Brazcole, not too many of us read Portuguese. . . that means that not only we can't read the Andrette review, but we do not even know how to subscribe to the web site. Could you please create a Google translation of the review, then paste the translated text to this thread? Thanks, Guido |
Thank you Brazcole for the link to the review. I am enjoying every minute of music from my Criterion, which at about 700 hours seems to me fully broken in. Among other things, the Criterion has added significant authority to my system. As I mentioned on Positive Feedback Online in my review of the Furutech Evolution II wires, the only negative observation that I could make about my JRDG Capri was that the bass, while quite extended and tuneful, suffered of a certain diaphanous lightness. . . If you listened to Edgar Meyer playing the cello Bach suites on his double bass. you will know what I am talking about.
Criterion among other things addresses this particular issue: resulting bass is tuneful and extended for sure, but has also the correct dark timbre, and transient authority is delightfully satisfying. For my Furutech Evo II review, see:
http://positive-feedback.com/Issue45/furutech.htm
Guido
|
I bought today the Áudio & Vídeo magazine with the Criterion's review from Fernando Andrette. He had a Coherence for 8 years, he still likes JRDG devices, and said that love to review the Criterion to compare with his old pre-amplifier, as I said above.
In his opinion the Criterion keep the wonderfull sound of the Coherence with a STUNNING improvement. After the reviews, he always gives notes ( 1 to 10 ) about specifics itens. The maximum a device can rich is 80. The Criterion rich 81,5 because he gives 3 notes 10,5: for Sound Stage, for Dinamic and for Transientes ( I don't know this name in English).
You can go to www.clubedoaudio.com.br to see this review in the home page, but you need to apply to read it. Anyway, it's in Portuguese.
I'd like, any day, of course, read a full review for the Criterion from Giodocorona, another expert in audio, to compare with Fernando Andrette's review.
Very good, Guidocorona, that you are back in home, because now you're close to your set up.
Let's listen to music !! |
|
Very simple. . . Austin is a place of sudden and potentially violent thunderstorms. . . a power surge into the system would have been a rather expensive proposition. I always disconnect the system when I leave town. G. |
Guido, I am wondering why you didn't leave it running while you were gone for more breakin time? |
All, after 2 weeks of travel to Ithaca (NY) and Vancouver (Canada) I am back home in Austin. During this time the system was turned off and totally disconnected from the AC outlet.
The system has now just been reconnected and is back online. Criterion is doing some remedial break-in: sitting on the Appogg platform, fed music from my ancient NAD tuner through a transformer-based RCA/balanced adapter designed by Austin audiogoner Lee Roitberg ([lee_roitberg@hotmail.com]
), and I expect that it should have mostly recovered from its offline vacation by mid week for some good listening. |
Husk, I believe the list price of Criterion is approximately $18.5K. You should check with a JRDG dealer or with the JRDG factory at (719-473-1181 to confirm.
The sonic difference between AC and battery operation is subtle but discernable, at least in the moderately dirty Austin power grid. Under battery, there is an enhancement of depth, a sence of increased presence of the recording venue, transparency, and low level detail.
The remote control layout is remarkably ergonomic. Even I managed to learn it by touch alone. . . and I find operations on most remote control obscure at best. The remote itself appears to be milled from a aircraft grade Aluminum billet and is finished with the typical diamond-cut JRDG pattern. The design is somewhat retro. . . reminds me of 1970s Danish or Italian styling. . . a mixture of angular planes and curved surfaces. Buttons are small but with an excellent tactile feel, and layout is very logical.
Guido |
Guido, Can you comment on how you like the remote and on the diff. between listening with and without using the battery? Also, what is the retail price? |
Hi Claude, the JRDG 312 is an amazing amp. . . I have not compared it side by side with 501 monos with PC-1s, so I can't really comment on differences.
I am no longer using Cardas Golden Ref speaker wires and power cords. I am now using Furutech Evolution II wires throughout the system. . . Extremely linear, quite extended, and no emphasis or trofs that I can tell. . . and very graceful treble. |
Hi Guido,
thank's for the news. Are you still using Cardas Golden Ref. cables?
I heard for first time yesterday the JR 312. I had the impression it's quite different to the 501 + PC1 but as it was not my system it's nothing more than an impression: very sweet and warm sound, has made Avalon's Ascendant sound like I have never heard them before, I didn't knew they could produce such a bass. Transfiguracion of these loudspeakers. With Amati Anniversary quite good too.
Regards |
You might consider trying Mystery Feet from Marigo. They made a very significant improvement in my system (detail, resolution, lack of distortion).
Plus, they come with a 30-day free trial period. |
Here is the Appogg priceing/eCommerce page:
http://appoggsystems.com/purchase/index.php |
Hi Dave, seems Appogg prices will be $850 to $900 per unit, depending on size. Guido |
Guido, the Appogg reminds me very much of the HRS M3 in construction. They only have pictures on their site far, so it's hard to know if there are physical differences.
Have you seen any pricing yet?
Dave |
A note I just received from a friend reminded me that it's time to post an update on the Criterion's break in process. I just checked my spreadsheet, and it appears that I have now reached approximately 510 hours of music making on the pre.
With the premise that I'll never be caught dead saying nonsense such as "Capri sounds broken by comparison"., Criterion is a different experience all together. . . The general effect is not so much of you having a 'better' view into a venue, but of the venue stage becoming an extension of your listening room starting with the front of the speakers. . . The effect is truly uncanny. The staging and the solidity of the instrument images is magnificent, including pipe organ recordings, where the stage has been usually somewhat flat in my prior experience with most pres.
The overall impression is now of an extremely expansive sound with great ease, combined with a degree of detail that I am not accustomed to on my own system. This was particularly apparent on my (1960s) recording of J. S. Bach's flute sonatas performed by Jean-pierre rampal and Traver Pinnock. As you may know, one of the hallmarks of Rampal's playing is of a certain generalized breathiness. . . the breathiness is certainly still there, but it has now resolved itself into several components. . . his of air from the player's upper lip, intermodulated high pitch narrow band warble probably coming from the outer sides of the embochure, and rush of air from inside the flute's pipe. . . and more breathing of the player. . . which sounds like the breathing of a young man. And it is ever easier than before to follow the various contrapuntal voices in the harpsichord part, while the cello basso continuo is ever so much clearer.
Listening to the Goldberg variations played by Glenn Gould is a real treat, if you do not mind is impromptu singing-along, which is, whether we like it or not, more in evidence than before. What I found that now I can even hear some very minor flaws in the performance that were masked before.
I have been asked if the Criterion has authority and good bass definition. . . yes, definitely for both. The bass is extremely extended, and seems to have reabsorbed some minor humps and trofs that were present in the early stages of break in. . . and authority is exceptional, both for bass and treble, which is now incredibly sweet. I find (I believe I may have said this already) raising the volume more and more, because I keep hearing more music and detail without a sense of things starting to break up, even in complex passages
I enjoy listening to a song by Norah Jones. in a semi Dixie style about a sinking boat. . . the song has now reached a delicious transparency and wistfulness, with Jones clearly trying to imitate in a passage or 2 the throaty voice of Armstrong.
I have done about 200 hours on XLR input 1 using my CD player and the rest on RCA input 6 using an old NAD tuner. . . because I do not want to use the CD player as a beast of burden. This means that the XLR input may not be optimilly broken in yet. My friend Lee Roitberg here in Austin has just constructed for me a very nice transformer-based RCA2XLR converter/adapter, which is now enabling me to feed my tuner in XLR input 1 as a balanced signal. . . this means that I can now exercise the primary input for a few more hundred hrs without burdening my CD player. Let me know if anyone is interested in such a device. Lee may be able to construct a few more of them.
A few days ago audiogoners Aaron Lindsey and Scott Oliver have loaned me prototypes of the fruit of their new joint venture: the new Appogg isolation platforms. . . this is my very 1st experience with isolation products. . . I must say that their platforms work very well, particularly on the CD player. . . the platforms are tunable for the weight and size of components. The effect seems a further solidification of images and coherence in the bass. . . . the platform under the Criterion may undergo some further tuning. Info/pics/prices about the platforms at
http://www.appoggsystems.com
Interestingly enough, the esthetics of the platform has been even approved by my wife, who in general finds most hifi thing hideous. . . of course, she is skeptical about the concept, but admitted that they are "very pretty, and quite elegant".
G. |
Clavil, unless I am mistaken, the MBL 101E speakers have an efficiency of 89dB with a nominal impedance of 4Ohms. Unless they did something extraordinary, like dipping into a 1 Ohm load at some frequencies, the 312 should have no issues. If you are still concerned, you can always opt for the JRDG 301 monoblocks and have them configured for low impedance speakers.
Brazcole, do not worry about the audiophile language. . . just say it the way you hear it. . . we will understand you perfectly! G. |
At 193 hours of break in, here is one more update.
What is quite frankly surprising me, is the dynamic range that the Criterion can yield without overt signs of clipping, while maintaining sonic and most of all musical integrity.
part of the continuing break in, today I decided to go through all the Beethoven piano sonatas played by V. Ashkenazy on a multi CD Decca reissue box. I believe these to be old analog recordings from the 70s and 80s. I have not played this set very much in the past because I always found the sound somewhat hard and prone to unwelcome clipping on the louder passages. . . . not today.
What I found remarkable is the dynamic range that Criterion appeared to yield on the Waldstein without signs of apparent effort. I kept raising the volume and found mostly. . . more detail on the entire frequency band. I suspect I have reached SPL levels that normally would have chased me from the listening room, or at least would have caused severe ringing in the ears. . . yet, I am still perfectly comfortable after listening to the entire Waldstein sonata at concert volume level from a virtual distance of about 15 feet from the grand piano. While fff passages where awesome for their sheer impact, pp remained present, feathery, and never recessed into a murky distance. In fff, musical structure was still in evidence and had not started to coalesce into the typical blob of sonic overpressure. . . musical notes maintained their individual granularity even in complex arpeggios and chords. I never got the impression that I was getting into dangerous territory for either my ears or my speakers. A few passages here and there did have some hardness. I have no idea if this has to do with Ashkenazy getting overly enthusiastic and losing some wrist/elbow elasticity in his chording, or more likely, I was finally reaching the current limits of the criterion. I'll repeat the listening in several days and will know more.
On a different 'note'. . . you guys probably know that I am not exactly a great fan of Diana Krall. . . yet today her Temptations redbook album was absolutely delightful and totally enjoyable. The hot miking that so often bothers me was not in evidence. Rather, Krall's diction seemed superb and expressive, while her articulated pianistic commentary to the songs was crisp, harmonically satisfying and emotionally delicious. And yes, if anyone were asking, there is definitely more instrument individuality/separation/definition than on my still beloved Capri. The bass lines with Criterion are definitely easier to follow than on other pres I am familiar with.
If I were to judge the Criterion purely by the krall album, I may be tempted to conclude prematurely that the pre has reached sonic maturity, yet I really doubt that this is already the case.
G. |
What difficult job you have give to me, Guidocorona. I don't known a large English vocabulary to explain in audiopholics details the differences. Anyway, the dealer also said the Criterion "has a more clean sound".
Clavil, I made that question last week when I became interested in buy the MBL 101 loudspeaker. Staunning sound. Of course, he said, but it could be a salesman history. IMO I think the Model 312 is strong enough, but I'm not a expert in audio to be shure about that.
When I listen to MBL 101E, the set up was the MBL CD Transport 1521 A, the MBL DAC 1511 F, the pre-amplifier 5011 and 2 monoblocks MBL 9008.
Next month Fernando Andretti, he has some reviews in Cary website, will put a full review for the Criterion on a brasilian audio magazine. I'll keep you all post. |
Thank you Brazcole, what other differences did you hear between SLP 05 and Criterion? |
Brazcole,
couls you ask the MBL dealer if your 312 is strong enough to drive the 101E ?
these are truly amazing speakers, which I love too ;-)
saludos |
Yesterday I ask the MBL and Cary dealer to bring to my home the flagship SLP 05 pre-amplifier from Cary to compare with the Criterion. He was excited with the challenge, but after the session he said the Criterion has a more transparency sound and to beat the Jeff Roland only the MBL's top of the line, the USD 20k 6010 pre-amplifier.
Anyway, IMO, the Criterion will beat this device as well. |
Thank you JimJoice, you are correct in that the twin power/data pigtails are shipped with the preamplifier, as such I am definitely breaking those in together with the pre. The ICs and power cord are Furutech Evolution II that I have used in the system since 1st quarter. Rather, as the pre has a lot of transformers (power management, input stages, output stages), I have been told that it may take particularly long to stabilize.
Pinkus, I thank you for your optimism. Of course, in the end, I hope that I will truly enjoy this device. I will try as much as I can to document what excites me, what does not, and most of all, why. If nothing else, I hope that this exercise will help yours truly to clarify the modalities of his own cheery audiophilic obsessions. G. |
This thread reminds me of the "Preamp deal of the Century" thread.
Close to 250 posts BEFORE the preamp actually hit the market.
Remarkable. |
Since you have two chassis, you're breaking in not only the preamp, but interconnect and the power supply as well. These are probably complex interactions. |
Guido, don't be anxious. These stories always have a very predictable ending. My prediction is that you will love the Criterion above all others, and it will be your new reference. It will allow you to hear things from your recordings that you have never heard before. You will create an emotional connection with music like never before.
Have I listened to the Criterion you might ask. Nope, never. Don't have to, to know how this movie ends :-)
Enjoy and cheers ! |
At approximately 126 hours into the break in process it is worth while that I post a brief update.
The sound of Criterion continued to open up and to relax until about 85 hours of playing time. . . I was starting to hear a considerable amount of ambient cues. Without the sound ever venturing far towards the warm sound of neutral, performances were becoming more and more textured and emotional. I was very pleased by the amound of harmonic content, macro and micro dynamics, and immunity from distortion in loud passages.
At approx the 90 hour mark, sound turned markedly toward surfacy, pinched, harsh, and brittle. . . Violins became steely and whyny, piano steely and shallow. . . detail gone out the window. . . ambient cues no where in sight, micro dynamics an alien concept. Seems Criterion is not at all immune from the dreaded break-in doldrums. This morning, at approx 115 hours, the creature was definitely still in a bad mood.
Sometimes in the late afternoon things started to open up once again. Now, at about 126 hours, the sound has reopened up considerably, if not to the point where it was a couple of days ago. . . music is becoming enjoyable once again. Can't help being anxious. . . patience is a lot easier to preach than to practice.
G. |
Thank you Jimjoyce25, what I have found out is that switch mode power supply, DC power supply, and microcontroller logic are each segragated in their own pockets milled in the control chassis. Furthermore, the data buss is kept off line until the user issues a command of any kind from the front panel or the remote control. At that point the microcontroller and the buss come online, the requested command/change is performed, then the buss goes back to sleep and is taken offline. Furthermore, when the DC power supply is active, the AC power supply is also taken offline. |
Yes, no question that any comparison should wait until break-in is complete.
I guess the question is whether the power supply and digital portions of the cable are separable (ie, whether they share the same input on the preamp or separate ones). |
Jimjoyce25, I have no doubt that a different power&data pigtail may affect sound one way or an other. There are however 2 things to bear in mind:
1. Experimenting with wires of any kind prior to complete break in is futile. . . you would be shooting at a moving target. . . what works today is likely to be an overcompensation after just a couple of weeks.
2. The pigtails are not simple 3-wire jobbies. They are multiwire bundles that carry power as well as a complete digital control buss.
In some future, if the spec is ever made available, it would certainly be interesting to have some of our favorite OEM cable manufacturer create custom interchassis pigtails for Criterion. . . won't be inexpensive I fear.
G.
|
If you have other cables that will carry the DC power, it would be interesting to know if changing the power cable makes a difference in the sound. In my experience it does. |
Jimjoyce25, there are 2 12inch pigtails connecting the control chassis with the audio chassis. One connects data buss and DC power to the right channel, the other one is the same for the left channel. The cables are custom cables with small round custom connectors. G. |
I'm curious: What is the interconnect between the battery/power supply chassis and the preamp itself? What kind of wire? What kind of terminations does it have? |
Getting back to topic. . . it's time for a brief update at approx the 55 hours mark.
Most of the day I have been playing from a CD of Dvorak violin/cello/piano trios from a set of complete Dvorak chamber works on the Brillian Classics label. This morning at about 42 hrs there was a definite steely whine on the violin, a general hardness superimposed on rather good harmonic development and quick transients. There was some sense of the acoustics of the venue, but it was partially hidden by some generalized glare. By tonight a much more natural and comfortable violin was starting to emerge, and I seemed to be hearing more and more into the venue. The sign that things are going in the right direction is that while this morning I had to keep the gain rather low, by tonight I was raising it considerably and enjoying the result. . . . and sinking into the listening couch.
Long way to go I suspect, but what's interesting is that I am not hearing a lot of abrupt fluctuations in sonic quality, but rather a slow relaxing and opening up of the sound.
We'll see what happens overnight. I'll leave Criterion playing from my old NAD tuner at low volume.
G. |
Brazcole, thanks for your report.
As you've discovered, the speakers' interaction with the room has a huge influence on the sound that you hear at your listening chair. Guido and I have benefited greatly from something called the Sumiko Master Set, which very precisely sets the speakers within the room relative to each other and all the room bounderies. We've both talked about the "Master Set" in these forums and you might want to read more about it.
Unfortunately, I don't know who to refer you to in your part of the world. There's a possibility that an instructional DVD may be developed within the next few months, but I've been hoping that for the last couple of years. I'll let you know here if that happens.
Ciao,
Dave |
Thank you Brazcole, Kimber could be interesting.. . but every time I heard that brand I found it to be a little hard sounding. I am having a great deal of success with Furutech wires. I use Furutech Evolution II ICs, speaker wires and power cords to connect all my equipment: TEAC Esoteric X-01, Capri, Criterion 312, and Vienna Mahler V1.5 speakers. G. |
I could say I'm a intermediate level audhiophilo, but I'd like to share my discovery.
Before I bought the 802D I had a 803N that I keep with me. Today I was still in shock because of the 270º sound of the MBL 101E that I listen 2 days ago.
I use both channels A and B with 2 pairs of speaker cables in my Model 312 in bi-wiring. I decided to make something to improve my sound. I took my old 803N and bring to my set up. I put it beside the 802D with 50º degree.
First I disconect 1 pair of cable in the 802D and use a link cable. So I conected the disconect cable in the 803N and also use a link cable because now my both speakers are single wiring.
I turn on my set up.
Unbeliable sound. Amazing sound. The sound was in the entire room, like the MBL. Everything improve. The transparency became much better. I don't known English well to have words to explain the HUGE change.
Now I known much better what the Criterion and the 312 can do.
Sorry if what I said isn't new for the audio experts, but I'm still learning (this path is very nice, pal). I read many sections of Audiogon, and I learn with many people, as Guidocorona, Dcstep, Racquel, among others. Now I only want to change my speaker cables and XLR cables. I think Kimber Select could be a good choice.
Anyway, I recomemd you all to have a experience with 2 speakers in 45º or 50º degrees. Amazing!! I'm knocking the heaven doors. |
BTW Guido, three working valves will be enough for all but the rarest cornet or trumpet. Flugels often have four valves as do most piccolo trumpets, but seldom cornets and trumpets. You might like a mellow flugel, but the picc is an evil little beast that only very experienced trumpeters can handle.
Dave |
In other words Bill, for your private edification, the link below will take you to a fine site, were you can learn about cornets, trumpets, flugelhorns, and mayhaps flumpets -- none producing noxious exhaust fumes but all powered by the clean exhaust of our lungs -- to your heart's content, including that very Olds (sic) Ambassador cornet that I am interested in. . . a fine beginner horn to all accounts. . . aledgedly highly recommended, if you were ever keen in blowing some steam without breaking the bank, after which I hope you will become cheerily inclined to contribute to this and other Audiogon discussions with topical and constructive posts.
http://www.dallasmusic.org/gearhead/
Regards, G.
http://www.dallasmusic.org/gearhead/
|
Bill's royal self image has him confusing a coronet with a cornet, neither of which has to do with cars.
My grandfather did own a Dodge Desoto with push button gear change, but then he wasn't much of a car guy, like Bill.
Bill, if you'd like to meet at a road course or autocross somewhere, I'd be willing to bet that I can beat you soundly, no matter what you drive. If you're coming to RMAF I could set something up. What do you need to make it interesting? I'm thinking 1,000-bucks or maybe 5,000.
Dave |
Bill, you are so right of course, I suchly confess that I know nearly nothing about cars, and about vintage cars I know even less than that. I was told the Olds Cornet I was going to buy had only 3 pistons working, and some dings on the manifold, and that is why it costed only $50 on Craigslist. Have you got a better deal? I would not mind one with 4 working pistons, but I was told those are very difficult to find. I was not going to drive it much at all. . . just blow it, you know what I mean! G. |
And the Olds Coronet will never arrive as Coronet was made by Dodge not Oldsmobile.
You guys know as much about cars as you do audio.
Which apparently is very little.
How about a nice Desoto for both of you? |
O Shucks Dave, the cornet never arrived. . . do you think I should still write the review? G. |
Where's the review of the Olds cornet???
Dave |
Thank you Brazcole,
what I said was the contrary of what you understood. . . I was afraid that Criterion out of the box was going to be quite dull or strident or bad. I was instead surprised because it was very listenable and in an hour or 2 it sounded a little better than the Capri.
I am glad you enjoyed your phono/vinyl experience. Digital is fine for me. |
Guidocorona,
I'm happy that you have received your Criterion. And as I don't speak English well I'm not shure if I understood right yours posts.
Let's see.
I think that at first you was expecting much more from the Criterion. Anyway, after some time you start to listen something that you never listening before. It's great, pal, because Capri, your prior device, is a very fine preamp.
Because of the Criterion, yesterday I went to MBL's dealer home. I'd want to listen to some MBL speaker, just because my B&W 802D is not at the Criterion level. I like the MBL 111 F Hybrid speakers. I bought in this visit the Cary 306 Pro, as he is also the Cary dealer.
All this because of the Criterion.
But I known what happened to you.
Before I left the dealer's home he put a disc in his phono device. I never had listen to a modern phono before.
It was wonderfull, it was amazing and etc. It looks like I was listening to a live concert just there, in front of me.
IMO you, BECAUSE OF YOUR PASSION for JRDG DEVICES, YOUR MIND was expecting a sound like a listen yesterday with this phono device. But it's impossible, man, because you NEVER, NEVER with a CD or HDCD or SACD will get some kind of perfection that you can get with a phono.
Enjoy. |
Hi Bob, great hearing from you. . . of course I do remember you!
I just popped down from the loft loft after listening to a couple of selections from my test CD. If Criterion is supposed to be doing strange things before it gets even better, it has not done it yet. Rather, it has just given me a perspective on how undisciplined live concert audiences can be. I knew there were a few thumps, kicks, coughs, and bow drops in Dvorak's 9th Symphony conducted by Bernstein with the Israel Philharmonic. . . but what I started to hear today is closer to unionized ribaldry. Funny thing is that I never knew that the major uhr-thump, probably caused by Bernstein losing his balance whilst cavorting on the podium as his usual self, is actually a profound semi-pitch boom. . . I am pretty sure not seeing it in the score, last time I examined it (grins!)
Funny thing is that I do not recall hearing the 2nd movement sounding so musical before. I recall mentioning other times the gradual cuivre in the brass fanfares of this piece. . . the difference is that today I heard the individual instruments of the brass section quite timprally distinct, attacking at different times, and breaking into cuivre at staggared times.
There is right now a narrow and fairly shallow peak in the mid low bass that appears in some string bass passages, but otherwise the growling pitch of the double basses is quite exciting.
I fully expect the sound to have closed in by tomorrow. . . we'll see.
Guido |
Guido,
I don't expect you to remember me but we talk on the phone
about a year ago . Our discussion was about Rowland equipment and where I live in Oregon. I have been following this thread from day one and that new preamp must be something else. Guido you are a fine person and some of your replies show your great sense of humor. I look forward to hearing more about the Rowland when it is finally broken in. Now back to my humble CJ preamp.
Bob |
Thank you Phil and all. It looks like. . . The Criterion has landed!
UPS delivered it over the noon hour and I hawled the 54Lbs box 17 steps upstairs to my listening loft. I am delighted to report that I did not drop it. The unit was delivered complete of remote control transmitter and remote control receiver station. The latter connects to the Criterion's control chassis via a custom 2m wire. The control chassis sits on top of the audio chassis and locks into place with 4 Delrin ball bearings that fit into dimples milled into the bottom of the control chassis and into the top of the audio chassis.
I was kindly assisted by Babybear during the setup.
Criterion has been playing for approximately 3 hours now on a tuner and my X-01 player. I have been playing mostly from a piano CD with M. Uchida performing the Mozart 'Twinkle' variations.
So far so good. I was expecting Criterion to sound totally hideaous right out of the box, but it did not.
Being the unit so new it is very difficult to report on its sound. . . just 20 more minutes of playing time can yield perceivable changes. Nevertheless, I have the very preliminary impression that the harmonic exposure in the treble may have already exceeded the Capri, which is no harmonic slouch to start with. This of course does not mean a great deal yet, as for the 1st few hundred hours the device is likely to expose and reabsorbe a number of prowess and anomalies alike.
I have tried both the AC power supply and the battery power supply. On battery operation, the difference seems subtle. . . but Criterion seems to increase further harmonic content, sound even more open, and perhaps extract even a little more ambient cues. Expectedly, if the recording contains low level tape hiss, like the Mozart/Uchida analog remaster I am playing right now, the background tape hiss is slightly magnified by Criterion on bbattery operation.
Interestingly, when I bring a new component into the listening room I can take its sound only minutes at a time for the 1st couple of weeks. Conversely, I had to take a very deliberate decision to come down from the listening room and write this post.
G. |
Guido, From your posts I know that you hold much of your impressions and judgement until a component is thoroughly broken in, but can't you send us some intial impression tidbits?
Hope your Criterion came today and you are enjoying it! Congrats!
Phil |
