July July July

Zesto's Téssara tube phono preamplifier takes pride of place on the July Stereophile's cover, to accompany Mikey Fremer's review inside. Add to that Jason Victor Serinus on the expensive Audionet Max monoblocks from Germany, John Atkinson on an affordable DAC from Arcam, Larry Greenhill on the awesome No.536 monoblock from the revitalized Mark Levinson company, Art Dudley on the Lamm L.21 preamplifier and the Serbian Soulines Kubrick DCX turntable, and Herb Reichert on turntables from Analogueworks and Palmer, and you'll see why we think this issue is rad! (JA's daughter says "Don't say that, Daddy.")

Steve Guttenberg kicks our July issue off by asking if audiophiles overlook the most cost-effective means of getting Class sound—headphones—Paul Messenger remembers reviewer Alvin Gold, and Robert Baird interviews New Age pianist George Winston. This issue is dope! (JA's daughter says "Don't say that either, Daddy.")

The July Stereophile is awesome!

Glotz's picture

GREAT review Herb!!! Excellent comparisons, and exhaustive!

Glotz's picture

I am using that particular set up with my modified HW19, and I do agree that the midrange is slightly recessed. The performance of the tonearm can be significantly upgraded by use of Oyaide HS-TF headshell, where detail, soundstage width, bass impact and depth, as well as instrument separation greatly benefit. I believe it turns a good tonearm into (almost) a great one.

I also found a Black Diamond Racing Constrained Layer Dot on the aluminum front of the Carmen also wrought slight (but definitely audible) improvements in intelligibility of vocals and instrument separation. I tried it on a whim- I really didn't think there would be much more to improve upon where the HS-TF improved, but It does limit vibrations in the aluminum. Well worth the small outlay for the very noticeable improvements.

Lastly, I do NOT think the performance enhancements improve the slight midrange reticence. At the price, it is totally acceptable.

Lastly, the issue is amazing. Art is a stunning writer, Kalman educates every month, Robert's music coverage is so very real, and I really enjoyed reading Larry again. You are all so incredibly good at what you do! And RIP Alvin.

volvic's picture

I enjoyed reading Mr. Reichert's review and his thoughts on perhaps purchasing The Palmer 2.5 table, a beautiful looking kit that probably sounds just as good. It got me wondering though on his vinyl journey, we have so enjoyed reading about. From Gramophone Dreams #9 we were told the Technics needed a good audiophile tonearm to sing and when it did it was "making big, pristine, hyperclear, supersaturated images, and a soundstage that felt like the Matrix revealed". Yet I haven't seen it in the Associated Equipment list for quite some time. Is that because it has been eclipsed by other ones including the Palmer or simply because Mr. Reichert is now reviewing other tables? If it is no longer able to compete with the rest of the best, I would be fascinated to read how and when this came about, we have seen hints in his articles when comparing, and they are so insightful. but they are just a few paragraphs. This is by no means a critique, but rather a request for more insight into his journey of vinyl nirvana and how he has progressed from Gramophone Dreams #9 to the present, and where the old Technics 1200 stands and for that matter, the LP-12 and TD-124.
Thank you as always