Underneath it all...

OK here goes... A transformer, a pair of capacitors, 2 sets of power transistors, a heat sink with internal fan and voila! There you have it: the eternal classic NAP 135 monoblocks presented to you in all transparency, for your scrutiny and for your better understanding on the Naim engineering principles; simple yet effective... it works for me, urr... when I get it that is... Cheers.

Fever!

I am currently having numerous urges or fevers to upgrade my current power amp to Naim NAP 135 olive monoblocks. Why? To attain Naim nirvana? Perhaps... Having tried out a chrome bumper pair 135 which belonged to an expatriate friend not too long ago, I was pretty impressed with its power and musical delivery while keeping intact the perennial signature Naim sound: the foot tapping department. I feel this amp will be able to complete the olive package I blissfully own now and more...

These top of the line power amps never lost it's character in the presentation and I was also rewarded with lower and more controlled bass and a generally weightier listen all over the frequency spectrum compared to my current NAP 180, which was expected. So, how else could I describe my tonal craving?

I've gotta credit Naim for being able to invent such an amp with small size to high power ratio. A matter of fact this applies to most of their products as well. When I look at those big Krells and other monster American power amps, I begin to appreciate Naim's superior know-how over other makers. Highly efficient designs is what I would label them... precisely.

This will also be the ultimate power amp for me as equiped with 500VA of transient power, it would definitely drive the most difficult of loads out there. Not that I intend to feed them with Extremas or Genesis speakers (I'm sure it'll drive them well), but they shall remain unsurpassed for some time. Until then you may ask what would I look for as replacements? Another pair damn it! That's what monoblocks are for, use 4 for 2x2 speakers with an active 2-4 SNAXO crossover and you get even closer to Naim nirvana... Too much jargons... really...I should stop... cheerio!

Leica Digital M8

I know I know, another camera blog... I know... Rumours have it that Leica Solms will be releasing the new digital rangefinder dubbed the Leica M8 in October'06.. Scheduled for release right after the introduction in Photokina, this newbie will surely be a hit with M shooters. In fact, most people are yearning for this camera due to accustomed to, digital convinience. Lens are of course compatible with older and current M lenses. There's also a 6 bit coding which can be engraved on older and current M lenses' bayonet mounts for the purpose of compatibility with the future M8. And the damage? A cool USD5,000/-. Will I buy it? Heck no! Used? Perhaps... in a couple of years to come.. :-))

Check out what Rich Pinto of Photo Village, NYC had to say bout this recent hype for rangefinder fans worldwide:

I'm bound by a ND agreement to not discuss specifics of the impending digital M camera...however I (think) I can say that it is the BEST prototype I have ever seen from Leica. It look, felt and smelt like a Leica!It all worked, it was fast as heck, and the images were such that I still have the bruises from when the German product manager wrestled it from my hands to take back to Solms.All I can say is, save your pennies! FWIW, I have not yet started taking deposits yet and cautious dealers should probably wait for an official due day before doing so! ciao,Rich

Rich Pinto

The Photo Village, Inc.www.photovillage.com(212) 989-1252

Historica LP Record

Quiz: Spot Clapton on the record cover.... No prizes for guessing!

Blues Maestro

Eric Clapton circa Cream days (1969). I hated Clapton's music when I first learned to play the instrument. It was during deeper and more research into the blues root music that I appreciated his contributions to blues and most distinctively, his style of phrasing, in the guitar playing context.

Personally,I prefer Clapton's earlier stints: Yardbirds, Cream, John Mayall, and Derek & The Dominoes. I find his style very very dintinguished from the rest of the blues players today. Very incisive and signatory. It often seem his tone can easily be differentiated be it when he's playing blues, jazz, country, or even pop music. Both electrically and acoustically, that is.
His choice of guitars also influenced my personal guitar choices, and most Clapton fans worldwide. His signature tone with a '59 Les Paul and the Marshall Bluesbreaker combo totally reinvented how electric blues should sound: raw, bitting, dark, and creamy. His influence to other great guitar players today also proves that Clapton is still great, despite his many downturns throught the decades... I hope to meet him someday and jam some real blues. That'll be the day...

Musical Roots Revisited

John Coltrane, the father of soulful jazz music...

Show Me Thou Axe...

Guitar players have aways fascinated me since my secondary school years. We (together with a bunch of losers then) worshipped the likes of rock and metal guitarists such as Slash, Kirk Hammett, Joe Satriani, Steve Vai, and Gary Moore. My own group (bunch of wannabes) always traded chords, licks, and shared many guitar techniques as tribute to our respective guitar heroes. During our time, the kapok acoustic guitar was considered to be the epitome of an accomplished school guitarist the least. Anyone playing a kapok was deemed an approved guitar player as far as other school kids were concerned. Kapoks were always regarded by us as utility instruments, highly reliable and most of all cost efficient.
In the later years, I had elevated to an entry level Cort electric guitar. Korean made and well finished, I was pleased as punch with the purchase. With its lower action, slinkier strings, and bigger volume, I was rocking even harder... I explored further into the realms of other classic rockers namely; the Eagles, Bad Company, Dire Straits, Metallica, and anything I could get material on tape to A-B and ripp off!
In a matter of years, with long daily practices, I could already master the basic pentatonic blues scale, which assisted me to play along whenever a familiar tune came on the radio, etc. As a matter of fact, most rock tunes are blues based, so it was pretty easy for me to follow.
The serious damages came in my college years in America (yet again. It seems all damages happen in the USA anyway, what an irony). Consistent exposure to classic American guitars such as the Gibson Les Paul, the Fender Telecaster and Fender Stratocaster , and the Martin D-28s really flipped me over. I was infatuated with all these beautiful hand made instruments and more: these guitars have a long history tracing back to the 19th century..

Now, not only I had fondness to play these instruments, I had more and more interest to search for them. It became addictive, like treasure hunting. Along the Gulf Coast, these great instruments were quite available then, mostly from suburban folks. So, off me and my friend Mike Murphy went, to country sides, islands, crime-infested lands, and what have you. We came across widows, peasants, divorcees, fishermen, and some of the most cash deprived people we've ever met in our lives. Naturally, me and Mike were glad we were able to help these people out: to help themselves... :-))

Fast forwarding to 2006, I am proud today to have invested in 6 classic American guitars. 4 of them are of vintage status now. The other 2 I use nowadays for studio jams or get togethers... the rest they say is history. Long live American guitars.

Salisbury's Cream

My entire college life, I've yearned for a nice high fidelity set. From my days in Mobile, Alabama, as an up and coming sophomore to a matured undergraduate, the urge for the holy grail of hi-fi has never been so boiled up. Visits to the local American hi-fi stores in Mobile gave me the idea of how hi-fi can change one's perception of music. Most setups here were however haute coultre fashioned and this greatly discouraged me to further explore (due to budget, etc.) Naturally, from my guitar strumming days, these dear ears were trained or rather influenced by my somewhat unorthodox exposure to the fine tone of vintage American guitars and Marshall amplification. (More on guitars...later)

My listening is tuned to the way of how a live performance sounds. Amphitheaters, stadiums, arenas, clubs, special acoustic halls, residential areas, and what have you. The manner which the natural harmonics of instruments hit you in a live setting is one of the greatest pleasures of music appreciation one can enjoy.

When I came home in '97, it was not until a year later that I indulged in my hi-fi obsessions again (due to the downturn of our region's economy, my budget was once again compromised). I started off with an entry level Audiolab 8000A integrated amp to a Quad series power amp, a Marantz 63 KI Signature CD player, a Meridian 208 CD player, a couple of bookshelf speakers and finally to the Naims. My first Naim amp was the tiny but marvelous Nait 3 integrated amplifier. This little amp rates only 30W (on paper). However, it doesn't sound 30W to my ears at all. Perhaps it should be rephrased as 30 Naim Watts!... a more believable statement. Apart from good engineering practises, the Nait 3 is also extremely musical and rhythmic (all common Naim traits). Overall this was just the beginning into the wide Naim world of hi-fi electronics that moved me on...further and deeper :-)

Torch bearer I was or am.., I swayed to the NAC 72 pre-amp, Hicap power supply , NAP 180 power amp setup which costed me quite a bit. In a nutshell, I've elevated my listening desires to hi-fi separates. How's the improvement you may ask ? Same addiction but to a higher musical level... :-) My system stayed this way for the next couple of years until I had the opportunity to upgrade to their flagship olive series pre-amp which is the NAC 52 with Supercap power supply 2 years ago. The improved supercap power supply from the previous hi-cap makes a huge difference in music quality: dead silent background and huge vitality and dynamics in musical presentation. It's like a nice 'bokeh' from a Leica photo...

All in all, I'm happy and contented till today with my involvement with the Naim brand. It's a no-compromise design and mates very well with my existing NAP 180 power amp which I hope to upgrade one day to their reference monoblocks: the NAP 135s. That'll complete the reference series, for me at least.

Until then, bravo and kudos to Naim Audio, a truly respectable hi-fi maker!

Mechanical Marvel

With peer encouragement and family support, I'm back on the blogsphere, packed with so much enthusiasm to blog on... Thank you from the bottom of my heart to all of you who've commented positively, you've all really made my effort to get online more meaningful now.

Tonight, the object of desire to be discussed is a camera. Not just any camera it is. A historical insight, a photojournalist's jack of all trades, a black and white persona, an available light wonder, a silent performer, ....and most of all a Leica rangefinder: The Leica M6. And yes, it's a film camera (for now).

Why the heck so much fuss on a camera you may ask? After all it's a friggin' little tool to snap photos. Furthermore, with the influx of digital camera technology in today's modern world, most of us already dread the traditional film cameras in a hope to move on to better and more advanced way of producing images. Why bother to stick to old technology? Furthermore digital is more simple to handle, no need post processing labs to handle the silver halide papers... So why? Why bother? Hmmmm....

I am for one who fell into this hype of trend-following induced by the digital cameras. It did not last too long, :-) fortunately or unfortunately?

For me, I always have the affection for fine and well made merchandise, mostly hobby toys. If I were to buy a toy it would have to be of the highest standards or best available brand. It may sound snobbish, I don't feel that way. I find I reward myself with these expensive indulgences. Wanton I may be, but it's an escapade for me from the busy and hectic schedule I run every working day. It's worth the while, trust me.

Ok, back to work: The Leica is foremost not your typical SLR camera. For one, it doesn't have a reflex mirror which greatly reduces vibration when triggering at slower shutter speeds. I find this very true after meddling and experimenting with the Canon range of digital SLRs. In short, nothing beats the Leica to the speeds of 1/15sec. I am almost 98% sure of obtaining a sharp photo compared to only 30% using an SLR camera. This is especially useful for low light situations. I can hold my breath and take a flashless photo with the 35mm Summicron lens and be pleased with the result, most of the time.

Silent operation: How many of you have scared away the subjects of your photography with an SLR camera? In the public, street photography? I for one once attracted too much attention when shooting with an SLR camera in an art gallery. Not that I intimidated the art works, the people in my surrounding were greatly angered for the decibels I produced each time the trigger was engaged. It attracted so much attention I caused them to lose concentration. I was so embarassed, I excused myself to the exit of the gallery with only faint hopes of returning with great art photos... Now what does that tell you? Do you want gears in the form of 'Guns of Navarone' or tools which actualy work in the environment you are in? Think again.

Leica lens optics: What more can I say? Legendary status need not be explained... Great mechanical and optical performance since 1954 means most M-bayonet mount and screw lenses can still be used with modern Leica M bodies such as the M6 or M7. Adaptors can be easily found to facilitate screw lenses mounting. The images these lenses produce are sharp and contrasty with neutral color rendition. I find them especially inviting for noir et blanc photos where the emphasis on shadow tone is of utmost importance. Same goes for film and color slide transparencies (E6). They never fail to amaze!

Most of all I love the 'bokeh' or out of focus quality of these lenses which most Japanese lenses still, till today cannot compete with. Reasons? Due to Leica's traditional know-how on optics preparation and stringent QC all the way in the manufacturing chain. Nothing is compromised, nothing.

With that I wish you all happy reading and good night...

Diamonds Are Forever...

Ladies and gentlemen, this is the marvelous gem that I've been bragging about in my maiden post. Most parts in this cartridge with exception of the magnet, are cryogenically processed (- 300F plus) to eliminate impurities and eddy currents within the cartridge body. These parameters or rather imperfections are often deemed to limit the transfer of micro electrical and mechanical signals from the vinyl grooves to the phono pre-amp and to their corresponding ancillaries.

Fitted with a solid boron cantilever and a line contact diamond stylus profile, even my wife is envious.... :-) I must mention that this gem is also fairly sensitive to a good and proper setup of the turntable, especially the tracking weight and the VTA (Vertical Tracking Angle). Too much of a tracking weight causes deadening of the music, while too little, gives less oomph or weight. Analogue audiophiles, you guys know what I'm talking about eh...

I can throw in the most complex Cantata piece in and the ZYX presents it with the utmost separation whilst maintaining musical cohesion. Overall, this gem handles complex recorded music in a rather simple fashion: it will dig out all the musical information from those grooves, however difficult, and present it in a simple and comprehendable manner. There is no traffic congestion here, I would rate this cartridge a 9/10. Without a hesitation, miles ahead in musicallity over any CD player with the exception of perhaps the new Naim CD555.

The Arm's Length

The classic Naim Aro tonearm. Designed by a Frenchman, who was commisioned by Naim UK to build a perennial and immortal tonearm, so to speak. Trully an exceptional and distinctive design and well used in many familiar high end decks particulary the Linn Sondek LP12 and even the Roksan TMS2.

Musings...

Hi everyone, this is my first attempt to publish a blog as it's popularly known in today's IT world. I'm not an excellent writer who spends his time facing the computer and penning down thoughts and perils of everyday life. This blog serves to capture my actual daily regiments to share with close friends..

This whole month and the last half of July'06, I've been eagerly packing home early to listen to my long awaited and upgraded hifi analogue setup. After climbing to the Roksan Xerxes X from the venerable Linn Sondek LP12, I must say that this new deck is more accurate and musically more competent compared to the latter. What we're talking here is accuracy of the music reproduced.

What I mean by accuracy is the speed and the pitch of the Roksan. Gone are the fat mid blooms and fluid tastes of the LP12 which although sexy and lusty to my ears, were somewhat slowing things down; tempo, immediacy, drive. I was getting to the point of thinking if this is actually in the recording itself or merely a character of the table. The latter was getting more evident after several nights reading about LP12 musings itself...

This is especially evident with punchier recordings from the 60s and 70s, be it New Orleans jazz or Chicago blues, or simply to 'Men At Work' and 'Toto'. With the Naim Aro unipivot tonearm, I am having a treat too. This arm is a major engineering feat by Naim: bass so taut from a unipivot only a good designer could achieve. On the cartridge end, tracking duties for those tiny grooves of the black vinyls are now passed on to the superbly sounding ZYX Airy 3X MC cartridge. Previous groove trackers in my LP12 setup included the excellent value Denon 103R, the Dynavector 17D2Mk2, and the Roksan Shiraz (which has the best output drive of them all).

In my entire vinyl record playing years, this has got to be the highest resolution cartridge I've ever heard from any analogue system, period. And, it even exceeds the clean and transparent presentation of the CDs... Definitely a legendary MC in the making. Separation and layering of musicians have never been better. It's like literarly watching a live performance in a club..need I say more?

And, I'm having a treat listening to all my vinyl records once again...

I'm having a blast! Join me? :-)