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Audio

Five Questions for Trinnov’s Jon Herron

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5 Questions for Trinnov’s Jon Herron

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[NEW DECK TK] A casual encounter with an early Waits album leads to a radical reevaluation of the arc of his career

May 10, 2022

What was the thing that first got you interested in luxury home entertainment?

I was born with genuinely terrible eyesight. Perhaps because of that, I developed quite sensitive hearing. Also, my two passions from childhood have been music and technology. At the tender age of 13, I had an epiphany: I realized that there were people who stood around talking about both music and technology all day long, speaking with other people who had at least somewhat similar interests. They sold stereo equipment. I have been involved in this business, one way or the other, ever since.

There’s a lot happening in the premium entertainment space right now. What trends intrigue you the most?

I am blown away by the explosion in truly excellent content that has happened over the last few years. People know all about Netflix, AppleTV+, Amazon Prime, and Disney+, to name but a few. Everyone I know binges TV now in preference to watching it episodically. 

But, when a home theater or media room is designed well, it can also be among the best places for enjoying music. Dolby Atmos for Music has made significant inroads. Do a search in the Apple Music Store and listen on your home theater system using an AppleTV. Or just try one of the “upmixers” in your AV preamp when listening to a favorite CD. I use the Auro-3D upmixer all the time for listening to my several terabytes of stereo music recordings and I would not want to go back.

Thankfully, it looks like the pandemic is becoming more manageable. People are slowly getting back to something like what we used to think was normal. But I think many people will be staying home a bit more than they had done in the past, thanks to the experience of the past two years. I can think of few additions to my home that would be more desirable—and more used—than a quiet refuge to which I can escape for a while. 

Even a dedicated home theater can be so much more than just a place to watch movies. Having ready access to a truly quiet, attractive space with well-designed lighting is a wonderful luxury for reading a good book, listening to your favorite music, or watching a movie with your friends and family. 

What have been some of your most powerful home entertainment experiences?

Two specific theaters come to mind: Rob Hahn’s AVS Forum Theater of the Decade, which was designed by Keith Yates Design and implemented by Geoff Franklin and his team at The Projection Room, and the demo theater at Insane AV in Houston, TX. Both are characterized by an extremely low noise floor that allows even the smallest details in a recording to come through with breathtaking clarity, excellent passive acoustic design, and a completely seamless presentation of the three-dimensional sound field. Both also feature truly subterranean bass.

What products best define your company and why?

The Altitude platform is the most comprehensive expression of what we do. These powerful, software-based surround preamplifiers quite simply do things that no other surround preamps can do. For example, the Altitude 32 has been able to decode and render all of the 34.1 channels of Dolby Atmos for the home since 2014. Even today, the Altitude models remain the only surround preamps that can do so.

All of our processors also include our proprietary Speaker/Room Optimizer, which is widely regarded as the state-of-the-art room correction technology. Our patented Remapping technology also can correct for the inevitable compromises in speaker placement brought about by real-world issues like doors and windows being where you might have wanted to place a speaker, as well as the conflicting speaker placement recommendations from Auro, Dolby, and DTS.

What other brands’ products intrigue or excite you in the luxury entertainment space?

High-quality infrasonic bass delivers a level of realism you cannot appreciate until you have experienced it. I’m talking about frequencies well below 10 Hz that you do not hear so much as you feel. For example, check out aia-cinema.com. Ascendo (from Germany) makes several subwoofers that are designed to reproduce frequencies below 20 Hz.) They provide “liver shiver” that is consistent with the bass you’re hearing. The fact that what you feel and what you hear are harmonically related to one another makes sense to your brain and delivers a huge increase in realism for both music and movie soundtracks. It’s an entirely different experience than you get with even the best chair shakers. You just have to experience it for yourself.

Jon Herron was already doing physical editing (razor blades and editing tape) on reel-to-reel tape recorders when he was 13 years old and has been involved in the home entertainment business ever since. For most of the past 30 years or so, he has worked at Madrigal Audio Labs (makers of Mark Levinson and Proceed), Wisdom Audio, and now at Trinnov Audio, where he is General Manager. He feels fortunate to have worked alongside so many amazing people along the way.

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Idea Book: Stereo Speakers

Idea Book |
Stereo Speakers

Some stunning speakers, both sonically and style-wise, to go with your vinyl—or other two-channel—listening

by Tom Methans
May 13, 2022

With all the amazing concealed surround-sound systems, it’s a wonder anyone still buys speakers that take up half of the room. But there are good reasons to still savor two-channel listening. First-rate speakers are marvels of sound engineering that fully engage you with music. They can also be exquisitely designed pieces of functioning art that share your space and allow you to shut out other distractions and focus on the unrealized depth, nuance, and complexity of your favorite recordings. To set you on the path to building a musical sanctuary/dedicated listening room, we’ve compiled a selection from ultra-traditional to sleekly modern in different sizes and designs. The only way to know which is right for your musical tastes and space is by auditioning as many as you can. 

Idea Book | Stereo Speakers

Martin Logan Neolith

Electrostatic speakers have a dedicated following but often lack punch for more demanding music passages. The Neolith combines the crystal-clear high frequencies and warm midrange of an electrostatic panel with thunderous bass from a 12-inch mid-bass driver and a 15-inch woofer. The rigid phenolic-resin polymer cabinet comes in a variety of automotive-grade paint colors that can either stand out or blend into your space. 

75 x 30 x 42″ (h x w x d) | 385 lb. | $99,999 | martinlogan.com

Idea Book | Stereo Speakers

Harbeth M40.3 XD

This might appear to be just a conventional-looking three-way speaker, but the Harbeth is a reference monitor built on decades of BBC studio tradition. Designer Alan Shaw has gained fans all over the world for the quality of his cabinets and drivers, and for his speakers’ lifelike sound. Despite its modest footprint, the 40.3 XD isn’t meant for bookshelves or random corners. These 84-pound speakers require floor stands and sufficient breathing room in order to sound their best even in smaller spaces.

30 x 17 x 15″ (h x w x d) | 84 lb. | $24,000 | harbeth.co.uk

Idea Book | Stereo Speakers

Steinway Lyngdorf Model D

Named after the largest Steinway & Sons concert grand piano, the Model D delivers both performance and convenience in this all-in-one digital package of speakers, amplifiers, and a central processor that includes multiple audio video inputs and streaming options. I listened to the Model D system for two hours with Ed Gilmore at Gilmore’s Sound Advice and heard sound that was open, airy, and seductive. As a result of the fully digital signal pathway, high volume is perceived as “liveness” rather than “loudness,” making you feel like you’re conducting an orchestra, sitting in the studio with Stevie Ray Vaughn, or watching The Allman Brothers Band at the Fillmore East.

81 x 18 x 31″ (h x w x d) | 384 lb. | $266,000 | steinwaylyngdorf.com

Idea Book |
Stereo Speakers

Some stunning speakers, both sonically and style-wise, to go with your vinyl—or other two-channel—listening

by Tom Methans
May 13, 2022

With all the amazing concealed surround-sound systems, it’s a wonder anyone still buys speakers that take up half of the room. But there are good reasons to still savor two-channel listening. First-rate speakers are marvels of sound engineering that fully engage you with music. They can also be exquisitely designed pieces of functioning art that share your space and allow you to shut out other distractions and focus on the unrealized depth, nuance, and complexity of your favorite recordings. To set you on the path to building a musical sanctuary/dedicated listening room, we’ve compiled a selection from ultra-traditional to sleekly modern in different sizes and designs. The only way to know which is right for your musical tastes and space is by auditioning as many as you can. 

Tannoy Westminster Prestige Gold Reference

Synonymous with British public address systems since the late 1920s, Tannoys were installed at Abbey Road Studios in 1973 and used to record Pink Floyd’s Dark Side of the Moon. A 15-inch driver incorporates high and low frequencies that breathe through Westminster’s two long interior horns to surround a big room with any type of music. With its sophisticated walnut-veneer cabinet and timeless design, the Westminster is certain to become a family heirloom. 

55 x 39 x 22″ (h x w x d) | 304 lb. | $50,000 | tannoy.com

Idea Book | Stereo Speakers

DeVore Fidelity Orangutan Reference system

The Orangutan Reference system is comprised of two speakers and two powered Bassmachines (subwoofers), with high-gloss wood veneers, brass, and bronze disguising these elegant beasts. “They absolutely kill with rock, metal, rap, and electronica,” states designer John DeVore. “Their dynamic range and bandwidth are addictive.” If the four-piece O/Ref is too much for you, the Bassmachines can be customized as in-wall units. Whatever the configuration, the DeVore system sounds great playing any genre in a variety of room sizes.

36 x 18 x 12″ (h x w x d) w/stands | 110 lb. avg. per cabinet |
$88,900 | devorefidelity.com

Klipsch Klipschorn AK6 

The Klipschorn is an iconic American speaker that has been in continuous production since 1946. The massive triangular cabinets with a three-way horn system fit neatly into corners of a room and rattle your bones like a muscle car. Is it considered an “audiophile” speaker? Maybe not, but it’s a tube-lover’s dream that plays Miles Davis, Led Zeppelin, and Richard Wagner effortlessly. 

51 x 31 x 28″ (h x w x d) | 220 lb. | $16,498 | klipsch.com

Tom Methans is a writer based in New York. As a Fulbright Scholar, he traveled all over Germany to see heavy metal bands before receiving his Master’s in Library and Information Science. He followed that with a 20-year career in the wine industry and now writes about music and audio equipment for Copper Magazine. When not watching 1970s movies, Tom listens to records on his vintage Japanese turntable.

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The Simplest Path to Audio Bliss

McIntosh: A Gateway to Luxury Audio

The Simplest Path to Audio Bliss

Of the many ways to create a high-end music system, McIntosh may offer the easiest and most satisfying solution

by Tom Methans
April 26, 2022

Luxury home entertainment isn’t just about home theater. But because theaters tend to be big and loud, they usually get most of the attention, in a squeaky wheel kind of way. There are many other facets to this universe, though, that are just as beguiling and rewarding. 

For a lot of people, the ultimate entertainment system is one devoted to music, not movies. But, thanks to the audiophile gatekeepers, there can be an intimidation factor to creating an uncompromised music setup that doesn’t usually come into play with a home theater—which is why we’re initiating a series of articles to help ease your way to attaining the ideal system without having to deal with any of the tweaky minutiae. The goal is to seriously lower the stress level so you can focus on the adventure and the pleasure—beginning with this piece from Tom Methans on McIntosh as possibly the most direct and hassle-free way to arrive at phenomenal music reproduction in your home. 

ed.

In the early days of home audio, buying a two-channel system was simple. All it took was a trip to the store where you could pick a top-of-the-line console pre-loaded with two speakers and all the current gear packed into a single piece of fashionable cabinetry. Since then, home audio has become increasingly complicated by highly specialized builders of single components (down to cables and power cords), leaving buyers with the chore of mixing and matching equipment. While some people enjoy that process, it’s totally unnecessary. As one of the last companies manufacturing a full spectrum of high-end equipment, McIntosh makes it easy again to put together a serious stereo system by combining one-stop shopping with luxurious components and extraordinary sound.   

McIntosh had been making amplifiers in Binghamton, NY, since 1951, but it wasn’t until the 1970s that they added speakers to their home-audio lineup. With a solid history of professional applications, which includes supplying power to the original Woodstock Festival and Grateful Dead concerts, McIntosh was also becoming the go-to choice for sophisticated home audio. 

I was reminded of the McIntosh magic when I auditioned a massive system at the 2018 Rocky Mountain Audio Fest. Instead of the usual double room at the Marriott allotted to smaller brands, Mac got a conference space filled with chairs like a theater and built on a foundation of two 158 lb. monoblock MC1.25KW amplifiers at 1,200 watts per channel driving a pair of XRT1.1K speakers, which are just shy of six feet in height with 70 drivers and weighing in at 181 lbs. each. 

As we all savored the music, McIntosh representatives didn’t have to prove anything with specs, excuses, or value for the price, because the room sounded like a live performance hall. 

Naturally, your space and listening habits dictate the power you need. Once the speakers are selected, McIntosh offers amplification from 75 to 2,000 watts per channel; digital or analog; tubes or solid-state; mono, stereo, or multichannel; as well as integrated, multi-chassis, and an old-school stereo receiver that does everything in a single box. Then the fun really begins. McIntosh has whatever source you want: Turntables, streamers, SACD/CD players, and radio tuners. They make everything except tape machines, but if you’re dying to try a reel-to-reel, Skyfi Audio (a partner company of Stereo Exchange for pre-owned and vintage gear) is restoring classic Japanese Technics RS1500s with the McIntosh color scheme to fit seamlessly into your system. 

If those aren’t enough reasons to use McIntosh to take your first big step in high-end audio, consider that the equipment is at home in a mid-century den, Edwardian library, minimalist open-concept, or industrial loft. Furthermore, its build quality and timeless design ensure high resale value and legendary durability—McIntosh still services its vintage gear—for generations to come. Finally, those famous blue meters, they never go out of style.

McIntosh has been the choice of professional sound engineers, musicians, and music lovers who appreciate iconic American brands, but painstaking research and development has kept pace with the finest equipment in the world. Take it from Evan Fusco, Vice President of Stereo Exchange in New York City: “For decades McIntosh has continued their commitment to quality of construction and design, and in this last decade have elevated their products’ audiophile performance to the same top level.” 

In addition to a variety of speaker brands, Evan has plenty of McIntosh electronics on display, and he will special order any McIntosh component you desire.

Special thanks to Evan Fusco of Stereo Exchange; Mark Christensen, Marketing Coordinator, McIntosh Laboratory; and Elliott White, Operations Manager, SkyFi Audio.

Tom Methans is a writer based in New York. As a Fulbright Scholar, he traveled all over Germany to see heavy metal bands before receiving his Master’s in Library and Information Science. He followed that with a 20-year career in the wine industry and now writes about music and audio equipment for Copper Magazine. When not watching 1970s movies, Tom listens to records on his vintage Japanese turntable.

the McIntosh MC1.25KW monoblock amplifier and XRT1.1K speaker

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Atmos Finally Grows Up

Atmos Finally Grows Up

Atmos Finally Grows Up

The ultimate immersive format no longer relies on filling your room with gimmicky effects just to make its presence known 

by Dennis Burger
April 19, 2022

It never fails. Every time I admit to liking a new Dolby Atmos mix, my fellow home-cinema aficionados refuse to let me live it down. They behave as if I’ve converted to some weird cult, or—more charitably—as if I’ve finally seen the light. You can almost hear them chanting, “One of us! One of us! 

And you could say I brought this on myself, given what a vocal detractor I’ve been of Atmos and other “immersive” audio formats. That I’ve recently had nice things to say about some of these mixes could, I acknowledge, be interpreted as a change of heart. 

It isn’t. I haven’t changed. Nothing about my taste in surround sound mixing has evolved or softened, and if you put any of the abusive, distracting Atmos mixes I’ve griped about over the years in front of me now, I’d gripe just as vociferously. What has changed is that after a decade of trial and error, mixers have finally figured out how to make Atmos work with the films they accompany rather than against them. Of course, I’m not entirely sure you can blame the mixers. After all, those technicians and artists were simply giving early adopters what they demanded. 

We see this sort of thing happen any time a new expansion of sound comes to market. Think back to the awful stereo mix for The Beatles’ Rubber Soul, an album that can only be truly appreciated as a cohesive work in mono. Even a few years later, the stereo mix for Jimi Hendrix’ Are You Experienced was a curiosity at best.

Fast forward to the era of digital surround sound, when DVD arrived on the scene and we were convinced to replace our old surround sound receivers with spiffy new 5.1 models. We all wanted to hear more discrete surround effects and more pronounced deep bass to justify our new purchases. As a result, Hollywood gave us soundtracks like that of The Fifth Element, which made for a great home theater demo but was a major distraction if you wanted to actually enjoy the movie. (Ironically, the 2015 Atmos remix is actually subtler and more immersive—meaning less distracting—than the 5.1 mix included with the original DVD in the late ’90s.) 

It’s no surprise we had to go through the same growing pangs with Atmos. Or perhaps it would be more appropriate to call it an arms race. Those who were first to adopt Atmos at home shelled out a pretty penny to have additional speakers installed in their ceilings, more amps to drive them, and new receivers or preamps to decode and process the soundtracks; and they demanded to be rewarded for their investment with a torrent of sound coming from every which direction. But now that they’ve gotten their cheap fix, the rest of us can finally start to enjoy Atmos mixes that genuinely add something to the experience of watching a film rather than smacking you over the head with a newspaper at every opportunity. 

Take Nightmare Alley. It’s hard to imagine a mix like this one being created—or tolerated—ten years ago at the dawn of Atmos. It’s often—though not always—subtle. There are things going on in the overhead channels almost constantly, but they all work in the service of creating and enhancing the mood of the film and the feel of its environments. It’s the slow roll of thunder overhead and off toward the horizon, as well as the hum of mercury-vapor lamps indoors, that make the film’s locations feel tangible and multi-dimensional. They draw you into the experience rather than pulling you out of it. The soundtrack doesn’t fill your room with sound—it makes your room disappear. You don’t consciously think about where the sound is being placed because it simply feels right.

But I’m not saying Atmos mixes have to be subtle to be effective. The immersive soundtrack for last year’s Dune is incredibly aggressive. It leans on the overhead channels far more than do many of the Atmos mixes from years past that I find overbearing and counterproductive. But re-recording mixers Ron Bartlett and Doug Hemphill knew what they were doing. They didn’t crank up the mix and leave it there. They leaned hardest on the overhead and surround channels at the moments when the film becomes a pure operatic experience of sight and sound, and also when the visuals are simply so compelling no audio gimmick could pull your focus away from the screen. 

There have also been some recent experiments in Atmos that accomplish with sound what The Wizard of Oz did with Technicolor. Last Night in Soho is a perfect example. I can’t imagine that film working nearly as well without the benefit of its inventive 3D sound mix. The very shape of the soundfield is a subtle but unmissable clue about the lead character’s mental state and the delineation between reality and fantasy within the context of the narrative.

Granted, just because we’re getting there doesn’t mean we’re there yet. The recent Apollo 10½: A Space Age Childhood is a sweet and endearing little semi-autobiographical memoir that’s hobbled by an Atmos mix that treats the experience more like a theme-park ride than a work of cinema. Thankfully, such mixes are becoming less common, especially for films of this sort.

All of which is a long and roundabout way of saying that I haven’t come around to Atmos. I haven’t seen any light. I’m not a convert. I’ve long understood the potential of Atmos as a way of further immersing the viewer in the cinematic experience. I’ve simply been disappointed by Hollywood’s insistence upon using it to turn nearly every film into the experiential equivalent of Jaws 3-D. Now that it’s becoming something grownups can actually enjoy, I’m all for it. But make no mistake: I haven’t changed. Atmos has. 

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast who somehow also manages to find time for technological passions including high-end audio, home automation, and video gaming. He lives in the armpit of Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound American Staffordshire Terrier who thinks he’s a Pomeranian.

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My Love/Hate Relationship with Dolby Atmos

My Love/Hate Relationship with Dolby Atmos

My Love/Hate Relationship with Dolby Atmos

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Atmos might be a little too unnatural—and gimmicky—to be satisfying as a surround sound experience

by Dennis Burger
January 9, 2019

I have a friend who turns his nose up at surround sound. Press him on the matter and he’ll demur and hedge his argument, but it’s pretty clear he thinks stereo is where it’s at for movies and music alike. And I think he’s absolutely bonkers. 

I mention that not to pick on him but rather to empathize, because I imagine the face I make at him is the same face our own John Sciacca makes at me when I admit that I just don’t like Dolby Atmos—at least not for movies. That might seem strange given that I’m on record as lauding the format—with its overhead speakers and innovative use of audio objects instead of channels—when applied to video games. You haven’t really played Overwatch until you’ve heard Pharah scream, “Justice rains from above!” from above your actual head. 

The weird thing is, I love Atmos with gaming and generally hate it with movies for pretty much exactly the same reasons. And to understand why, you’re going to have to do a little homework.

Take a lawn chair out into your front yard and sit in it with your back to the street. Your neighbors may give you strange looks, but this is for science. Just run with it.  Now pull out a book and start reading it. At some point, a car might drive by behind you. If the book is decent enough, chances are you won’t even notice, unless you live on a street so remote that passing traffic is an oddity. 

Keep on reading until a plane or helicopter passes overhead. Your concentration immediately broke, didn’t it? OK, maybe not if you live near an airport or airbase, and you’re used to planes flying overhead. But for most of us, if something flies overhead, we’re gonna drop the book and look upward. 

Atmos is a lot like that for me. It triggers something in my primate brain—a fight-or-flight mechanism, if you will. I’m reminded of vervet monkeys, who have different words in their rather complex vocabulary for “python” and “eagle.” If a monkey shouts “python,” nearby members of its tribe scan their surroundings. If the cry is “eagle,” on the other hand, they drop what they’re doing and run for the nearest hidey hole. 

And Atmos generally does that to me. There’s just no denying that sound coming from overhead is hardwired into our brains as something we have to focus on. In a video game, that can be critically important since these virtual worlds often contain threats coming from every direction. Hearing that a baddy is attacking you from overhead can be the difference between virtual life and death.

But unlike video games, movies aren’t sandboxes. Our focus is on a rectangle of space right in front of us; someone else gets to decide where our eyes turn. It’s an inherently horizontal experience, and while sounds coming from the sides and behind don’t violate that experience, sounds coming from overhead do. As with our daily lives, anything that happens outside of that horizontal plane is somehow distinct, different, and disconnected.

That can actually be kinda cool with movies like Ready Player One or others that live or die purely on audiovisual spectacle. Heck, it’s even great with movies like The Last Jedi, where the overhead sound effects generally work to add ambiance and a sense of space, not vertical sensationalism. But such mixes are few and far between. For the most part, Atmos serves only to distract me from the narrative experience. And just to be clear, I’m not saying John or anyone else is wrong for liking that effect. I’m merely rebelling against the increasingly pervasive notion that if you don’t have an Atmos-capable sound system, you’re somehow doing home cinema wrong.

Try to seek out an Atmos demo before you decide if this “immersive” audio technology is right for you. And if it’s not—if tried-and-true surround sound does the trick—don’t feel like you’re selling your movie-watching experience short. I mean, as long as you’re not just watching movies in stereo . . . 

Dennis Burger is an avid Star Wars scholar, Tolkien fanatic, and Corvette enthusiast who somehow also manages to find time for technological passions including high-end audio, home automation, and video gaming. He lives in the armpit of Alabama with his wife Bethany and their four-legged child Bruno, a 75-pound American Staffordshire Terrier who thinks he’s a Pomeranian.

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What Does Luxury Mean to Me? Pt. 3

What Does Luxury Mean to Me? Pt. 3

What Does Luxury Mean to Me? Pt. 3

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Meridian’s CEO on how his personal definition of luxury goes beyond the mere acquisition of premium goods

by John Buchanan
April 14, 2022

For me, luxury is about creating memorable, high-quality experiences—occasions and events that positively ignite your emotions. It’s not about possessions per se; it’s about those moments when you can indulge in your passions or interests and go the extra mile, away from work, life, the universe, and everything.

Five years ago, we moved home to a property in the countryside that was originally built in 1820, and we’ve been renovating it ever since. One of the big improvements we’ve made is to create a wonderful new media room, complete with a large-format screen and full Meridian Audio system (as you might expect!) featuring our Reference DSP730 loudspeakers. We’ve really gone to town on the furniture, the carpentry, and the aesthetics, with custom bookcases, lighting, and a beautiful large fireplace.

This is the luxury space for me, my wife and my family. It’s where we go—sometimes separately, but mostly as a family—to enjoy sport, a movie, or a boxset together and to listen to music. Having possessions that are rare or special is fantastic, but it’s about what you do with those treasured items that matters—that’s why, for me, the essence of luxury is time.

Music and movies are two of my biggest passions, personally and professionally. They’ve driven the direction of the Meridian business over the past eight years. They take you out of your everyday life, away from your stresses and strains. You can relax and switch off, and, if it’s a really compelling system that’s in a great home environment, then the listening experience will make the hairs on the back of your neck stand on end. 

Over the past two years, what we’ve all been through has created a lot of negative emotions. Life has been really hard work for us all. It’s made us relish the luxury of taking time out from the day to day. Music and movies are a huge part of that escape. 

The Meridian brand has always been about performance and premium quality, and if you give your time to Meridian, then we can connect you with those feelings, emotions and memories that can only be created with high performance, lifelike and pristinely detailed audio. We can offer that experience to people in their homes. 

Spend your time with Meridian and immerse yourself in luxury. 

John Buchanan is CEO of Meridian Audio, the award-winning British audio pioneer. Prior to that, he was Meridian’s Director of Sales & Marketing and then Executive Vice President, and, before joining Meridian in 2007, held global commercial roles with Arcam, Linn, and Tannoy. 

Meridian Audio’s DSP730 in-wall speakers flanking a video display

What Does Luxury Mean to Me? Pt. 3

John Buchanan

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Luxury Turntables–An Introduction

Luxury Turntables--An Introduction

Luxury Turntables—An Introduction

Swedish Audio Technologies CF1-09

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No other aspect of premium home entertainment offers as many exquisite options or as many points of entry, from basic to baroque

by Frank Doris
updated December 21, 2021

With the resurgence of all things vinyl, there’s arguably never been a better time to add a high-end turntable to a home entertainment setup.

A what?

Audiophiles like me take this for granted, but most people don’t even realize luxury turntables exist. But what makes a turntable luxury? Well, if it’s defined not just by price but by the ability to deliver a compelling musical experience, the best record-playback systems sound remarkably realistic, blurring the line between “reproduced sound” and the feeling the musicians are right in front of you.

A fine turntable can also be strikingly beautiful, whether a minimalist design like the classic Linn Sondek LP-12 or the clockwork-tech visuals of the VPI Avenger Reference.

If you think of audiophiles as a bunch of tweak-crazy perfectionists—assuming you’ve ever bothered to think of them at all—well, in some cases you’d be right. (Certainly in my case!) But don’t let the thought that a turntable isn’t a simple plug & play purchase scare you away from buying and enjoying one of these gorgeous pieces of machinery. 

But there’s one thing I need to emphasize before we proceed: A high-end turntable will require setup.

If you don’t know, or don’t want to know, the tricks of the trade, you can enlist the help of a dealer, systems integrator, or turntable setup specialist (yes, there are people like that). Their advice (and that of expert reviewers) on which turntable to buy will also be invaluable. While setup is exacting, it’s not a black art, so if you want to learn how to do it yourself, I would recommend Michael Fremer’s turntable setup DVD.

Better turntables start at around a few hundred dollars for a complete turntable/arm/cartridge setup, and spending from $500 to around $2,000 will bring immense musical satisfaction. But if you’re striving for the sonic ultimate, manufacturers like SME, Brinkmann, Spiral Groove, Rega, and Technics offer models from four and five figures up to turntables like the mighty $440,000, 780-plus-pound TechDAS Air Force Zero, and beyond. The TechDAS features five interlocking platters floating on a cushion of air, and a host of exotic proprietary materials, including a motor that’s no longer made.

Should you decide to invest in such a dazzling device, you’ll need to add a tonearm and cartridge. (While there are plenty of excellent complete turntable setups on the market, for many high-end record-playback rigs, the turntable, tonearm, and cartridge must be chosen separately.)

There are ultra-refined tonearms from some of the manufacturers mentioned above, plus Swedish Analog Technologies (their $48,000 CF1-09 is a mind blower), Acoustic Signature, and Graham Engineering, among others, and dozens of superb phono cartridges from companies like Grado, Ortofon, Koetsu, Audio-Technica, Van den Hul, Kiseki, Lyra, and Soundsmith. The miniaturized works of these diamond-tipped marvels are made to the standards of fine watches.

To descend to another level of audiophile geekdom—and raise another topic you might want to hand off to an expert—you’ll also need a phono stage, which amplifies and equalizes the weak signals coming from the turntable to a level the rest of the audio system can handle. (In the days when turntables were everywhere, phono inputs were common—today, not so much.) While budget and some under-$1,000 turntables have a built-in phono stage, ultimate-performance phono rigs and outboard phono stages like the CH Precision P1 ($31,500) or the Audio Research Reference Phono 3 ($15,000) go together like Ferraris and Brembo brakes. (For an overview of what’s available check Stereophile’s Recommended Components or The Absolute Sound’s Editors’ Choice listings.)

Why is the best turntable gear expensive? Consider: A record groove is around 40 to 80 micrometers wide, while a human hair is 17 to 181 µm wide! When dealing with that kind of micro-level physics, things like stylus shape and cartridge and tonearm alignment become exacting concerns in accurately translating the minute wiggles of the stylus through the groove into electrical signals heard as music. On the macro level, the motor must spin the platter at an unwavering speed (or it’ll be heard as pitch variation) while adding no noise of its own, and the turntable should be immune from outside vibrations.

It all adds up to a delicate balancing act—literally—and the engineering involved could fill more than one book. There are a myriad of approaches to things like materials, cartridge designs (the most common are moving coil and moving magnet), tonearm geometries, motors, and noise isolation. (The Mag-Lev Audio ML1 turntable uses magnetic levitation for platter isolation!) Materials like titanium platters, high-precision bearings, and handmade phono cartridges don’t come cheap, especially when manufactured in small quantities. But when a manufacturer takes a cost-no-object approach, it provides the freedom to reach for the sonic ultimate.

So, what’s best for you? I asked Michael Trei, who is a reviewer for Sound & Vision and a turntable setup expert, what his well-to-do clients want most. Looks? Sound? Bragging rights? “Reliability is the most important thing,” he said. “My customers don’t want to deal with turntables going out of adjustment.”

He added that “arm handling is important.” There aren’t any high-end turntables with automatic operation (let alone remote control!), so you have to manually play your records, and take care in doing so. Because of that, you need to be comfortable with the “feel” of the arm. (Some SME models make it physically impossible to accidentally drop the tonearm.) 

For the klutzes among us, Trei recommends using a moving-magnet cartridge, since the stylus on most can be easily replaced if damaged. If you have toddlers or others who might cause damage, keep the turntable—or them—out of reach! “I wish someone would make a locking turntable dustcover,” Trei mused.

On the other hand, as mentioned before, some audiophiles enjoy “tweaking” their setups. Some turntables are very stable; others require regular attention.

Is it all worth it? Consider me an enabler. A high-end turntable setup will convey music with astounding realism, resolution of musical detail, and a soundspace that can extend beyond the boundaries of your entertainment room or place you right in the audience. If you’ve never heard a high-end turntable at this level of performance, it will be a revelation.

If that’s not luxury for the soul, I don’t know what is. 

Frank Doris is the editor of Copper, an online audio and music magazine. He has more than 30 years of experience in public relations and marketing communications and has written for a number of publications including Copper, Cineluxe, Sound & Vision, CE Pro, The Absolute Sound, Home Theater Review, and others. He is also a professional guitarist and yes, played at CBGB back in the day.

the Mag-Lev Audio ML1 turntable

click on the images to enlarge

VPI Avenger Reference 

TechDAS Air Force Zero 

Audio Research Phono 3

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