For those in the USA, let me wish you a happy Thanksgiving holiday, and for those around the world, allow me to wish that you have many things to be thankful for this holiday season!
While 2020 has been a bit of a rough year for me and my family, there's still a lot to be thankful for. We have so far been able to escape the worst of the coronavirus pandemic that has been occurring, we have a roof over our heads, enough food and drink, and of course we have music!
I am also very thankful for this audio hobby we all enjoy!
Audio Note (UK) AN-S4 step-up transformer (SUT).
I'll be writing up some first impressions of listening to the Audio Note (UK) AN-S4 step-up transformer (SUT) in the not too distant future, so stay tuned for that.
I've been waiting for a bit to write up my first impressions of the AN-S4 SUT due to the pending arrival of some other goodies from Peter Qvortrup, but they should be here in the next few days, so expect more about this AN-S4 jewel soon.
For a refresher about the AN-S4 SUT you can read my Today's Fresh Catch post about it HERE.
Pass Labs XP-17 phono preamplifier.
Next in my review queue is the Pass Labs XP-17 phono preamplifier (Today's Fresh Catch about the XP-17 is HERE).
I'll be reviewing it in the context of being paired with the Pass Labs XP-12 preamplifier (review is HERE) and the First Watt SIT-3 singled-ended stereo power amplifier (review is HERE), which have been such a good match to my Altecs.
The XP-12 preamplifier and SIT-3 amplifier combination sounds superb with my Altecs, so it will be fun including the XP-17 phono preamplifier in the mix.
Stay tuned for more!
The beautiful Triode Lab 45 SET EVO integrated amplifier from Toronto, Canada!
Frankie at Triode Lab has told me to give the beautiful 45 SET EVO integrated amplifier lots of run-in time to hear it at its best (Today's Fresh Catch post HERE), but it is certainly sounding very nice already, so I'll be writing up some first listening impressions about it in the near future as a status report as I'm getting some more run-in hours on it.
I'm really impressed with the Triode Lab 45 SET EVO integrated amplifier.
The build quality is first rate, the fit & finish is superb, and well, it just looks really nice with all those vacuum tubes glowing!
The Triode Lab 45 SET EVO sounds as great as it looks, and it may have the most natural and refined bass response on my Altecs of any amplifier I've tried with them, and that's with the 45 EVO's 2 watts of output power!
More to come!
Audio Note (UK): CD 2.1x/II Red Book CD player with the Oto
If you haven't yet read my Positive Feedback article about the Audio Note (UK) CD 2.1x/II Red Book CD player (HERE), I encourage you to read it even if you're not interested in CD players, as there's some important concepts brought up by Peter Qvortrup in that article unrelated to CD players, even though they do apply to the CD 2.1x/II.
The CD 2.1x/II article is kind of long, as I included what I thought was an important discussion by Peter Qvortrup about designing high-fidelity audio equipment that I wanted you to read about, first because I think Peter's observations are exactly right, and you can hear the difference in the design approach he takes with Audio Note (UK) equipment.
I know some of you like to let me know you get annoyed by reading longer articles, particularly if there's any repetition of concepts (which there is), so be forewarned!
If you don't like it, well that's unfortunate, but nothing is lost, as you get to read the articles for free.
Peter Qvortrup (Audio Note (UK)) in his home listening room.
Peter emailed me this morning to discuss those aspects I wrote about in the article, one of which was the inadequacy of current audio review terminology to adequately address articulating performance of high-fidelity audio equipment.
I totally agree with Peter on this point of inadequate audio reviewing terminology. As you know, I've been trying to fill in the gaps of this inadequacy by discussing both how successful the musical elements of audio reproduction are (timbre, beat, melody, harmony, etc.), as well as the visuospatial recording artifacts aspects of performance (soundstage, imaging, etc.).
However, my approach of discussing both musical and visuospatial aspects of audio performance is still inadequate, as it still leaves gaps in articulating certain aspects of performance that happen with the highest-fidelity audio equipment.
Peter told me he would like to discuss with me ideas of developing a more meaningful set of terminology. I'll be looking forward to that discussion a great deal, and of course I'll be sharing it with you as well!
Ok, that's all for now. As always, thanks for stopping by, and may the tone be with you!
