FALL	2000

New vs. Used -
Considerations when purchasing equipment

Thanks mostly to the Internet, the market for used audio/video equipment has burgeoned in the last few years, with dozens of Sites offering used gear for sale. As with any choice one makes, the decision whether to buy new or used gear is a complex one that should be fully understood, as there are both benefits and drawbacks to each alternative. This article seeks to inform and will discuss the issues so that you can make an educated choice. I sell both new and used equipment, so I don’t have an axe to grind either way. I seek to inform my clients so that the ownership experience will be an enjoyable one.

I entered the audio business as a young lad in 1972 (I’m dating myself here!). Since then, I’ve seen allot of used gear come though my doors, and I’ve had countless conversations with people who have made purchases – many are satisfied, some are not. I hope the following information will give you some insight into the issue of new vs. used equipment purchases, and help you to make the decision that is right for you.

Many of us simply have a preference for new or used, one way or another, and won’t change regardless. Cars come to mind. I have had horrid luck with used cars and prefer to buy new. Since I take care of my cars, I like knowing that my vehicle has received my careful attention; an uncertainty if someone else has been behind the wheel. I also like the security of a warranty. My dad, on the other hand, likes searching out the “bargain,” and prefers to buy mostly used.

Why would a person choose to purchase new equipment? I think most folks find comfort in the knowledge their hands are the only ones to have touched their purchase. When you alone are the owner, you can be certain the component has been cared for. For others there is the satisfaction of having the latest state of the art equipment. All welcome the security of a factory warranty and the assistance of both dealer and manufacturer. Set-up questions are common, and the advice of an experienced professional can make the difference between satisfaction and dissatisfaction. If a problem should arise, both the dealer and manufacturer have a vested interest in making things right.

Why would a person choose to purchase used equipment? The obvious attraction for purchasing used is price. Often a used component can be had for half to two-thirds of its original retail price - a nice savings, assuming that no problems arise. Yet used gear carries a good deal more risk than new, so let’s examine the potential pitfalls.

Source: This may be the most critical issue of all, as so many of the problems we’ll discuss hinge upon the honesty of the seller. Can you trust the source? Is the supplier reputable? An individual seller has no reputation to protect, so you operate on blind trust that the fellow is honest. A dealer that has been around for any length of time has a reputation to look after, thus it is much more likely that you will get satisfaction from a deal gone bad.

Individuals are selling much of the used equipment offered. While most audiophiles are great people, there are those out there who are less than trustworthy. Once the seller has your money, it may be very difficult (or impossible) to gain satisfaction if you are unhappy with your purchase. Try to get something in writing that will clearly delineate the details of the transaction and condition of the unit. While this is no guarantee, it may be of some benefit if push comes to shove.

Warranty: Check to see if you will have a warranty. Most manufacturers do not offer a transferable warranty. Thus, if a problem does arise, it is likely that you will have to pay for repairs. A dealer will sometimes warrant that a product will operate correctly on arrival.

Condition: Unless you can personally inspect the product before you buy (and you know what to look for), you rely completely on the seller to accurately describe the piece. A photo is great, but even that may not enough to spot many problems. Condition goes beyond the external appearance, and the internal workings should be considered. Indeed, the inside of the component is often a better indicator of how the unit has been cared for than the appearance of the exterior.

Misrepresentation: Much of this happens by accident, but misinformation is commonplace. Incorrect information can be the result of ignorance or downright deception and can range from misrepresenting condition, age or functionality, to the owner simply not being very well informed about the unit. It is important to know which version or revision of a component you are purchasing to accurately determine value. In many cases, pieces cannot be upgraded to the current version, so you may want to check with the manufacturer to be sure. If there is a question, get the serial number of the unit you are considering and call the manufacturer to verify the information you’ve been given.

Financial risk: More of an issue when dealing with an individual, this can be one of the most devastating potential consequences of the transaction. More often than not, Cash On Delivery (C.O.D.) is the method of payment between individuals. This requires a level of trust on both parties - the seller doesn’t want to send the goods without assurance of being paid, the buyer doesn’t want to release payment until he has received and inspected the merchandise. The whole C.O.D. process is ripe for rip-offs. I’ve been “taken” myself, and I have spoken with countless clients that have lost huge sums to con artists. Hardly a month goes by that someone doesn’t call with a story of loss. Carriers (UPS, FedEx, etc.) no longer accept cash and absolve themselves of any liability when collecting C.O.D. payments. What you receive is whatever the buyer gives the driver, and that could be a bad check or falsified Money Order or Cashiers Check (this has happened to me). I have clients that have lost Thousands of Dollars in a single transaction because of C.O.D. transactions gone bad. All I can say is be extremely careful. If you get a bad feeling, there is probably reason for it.

Trial: As any audiophile knows, synergy between components is everything. Just because a component is well reviewed doesn’t mean it will find a happy home in your system. The only way to know if a new purchase is right for you is to listen to it in your set-up. Better dealers will arrange for a home demo to insure your satisfaction. The likelihood that you will be able to audition a used component before purchase is remote, so know your direction well before you commit to a purchase. But please, please, don’t impose upon your dealer for an audition of gear you plan on buying elsewhere.

Hidden costs: Here is one most people never think about. As an example, tubed gear. People often forget how many hours are on a set of tubes, and tubes are often more worn than their owners may think. Unless one owns a tube tester, it is impossible to know what condition they are in. Additionally, output tubes that have been repeatedly pushed beyond their limits, or incorrectly biased, age far more rapidly (or are irreparably damaged) than ones used responsibly. So, I suggest you consider the price of a new set of tubes as part of the purchase price of any used tube component. It may be a fairly small amount or, as in the case of a large amplifier, may represent a significant sum. The extra cost is worth the peace of mind that the unit isn’t being impaired by a bad set of tubes.

Wear/abuse: Generally, audiophiles take very good care of their valuable investments. Yet with even the most careful among us, accidents happen, so be sure to check the unit carefully for any damage – inside and out.

• Non-factory repairs that may be incorrectly performed or that utilize inadequate parts.

• Output tubes pushed beyond their limits may be damaged or worn out even if they have relatively low hours.

• Cables that are stressed (over flexed or have been stepped on) may have suffered internal damage to the conductors. Fragile gold plating may be worn.

• A unit that has been operated in a poorly ventilated enclosure may have been overheated, potentially damaging some components or tubes.

• Delicate bearings in tonearms and turntable motors may be compromised due to rough or improper handling.

• Internal modifications that are not disclosed.

Modifications: I suggest great caution when considering the purchase of any component that has been modified. While the mod may actually improve performance, it may severely complicate or compromise reliability and/or future service. Under the terms of most warranties, any rights are forfeited when the unit is modified. Even if the unit is out of warranty, there can be problems. The manufacturer may require the component be returned to its original status before undertaking repairs. I recall a client sending a unit in for service only to find (unknown to him) the previous owner had modified it. The manufacturer charged not only for the repair of the unit, but tacked on a healthy sum to remove the modification. Ouch!

Assistance: If you purchase a used component from an individual, you are pretty much on your own if you have questions about connection, use or adjustments. While the manufacturer may be able to provide some assistance, they are often busy helping others with warranty related issues. Dealers, of course, cannot be expected to share their time and expertise if they did not benefit from the transaction. I get half a dozen calls a week, and numerous emails on this topic. I try to be helpful, but I have to give priority to my own clients. Hopefully you will be able to find answers on your own or from the previous owner. 

Many Audiophiles are constantly upgrading their systems. Their cast-offs are often a great way to get a nice piece of equipment that would normally be beyond your budget. Yet a purchase made from an unscrupulous source can sour the fun of hi-fi. So, consider carefully and decide whether pre-owned or brand new gear will best preserve your sanity!

New Stuff

SHUNYATA: Oh, my word, Caelin Gabriel has done it again! The latest mind-bending marvel from Shunyata Research is the fabulous new Hydra “line conditioner.” I use the term, line conditioner, loosely here, because the Hydra is about as similar to other line conditioners as the Shunyata power cords are to the competition, that is, not at all. As with his other designs, Caelin seeks not to emulate existing technology, but rather seeks to redefine a genre with a new and innovative approach. So has he done with the Hydra. Seven years in the making, Hydra bears NO resemblance to other power distribution products. The design is unique and revolutionary. No expense has been spared in Hydra’s design, implementation or aesthetics. Hydra re-defines the term state-of-the-art in power distribution performance.  

Shunyata felt that, while there were a plethora of good line conditioners on the market, none were universally positive in their effect. Most were highly system dependant, working well in one system, poorly in another. Some worked well with this component, yet were mismatched with that component. Further, most listeners find that line conditioners have both positive and negative effects, none were totally satisfying. How was Caelin to achieve universality? For an explanation, let’s look to the Shunyata brochure:

“Hydra was not designed to filter power, or to act as a surge suppressor.  It adheres to two fundamental design goals: providing power distribution for multiple components, and most importantly, to achieve an unparalleled level of performance in high-end AV systems. From the first note to the last, Hydra delivers music with a previously unachievable sense of truth, purity and absolute dynamic power. Hydra operates on a completely different theory than conventional power products.  Most power line devices are designed to either impede instantaneous current flow (current limiting) or to redirect current flow (current dumping).  Several years of investigation at Shunyata Research indicates that these practices degrade dynamic reproduction and introduce subtle distortions that are all too evident when listening or viewing.  The HYDRA does not employ any conventional capacitors or current limiting devices that degrade performance. Hydra utilizes the revolutionary, patent pending Stardust technology found in PowerSnakes AC power cables.  Stardust is a proprietary compound that reduces noise through an electromagnetic coupling mechanism.  Its operation is entirely passive and does not require any physical electrical connection to the conductors.Hydra improves the effectiveness of the Stardust compound by employing a proprietary element called the ElectroMagneticLens (EML). The EML consists of a Stardust chamber with a field-shaping bus-array that polarizes the electromagnetic field, focusing high-frequency energy in a bi-polar pattern. This polarization achieves a two-fold improvement in the absolute coupling of the EM field and the Stardust compound. The result is a reduction in high frequency noise without producing the compressive side effects of conventional capacitors, transformers and chokes! The EML is electro magnetically shielded within a precision, internal aluminum chassis that is fabricated to a tolerance of less than two thousandths of an inch. Hydra employs extensive vibration dampening materials, including side panels of quarter inch natural granite and external panels of anti-resonant high-density polymers.” 

The physical description provided above doesn’t begin to do the Hyrda justice. The gleaming, mirror polished polymer top and bottom panels and solid black granite sides, are elegantly highlighted by the luxurious and exotic Purple Heart hardwood on the front panel, which has been laser engraved with the Shunyata logo. The Hydra is at home in the most sophisticated systems, both sonically and aesthetically. Ok, ok, so the thing looks cool. How does it sound? You’ve come to the right place, friends and neighbors, I am about to take you on a sonic tour. 

We have all come to expect certain characteristic improvements from line conditioners. Indeed, there have been a number introduced to the market (especially of late) that are exceptionally good. So good, that many listeners felt little more could be achieved. And yet, as current Shunyata owners are aware, their line of power cables have established a new benchmark in performance and have challenged our preconceived notions of what a power cable could do. Déjà vu, the Hydra raises the bar not one, but several notches higher.

Improved background silence, reduction of grain, improved clarity; those are the benefits we have come to expect from modern, high quality line conditioners. The Hydra does those things, in spades. But there the story just begins. As with the introduction of Shunyata AC cables, the bass in my system improved noticeably. Cleaner and more defined, with more speed and maybe a touch more weight. Added clarity in the midrange uncovered a problem I did not know existed. Repeatedly inserting and removing the Hydra revealed a midrange honk there without the Hydra, that was almost completely eliminated by its presence.

One quality, in particular, I find not only hard to describe, but unique and exceedingly desirable. In live music there is a sense that everything belongs together, the parts of puzzle mesh. Cohesion is the best term I can think of to describe it. Somehow in the process of recording and replay, these pieces get strewn asunder, and though our brains rebuild some of what is lost, the music is never whole again. Though it is hard to say that the Hydra completely restores the cohesiveness of live music, it does less, much less, to erode that quality than any other line conditioner I’ve heard. The music reproduced in my system was dramatically more organized and interconnected when served by the Hydra.

There's more. With Hydra in line, notes took on a more individualized character, one being separate from the next. An example would be strumming a chord on a guitar. Hydra separated the chord, allowing one to hear the contribution of each string. The more I listened the more I realized that this effect was the result of increased delineation of both leading a trailing edges of the dynamic envelope. The notes started and stopped more rapidly. The added background silence enhanced this effect, resulting in distinct separate notes played out against a silent backdrop.   

Sounds good, eh? Yeah, well I’m suspicious. I think there may be a sinister underlying motive here, that Hydra is part of an insidious communist plot to deplete our monetary resources, keep us from feeding and clothing our children, heating our homes and leading us into financial ruin! Resist this thing, resist! Oh, well, I’m weak… sign me up, Comrade! I’m sending the kids off to beg on the street corner while I huddle in the cold darkness of my listening room, reveling in glorious Hydra-induced rapture. Ah, life is good! Hydra - $1995.00

DUNLAVY AUDIO: Welcome the newest introduction from Dunlavy, the Cantata. Smaller than many of their speakers, the Cantata stands 52" high, and measures 12" wide and 12" deep. Featuring the same quality found in other Dunlavy designs, the Cantata yields an incredibly flat +/- 1dB frequency response while maintaining nearly perfect time, phase and pulse coherency, minimum energy storage, and the ability to reproduce square waves over a wide frequency spectrum. The Cantata utilizes a 10” carbon fiber woofer, two 6.5” bass/mids and a 1” fabric dome tweeter to achieve a frequency response of +/- 1db from 35 - 20kHz (down only 4db at 20Hz!). With sensitivity of 90db, the Cantata does not require huge amplifiers and, according to Dunlavy, can reach 106db SPL peaks with a 40-watt amplifier! $4995.00.

As with all Dunlavy designs, the Cantata utilizes drivers matched to within .25dB tolerance. Crossovers employ Hi-Q air-core inductors, precision N.I. wire wound resistors and Hi-Q polypropylene capacitors mounted on mil-spec grade fiberglass PC boards with high purity copper traces. 

If the Cantata is more speaker than your budget will tolerate, don’t worry. Every Dunlavy speaker offers a similar tonal signature, with somewhat less bass output and volume capacity as you descend in the line. Starting at just $1495.00pr, a system featuring Dunlavy can be designed around most every budget.

On another note, Dunlavy speakers have been chosen by the staff of Widescreen Review for their "Ultra-Reference" system. The phenomenal setup includes a total of five SC-V (front mains, L/R and center rear). An HRCC center takes care of the center duties and two massive Dunlavy TSW-1 subwoofers towers handle the very lowest frequencies. WSR also uses Dunlavy (SC-IV/A) speakers in their office system.

FIRST SOUND: Emmanuel Go has been quietly building superb preamplifiers since 1989. The First Sound name is not well known in the U.S., as most of his production has been scooped-up by savvy overseas buyers. Now focused on the domestic market, Emmanuel's designs have begun to garner the critical acclaim they deserve.

First Sound preamplifiers capture the essence of music. Each of these units excels in uncovering subtle detail through an absence of background pollution: grain, noise, haze, whatever you want to call it, that is missing from the sound of the First Sound preamps. With the background irritations silenced, music is left to appear in glorious relief against a noiseless backdrop.       

These preamps are built to exacting standards, utilizing top quality materials and techniques. 

* Stepped attenuators are handcrafted using beefy 25 amp switches and either Holco or Vishay resistors. 
* Each features an outboard power supply with huge capacitive storage reserves utilizing highest-grade electrolytics bypassed with MIT Multicaps.
* Chassis are made from heavy gauge steel, copper plated to MIL Spec standards, insures maximum isolation from EMI/RFI interference.

Emmanuel leaves no stone unturned in his quest for the best sound, exploring all avenues and subtle tweaks to uncover every last gram of performance possible. Each part and piece of the design is chosen based on careful listening. Even the torque used to affix the RCA connectors to the rear panel and the location of the feet under the unit were chosen for optimal performance!

Five models comprise the line ranging in price from $2795.00 to $15495.00. Each represents superb value, competing with units costing far more. Call us for more information on these wonderful preamplifiers.

MARSH SOUND DESIGN: Richard Marsh is not only an accomplished scientist (with over 23 years of service at the Lawrence Livermore National Laboratories), but is an imminent figure in audio circles. He pioneered the DC servo feedback topology in amplifier designs, and developed the capacitor technology found in many well-known brands (including Audio Research and Wilson Audio), and is responsible for the power line filtration products from MIT and Monster Cable. Mr. Marsh is a technical consultant and writer for The Absolute Sound, Stereophile and Audio Magazines. That vast wealth and depth of knowledge has been brought to bear in the design of his new line of electronics. 

Marsh Sound Design was founded with two guiding principles: 1) Build simple, reliable designs that could compete with the some of the best equipment available and 2) do so at a price that most every audiophile could afford. If the most recent review of the A400s amplifier in the Absolute Sound (August/September 2000) is any indicator, I’d say he has scored a bulls eye. 

After only a brief listen you’ll know that the Marsh gear goes far beyond the level of performance expected from moderately priced gear. The sound of the Marsh electronics is refined and dimensional, without a trace of the grain common in electronics at this price point. I was really quite taken by the ability of this gear to open up and disappear, leaving only the music behind.  

The current lineup includes:

• A200s – 100 watt per channel high current amplifier. $1295.00
• A400s – 200 watt per channel high current amplifier. $1995.00
• P2000 – Line stage preamplifier Pure class A, remote controlled. $995.00
• P2000t – Tube hybrid line stage preamplifier. $1495.00
• A very powerful set of mono amplifiers is expected late this or early next year.

So there you have it - a line of electronics that is well built, visually attractive and sounds great, and at a bargain basement price. Tip: Jump on this stuff quick before the company realizes their mistake and doubles the price!

JOLIDA: A most common request among those interested in purchasing Jolida integrated amplifiers, has been remote control. Jolida has been listening and announces the JD-1501RC (100 watts per channel) hybrid integrated amp with full remote control. The new unit sports sleek new cosmetics and silver faceplate. JD-1501A $750.00. 

The new JD-1704RC ($825.00) is a unique animal that offers three channels at 100 watts each, with the fourth channel passive. The passive channel can be used to control a two-channel amp or a subwoofer. Combine a JD-1501RC with a  JD-1704RC for a killer sounding home theater.  

To tempt you further, I’ll pass along the tidbit that Jolida is working on an 8 watt push-pull integrated using the 300B tubes. At $1500.00 this should be an interesting piece. Also in the works are full-tube mono amplifiers and full tube preamp, details to follow.

REGA: Rega has released an exceptional subwoofer. The Vulcan utilizes a very robust, long-throw 8” driver driven by a powerful internal amplifier, all designed and built for Rega by REL. The importer told me  that REL's lead designer, Phil Freeman, feels the Vulcan is the best woofer their company has built to date.  

I have been experimenting, on various systems, with the new baby, and I am impressed. The little bugger does an excellent job of integrating, is easy to set-up and move around, and is small enough to be visually unobtrusive in most rooms.  

The Vulcan goes deep, plays quite loud and produces clean, tight bass. What more could you want from a subwoofer? Ok, it’s not up to the output capability of larger woofers, say the Bag End Infrasub 18, but for the size, the Vulcan is a mighty performer. I think you’ll find it more than adequate for most music systems, and if it isn’t, get two! $1295.00.

SILVERSMITH AUDIO: The new cables from designer Jeffrey Smith have created quite a buzz in the audiophile community. Silversmith Audio's unique design begins with a single, ultra-thin ribbon conductor, which is custom manufactured of fine silver to a very specific geometry and temper. The manufacturer proclaims this single, solid core ribbon conductor offers numerous advantages over other cable designs, including:

· Avoids sonic degradation due to boundary discontinuities inherent in multi-strand, non-individually insulated cable geometry. Electromagnetic waves are both partially reflected and partially absorbed when incident upon such discontinuities

· Eliminates skin effect related time smearing in both non-individually insulated, multi-strand cable and single, solid core round cables, whose diameter is greater than the skin depth of signals in the audible frequency range

· Avoids sonically degrading interactions of multi-strand, individually insulated (Litz) cable designs, regardless of the weave or braid geometry

· Much lower internal inductance than a round conductor of equivalent gauge.

The Winter 2000 edition of Ultimate Audio proclaims: “The Silversmith experience has been an ear opener for this old cable jockey. Please make sure that you share it! If nothing else, it’ll reference what is possible to achieve with good cable thinking and design – and without any of those “magic” boxes attached to the conductors. Congratulations Jeff, may your presence in high-end audio enlighten many! “

I cannot begin to comment on the preceding technical design highlights, but I can tell you what I hear. In a word, captivating. The Silversmith interconnects and speaker cables transformed a very good system (with very nice cables) into a superb system. The transparency and added resolution of these cables added immensely to the enjoyment of music. Rather than just being technically better at portraying sound, the Silversmith was more competent at passing the intimacy of music.

Cheap? No, but in a really good system, worth every cent!

CARDAS: Unused RCA inputs on the back of a components (primarily preamps and integrated amps) are an open invitation to unwanted Radio Frequency Interference and Electro Magnetic Interference. RFI/EMI intrusion causes higher levels of background noise, haze and grain. For years audiophiles have employed shorting plugs or (gag!) aluminum foil, to remedy the situation. Unfortunately, many preamps do not like to have their inputs shorted, and who would want aluminum foil all over the back of their gear? What to do? Cardas to the rescue!

  Cardas RCA Caps are a beautifully made (like all Cardas products) and elegant solution to the problem. They fit over unused female RCA connectors in your system, reducing or eliminating EMI and RFI noise absorption. Unlike traditional shorting plugs, these caps do not short the inputs. This is a more stylish and probably more effective solution than shorting plugs and certainly a much more attractive alternative to wrapping the plug in aluminum foil!  Cardas RCA Caps completely cover the RCA input with a solid shield of nickel and brass to prevent both EMI and RFI from entering the chassis through the RCA. Further, the caps protect the connectors from dust and corrosion. Sets of 12 are $36.00. Cheap tweak, give them a try.

Bits

DODSON AUDIO: Ralph Dodson continues to refine his superb DA-217MKII-D D/A converter. The latest iteration features custom made Bybee Quantum Noise Filters, custom made capacitors and a circuit board made from a new dielectric material.

Sonic improvements include lower noise floor, richer harmonic detail and improved air and spatial qualities.

Existing units can be retrofitted with the Quantum Noise Filters for $380.00.

RESOLUTION AUDIO: For a long time I've admired the great sounding CD players from Resolution Audio. Their CD-50 was the source of tuneful attractions in the Merlin Suite at many a CES. The company has just released the lovely CD-55, prompting us to acquire the line. Based on reactions so far, this is a player destined to continue my infatuation!

The CD-50 was originally introduced in 1997, and remained unchanged, as the designers could find no way to better its performance - until now.

An extensive research and development project into DVD player design uncovered new parts, pieces and ideas that were appropriate for use in their CD player. When implemented, these changes produced dramatic performance improvements.  Thus, was born the CD-55.

Spinning the disc is the latest generation Phillips P-10500 CD drive mechanism, with Hall-effect motor for high reliability and long life. At the heart of the CD-55 are four Burr-Brown 1704 DACs with 24-bit resolution. Through a proprietary DSP algorithm, the audio signal is up-sampled to an incredible 705.6kHz/24 bits! The signal is then fed to an ultra-high bandwidth audio section, which employs a variable volume control in the analog domain (this feature has been one of the most widely requested additions, and allows the player to drive an amplifier directly). The CD-55 includes HDCD decoding and offers both single-ended and balanced outputs. Through either the single-ended on balanced outputs, the CD-55 outputs ample voltage to drive most amplifiers with ease. It is one of the few players I've encountered that does a great job driving an amplifier directly. Without superb sound, however, that feature would be useless. I am here to tell you; the CD-55 is an excellent CD player that is likely to have you dancing in the isles until the wee hours of the morning.

The new CD-55 CD player is quite a piece - clean and refined, dimensional and dynamic. For only $3000.00, the Resolution Audio CD-55 is one heck of a CD player, one you should surely investigate further.

REGA: Rega has announced two new CD players. The well-loved Planet established a new benchmark for performance at its price point. The all-new Planet 2000 seeks to raise the bar once again. Sporting a sexy, sleek new custom extruded aluminum skin, the Planet 2000 offers a host of new technology.

Far more than a cursory facelift, the Planet 2000 represents a complete redesign with a multitude of new advances. Features include: *New custom extruded aluminum chassis. *Rega 24 bit Sigma Delta TC40 DACs  *Larger power supply with separate supply feeding the digital section *Quality Evon brand film and non-polarized el

Rega is also introducing a high line integrated CD player, the Jupiter 2000. Before you get confused, let me explain that Rega had (and recently discontinued) a pair of separates, the Jupiter transport and Io DAC. It’s not incorrect to think of the Jupiter 2000 as a Jupiter and Io in a single chassis. For the higher price of admission you get dual differential premium DACs (Rega IC40) and a significantly upgraded power supply (double that of the Planet) with double regulation. Seven separate power supplies feed the mechanism, PLL, DAC, digital and analog sections, micro controller, display, analog amplifier and filter. $1895.00.

Analog 

LYRA: The latest phono cartridge from Lyra is the Helikon. This superb creation has created quite a firestorm of enthusiasm in the short time it has been available. One of my clients writes: "Galen: You asked for my evaluation of the Helikon after it has been broken in. I don't need to wait for any break-in, if indeed there will be one. The cartridge is incredible, right out of the box. It has the most dimensionality and "you are there-ness" of any cartridge I have owned, including top-of-the-line Koetsu's, the Evolve 99, and that $10,000 job so beloved by Harry Pearson (at least a few months ago). Nothing more to say, except that it has given me the most pleasurable 2 hours of listening I can recall". Al Z

The Factory describes the new groove-walker thusly: “The Lyra Helikon is the first cartridge of Scan-Tech's fourth-generation design architecture. The most notable advance is in the elimination of as much conductive material as possible from the vicinity of the generator and gap. This design allows a more useable output level while maintaining the accurate reproduction of atmosphere, musical timbre and detail that has become the hallmark of all Lyra phono cartridges.”

I’ve been listening to the Helikon here for a couple of weeks now and must admit my addiction, immediately taken with its clarity and resolution, its speed and openness, and wonderful dimensionality. As a testament to the integrity of the soundstage, I measured over 40db of channel separation on the Helikon, making it among the best I’ve seen (channel separation is the primary factor determining stage width and separation). I’ve sold a number of these new cartridges and purchasers have been thrilled with their acquisition, I think you would be too. The Helikon is priced at $2495.00, only $1995.00 if you have a trade.

BENZ MICRO: Over the last year, Benz has been refining, improving and upgrading their range of cartridges. The number of improvement now justifies a new designation and all cartridges now get Series 2 tags added to the names. The upgrades are many and varied; let’s have a look at a few of the highlights:

• Increased magnet field strength through the use of exotic materials – neodymium, boron and iron.
• The more powerful magnets allowed Benz to markedly reduce coil size, dramatically reducing mass by up to 30- 50%! Lower mass coils have resulted in better transparency and speed.
• New rear pole piece increases generator efficiency by up to 20% and allows a more precise tuning of tension, resulting in increased channel separation for improved soundstaging.
• Mirror-polished styli supplied by Fritz Geiger of Switzerland.