Allen Toussaint 1938-2015

A Young Allen Tousaint

Allen Tousaint 1938-2015

Yesterday, Allen Tousaint passed away after playing a concert Monday night in Madrid, Spain. Toussaint was a a prolific song writer, performer, and producer. His contributions to music are numerous. He nurtured and produced some of my favorite New Orleans artists like The Meters, Earnie-K-Doe, and Dr. John. Thank you for enriching the lives of so many, you will be missed.

Get Out My Life Woman, Allen Toussaint

For more about Allen Toussaint listen to Gwen Thompkins and Music Inside Out.

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Crane Song Debuts Avocet IIA with Quantum DAC at AES 139

Crane Song Avocet IIA with Quantum DAC

Crane Song Avocet IIA with Quantum DAC

While I was making my way through the exhibition floor at AES139, I ran into owner/designer, David Hill of Crane Song Electronics. I have been a user and big fan of Mr. Hill’s designs and today I was in for a treat. The Avocet monitor controller had undergone some upgrades and David Hill was excited to tell me about it. I was first treated to a comparison of the upgraded DAC, and then we shot a short video describing the various updates to the Avocet IIA Quantum DAC.

My first video for HiFIQC

139th International AES Convention

Audio Engineering Society's 139th Convention

                                             

Professional audio users from around the world will descend on New York’s Jacob Javits Center next week. The 139th Audio Engineering Society convention will surely be a treat for the ears and eyes. I will be doing the ground work, covering new developments and product releases. Microphones, amplifiers, digital converters, EQ, compression….Keep it tuned to Hi-Fidelity Quality Control for all the latest AES news, from the floor.

Solid Core Copper vs. Stranded Copper Audio Cables

Solid Core Copper Cable by Evidence Audio

Solid Core Copper Cable by Evidence Audio

The way audio cables are constructed can certainly make a difference to their sonic characteristics. Over the past several years I have been comparing the sound transmission characteristics of different copper conductors. In addition to the conductors, different geometries, dielectric material, and shielding can make a cable sound different. While these can influence the sound, I feel the primary sonic impressions I have been hearing have to do with the interaction of conductors carrying an audio signal. Using both stranded copper and solid core copper audio cables in a variety of setups has allowed me to hear the differences.

Stranded Copper Wire

Stranded Copper Wire photo from Jimmy’s Junkyard

We use stranded copper wire in pro audio applications for a  couple of reasons. One main reason is that flexibility is important when dressing microphone and instrument cables. A stranded cable will be much more robust when repeatedly coiled up and unwound. The many strands of thin copper can withstand more bending than a single solid core copper wire. It’s the transmission characteristics that differ. With all those strands the signal tends to jump from strand to strand, and with a single solid core conductor this cannot occur. The sound characteristic of stranded copper vs solid core may seem minute, but any well trained ears should hear the difference. This example from Evidence Audio compares stranded monster cable vs. their solid core cable using a bass guitar.

SG

Gibson SG with Evidence Solid Core Lyric HG

Having heard the difference between stranded copper and solid core copper in my pro audio monitoring chain, I was curious to examine the sonic difference with electric instruments. For this, I employed the help of a 1973 Gibson SG and a Dr. Z MAZ 18 (non-reverb version) tube amplifier. After playing for some 30 minutes with a Mogami stranded copper cable, I switched to the Evidence Lyric HG. My first impression was that a haze had been lifted from my guitar sound. As I continued to dig into this new-found sonic experience I also noticed that my SG had become more responsive to my playing. Rather, a dynamic contrast now clearly existed and I was in control of the shading.

Switching back to the stranded copper cable immediately sounded blurred. The word that comes to mind is distortion, or disruption of the original signal. The guitar sound was now less pure. I want to avoid using words like darker or brighter, because what I was hearing had to do with the signal integrity. Yes, the stranded cable might sound darker, but I feel blur is a better word. On the other hand, the solid core guitar cable was clear and did not adding anything to the original signal.

A4

Analog Synthesizer with Evidence Audio Solid Core Cable

To further examine the sonic benefits of solid core copper cable, I pulled out an analog synthesizer. The Elektron Analog Four is capable of producing a variety of sounds with its analog oscillators, filters, and beyond. For this test I chose to use a simple sawtooth waveform and  a sub oscillator from this analog synthesizer. After using the stranded Mogami cable for the initial listening, I swapped it out for the Evidence Lyric HG balanced cable. The clarity of the sawtooth wave when transmitted over solid core wire was evident, but when I began adding sub harmonic oscillators, the difference truly stood out. Sonic integrity comes to mind. While adding sub harmonic oscillators to the original sawtooth waveform I was very pleased to experience a more (obvious and clear) layered sound.

These solid core cables from Evidence audio truly allowed me to hear the various harmonic additives I was creating on this synth. Moving back to the stranded copper showed me that the full tonal characteristic of the synth was lessened to a degree. Adding in the sub harmonic oscillator with a stranded cable is easy to hear, but the delineation of harmonic content (clarity) was not as good as with the Evidence Audio cable.

Happy Listening!

Stranded Copper Wire vs. Solid Core Copper Audio Wire

EvMo

The way audio cables are constructed can certainly make a difference to their sonic characteristics. Over the past several years I have been comparing the sound transmission characteristics of different copper conductors. In addition to the conductors, different geometries, dielectric material, and shielding can make a cable sound different. While these can influence the sound, I feel the primary sonic impressions I have been hearing have to do with the interaction of conductors carrying an audio signal. Stay tuned for a full write-up on stranded copper vs solid core copper audio wire.

Channel Islands Audio D-500 MK II Monoblock Amplifiers

CIAudio1

Audio power amplifiers provide the juice or alternating current for our speakers to move in and out, creating positive and negative pressure (Sound). This electromagnetic induction
relies on the marriage of speaker drivers, cabinets, crossovers, and, of course amplifiers. While various amplifier topologies exist, designing one that accurately portrays music can be a challenge. Channel Islands Audio, has been cooking up high-quality audio designs for over 18 years, and I recently had the opportunity to audition a pair of their 500 watt monoblock amplifiers. The Channel Islands Audio D500 MKII mono block power amplifiers currently in their 2nd iteration have been powering my system for a couple months now.

CIAudio2*

The Class D design of this audio amplifier allows it to run very efficiently. In fact, they run cool to the touch. I can recall many class A amplifiers that raised the room temperature by several degrees, add a room full of studio equipment and you get a hot and sweaty audio engineer- no fun.

CIAudio2

Each amplifier and massive power supply is housed in a separate steel frame and aluminium chassis. Don’t think you have room for monoblock amps? With a height of 4 inches and a tidy footprint of just 8.5 wide by 13.5 inches deep, these amps will tuck away more easily than you think. The casework is tight fitting aluminium with non-magnetic steel hardware and an On/Off push button with a blue LED surround.

Screen Shot 2015-11-26 at 6.17.30 AM

Rear XLR or unbalanced RCA inputs, speaker binding posts, trigger, AC

Moving to the business end, the D500 MK II provides XLR or RCA line-level inputs, 5-way speaker binding posts, trigger inputs, and an IEC power inlet. For my listening, I connected to each amplifier via balanced XLR connectors from my monitor controller. I used a pair of 2-way (1st order xover) speakers for listening and a well designed room at a hollywood mastering studio. As far as after market power cables go, we found these amps sounded best/most balanced with the cord supplied (i.e. nothing fancy).

After warm up, we fed a variety of studio quality masters through these monoblock amplifiers. I started with a favorite, Muddy Waters Folk Singer. In this hard panned early stereo recording very distinct tracks of guitar, vocal, bass, and drums can be easily distinguished. A great recording true, but the dynamics of the vocal really stress the ability of amp and speakers to communicate the space (echochamber at chess records) and impact of this album. The CI Audio amps did not let me down. Not only was the control over the music’s dynamic fluctuations handled well, but they did so with ease and lightning fast response. Hearing the space around the music is important for feeling an honest connection to the performance. No where is it so obvious as with Mumtaz Muhal, a stereo recording done in a chapel with three musicians. This recording features Taj Mahal performing songs like Stand By Me with Indian classical instrument accompaniment. The Mohan Vina, a slide-like sitar follows the vocal massaging of Taj Mahal like a second voice gently ascending. The natural space of this recording is preserved and replayed over the CI Audio monoblocks with all the emotional connection and tone intact.

Playing back a 24/96 transfer of Stevie Wonder Songs in the Key of Life showed how these little beasts grip your speakers and provide extended tight bass. Listening to the track I Wish showed off these amps ability to clearly portray all the tracks in this loaded mix. A wide and appropriately deep soundstage was achieved using the D500 MK II amplifiers. Even when the overall sonic energy of a song’s mix was full, these amplifiers reproduced clearly and without any strain. Side Note: I’ve been playing these amps for over 8 hours and they are cool to the touch!

Listening to full orchestral pieces from Beethoven’s 9th symphony truly showed off these mono block amplifiers ability to further handle complex and dense musical passages. The quietest passages arose from a black background and when the double bass stepped in, it did so with stride and control usually unheard  in my small speakers. Through the roll of the timpani and onward, the full orchestra was handled with an even and accurate tone. Localization of instruments was obvious and portrayed the stereo microphone technique clearly.

For a wider variety of instruments and sounds I pulled out Beck’s Sea Change and Tom Wait’s Swordfishtrombones. Reproducing the raspy voice of Waits or the somber melancholy stylings of Beck, The D500’s were true to all the fleshy midrange detail. Moving up the frequency range, even the extended response of cymbals was smooth and never overly bright or etched.

While we did not have other speakers to directly power from the CI Audio amp, we did have several other systems in place for monitoring audio. The Lipinski Sound amps and speakers were compared to the Channel Islands Audio amps and GMA Eos HX speakers. Myself and other engineers concluded that the sound of each system were both resolving and usable. The Channel Islands D500 MK II proved to be a clear musical amplifier with a place in the audiophile as well as professional markets. Happy Listening!

Channel Islands D500 MK II Specs:

Power Output 500 watts @ 8 ohms/800 watts @ 4 ohms Bandwidth 50kHz

Frequency Response10Hz – 20kHz, +0dB/-0.5dB

Damping Factor>1000Input Impedance100k ohms Gain 38db or 32db

Dimensions 8.5″w x 4.0″h x 13.5″d

Weight 28 lbs (each)

Warranty 5 Year Parts & Labor

Associated Equipment: Crane Song Avocet, SADIE, Lipinski Sound, GMA Eos HX