From my recent post on the explanation of our approach to vinyl playback, I have been receiving some comments and requests asking for some more juice on the subject.
I have explained our vinyl approach in a good number of occasions to audiophiles, reviewers, engineers, but I always limit the scope to our conceptual work.
Given AE forum’s singular Global community devoted to the utmost vinyl playback experience, I see it as the ideal place to share our passion. I will disclose some of the interesting pieces of ‘curious’ results. They are some of our findings during our five-year deep immersion in the quest of best possible vinyl playback.
When measuring high-end vinyl systems, the first aspect that surpassed our expectations was the typical amplitude response vs frequency and interchannel (left to right) amplitude differences vs frequency. Even the most exotic cartridges showed over 10dB amplitude deviation within the audio range.
Let’s discuss amplitude response first. Attached is an example of a typical cartridge; I simply took the most recent one, done today. It’s a good example of the mean.
The graph shows the amplitude response measurement. I will not mention brand name, but I can say it’s over 7K USD so a cost constraint is not likely to be the case. The cartridge was mated to an industry reckoned tonearm and setup was also done recently. The owner estimates the cartridge has about 150 hours of accumulated playback time. As it’s shown in the graph, from 20-20KHz there is an amplitude variation of approx. 15dB.
Of course, this measurement is the result of the cartridge reading, phono cable, electrical loading (100 ohms // 100pF). Step-Up effects are eliminated from the reading. Since the Step-up is inside the Pre1 Ultimate, we know its behavior and we can deduce it from the measurements. So the graph shown is the result of cartridge, tonearm setup, phono cable, loading.
The next measurement is the left to right difference. From 20-20KHz, left to right channel amplitude differences across the audible range are 2.5dB. Differences are frequency dependent.
According to our measurements and experience, the cartridge has the highest impact impact on these losses and non-linearities, followed by tonearm setup. Loading and phono cable, lagging far behind.
First conclusions we drew. No matter how good a phono preamplifier is; it can be even perfect across the audio range. The issue is: a large amount of information is lost in the path from transcription of the vinyl groove to the input of the phono preamp. Lost. Gone. No matter how good the analog phono stage is.
In my last post I introduced the most obvious non-linearities we have found in a vinyl playback system: Amplitude variations across the spectrum and differences in the behavior between left and right channel that are also frequency dependent.
These curves are not simple in their shape; they have complex profiles that need accurate matching to be able to provide a consistent solution.
Simple tweaking or analog networks cannot compensate for this.
The solution needs to come through different tools that are accurate, stable over time, and must allow for full tailoring at will: Digital processing.
Our adventure went on. In our next steps into the study of phono idiosyncrasy we found that even in the top, most, greatest cartridges, different serial numbers behaved differently. As can be intuitively foreseen, from mid frequencies and up (measurements show 1KHz is the inflection point) serial units of the same cartridge start to behave differently, and not by a small amount. Mechanical and physical tolerances of the tiny components necessary in a cartridge account for this.
Amplitude vs frequency changes. Difference between left and right channels vs frequency changes. Other critical parameters change too, as we will see.
Moreover, it is not just about cartridge differences. Even if two identical cartridges would be possible, tonearm setup would change the reading.
So we have another need in our quest for perfection in vinyl playback: a generalized cartridge treatment is insufficient.
This graph corresponds to the amplitude response vs frequency for a different serial number of the same cartridge model and setup that was uploaded two days ago.
This graph shows the amplitude response differences between both cartridges. Blue trace is the difference between the left channel output of both cartridged. The red trace is the right channel difference.
After the Ikeda cartridge is mapped, the linearity has improved tremendously that no downstream hardwares and cables are able to rectify the inherent deficiencies of cartridge. The demo between the sound before mapping and after mapping convinced even the most hardcore vinylphile that we are indeed living in a new era of analog reproduction. We understand much more about Javier's groundbreaking ideas. And such ideas are brilliant and executable with true musical intent unaltered. In fact, the musical contents are enriched in an exponential scale.
I also did the unthinkable of selling FM phono and go for Wadax Ultimate Phono. There is simply no match between the two upon repeated listening of my beloved vinyl one after another. I have to say, quite possibly the Sweden Lars amp, made the final click. My source components, within a few months, have all swapped to those under AE. I was forewarned before about meeting Piano Tuner. He got me again.
PT asked me to write some thoughts on the Wadax Ultimate phono. I am obviously happy to comply. I have been a fan of AE for a number of years now. Even though I have different views on some AE products (e.g. speakers, DAC) I use many of its products. AE is a big force in rekindling my passion for classical music, to which I am very grateful.
I was not prepared at all for what I will experience with the Wadax. It is a "digital phono", which seems to be a contradiction in terms in the first place. Was not the reason why many of us go to turntables is precisely because we want to escape from digital, with all its digital artefacts, etchedness in sound, and basically untamed treble? But I don't think anyone could tell, simply by the music, that the Wadax is digital. It really checks all the boxes of ultra fidelity: great resolution, unmatched dynamics, wide and penetrating soundstage, and very "live-like". It is smooth but not at the expense of precision. Wow!
But to describe the Wadax in traditional hifi terms is to shortchange what it does. Yes it has deep dynamics, but what's the big deal about dynamics? I have actually heard many equipments that have bigger dynamics than the real thing (i.e. in the concert hall). Yes it is live-like, but I have also heard many equipments that make you feel the music is live-like, but at the same time it feels more like the orchestra is lining up in a straight-line 10 feet from you. This cannot be right either? I think the great thing about the Wadax is that music sounds not just dynamic with high resolution, but always so right and so natural, giving you flashes that you might be listening in a concert hall.
And then there is the reproduction of piano. If there is a forte amongst the many strengths of Wadax, this must be it. I had the good fortune last year to hear Martha Argerich with Berlin Phil at Berlin. I start to appreciate that when great master play, time seems to be pass more slowly. Seriously. What I mean is that very fast and aggressive passages via hifi start to feel not so fast (even though they are actually incredibly fast), and very complex passages start to feel not that complex (even though they actually are incredibly complex). Wadax is the first phono I heard that gives me that feel and convey music in such a way. I am very grateful.
You have to give credit not only to Javier, who is clearly brilliant, but particularly to PT and JLam, who have been introducing/supporting small companies dedicated to innovation. How many times we see manufacturers develop a new product simply by using better materials (more, purer silver please) or better power supply, or faster chips? Wadax took a truly out of the box route. They have no right to be successful, but they are, and I suspect the potential is even bigger. Those of us who feel we are part of the AE community should indeed feel pretty proud.
What a great writeup Cassph had written in this corner.
Cassph, what power cable are you using with Wadax Ultimate? I have tremendous experience with Goebel Statement and Dalby U1000. I am yet to try Absolue Creation Ultra Tim Reference.
Comments
I have explained our vinyl approach in a good number of occasions to audiophiles, reviewers, engineers, but I always limit the scope to our conceptual work.
Given AE forum’s singular Global community devoted to the utmost vinyl playback experience, I see it as the ideal place to share our passion. I will disclose some of the interesting pieces of ‘curious’ results. They are some of our findings during our five-year deep immersion in the quest of best possible vinyl playback.
When measuring high-end vinyl systems, the first aspect that surpassed our expectations was the typical amplitude response vs frequency and interchannel (left to right) amplitude differences vs frequency. Even the most exotic cartridges showed over 10dB amplitude deviation within the audio range.
Let’s discuss amplitude response first. Attached is an example of a typical cartridge; I simply took the most recent one, done today. It’s a good example of the mean.
The graph shows the amplitude response measurement. I will not mention brand name, but I can say it’s over 7K USD so a cost constraint is not likely to be the case. The cartridge was mated to an industry reckoned tonearm and setup was also done recently. The owner estimates the cartridge has about 150 hours of accumulated playback time. As it’s shown in the graph, from 20-20KHz there is an amplitude variation of approx. 15dB.
Of course, this measurement is the result of the cartridge reading, phono cable, electrical loading (100 ohms // 100pF). Step-Up effects are eliminated from the reading. Since the Step-up is inside the Pre1 Ultimate, we know its behavior and we can deduce it from the measurements. So the graph shown is the result of cartridge, tonearm setup, phono cable, loading.
The next measurement is the left to right difference. From 20-20KHz, left to right channel amplitude differences across the audible range are 2.5dB. Differences are frequency dependent.
According to our measurements and experience, the cartridge has the highest impact impact on these losses and non-linearities, followed by tonearm setup. Loading and phono cable, lagging far behind.
First conclusions we drew. No matter how good a phono preamplifier is; it can be even perfect across the audio range. The issue is: a large amount of information is lost in the path from transcription of the vinyl groove to the input of the phono preamp. Lost. Gone. No matter how good the analog phono stage is.
To be continued.
These curves are not simple in their shape; they have complex profiles that need accurate matching to be able to provide a consistent solution.
Simple tweaking or analog networks cannot compensate for this.
The solution needs to come through different tools that are accurate, stable over time, and must allow for full tailoring at will: Digital processing.
Our adventure went on. In our next steps into the study of phono idiosyncrasy we found that even in the top, most, greatest cartridges, different serial numbers behaved differently. As can be intuitively foreseen, from mid frequencies and up (measurements show 1KHz is the inflection point) serial units of the same cartridge start to behave differently, and not by a small amount. Mechanical and physical tolerances of the tiny components necessary in a cartridge account for this.
Amplitude vs frequency changes. Difference between left and right channels vs frequency changes. Other critical parameters change too, as we will see.
Moreover, it is not just about cartridge differences. Even if two identical cartridges would be possible, tonearm setup would change the reading.
So we have another need in our quest for perfection in vinyl playback: a generalized cartridge treatment is insufficient.
Very interesting...... Please move on.
I was not prepared at all for what I will experience with the Wadax. It is a "digital phono", which seems to be a contradiction in terms in the first place. Was not the reason why many of us go to turntables is precisely because we want to escape from digital, with all its digital artefacts, etchedness in sound, and basically untamed treble? But I don't think anyone could tell, simply by the music, that the Wadax is digital. It really checks all the boxes of ultra fidelity: great resolution, unmatched dynamics, wide and penetrating soundstage, and very "live-like". It is smooth but not at the expense of precision. Wow!
But to describe the Wadax in traditional hifi terms is to shortchange what it does. Yes it has deep dynamics, but what's the big deal about dynamics? I have actually heard many equipments that have bigger dynamics than the real thing (i.e. in the concert hall). Yes it is live-like, but I have also heard many equipments that make you feel the music is live-like, but at the same time it feels more like the orchestra is lining up in a straight-line 10 feet from you. This cannot be right either? I think the great thing about the Wadax is that music sounds not just dynamic with high resolution, but always so right and so natural, giving you flashes that you might be listening in a concert hall.
And then there is the reproduction of piano. If there is a forte amongst the many strengths of Wadax, this must be it. I had the good fortune last year to hear Martha Argerich with Berlin Phil at Berlin. I start to appreciate that when great master play, time seems to be pass more slowly. Seriously. What I mean is that very fast and aggressive passages via hifi start to feel not so fast (even though they are actually incredibly fast), and very complex passages start to feel not that complex (even though they actually are incredibly complex). Wadax is the first phono I heard that gives me that feel and convey music in such a way. I am very grateful.
You have to give credit not only to Javier, who is clearly brilliant, but particularly to PT and JLam, who have been introducing/supporting small companies dedicated to innovation. How many times we see manufacturers develop a new product simply by using better materials (more, purer silver please) or better power supply, or faster chips? Wadax took a truly out of the box route. They have no right to be successful, but they are, and I suspect the potential is even bigger. Those of us who feel we are part of the AE community should indeed feel pretty proud.
We are way ahead of the curve in this community. Roy Gregory just finished writing a fantastic review on the mark 2.
http://www.theaudiobeat.com/equipment/wadax_pre1_mk2.htm
Cassph, what power cable are you using with Wadax Ultimate? I have tremendous experience with Goebel Statement and Dalby U1000. I am yet to try Absolue Creation Ultra Tim Reference.