A Visit to AudioArts - NYC to hear CH Precision - FM Acoustics - Zellaton
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When I learned that Prince had died, I cried. I'm 50 years old, but I cried. In fact, tears streamed down my face off and on all that day. I was glad to be in a secluded office, behind a closed door. Two days later, I wrote the following:
"Music has always been a big part of my life, but after I broke my neck when I was 18, I leaned on Prince's music more than anyone else's. *In those first few weeks, when I was lying in traction in a hospital bed, flipping from stomach to back and back again every two hours, there was nothing to do but think or listen to music. *Thinking was dangerous in that state of mind, but music took me to other places, places that kept me from thinking. *And of all the music I listened to during those days and weeks and months, it's only Prince's that I have vivid memories of. *Vivid, meaningful memories. *The kind where you remember not just hearing the beat, listening to the notes, or singing the lyrics, but contemplating what he was saying, its depth and complexity, and frequent controversy. *His performances were of a virtuoso, and he, himself, singular in myriad ways. *It's simply impossible for me to put into writing what his music meant to me those days, and how much I needed it and relied on it to survive. *Years later, I considered writing him to thank him. *I should've. *I wish I had. *I wish he had known."
Why am I writing this personal story in an audiophile blog? Well, I'm no Hi-Fi reviewer, but I've read plenty of reviews. Most have a familiar cadence. The review starts with a couple of paragraphs describing a theme that may seem completely unrelated to the equipment at hand. It then quickly turns to the details of the equipment – build quality, aesthetics, functionality, and, of course, sound. But it invariably ultimately comes back to that theme in the end.
As any of you know that have been reading my posts, I recently purchased an ASR Emitter 1 and Zellaton Grands. I had read about the former years ago, but never pursued it until conversations with Gideon. That led to further research. I learned from ASR's website, that David Chesky owns an ASR, and by coincidence, I learned that Jim Smith does as well. Those are some pretty good chops by themselves, and the reviews were equally impressive. As for the Grands, they were an upgrade from the Emotions based on Gideon's recommendations. Given their size, and the tiny dimensions of my listening room, I was skeptical. But Gideon promised they would not overwhelm the room, and since everything he had previously said about the Emotions was true, I took the chance. I'm glad I did. Buying this equipment was the best audio decision I have ever made. I owe Gideon a lifetime of gratitude. He's given me a profound gift.
Because I received the ASR and Grands virtually simultaneously, I can't, with any credibility, assess them separately. For all my intents and purposes, they are a single unit.
Now, back to that Prince thing. What has drawn me to music for so many years, and pulled me into the high-end scene, is the emotional connection it makes. I've been to many showrooms and have shuffled a lot of equipment in and out of my listening room in the last 25 years, most of it Stereophile "Class A". But no matter what I had, something always seemed missing. Or sometimes added. The point is that no matter what equipment I had, I typically found myself noticing what wasn't there. Or what was there that shouldn't be. It interfered with my ability to simply close my eyes and enjoy the music, to make that emotional connection. It might've been too much bass, or not enough. It might've been too warm, or too sterile, lacking nuance. It might have been anything, but it was always something.
That is the case no more. Whatever I have been searching for, however I might choose to describe it, it is in the ASR/Zellaton combination. I am listening to genres that I have never listened to before and finding them deeply meaningful. It may be heresy, but I've never listened to much jazz. Until now. And now, I can't get enough. Yesterday, I found buried in my collection, Miles Davis's, "Ascenseur Pour L'échafaud." Okay, it's a soundtrack, and it's not "Kind of Blue" or "Sketches of Spain", but it is beautiful. And so wonderfully rendered through the ASR/Zellatons. I'm not saying the system is perfect. Bad recordings are still bad, but they're better than ever before. But the good recordings you feel in your soul.
When I listen, I don't want to stop listening. I'm often torn between wanting to hear the next song and not wanting this song to end. I guess what I'm saying is that it allows me to connect emotionally with the music like I did those many years ago in those very dark days. It takes me to the places Prince did. I will leave it to others to describe their experiences in audiophile terms. I'm not particularly adept at that. All I can really tell you is that with this combination, there's not too much of this, nor too little of that. Nothing distracts me from the music, from feeling that emotional connection. And that's about the best thing I could ever say about any musical experience.
"Music has always been a big part of my life, but after I broke my neck when I was 18, I leaned on Prince's music more than anyone else's. *In those first few weeks, when I was lying in traction in a hospital bed, flipping from stomach to back and back again every two hours, there was nothing to do but think or listen to music. *Thinking was dangerous in that state of mind, but music took me to other places, places that kept me from thinking. *And of all the music I listened to during those days and weeks and months, it's only Prince's that I have vivid memories of. *Vivid, meaningful memories. *The kind where you remember not just hearing the beat, listening to the notes, or singing the lyrics, but contemplating what he was saying, its depth and complexity, and frequent controversy. *His performances were of a virtuoso, and he, himself, singular in myriad ways. *It's simply impossible for me to put into writing what his music meant to me those days, and how much I needed it and relied on it to survive. *Years later, I considered writing him to thank him. *I should've. *I wish I had. *I wish he had known."
Why am I writing this personal story in an audiophile blog? Well, I'm no Hi-Fi reviewer, but I've read plenty of reviews. Most have a familiar cadence. The review starts with a couple of paragraphs describing a theme that may seem completely unrelated to the equipment at hand. It then quickly turns to the details of the equipment – build quality, aesthetics, functionality, and, of course, sound. But it invariably ultimately comes back to that theme in the end.
As any of you know that have been reading my posts, I recently purchased an ASR Emitter 1 and Zellaton Grands. I had read about the former years ago, but never pursued it until conversations with Gideon. That led to further research. I learned from ASR's website, that David Chesky owns an ASR, and by coincidence, I learned that Jim Smith does as well. Those are some pretty good chops by themselves, and the reviews were equally impressive. As for the Grands, they were an upgrade from the Emotions based on Gideon's recommendations. Given their size, and the tiny dimensions of my listening room, I was skeptical. But Gideon promised they would not overwhelm the room, and since everything he had previously said about the Emotions was true, I took the chance. I'm glad I did. Buying this equipment was the best audio decision I have ever made. I owe Gideon a lifetime of gratitude. He's given me a profound gift.
Because I received the ASR and Grands virtually simultaneously, I can't, with any credibility, assess them separately. For all my intents and purposes, they are a single unit.
Now, back to that Prince thing. What has drawn me to music for so many years, and pulled me into the high-end scene, is the emotional connection it makes. I've been to many showrooms and have shuffled a lot of equipment in and out of my listening room in the last 25 years, most of it Stereophile "Class A". But no matter what I had, something always seemed missing. Or sometimes added. The point is that no matter what equipment I had, I typically found myself noticing what wasn't there. Or what was there that shouldn't be. It interfered with my ability to simply close my eyes and enjoy the music, to make that emotional connection. It might've been too much bass, or not enough. It might've been too warm, or too sterile, lacking nuance. It might have been anything, but it was always something.
That is the case no more. Whatever I have been searching for, however I might choose to describe it, it is in the ASR/Zellaton combination. I am listening to genres that I have never listened to before and finding them deeply meaningful. It may be heresy, but I've never listened to much jazz. Until now. And now, I can't get enough. Yesterday, I found buried in my collection, Miles Davis's, "Ascenseur Pour L'échafaud." Okay, it's a soundtrack, and it's not "Kind of Blue" or "Sketches of Spain", but it is beautiful. And so wonderfully rendered through the ASR/Zellatons. I'm not saying the system is perfect. Bad recordings are still bad, but they're better than ever before. But the good recordings you feel in your soul.
When I listen, I don't want to stop listening. I'm often torn between wanting to hear the next song and not wanting this song to end. I guess what I'm saying is that it allows me to connect emotionally with the music like I did those many years ago in those very dark days. It takes me to the places Prince did. I will leave it to others to describe their experiences in audiophile terms. I'm not particularly adept at that. All I can really tell you is that with this combination, there's not too much of this, nor too little of that. Nothing distracts me from the music, from feeling that emotional connection. And that's about the best thing I could ever say about any musical experience.
^^^ Very well written, and that is exactly what this hobby is all about! Glad you have found your audio destination, and enjoy your reborn system in the best of health! 
What a lovely post Sterling.
I had some personal problems much later in life and it was the music and the system that got me through them
It was later though that I found the emotional connection you speak about through the Entreq, YG Acoustics and Vitus SIA that I have in my system now
There is something described as the Mozart Syndrome whereby people's problems with illnesses have been substantially assisted by listening to music (not necessarily Mozart) and it really does seem to work as we have both found.
Let's hope many others are able to benefit in the same way and that we can continue to do our bit to that end with posts like your own.
I had some personal problems much later in life and it was the music and the system that got me through them
It was later though that I found the emotional connection you speak about through the Entreq, YG Acoustics and Vitus SIA that I have in my system now
There is something described as the Mozart Syndrome whereby people's problems with illnesses have been substantially assisted by listening to music (not necessarily Mozart) and it really does seem to work as we have both found.
Let's hope many others are able to benefit in the same way and that we can continue to do our bit to that end with posts like your own.
SterlingReznor, your post is definitely the most touching I've ever read. Here's to you and Prince. Enjoy my friend.
Tunes described his latest visit to AudioArts in posts #239-241 (thanks for posting the pictures!). I missed him by a few days as I was at AudioArts for a listen on the Wednesday before the Sunday that tunes visited. I asked Gideon to hear the Zellaton Statement system because I was eager to hear what the top-of-the-line could produce. I was not fully prepared for the answer that's for sure! The system consisted of: FM Acoustics 266R pre, 711 amp, 123 phono, CH Precision D1/C1 digital, Brinkman tt, and a prototype cartridge that is based on the Neumann cartridge of the 80s. Speakers were the Zellaton Statement. All wires were FM Acoustics. Finally, the Zellaton Statement integrate Schnerzinger giga protectors into their design; there is actually a plug-in port for the device on the back of the speaker. First cut was from "Dreamin with Dean", Dean Martin on vinyl. The first characteristic that I noticed immediately is how quiet everything was. Then the music and voice appeared in the room; like appeared! Crazy. I just sat back and enjoyed. I never realized Dean Martin was that serious a vocalist. I've got to get a copy of that album. We played several other vinyl tracks, some of which I knew and others not, each had a realism that I've not heard from any system. "Neck and Neck", Knoffler - Atkins album on the cut "There'll be some changes made", speak to each other throughout the cut and it sounded like they were in the room speaking with us, to us. That real. As I've said before, when one connects a full FM Acoustics chain, phono-pre-amp, in this case, it is very special. I am very familiar with the CH Precision front-end having owned it for a year now. When we switched to digital and played a few cuts with which I am familiar, I noticed how much better the treble range sounded on the Zellaton Statement than on my Wilson Alexia. Smoother and definitely more open. And more "quiet" than I've heard. "Quiet" likely does not convey the effect I was hearing. I can't describe this well but it was very evident in the treble region. Bass and midrange were beautiful. Voices (Johnny Hartman on Vinyl) were so rich and believable. Quite the experience. In this month's TAS, there is an editorial that states that our local dealers are one of our systems biggest and best assets. It goes on to say that some of our most memorable moments occur at local dealers. I agree. I will never be a buyer of the Zellaton Statement (too big for my room and out of price range) but just knowing what is possible at this level is fun and exciting. This system brought me closer to music than any other. I would like to get more of that quality at home. Gideon has repeatedly said that the Zellaton are the best match for FM Acoustics/CH Precision that he has heard. Based on my latest listening and comparisons, he may be right. Many thanks to Gideon Schwartz and AudioArts for providing another reproduced music memory that I can't forget. If you travel to NYC, see if you can get in to hear this system.
First let me echo the comments on your post Sterling. That is what music is all about. It has immense healing wualities whether playing or listening. Thanks for sharing your story.
Kinch
No prob re: photos. In terms of bass the Stenheim sounded full and quite fast. Faster than my Verity Amadis. Zellaton's were faster and tighter than Stens and very able to plumb depths on deep bass tracks.
Chris
Kinch
No prob re: photos. In terms of bass the Stenheim sounded full and quite fast. Faster than my Verity Amadis. Zellaton's were faster and tighter than Stens and very able to plumb depths on deep bass tracks.
Chris
Roy Gregory posted this review of the Stenheim alumine 2 last week.
http://www.theaudiobeat.com/blog/stenheim_alumine_2.htm
I haven't heard this monitor on it's own but I did hear the Alumine 3 (which consists of the Alumine 2 monitors atop an isogel /aluminum decoupler that sits on top of the 3rd way bass module) in the smaller listening room at AArts in Oct 2014 and it was very impressive.
http://www.theaudiobeat.com/blog/stenheim_alumine_2.htm
I haven't heard this monitor on it's own but I did hear the Alumine 3 (which consists of the Alumine 2 monitors atop an isogel /aluminum decoupler that sits on top of the 3rd way bass module) in the smaller listening room at AArts in Oct 2014 and it was very impressive.
If you're located on the other side of the pond you'll be able to compare Zellaton Stage with Stenheim Alumine 5 and Verity Amadis in Stockholm, Sweden later on this spring.
Yes - we're excited
/ Marcus
JV and Julie have a few pics up on FB from their recent visit to AArts.
https://m.facebook.com/story.php?story_fbid=1448829768463204&id=449238158422375
Will be interesting to hear their impressions of the Zellaton and Stenheim speakers compared to my visit.
Chris
https://m.facebook.com/story.php?story_fbid=1448829768463204&id=449238158422375
Will be interesting to hear their impressions of the Zellaton and Stenheim speakers compared to my visit.
Chris
Hi just to clarify, you are comparing Stenheim alumine 5 to zellaton statements, correct? Just so the person asking the difference between the bass understands that's an unfair comparison based on the size, and the Stenheim does have a bigger model
The Zellaton is about 300.000 USD. The Stenheim Alumine 5 model is about 20% of that price... If both are put up for comparison, it says a lot about the intrinsic qualities of the Stenheim.
Stenheim has effectively two models above the Alumine 5, one is the Ultime (about 200k USD) and the other one is the Statement (about 500k USD).
Hi all,
Yes, i was responding to the question about bass from how i experienced the two speakers in the space. I was not suggesting that the Stenheim 5 and Zellaton Statement were in a shoot out or a short list of competitive models from different brands. As most folks familiar with these two lines know, and as has been pointed out by bonzo and flyer, the Stenheim Five is about 80% less expensive than the Zellaton Statement. But it is also smaller, not as heavy and more appropriate for smaller to mid-sized rooms.
The Zellaton statements need a generous sized space to open up.
TAS has a little blurb about them in this speaker issue on page 9.
http://www.theabsolutesound.com/buyers_guides/39/download/pdf/
Chris
Yes, i was responding to the question about bass from how i experienced the two speakers in the space. I was not suggesting that the Stenheim 5 and Zellaton Statement were in a shoot out or a short list of competitive models from different brands. As most folks familiar with these two lines know, and as has been pointed out by bonzo and flyer, the Stenheim Five is about 80% less expensive than the Zellaton Statement. But it is also smaller, not as heavy and more appropriate for smaller to mid-sized rooms.
The Zellaton statements need a generous sized space to open up.
TAS has a little blurb about them in this speaker issue on page 9.
http://www.theabsolutesound.com/buyers_guides/39/download/pdf/
Chris
Hi all. In post 247, I described my February visit to AudioArts where I heard the Zellaton Statement. I was really impressed with the Statement. Several phone conversations with Gideon Schwartz occurred after that where I kept talking about the qualities of the Zellaton (open treble that exposes details, three dimensional soundstage, balanced tone top to bottom, midrange beauty with details,etc.) and asking if those qualities were available in some measure in the smaller Zellaton speakers. He explained these qualities were traits of all Zellaton but not to expect what I heard from a $350K Statement in the Zellaton Stage. Fair enough. It turns out that a pair of Zellaton Stage were available. As we got further into the discussion we discussed that fact that the Wilson Alexia I currently had were much more efficient than the Zellaton Stage and that the Stage would require an upgrade of my CH Precision A1 to the CH Precision M1. I had heard the M1 and Stage combination at AudioArts on a prior visit and decided to move forward with the purchase. We made plans for Gideon's visit. He explained it would take a few days to complete the installation and it took a few weeks to make the arrangements for the movers to be present on the day he arrived and to ship everything to me. On the night before he arrived I was excited and apprehensive; I've owned Wilson speakers for a long time and enjoyed them all. What if this does not work out? The next day Gideon arrived, movers showed up and did a great job. I also got another package delivered: Schnerzinger speaker cables and a Schnerzinger 20 amp power cord for the M1. Gideon said we would set-up the system without the Schnerzinger and then introduce them when we had a close to final set-up. It took him a good two hours of listening and adjusting before he asked me to sit in the main listening position to make final adjustments. The first cut I listened to was Linda Ronstadt's "Lose Again", from Hasten Down the Wind. The qualities that I was hoping to achieve were there but not to the fullest. We made some adjustments over the next day and half. To say that what I was hearing and experiencing with Zellaton was a complete shift from what I had become accustomed to hearing with my Wilson Alexia is an understatement. We kept music playing around the clock so that we could begin the break-in process for the M1. As the M1 began to settle in, bass response improved and everything became more balanced. I still felt something was not quite right. That's when we added the Schnerzinger cables. Gideon explained that the Zellaton speakers are internally wired with Schnerzinger and that the companies work closely together. Grain disappeared, details became more evident due in part to the improvement in the black background, bass response improved, the system became more balanced. Vocals, piano reproduction were better than I've ever heard in my room. Depth of soundstage is considerably better now. It's just so real. A few caveats: if the recording is not good, it will sound bad. Period. There is no sweetening of the sound at all. If you are looking for "smash mouth bass", this will not light your light. Bass response is balanced but not over ripe or pronounced. Some final notes: Gideon left me the Schnerzinger giga protectors for two weeks to try. They made a difference that I described in another thread. I purchased the Schnerzinger cables. Not possible to take them out of the system once you hear what they add. If you are considering Zellaton or own Zellaton, I encourage you to try the Schnerzinger speaker cables if you can. I've attached a few pictures that capture the current system. This is likely the last stop on the upgrade train for me. I can't seem to leave the music room. Enjoy your systems all.
Dear Rsorren,
please never tell this is the last stop on the upgrade train.
I and my friends told too many time in our life but never happen
because in future you will think at Schnerzinger cable from L1 to C1 and to M1,
then you will start to think a second M1 to use in mono,then a second speaker cable to biamp in passive way,if you can do with your Zellaton, at the end you will be curious about a turntable,
but you will need also a P1 and in future X1 for P 1
At the end after you bought the second M1 and you will be very happy,you will start to think the new C1 mono
Sorry i forgot,you will need also the new clock T1 and another X1
I am joking,but i think i am near sure this will happen in future
Regards
Gianluigi
please never tell this is the last stop on the upgrade train.
I and my friends told too many time in our life but never happen
because in future you will think at Schnerzinger cable from L1 to C1 and to M1,
then you will start to think a second M1 to use in mono,then a second speaker cable to biamp in passive way,if you can do with your Zellaton, at the end you will be curious about a turntable,
but you will need also a P1 and in future X1 for P 1
At the end after you bought the second M1 and you will be very happy,you will start to think the new C1 mono
Sorry i forgot,you will need also the new clock T1 and another X1
I am joking,but i think i am near sure this will happen in future
Regards
Gianluigi
Gianluigi, thanks for your note. Yes, the speaker cable that I had prior to the Schnerzinger was CH copper cable.
Congrats rsorren! As you know from my prior posts, I have the ASR Emitter and the Zellaton Stage's smaller cousin, the Grands, and I can totally understand why you say you have reached the end of the upgrade train. Not that you won't make some tweaks along the way, which is what I think our colleagues are really suggesting, but when you find what you're looking for, you know it. Again, congratulations!
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