E-Stat
09-07-2008, 08:42 AM
While its true there are guys who use their audio systems as jewelry and status systems, I have always approached the high end as simply a shining example of what can be done. Despite the fact that some gear falls into the incredibly impractical and "if-you-have-to-ask-the-price-you-can't-afford-it" category, it has always been a distinct pleasure for me just to simply have the opportunity to audition some of this stratospheric gear. Since I have known several audio reviewers over the past thirty years, I have had the good fortune to have exposure to quite a bit of this stuff in real world settings - as opposed to show environments which never really work that well.
Two weekends ago, I visited one such friend who currently has a Clearaudio Statement along with the Goldfinger cartridge under consideration. For those of you unfamiliar with brand, Clearaudio is a German company that makes a wide range of turntables, tonearms, and cartridges ranging from the affordable to this NASA budget unit. The well, *distinctive* McIntosh turntable with the glowing green platter personally endorsed by Elphaba, the Wicked Witch of the West, for duplicating her complexion is a rebadged Clearaudio design. They also bought the rights to Lou Souther's linear arm technology (I have an original TQ-1 myself) and has continued to refine and develop it much further.
Over the decades, there have been many advances with acoustical and drive isolation, speed regulation, minimization of arm tracking error, etc. This unit combines all these in a unique, massive package. And I don't use the word massive lightly (no pun intended) in this case. At 774 pounds, even Governor Schwarzenneger would have trouble moving this thing around. Although I've got a few pics, they simply do not do the turntable justice. This thing is simply beautiful with attention paid to every detail. The controls are very simple with buttons for 33 and 45 rpm operation (push both and you get 78 naturally) and a digital display.
http://home.cablelynx.com/~rhw/audio/statement.jpg
There are two aspects of its operation that are not immediately evident by simply looking at it. First of all, the upper platter assembly - which is everything from the top down to the wood trimmed triangular section (including the Nautilus gym set of counterweights suspended from long shaft attached to the platter) is a pivoting design that operates much like a ceiling fan. Nudge it and the entire assembly will swing freely like a pendulum. Secondly, while the lower platter is belt driven by a Mars Rover Lander motor (no kidding), it does not touch the far larger upper platter. Instead, it is magnetically driven. Though it is difficult to see in this rear view pic, note the small gap between the two sections.
http://home.cablelynx.com/~rhw/audio/statement3.jpg
The arm tower departs from previous Souther inspired designs in that it does not pivot upwards to clear the record. Instead, the entire tower moves fore and aft locking into either position. VTA is easily adjusted by large dials atop the tower. The result is even greater stability and isolation. Mounted is the Goldfinger MC cartridge.
http://home.cablelynx.com/~rhw/audio/statement2.jpg
Ok, so how does this thing sound? I'll describe two very different recordings I heard. As for the rest of the system, this fed a Zanden phono preamp into a VTL 7.5 II line stage, VTL Siegfried amplifiers and Scaena line arrays with a quad of "depth charge" subs (driven by a Burmester amp) using Nordost Odin cabling. For digital sources, an EMM Labs CDSA se was used.
I had brought a CDR sampler which included a band from the musical "A Little Night Music" by Steven Sondheim. Knowing that I liked that music, my friend played a 45 RPM rendition of "Send in the Clowns". This was a very different interpretation of the original by Glynnis Johns. It was by a male singer with a more intimate night club sort of setting. First of all, you could completely forget this was a record. There were simply no vestiges of any kind of record noise like pops, ticks, etc. The soundstage was very precisely defined: not super huge, but very well defined. Vocal articulation was superb. Dynamics were exceptional. I have never before heard such breathtaking resolution. You could play this system at whatever level you please including ear deafening - although I choose to listen at more modest levels than many folks.
The other piece was one of my all time symphonic faves, "The Planets" by Holst. Naturally, the image and scale increased significantly. The brass and woodwinds were illuminated in such an incredibly natural light. You could figuratively watch the fingers of the bass players on their strings. If you are familiar with the work, Saturn is a very emotional piece with large dynamic swings. It concludes with a simply beautiful theme using harp, distant sounding brass, and is punctuated by the power of a first octave organ pedal note. Hearing it always leaves tears in my eyes. This time I was a bit choked up as well. Anyone who says you cannot get CD quality bass (either in extension or timbre) from vinyl has not heard a setup of this quality. Is this as good or better than the Caliburn, the Rockport or other ultra turntables? Who knows. What I can say with certainty is that this gentle giant can tell you what the lowly LP is capable of doing.
Hearing his review systems are always a most special treat. Knowing what can be achieved with home audio only serves to enhance my appreciation for listening to my far, far more modest systems.
rw
Two weekends ago, I visited one such friend who currently has a Clearaudio Statement along with the Goldfinger cartridge under consideration. For those of you unfamiliar with brand, Clearaudio is a German company that makes a wide range of turntables, tonearms, and cartridges ranging from the affordable to this NASA budget unit. The well, *distinctive* McIntosh turntable with the glowing green platter personally endorsed by Elphaba, the Wicked Witch of the West, for duplicating her complexion is a rebadged Clearaudio design. They also bought the rights to Lou Souther's linear arm technology (I have an original TQ-1 myself) and has continued to refine and develop it much further.
Over the decades, there have been many advances with acoustical and drive isolation, speed regulation, minimization of arm tracking error, etc. This unit combines all these in a unique, massive package. And I don't use the word massive lightly (no pun intended) in this case. At 774 pounds, even Governor Schwarzenneger would have trouble moving this thing around. Although I've got a few pics, they simply do not do the turntable justice. This thing is simply beautiful with attention paid to every detail. The controls are very simple with buttons for 33 and 45 rpm operation (push both and you get 78 naturally) and a digital display.
http://home.cablelynx.com/~rhw/audio/statement.jpg
There are two aspects of its operation that are not immediately evident by simply looking at it. First of all, the upper platter assembly - which is everything from the top down to the wood trimmed triangular section (including the Nautilus gym set of counterweights suspended from long shaft attached to the platter) is a pivoting design that operates much like a ceiling fan. Nudge it and the entire assembly will swing freely like a pendulum. Secondly, while the lower platter is belt driven by a Mars Rover Lander motor (no kidding), it does not touch the far larger upper platter. Instead, it is magnetically driven. Though it is difficult to see in this rear view pic, note the small gap between the two sections.
http://home.cablelynx.com/~rhw/audio/statement3.jpg
The arm tower departs from previous Souther inspired designs in that it does not pivot upwards to clear the record. Instead, the entire tower moves fore and aft locking into either position. VTA is easily adjusted by large dials atop the tower. The result is even greater stability and isolation. Mounted is the Goldfinger MC cartridge.
http://home.cablelynx.com/~rhw/audio/statement2.jpg
Ok, so how does this thing sound? I'll describe two very different recordings I heard. As for the rest of the system, this fed a Zanden phono preamp into a VTL 7.5 II line stage, VTL Siegfried amplifiers and Scaena line arrays with a quad of "depth charge" subs (driven by a Burmester amp) using Nordost Odin cabling. For digital sources, an EMM Labs CDSA se was used.
I had brought a CDR sampler which included a band from the musical "A Little Night Music" by Steven Sondheim. Knowing that I liked that music, my friend played a 45 RPM rendition of "Send in the Clowns". This was a very different interpretation of the original by Glynnis Johns. It was by a male singer with a more intimate night club sort of setting. First of all, you could completely forget this was a record. There were simply no vestiges of any kind of record noise like pops, ticks, etc. The soundstage was very precisely defined: not super huge, but very well defined. Vocal articulation was superb. Dynamics were exceptional. I have never before heard such breathtaking resolution. You could play this system at whatever level you please including ear deafening - although I choose to listen at more modest levels than many folks.
The other piece was one of my all time symphonic faves, "The Planets" by Holst. Naturally, the image and scale increased significantly. The brass and woodwinds were illuminated in such an incredibly natural light. You could figuratively watch the fingers of the bass players on their strings. If you are familiar with the work, Saturn is a very emotional piece with large dynamic swings. It concludes with a simply beautiful theme using harp, distant sounding brass, and is punctuated by the power of a first octave organ pedal note. Hearing it always leaves tears in my eyes. This time I was a bit choked up as well. Anyone who says you cannot get CD quality bass (either in extension or timbre) from vinyl has not heard a setup of this quality. Is this as good or better than the Caliburn, the Rockport or other ultra turntables? Who knows. What I can say with certainty is that this gentle giant can tell you what the lowly LP is capable of doing.
Hearing his review systems are always a most special treat. Knowing what can be achieved with home audio only serves to enhance my appreciation for listening to my far, far more modest systems.
rw