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 ! |
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. |
This thread reminds me of the "Preamp deal of the Century" thread.
Close to 250 posts BEFORE the preamp actually hit the market.
Remarkable. |
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. |
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. |
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 |
Thank you Brazcole, what other differences did you hear between SLP 05 and Criterion? |
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. |
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. |
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. |
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. |
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 |
Hi Dave, seems Appogg prices will be $850 to $900 per unit, depending on size. Guido |
Here is the Appogg priceing/eCommerce page:
http://appoggsystems.com/purchase/index.php |
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. |
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 |
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. |
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? |
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 |
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. |
Guido, I am wondering why you didn't leave it running while you were gone for more breakin time? |
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. |
|
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 !! |
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
|
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 |
I bought the Áudio & Vídeo magazine on a street store. Clubedoaudio.com is the electronic adress for the electronic edition for the magazine above. And I don't subscribe the on-line magazine.
But I have a solution, that means... I can send to you by mail the edition with the Criterion review if you give your adress.
Easy. |
Fabulous idea Brazcole! I will send you a personal message right away with my mailing address. You should find it in your eMail inbox shortly.
Grazie mille! and. . . Obrigadissimo!
Guido |
All, if I manage to get a rough Google translation of the article, I'll post it here. |
All, Criterion will be featured in Soundings Hifi's own showrooms in Denver during a series of open-houses during the RMAF show. The demo system will be identical to my own except for CD player, and will likely consist of the following components:
Primare CD31 player.
Jeff Rowland Criterion preamplifier.
Jeff Rowland 312 stereo amplifier.
Vienna Mahler V1.5 speakers.
Wiring/cabling is likely to be my own set of Furutech Evolution II ICs, PCs, and speaker wires. . . or the new Analysis Plus Big Oval Silver.
Tentative schedule as follows:
Friday October 2nd from 6pm to 10pm,
Saturday 3rd from 6pm to 10pm,
Sunday 4th from 5pm to 8pm.
Soundings will also have a booth in the Marriott lobby, but will not have a demo suite in the hotel this year.
The Soundings showroom is located approximately 10 minutes walk from the Marriott hotel, just across the parking lot. For more info, Soundings can be reached at:
8101 E. Bellview Avenue,
Denver, Colorado
80237
Phone: 303.759.5505
Fax: 303.759.4273
Email: sales@soundingshifi
Driving directions and map at:
http://maps.google.com/maps?f=q&hl=en&q=8101+E+Belleview+Ave,+Denver,+Denver,+Colorado+80237,+United+States&sll=37.0625,-95.677068&sspn=35.768112,76.992187&ie=UTF8&cd=1&geocode=0,39.625328,-104.894038&ll=39.626268,-104.894028&spn=0.008495,0.018797&z=16&iwloc=addr
Hope to see you guys in Denver!
Regards,
G. |
I have a new Criterion and will report on my thoughts after a few hours of break in. Obviously, it's drop dead gorgeous and has incredibly smart features. I'll get to some of these later. First, a little taste. It's already better at soundstaging placement cold out of the box than my Capri. |
Thanks to Brazcole, I have just received today a copy of Audio&Video magazine from Brazil featuring a professional review of Criterion by Mr. Andrette. I'll scan the article and will attempt to submit a Google translation. If the translation results are not totally outlandish, I will post salient extracts to the thread in a few days. |
Good stuff David. . . keep us posted on your Criterion. . . old Brazcole and I was just about startin' to get lonesome 'round here. . . wasn't we Braz? (grins!) G. |
I'm not going to repeat Guido's comments on the entire break in process, except to say I have found the same things changing at the same time he did. If anyone needs further clarification on it, please ask. I will say that I was suprised at the need to run signal into each input to achieve full break in for that particular input #. After one input was run in, switching to say input #2, caused an implosion in the soundstage and lack of detail & dynamics etc... In other words, each numbered input must be run in with signal for at least 250 hrs to "open" it up. Standby for thoughts after full break in. |
David, if my understanding is correct that each input may have its own equalization/isolation transformer, your observation that every input needs to be broken in separately would not be surprising. That is why I ended up converting the unbalanced output of my old tuner to XLR balanced via an external transformer-based RCA/XLR adapter, and fed it into input 1 of Criterion for a few weeks 24/7, so I could spare my trusty X-01 from serving as lowly break-in donkey. |
Guidocorona, I'm happy the mail delivery well the magazine. And my little English didn't understand what you wrote below:
old Brazcole and I was just about startin' to get lonesome 'round here. . . wasn't we Braz? (grins!)
Anyway, go for it with the translation for the fellows Audiogoners.
All, a guy in the Brasilian high-end forum said the Krell 202 is better than Criterion. Anyone could say something about the Krell 202?
Guido, take care. |
"old Brazcole and I was just about startin' to get lonesome 'round here. . . wasn't we Braz? (grins!)"
Brazcole, that was an attempt to write something in Texas slang/dialect. . . It means kind of:
Brazcole and I were starting to feel lonely. . . because we were the only 2 real users of Criterion on this thread.
Not at all familiar with Krell 202 so I can't comment on it. Is the gentleman in the Brazilian forum intimately familiar with Criterion?
Guido |
This gentleman knowns nothing about Criterion. After the Coherence, JRDG had a lack of products here. The Ice Power technologie wasn't well accepeted and, because of this, Capri preamplifier wasn't sold, increasing this lack, and there were rumors that JRDG was sold for the chineses.
As I said in another post, I'm the first, and still the only one, to buy the 312 and later the Criterion.
With this review, in Audio & Vídeo magazine, Som Maior, the JRDG dealer in Brasil, wants rich the market again, because years ago Jeff Rowland had huge succes over here.
As we are third world, only half dozen of brands have reps in Brasil, and Krell is one of them and very strong.
This guy has the 202 preamplifier, and for him is impossible exist a better device. And after the Fernando Andretti review about Criterion he said his opinion.
The personal Andretti's set up is the Accuphase C-2410 pre, 2 Krell Evo 600 and DCS Puccinni CD Player with separeted clock (I'm going to buy the Puccinni for me). |
Braz, the Pagannini is much, much better if you can afford it. If not, the Puchinni is acceptable. But....Many other units to look at at this price point! Even the Wadia 781 is compareable to the Pucuinni. With the sort of resolution you now have with the Criterion, you should be looking at better CD play back systems than the Puchinni. Perhaps the Esoteric P03/D03 or Wadia 922 Decoding system and the new Teac sourced clamping transport. I hear from a good friend that this combinataion is astonishingly good! Aloha, David. PS, The Criterion is at about 275 hrs now on input #1 and 100hrs on #2. It has opened sufficiently on #2, but still a bit grainy and slightly shy of full dynamics. It's hard to describe, but it is posiible that the dynamics are in fact fully developed now on #2 input, but the rsloution around the images that have the greatest impact still do not have the deliniation of the more fully broken in input of #1. I have probably another 2 weeks of break in on input #1 before I can give a full opinion. The other inputs will just need to wait until I can give them the signal they need over time to run in their pathways! |
Thank you so much Brazcole, the reaction of the gentleman in question is sadly typical of some people who have not even listened to a device: dismiss it outright as 'obviously' inferior!
On the subject of CD players, my personal favorite is the Esoteric P-03/D-03/G-0S combination. I have listened to Paganini and Puccini, but I thought they may not have been as emotional as the Esoteric combo. On the other hand, as I have not listened to them side by side with the Esoteric, my impressions are not terribly well informed. . . . and are 'subject to change without notice.'
Guido |
Hello everybody, i haven't neither heard the Esoteric 03 side by side with the Puccini but only in the system of a friend which i know quite well. My impression was it's very nicely built, but it' s very analitical without this incredible mellow touch of latest dCS products. dCS has this incredible capacity to get everything out of a cd and never sound hard, harsh or digital. Sorry for the diferent opinion. This being said if you have the € go directly for the scarlatti which is absolutely stunning! I have heard it twice a couple of hours and i was just amazed! Emm lab, wadia (by the way both incredibly slow to start when you get a cd in), esoteric, krell, arc dont arrive in my opinion at this level. Never heard paganini.
Saludos |
I mean of course the combi 03 from Esoteric ... sorry |
Thank you guys, and in special for Clavil for the words about dCS products. So I'll get the Puccini and the Puccini clock for shure. Thanks.
I'm gonna to ask the Krell rep (for luck, is the same for dCS products) when he brings me the Puccini after I've buy it to make a demonstration with the 202 preamplifier. Anyway I don't known if he has one for that.
I'll tell you all how the 202 sounds.
|
Hi Claude, do you happen to know if the Esoteric combo was fully broken in? It takes about 1200 hours for Esoteric gear to sound at its best. . . and when it is not broken in, Esoteric products sound. . . extremely harsh, digital, unemotional, and utterly unpleasant.
On the other hand, Esoteric is extremely revealing and intense, while DCS may sound sweeter. . . it's a matter of personal preference I suppose. G. |
Hi Guido, i can't answer your question because i don't know. I was very surprised to hear the system of my friend (sonus faberNom* amati palladio, jadis jp 80, manley mono 500 ... All tube) so harsh and dry (he got it from a dealer to try inhis sytem, finally he didn't bought it). So maybe it was the point you mentioned, but other way are the dealer so s...? I can tell you that the 2nd time i have spent a couple of hours with the Scarlatti it was fresh unpacked from the box. Another friend bought it. On maggie 20 it was magic! I personnally have puccini & clock although i would prefer to have the scarlatti i am very happy with it. I am always looking for high resolution & definition but at the same time musicality and i believe from what i have heard dCS is the best compromise i have heard until now. i have highest respect for Prof Johnson, so that maybe one should try to hear latest spectral cd player.
Kind regards. |
Sorry for the mistakes... I am writing from an iphone ... Not so easy ... It seems that a new combi from accuphase is also coming out ... Could be interesting ... And Zanden
regards |
Claude, DCS does make splendid stuff, while up to now I have tended to prefer the TEAC Esoteric sound, I freely admit that DCS is excellentAnd who knows. . . my preference may change in the future. . I'll give a careful listen at DCS at RMAF in October. Guido |
Guido,
please the tell us then what perception you had from dCS.
One more question to the Criterion: you seem happy and convinced but not so crazily enthousiastic about the change from Capri to Criterion ... am I right ?
Here in Europe the price difference beetween both is from one to seven !! ... it's quite a huge step.
PS to my former post: Prof. Johnson has developped the Spectral latest CD player, it should be excellent. |
Humm... interesting... the Clavi's observation about Guido's change from Capri to Criterion, because when I was googling some information about the 2 boxes Krell 202 preamplifier, I found something like the project with 2 boxes itsn' so good because the conection cord makes the signal weaker.
Tomorrow I'll ask the Krell rep to bring me the 1 box Krell 222 and not the Krell 202 any more.
Let's see.
And I'd like to compare the Criterion with the Ayre again, because now I'm more realist, without passion. I think the Ayre deserve another chance because some reviewer called this device the 8º wonder of the world.
With this kind of toughts the Puccini with 1 box (or 2 with the little clock) should be perfect. |
"you seem happy and convinced but not so crazily enthousiastic about the change from Capri to Criterion ... am I right ?"
Hi Claude. . .the answer is an emphatic NO, that is not correct. I am extremely enthusiastic about the differences between Criterion and Capri. . . but I am always shy of using any overwhelming superlatives in writing any of my assessments. Fact is that IMO Criterion exceeds the performance of Capri in approx 12 hours from cold out of the box. . . then it is essentially a rising curve, except for a period of instability between 125 and 175 hours of break in. In the end, Criterion -- as a JRDG product -- displays some kinship with Capri in most parameters, but it is a different animal all together. Authority, macro/micro dynamics, harmonic exposure, top to bottom extension, image resolution, and ability to deliver high SPLs without batting an eye or showing intermodulating fatigue are in a different league. What is even more interesting, is that rather than given you a sense that you are 'seeing deeper into the soundstage', it is more like Criterion plops a solid and vast 3-dymensional soundstage into the listening area. The difference is what I would call transcendent.
On the other hand, it is only audio equipment we are talking about. . . any rumours that Criterion has improved my love life are somewhat exagerated. On the other hand, now that I think of it. . . hmmm (grins!)
Concerning DCS, my impression of DCS is that its house sound is always extremely pleasing, sometimes at the detriment of what to me makes music emotional: the interplay of differentially decaying harmonics, and microdynamics. I'll listen to DCS again at RMAF. . . who knows. . . I might change my mind.
Guido |
