t want to be influenced in what I heard. Let me just savor for a little while the sound that so enamored my ears and audio/visual perceptions. The sound created beautiful pictures, as if I was there.

I was there. I was in the midst of Clement Perry’s sound system. The soundstage was wide and deep. The density of the individual pieces was right. The sound was oh, so transparent… layers and layers of musical instruments, each in their place. The dynamics had authority with shape and resolution. And, the subtleties were so delicate and well defined. In voices, I could hear into their throats… yes, the slobber factor was definitely there! It’s a system to have and enjoy, if you have the cash to buy it.

Clement is to be applauded. He, both with knowledge and trial and error, brought about twelve different components together to form this system. Not one of the pieces defines the sound. It is the totality of the parts… the synergism… that caressed my ears and mind for those four enjoyable hours. As audiophiles, we must understand that it’s not how good each component is… how well it is designed or made… but, how well these components interact with each other, with the room they are placed in, and with the ears that are listening. Synergism is what it is all about!

After all these years of flying in and out of this not-so-attractive city, I found out that Jersey City, New Jersey makes music! And, to top it off… I’ve made a new friend. It was a good trip!

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February 2004

Dear Clement,
I was very fascinated by your review of the Flying Mole DAD-M100 pro
HT monoblock amplifiers. In the beginning of your review, you indicate
that the Mole was developed specifically for high efficiency horn speakers.
I have a pair of AER MKII speakers in a rear-loaded horn speaker. I am
currently using a Midwest Hifi 2A3 amplifier which I like except for the
hum. I have been looking at other SET amps but your review perked my
curiosity to consider the Mole. Have you heard the amp on a horn speaker
and have you compared to any SET amps? Also, does one have to order
directly from the company or are there dealers in the U.S.?

Thanks and keep up the good work at Stereo Times,
Jim York


Jim,
Thanks for the kind comments and your feedback regarding the Mole amplifiers. Unfortunately, I have not heard them on horns but have been told that they perform quite well with highly-sensitive transducers such as horns.
There was a review in a Japanese hi-end magazine that also wrote very highly of pairing the Flying Mole's with horns. They certainly give the impression of SET without that extra sense of syrupy sweetness in my setups. That's the only they lack in direct comparisons against my reference Zanden Model 7000 SE ($15,000!). Again, the Zanden will outperform the Flying Mole monos but when you consider the price differential, then you can understand why.

I know of no dealers here in the US. But if I were you I would simply contact them via email and find where you can purchase here in the US. I know their distributor is located in Los Angeles, CA. Good luck and let me know what happens if you decide to buy a pair.
Regards,
Clement Perry

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December 2003

Hello,

I am looking for information on DCM Timewindow speakers. I have a pair that is close to 20yrs old and am looking to replace them. If you have any knowledge of or information concerning this company (if it still exists) I would be most grateful. I apologize for writing to you as this is likely not your priority position but I do appreciate whatever help you can provide. Thanks so much,


Tad L. Saunders
Tadbike@aol.com


I Tad,
I'm never to busy to help. That's what so exciting about this sport.
DCM is still alive and well after some restructuring. You can find DCM Timewindow's website at http://www.dcmspeakers.com

Clement Perry

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December 2003

Mr Nack,

Since you did some reviews on Harmonic Tech products ,and I use their IC's
(the lower end) of their line Precision & Harmony Link to be exact I am always interested in experimenting with different IC's...

My question: I have come across a couple pairs of Monster's M1500 IC's which I found out were discontinued about 4 or 5 years ago, and have been trying to find a review or input from end users. So far I have found nothing. It's like they never existed. Have you or anyone on staff done a review on these cables OR can you point me in the right direction of someone who did at one time, or where I can find out about them..

They look like they are one heck of a cable, and I would like to do some testing but I do not want to waste any money in purchasing them if they really never made the cut. The one's I would like to have (Pro-Silway III ) are way above my price range, and I figured that the Monster M1500 (since they were their Flagship) IC might be above the Precision & Harmony Link IC's I am using now. Your help is greatly appreciated in this matter. Looking forward to hearing from you

Doug Lang

Hi Doug,

I can see you have a bit of a quandary, and I'm afraid I don't have much info to give you. I have not tried the Monster M1500 and so cannot venture an opinion as to it's quality. I just did a quick search for M1500 on WWW.MONSTERCABLE.COM but no luck there either.
Apparently these cables never made waves, and 4 or 5 years is a long time in the cable world. Personally, I would hold off and look into something more current.
Happy hunting,
Marshall Nack
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December 2003

Dear Sir.

I am eddy and want to buy Xavian xn-125, but really want to know what amplifier match these speaker.(under US$1500 best) Becoz i am living hongkong, not many place have these speaker, so i cant test with this.I love pop song and band sound.

Sorry for my poor English , hope you understand:)
Thank you very much~

Hello Eddy,
Thank you for seeking my support in your purchase of the Xavian loudspeaker. You will not be disappointed with it's performance. I think a good integrated amp like perhaps the A300S from BV Audio, or the Portal Panache Integrated will both do well. Both of these amplifiers have been reviewed on our site.

Don't forget to look into the $750.00 amazing little digital amps from the company Flying Mole. I think you'll get a kick out of these as well. Hey, thank you for being courageous and writing. English is tough even for the me.
Regards,
Clement Perry

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December 2003

Hi Mr. Perry,

I've just read through your review of EC CD player. In that article you mention that the best performance was achieved via the balanced analog outputs. My question is: was there an audible difference between the balanced and single-ended outputs? More precisely, would you have reached the same conclusion on that CD player had you used the single-ended outputs exclusively? I'm wondering if your findings would apply to the DAC also.....? Hmmmm....

Regards,

Larry Phillips

Larry,
The Electrocompaniet is a better CD player when its balanced outputs are used primarily because it is a truly balanced design through and through.
Its single ended performance isn't no slouch and would probably give a lot of other units a good run for the money. But it's balanced output is remarkable and I think it is what separates it from the pack.

The transport mechanism is really good as well and has a lot to do with it being a superior player. I've tried using different transports now since I use it with the Zanden DAC. No matter what I do, I seem to enjoy its transport better than any other I've compared it to. That said, you'd be on a serious journey attempting to beat the transport mechanism attached to its dac which probably makes it a better player than Electrocompaniet DAC.
Happy Holidays,
Clement Perry

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December 2003

Hi Clement

Would you recommend the Soliloquy 5.0 with a Tripath amp as a small, killer combo? Do you have any other suggestions for me to look at for my new smaller place? I would really appreciate your impressions there. thank you, Angela Dando San Diego

Angela,
Thank you for contacting me on what perhaps would be suitable as a small reference system. I've just recently reviewed the new amplifiers from a Flying Mole. These little amplifiers are amazing in both their sound quality as well as power rating (100 per channel), and get this...they weigh a mere 1.6 lb. I spelled it correctly ONE POUND AND SIX OUNCES!

My review will be coming in the next few weeks detailing what I have come to admire and respect about this newly designed digital device and why I think it will be a smart choice particularly when space becomes paramount. These amplifiers are no bigger than a deck of cards. The loudspeakers I would match with these are the Xavian MIA's that retail for $425.00. Oh, btw, the Flying Mole amps retail for $750.00 per pair. Stay tuned here for both reviews and thank you for writing.
Regards,
Clement Perry
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December 2003

Hi Clement,
Thanks for your great site and information. I have been following Stereotimes for some time now. I enjoyed your review of the Tact 2150, and am aware of your ownership of the 2.2x. I have also been following the Tact user group for a couple of years now so have been up to speed on Tact's products, and your participation in the group.

The reason I am emailing, apart from the pat on the back!, is that I have heard via the Apogee user group that you may have an upcoming review of the EAR two mkII coming up. Is this correct? I am very interested as I am starting fresh on a new system, and besides the speakers, I have an open mind for amps, pre, and source. The EAR is on the top of my list for demos, aside from the 2.2x/2150 combo, and the bel canto evo2's/pre6. From all accounts so far, the EAR is blowing everyone and everything away. Cant wait for your report if it is in the wings....

I'm also wondering if you have any intent on reviewing the new Bel Canto Player. Feedback so far has been excellent (as has been feedback on the pre6). I'm thinking a BC Player fed into a pre6, then into biamped EAR two mkII might be an interesting combo, this would be a nice way to have quality two channel with the ability to play all formats including a quality dvd-v signal in surround (with the addition of furthe amps). What do you think???

Keep up the great work, and I look forward to your response
Jeremy Ryan

Hi Jeremy,
Thank you for taking up the time to write me such an extended and informative email on the upcoming review of the eAR amplifier. Yes, I have it in-house, and though it is amazing, so is the Tact gear and I don't know who thinks it "blows everything away" I would love to read these comments if you can point me to them. But there's no mistaking the qualities the eAR possesses. I've still a lengthy burn-in ahead of me as well, so stay in touch and I'll let you know what's what in the coming months.

The Bel Canto is still a champion in its own right as well. There's still something about it that makes accepting digital as the future easy to swallow. So does the eAR. The Tact makes life a little more difficult because of its incredible resolution, it will offset your system and make it sound "cold" or sterile, so tweaking it will be the first order of the day. Lots of people don't like tweaking their system while many others think the problem is inherent in the Tact when it is not. Believe me, read the letter from the New Jersey Audio Society member about what he thought digital was "supposed" to sound like in the feedback letters below.

I think I stated in the Tact 2150 review that even I think the Tact can use a tube's warmth somewhere in the chain. Nothing wrong with placing the best attributes from both worlds into one. That is what I think I've accomplished. I really believe that the approach whether going digital or analogue, is still for me via the Tact... at least until further notice. It simply sounds that good

I will admit that I am having lots of fun with the eAR however and we'll see what happens as time and burn-in allows. Hopefully, this will allow me to really hear what this impressive sounding device can really sound like.
Regards,
And thanks for the pat on the back!
Clement Perry

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December 2003

Dear Clement:

I recently purchased a pair of the Ascendo Z speakers and have an opportunity to purchase the Zanden 300b 7000. I hope you don't mind my asking you a few questions. Is this a combination you would recommend? I am setting up the Ascendos in triamped fashion with 3 Electrocompaniet AW 220s but am considering alternatives. I know you have used the Tact amps to good effect but I am hesitant to reconvert the analog signal back into digital in order to use the Tact (I am using the Emm Labs DAC 6 + dedicated Phillips transport).

I appreciate any advice you can offer.

with regards,

Sam Laufer

Hi Sam,
Thank you notifying me of your purchase of the Ascendo loudspeaker and possible purchase of the Zanden Model 7000 employing that fabulous 300B. I own both of these and as good as the Zanden is, Its 8 watts per channel unfortunately doesn’t allow me to get into the music in a way that Tact does and can when strapped to the only moderately efficient (88dB) Ascendo System Z. There’s a variety monitors I use in a second system that exploit the beauty of the Zanden. Surprisingly, I also use the large Isophon that were just reviewed here by Dave Thomas and they seem to better match the Zanden than the Ascendos.

In respect to the quality of the going analogue to digital and back, trust me, there’s a lot more parts in a conventional amplifier that harm the signal than going A to D and D to A.—output devices being the most troublesome. Believe me, I’ve fought with this idea for a long time and now have embraced this philosophy for its sonic superiority over virtually everything else I’ve had to compare it. And as publisher of this publication, there’s been plenty I've had to compare. The journey has been one of frustration but in the end it proved very enlightening. Learn to trust your ears and not  specifications.  

Lastly, when I talk of this sound quality I defer to the abilities of the Zanden in the signal chain. The Tact isn’t perfect sounding. What is?
Partnered with the Zanden and the Ascendo System M there’s a magical synergy that can't be denied.



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November 2003

Clement,
I just wanted to send a thank you, to you and your reviewers. In a world where it is terribly difficult to listen to every desirable high end component, the listening skills of reviewers and their ability to describe what they hear in a relevant and empathetic manner becomes crucial. Based on your reviews of the Bel Canto digital amplifiers I took the plunge. The reviews were accurate. (thank God!) Having recently acquired a pair of Apogees, I required an amplifier that would do what SETs and OTLs did best, communicate music. The Bel Canto is a revelation. It matches or betters the best of tubes at their strongest suits and simply delivers much more. The arguments of tube vs. transistor become a moot point. The next King has arrived. Digital. Infant technology, yes. But already in full command.

Many thanks,

Glen Wagenknecht


Glen,
Thank you for believing in what we write about, and ultimately purchasing the Bel Canto eVo. You should thank yourself for having a system composed of components that meshed with both the Bel Canto fine attributes and what you were hopefully seeking. The digital technology is moving  full steam ahead and there's plenty more to write about in new amplifiers that boast even greater resolution than the mighty Bel Canto and Tact. We should have more reviews by the years end on these new and exciting products. In the meantime, happy listening.                                  Clement Perry                                                                                    

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November 2003

hi Clement,

I just finished reading your article on the Tact 2150. Great review. I
like how you talk about other components and how they mate up.

How do you like the Zanden DAC so far? Have you had a chance to listen to
the 47 Flatfish/Progression combo? If so, would you say it is far beyond
the 47 gear?

I have the 47 labs digital front end, I've actually gotten the aftermarket
Pure Power DC battery power supply for the Flatfish/Progression and I'm
pretty pleased with the huge difference in sound going to DC battery.
Somewhere down the line I would like to see how the Zanden sounds in
comparison.
best,
Jim

Jim,
Sounds like you have a pretty good digital front-end as well in the Flatfish/Progression dac. I've never compared them or even had the pleasure of hearing them side by side. But there's a lot to admire in the Flatfish particularly when strapped to a battery supply. The Zanden MkIII is still my reference after a long day of comparing equipment. That should tell you something on how good it is. If you get a chance give it a listen.

Clement Perry

                                __________________________

This letter is from the NJAS (New Jersey Audiophile Society) Newsletter. It is printed with permission. Clement Perry

 

                       Preconceived Notions
               (and how not to let them get in the way)

by Izzy Marrone

I have been around hi-end audio for over 20 years now, and have quite a bit of diverse experience. I'm thoroughly familiar with "live, unamplified" music (as a former trumpet player) and hear live music played nearly every day by family members. I was trained to record professionally, have sold retail hi-end audio and have manufacturing knowledge of hi-end gear as well. I've been told by associates that I'm "too candid" about the shortcomings of some very high priced home playback systems.

OK, so what? Some of you probably have as good or even better credentials. Why am I telling you all this? Well, it's inevitable that along the way, you develop certain attitudes and opinions about what does & doesn't "work". And those attitudes can get pretty entrenched, keeping you from finding out about ways that do work that you normally wouldn't even consider.

Which brings me to the system I'm writing about now-the one assembled by Stereotimes publisher Clement Perry. I won't describe the equipment in detail-I'll let him do that. Suffice it to say it's rather formidable. But it's going to be a challenge for those "die hard" analogue types to accept. It takes full advantage of all that digital processing can offer (read: room correction). Not just digital based, not even "hi-resolution" digital: just plain old 16 bit CD, albeit upsampled with a $10,000 DAC, but wait…then the analogue out of the DAC gets re-digitized in order to get room corrected (see what I mean about those attitudes? Why, this can't possibly work as well! You're adding a whole extra conversion cycle!) Yes, there are a number of idiosyncrasies and apparent contradictions here….but fortunately my attitudes are subject to the ultimate arbiter: my ears. After all, in the end it's the entire system & room that you hear. And that's what I'm commenting on now. I can't say for sure what part of that system is accounting for the ultimate performance level I'm about to describe, so I won't even try. Maybe it's just a great synergy….who knows. (Please note that the following positive comments describe the sound of the digital source exclusively, as the LP sound didn't come close to that of the CD). (Oops! More preconceived notions challenged!)

Anyway, all this leads to the following: This is probably the highest level of sound reproduction I have ever heard anywhere. There are several performance areas I could analyze into their component pieces, but I'll try to put it into a musician's perspective. Now, I've always been disappointed with the reproduced sound of the instrument I play: the trumpet has heretofore sounded canned, lacking in that effortless dynamic "pop" a live one displays. Well, this system gets that trumpet sound right. Effortless…instantly dynamic….and (of course) tonally perfect, with tremendous purity. I didn't think it was possible to get it like this before. I could believe that a live player was in the room…that's how convincing it was. And it was that way with other instruments too….bass, organ, vocals, you name it. I'm describing the trumpet in detail only because I'm so familiar with it. The same can be said for at least one large-scale classical work I heard (that I can't remember the name of). As for soundstaging & imaging, I'll just say how little I paid attention to those "audiophile" artifacts, as all the music naturally came together to form a very convincing aural picture. (Which also happens when I'm listening live-get the connection?).

So, why did I use the qualifier "probably" to start my comments in the last paragraph? Well, I did not get to hear a large variety of source material, nor any of my audiophile favorites or even familiar recordings I know well. Perhaps some of these would reveal shortcomings in some areas. Maybe "regular" recordings would be less enjoyable