THE E-ZINE FOR FRUGAL AUDIO ENTHUSIASTS

Affordable$$Audio Issue Number 20: August 2007

Role Audio Sampan Recording Process Rummaging Thru Cover Photo: Writer
FTL monitors Pt1: Live Room Classic CD’s Sean Fowler and the
Page 4 Page 19 Page 29 Totem Storm Sub-
woofer
Monarchy NM24 Audio Furniture: From the Pulpit:
DAC/Linestage WAF Page 22 Passing on the Gift **We need more rig
Page 9 Page 31 photos, send yours
Pro-Ject 1.2 Turnta- in.**
Totem Acoustic ble Page 26
Storm Page 14

Affordable$$Audio ! 1
 A F F O R D
Mood Music
By Mark Marcantonio
On a recent night, I was watching a re-run of
Frasier, one of my all-time favorite comedy shows.
In typical fashion, Frasier is attempting to create
the perfect mood with the ultimate lighting and
music. It got me to thinking about why so few
gatherings have music playing anymore. While in
Denver last month, my sister had a barbecue on
Independence Day. For the first time in recent
memory music was playing, a seemingly endless
grouping of American classical composers. It was
a terrific choice that enhanced the evening.
So, why have so many parties lost the auditory
component of ambiance? Is it because that as a
society we no longer entertain with a bit of formal-
ity? As I pondered the possible reasons, I became
very much aware of how much music surrounds
so many of us each day. Most any retail store has
canned music playing, with the occasional great
song by a true singer-songwriter. Many of the
newer post-mall shopping centers have speakers
placed in the “street lights” playing something
rather innocuous.
Of course, then you have the Best Buy’s here in
North America, that all but assault each customer
with a handful of different booming sounds (I
struggle to call it music), forcing anybody above
2!
A B L E $ $ A U D I O
30, to quickly select their purchase and rapidly
progress through the sales registers.
The acoustics in most restaurants anymore is so
poor between the
music and the din of
everyone talking,
not to mention the
noises from the
kitchen that conver-
sation is just plain a
struggle. Funny,
but one of the qui-
etest places to eat
out anymore is
McDonalds.
I’m not forgetting the
down side of modern car stereo, the boom, boom,
boom of 12 inch dual woofers exploding rap and
hip-hop some 9 blocks away, yet able to penetrate
most any home.
Finally, those souls with headphones connected to
their all but unseen iPod. Singing carefree to all
within earshot, never realizing that others can ac-
tually hear them performing a downright painful
version of the artist’s work that is impressively
treating their ears.
The point I’m trying to make is that music is such
constant part of our daily environment anymore
that the concept of using it for a specific gathering
is no longer in vogue. Think about it, casual group
gatherings are one of the few times that adults re-
lax and communicate on a deeper level through
talking. Our desire to hear and be heard tells us to
eliminate distractions that interfere with auditory
communication. By removing music from the am-
biance, that is one less piece of competition for
conversation to compete against.
It’s far different than most of the gatherings I at-
tended while growing up. From the graduation
parties for relatives, to the all-night BS sessions in
college, something we’d call “Ivory Tower” de-
Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

bates. Music was a constant, if the conversation choice will appear with the September issue.
lagged, we’d listen to the lyrics and then discuss
the meaning, both surface and underlying. Who
cared if one of us had to flip the album or cassette With that bit of preaching in mind, find some piece
to hear the opposite side, it was all a part of the of music that assists your brain in reading, and
atmosphere. So many enjoy this month’s issue of Afford-
times, I can remember able$$Audio.
flipping thru a friend’s
stack of LP’s looking for
just the right piece of wax
to play.

Have we, come to the

point that for so many,
music is just background,
like paint on a wall? I
certainly hope not. The publisher<at>affordableaudio<dot>org
right music at the right
time is like matching wine
to a meal, when it’s right, all the different flavors of
food become enhanced.

One Column, or Two?

Our little experiment with offering a single column
version of Affordable$$Audio is very popular with
many of you who read from the computer screen.
Not having to flip back up to the top of the page to
read the right column seems to have made many
readers day. I will agree that that it is more con-
venient, but also I support those who say that the
two column is
much sharper
looking. I will
continue to
gather opinions
during August,
and a final

Affordable$$Audio ! 3
 A F F O R D
Role Audio Sampan FTL Speakers
By Craig Johnson
Specifications
Drivers:
■" Single, crossover-less driver per
speaker
■" 3.5-inch cast frame transducer
(MLSSA matched)
■" Cast-aluminum frame with neodym-
ium magnet
■" Magnetically shielded
Frequency Response: 40-20,000 Hz ±3db
(-6dB reference to 1 kHz @ 35 Hz)
Sensitivity: 87 dB 1 watt/m
Rated Impedance: 8 ohms
Minimum impedance: 7 ohms
Nominal impedance: 9 ohms
Recommended Power: 2 - 100 watts
Binding Posts: five-way terminals
Dimensions: 8” x 4” x 9.5” (H x W x D)
Actual Weight: 4 pounds per speaker
Shipping Weight: 9 pounds per pair
10 year limited warranty
Price per pair: $895 (satin black), $995 (creamy
white or white birch)
www.roleaudio.com
Earlier this year I had the opportunity to hear a
pair of Role Audio’s Sampan FTL speakers at the
’07 AudioKarma Fest. I was mightily impressed by
the big, full sound these tiny bantamweights gen-
erated during my brief encounter (see the April ‘07
issue of Affordable$$Audio). They seemed to be
the ideal speaker for such a venue and, given their
size, a perfect travel companion. But how would
they perform in a real listening space instead of a
small hotel room?
Role Audio sells the Sampan FTL in matched pairs
as a bookshelf alternative to their floor-standing
Sampan speakers. At first glance, you may won-
der why it costs the lion’s share of a grand. In a
world where speaker weight typically increases
with price, I expected something much heavier
when instructed at AudioKarma Fest to lift one of
the FTLs off their stand and I nearly tossed it
through the ceiling. Additionally, there are no ex-
otic veneers. No custom-milled binding posts.
And of course, no esoteric crossover components
since the FTL is a single-driver design. But the
real beauty is hidden deep inside and becomes
immediately apparent upon the first listening. As
Erol Ricketts of Role Audio explained:
The exotic woodworking and “crossover” are
on the inside of the cabinet. Given the com-
plexity of the internal design and the need to
keep the speaker small and lightweight there is
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A B L E $ $ A U D I O
no desire to dress-up the outside of the cabi-
net.
FTL = Folded
Transmission
Line
A transmission line
speaker incorpo-
rates a long tunnel
or pipe that is
stuffed with wad-
ding to absorb the
rear wave of the
speaker driver. In
theory, this pre-
vents damping of
the speaker cone
and distortion due
to sound wave re-
flections, such as
occurs in a sealed
acoustic suspen-
sion design. Fur-
thermore, the sound generated by a transmission
line speaker comes primarily from the driver itself,
as opposed to bass reflex designs in which the
port output is tuned to reinforce and augment the
driver's output. (For more on the technical details
of trasmission lines, you might want to check out
www.quarter-wave.com or www.t-linespeakers.org
.
Properly implemented, transmission lines are purported to
deliver remarkably extended and smooth bass response
without any excess reverberation or boom along with ex-
cellent imaging abilities due to the lack of distortion-
causing interior reflections. These are all qualities imme-
diately apparent in the Sampan FTL, in which a nearly
three-foot transmission line length is cleverly folded into
the diminutive cabinets. And that’s where the magic lies.
With regard to R&D this speaker took 4 years
to make. The design goal for the speaker was
to shrink the performance and design of the
Sampan into the smallest possible cabinet.
The speaker appears simple and lightweight
because that was the intention. Most of the
weight of a small speaker comes from the
magnet structure of the driver. The driver in the
FTL uses a neodymium magnet. The cabinet
is made of 3/4, 3/8, and 3/16-inch panels
(which we have to custom order) to keep the
weight low. The rigidity of the cabinet is real-
ized by the design of the tunnel. The big cost
factor is manufacture and assembly of the
cabinet. There is no room for error because
once the speaker is assembled errors cannot
be corrected.
Affordable$$Audio
 A F F O R D
The central section of the cabinet is assembled
and finished then stuffed. The front baffle con-
sists of the driver and port (PVC mated to
MDF) covered with cloth prior to assembly.
The trick is to snake the wire from the front to
the back, attach it to the driver, glue the front
baffle assembly to the central part of the cabi-
net, seal the area where the port travels
through the front part of the tunnel so that
there is no sound leakage, connect the wire to
the terminals and glue the back panel to the
assembly without making any errors and keep-
ing the cabinet airtight. Keep in mind that we
are working with a very small cabinet, can't get
glue on the cloth, and can't make any errors.
This is the expense of the speaker.
Warming Up
Right out of the box, the Sampan FTLs sounded
quite good with a very open, expansive presenta-
tion. I initially thought they sounded a bit thin on
the bottom end and somewhat too recessed and
laid back overall. I took the manufacturer’s advice
and allowed them a few weeks of playing before
doing any critical listening, which concluded with a
trip to the Bonnaroo Music Festival as part of a
portable system including an iPod and Sonic Im-
pact T-Amp. Role Audio also recommends allow-
ing the speakers to play for about an hour before
listening to warm-up the drivers (this is common
with electronics but I had never considered this for
speakers).
Back in my main listening room (18.5’x16’x8.5’), I
first tried the Sampan FTLs positioned on top of
my low 8’-wide equipment rack along the short
wall to test their bookshelf performance. I didn’t
expect much so close to the wall, but was sur-
prised at just how good they performed. The
soundstage was surprising wide and deep, imag-
ing quite good though not up to my regular speak-
ers, with a full, warm-bodied sound that filled the
room quite nicely. I can see how these would
make great bookshelf speakers if such is required,
Affordable$$Audio !
A B L E $ $ A U D I O
but I ultimately preferred their performance on
stands.
Setting the Sampans out into my main listening
room proved to be a bit problematic, as I didn’t
have stands tall enough for their small size. Con-
crete blocks helped remedy the situation and
proved to be a very solid foundation, though not
an aesthetically acceptable solution in the long
term. Because of the FTL’s lightweight, you have
to be bit careful about the speaker cables as ex-
cessively stiff or heavy designs can lift or pull them
right off the stands (my DH Labs Q-10 cables
proved to work just fine). Also, if you have pets or
children roaming the room, beware as they can
easily topple the speakers over.
After getting them on stands, I initially detected a
slight softening of the higher frequency details.
The details were all there, but just didn’t seem as
incisive or as sharp as my Magnepan 1.6s. How-
ever, I was able to remedy this by adjusting the
toe-in so that they were pointed more directly at
my listening position than with other speakers
(though directly on I could localize the speakers
and with too little the sound softened excessively).
Though I did not feel they matched the top-end
extension and sparkle of the Maggie’s quasi-
ribbon tweeter, there is no evidence of the top-end
roll-off that can occur with some single-driver
speakers and I found they required somewhat less
toe-in when moved to a smaller room with a closer
listening position.
Sometimes … Size Doesn’t Matter
The first thing that struck me was the Sampan
FTL’s fantastic soundstage, in particular front to
back layering. Starting right in front of you (even
going behind on some recordings), the depth
seems to go on forever and extends far off into the
distance beyond the front wall. I kept coming back
to this quality, repeatedly shocked and impressed
by their ability to completely envelope me with a
holographic presentation. This was irrespective of
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 A F F O R D A B L E $ $ A U D I O

what type of music I become vague if the bass is

threw at them: instru- overly boomy or bloated.
ments appeared properly
placed within the orches-
tra in Saint-Saens’ After getting past the initial
“Danse Macabre” (Jean astonishment of just how
Fournet, Tokyo Metropoli- open and expansive the tiny
tan Orchestra), the artifi- Sampans can be, I found
cial landscapes of Wil- that my listening notes
liam Orbit’s Strange turned to the natural, flowing
Cargo series had a re- and warm sound they pro-
markable sense of solid- duced. This makes them
ity and realism, and I absolutely incredible with
could easily locate each vocals and stringed instru-
member of The California ments as the aforemen-
Guitar Trio as they tioned Tuck Andress and
strummed their complex Constanze Friend come to
arrangements. mind again. They have a
delicacy and smoothness
across the sound spectrum
The amount of detail that combined with incredible
the Sampan FTL delivers pace and rhythm that is ad-
is equally impressive, but dictive, rendering Friend’s
not in a way that calls voice with realism that was
attention to it or makes startling. Rather than jump-
you sit up and notice. ing between tracks, I often
You suddenly realize that found myself drawn in by the
you can follow every in- musicality of the Sampan
strument or voice and FTLs and ended up listening
place them in the record- to entire albums.
ing space. This detail
never seemed forward or excessive, always re-
maining in proper proportion. Overdubs and edits Other Times … Size Does Matter
on more heavily mixed and processed recordings There’s no getting around physics and a 3.5”
are clearly apparent, though not such that it ever driver is still a 3.5” driver. Compared to my Mag-
became objectionable. For example, I could nepans, there is a difference of around 860 sq. in.
clearly make out the multiple vocal tracks used of radiating area per speaker pair. The most nota-
throughout Wilco’s Yankee Hotel Foxtrot album as ble limitation this enforces on the Sampan FTLs is
well as the subtle background voice on Tori Amos’ a reduced max output. Turn them up a bit too
“Past the Mission” (Under the Pink). much and they will cry out. Unfortunately I found
myself often wanting for more output. While Tuck
Andress’ guitar sounded full-bodied and rich, it
The combined effect of this holographic sound- never seemed to really energize the room the way
stage and extensive yet relaxed presentation of it can through the Maggies, particularly in the mid
detail is that it allows you to look into and experi- to upper bass.
ence the recording, rather than just view the per-
formance from afar. I found it easy to perceive the The same was true of more deep-bass heavy al-
sense of each recording venue, in many cases bums like Laurie Anderson’s Strange Angels and
more so than even through my Magnepans which Tori Amos’ Strange Little Girl, on which the bass
surprised me. I would have thought this to be was present and reasonably impressive for such
quite subtle on recordings like Tuck Andress’ close small speakers, thought it couldn’t really be felt in
mic guitar work on Reckless Precision or the won- my main listening room. As a portable system in
derful “a cappella” solo of female vocalist Con- an open environment like our campsite at Bon-
stanze Friend on Friend n’ Fellow’s “This Love” naroo, the Sampan FTLs could not generate a
(Home). But the Sampan’s folded transmission truly full sound without the added reinforcement
line faithfully reproduced the ambience of the you have inside a room. They were very enjoy-
rooms, allowing the reverberations to be properly able nonetheless, though I don’t think too many
presented and distinct which can otherwise tend to people are going to be camping with these speak-
ers.

6! Affordable$$Audio
 A F F O R D
Another limitation I perceived as resulting from the
small size of the Sampan FTLs is a reduction of
the image size, particularly in height. However,
this may be more a function of the fact that I am
accustomed to the huge image thrown by the
Magnepans. And although I found the stage width
of the Sampans to be impressive, I didn’t feel they
quite matched my Maggies, though they per-
formed much better once I moved the Sampan’s to
a smaller room. Of course, when it comes sound-
stage depth, the Sampan’s extend at least as far
back as the Maggies and are every bit as holo-
graphic.
Perhaps a more appropriate consideration of
whether or not size matters is to view the room as
a component of your system, and determine
whether or not it is too big for the speakers
(though it is obviously easier to change
speakers rather than rooms). In a smaller
room, I found the Sampan FTL’s supposed
limitations quickly fell away or were at least
greatly ameliorated. They are fantastic when
placed in a listening environment appropriate
to their design and can be every bit as en-
joyable (if not more so) as a large speaker in
a large room.
The most noticeable improvement in a
smaller room was the bass, which surprised
me with its added impact and depth. If you
plan on using the FTLs on a bookshelf or up
against a wall, I doubt you’ll be wanting ex-
cept for the very bottom octaves. A smaller
room also means that your listening position
will be closer to the speakers for higher vol-
ume levels without cranking them up into the
danger zone. I also briefly tried the Sampan’s
in the nearfield, moving them within about five feet
of my listening position. This created an almost
headphone-like imaging experience, though with-
out the in-your-head syndrome. There was a loss
to some of the soundstage depth and openness,
though the more intimate and lively sound was
quite engaging.
I also performed some brief listening with an old
Pioneer SX-780 receiver and, surprisingly, felt this
was a better match than my stock Sonic Impact T-
amp (which admittedly has a somewhat anemic
low-end and dry mid-bass without modifications).
The Pioneer was able to hang some extra meat on
the low end of the Sampans and gave them more
mid-bass prominence, both welcome additions.
Even with this nearly 30-year-old receiver, the
Affordable$$Audio !
A B L E $ $ A U D I O
soundstage was huge and deep, yet another
demonstration of the Sampan’s remarkable versa-
tility.
Conclusions
The biggest complement I can pay the Sampan
FTL speakers is the fact that I found myself pulling
out many recordings I haven’t listened to in some
time, not just my reference favorites. They seem
to excel with female vocals and stringed instru-
ments, two types of recordings I am continually
drawn to, but are very enjoyable across a wide
range of genres as can be seen by the varied list
of recordings I used in their evaluation. Regard-
less of what you throw at them, the music just
flows and draws you in, and before you know it
another evening is gone.
Do the Sampan FTLs have limitations? As with
any design, of course, though how these figure
into the price-to-performance ratio is dependent
upon your situation and listening preferences. In a
large listening room they may not be able to pro-
duce the decibel levels and impact you desire,
some will want a more palpable low-end and oth-
ers may desire a larger image with greater pres-
ence. That’s what makes loudspeakers such a
subjective buying endeavor, more so than any
other component in my opinion.
In the end, there is no need for Role Audio to
make apologies for the Sampan FTL. They are
absolute champs when it comes to soundstage
portrayal, tonal accuracy, and coherence from top-
to-bottom and musicality. I even found myself re-
considering my own listening preferences and
7
 A F F O R D A B L E $ $ A U D I O

questioning the performance of my Magnepans in Vintage Equipment

several areas when compared to the Sampan FTL Pioneer SX-780 receiver or SA-6500II integrated amp
(in particular overall musicality, soundstage depth craigjohnson<at>affordableaudio<dot>org
and micro detail). Consider it strong praise indeed
for these little overachievers.

Main System
Magnepan 1.6QR speakers
PS Audio GCC-100 integrated amp
Cary 306/200 CDP/DAC
Squeezebox 3 digital music streamer
Music Hall MMF-5 Turntable
Monolithic Sound PS-1 phonostage and HC-1 high-current
supply

Portable System
iPod Mini (running the RockBox operating system) or iPod
Nano
Sonic Impact T-Amp (stock via 12v battery or linear supply)

8! Affordable$$Audio
 A F F O R D
Monarchy NM 24 DAC/Line Stage
By John Hoffman
Specifications
Not available at time of publishing
The January issue of Affordable Audio contained a
review of the Monarchy Audio M24, which is es-
sentially a DAC and an active line-stage that is
built on a single chassis. After a couple of months
of listening to the M24, I con-
cluded that that this piece
offered audio enthusiasts a
true taste of high-end audio
reproduction. The M24 is not
inexpensive by any stretch of
the imagination, however it’s
design allows the cost con-
scious audio enthusiast to
replace two components, and
associated cabling with one
unit which is capable of hold-
ing it’s own with other com-
parably priced audio compo-
nents. After the review of the
M24 was completed I con-
tacted Monarchy Audio in
order to make shipping ar-
rangements to return this
piece. During this conversation Mr. Poon informed
me that a successor to the M24 has just become
available; and would I be interested in listening to
it? Since I enjoyed my time with the M24 quite
immensely, I was more than interested in hearing
an updated version. Within a week the UPS driver
dropped off a package from Monarchy Audio,
which contained the NM24 DAC/Line stage.
Quite often audiophiles talk about “system syn-
ergy”, which is a fancy term that is intended to de-
scribe how a set of components works together.
Since every component has its own particular
electrical characteristics, and a sonic signature
that is unique unto itself, it is possible to pair up
electronics that do not sound good together. Of
course this works both ways, and it is possible to
find a combination of components that sound
heavenly, and cost far less than one would expect.
This kind of system synergy is what audio dreams
are made of. The key to creating a good system is
to find a component that is flexible, which means
that its output can be manipulated to properly
match it to other components in the system. This
type of component has a significant value to the
real world audio enthusiast. Components with a
high degree of flexibility will work in a wide array of
system configurations, and can be kept for a long
time period due to their chameleon like nature.
Affordable$$Audio !
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Monarchy has designed a high level of flexibility
into the NM24, which makes it even a greater
value to audio enthusiasts who have real world
budgets.
The output stage of the DAC portion of the NM 24
is where Mr. Poon has added a crafty little twist.
The NM 24 is now a hybrid DAC, with the ability to
employ a traditional solid-state configured output
stage, or an active tube output configuration.
There are two sets of output jacks on the back of
the unit. One
set of RCA
jacks is la-
beled solid-
state DAC
output, while
the other is
Tube DAC
output. Mon-
archy has de-
signed two
separate out-
put stages for
the DAC in the
NM 24, and
both of these
operate inde-
pendent of
each other. I
should emphasize that the signal that feeds the
tube output stage of the NM 24 comes directly off
the digital to analog converter chip, and does not
pass through the op-amp that is employed in the
solid-state output circuit. The owner of a NM 24
now has the ability to choose between two differ-
ent DAC configurations, both of which give a dif-
ferent presentation to the music. To put it quite
simply, Monarchy has found a way to offer a high-
end digital analog converter that can be con-
figuired for either solid-state or vacuum tube out-
put.
Monarchy has also upgraded the D to A convertor
chip in the NM 24 to the Burr Brown PCM 1704.
The previous generation machine was built around
the Burr Brown PCM 63, which has been taken out
of production. The PCM 1704 has a reputation as
a high quality chip set, but Mr. Poon decided go
whole hog, and has installed the Select grade of
this chip. Burr Brown performs a series of tests on
a production run of PCM 1704s, and those chips
that are the cream of the crop are given the Select
designation. This Burr Brown chips allows for true
24-bit word length, so the NM 24 is capable of
authentic 24/96 performance. Even though the
PCM 1704 gives this DAC the ability to play a
high-resolution format, the real value of it can be
heard when playing a conventional Redbook for-
9
 A F F O R D A B L E $ $ A U D I O

mat disc. This chip set is capable of preserving the and digital cable were used throughout the sys-
purity of the data stream, which is responsible for tem. Finally, Every component that had an IEC
the NM 24s ability to reproduce the subtle nu- connector was fitted with power cords from the
ances of a performance. The PCM 10704 Select Audio Magic Extreme line of wire.
chip set is the heart and soul of this player. If you
do a bit of research you will find that this chip set
has been used in machines from Wadia and Boul- Since the NM 24 can be used in several different
der, which have been considered to be some of configurations, it does not allow for a straightfor-
the finest digital pieces ever produced. ward review process. I have decided to divide this
review into two sections. The first half of the re-
view will concentrate on the digital to analog con-
Other than these two changes, the NM 24 circuit is verter side of the NM 24. During these listening
essentially the same as the M 24 D to A converter. sessions I left the Electra-Print PVA pre-amplifier
Mr. Poon installed a few minor refinements to the in my system, and am able to evaluate the solid
unit, such as larger toroidal transformers, and an state and tube output stages of the NM 24. In the
upgrade of a few capacitors in second half of the re-
the unit, but these are essen- view, I removed the
tially refinements of a proven PVA, and ran both
design. The circuit layout of DAC configurations
the pre-amplifier is carried through the line-stage
over from the previous gen- contained in the unit. In
eration. The chassis of the NM order to isolate the
24 retains the conservative sonic characteristics of
appearance that all Monarchy each configuration of
components have, although this piece, I chose to
the finish is now all black, and use a single song in-
the silver faceplate that char- stead of multiple tracks
acterized the M 24 is no from different artists.
longer available. Monarchy “Just Squeeze Me (But
Audio has a long history of Don’t Tease Me” per-
building high quality digital formed by Dave Grusin
components, and the NM 24 [Homage to Duke;
is the end result of many GRP Records GRD
years of designing, building, 9715] is a versatile
testing, and critically listening piece with a lively bass
to the end result. It is no sur- line, captivating horn
prise then, that this unit is solos, and a classic
similar in many ways to its vocal solo by Terry
predecessor. Although this Clark. The differences
batch of improvements that between the various
Monarchy has implemented configurations of the
results in a component that NM 24 are easily heard
can be used successfully in a on this song, and I im-
wide variety of systems. mensely enjoyed lis-
tening to the changes
in the presentation of
I decided use the NM 24 with a couple of other the music that can be had with the Monarchy
Monarchy Audio pieces that I have on hand. The piece.
Electra-Print 300DRD amplifiers came out of my
system, and were replaced with a single Monarchy
SM 70 PRO amplifier. The Audio Nirvana Super 12 The solid-state output of the NM 24 has the
speaker system is extremely efficient, and strengths of a traditional multi-bit digital to analog
matches quite well with the 35-wpc Monarchy am- converter. By feeding the solid-state output signal
plifier. The JVC XL-Z1050TN filled the role of digi- into a passive pre-amp, I was able to achieve the
tal transport. I ran both the NM 24 and the JVC highest level of resolution in my system. The
into a Monarchy Audio AC Regenerator. This acoustic bass had excellent definition and exten-
power conditioner does an admirable job of provid- sion. However, the texture is a bit dry, and at times
ing clean power to the digital components. Audio it could stand to be fleshed out. The horns in gen-
Magic Illusions 4D speaker wire, interconnects, eral, especially the saxophones were presented

10! Affordable$$Audio
 A F F O R D
with plenty of detail, and had a natural sounding
presentation. The vocal segments from Terry Clark
came through clearly, which is quite an accom-
plishment. Clarke’s vocals were rich and full
sounding, yet had a precise edge to each phrase,
While each vocal section degenerated into his sig-
nature mumble, the NM 24 was capable of pre-
senting his performance with excellent resolution.
The major drawback to the pairing of the passive
pre-amp and solid-state output is a compression of
the overall size of the soundstage. Of all of the
possible combinations I listened to in this review,
this one resulted in the smallest image size. It ap-
pears to me that this is due to the use of a passive
pre-amp. I believe that the solid-state side of the
NM 24 will benefit from being paired with an active
pre-amplifier.
As good as the solid-state outputs of the NM 24
are, I still prefer listening to this DAC through the
tube output stage. While some of the fine detail of
the music can be obscured in this configuration,
there are significant improvements in other areas.
First of all the soundstage grew taller, and ex-
tended farther into my listening room. Instruments
no longer sounded two dimensional, but instead
were firmly planted in the soundstage. The music
also took an easy flow, with a feel that sounded
closer to real music than the solid-state output
Affordable$$Audio !
A B L E $ $ A U D I O
stage was capable of. The horn portions of this
track sounded exquisite, and were a joy to listen
to. I directly attribute my evening long listening
sessions to the smooth and graceful presentation
of the tube output stage of this DAC. I could not
discern any issues with the pairing of the Electra-
Print PVA pre-amplifier and the tube output stage
of the NM 24. In my experience, this is a superior
combination than the previous solid-state pairing
that I listened to. While this combination produced
excellent results, in the end it was still not the best
sound that I was able to hear from the NM 24.
When I reviewed the M 24, I was quite satisfied
with the performance of the unit as a combination
line-stage and DAC. At the end of my listening
sessions, for the most part I still preferred this con-
figuration. The positive attributes of the tube output
DAC were magnified when used in conjunction
with the tube line-stage of the NM 24. When both
tube stages are used, the NM 24 is capable of
creating the illusion of a musical performance. The
soundstage becomes even larger, and the instru-
ments stand out in sharp contrast from the record-
ing venue. There is a touch of warmth added to
the midrange area, which highlighted the vocal
portions of the track. While this presentation is no-
ticeably different than the solid-state configuration,
it is easy to be come accustomed to it. During one
11
 A F F O R D A B L E $ $ A U D I O

listening session, I removed the Phillips 6DJ8 a tried and true circuit design and high quality
tubes, and substituted replaced them with a set of parts. There are a few state-of the-art components
Edicron 7DJ8’s. Quite simply, the Edicron is the in the NM 24, such as the D to A converter chip
superior tube in this applica-
tion. The NM 24 lost the
euphonic warmth that I attrib-
ute to the stock tube, and the
NM 24 ability to resolve finer
details improved quite signifi-
cantly. I feel that in most ap-
plications, the owners of the
NM 24 will obtain the best
results by using the tube
DAC output stage along with
the active tube line-stage.

It is possible to bypass the

tube stage of the DAC in the
NM 24, yet still utilize the
tube line-stage. This requires
installing a set of intercon-
nects between the solid-state
output jacks, and the input
jacks on the line-stage. Mr.
Poon also recommends
passing the signal through a
pair of nickel core transform-
ers. . Since my Electra-Print
PVA pre-amplifier contains a
set of transformers, it was
quite simple for me to install
them. I placed a quick phone
call to Jack Elliano in order to verify that these
transformers would work in this application. Jack
assured me there would be no issues, as long as I
set the volume pot on the PVA at 8 o’clock.1. If I
had a pair of transformers that were custom
wound for this application, I could have just in-
stalled them in line. When I hit play on JVC, it was
readily apparent that Monarchy Audio was on to
something with this arrangement. The sound re-
tained cohesive presentation of the all tube mode,
yet there was a noticeable increase in detail and
the perceived speed of the music. When used in
conjunction with the Electra-Print transformers, the
solid-state outputs stage performed at the same
overall level as the tube output stage. I am not
saying that the sound was identical, but instead
presented a different shade to the music that is not
available in the all tube configuration. It is easy to
see how a system could benefit from this ar-
rangement of the NM 24.
The Monarchy NM 24 is clearly a worthy succes-
sor to the M 24. Mr. Poon has applied innovate
solutions to everyday audio issues. The unit uses
set. In reality, the NM 24 owes its high-end per-
formance to the gradual refinement of a well-
designed audio circuit. Monarchy has many years
of experience in developing innovative digital gear,
and the lessons they have learned have been ap-
plied to this piece. Audio enthusiasts who have
limited budgets need to be aware of the abilities of
the NM 24. This unit is a high-end DAC and a fine
tube pre-amp. To the best of my knowledge, this
component is unique in the audio world due to its
multiple configuration design. . Even though the
NM 24 is resides at a price point that is considered
mid-tier, in reality it is a high-end piece of electron-
ics. Combine the NM 24 with a high quality ampli-
fier such as the SM 70 PRO, and you can create a
system that will run circles around some very ex-
pensive gear. If you get a chance to audition a NM
24, you really should do so, and don’t be surprised
if it stays in your system.
1. The Electra-Print transformer required for this appli-
cation is the PVA-2n. This transformer sells for $59
each, and two are required. It is a simple matter of
installing RCA plugs on the input and output wires,
and then plugging it into the appropriate jacks on the
back of the NM 24.
johnhoffman<at>affordableaudio<dot>org

12! Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

Affordable$$Audio ! 13
 A F F O R D A B
Totem Acoustic Storm Sub-Woofer
By Zero
Specifications:
Freq. Response: 26 Hz to 350 Hz (in room).
Amplification: 300 watts. Specially designed low
noise/distortion unit.
Driver: 20cm (8”) cast frame unit, special concave
cone and dust cap.
Passive Radiators: 2 x 8” (20 cm) cast frames, spe-
cial concave cone and dust cap.
Height: 30.5cm/ 12"
Width: 28cm/ 11
Depth: 35.5cm/14
Component Retail: $1000.00 (Black Ash and Mahog-
any) $1100 (Cherry and Maple)
Designed and Manufactured in Canada
www.totemacoustic.com
*Disclaimer: The review of this product focuses pri-
marily on stereo performance.
My introduction to subwoofers came from
my very first set of speakers; a pair of Polk
Audio RT2000p powered towers. They
were monsters, tipping the scales at 90lbs per
tower. Each speaker had a bottom section that
housed a power amplifier pushing two efficient
eight-inch woofers. Between the pair, there were
four active eight-inch drivers belting out the low
end. From cinema to rock and roll, they never
failed to deliver the full-range goods. Yet, things
change, and it wasn’t long before I found myself
with other speakers that, while exceptional, could
not even begin to deliver visceral impact of bass
that I had once known and felt. Yes, Virginia, in the
real world – bass is a fundamental part of music
that is rarely ever polite and reserve. Interestingly
enough, many audiophiles have come to not only
live without this crucial part of the reproduction
chain, but have come to loathe just the thought of
using a powered woofer in their two channel ste-
reo system. While there are a few affordable
speaker systems capable of delivering solid re-
sponse covering the 20khz-20hz range, most are
of the vintage variety. To pull off the same trick
with something that has a new-car smell, its going
to end up costing you quite a bit of green. Unless
you are fortunate to have either/or, the odds are
very likely that your system could gain from a bit of
low-end reinforcement. After all, there is no re-
placement for displacement.
Unfortunately, attaining this extra extension can become a
troublesome undertaking. Your first problem will be locat-
ing a cost effective sub-woofer that is able to deliver the
musical goods. The second problem comes in the form of
integrating the sub into your system, which is never as
easy as “drop and plop”. This is a process that often takes
some audiophiles patience to their very limits. Still, there
is at least one manufacturer that believes subwoofers
14!
L E $ $ A U D I O
should be both simple to set-up and easy to integrate!
Such Idealists! Enter Totem Acoustic.
Most fa-
mous for
their high
perform-
ance mini
monitors
and slim
line tow-
ers; To-
tem
Acoustic
has left
an unde-
niably
huge im-
pact in
the
twenty
years they’ve been in hi-fi. Along with perking the
ears of thousands upon thousands of audiophiles
across the globe, Vince Bruzzese redefined what
is possible from a small speaker when he intro-
duced the now legendary Model 1. While Totem’s
speakers have a history of earning recognition and
praise; their subwoofers rarely encounter notoriety.
When it came time to develop a new subwoofer,
Vince decided to start from scratch and use a
whole new design approach to create something
truly capable and unique.
Creating The Perfect Storm
Two years in the making, the Storm was built to
meet a number of ambitious goals. First and fore-
most, the Storm had to keep true to its Totem - of-
fering the same level of construction and attention
to detail as its cousins, including the use of lock
miter joints and internal veneering. The sub had to
be compact, with the ability to integrate into big
and small rooms both visually and sonically. It also
had to be capable of complimenting a huge variety
of speakers. While the Storm was designed to be
musical, it also had to rumble when called upon to
do so with satisfying weight and impact. All of this
had to be done at the $1000 price-point.
The final result is something that is well beyond
ordinary. There is nothing off-the-shelf about this
subwoofer. For amplification, the Storm uses a
custom 300w BASH amplifier that provides some
of the lowest distortion and noise in the market.
Every part inside the amplifier is built to strict tol-
erances per Totem’s spec and is assembled in se-
quential (directional) order. The plate offers the
Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

standard array of goodies; variable phase control, Setup and First Impressions
volume adjustment, EQ dial (adjustable from 40 to When Totem gave me the green light to review the
250hz), low level RCA inputs and outputs along Storm, I made only one request; to send me a
with high sample in either mahogany or cherry. The
level terminal reason was simple; it’s easy to photograph.
inputs and Unfortunately, the shipping service managed
outputs. to damage the unit intended for my review,
Power Cord so I got stuck with the regular black model.
enthusiasts Oh well. My photos aren’t that great anyway.
will be Besides, most people want to draw visual
pleased to attention away from their sub-woofers. On
find an IEC most days, I too am one of those people.
connector
allowing you For folks that do not mind a sub being on
to indulge in display for all to see, you will be pleased to
cable swap- find an unusually aesthetically pleasing en-
ping. closure featuring subtle rounded edges, a
clean beveled rear, and three 8” drivers
The most flanking the sides. The over-all look finds
notable great balance between the familiar tradition
physical and modern flare. Weighing a modest 36
characteristic lbs, lifting the Storm was a breeze. Its com-
of the Storm pact size (12”h x 14”d x 11”w) made it easy
is its unusual to work with.
trio of identi-
cal drivers. I hooked the Storm up from the output ter-
This array, minals on the Red Wine Audio Signature 30,
boasting of which was acting as my main integrated
only one ac- amplifier. Initially, I placed the sub in be-
tive driver tween the Sttafs, but as time passed, I
with two found myself inching the sub closer and
passive clones, serves a very practical purpose. closer to the corner of the room. Finally, I ended
The left and right passive units are weighted and up finding the best results with the sub placed into
tuned slightly differently from one another, result- the corner, resulting in proper pressurization along
ing in more extended and tuneful bass. This con- with resolute and controlled bass. As a final touch,
figuration gives the user extreme flexibility, allow- I placed the sub atop a two inch marble slab with
ing the bass to be tuned depending on the direc- the sub facing
tion the sub is facing. diagonally
from the wall
One question many are sure to ask is; “Why with the active
doesn’t this sub use the typical flat coned passive 8” driver toed
units”? I asked Vince the same thing. He went on just in front of
to explain that flat cone passive units cause ab- my listening
normalities in the wave form that adversely effect position. I ad-
the sound wave. To get the correct wave form justed the EQ
away from the woofer (avoiding separate waves) to 45hz, sat
and to maintain a more cohesive sound, identical down, and en-
drivers have to be used. While using drivers with joyed the
the same exact cast, cone, and spider is a much marvelous in-
more expensive alternative, Vince justifies the ad- tegration!
ditional cost simply because “It sounds much bet-
ter”. Interestingly enough, the most time consum- As a reminder;
ing challenge during the design process of the there are no
Storm was locating an efficient driver that could general guide-
meet Totem’s desired performance. The end result lines to follow
is small high performance sub that is able to reach when it comes
an average in-room response of 26-250hz. to subwoofer
calibration.
Where a sub

Affordable$$Audio ! 15
 A F F O R D
performs best is often a room-by-room case, re-
quiring a bit of play and experimentation.
Performance
I’m unashamed to admit that my ears always perk
in the direction of anything with musical soul. I’m a
tone and timbre man. “Its gotta have swing and
sing like da real thing” (for use of this phrase, con-
tact me- my prices are reasonable!). Unfortunately,
powered woofers are usually lacking this rich en-
gaging element, built simply to go “boom” or to
satisfy a frequency response graph. Not the
Storm. Upon first listen, I immediately fell for its
rich and warm character. Yes, I said character!
From the moment it was installed into the system I
was treated to bass that did more than just blend
into the sonic landscape; it made the system more
palpable and whole. I’ve owned a few high quality
subwoofers in my past, and never before could
any of them bring the musical goods so quickly,
and so convincingly. Instruments had greater
separation and impact. The bass never drew at-
tention to itself as if to steal the thunder from the
rest of the performance. Instead, it smoothly inte-
grated with the system adding only what was
asked of it. At the end of the day, one could ask for
little more.
As you would come to expect from a compact sub
using only one active 8” woofer, the Storm delivers
extremely fast and articulate bass that is able to
keep up with most speakers out there. While I ex-
pected the Storm to be a superb match with my
Totem-made towers, I am pleased to report that it
integrated well with every speaker I threw its way,
ranging from ultra compact monitors to full range
towers. While the bulk of my listening was done
16!
A B L E $ $ A U D I O
using the Red Wine Audio Signature 30 integrated
amplifier, the Storm managed to capture the char-
acter of the few other amplifiers I threw into the
mix - a tremendous accomplishment for any pow-
ered woofer regardless of cost!
Another virtue of the Storm is its low level resolu-
tion. Yes, you read that right – a sub capable of
maintaining appropriate pressure, speed, detail,
and texture without much applied volume. I found
this particularly welcome in my own space, where
listening often occurs late at night onto the early
morning – when the world is slowing (read: quiet-
ing) down. This character could be a Godsend for
people that live in a situation to where listening
must be kept at low levels. Apartment dwellers re-
joice!
Caveat Emptor
As always, no affordable product is without a no-
table compromise or two. While the Storm is able
to fill rooms both big and small with natural sound-
ing and effortless bass – it does have its limits. In
this case, that limit comes in the form of bone-
crushing, gut wrenching bass. It is not a sub that
will re-arrange the picture frames on your wall, nor
will it disturb your foundation and impress your
friends and neighbors a few doors down the street.
Make no mistake, the Storm can hit surprisingly
hard and low. Never was this showcased more
than when I had a friend drop by the homestead
for the evening. Now, this guy is no audiophile. His
system is car bound, boasting of just two Polk
Audio tweeters and two MTX sub woofers. Clearly,
high fidelity is not his bag – but bass certainly was.
As the night wore on, he wanted to hear what my
system could do. Knowing his tastes reasonably
well, I decided to take out the “Speakerboxxx” al-
bum by Andre Benjamin of OutKast. I turned the
gain on the Storm all the way to 40 percent, being
even less liberal with the Signature 30. He sat
down, I pressed play. The result was the type of
bass that cause uncontrollable smiles, shaking
heads, and the knee-jerk reaction spouting of; “Oh
my Gawd”. Suffice to say, the response was the
same when I showed him the tiny box creating all
that sound. The Storm may not rumble as loud as
my former Sunfire Signature True subwoofer, but
what it does with just one active 8” driver is im-
pressive.
There is another unique aspect of the storm that
may be more of a vice, than a virtue. Typically, as
a woofer begins to reach its limits, you will be able
to detect compression as its cone struggles to
meet the output demand. This compression can be
used like an early warning system, telling you to
take the level down a notch or two. The Storm by-
passes this step completely – proudly pounding
Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

away with squeaky clean resolve until it com- seanfowler<at>affordableaudio<dot>org

pletely gives up the ghost. With the Storm, there
are no early gradual signs of stress. When this sub
has been taken as far as it will go, that clean Review Equipment
sound suddenly turns into a ball of distortion. Ac- Source: Arcam Diva 62 ; E-MU 1212M
Integrated Amp: Red Wine Audio Signature 30
cording to Vince, altering this behavior would re-
Speakers: Totem Acoustic Sttaf, Mark and Daniel To-
quire a thicker driver, which would come at the ex- paz, Ascend Acoustics Sierra
pense of the character and speed of the Storm. It 1,
was decided that maintaining the Storms intended Klipschorns, Polk Audio Lsi-15
virtues was the most paramount concern. This dis- Cables: Totem Acoustic Sinew interconnect ; Totem
tortion will not harm the subwoofer provided the Acoustic “Tres” speaker cable;
user cuts back a bit if it is encountered. Zu Cable “birth” power cable ; Audio Limits Shield 3.1
power cable
Final Thoughts Room Treatments: Eighth Nerve “Adapt” Triangles;
For the final and most crucial test – I removed the GIK Acoustics 242 Panels
Storm from my system completely after having run
it for a few weeks. As expected, the bottom oc-
taves along with the extra weight and impact dis-
appeared. What I did not expect was an overall
sense of loss in imaging and palpability. Instru-
ments and vocals lost a bit of di-
mension and air, something my
system has always been rela-
tively at recreating. There was
also a noticeable decrease in the
depth of my soundstage. Guitars
weren’t quite as ambient, cellos
not as rich and involving, and
drums were far less convincing.
It became instantly clear that the
Storm took what I considered to
be an already good system, and
made it better.

Yet, even at $1,000 there are few

small subwoofers on the market
that can do what Storm can.
When you consider the quality of
parts used, quality control, along
with its versatility of performance
and ability to make great system
sound even better, Totem has
created something of a bargain.
To sweeten the deal, you also
get a handsome enclosure built
on Canadian soil.

Listeners who are searching for

a small subwoofer that is nothing
but sheer SPL muscle should
look for other solutions. How-
ever, those looking for a compact
sub that is intensely musical and
versatile should put the Storm at
the top of what is a very short
list. What more can I say? It
made every set of speakers I
used sound even better. Highly
recommended!

Affordable$$Audio ! 17
 A F F O R D A B L E $ $ A U D I O

18! Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

Recording Process Part One: “Live” Room not really the right word because the acoustics are
Design anything but naturally occurring. The best live
By Simon Ashton rooms take a great deal of acoustic design, and

It recently struck me that in this hobby of

ours, there is often talk of all manner of
things that have their affect on the sound of
music; from speakers and amplification to
the mood you were in when listening to it.
Rarely though, do I hear audiophiles dis-
cussing of one of the biggest influencing
factors - how the music was recorded. I
don't think this is because there is no inter-
est in this area, but more likely because it is
not a subject that the average audiophile
has the opportunity to learn much about.
After all, one can not just waltz in to some-
body's commercial studio and start playing
around with all the equipment.

As such, I thought it might be of interest to

the Affordable Audio readership to write a
short piece each issue covering the main
aspects of the recording processes used to
produce most music today. Hopefully it will
give you greater insight to the 'other side' of
our hobby. even then, pot luck to get just right. The floors are
often wooden, but what you don't see is that they
I suppose the first place to start when looking at are likely to be suspended on rubber mounts, or
the subject of recording is the room the perform- springs. The ceiling and walls are usually covered
ance takes place in! with a verity of sound
One of the most im- diffusors to reduce
portant factors that slap-echo and direct
makes (or breaks) reflections without hav-
the very best studios ing to completely ab-
is the 'live room'. If sorb the energy. Helm-
you have a poor live holtz absorbers may be
room it doesn't mat- built in to the walls
ter what micro- (look like thin slots or
phones you use, or rows of holes) to even
how good your mixer out the reverb decay
desk is; there will not time (RT60). Some of
be any good sound the largest live rooms,
to capture. such as Air Studio's
Lyndhurst Hall are
The live room is even used for record-
called such, because ing orchestra and choir.
of the live sounding
acoustic it has. The
idea is not to kill all It is not always practi-
sound and colora- cal for a studio to have
tion, but to add a a huge live room where
nice 'natural' ambi- an entire band can
ance to whatever is play, so there are other
recorded there. methods in common
However, 'natural' is use today. One of

Affordable$$Audio ! 19
 A F F O R D A B L E $ $ A U D I O

these is to go right to the other extreme and use without amplification. DI is also used extensively in
isolation booths. These can be built in to the struc- live performances as it allows freedom from feed-
ture of the studio or be free-standing construc- back and bleed through from the other instruments
tions, but the idea is the same, to isolate any on stage, as well as reducing the equipment
sound from the outside needed.
world and isolate / absorb
any sound produced in- I think that about covers
side. In the case of a free- the main studio recording
standing variant the walls environments. Perhaps
are made from a dense next time you hear a great
material and covered with drum sound you will make
thick acoustic absorption a note of which studio it
on the inside. The door is was recorded at and look
very heavy, with an air them up! Maybe, if you lis-
tight seal and a small ten really carefully to a vo-
double glassed window. cal track, you could hear
The ceiling will have an the slight boxiness of the
air inlet and fan to keep isolation booth layered
fresh air flowing so the under the reverb effect.
occupants do not suffo- Next issue I plan to discuss
cate or die of obnoxious microphones in a little de-
odors (well, it will be oc- tail. Adios for now!
cupied by sweaty musi-
cians hard at work for
hours at a time!). The re- Email:
corded sound is of course ashton@audiosmile.co.uk
very 'dead' and boring, so artificial effects are used www.audiosmile.co.uk
to give a live feel. This may sound like cheating
but it allows far greater freedom with the sound
created since the effects can be tailored to specifi-
cally suit that recording.

A mixture of booths and a small live room is also

very common, with different sections of a group
playing in each. The drummer may be placed in
the live room to get a really vibrant energetic drum
sound, while the vocalist is in an acoustically dead
booth. The electric guitarist could be in a booth
along with the amps, but sometimes the amps will
be placed in a booth (or 'isolation box') along with
the microphone, while the guitarist is somewhere
else in the studio playing on a long wire and moni-
toring by headphones. This way the amps can be
turned right up to get that 'genuine' sound without
deafening the guitarist and everyone else. Usually
it is arranged so the band members can still see
each other.

The final method is called 'D.I.' which stands for

Direct Injection. This is used quite commonly for
bass guitars. A 'DI Box' is used to adjust the level
and impedance of the signal from the instrument
to make it suitable for connecting directly to the
recording device or mixer desk. This can give a
very clean sound with a minimum of fuss. It also
allows the performer to be wherever they like in
the studio; even in the control room with the engi-
neer, since the instrument makes barely any noise

20! Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

Affordable$$Audio ! 21
 A F F O R D A B L E $ $ A U D I O

Audio Furniture: A Wife Approved Bargain style was too modern and would never blend into
Version our living room. Plus, the price was equal to a fine
By Mark Marcantonio set of monitors. Sorry, but I just couldn’t justify
that kind of a purchase.
One of the least discussed Then one day on a whim I
areas of audio and the stopped by a local used fur-
dreaded WAF (Wife Approval niture store where in the
Factor) is the rig cabinet. If past we had managed to
you’re one lucky enough to find some quality pieces. As
have a dedicated man-cave, I cruised down the rows I
then you’re not likely to be saw several sofa tables, a
worried about such matters. couple with drawers. A light
However, most of us are came on, if I could find a
blessed with having to share sofa table with a drawer big
rooms with our feminine life enough for cd’s that would
partner, which means com- work.
promise. Add to that a lim-
ited budget, and the choices Over the next few weeks I
shrink tremendously. searched every chance I
could get, without any luck,
Solutions to this pressing unless the two models for
dilemma can be simple “You over $1,000. Then, one
married me for better, or Saturday the wife and I were
worse”, which usually leads shopping in the local dis-
to a prolonged artic vacation count all in one store, when I
without leaving the house. A second choice, brib- glanced at their assemble yourself furniture.
ery, “Ok, you can redecorate the bedroom in pinks/ Tucked in a corner was a sofa table, unfortunately,
lavenders.” That usually leads to endless teasing it looked to have 4 small drawers. Upon closer
by family and friends over lost spheres of man- examination, it was only two, side-by-side. I also
hood. A third option, not usually employed by the noticed it was made of solid pine, not vinyl. The
male species involves taking a standard piece of price tag said $169.99. Not bad, but it wasn’t on
furniture, and making it work as the rig stand. sale. I filed the model away for future memory.
Then walking around the corner I spotted an
While waiting to close on our new home in May, I
was deliberating of how to best hold my main rig.
Several thoughts came to mind; one was a small
serving cabinet. My folk’s had one that they con-
verted into a stereo cabinet, complete with doors
to cover the offending electronics, better heard
than seen was my mother’s motto. Unfortunately,
that piece was not available. Plus, with the need
to review equipment, easy access is a must. Any-
thing behind doors means both limited space and
light. Not something very conducive to swapping
components.

Therefore, I began to think in terms of an open de-

sign. One thing I did want was my music collec-
tion within reach of the components. In passing, I
mentioned the idea of a tabletop display. My wife,
knowing that she had design ideas/colors for vari-
ous rooms, quickly agreed to the idea, thus se-
cretly storing away her advantage for future nego-
tiations, or the more dreaded, “executive decision”.
opened box version with multiple discount tags on
With my “victory” I began to look at various cabinet it. Being the big time miser, I grabbed it, my wife
designs. I quickly found some fine examples that nodding in approval. At the register once all the
were created for audio equipment. However, the deductions were entered my final cost was $62.77.
Another win for Mr. Frugal.

22! Affordable$$Audio
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coat I let dry for several hours due to the rainy

The table sat boxed for two months, as I promised
that other items in our new home were priority.
Finally on the 19th of July, with all the initial paint-
conditions (normally Portland is deep into the dry
summer season by now). Finally after two full
days the finish was complete, but one step re-
mained, airing the piece out. Luckily the deck has
a decent roof overhang, and with the rain having
moved out, the table spent the next two nights re-
leasing the fumes, not to mention scaring off the
neighborhood cat.

A final touch I added myself, in order to hide the

wires (a pet peeve of my wife), I purchased an $8
piece of backing. I painted it to match the wall be-
hind the table. Thereby giving off the illusion of no
wires at all. Well, at least on casual glance. But
the important thing is that I earned some return
chips from the wife for being proactive on hiding
the cables.

Finally, seven days after I started, my project was

ing, repairing, odds and ends done, the assembly complete. I brought the table in and for the first
stage could begin. Like all unfinished/ time compared it to the other pieces in the room.
unassembled furniture it is best to stain first, then Though a still a shade lighter than the other pieces
assemble. Normally with pine, a light stain is best in the room, and very simple with its straight legs
as darker stains have a tendency to absorb un- compared to the rounded European legs, it works
evenly, even with a wood conditioner, especially quite well. The solid wood top is a fine starting
given my ability. But, in order to come close to the point for quality acoustics, though I still have my
other pieces in the living room, semi-dark stain eye on something involving denser wood or other
was required. I picked the closest finish to the material, for the most solid base possible.
other pieces along with a can of conditioner.
With its 48 inch wide top the table has enough
After applying the conditioner I began staining room for three pieces of equipment side- by side.
each one of the pieces. The whole time thinking of Since my Jolida JD100 cd player has two sets of
how my now $79 total investment had saved
me some $321 of my initial budget maxi-
mum of $400. Piece after piece the stain
went on quite nicely, of course the sides not
visible once assembled looked the best.
Then, on the last piece a setback occurred.
At the factory, some glue had managed to
be left on an exterior sidepiece, leaving the
stain blotchy. Luckily, Whittier Wood, the
manufacturer has excellent customer serv-
ice, and a replacement was soon on its way.
Three days later I was back in business.

The assembly process was quite easy, tak-

ing just an hour or so using dowels, glue
and screws. Credit to Whittier for making all
the necessary pilot holes and such perfect,
something I come to expect from their previ-
ous AIY pieces.

Next, I lifted the table onto my portable

workbench and began wiping on the first of
four coats of poly seal in a satin finish. Each

Affordable$$Audio ! 23
 A F F O R D A B L E $ $ A U D I O

outputs, it was an easy

choice to put it in the center.
To the left I will normally
have a solid state integrated
amp, and to the right my
Onix SP3 tube integrated
amplifier. To keep the rather
pointed tips of the legs of the
Onix from leaving a mark, I
cut three small pieces of
brown cove base from a re-
cent redo of a small bath-
room. The padding is just
enough to keep the soft pine
from creating three craters
on the tabletop. Presto, a
new audio stand/table for
only $87.

The final point is that with a

little bit of patience and
compromise a cabinet fitting
of any fine décor can be
had, and at a reasonable
price. Best of all, I was still
able to get rid of the pink
walls in the master bedroom!

publisher<at>affordableaudio<dot>org

24! Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

Affordable$$Audio ! 25
 A F F O R D
Pro-Ject 1.2 Budget Turntable
By Todd Arthur
Around my household music is enjoyed by every-
one, but like me, my eldest son takes his music
very seriously. To be sure, many of us start out
like my son, taking hand-me down
components and adding something
new occasionally to build a system.
My son’s system consists of a pair
Sound Dynamics R-65 two way
bookshelf speakers, an Onkyo TX-
8211, 50 watt AM/FM stereo receiver
and a Music Hall MMF-2.1 turntable
with a Goldring Tracker MM car-
tridge. Most of his CDs are played
through a JVC portable or through
my old Sony CDP-C50 disc changer
and hence he does most of his criti-
cal listening by spinning vinyl. A
good sounding budget turntable
costing less than $200.00 would cer-
tainly be a welcomed revelation for
those looking to spin records on the
cheap. So I began my search in earnest for a
great budget table. After several weeks of looking I
purchased this Pro-ject 1.2 review sample in good
condition on Audiogon for $165.00.
The first thing I wanted to see was how a used
budget table would sound when compared side by
side with my son’s fairly new MMF-2.1. For this
portion ot the review I mounted the speakers on a
pair of 24” high Plateau speaker stands securing
them with DAP “Fun Tak” which is similar to, but
much less expensive than “Blue Tak”. The stands
are filled with lead shot and sand for mass loading
and were placed 2 feet from the back wall and 6
feet apart. I toed the speakers in slightly towards
the listening position which placed my ears 6 feet
back from the front plane of the speakers. For
speaker connections I used a 10 foot pair of Zebra
ZC SP12SD speaker cables.
The Czech made Pro-ject 1.2 is made in the same
factory that produced my son’s Music Hall MMF
2.1. Both turntables are utilitarian in design with
solid MDF plinths, metal platters and rubber sus-
pended belt drive motors. Speed selection is
made by removing the platter and moving the belt
from the larger 45RPM pulley or smaller 331/3
RPM pulley. The power switch is on the left hand
side of the table under the plinth on the Pro-ject
and on the top of the plinth on the Music Hall. The
notable differences between the two turntables are
the size and weight of the respective platters and
the use of two different tone arms. The Pro-ject
comes with a hefty full size 12 inch platter and a
slightly longer aluminum tone arm than the MMF
26!
A B L E $ $ A U D I O
2.1, the MMF 2.1 uses a 10 inch platter that is
about half the weight of that used on the Pro-ject
table additionally it uses a shorter tone arm that
has a plastic head shell. Additionally the MMF 2.1
uses a Goldring Tracker Cartridge and the Pro-ject
uses a Sumiko Oyster cartridge, accordingly I
knew there would be
some differences, but
I was really surprised
how great they were.
Listening
I warmed up the sys-
tem by listening to
some of my favorite
jazz standards and
then used some spe-
cific recordings for
critical listening, first
up was Art Blakey
and the Jazz Mes-
sengers Blue Note
4003. The first cut on
the second side is actually 3 jazz tunes called
“The Drum Thunder Suite”, which is usually is a
fairly dynamic recording when played on my refer-
ence system but it was not nearly as detailed or
energetic when played through the MMF-2.1.
Switching to the Pro-ject 1.2 brought out more of
the life of the recording. Benny Golson’s sax
sounded smoother and richer, the drums sounded
much more powerful with a more lively presenta-
tion. The depth and width of the soundstage were
also much greater than when I listened to the
MMF 2.1. I switched recordings again, this time
cueing up Meet Betty Carter and Ray Bryant Epic
Reissue LN3202. My favorite track is “Moonlight in
Vermont”, Betty Carter provides a special per-
formance of this jazz standard, she has a rich and
smooth voice though at times the recording can
sound bright. The thinner sounding Music Hall
MMF 2.1 had a compressed sense of space
around the vocalist when compared to the Project
which again provided a more spacious and dy-
namic presentation of the music.
One of my favorite Tom Petty albums is Southern
Accents. I especially enjoy track one on the al-
bum, “Rebels”, which is very well recorded when
compared to most of the rock music produced in
the eighties. When assessing the performance of
both turntables you become much more engaged
when listening to the Project 1.2. It produces a
sound like rock should sound, more dynamic and
powerful.
Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

Next I set up the Project 1.2 through my ARC Conclusion

SP16 reference system phono stage. My refer- The VPI yields better detail, weight, presence and
ence system consists of a VPI HW-19 MKIV turn- musicality across the listening spectrum than the
table, Audio Research SP16 vacuum tube pream- Pro-ject 1.2 and not by a small margin, which is as
plifier, Audio Research VS110 vacuum tube ampli- is should be. That said, the Project 1.2 I listened
fier, Paradigm Signature S2 monitors mounted on to was superior in every way to the Music Hall
Target, lead and sand filled stands. The Speaker MMF 2.1. Regardless of the cost, the Pro-ject 1.2
Cables of choice are a 10 foot pair of Discovery is a great starter table that can be purchased for a
Cables Essential speaker cables and I also use few dollars that would be a great way to move into
Discovery Essence interconnects throughout the vinyl playback. Or if you have an older Japanese
system. I have my reference turntable set up using direct drive turntable in your system, the Project
a Rega RB600 tone arm and a will definitely
Clearaudio Beta S MM Car- extract more
tridge. Presently my listening music from
room is located in our base- the grooves!
ment it is 13’ X 18’ with 7’8” If you can
ceilings. I have positioned find one on
the speakers out from the Audiogon or
rear wall 42” and away from e-bay for the
the side walls about a foot, right price, it
toed in sharply, on axis to the will definitely
listening position. be worth
your while!
The Project 1.2 sounded
quite nice when played
through my reference system. Associated
It didn’t have the air and Equipment.
sparkle of the VPI HW-19 but
it did acquit itself quite nicely, Audio Re-
search SP16
presenting a wide and deep
Preamplifier
soundstage. I played a copy Audio Re-
of the Blue Note 1590 reissue search VS110
of Candy by Lee Morgan. The VPI HW-19 had a Amplifier
much greater sense of “being there” compared to Audio Research SP5 Preamplifier
the Pro-ject 1.2 but there was still a great analog Audio Research D52 Amplifier
feeling conveyed by the Pro-ject that is almost Primare D30.2 CD Player
never present when listening to CDs. While listen- Oppo DV970HD Universal Player
ing to the VPI, Lee Morgan’s Trumpet had a more Pro-ject 1.2 Turntable
presence, Doug Watkin’s bass had more weight, Shure M97XE MM Cartridge
Sonny Clarks piano had more clarity and Art Tay- Sumiko Oyster MM Cartridge
VPI HW19 MKIV Turntable
lor’s cymbal’s had a clear detailed shimmer that
Rega RB 600 Tonearm
floated in space. Clearaudio Beta S MM Cartridge
Paradigm S2 Signiture Monitors
Krix Equinox Monitors
I installed a Shure M97XE cartridge on the Pro-
Discovery Essence Interconnects
ject to see what improvement it would make. This Discovery Essential Speaker Cables
ended up being a huge sound improvement over Eichmann Express Six Interconnects
the Sumiko Oyster especially in the areas of reso- Zebra ZC SP12SD Speaker Cables
lution and bass response. The Pro-ject 1.2 was Zebra ZC SP14DBI Speaker Cables
much better at conveying the music with the car-
tridge upgrade. toddarthur<at>affordableaudio<dot>org

Affordable$$Audio ! 27
 A F F O R D A B L E $ $ A U D I O

28! Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

Rummaging Through the Collection of tones and melodies corresponds to the one of
By Mark Marcantonio the treatment method used in his recovery, listen-
ing to tones on headphones as a replacement for
the chemical high he previously received.
Some months back I wrote a music article about
rediscovering some terrific cd’s in my collection.
The disc also demonstrates on a totally different
With Clarke taking a well-deserved month off I de-
level Townshend’s tre-
cided it was time for another dig through my new
mendous lyrical talent.
storage drawers for some terrific music. Below
“The Sea Refuses No
are four fine discs that those of you enjoy that par-
River”, an ode to the
ticular style of music should take a listen to once
abuse he poured into
again.
his system, and the
flushing out that was
Too Low For Zero- Elton John 1983
taking place during
To me, this cd marks the true comeback of Elton
recovery.
John from his over indulgences of alcohol and
“Exquisitely Bored”, is
drugs. The lyrics mark the full-fledged return of
a powerful look at the
Bernie Taupin, the man who brings out the best of
southern California
Elton’s singing. The soul-searching “Cold as
culture, and his inabil-
Christmas” with it’s lament to a lost relationship is
ity to connect with the
a unique start to an album with its melancholy
lifestyle that seems so
story.
soulless. “North
Following
Country Girl” is a traditional British song arranged
this de-
in a beautiful melodic fashion.
pression
is the de-
The last two tracks are in my opinion his best
fiant “I’m
work. “Somebody Saved Me”, tells of how a
Still
woman made him realize that his destructive path
Standing”
was leading him into hell, alive or dead. The pas-
where
sion in the vocals and instruments emphasizes his
the mas-
recognition of how close he was to final doom and
ter show
death. The cd ends with the energy building “Slit-
man pro-
Skits, with some of the finest lyrics of the early
claims
1980’s. the prose, “The lovers now estranged
his return
avoiding each others eyes”, and the emotional
from the
logic of “No one respects the flame quite like the
abyss of
fool who’s badly burned”. Finally, don’t forget to
chemical
read the ending liner notes, Pete leaves us with a
contanimation.
taste of his writing skills that can be found in his
book, Horses Neck.
Following that self proclamation is the self-
doubting of my personal favorite, the title track
“Too Low For Zero”. The combination of soul- Collection- Larry Carlton 1990
searching and latin melody makes it a fascinating Ok, so it’s a greatest hits cd, but for most of us it
piece of music. Next up came the radio hits, “I will be new material, as it is made up of jazz music
Guess That is Why They Call it the Blues” with based around some of the finest acoustic and
Stevie Wonder on harmonica, and “Kiss The electric guitar melodies one will hear. Carlton
Bride”. The disc ends with the beautifully simple came to promanence with his guitar playing in Joni
“One More Arrow”, an elegant piece that anyone Mitchell’s classic album Cort and Spark. From that
can picture Sir Elton John playing in concert solo launching pad he has only built on his reputation
with just a simple light on the piano. as an easy to work with musician. One who wants
to give everyone a chance to explore the essence
All The Best Cowboys Have Chinese Eyes- of their musicianship.
Pete Townshend 1982
The disc contains twelve tracks, two of which are new,
My second choice strangely enough also comes
and both outstanding. “Small Town Girl”, with its combina-
from an artist celebrating being clean and sober.
tions of horns and clean guitar plucks. The layering of
Pete Townshend, the driving force behind the
instruments is outstanding.
group I argue is second only to The Beatles in im-
portance to rock and roll. In this disc, the variety

Affordable$$Audio ! 29
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The use us the xylophone as the rhythm maker in
“Smiles and Smiles To Go” lends a grounding na-
ture to the floating fingerwork of Carlton. Song
after song, with it’s intricate instrumentation is
vaguely famil-
iar of Steely
Dan.
The opening song, “Allergies” is one that only Paul
Simon could get away with based upon the con-
versational singing style that he has made famous,
“my head intercedes with my bodily needs, and my
body won’t give it a break”. Second comes the
title track, with lyrics and vocals that seem to cas-
cade like a mountain creek.

The other new Throughout the cd, there are moments where the
track, “For listener can see the beginnings and hints of what
Heavan’s was to come in Graceland. But what makes this
Sake”, is an disc so pleasing is how intimate it connects. It’s
eye-closing comparable to sitting by the fire listening to a rela-
float through tive spin stories. Leaving
serenity. Kik the best for last, as Simon
Whalum’s does with his soulful dedi-
saxaphone cation to John Lennon’s
plays nicely passing in “The Late Great
against Carl- Johnny Ace”. Of the tens
ton’s acoustic of thousands of words ex-
guitar, creating a conversation that ebbs and pressed upon his passing,
flows. The funky bass of “Nite Crawler” is a fun Paul Simon’s lyric’s and
diddy that explores his electric guitar range. Play- those of Elton John’s are
ing each note as if it were a vocalist in a jazz bar. the simplest, yet most
The cd is a great introduction into light jazz for poignant.
those beginning their peek into this passionate
musical genre.

Hearts and Bones- Paul Simon 1983 publisher<at>affordableaudio<dot>org

After his Saturday Night Live hosting performance,
and before the landmark Graceland cd, came what
many consider his finest work, Hearts and Bones,
one of my ten must keep cd’s in my collection. Not
one song on this disc gained much radio play, but
as a whole, the ten tracks exhibit a terrific sample
of all of Simon’s skills in fresh pieces of music.

30! Affordable$$Audio
 A F F O R D A B
From The Pulpit: Passing On The Gift of
Music
By Stew Nelless
I’m writing this while on vacation. So as I sit here
pondering all things audio, I’ve
come to a couple of conclusions
about myself that you may find
helpful in your trip through audio-
land (or audio-hell). I hope these
thoughts will be found to be of
some use to some people some of
the time. I’ve stated these in the
past, but reiterate them here.
Good music is virtually free. The
quality of the listening experience
however, is not. An acquaintance
recently reminded me of this, with-
out stating it. Doug recently retired
from a long and successful career
in telecommunications and utility
design. He’s been an audio guy for
sometime. He has a very good
system, on par or superior to my
own (well certainly different), and
has spent a chunk of money im-
proving it over the years. As good
as it is, he has always wanted bet-
ter, the crux of all “audiophiles”. But he is a “music
lover” first and foremost.
Doug has spent the last few years of vacation time from
his job traveling around to jazz festivals and enjoying live
music. His holidays have been scheduled around these
festivals, and it is a passion he shares with his son. They
travel together as often as possible, enjoying great per-
formances by well-known artists and those much less so.
Their combined traveling expenses total more than my
yearly income, I’m jealous.
After not seeing Doug for some time he asked how
I was doing and what I was up to. I told him I’ve
been writing for Affordable$$Audio and that I have
reviewed a few pieces and write this byline or
whatever you want to call it. I suggested that I tend
to concentrate on truly affordable gear and am al-
ways on the look out for second hand gear. I told
him of my recent interest in the scourge of audio-
philia, the direct drive turntable. I also reminded
him of my lack of (any real) bass in my system.
Promptly I was extended a gift of not one but two
powered subwoofers. Doug wasn’t sure if they still
worked, as they hadn’t been used for a while.
Affordable$$Audio !
L E $ $ A U D I O
When I went to pick the subwoofers up, I was
greeted with a few more surprises. A couple of
Sony direct-drive turntables (one of them a higher
end “drawer” type) and an old computer, and a
scanner. Truly, a very generous load of goodies.
The powered subs were reputable, an
Energy Esprit Series 8, and a KEF
(can’t remember the model #, but a
very musical sub—and I’m not home
so can’t get at them to have a look).
Thanks Doug for your generosity
So here’s a couple of thoughts for some to
consider based on the above anecdote (and
a couple more):
If people know about your interests,
many likely have or will find inexpen-
sive or free stuff for you (like “I think
my mom has an old turntable in her
closet. I was going to throw it out. Do
you want it?”).
Never take for granted audio gifts (or
any for that matter). You can’t pre-
qualify terms of acceptance. (“Sure,
I’d love that turntable, as long it’s not
a Japanese, black plastic POS.“)
Know that many folks may not have your sense of
“good”. One man’s trash is another man’s treas-
ure…(or visa versa).
Be sympathetic to those who have no idea what
they may be offering to you. As much as I would
love a pristine Garrard 301 or 401 (or heavy platter
Lenco, or Thorens 124, or Linn LP12, or…) for
free, your friend will despise you if they find out
that what they gave you has some significant
value. Tell them that it’s probably worth some real
money and ask (or tell) them where to check out
the real value of their item. Most won’t bother, but
if you extend to them this courtesy, they will ap-
preciate the gesture if they later find out what that
old turntable or tube amp is worth.
NEWS FLASH: THIS JUST IN…
On my holiday I had the opportunity to take part
in the 4th Annual Vancouver Island DIY ‘fest,
hosted by Dave Dlugos and his lovely wife Ruth.
“Assistant” hosts included a couple of new friends,
Cal Wheldon and Chris.
31
 A F F O R D A B L E $ $ A U D I O

About 30 or so adventurous souls made their way

to Dave’s mountain hide out. A plethora of amplifi-
ers and speakers were available for audition, good
conversation, good food, and the tipping of a
chicken coop. Check out
http://www.diyaudio.com/forums/showthread.php?
s=&threadid=100098 for some information and
comments from some of the attendees. A couple
of young fellows, and a couple more senior ones
from the U.S.A were in attendance. Shirts were
raffled off, as well as some drivers and other
items. Thanks to Scott (scd) and Terry (TerryO) for
the gifts

More to follow next month about the Audio fest (If I can
remember).

ERRATA
In last month’s issue I referred to Chris Bobiak as
Dave Dlugos’ sidekick with tongue-in- cheek. This
really is an understatement of Chris and Dave’s
relationship and Chris’ role in regards to planet10-
hifi. Dave does the math and modeling, whilst
Chris constructs some very well built and well-
finished enclosures. Creative interplay between is
the basis for the planet 10 hifi speakers, enclo-
sures, and experiments. Chris is Dave’s partner in
planet10 hifi. Certainly neither disrespect, nor
minimization of Chris’ role was intended.

Remember to get outta your listening chair or

couch or whatever. Spend some time with your
family, friends and pets. Although it’s August now,
it’s only 4 short months to December. (And listen
to some music, whether recorded or live with any
you care about.)

stewnelles<at>affordableaudio<dot>org

32! Affordable$$Audio
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Affordable$$Audio

Affordable$$Audio ! 33
 A F F O R D
Mission Statement
To provide the average audio enthusiast re-
views and opinions of affordable current and
vintage equipment based upon real listening
conditions.
Outline
Goal: Current audio magazines both online
and print try to review affordable equipment
using a false assumption. That is that all other
equipment in the listening/reviewing/testing
process be way above the price range of the
actual owner. The argument that this allows
the review to hear the particular piece of
equipment at its finest is laudable, but flawed.
Why? Because 99% of users will never expe-
rience such opportunities in their own life. The
reader needs to know what to expect of the
equipment in their own home, under real-world
conditions. After all, how many of us ask
friends, neighbors, etc. of experiences before
buying or using a specific item or service?!
Standards: In order to make Affordable $$
Audio consistent and fair, some standards
must be adhered to, therefore, I have come up
with a preliminary list that I believe address
the concerns of both consistency and fairness:
1. Each reviewer should create a stan-
dard set of music from a variety of
genres to be used for each review
possible. Each piece should have
unique qualities that ill allow the re-
viewer to spot the strengths and
weaknesses of the equipment.
2. Review sessions must be repeated.
In other words, to fairly form an opin-
ion three similar listening sessions
should be experienced.
3. All equipment and music used, along
with a room description are to be
listed in the article. Digital pictures
would be helpful and are encouraged.
Contributors Ground Rules: One cannot be a
salesperson in the audio/video field, nor em-
34!
A B L E $ $ A U D I O
ployed by any audio/video manufacturer re-
viewing their own product(s). Each writer’s
goal is to express their knowledgeable opinion
based upon solid listening time and refer-
enced observations. As I tell my students
when writing opinion pieces, I don’t care
whether you like something or not, just make
sure to justify your point with specific details.
As editor/owner, I reserve the right to ask you
to make revisions, etc. in order to meet the
standards of this declaration. I will not ask
you to change your mind, just be fair.
Conclusion: The whole goal is to bring
thoughtful audio reviews to the masses based
on actual affordable audio systems. Integrity
is a keystone of respect from our readers.
Once violated, the work and value of all con-
tributors is compromised.
About Affordable$$Audio:
Is a privately held venture, published via the Internet, the
content is delivered free of charge to readers.
Created using Apple Computer’s Pages software program
and translated into .pdf document format.
Writing Opportunities:
If you have an interest in audio equipment, especially
quality affordable or vintage gear, please contact the pub-
lisher for guidelines. Specific areas of interest being
looked for are vintage wood-sided equipment and tube
fanatics.
Advertising:
Retail shops dealing in both new and used audio equip-
ment are highly encouraged to advertise as this e-zine
was created specifically to support your business. For
rates please contact the publisher at:
affordableaudio@verizon.net.
Affordable$$Audio: is now accepting manufacturers adver-
tising. You’ll find our monthly rates very appealing.
Please contact the publisher for an advertising packet.
affordableaudio@verizon.net.
Copyright Notice
All articles are the property of Affordable$$Audio. Manu-
facturers need only to ask permission to reprint or post a
link to the web page.
Staff Biographies:
Affordable$$Audio
 A F F O R D A B L E $ $ A U D I O

Mark Marcantonio- Editor, Owner, Publisher Marantz CD-5000

Is a school teacher in the Portland, Oregon metro area. Sansui TU-7900
Audio has been a fascination/budget drain since his early
teenage years.
Issue 4, April 2006
John Hoffman, Assoc. Editor. Resides in the sunny Tri Alegria Audio Rosa Speakers
Cities of Washington state. Enjoys spending his time with QSC PLX-2402 Amplifier
his lovely wife, Michelle, three kids, two dogs, and one Totem Acoustic MITES Speakers
cat. Anybody need an extra cat?

Bob Lombard- Issue 5, May 2006

Was a field service technician/manual writer for a machine AV123 Onix x-ls Speakers & x-subwoofer
tool company. Now retired, tripping along through The Bozak B-302A Speakers
Golden Years. iPod iPhoto 60 Gig (music server)
Zebra ZC-SP12SD Speaker cables
Stew Nelless, Currently reside in southern Alberta (Can-
ada) about 150 miles south east of Calgary. I'm in my Issue 6, June 2006
early 40's , 2 grown kids, been with the same girl for 25 Aperion Intimus 533 PT Speakers
years. One thing I have impressed upon my kids is that Sony TA-F444ES
music is important in life and we often mark our lives by Audio Magic Interconnect Cables
the music we hear along the way. Adcom GTP 450 Preamplifier/Tuner

Clarke Robinson is a 37 year old Web Designer from the

San Francisco Bay Area. He wastes countless hours of Issue 7, July 2006
his life listening to jazz on headphones, at times long after Audioengine5 Powered iPod/mp3 Speakers
his wife and two daughters have gone to bed. Athena AS-B1 Speakers
Insignia 6-1/2" Bass-Reflex Bookshelf Speakers
Michael Jarve, 24 years old, and lives in the heart of Ramsey SHA1 DIY Headphone Amp
Minnesota’s Iron Range. In life is an ISP network techni-
cian and overall computer geek, when not trying to tweak Issue 9, September 2006
or restore gear. He dreams in shades of h/k, Kenwood, Behringer DEQ 2496
and Altec. NeoSpeak NeoTetra Speakers
True RTA Sound Analyzing Software

Review Calendar Index: Issue 10, October 2006

Tyler Acoustics Taylo Ref. Monitors
Transcendent Grounded Grid Preamp
Issue 1, January 2006 Headroom Total Bithead
Adcom GFA 535 Amplifier Totem Beaks
Linn Keilidhs Speakers Aperion Audio S8-APR Subwoofer
Outlaw RR2150 Receiver
Polk Audio LSi9 Speakers
Totem Dreamcatcher Speakers Issue 11, November 2006
Tube Research Labs Modified CD Player
Onix SP3 MkII Integrated Tube Amplifier
Issue 2, February 2006 BADA HD-22 CD Player
Advent Baby II Speakers Alegria Audio Arias Speakers
Audiolab 8000A Integrated Amplifier Era Design 4 Mini-Monitors
ElectriPrint 300DRD Amplifier
Energy Connoisseur C-9 Speakers
Infinity Kappa 200 Speakers Issue 12, December 2006
Nakamichi SR4A Receiver Atelier Audio First Horn
Paradigm Titan V Speakers Jolida SJ502A Integrated Tube Amp
Polk Audio LSi7 Monitors
41Hz Amp 6 Basic
Issue 3, March 2006
GR Research AV-1 Speakers
HSU STF-2 Subwoofer

Affordable$$Audio ! 35
 A F F O R D A B L E $ $ A U D I O

Issue 13, January 2007 Issue 19, July 2007

RudiStor NX-01 & Ultrasone Proline 2500 Sistema AudioArt Interconnect Matching System
VMPS Tower II SE Basic Guide to PC Audio
Technics RS-1506 Bonnaroo Music Festival
Aperion Audio Intimus 632 LR Harman/Kardon PM665VXi Integrated Amp
Monarchy M24 Tube DAC MapleTree Audio 2SE Preamplifier
Zebra Cable Speaker Wire ZC-SP14DBI
Issue 14, February 2007
Audio Nirvana Super DIY Speaker Issue 20, August 2007
Music Hall a25.2 Integrated Amplifier Monarchy NM 24 DAC/Linestage
Music Hall cd25.2 CD Player Pro-Ject 1.2 Turntable
Era Design 5 Mini-Monitors Role Audio Sampan FTL
Lite Audio DAC 62 Totem Acoustic Storm Sub-Woofer
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

36! Affordable$$Audio