AudioEnz - Twenty years of hi-fi publishing

AudioEnz
New Zealand’s hi-fi magazine
Web page printouts from the December issue of AudioEnz
www.audioenz.co.nz
AudioEnz editor: Michael Jones ph 09-478 1301

Twenty years of hi-fi publishing
By Michael Jones
December 2006
In 1986 I was a naïve lad of 22, with the great
idea of starting a hi-fi magazine for New
Zealanders. It wasn't exactly an original
notion, as Rick Barr had published a
magazine in Auckland called Sound &
Vision that lasted from 1985 through to early
1986 before imploding, but I wasn’t
deterred.
Nor was I completely new to the world of
hi-fi. My interest in music had developed
into a parallel interest in the equipment for
playing it, and I had joined the Wellington
Audio Club a few years beforehand.
Producing the club's newsletter was my first
try at hi-fi writing and, as I wanted to send
our newsletters out to industry people who
could promote the club, my introduction to
the industry in general.
Take a chance on me
So why did I start publishing a hi-fi
magazine? It was 1986, remember, when a
combination of the country’s free-market
hyperbole and my youthful enthusiasm
made almost anything seem possible. So,
after dropping out of university and failing at
two jobs, I decided to become a publisher. I
was interested in hi-fi and, um ... it seemed
like a good idea at the time! I called the new
magazine Zounds.
My knowledge of printing, publishing,
distribution, design, layout, photography
and so on was almost zero. Looking back on it
Michael Jones

now, I'm surprised - and, in retrospect, horrified - that I took it on.
The first issue - all 12 pages of it - was
surprisingly easy to put together. I can thank
two people for that, one who set out to help
and another whose efforts were useful.
The first was Darrell Ramsey who, with his
wife Lorraine, ran Absolute Audio in
Wellington. Darrell was an early advertiser
in the first issue and I'm sure did some
behind the scenes work to encourage
industry support. I don't know where Darrell
and Lorraine are these days, but if they
happen to be reading this - thanks for
everything.
The second was the aforementioned Rick
Barr, founder of the defunct Sound & Vision
magazine. Rick had no involvement
whatsoever in my magazine, but he had
made the hi-fi industry used to the idea of advertising. So my success is partially built upon his efforts. I've
never met Rick but wherever you are, thanks.
Money money money
If I had known what I was letting myself in for, then I’m not sure I would have started.
The early days were very tough, mentally and financially. I had to quickly learn about publishing,
particularly the business side. I knew nothing of setting budgets, establishing profit and losses, or the
inevitable game of collecting money owed.
Summer night city
My magazine began in Wellington (Lower Hutt actually) and survived there for over three years. But most of
the industry was based in Auckland, so in April 1990 I moved north to be closer to the industry I was
reporting on.
Professionally, that was a great move, as I'm sure the magazine would not have survived if I had stayed down
south. I'm now very much a jafa - even to the extent of writing this on my laptop while sitting in a café sipping
coffee!
The name of the game
AudioEnz has been through three names in its twenty year life. In the beginning I wanted something
memorable and a little different, so I reversed the "S" in "sounds" and came up with the name Zounds. This
also tied in the "Z" with "Zealand". Industry pressure - "what a stupid name" was the least of it - forced me to
change. (Several years later a quasi-government organization was set up under the name Soundz. I wish I
had thought of that in 1986.)
So I needed to pick a new name. What was needed was something that made it clear what the magazine was
about. The name also needed to include reference to video, as I could see the forthcoming home theatre

oom - perhaps my only useful glimpse into the future! So the somewhat pedestrian name of AudioVideo
(one word) came about in 1987.
AudioVideo magazine lasted until 1996 when changing economic conditions forced a rethink of the
magazine. AudioVideo was reborn as AudioEnz - there's that New Zealand reference again - and survived in
print for a couple of years. A single colour magazine, it was my best-looking production, I thought, and I still
look back on those issues with fondness.
Super trouper
Several remarkable people have been involved with AudioEnz over its 20 year history
Charles Thomson was my first-ever writer, appearing in the second issue in 1987. Charles' advice and
encouragement were invaluable in the early days. In recent years Charles has gone over to the "dark side",
working for Wellington retailer Soundline Audio.
Marc Taddei was the principal trombonist for the New Zealand Symphony Orchestra and a rarity - a
professional musician who was also an audiophile. Marc's enthusiasm and different viewpoints (he had
recently arrived from the USA) was refreshing.
Andrew Fox was my first Auckland-based reviewer. Andrew undertook a lot of reviewing work with his
characteristic good humour and care. Andrew also caught the Macintosh computer bug from me, eventually
going on to work for Apple New Zealand.
Lloyd Macomber started writing hi-fi and music reviews a year or so after I moved up to Auckland. Lloyd was
(and still is) a very talented photographer and his shots illustrated many a magazine. Lloyd has been a
sounding board and great friend.
Max Christoffersen is perhaps the most remarkable character in the AudioEnz story. Writing for AudioEnz
since 1998, Max started writing music reviews, went on to write articles, columns (affectionately known as
"Max's bitch page") and a wealth of home theatre reviews. Throughout his time with AudioEnz Max has been
a constant source of inspiration and ideas and has done so much to keep both me and the magazine going.
Without Max, you would not be reading AudioEnz today.
The visitors
When I published my last print magazine in March 1998, the internet was still new to most people. I knew I
could publish on the internet but couldn't devise a revenue model to pay for the costs of publishing (hosting,
connections, payments to writers), let alone keep me fed and housed.
It was a couple of years before I came up with a way to pay for everything. With the immense help of Max
Christoffersen, AudioEnz re-emerged as an online publication in October 2000. I had hoped that we might
eventually have a readership of around 4000, but AudioEnz's readership kept growing and growing and
growing. We've recently reached over 70,000 monthly visits - a far larger readership than the two recent
local "tech toy" magazines have been able to achieve.
Max kept suggesting starting a forum and I kept stalling, having seen how unpleasant and unproductive
many online newsgroups and forums were. Eventually, though, I purchased the very good vBulletin forum
software and the AudioEnz Forums started in January 2003. We now have well over 1200 registered
members and I can see that establishing a forum is one of the best things that AudioEnz has done.
Thank you for the music

Hi-fi is no use without music. I'm very proud of the music section in AudioEnz since it started back in 1988.
Looking back on some early writers brings a smile - Phil Burchall (from hi-fi manufacturer Mega), the
enthusiastic Ed Bonney (sadly now deceased) and the irrepressible Fred Muller.
The importance of AudioEnz's music section is shown by the web stats. The music page is always in the top
five most-read pages in any given month.
When all is said and done
I was 22 when I started AudioEnz and am now 42. I keep hearing a variation of Paul McCartney's song
running through my brain: "Will you still read me when I'm sixty-two?"
It's been a wild and crazy ride at times, with plenty of ups and downs along the way. Thanks to all of the
writers who contributed and to the people in the hi-fi industry for their support.
And thanks to you, the reader. For without you, AudioEnz would not exist.

20 years gone
By Max Christoffersen
December 2006
Twenty years ago I was building a student
radio station. Twenty years later I’m building
another student radio station. Some things it
seems never change!
What has changed in the 20 years between is
audio – the way we listen to it and the way it’s
sold.
I first saw a New Zealand based hi-fi
magazine shortly before the birth of
AudioEnz magazine in 1986. I can still see
the Perreaux amp on the cover of that
publication, although I have though long
forgotten its name. That magazine lasted one
issue. [Max refers to Rick Barr’s Sound &
Vision magazine, which lasted for five issues
in 1985 and 1986—Editor]
At the time, I was a music columnist for the
Waikato Times and I thought I’d like to write
about the thing I spent so much of my free
time listening to, or lusting over: hi-fi
equipment. That letter to the AudioEnz
editor applying for the job started a near-20
year friendship that has been the equivalent
of Neil Young and Steven Stills: “We’ve had
our ups and downs but we’re still playing
together…”
Made for New Zealand
AudioEnz came into my hands through
Lakeland Stereo in Hamilton where it was a
free mag alongside the speakers, amps and
CD players on display. It was a much-needed
Max Christoffersen

publication outlining what was available product-wise in New Zealand. In the pre-internet days, it was the
only source of local info we had. The dealers
were well placed to advise on the limited new
product available – but what did Kiwis think
of the new Brit and US equipment?
At the time, this was a bold and frightening
prospect that we not only could hold
opinions on hi-fi, but that some of these
opinions might be ‘made for New Zealand
conditions’ that were different from the
authorities overseas that shaped so much of
our thinking and audio attitudes.
Over time the influence of the British mags
has continued (witness the witless
mimicking of the word “kit” to describe
equipment) while others have sought to
emulate the personality driven zealotry of the
US-based audio publications.
AudioEnz through the early days found a niche, in part based on the relentless pursuit of copy by the
erstwhile editor and in part through good luck and good timing. Where else could you get a Kiwi view of
amps or speakers which were both hands-on and a good read? The simple answer was nowhere. AudioEnz
was it!
Competition has been a more recent development with the Kiwi hi-fi magazine market splintering into and
being defined apparently by upwardly mobile phone gamers ogling Auckland based models with brochure
copy masquerading as independent reviews. Sad but true.
While all this was going on AudioEnz carried on with its attempt to bring informed discussion and reviews to
a Kiwi market that had begun to define itself in the afterglow of international success stories like Perreaux
and Plinius.
It’s not overstating the case to say that much is owed by Plinius to AudioEnz and its editor. The profile
afforded to early Plinius product through the print magazine, in my view, helped the company evolve into a
genuine international player despite some idiosyncratic production techniques and frankly flaky quality
control.
If AudioEnz has had failures it has suffered from being technically unable to support some of its editorial
claims with hands-on specs and testing. By comparison, some of the newer equipment (in particular
projector reviews) from other on-line sites read in a more sophisticated way than anything AudioEnz has
been able to achieve. It is though refreshing to see reviews written by enthusiasts for enthusiasts instead of
being compiled by technicians for number crunchers.
Sharing interests
This I think remains the appeal and charm of AudioEnz. The writers are real people, writing about a hobby
they love in the hope others share their interest – that act of sharing is the real payback, as despite the asinine
claims of others, none of us pocket the proceeds with any great hope of audio inspired riches.

The growth of the home theatre market has been a tonic for the industry and AudioEnz was among the first to
recognise it both in the choice of its then name (AudioVideo) and in the publication of a very early review of
a Shure Dolby Surround processor. That was 1987! Probably the first published Downunder review of home
theatre equipment.
I wrote about more home theatre based product than anything else despite my primary interest being music.
My first article in October 1988 was called The Politics of Sound which was followed by what became known
as “Max’s Bitch Page” – the most infamous being the Dealing With the Dealers story that basically had me
banned from the store in question. My favorite piece is My Back Pages – a piece I wrote 15 years ago that
summed up then and sums now my attitude to music and the equipment that plays it.
Today, there is more entry-level interest in projection and home theatre style products than ever before and
the bang for the buck performance is significant and exciting. Ironically, there seems to be less interest in
traditional hi-fi audio as the market moves towards convenient digital technologies. There has also been a
move away from the aim of recreating art accurately which has been the development of an “anything goes” if
it sounds/looks good attitude, primarily fostered in the home theatre sector.
Over two decades, AudioEnz has had to negotiate the changes in the market and the audio industry,
maintain reader relevance and provide a Kiwi centered forum for audiophiles to meet and greet. The fact
that it has been able to is a remarkable achievement.
Twenty years from now, the future for a hi-fi based publication is likely to be subject to the same volatile,
frustrating, ever changing conditions as today.
Whatever is keeping Kiwis informed about audio in 2026, it will be based on the same attributes that have
served AudioEnz so well for so long: bloody mindedness, a deep love of music/film and the determination to
keep on going when sanity (and commercial reality) suggests otherwise!

Continued success
By Charles Thomson
December 2006
Twenty years ago when the first copy of
AudioEnz magazine came off the press one
could buy their music on LP, tape and CD. A
debate was raging at this time about claims
being made for CD, “Perfect Sound Forever.”
Import licensing was almost a thing of the
past. I had just taken delivery of a new
Roksan Xerxes turntable and was celebrating
my 46th birthday. Life for audiophiles was
pretty good.
The appearance of what is now known as
AudioEnz arrived at audio stores and many
record stores free of charge to the public. A
bold step taken by the editor. In a relatively
short time, readers started to take the
magazine seriously when they realised it was
devoted to the promotion of musical
enjoyment through good hi-fi equipment
and well recorded music sources.
Being among the first reviewers to write for
the magazine, I can only say it was exciting.
New product arriving on a regular basis for
evaluation was certainly a new challenge,
fun even. It did not take long to realise that
certain responsibilities went with the job,
such as commenting unfavourably on
products that didn’t perform up to
expectations. Our editor, Michael Jones,
always listened to our concerns, performed
listening tests himself and if in agreement
had the gumption to publish the result.
Unwelcome reviews
Charles Thomson

Three occasions that come to mind involved a sound enhancer that fitted between a source component and
amplifier, an expensive pair of speakers
without its matching bass control unit and
the short lived Digital Compact Cassette.
The first item resembled a box about the size
of a cigarette packet, filled with black epoxy
resin and having a pair of RCA sockets
coming out of each end. I had never heard
an audio component that so degraded the
sound of the music it purportedly was trying
to improve. Soon after publication of the
review, a threat of legal action by the
importers was forthcoming. Heavy stuff and
quite frightening. Fortunately, a month later
an English magazine published an even
more damming article, end of story.
Around 1992 a pair of expensive speakers
arrived and, as they were being looked
forward to, plugged in immediately. It didn’t
take long to realise there was something wrong in the bass department. Two days of inching the speakers
around the room made no difference, the bass performance was woeful. Research turned up the fact that a
bass equalisation box should have been supplied, as it was indeed an integral part of the whole. However the
importer had decided this box, which cost an extra $400, was making an already expensive speaker too
expensive and was not going to bring it into the country. This one went into the “no review at all” category.
The we faced upsetting the company who invented the Digital Compact Cassette. Our published view was
that, while this was an improved format sonically over the one it was designed to replace, it was unlikely
succeed because the tape handling mechanism was exactly the same as the original format. Certainly tracks
could be selected at the touch of a button, but if you wanted the last track on side 2, the tape had to spool all
the way to the end of side A and back again to where desired track was located on side B – a process taking
between 30-45 seconds. Remember CD had come along with near-immediate access times.
Reviewing was not all about the latest ‘hot’ audio product; there was another side. Testing and reporting on
40 different cassette tapes by manufacturer and formulation just about broke the happy family home.
Repetitive tracks of selected music followed by endless test tones were a bit much. On another occasion, 11
budget CD players infested our lounge. That might not sound any big deal but added to the players was their
cartons and manuals, all of which had to be kept in pristine condition. Oh, I nearly forgot – the repetitive
tracks of selected music.
During its life, AudioEnz has kept readers up to date with changes in technology and many changes there
have been. Cassette tape disappeared and LP records all but followed. New products have included
surround sound – even Dolby Pro Logic was unheard of 20 years ago. Then came laser discs, Dolby Digital,
DTS, DVD, CD recorders, LCD projectors followed by DLP, 5.1, 6.1, 7.1, ES, EX, plasma and LCD screens,
SACD, DVD-Audio and DVD recorders. The list keeps growing with cables such as component and HDMI
thrown in.

Lack of standardisation and agreement on new products is still rife in this industry – take high definition
DVD for example. Shades of the Beta versus VHS battle years ago come to mind. SACD and DVD-Audio are
other examples of lack of agreement in the industry and we won’t get into HDCP and why we now have
version 1.3 of HDMI, with further versions coming soon.
Better informed
AudioEnz has kept its readers up to date with new product and technologies. Add reviews as to how product
sounds and operates, readers have the opportunity to be better informed when setting out to purchase new
equipment.
AudioEnz has spent the last six years online. Its success in this format can only be measured by the
increasing number of people logging on each month. To change from the original printed format has
obviously ensured its continued success for the foreseeable future
For my part I have enjoyed the involvement with Michael Jones and AudioEnz, particularly the reviewing
process during the first half of the magazines life. Along with many others I wish our editor much success
during the coming years.

Cover me: the best covers
By Michael Jones
December 2006
From November 1986 through to March 1998 AudioEnz was a printed magazine, under the name Zounds,
AudioVideo and finally AudioEnz. Here are some of my favourite issues.
December 1986
In November 1986 I picked up the first issue of
my magazine from the printer in Lower Hutt.
The 3000 (I think) copies certainly weighed
down the dodgy springs in my dodgy Morris
Marina.
Dated December 1986, the first issue was a
massive 12 pages in A4 size. It was “all my own
work”, with every word, bar a letter to the
editor written by future reviewer, Wellington
Audio Club president Charles Thomson,
coming from my pen. Quite literally a pen too
– these were the days before desktop
publishing.
The front cover featured a phono cartridge for
the first and last time. From memory, the
Ortofon MC20 Super was a sample loaned by
then distributor AWA to the Wellington Audio
Club, which then fell into my hands. Also reviewed in this short issue is the Sony 502ES mk2 CD player,
beginning a fascination with top Sony CD players that lasted for over a decade.
December 1987
A year on, with many ups and down. The name
of the magazine was changed, as I was fed up
with so many people telling me that the name
Zounds was silly. One farsighted realisation
was the early realisation that audio and video
would be co-mingling in the future; hence the
adoption of the name AudioVideo.
The December 1987 issue is notable for my

first ever home theatre review – well before the phrase “home theatre” had been invented. My attempt at a
descriptive term, “vaudeo”, was thankfully
never to be seen again.
The home theatre product reviewed was the
Shure HTS 5000 Dolby Surround processor.
This device, released before Pro Logic was
devised, retailed for $2200 – a serious amount
of money back then. And that was for just the
processor – no amplifiers included.
For the Shure processor review it was not enough just to try the device at home. With the help of Darrell Ramsey
from Wellington retailer Absolute Audio supplying many amps and speakers, members of the Wellington
Audio Club were treated to their first experience of home theatre surround sound. “The videos [VHS tapes back
then] included Return of the Jedi, Top Gun, Amadeus and Back to the Future. And the sound was terrific.
From comments afterwards it was obvious that no one was expecting the sound to be so good and the movies to
be so engrossing when seen yet again. And the subwoofer was working overtime.”
Seems some things never change!
April 1988
After a number of issues printed on newsprint,
we were at last back to some decent gloss
paper. Now up to 24 pages, AudioVideo had
regular advertising from Paul Quilter’s The
Listening Post, Linn, Darrell and Lorraine
Ramsey’s Absolute Audio, Phil McIsaac’s
Smiths Sound, Chris Ball’s Monitor Acoustics
(now Image Loudspeakers), Manawatu TV &
Sound, Chris Murphy’s NA Distributors
(Naim) and AWA, the then KEF distributor.
Without these companies (and more
specifically, the individuals involved) you
would not be reading this today.
Reviewed in this issue were the Systemdek
turntable featured on the cover, plus a Plinius
3100 power amp. But to me the best part of this
issue is an interview with amplifier designer
Gary Morrison. Gary, a talented designer
building Craft Audio amplifiers, was just about to join forces with Plinius Audio’s Peter Thomson.
April 1993
One of the biggest (at 56 pages) and most
controversial issues of AudioVideo. This and
the previous 64-page issue were probably the
high point of AudioVideo magazine. With the
help of graphic designer Colin Saussey, I had
redesigned the logo and look of the magazine

for 1993, and was very proud of my work.
The first controversy was over my cover story,
“How your hi-fi can affect music’s pace,
rhythm and timing”, or “The Story of PRAT”.
For several years I had been aware that
different hi-fi equipment could affect our
perceptions of the pacing and rhythms within
music. Recent writings in UK hi-fi magazines
had helped crystallise my thoughts and
prompted my article. “Jonesey, you’re the
bloody prat” was one reaction from a member
of the trade (Hi Frank).
The other controversy appeared in our letters section. A letter writer complained about some New Zealand
products being modified within months of their introduction, suggesting that the designs had not been properly
finished prior to release. It was a view I had some sympathy with, seeing this pattern as using early purchasers
as unwilling beta testers. A belligerent response to the letter from the then Plinius distributor inflamed the
situation.
August 1995
The final issue of AudioVideo appeared in
1995 and included the only review of a
Shahinian loudspeaker (featured on the front
cover) that we ever did. The review of the
Shahinian Arc loudspeakers was, I always
thought, one of my finest pieces of audio
writing. And, after more than a decade, the
speakers are one review subject that I
remember with great fondness.
The stunning photography of the Shahinian
Arc’s was by my friend Lloyd Macomber, who
was responsible for many AudioVideo covers.
The photos were taken at the back of Soundline
Audio in Auckland, then located in K Road.
Further inside the magazine, Lloyd wrote
about the Audiolab 8000T tuner – still, a
decade on, a highly desirable product. Lloyd
was very busy in this issue, also writing about the Epos ES25 and Near 10m loudspeakers. Max Christoffersen
reviewed a complete Energy home theatre speaker package and contributed a think-piece called The Way We
Were about our first stereo systems: “Talk to anyone who grew up with an AWA Series 9, Pye Iso-Tronic, Akai
Pro-Lab or Philips 3-in-1 and chances are the discussion will turn to the pure fun those early systems brought
their owners.” The way we were, indeed.
This final issue of AudioVideo has long been a favourite of mine.
May 1996
The very first magazine with the name

AudioEnz appear in 1996, less than a year
after the last AudioVideo. AudioEnz was
designed specifically to have much lower
production costs than AudioVideo – the print
numbers went down from 10,000 to 4000 and
the magazine was printed in a single colour
rather than including full colour sections.
It was graphic designer Colin Saussey that
came up with the wonderful idea of using
darker Pantone inks instead of black for the
single colour. The dark ink made the text look
black, while the colour added depth to the
images. Plus it made AudioEnz look much
more expensive than it really was.
The cover story was on recommended CD
players. My writers and I chose a number of
CD players that we could happily recommend. Plus I asked a number of retailers for their choices and the
reasons why they chose them. I still use the same format in the favourites section of AudioEnz online.
The May issue also saw the debut of an “anti-audiophile” column. Written by Darren Knight under the name
“The Sonic Gladiator”, Darren’s role was to poke the piss at some audiophile practises and attitudes. Around
two-thirds of AudioEnz readers loved the Sonic Gladiator columns, while a third absolutely hated them,
suggesting that Darren pitched his column contents perfectly.
March 1997
“Final Vinyl?” was the heading on this 1997
magazine, as I truly believed at the time that
AudioEnz would be featuring little in the way
of vinyl playback equipment in future issues.
How wrong that prediction turned out to be!
The front picture was a fully loaded Linn
(Sondek, Ekos, Troika) brought along to the
photographer’s studio by Linn distributor
Dean Harnish. I watched in horror as the
tonearm was bumped and leaped into the air,
to crash the cartridge cantilever down on the
record. Much to my relief, Dean assured me
that the expensive Troika he had brought along
was already a knackered sample.
Inside this magazine I take issue with
Consumer magazine. A “test” in a recent
Consumer was on the subject of loudspeakers,
yet not once did they discuss the sound of any speakers – surely the whole point of differentiating between
speakers. A friend of mine once told me that he had trusted Consumer completely until they wrote on a subject
he knew about. Once he saw how they got one subject completely wrong, he harboured doubts about the rest of

their tests. Same here.
Also in the March issue Max Christoffersen writes out very first review on a Dolby Digital amplifier – a Yamaha
3090. Yes, it’s less than a decade that Dolby Digital has been available in the home. Back then it was only of use
to laserdisc owners. DVD was still a year away.
March 1998
The very last print edition of AudioEnz came
out some eight and a half years ago, but it sure
doesn’t seem that long ago.
On the cover was a notable event in home
theatre – the new Zealand launch of DVD
players. Thanks to Pete Tilsley, the Pioneer
product manager of Pioneer distributor
Monaco, AudioEnz was able to grab a Pioneer
DV-505 DVD player and borrow a few discs.
And who better to write about the new format
than John Paul, a man who has worked in pro
video and audio for most of his life.
John took the DV-505 into work and hooked it
up to grade one (mega-expensive) calibrated
video monitors. Compared to the VHS
machines that us poor consumers had at the
time, the picture improvement was
remarkable.
The other article in the March 1998 issue that strikes my fancy was a (then unknown) pointer to my future
publishing efforts. Owen Young wrote an article on audio in cyberspace, outlining some of the early websites
and discussion groups on the internet. I didn’t know it then, but my future lay online.

AudioEnz 20th Anniversary Awards
By Michael Jones
December 2006
Celebrating twenty years
To celebrate the 20 years of AudioEnz, I decided that the publication should issue some awards.
After a lot of consideration, I came up with a list comprising two people who were highly influential in the
history of AudioEnz, two people who took a company to international success and two products – one each
from the worlds of hi-fi and home theatre.
Charles Thomson
Charles was there at the beginning, some
twenty years ago. The very first writer
(besides yours truly) to feature in AudioEnz,
Charles was a rock in the early days of my
magazine.
Charles wrote many excellent reviews in his
time with AudioEnz. He was well respected
both by the readers and the industry.
His work experience helped with his
reviews. Not only was Charles a hi-fi
consumer, but he had also worked on the
other side of the counter, as the employee of
a hi-fi store. This wider view gave Charles’
writing a perspective missing in many
reviews.
Outside of his writing activities, Charles was
there with encouragement and great advice – invaluable to a fledgling publisher with a new magazine.
Max Christoffersen
Of all of the people involved with AudioEnz
over its twenty year history, Max has been
the biggest contributor to the magazine’s
continued success. Without Max, you would
not be reading these words today.

Then a journalist for the Waikato Times, Max contacted me after picking up a copy of the magazine from
Lakeland Stereo in 1988.
Max began by writing music reviews, then
branched out into articles – including one
that had him banned from a store after
describing the piss-poor demonstration
facilities inside, and My Back Pages,
Max’s favourite article for AudioEnz.
Max’s public face throughout AudioEnz was
largely as a home theatre writer. His
enthusiasm for home theatre was matched
by his ability enthuse readers. A projector
fan from way back, Max championed
projectors and home theatre equipment in
general.
But it was Max’s work behind the scenes that made him so important to AudioEnz. Max was – and still is – a
constant source of encouragement, ideas and enthusiasm for the magazine, and a great sounding board for
AudioEnz.
Without Max’s involvement with the launch of AudioEnz online in 2000, this web site would not have got off
the ground. Max is also responsible for pushing me into launching the AudioEnz forums – a forum so
successful that many members of New Zealand’s hi-fi industry are compelled to read it.
Thanks for everything, Max.
Gary Morrison and Peter Thomson
Today, the name Plinius is synonymous worldwide with “New Zealand hi-fi”. When AudioEnz started,
Plinius was a small company in Palmerston
North. Today it is an internationally
respected hi-fi brand. The reason for this
reputation is the work of Peter Thomson and
Gary Morrison.
Peter founded Plinius in 1980, as import
restrictions in place at that time disallowed
the importation of much in the way of quality
hi-fi. Peter’s desire to build the proverbial
better mousetrap saw him build amplifier for
friends and then as a business.
Plinius was still a small business when Peter
joined forces with Gary Morrison in 1987.
Gary, a gifted electronics designer, was
producing amplifiers under the Craft Audio
badge for several years.
Peter Thomson (left) and Gary Morrison

Within a few years Gary and Peter had developed their SA range of amplifiers and later the first of a
succession of very good integrated amplifiers. International success beckoned and was achieved, with many
international rave reviews for Plinius amplifiers and good sales.
Gary’s main role in the company was electronic design. He came up with the electronic circuits and
developed them into world class amplifiers. Peter’s role was in establishing and maintaining the
international relationships that built Plinius into a force in high end hi-fi.
The quality and value of Plinius amplifiers can be shown in that three of AudioEnz’s hi-fi writers have chosen
to spend their money on Plinius products.
Sadly, after company ownership changes, Peter left the company this year.
Rega P3
While canvassing ideas for these 20th Anniversary Awards, one product that kept being mentioned was this
turntable from Rega. With a lifespan longer
than this magazine, the Planar 3 was revised
a few years ago and renamed the Rega P3.
There are two keys to the Rega P3 –
simplicity and good engineering. When first
released, the Planar 3 was up against
turntable manufacturers forcing more and
more features into their products, to the
detriment of the point of it all: sound quality.
In contrast, Rega concentrated on the basics
of good engineering. The turntable looks
simple, but the engineering of the turntable
and the superb RB300 tonearm is perfect for
the product. The result is a great sounding turntable that keeps sounding wonderful year after year.
Panasonic AE range of projectors
The very first issue of AudioEnz after we
went online included a review of a $15,000
LCD projector that offered excellent
performance for the money. Within two
years, Panasonic had introduced their
PT-AX100 LCD projector, bringing quality
projection into the realm of ordinary people.
Since then, Panasonic have kept pushing
the capabilities of LCD projection at lower price points. We’ve reviewed the 100, 300, 500, 700 and 900 –
each of the increasingly sophisticated models brought out every year. AudioEnz reviewed each model and
our writers were astounded by the performance and the price.
With the AE range, Panasonic created the volks-projector – high performance projectors at real world prices
for real people.

Roll of honour
By Michael Jones
December 2006
Throughout the twenty years of AudioEnz,
I’ve been fortunate to be helped by many
people. Thanks go to:
Steve Allbury of Avalon-Pacific
Ed Bonney, former music writer
Simon Brown, occasional writer
Max Christoffersen, hi-fi and music writer,
inspirational thinker and all round
pain-in-the-butt
Andrew Clark, former hi-fi and music writer
Tony Davey, hi-fi writer
Frank Denson of Denco Audio
Craig Fenemor, hi-fi and music writer
Andrew Fox, former hi-fi writer
John Groom, hi-fi and music writer
Steve Hilliar, formerly of Sound Group Holdings
Bart Jones, my father
Garry Lambert, formerly of Lambert Loudspeakers
Bob Leveloff of Sound Group Holdings
Lloyd Macomber, former photographer and writer
Phil McIsaac of Smiths Sounds
Matthew Masters, hi-fi writer

Gary Morrison, formerly of Craft Audio and Plinius Audio
Peter Munt of Eastern Hi-Fi
Chris Murphy of NA Distributors
Fred Muller, former music writer
John Paul, music and hi-fi writer
Paul Quilter of PQ Imports and former owner of The Listening Post
Darrell and Lorraine Ramsey, former owners of Absolute Audio and early supporters of AudioEnz
Colin Saussey, who taught me all I know about page design and typography
Bob Snow, formerly of Hi-Fi Marketing
Marc Taddei, former hi-fi writer
Charles Thomson, my first hi-fi writer and a great help
Peter Thomson, formerly of Plinius Audio
John Vivian of Shore Hi-Fi
Paul Webb of various hi-fi distributors
Michael Wong, hi-fi writer

December news
Tube your iPod!
The Fatman iTube Valve Dock is a docking
station that is compatible with all iPods
(except Shuffle).
You can control the iPod functions via the
remote control – allowing you to sit back and
relax whilst enjoying your favourite music
and movies (yes, you can watch the movies
and images on your TV too!)
The matching valve amplifier provides the classic audio characteristics of valves, improving the listening
experience and adding value to your iPod system. The amplifier can also take alternative sound sources to
allow for more audio options as well as a video output to connect video enabled iPods to your TV!
The Fatman iTube valve amp with iPod docking station is $1299.
For your nearest Fatman dealer
Linn’s return to stereo Majik
The new MAJIK System is a dedicated
music component system developed from
more than 30 years of Linn’s experience in
designing specialist components to recreate
the emotion of a live performance from vinyl
and CD recordings.
The MAJIK System comprises the MAIK
CDplayer, MAJIK KONTROL pre-amplifier
and MAJIK 2100 power amplifier. Like all
Linn systems, MAJIK is modular,
expandable and upgradeable, meaning
performance can be further improved over
a lifetime through a series of simple upgrade
steps.
With a configurable phono-stage the MAJIK
KONTROL can be the perfect partner for a
turntable, helping to rediscover cherished

music on vinyl recordings. It is also multi-room enabled, allowing owners to enjoy music throughout a home
as part of a Linn KNEKT multi-room
system.
For your nearest Linn dealer
Creek’s destiny
New Zealand Creek Distributor Sonarlex
have introduced the new Creek Destiny range of Hi-Fi electronics, consisting of the Destiny Integrated
Amplifier and the accompanying compact disc player.
Over the last few years Mike Creek became eager to widen the appeal of his products by introducing a more
up-market flagship range. Serious thought was given to the rigours of designing an exclusive and exacting
range of products such that he realised that the best way to do it successfully was to first get together an
enviable design team - this range could not evolve without a concentrated team effort.
The Destiny product range was initially conceived to replace the renowned Creek 53 series, but during the
design stage, such were the efforts made by the Creek team to improve the already exceptional 5350SE and
CD53 that, in reality, a very different product emerged.
The Destiny integrated amplifier is $3690, while the Destiny CD Player is $3990.
Creek’s entry
For the entry-level hi-fi market, Creek introduce the EVO range for the more cost conscious audiophile. The
EVO range consists of the EVO integrated and compact disc player. The EVO range is priced under $1800.
DNM cables
UK-based DNM cables are now available in New Zealand and Australia. A dealer network for the range is
currently set up and enquiries may be sent to the distributor.
Denon’s new hi-fi separates
Like the rest of the AE series, the 500AE are
well built with solid alloy fascias and
heavyweight power supplies. The
DCD-500AE CD player includes a
24-bit/192kHz DAC fr cleaner, more
detailed sound. Carefully designed
construction and strictly selected parts
quality preserve audio signal and deliver
high quality sound.
The PMA-500AE integrated amplifier is
fully discrete, with a high current circuit. Source Direct allows the audio signal to bypass the tone control
circuits and maintain optimum sound transparency. A moving magnet phono equaliser is included.
Available in black or silver, the DCD-500AE is $599 and the PMA-500AE is $699.
For your nearest Denon dealer
A little bit of Magico!
PQ Imports have been appointed as

Australasian distributors for the Magico
range of speakers. These are handcrafted
using exotic materials in the USA by
perfectionist designer Alon Wolf.
The entry level model is the Mini. From the
dedicated stands which weigh over 50 kilos
each, machined from 6061T-6 aircraft
grade alloy accented with laminated Baltic
birch, to the vapour deposited titanium,
constrained-layer sandwich woofer cone
and its massive neodymium magnet
assembly, these speakers ooze quality. The
7” woofer is matched by the top-of-the-line
ScanSpeak Revelator 1” ring radiator
tweeter. The crossovers are made in Cologne Germany by the Raimund Mundorf company, acclaimed for
their M-Cap Supreme silver/gold capacitors.
The cabinets themselves are made from laminations of Baltic Birch ply with solid 6061T-6 alloy front and
rear panels. No cost has been spared in materials or engineering. The aesthetics are fresh and stylish, but at
the same time entirely functional. The Magico Mini retails for $45,000.
For your nearest Magico dealer
Eastern Hi-Fi launch web site
One of New Zealand’s largest hi-fi retailers, Eastern Hi-Fi, have launched a web site for their chain of
stores. The new website, created by CactusWeb, is still being “stocked” with all of Eastern Hi-Fi’s product
lines.
NAD’s new amp
NAD have released the latest version of their entry level amplifier, the C325BEE. Building upon the existing
320 amplifier, the 325 adds an MP3-type socket to allow for related device connectivity. The C325BEE
offers 2 x 50W Minimum Continuous Power into 4 or 8 ohms, a high current Holmgren toroidal power
transformer, all discrete circuitry, short signal path from input to output, a headphone output and a full
system remote control. The NAD C325BEE retails for $699.
Receiving loud and clear from Denon
Two stereo receivers are brand new from
Denon. The smaller DRA-500AE combines
a 75 watt stereo amplifier and a AM/FM
tuner with 56 presets. iPod playback and
control are available via the optional
ASD-1R. The DRA-500AE is available in
black or premium silver for $799.
The bigger DRA-700AE receiver boasts 80 watts per channel and includes both A and B speaker switching.
The 700 includes a video select feature tha lets you control a variety of video and audio signals, a set of
pre-out jacks that le you listen to music in a second zone and supports room-to-room remote control.

iPod playback and control is supported when the ASD-1R (sold separately) is connected to the dedicated
control terminal. The iPod can also be controlled via the supplied remote.
The DRA-700AE has two-source/three-zone capability. Dedicated multi-room outputs, with volume level
adjustment via remote control, are provided for connection to powered speakers or additional amplifiers in
zone two or three.
The DRA-700AE is available in black or premium silver and retails for $999.
For your nearest Denon dealer
X-rated Musical Fidelity
Musical Fidelity’s new X-Series includes a
CD player, an amplifier and an external
power supply. The X-Ray CD player is said
to have a clear, sweet, grain-free sound. The
X-Ray upsamples CD signals to
24-bit/192kHz and sells for $2399.
The X-T100 hybrid amplifier includes a
tube preamp stage with three line-level
inputs and a moving magnet phono stage, matched to a 70 watt power amp. The X-T100 sells for $2999.
The Triple-X power supply unit is required to power either X-Series unit. By keeping transformers away
from other components, a lower noise floor is achieved. The Triple-X sells for $899.
For your nearest Musical Fidelity dealer
RTI remotely controlled
Sound Group Holdings have just been appointed the NZ agent for RTI remote control products. Offering a
range of in-wall keypads plus IR/RF handheld & table-top remote controls (incl a waterproof model).
Pricing is from $999.00 upwards.
Niles adds products
The Niles PS6Si is sure to be subject of
many jokes, but it is a serious and useful
products. It looks like a planter and will
accommodate live plants. But it is also an
outdoor speaker. The 165mm dual voice coil
injection-molded TCC (talc, carbon, and
ceramic) filled polypropylene woofer is
matched with dual 25mm fluid-cooled
tri-laminate Teteron tweeters mounted at a
custom angle for optimum dispersion.
Separate left and right channel inputs
provide stereo sound in a single loudspeaker
projecting quality stereo sound over a larger
area than conventional loudspeakers. The
weatherproof design ensures performance

outdoors. The Niles PS6Si retails for $999.
Niles CAT-5 baluns are a range of baluns
capable of extending almost any Audio and
Video signal over standard CAT-5 cable, up
to 300m. Sold as pairs, prices range from $175 up to $399.
Niles EVC100 electronic volume control is a remote-controlled in-wall volume control with a built-in IR
sensor. The EVC100 is finished in white.
For your nearest Niles dealer
Linn reveals the Exotik preamplifier
The new Exotik is a multi-channel digital and analogue pre-amplifier, offering eight channels of high
performance audio for a range of audio applications. It combines all of the features of the analogue-only
variant which it now succeeds, with all the added benefits of digital processing.
First and foremost, the new Exotik is a stereo pre-amplifier which will deliver improved audio performance
from your analogue stereo sources, such as CD player, turntable, etc. However, the new Exotik also brings the
added value of delivering audiophile performance from all of your non-audiophile digital sources, such as
satellite receiver, DVD player, games console, etc. This is down to the high quality DACs at the heart of the
product, which enable greatly improved performance from any digital source connected.
The new Exotik supports all major DSP
modes, so provides a taste of surround
sound music and movies, either by using
the algorithms to decode the different
surround sound mode formats, or by
up-mixing stereo sources to surround,
without the need to purchase a separate
multi-channel source.
A high quality MM/MC phono stage has been included in the new EXOTIK for those customers who also own
a turntable and would like to connect it through their system. The phono stage is factory set to be compatible
with a moving-magnet cartridge, however, it can be easily changed to moving-coil by the retailer should the
customer require.
For your nearest Linn dealer
Linn's PocketPC remote
The Linn Kinik is a new and unique control interface for Linn Home Theatre systems that operates wirelessly
from your Pocket PC. The Kinik provides simple control of Linn Kisto and Kinos system controllers, Linn
Unidisk universal disc players, all other Linn source products (e.g. Kivor music library)and non-Linn
source products (e.g. satellite receiver). The Kinik provides instant system operation and feedback from the
comfort of your sofa
For your nearest Linn dealer
Big VTL amps are in stock
Many “backyard operators” advertise products that they have access to, but don’t have on hand. This has

prompted VTL distributor PQ Imports to point out that the top VTL amplifiers are in stock at their warehouse.
The Siegfried 800 watt monoblock amplifiers (Siegfried being the greatest hero of Germanic and
Scandinavian myth) is VTL’s reference power amplifier. The quest to make Siegfried “smart” was a major
part of the design process. VTL was committed to eliminating the continual tweaking and guesswork that
usually come with owning large tube amplifiers. Automatic self-regulation was understood to be the key to
keeping Siegfried operating at peak performance. To that end, engineers embedded a logic-controlled
automatic tube biasing circuit inside the amplifier to ensure that Siegfried is running optimally at all times.
A full range of diagnostic functions were also included to let users know which tubes need to be changed,
amplifier operating time, tube life, real-time AC voltage and more.
Siegfried’s physical package received special attention in the design process. The thick and extremely rigid
chassis (provided in a tower configuration) is clad in non-magnetic material and rests on large non-resonant
feet to banish mechanical interference. The sleek, modern appearance of Siegfried matches the cosmetics of
VTL’s TL7.5 Reference Preamplifier. A curved fascia is inset with a digital readout and three buttons. With
its subtle interplay of brushed, ribbed and polished aluminum, Siegfried has a commanding yet refined
visual presence; unmistakably a product for the most serious and discerning music lovers.
The Seigfried sells for $99,995.
The newest addition to our VTL Reference line, the S-400 Reference Stereo Amplifier adapts the Siegfried to
a single-chassis stereo design. At 400 watts per channel, the S-400 packs plenty of power for the most
demanding musical passages while retaining a remarkable ability to resolve the finest details. With the same
precision-regulated power supply and highest quality components as the monoblocks, users can expect a
fast, articulate and unusually vivid sound that comes very near to that of Siegfried. The S-400 sells for
$54,995.
To create the VTL TL-7.5 preamplifier, VTL started with a two-box design. One unit contains the multiple
regulated power supplies and audio switching controls, while the other carries only the amplified audio
signal, uncontaminated by AC line or control microprocessor noise. This “clean box/dirty box” approach,
the balanced mode of operation, and the ultra high resolution volume control all ensure an audio signal of
utmost purity, unaffected by external influences. Also fundamental to the design is its hybrid tube/solid
state circuitry. A pair of 12 AX-7 tubes provides harmonic opulence in the gain stage while a MOSFET output
stage offers high current capability with ultra-low impedance for optimal matching with any amps and
interconnects. The TL-7.5 sells for $34,995.
For your nearest VTL dealer

Event calendar
Perreaux evening at Totally Wired, Dunedin. November 17
Dunedin becomes Design Central on Saturday the 18th of November. From hardware to software, from
technology to media, from industry to fashion, a wide range of exceptional products will be presented. In the
days leading up to the Saturday there will be symposiums on design with international speakers in
collaboration with the Design Studies Department at the University of Otago and BetterByDesign,
exhibitions, forums and public events. Including a special evening on the Friday where we will showcase the
latest Perreaux products by hosting a cocktail evening and special presentation by Martin van Rooyen from
Perreaux on the design process of the new Silhouette range. If you’d like to come along to this evening,
contact Totally Wired as invitations are limited.
Date: Friday, November 17
Place: Totally Wired, The Terrace Houses - 217 Stuart Street, Dunedin
Contact: 03-4790 444
Music evening at The Listening Post, Hamilton. December 5
Come along for an evening of listening to music through some top quality equipment. Mainly a social
evening, the structure is that visitors bring along some of their own music.
Date: Tuesday, December 5 at 7.30pm
Place: The Listening Post, 657 Victoria Street, Hamilton
Contact: 07-839 0135

Panasonic PT-AX100E
By Tony Davey
December 2006
Panasonic PT-AX100E. $3499
Another year has rolled past and it is that
time again when the good folk at Panasonic
unveil another “cheap as chips” home
theatre projector. Although Panasonic now
seem old hands at the home theatre projector
scene, it has only been about five years since
their first widescreen projector was released,
the somewhat ground-breaking PT-AE100.
My how things have changed…
Technically speaking, the new PT-AX100E is
light-years ahead of their earliest model and
is actually a good step ahead of even their
most recent model, the highly regarded
PT-AE900. With a pixel count of
1280x720, this has remained unchanged
since the PT-AE500 of 2003, however what
has changed is the light output (now at a
staggering 2000 ansi lumens) and contrast
ratio (a respectable 6000:1 with auto-iris).
Often these “facts and figures” are little more
Panasonic PT-AX100 (click for larger image)
AX100 front-on (click for larger image)
than marketing hype. However the real life performance of the AX100E certainly feels close to what they
have stated. Previously you could have either high lumen (light) output at the cost of contrast (business
oriented “office” projectors) or a high contrast ratio at the cost of lumens, but not both. Well, now we have
both.
What this means in the real world is that the projector can be used in either a fully darkened room or in a
room with a fairly high amount of ambient light. It uses two pieces of technology to achieve this, a dynamic
iris (around since the PT-AE700) as well as a “light harmonizer”. The light harmonizer is a piece of absolute
genius. It detects the amount of ambient light within a room and adjusts the light output accordingly. Watch
a movie in complete darkness and it reduces light output and maximises contrast (although it is by no means
dim), open the curtains and light output is boosted (consequently there is some trade off with contrast) so
that the picture is still absolutely watchable in normal daylight conditions. There is an option to adjust the

impact or downright turn this off if you don’t like the results, however I left it in auto mode.
The AX100 carries the normal connections you would expect to find on a modern projector (component,
s-video, composite, VGA and HDMI). With Panasonic’s recent launch of their High Definition Blu-ray
player, the AX100 will also accept all current high definition signals (including 1080/24p/50p/60p),
making it directly compatible with the best HD outputs available now (although the projector accepts the
signals, the image is scaled to be displayed on the 720P panel).
Set up (as with all digital projectors I have reviewed in recent times) is a breeze, attach it to my ceiling
mount, plug in the component leads and fire the projector up. Like the AE700 and AE900 before it, the
AX100E comes equipped with both vertical and horizontal lens shift and a 1-2 times zoom lens, meaning a
100 inch image can be projected from between three and six metres away. Ceiling mounted and with my
screen about 120 inches wide, I found that I had the lens shift at about 90% of its downward capability, so if
you are planning on ceiling mounting the projector and have a high roof (or alternatively, want your screen
close to the floor), it may pay to invest in an extension pole for the projector.
The combination of the high contrast and the high lumen count really works a treat. I tested the projector
with a few old gems from my collection (namely The Rock, Gladiator and Swordfish) as well as more than an
hour or two of Hi Def gaming care of the Xbox 360.
The picture quality of the AX100 is fantastic, bright punchy images (and with the light harmonizer, this
applies to curtains open or closed), bold well saturated colours (no sign of fluorescents here) and a very
acceptable black level that still carries through nice levels of shadow detail. It was also good to see that the
smoothscreen technology had virtually no impact on sharpness and fine detail, where the image remained
sharp at all times, this was particularly evident in text (movie credits were sharp as was the HUD from the
Xbox360 games).
Usually I would hold off advising upgrading individual generations of projectors (eg from AE700 to AE900
etc) however here we have a projector that addresses some of the weaknesses of its predecessors (notably its
limited ability to operate in “light” rooms).
The AX100 is very quiet in operation, has a picture quality that would have cost double or more than the
ludicrously low price of $3499 to achieve only a few years ago, is versatile in its set up and produces a bright
punchy image even in a well light room. What else could you want in a projector?

Plinius Koru
By Michael Wong
December 2006
Plinius Koru phono preamplifier. $3250
From their earliest days, a great sounding
phono stage has been an integral part of a
Plinius preamplifier. Classics like the
original Plinius II, the Mark Levinson-esque
mono preamplifiers, the 2.4 and M12 all
featured fine sounding phono stages.
Phono duo
In 1996 Plinius released not one but two
separate phono stages, the affordable Jarrah
and the no-compromise M14. These
preceded the new M16 preamplifier which
was released as either a line input only
preamplifier or with an onboard phono
stage.
Together the Jarrah and M14 set the
performance benchmarks for both
affordable (sub-$1000) and expensive
($3000+) New Zealand made phono stages.
This double act proved to be compatible with
a wide range of amplifiers and continued
largely unchanged for most of their
impressive ten year production run. As
testament to the Jarrah’s musicality, it is the
phono stage owned by three AudioEnz
writers, including yours truly.
And how better to test Plinius’ claim that the
Koru is a worthy successor to the Jarrah than
with the ménage a trois of phono stages I had
on hand: Jarrah, M14 and Koru.
into the new
Plinius Koru phono preamplifier (click for larger image)
Rear panel of the Koru (click for larger image)

The Koru is the first model to feature substantial input from the new European distribution team. It uses a
slimmed down version of the now familiar
(and much admired) Ross Stevens curved
design architecture. Dampening material is
now applied to the lid, making it rattle-free.
A sophisticated power supply and audio
circuitry reside on the same chassis but are
physically separated, reducing noise,
electrical interference and lending the Koru
a unique look.
The fascia is bare save for the Plinius logo
and a blue status LED. Around the back is
where all the action is.
The Jarrah’s slightly awkward to get to
Inside the Koru (click for larger image)
adjustments have evolved into a simplified set of DIP switches externally accessible on the rear panel.
Separate banks of DIP switches for each channel have been replaced by a single bank for both channels.
Four gain options; 50dB, 56dB, 60dB, 66dB offer greater user flexibility. Cartridge loading options have
been reduced from the Jarrah’s bewildering 32 settings (did anyone really need such incremental loading
e.g. 7.4, 7.5, 7.6, 7.7 ohms?). Now we have a much more sensible choice (22, 47, 100, 220, 1k, 22k, 47k),
with two settings for capacitance, 100 or 570pF.
Good quality gold plated RCA’s are fitted for single-ended input and output duties. Although the circuit is
not fully balanced, XLR’s allow for the use of balanced cables. A standard IEC socket and rear mounted
mains switch are fitted.
Old and new
The Jarrah recreated music in big, bold strokes, full of dynamics and energy that made music fun to listen to.
The M14 was even better, having a more sophisticated sound with greater detail, transparency, immediacy
and awesome wall-bending bass.
The Koru doesn’t sound like these older models.
With the new physical aesthetic comes a new sonic aesthetic. Where the Jarrah and M14 drew the ear in with
great rhythmic drive, underpinned by powerful bass (and a touch of bloom adding extra life), the Koru
directs the listener away from the bass, towards the midrange and highs.
The sound of the Koru is very clean, emerging from a curtain of such pure inky blackness that the Jarrah’s
silence appears slightly grey. The presentation is a little more forward, with greater dimensionality and
immediacy, on a huge soundstage that expands well beyond the speaker’s boundaries. Transparency is quite
remarkable, allowing the listener to see further into the recording. Tonally the Koru is seamless from top to
bottom with a leaner, lighter touch than the slightly dark balance of it’s predecessors.
Dynamics are explosive with lightning fast transient response, an area where more modern phono stages
were leaving the Jarrah behind. The Koru has a sense of absolute control over every aspect of music; the
notes, the spaces between and the acoustic environment.
The extra transparency, neutrality and dynamics brings the Koru right up to almost-M14 levels of
performance, leaving the Jarrah sounding a bit opaque and fuzzy.

Drawbacks are few and minor. Whilst the new found neutrality is appreciated, on occasion it can sound a
little too calculating, slightly mechanical, a bit transistory in nature. The fast transient response concentrates
on the initial impact, without fully developing the harmonic follow-up. Coupled with the afore mentioned
coolness, the culmination is that the Koru is more mature sounding than the Jarrah without quite the same
level of drive or sense of fun.
The final scorecard has the Koru excelling at most of the traditional audiophile benchmarks, missing out on
just a little drive and fun, two areas where the Jarrah and especially the M14 hold a slim advantage. It’s
overall performance surpasses the Jarrah and gets very close to the M14, at considerably lower cost.
While the Koru is much more expensive than the Jarrah, think of it as not as a direct replacement but as
bridging the gap between Jarrah and M14 in an affordable, modern package. Definitely a phono stage to
consider.

NAD M3
By Brent Burmester
December 2006
NAD M3 integrated amplifier. $4999
People who neither know nor care about hi-fi
know about NAD, although they may still not
care. A manufacturer renown for delivering
the real thing for rather less than the likes of
Naim or Meridian, or just about anyone else
not from Japan, NAD might never have been
quite the last word in fabulous, but you get
bang for your buck: muscle, fidelity, fun
and, until not so long ago, a hammerite
paint finish.
Then, a few years back, NAD got ideas above
its station, and introduced the Silverline
series of components. They were reviewed
politely in the UK press, but there seemed
always to be a unstated concern that NAD
might have been over-reaching. The faint
praise hasn't deterred the enthusiasts at
NAD, however, and they've thrown caution
to the wind by introducing the Master Series line of high-end separates.
Heavy metal
NAD's M3 amplifier (click for larger image)
Rear panel of the M3 (click for larger image)
There must be enough copper in the transformers inside the M3 integrated amp to re-roof the Beehive. I
may have lifted heavier hi-fi, but never in such a compact form. The sheer mass of the M3 instilled an
expectation of very big things to come in the sonic department.
You can see from the pictures that this is not your common or garden grey-green biscuit box. The finish is
extremely high, and clearly designed to withstand attack from depleted uranium artillery rounds. The real
proof of the high-end pudding is within, however. You already know it weighs a tonne, but just as important
is how that weight is allocated. As a dual-mono design, the M3 is really two amps (or three, if you count the
pre-amp) sitting side by side in the same casework. Power supply for each channel is independent of the
other, which should lead to very precise imaging and definition of the separate musical lines in a
composition.

Apart from all the features you'd expect of a high quality integrated amplifier, two demand a mention. Not
only can the M3 run two sets of speakers, but also they can be controlled independently of one another, via a
secondary remote control. The M3 also has tone controls, but not we know them. As well as your usual treble
and bass adjustment, there is a "spectral tilt" ability, that boosts one end of the frequency spectrum and
correspondingly flattens the other, pivoting the amplitude response like a see-saw around the midrange.
Quad used to do something like this many years ago.
Oh, before I forget, rated power is 180 watts per channel, and that's NAD watts, so you can probably add
another 50% for practical purposes.
The little things
NAD's budget amplification is often praised for its power. The M3's sheer physicality led me to expect a huge
sound, alive with energy. What I heard was a surprise. Instead of being remorselessly pummeled by an
angry steam hammer, I was treated to an extremely open, even delicate rendering of Morrissey's latest CD.
At first I was nonplussed – where was the sonic death-blow I'd anticipated?
Still, like the song goes, accentuate the positive, and there's a lot of positive, even running straight out of
the box.
Resolution is very high. Indeed I've heard this level of transparency in an amp on very few occasions, and
never for less than the asking price of the M3. Listen into your favorite albums and you’ll hear vocal
inflexions and the sounds of movements that real people in real places make – the sounds most recording
engineers don't want you to hear. Of course, indifferently engineered Top 40 stuff doesn't fare well under this
scrutiny, but sessions recorded with a dedication to getting exactly what happens in the studio or on stage
onto the tape are enhanced dramatically.
Performances are set on a strongly defined stage pushing slightly forward of the speaker plane. High
frequencies are amazingly lucid, and quite prominent through my Castles, yet not obtrusively so. By now you
may be getting the impression that the M3 is a bit of a lightweight, full of feathery finesse, but lacking body.
Once the amp had warmed up over two or three weeks of general duties, that concern quickly evaporated.
The M3 is not like it's cheaper brethren – it doesn't compensate for a relative lack of sophistication with a
steroid-enhanced presentation of your favorite rock. Instead, its enormous strength is exhibited by
incredible control. Drums are so much more believable as a result of the speed at which transient waveforms
are delivered and damped. Well, everything is. And rather than flooding your room with low frequencies,
many of them randomly generated, the M3 holds your bass drivers in a vice-like grip.
At the end of the day
With the Master Series, and especially the M3, NAD is now a full fledged contender at the other end of the
market, where price tags get a bit mental. But, just like in the budget arena, NAD has stayed true to its goal of
bringing the buyer more for less. The M3 costs serious money, but it delivers on every dollar, and remember,
these are NAD dollars, so you can probably add another 50% for practical purposes.

Cambridge Audio 840A
By Matthew Masters
December 2006
Cambridge Audio Azur 840a amplifier. $2499
In 1968 students across the world were
revolting. Rioting, that is, not being
revolting, which has never been restricted to
a specific academic year.
It was a defining moment for student politics
and the events of ’68 are still raised by
misty-eyed academics trying to put some fire
in the bellies of today’s somewhat earnest
undergraduates.
But while Paris, Berlin, London and New
York were alight with protest on an
unprecedented scale, Cambridge University
produced a very different kind of proletarian
uprising. Somebody started an amplifier
company.
True to the spirit of ’68, Cambridge Audio
has always been part of the workers’ struggle,
dedicated to providing quality audio for the
masses. But success has brought with it
aspirations that are just a little higher. And so
we welcome the positively bourgeois Azur
840A amplifier.
Controlling the means of
production
At first glance, the Azur 840A seems fairly
The Cambridge Audio 840a is available in both silver and black
(click for larger image)
Busy rear panel (click for larger image)
The 840a's remote control (click for larger image)
typical for Cambridge Audio. It’s a product of engineering rather than styling, and in the black finish I tested
is definitely not pretty.
The big display and a set of buttons arranged around its border provide distinctly undemocratic control over
the seven line inputs. Individual level trimming and naming for each input, access to multi-room

configuration and a decadent choice of personal preferences are all supported. Alas there’s no phono input,
perhaps another betrayal of those 60s roots.
The front panel also provides controls for speaker selection (two pairs can be driven), and even some subtle
tone controls. There’s also a nicely weighted volume control that produces a crescendo of clicking (as it
switches relays) every time it’s turned.
Overall the Azur 840 is a bit of a capitalist pig, weighing in at over 15kg. This is due to a vast toroidal
transformer inside, although the overall build quality is as solid as the weight suggests.
The back panel carries all the usual socketry plus a balanced input too. Whether that’s a sign of social
climbing, or gesture of solidarity with the workers of the music industry, is up to you to judge.
Rally the workers
Like most student politicians, Cambridge Audio amplifiers have always been about enthusiasm. They
weren’t always very powerful, but there was always a sense of purpose and a disturbing grasp of what really
matters.
The Azur 840, however, shows a new maturity, a remarkably grown-up performance that’s backed up by a
very confident 120 watts of power (into 8 ohms).
Starting with Leftfield (where else?) and their 1993 debut album Leftism, the Cambridge gives a fast, vast
and confident account of some demanding basslines. The real test here is Open Up, where John Lydon’s
vocals achieve a disturbing edge of cynicism that exists on a wholly different plane from the underlying bass
track. The arch revolutionary is there, but unusually he isn’t the most important part of the song.
More Lenin than McCartney
Simon Jeffes’ deceptively sparse arrangements with the Penguin Café Orchestra on the group’s
eponymous album (Virgin EEGCD11) show the Azur 840’s deft handling of complex rhythms in a different
style. The infectious, bouncy charm of the Ecstasy of Dancing Fleas is just plain fun, but it’s quiet fun,
without the need for ear-bleeding bass.
With Bernard Haitink and the Berlin Philharmonic’s Mahler 2 (Philips 475 6222), the Azur 840 had a
slightly tougher time. Although the dynamic swings and general pace of the scherzo worked well, the mid
range seemed a little congested. There was a slight flatness to the woodwind sections that contradicted the
gorgeous depth given to brass and strings. To be completely fair though, that mid-range muddle barely ever
shows itself, except with the busiest arrangements.
Overall, there’s plenty of headroom for getting loud, but there’s also a deftness that brings smaller pieces to
life. Not just detail, but every subtlety of timbre and atmosphere. Solo voices and acoustic performances in
small venues seem particularly intimate, with an almost disturbing disconnect between the room you are
sitting in and the room you are hearing.
How much power do the people really want?
So has the Cambridge abandoned its plebeian roots? In one sense, it certainly has. The Azur 840 range is the
most sophisticated and – yes – expensive equipment Cambridge Audio has ever built. But at $2,499 it’s both
reasonably accessible and truly excellent value.
Just as those student revolutionaries of ’68 have grown up to become successful pillars of the establishment,
so Cambridge Audio has come of age. Or perhaps middle-age. The Azur 840A amplifier stands as a shining

example of Champagne socialism. Power to the people.
For your nearest Cambridge Audio dealer

Private Ear: Getting started
By John Groom
December 2006
My affair with headphones began because I
needed to lose weight. I have lost the 20kg
okay, but for several hours a day the
headphones are still hanging around my
neck. There are a lot of myths about weight
loss and one is that most of us can lose
weight through moderate exercise.
GBH of the ears
The problem that I ran into - literally - was
that my programme required numerous
hours at the local gym. Usually a gym is not
a source of hi-fidelity sound and my gym is
typical. The CD source is a $50 Warehouse
DVD player. The amplification is a surround
sound amplifier pumping into plastic
two/way speakers, placed at opposite ends of a 15 metre long room. My guess is that the ‘sweet spot’ would be
out in the car park. The ‘deep bass’ switch is permanently left on. The resulting sound is below low-fi and out
the other side.
To add icing to the cake there are no original CDs available. Only compressed copies of recordings are used,
probably so that those of us who are impressed with this musical fare won’t be moved to steal the recordings.
As the recordings themselves are chosen from rhythmic but multi-miked material they tend to merge into a
garish musical wallpaper that is too demanding to ignore but too unworthy to warrant attention. Given this
setting, is easy to see why I would reach for auditory relief.
Oh for a SNAG
This is not the first time that I have sought the sanctuary of headphones. A few years ago I started my
psychology practice in a medical centre. The GP who owned the practice was also supervising extensions to
the building. The building was concrete block and required extensive digging out of the foundations. As a GP
he made a good project manager and as a project manager he would have made a better GP. I approached
him about the noise problem, as my job obviously requires a lot of careful listening. It was he who suggested
headphones, though when I suggested that he make a token drop in the rent as recognition for the noise
factor, he gave me the sort of look as though I was suggesting something lewd and illicit.

I figured I would be pushing it up hill to bill him for some decent headphones but I dutifully plodded off to
my local hi-fi store. I purchased a modest set-up with a ‘personal’ CD player and some moderate priced
closed headphones. The headphones were not particularly comfortable, gave a very ‘in the head’ sound,
probably were a poor match to the source and had zero street cred. I blushed with embarrassment when
other staff members came pounding on my office door and caught me donned out with a couple of dustbin
lids glued to my head. But they did block most of the sound. I traded them back in as soon as the renovations
were finished and began the search for a more sensitive landlord.
Flying high
My only other excursion into private listening was the result of a bit of experience with international flights.
One downside of our hobby I find is the increased sensitivity I have to unwanted sound sources. The deep
drumming bass created on a long flight can be quite tedious. This design of ‘anti noise’ headphones can be
surprisingly successful and significantly reduces fatigue. The experiment was short lived however, as they
got stolen on my second flight. I am obviously not the only one who appreciates the benefit of this approach.
On the cheap?
These examples perhaps give the impression that private listening is in fact the poor cousin of serious hi-fi
and is only to be used out of necessity, to block unwanted sound or out of consideration for others. These are
certainly some of the advantages.
I am going to go further though and suggest that headphones can in fact be comfortable, surprisingly open
sounding (with the right design) and while I am waiting for a pair that I would call the ultimate design
statement, some are quite discreet. The biggest advantage however is that the level of fidelity possible with
good headphones far exceeds what those dollars would buy with a speaker based system.
In simple terms they give a great ‘bang for your buck’. One Auckland pundit claims that his Sennheiser 600
headphones, which sell for $899, are "the best $10,000 speakers" he ever heard. I have heard systems based
on the Wilson Watt Puppies, for example, that don't resolve material as well as the best headphones.
The menu
This column has been suggested by the editor as a place to wax eloquent and opinionated about the virtues of
the headphone experience. We are hoping that you will also use the forums to stimulate more discussion. It
will include product reviews but will not just be about that. I am looking forward to exploring headphone
amps, the use of valves, website resources, cables, set-up, being “in the flow”, hearing loss and a myriad of
other minutiae which might take my fancy.
And the secret of the weight loss? Back off on the exercise and live on salad, yoghurt and fruit for a few
months. It is good both for the hearing and the waist line.
John is an executive coach and mentor who lives on the North Shore of Auckland

The Vinyl Anachronist: It was twenty
years ago today…
By Marc Phillips
December 2006
When Michael Jones informed me that this
issue was going to commemorate the
twentieth anniversary of AudioEnz, and
asked me to talk about advances and changes
in analog over the same time period, I asked
him what he thought were the most
important developments.
“That vinyl has survived it all,” was his first
reply. He followed this, of course, with the
fact that many turntables, arms, and
cartridges are still being made; that good
performance can now be had for so little
money (Pro-Ject and Rega); the general
move away from turntables with sprung
suspensions, a la AR and Linn; and the rise
of the outboard phono stage, which is the first
thing I thought of when he asked me the
same question.
Vinyl has survived it all. I think that’s the
most amazing facet of any analog discussion
in the year 2006, that we’re still spinning the
big black discs, and there’s no end in sight.
Sure, we still have to preface that statement,
as usual, by saying that LPs and turntables
and tonearms and cartridges and phono
stages are discussed on a much smaller scale
than they were twenty years ago, and the LP
is not about to dislodge the compact disc
from its perch at the top of the format
mountain any time soon. But analog fans
The Vinyl Anachronist's Michell Orbe
Rega P3 in green!

don’t need to play King of the Mountain anymore. We’re perfectly happy hanging out in one of the valleys at
the base of that mountain, where we’re
definitely living the good life.
Who could ask for anything more?
I can remember sitting in the bleachers at a
Little League baseball field in Virginia,
roughly twenty years ago, watching my
nephew play center field. (He’s well into his
thirties now, and has four kids.) In my lap I
held the brand new issue of Stereophile, its
cover sporting the new SOTA Star Sapphire
turntable, with the just-introduced SME V
tonearm. Inside, none other than J. Gordon
Holt himself proclaimed this combination to
be the pinnacle of sound reproduction, the
best he’d heard up to that point.
He had to temper his comments, of course,
against the new digital technologies that were
capturing everyone’s attention at the time.
Back then, everyone, including me, felt the
excitement of the new format. As I’ve said
before, I was the first kid on the block with a
compact disc player. I actually owned the
Sony CDP-101. Crowds of people gathered in
my bedroom to hear music emerge from
complete silence. They oohed and aahed. I
still remember the first CD I ever purchased,
Georg Solti and the Chicago Symphony
performing Prokofiev’s Romeo and Juliet on
the London label. I still have the CD, and it
still sounds nice. The CDP-101, however,
can’t make the same claim.
I still to this day remember what JGH said
about the SOTA/SME combination,
however. It haunts me to this day. He said
that most technologies are perfected just as
they become obsolete. Soon afterward, LPs
and turntables and tonearms and cartridges
were almost wiped from the face of the earth.
I refer to that period, from the late ‘80s to the
early ‘90s, as the Audio Dark Ages. The
backlash against the cold, sterile, harsh,
strident sound of early CD players hadn’t
quite gained significant momentum yet. The
VPI Scout

few who openly hated the sound of digital and still preferred analog playback were treated as kooks, heretics.
Anti-CD sentiments were few and far
between.
I've got to admit it’s getting
better
Looking back at that issue of Stereophile, I
guess the most obvious thing is that analog
playback continued to improve, which no
one expected. As nice as the SOTA Star
Sapphire was twenty years ago, and while
I’m confident it still outperforms almost
every digital playback system ever built, it
has been surpassed many times over in the
last twenty years. At the time, the SOTA
retailed for a couple of grand. In 1986, if you
had told me that not only would new
turntable production continue unabated,
but that we’d be seeing turntables such as the
US$73,000 Rockport Sirius III, or the
US$90,000 Continuum Caliburn, or the
US$125,000 Clearaudio Statement, I would
have thought you were nuts. Or, I would have
given you a great big hug.
Heck, there are tonearm cables that cost
more now than the SOTA Star Sapphire did
back then. Or record cleaning machines. Or
equipment supports. Or cartridges. Lots and
lots of cartridges. I remember when one
company, Rowland Research I think,
introduced a $2500 cartridge, and it created
a huge buzz. Now, the second-to-the-bottom
model in Koetsu’s line, the Rosewood
Standard, costs that much, and the higher
models easily cross the five-figure mark. I
can think of five or six models of cartridges
where the cost of retipping alone surpasses
the cost of the SOTA.
Continuum Caliburn
All of this is pretty academic, especially when you take twenty years’ inflation into consideration. And we all
know that when it comes to the High End, cost and quality don’t always correlate with each other. But like
Michael said, good performance can be had for so little money. That’s absolutely true when you look at
something like the Rega P3, which existed back in 1986, and is still the best-sounding turntable in its price
class, in my opinion. But I’m thinking more along the lines of some of the medium-priced turntables out
there, such as the Michell Tecnodec, the VPI Scout, the Roksan Radius5, the Rega P5, and the
Nottingham Horizon SE, all relatively new designs. I think this is becoming the most exciting area of analog,

ecause I bet every one of those relatively modest turntables would at least match the performance of that
SOTA Star Sapphire, which, forgive the redundancy, was state of the art in 1986.
They’ve been going in and out of style
Maybe the most amazing aspect, however, of analog over the last twenty years, is how little things have
changed. The great turntables of twenty years ago still, surprisingly enough, are the great turntables of today.
We can start, obviously, with the Linn Sondek LP-12, which still remains the turntable of choice for people
like Stereophile’s John Atkinson and Art Dudley. The Linn has gone through several upgrades over the
years, and it’s slightly easier to set one up now than in 1986, but for the most part the spirit of the turntable
has remained true, and it’s still a stunning achievement.
We can then move onto the Rega Planar 3, which again has gone through some refinement over the years
(which is why it’s now called the P3). It had a somewhat inauspicious start, but once Roy Gandy mounted the
first RB300 tonearm on its plain MDF plinth, it was an instant success, and it remains so today. It’s still the
only sub-US$1000 turntable I really recommend if you’re truly serious about analog.
Then there’s that SME V tonearm. Twenty years ago it was new and exciting, and cost at least as much as the
SOTA, which was unusual. Now, I own one, and it’s still considered one of the very best. These days, I prefer
the Breuer arm, which existed in a slightly different version twenty years ago, and some of the Schroders,
which didn’t. But those arms are up to fifty percent more expensive than the SME, and are just a tad better.
The SME V, for many, is still the ultimate statement in tonearms.
There are many more examples, such as the Michell Gyrodec, which has remained relatively unchanged
over the years, and a few others. Even the Star Sapphire is still in production, although I haven’t heard one
in, say, twenty years or so. But nothing speaks better of the immortality of vinyl than the continued
desirability of such classic turntables as the Garrard 301 and 401, the Thorens TD-124, the AR ES-1 and XA,
and various Duals. Cottage industries have sprung up everywhere, restoring and modifying these old
warhorses into something truly special, something that, amazingly enough, is still competitive fidelity-wise
in today’s market. If you doubt this, you need to listen to the $19,000 Shindo-modified Garrard 301.
I’d love to turn you on
Finally, that brings me to what I feel may be the most important development in analog in the last twenty
years, the emergence of stand-alone phono preamplification. I was surprised by Art Dudley’s recent
comments in Stereophile that he used to absolutely hate the concept of the outboard phono stage, that he
abhorred paying separately for something that used to be included for free. I empathize with this somewhat,
but I think the phono stage has been truly liberated. Independent power supplies notwithstanding, phono
stage technology has grown by leaps and bounds, from those monstrous efforts by Boulder and Manley and
ASR to the affordable gems from Graham Slee and Bellari.
Besides, before the outboard phono stage, we never really thought that much about that section of our
receivers and preamplifiers before. Sure, I’ve heard comments about the excellence of the phono sections of
the modest Advent 300 receiver, or that the phono stages of some McIntosh preamps weren’t quite up to the
quality of the line stage, or that the phono preamps on some of the old Scott amps were flexible and really
well designed. But now that I think of it, these are all recent discussions. Back in the day, we looked at the
phono stage as part of the whole. At least I did.
I do get excited about them now, the little black boxes (I used to call them when they first hit the market). A
couple of years ago I got to play with a few, and I was surprised at the differences between them, which were
almost as profound as the differences between cartridges. As much as I learned during that period, I find it

slightly ironic that I now use the inboard phono preamp on my Yamamoto CA-03L preamp (albeit with not
one but two outboard step-up transformers). But I still love the very idea of the separate phono preamp, even
though it confuses most analog newbies like nothing else.
When I’m sixty-four
That’s the funny thing… twenty years from now I will be sixty-four. Will I still be listening to vinyl? Will vinyl
survive MP3, and music downloading in general? Will my generation still appreciate the tactile joy of
spinning LPs? Will the succeeding generations adopt it as well, and for the same reasons, mainly ultimate
sound quality?
I genuinely hope so!
Marc Phillips has been writing about hi-fi and music under the Vinyl Anachronist banner since
1998. His earlier columns can be found on the Perfect Sound Forever website. You can discuss
vinyl with Marc at Vinylanach@aol.com

December music reviews
Audioslave: Revelations
Sony BMG
First there was Superman, then there were supermarkets and now there
are super-groups. Audioslave did well to combine talents to make a
unique entity with their first self titled album. Although they tried to
break the mould with their second album, it flopped. Revelations is
their third album and it is a return to familiar format that worked so well
the first time. The radio hit The Original Fire with it’s retro 70s feel is
great for dinosaurs like me but tracks like Revelations are more on the
mark.
Super-groups often suffer from over production and lack something
special, that spark that marks a truly super rock album, and so it is with
Revelations. Richard Nelson
Lindsey Buckingham: Under The Skin
Reprise/Warner
It seems a long time between solo Buckingham albums, but sometimes
things aren’t always as they seem. Many of the songs intended for his
next album ended up in the last Fleetwood Mac album, 2003s Say You
Will, instead. So, some three years further along, here’s Buckingham’s
first solo album since 1992s Out Of The Cradle.
This time around it’s pretty much his voice, acoustic guitars, the
occasional drum machine and lots and lots of reverb. This might suggest
a simple, “unplugged” album. But the reality is more like Buckingham’s
tracks from Mac’s Tusk, but acoustic and without the Mac rhythm
section. All songs bar two (Rolling Stones I Am Waiting and a cover of
the wonderful Donovan song To Try For The Sun) are Buckingham originals.
Buckingham is in fine voice on this CD and his guitar work, of course, is wonderful. Michael Jones
Randy Crawford & Joe Sample: Feeling Good
Universal
This is a light jazz collection of thirteen agreeable and interesting tunes.
Ms. Crawford establishes the album mood with Anthony Newley’s title

tune as a catchy samba, and later moves to a rare Billie Holiday gem
Tell Me More and More and Then Some More. Pop favourite
Everybody’s Talking and R&B standard When I Need You are
delivered “vamping in the (rhythm) pocket” style to good effect.
“A Team” accompaniment comes from guitarists Dean Parks (Thriller),
Ray Parker Jr (Raydio, Ghostbusters), and Anthony Wilson (Diana
Krall regular) along with jazz supremos, bassist Christian McBride, and
drummer Steve Gadd. But I’m somewhat disappointed by the complete lack of soloing from everybody
except Joe Sample, who gets in a few decent licks on three tunes. Otherwise, the superb ensemble plays it
perfectly by the numbers with their formidable talents, unfortunately, underutilised.
A clean and well balanced recording by engineer Al Schmidt, this will probably become a café’ music
favourite. If you like Natalie Cole and Sade slick pop-jazzy stylings, you will probably enjoy this “baby-
boomer’ grooviness. Otherwise, any Patricia Barber or Diana Krall’s DVD in Montreal for good female jazz
works. John Paul
Whirimako Black: Soul Sessions
Maimusic
From the start, as Joel Haines’ guitar elegantly explores the chord sequence of Marangai (Stormy Weather)
and Whirimako’s voice slides in, it’s ageless music that you can feel to the proverbial bones, a sound both
sumptuous and spare that’s curling round the limbs of moonlit pohutukawa. It’s a celebration of the soul of
some classic jazz songs and testament to the fluent beauty of the Maori language. Whirimako has the breadth
and span in her vocal delivery to arc through the engineered air of spaciousness that conjures a setting of late
evening palm beach or post-modern hotel atrium.
But it’s about much more than atmospheric projection. The lyrics are imbued with knowing nuances,
inflections that brood or swing or smoulder - all the more convincing given the lady’s prime role in
translating the seven songs here sung in te reo. She has Diana Krall’s smoky smoothness and Nina Simone’s
raw strength in the shadows. Underscoring this, Joel Haines’ lilting and sinewy arrangements tread the fine
line between restraint and bite, punctuated with often serenely apt solos – most notably Alan Brown’s
Hammond organ on Horia (Georgia) and Kim Paterson’s flugelhorn on Kinehunehu (Misty). Repeatedly
compelling. Paul Green
Guy Clark: Workbench Songs
Dual Tone/Shock
This is an instant candidate for album of the year. Well not quite instant
as the depth of these songs grows and sneaks up on you after repeated
listening.
If you have yet to discover the poet that sings called Guy Clark, this is as
good a place to start as any, alongside the now legendary albums Boats
To Build and Old No.1. His unhurried poignant story telling is ideally
caught in guitar and mandolin laden tracks that are simply yet
effectively crafted, and not without occasional coloration from violin,
cello and even trumpet.

Great songs, not a bad voice for a Guy in his sixties, and the picture painting lyrics are all most welcome.
Allan MacFarlane
Miles Davis: Cool & Collected
Columbia
The re-rebirth of Mr Cool, the re-cooling of Miles. Same sounds,
different packaging – this time pivoting around both classic and
contemporary connotations of the talismanic word, and the man. To
underline the re-brand ploy point, the liner booklet does a thesaurus
sting with a raft of accessory adjectives (‘timeless’, ‘aloof’, ‘dark’,
‘sensual’, ‘radical’ etc) super-imposed half-tone through a sequence of
Miles-guru-of-Cool poses: the lounge lizard, Don Juan, kingpin hipster,
and so forth.
Same sounds, but mostly maestro sounds – particularly the opening
eight from the late fifties, presided over at track one with 1959’s regally
accomplished So What. Such authoritativeness, such understanding – of the undercurrents of
dis/connection played out in the twilight zones, of the poignancy and conundrums and ironies, of being
numbed or compromised or consummate. Perhaps the defining tone comes in Bye Bye Blackbird (’56)
which, with its wry and wistful solos, seems to most truly settle at the heart of the leader’s swallow-the-pill/s
and bite-the-bullet take on life. Coltrane, of course, is crucial in the impact of the songs from this era; two
front men with an immaculate (occasionally overly so) grasp of note choice and timing, ranging together
through a landscape of slick stride or sombre discordancy. In contrast, some of the handful of later tunes,
such as 1984’s Time After Time, sound lightweight and diminished in purposefulness. Still, an
embarrassment of riches. Paul Green
Amos Lee: Supply and Demand
Blue Note
Fresh the success of his debut album and subsequent touring opening
for legends like Bob Dylan, Paul Simon, Merle Haggard and John Prine,
Amos Lee proves that he is way more than a one album wonder with this
superb set of new material. Very hard to classify, if you think of a mix of
James Blunt without the banal lyrics, Sam Cooke without the gospel,
and Keb’ Mo’ with more of a country tinge than a blues one and you get
the idea. What you don’t get without a good listen is the voice. A lyric
multi-octaved voice that can float as well it can punch.
While all the material on Supply and Demand is totally accessible this
is another must listen release from a major talent who is growing in
stature and maturity by the day. Take the title track and the sublime Careless and you’ll get the idea. While
the angst and the desperate days have yet to impact on his song writing there is much to admire here, all
caught in a very truthful recording. Recommended. Allan MacFarlane
Paulo Nutini: These Streets
Warner Music
My overall assessment of this debut album release from Glasgow’s 19

year old Paulo Nutini is a 6/10 - good but not great. While the album
shines in a few places, in the end I was left a little unfulfilled by ‘the
whole’.
Nutini has an expressive and interesting voice – reminding me at
different times of David Gray, James Blunt and John Mayer, but with
some unique phrasing that is all his own.
The pace of the album is generally slow/mid-tempo. Standout tracks
are the single Slow Down; Autumn - mournful and full of feeling; the
more upbeat New Shoes and These Streets which tells the story of how it feels to be away from home in the
big smoke of London –
Cross the border, into the big bad world
Where it takes you ‘bout an hour just to cross the road
Just to stumble across another poor old soul
From the dreary old lanes to the high street madness
There is nothing offensive about the album, but neither is there anything particularly memorable. It’s one of
those albums that you enjoy well enough when it’s on, but as soon as it’s finished, it’s difficult to remember
too much about it.
P.S. At the end of the album is a hidden track – an alternative mix of Slow Down which sounds like it might
be a demo version. I actually preferred this slightly rougher and grittier version to that on the main album,
which sounded smoother and slightly sanitized. Perhaps a bit more of this roughness would have endeared
Mr. Nutini to me more! Douglas Lang
Tom Petty: Highway Companion
American Recordings
Some CDs just don’t gel at first and so it was with Tom Petty’s new album.
But sometimes persistence rewards and I found the more I listened the
more it drew me in. Highway Companion is a surprisingly eclectic
collection of songs that repay persistance in spades. Saving Grace
opens the album in typical folk-rock style. Next is the ballad Square
One which is followed by the toe tapping Flirting with Time. Other
tracks like Turn this Car Around bounce and rumble and Night Driver
flows like honey.
What brings the songs together is the theme of travelling. Play it in your
car and before long you will be singing along. Jeff Lynne’s production
ensures that it also sounds good on the home stereo and his influence can be felt through the album.
Thankfully he resisted the urge to over produce the album and the songs breathe and stretch nicely.
This is a lighter album than Tom Petty’s earlier work but don’t let that stop you from throwing a copy in the
car. You will be rewarded. Richard Nelson
Madeleine Peyroux: Half the Perfect World
Rounder

The debut album Dreamland introduced us all to a major new talent.
The long-awaited second album Careless Love was a triumph but here
with Half The Perfect World we have the definitive must have work
from this subtlety marketed yet major talent.
This release finds this gifted vocalist delving into a personal collection of
fine tunes that she has a clear deep personal empathy with. Truly
inspirational offerings such as Serge Gainsbourg's La Javanaise and
Joni Mitchell's River make this an instant classic of the blues/jazz
smokestress genre and with the expert production of Larry Klein once
more driving the desk duties, a sonic delight in all ways. Allan
MacFarlane
Mark Sholtez: Real Street
Verve/Universal
Verve jazz label supremo Tommy Lipuma saw something in the music
of Ocker Mark Sholtez, flew him to New York, teamed him with some
serious jazzers and produced this lovely album.
Portrayed on the CD artwork as a psuedo early Sinatra, Sholtez’s plesent
voice wraps itself around his own songs (11 of the 12 are self-penned).
And let’s all be thankful that we don’t have another crooner having yet
another go at the “standards” instead of producing original music (can
you hear me, Ms Krall?). The uptempo opening track, Love Me For The
Cool, is delightfully boastful: “if I don’t do the things like the man of your
dreams, baby what you gotta do is love me for the cool.” A cover of the
U2 song, All I Want Is You, follows the beautiful ballad If You Were A Song.
Musicians inclue Rob Mounsey on piano and keyboard, Lewis Nash on drums and the wonderful Christian
McBride on bass.
This album seems to be aimed at the “jazz light” market in the USA. Curiously, it’s not on Verve’s web site,
which suggests the company is seeing how the album is received south of the equator before putting a big
push behind it.
But don’t let that stop you. This is a finely crafted album that you can buy now. Michael Jones
The Veils: Nux Vomica
Rough Trade
The Veils are a New Zealand band that seems to spend most of their
time in the UK these days. The band broke up after their debut album
The Runaway Found, before reforming with a new line-up in 2005
after vocalist and songwriter Finn Andrews went looking for some new
band members in former high school classmates Liam Gerrard
(keyboards) and Sophia Burn (bass).
Nux Vomica is often intense, sometimes intimate. Lead singer Andrews
has a reputation as an emotional live performer, and you get a sense of

this on tracks like the opener Not Yet which lopes along pleasantly for a couple of minutes before getting
altogether darker and ‘bigger’ in its second half. This track and Calliope!
which follows it have a bit of a Smiths feel to them.
As a contrast, on Jesus for the Jugular, Andrews comes on like a crazed Tom Waits/Nick Cave, complete
with honky tonk style piano and ponderous drums and bass. Not a particularly easy listen and not one to play
at a party, unless you’re looking to chase people away home at the end of the night!
Other influences that appear on a varied and interesting album are Jeff Buckley on the final track Home
Where We all Live, David Bowie on (the very Man Who Sold the World-ish) One Night on Earth and
Transformer-era Lou Reed on Under the Folding Branches (one of my personal faves – simple but
effective). This track is followed by the album’s title track which is a powerful mix of emotional vocals and
drum/guitar interplay which builds and builds to a screaming crescendo – great stuff!
Based on this album, The Veils will definitely be on my list of bands to check out at next January’s Big Day
Out in Auckland – particularly to see how Andrews comes across live. If he’s on form I suspect the Veils show
could be one of the standouts. Douglas Lang
Mozart: Operatic Arias
Archiv Produktion
Magdalena Kozená (mezzo-soprano); Jos van Immerseel (fortepiano); Orchestra of the Age of
Enlightenment conducted by Sir Simon Rattle
Born in the Czech city of Brno in 1973, Magdalena Kožená has within
just a few years rocketed to international stardom and achieved
extraordinary critical acclaim. She has appeared in most of the world's
musical capitals - in concert, recital and opera - and her recordings
have won numerous prizes. In 2004, she was named Gramophone's
“Artist of the Year".
This recital showcases both the familiar and the not so every day aspects
of Mozart’s unparalleled genius. Rattle is not the first choice of Mozart
conductor’s and sadly, for some ears, the Orchestra of Enlightenment is
the ensemble of choice over Rattle’s normal band, the Berlin
Philharmonic.
I have found this highly acclaimed disc to be a bit of a mixed bag. Some tracks are simply miraculous, others
gratingly edgy and just a tad too closely miked. Not in doubt is the virtuosity of all the performers, the
thorough preparation and the empathy that the two principals clearly enjoy – they are partners in the
romantic sense as well.
Overall a disc that will undoubtedly secure further accolades for Kozená, though I personally remain
unconvinced that the timbre of the voice as recorded here is always welcome to these ears. Allan
MacFarlane
Scelsi: Natura Renovatur
ECM New Series
Cellist: Frances-Marie Uiti. Munich Chamber Orchestra conducted by Christoph Poppen
Scelsi (1905-1988) was an Italian composer working in a Modernist

style and maybe this, plus his own heremetical way of life, means that
he and his music are not widely known outside of avant garde musical
circles. As far as I can perceive he works with a restricted range of
intervals and relies on subtle changes of motifs but without the
mechanical style of the Minimalists.
The music of the works for multiple strings seems to consist of clouds of
notes that change in density, pitch and volume throughout their
duration. Ave Maria (which is placed twice on the CD) for solo cello can
seem on first hearing to be a bit pretentious in its simplicity but it does
grow on you with repeated hearings. Ygghur is a more extended piece in which the cellist uses two bows (this
technique being a speciality of this soloist) to turn her instrument into a multiphonic one.
I enjoyed this CD more than I expected to, having tried a CD of Scelsi several years ago only to find the music
impenetrable. However you do have to be in a very calm, unhurried state of mind for the music to enchant
one. Maybe this is not surprising since I found out that the composer had adopted and was very involved with
Eastern religious ideas. The engineering seems fine although the music itself does not demand a spectacular
stereo sound. Russell Finnemore
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