Jim G, Ottawa, November 24, 2011
Jean,
This feedback is somewhat overdue but I wanted to be sure of what I was hearing and writing about. As well, your Reference Lenco is in a new system that required breaking in and fine tuning. A description of this system is provided in order to provide some context for my remarks. This system comprises a Wyetech Topaz amp, (Audio Note transformers, NOS GE 211 tubes, teflon caps and all current upgrades); Wyetech Opal pre-amp (Teflon caps); Wyetech Ruby phono pre-amp; Coincident Super Victory II speakers; your latest Reference with a Graham Phantom II/Grado Statement arm and cartridge; Adona Reference series amp stand and audio rack, and a Pure Power regenerator. The system is in a purpose built room, optimized for audio. All of this to say the system is capable of very high resolution and more importantly, is very musical. I have owned a serious music system since the mid 1970’s and have owned a number of tables starting with a modest AR, followed by an Ariston RD11/Stax arm; VPI Super Scoutmaster and finally a Nantais Reference Lenco. I have had a serious vinyl habit since the late 60s with a blues and jazz focus. In the late 70s and early 80’s, with a partner, I promoted (in a local club) blues acts from Chicago, New Orleans, Texas and the West Coast and for many years attended blues and jazz festivals in Chicago, New Orleans, San Francisco and Ottawa – I know what well played and produced live music sounds like.
The Nantais Reference was completed in February 2011 and included the TJN Mod. The system at this point in time was very good (vastly superior to the VPI) with seemingly no glaring weaknesses. Next up (October 2011) was the installation of the Direct Coupling Slider Mechanism, the Reinforcement Ring for Main Bearing and improvements to both the bearing and motor. Immediately prior to this mod, I listened to (amongst other LPs) Muddy Waters’ Folk Singer (45 rpm) – the level of detail, soundstage and presence was outstanding. Given where the system was at, I had a difficult time believing that the latest modifications would offer improvements that would be justified by even this modest level of expenditure. I was wrong! Changing speeds is no longer a trial and error procedure. The sound is more relaxed while offering increased detail retrieval (this seems like it should be a contradiction); bass is extended and more controlled; instruments are more precisely positioned in the soundstage, which itself is deeper; and instrumentation and vocals are more natural that is, closer to what I have heard in live performances. Most astonishing, these improvements are not subtle and are easily heard listening to a wide variety of jazz, blues and world music performances that include such audiophile favorites as the 45 rpm versions Harry Belafonte’s ‘Live at Massey Hall’; Jenifer Warne’s ‘Famous Blue Raincoat; Hugh Masekela’s ‘Hope’; Tusoyshi Yamamoto’s ‘Midnight Sugar’. I could go on and on because the Reference has brought my system to such a level, that all I want to do is re-listen to performances for which I now have a new found level of appreciation.
THANK YOU Jean!!!