We’re partnering with Magico for an incredible night of music, demonstrations, and good times at Hanson Audio Video’s state-of-the-art Cincinnati location. If you’re in the area, come join our very own Mike Marko, along with Peter from Magico, as they provide insight and answer questions about some truly transformative products. — Thursday August 30th, from 5-9PM.Our product specialists receive questions on a daily basis about Nordost products, their application, and hifi in general. We thought that we would take a minute to share some of our most recent and frequently asked questions here so that everyone can get the answers they are looking for!
Q: Can I plug my mono amps, their preamp, and a separate integrated amp into one QB8? In other words, there would be two different systems connected to the same QB8 strip. If yes, where should I plug in the monos vs the integrated?
A: Theoretically, yes, you could have components from two different configurations plugged into one QB8. However, the QB8 was designed for a single system in terms of ground flow manipulation. If at all possible, you should try to find an alternative solution. Remember, there are current limitations in terms of what the electronics draw so you don’t blow the fuse. Although pre-amps and source components have low current draw, the amps pull more. If you have three amplifiers plugged into a 15 amp QB8, and each pulls 5 amps, you can’t plug anything else into it.
Q: I have a Nordost Heimdall 2 digital RCA to RCA cable. Can I use it as an analog interconnect if I add one more of the same cable? Will this combination sonically be equal to a pair of Heimdall 2 Analog Interconnects?
A: If you need to, yes, a digital cable will pass an analog signal (although an analog cable will not pass a digital signal!). While the performance level would be close, in this application, an actual analog cable will sound better.
Q: Does Nordost offer a 3.0 USB cable? I noticed that the whole USB line is configured for USB 2.0.
A: Yes, our Frey 2 USB Cable is 3.0 compatible, and can be ordered with 3.0 terminations.
Q: What is the difference between the original Frey and the Frey 2 Analog Interconnect?
A: There are quite a lot of differences between Frey 1 and Frey 2. The conductor gauge went from 26 to 24, which by itself gives more “weight” or “body” to the sound. The Frey 2 cables also went from using Mono-Filament to Dual Mono-filament technology which surrounds the conductor with even more air. The connectors went from WBT to Neutrik MoonGlo, which has far better emphasis on grounding. Lastly, we changed the conductors to an asymmetrical configuration.
The first day of the Hong Kong High-End Audio Visual Show was bustling with excited visitors and full of incredible sound!
For more than a quarter of a century, Nordost has been renowned for the quality of our products, and the effect that they have on music reproduction. Using Nordost allows listeners to experience music the way it was intended – unrestrained, unfiltered, true. So it should be no surprise that when high fidelity is the goal, Nordost is who you come to for your cabling needs. For professionals in the audio industry, this is no different. Over the years, Nordost has worked with innovative manufacturers, talented artists, and celebrated recording engineers, who all trust Nordost to bring their finished products to the next level.
Marc Urselli was introduced to Nordost through his work with jazz record label, Newvelle Records, and has been using Nordost cables ever since. Marc is a 5-time nominated, 3-time Grammy Award winning sound engineer/producer based in New York City. While Marc is a freelancer who works at many studios across the world, when he is in New York, he operates primarily out of EastSide Sound studios, one of the oldest recording studios in the city, established in 1972 by Lou Holtzman and run today by Fran Cathcart. Marc has recorded and/or mixed a wide array of prominent artists including U2, the Foo Fighters, Lou Reed, Mike Patton, Nick Cave, Laurie Anderson, Sting, Eric Clapton, Jeff Beck, John Patitucci, Jack DeJohnette, Esperanza Spalding, Keith Richards, Buddy Guy, John Zorn and many others.
What does Marc have to say about Nordost?
“I was introduced to Nordost in 2017 through Newvelle Records, a high fidelity vinyl only record label for which I record and mix every album. I was initially skeptical about the fact that an audio cable might be able to make more than just a subtle difference in sound. When I got to test these cables I was blown away by how big the difference actually was. It wasn’t just a subtle thing that only an audio engineer or an audiophile would hear, but a clear improvement in the overall frequency response of the signal that EVERYONE can hear! Sound comes through without restriction, in its full, bold, rich and wide original state! More low end, more high end and more of EVERYTHING! I am not impressed easily but I was impressed that I could be that impressed! I now use Nordost cables at EastSide Sound for all of my projects.”
Mark chooses to use Nordost’s Pro Audio line, Ax Angel for all of his recordings.
For more information about Marc Urselli, visit www.marcurselli.com
The audio industry is always evolving. To better appreciate the technology that we enjoy today, we are going to take a look at that evolution, and dive into a few of the influential products that have helped shape the hi-fi universe into what we know today.
The Shearer Horn
In the late 1920s, most theaters used oversized snail horns that would create a rough but functional sound for theatergoers. There was an obvious need for advancement with these aging speaker systems, and in the early 1930s audio aficionados got one: the Shearer Horn.
In 1933 John Hilliard, an acoustic engineer at MGM, started to collaborate with Jim Lansing of Lansing Manufacturing to design a speaker system that would change how people experienced audio. Douglas Shearer, the head of sound at MGM, caught wind of the project and put it into production immediately. The Shearer Horn was designed to be a new type of theater speaker which would replace the wide range speaker systems used in most movie theaters at the time. Due to their unique design properties, these speakers were revolutionary to the industry. Unlike big snail horns, which were used on wide range speakers, the Shearer Horn was built with a compression driver and a multicellular horn. Coupled with 15 inch cone speakers on either baffle, the overall efficiency of the Shearer Horn was staggering when compared to its predecessors.
The horn was first tested in the 5,000-seat Capitol Theater on Broadway. After its stellar performance, the speaker system was then installed in twelve more theaters. Theater loudspeaker manufacturers soon adopted the Shearer Horn as the industry standard. In 1936 the Shearer Horn received a technical achievement award, which celebrates the accomplishments that contribute to the progress of the motion picture industry, from the Academy of Motion Picture Arts and Sciences. The Shearer Horn started a new wave of thinking when it came to speakers, and surely the loudspeaker industry would not be where it is today without its development.
The Lansing Iconic high fidelity loudspeaker (1937) using the multicellular horn that was the form of the Shearer Horn.
Nordost is lucky to have a wonderful team of representatives and product trainers who travel around the world educating and demonstrating the effects of Nordost’s products. As part of these demonstrations, it is our job to find an interesting and diverse selection of music to showcase our cables, power devices, sort system and accessories. Whether at shows, visiting our dealers and distributors or even in our own listening room in our headquarters in Holliston, we are constantly getting asked what music we are playing (or if our audience is not so bold to ask, we can see their Shazams working overtime). So we thought this would be a perfect opportunity to share our favorite songs of the moment. Some may be classics, some may be brand new, some may not even be to your taste, but one thing is for sure …it’s all great music.
Here are some of the songs that we will have on rotation this August.
You can now listen to our monthly playlist here: TIDAL | SPOTIFY
By Mike Marko
In today’s world of online shopping, with brick and mortar shops closing at an alarming rate, it is refreshing to experience what a proper retail environment can do to help you select the system just right for you.
Audio Video Integration in Marin County is just such a place. Their 9000 square foot showroom, including four top-flight sound and video rooms, is filled with many top brands. In fact, they are one of the few Nordost dealers in the world to carry our Supreme Reference line of cables, Odin 2.
AVI Marin is helmed by Tony Probst, who has operated this family owned and run business since 1985. Tony is a master certified ISF calibrator with many years of specialized training. He uses sophisticated instruments to produce the finest video and audio experience for his customers. Along with his three sons, and an excellent sales and support staff, Tony has the specialized skills and tools to calibrate, properly place, and install systems that deliver the best experience imaginable.
The next time you’re up north of the Golden Gate Bridge in wine country, stop by and experience the best in audio and video. While you’re there take a moment to view Tony’s exclusive collection of artifacts from the Titanic and The Bounty. Yes, THAT Titanic and The Bounty! On display are original photos, canon balls, fine china, jewelry, and original memorabilia— some actually retrieved from the shipwreck by Tony himself!
AVI Marin
647 Francisco Blvd East
San Rafael California
(415) 526-0070
Nordost is always thrilled to receive and share glowing reviews from journalists and experts in the industry. However, when we get testimonials from our devoted and satisfied customers, it means that much more!
Thank you to Steve and Anne from Virginia for sharing a little about their transformative experience with Nordost!
“Upgrading our interconnects and speaker cables to Nordost Valhalla 2 was one of the most significant upgrades we have made to our system. When we first inserted a demo pair of Valhalla 2 speaker cables that we borrowed from our dealer into our system, we immediately noticed the increase in clarity and temporal resolution. These attributes have enhanced our listening experience. Imaging is more precise with improved separation between instruments. We have also noticed improved bass dynamics and tonality. We highly recommend these cables and Nordost’s break-in service.”
Steve and Anne are happy customers of JS Audio in Bethesda, MD. Their system is wired with Valhalla 2 cables.
What’s your Nordost story?
Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound. In this blog, Brill looks back on past performances at the Newport Jazz Festival, as he anticipates this year’s upcoming lineup.
JAZZ PIANISTS FRISKY AND WISE – FROM NEWPORT JAZZ FESTIVAL AND BEYOND
By Nelson Brill
JUNE, 2017
Pianists have always been front and center at the Newport Jazz Festival (“Newport”) since it was founded in 1954 by the incomparable jazz impresario, George Wein. This year’s edition of Newport (sponsored by Natixis) runs from August 3-5 (see www.newportjazz.org for full schedule) and judging by past years, this year’s edition promises more keyboard verve and magic.
Last year, Newport was teeming with forward-thinking pianists. In a dazzling solo concert, pianist David Torkanowsky dug deep into a Hoagy Carmichael number that sashayed with smart New Orleans’ inspired rhythms. Under one of Newport’s larger tents, a global street party was led by pianist Danilo Perez and his Group.
Twin-engine percussionists Adam Cruz and Roman Diaz propelled the party with Yoruba chants and resonant conga hits. Perez cascaded sprightly on his keyboard and trumpeter Avishai Cohen and saxophonist Chris Potter lent powerful solos, all building to a cacophonous eruption of soaring colors.
Andrea Canter
Another highlight from Newport 2017 was the appearance of pianist Vijay Iyer on several stages. He first led his Sextet in exploring originals from their 2017 recording, Far From Over [ECM; www.ecmrecords.com], a richly textured recording that pulls the listener into Iyer’s challenging pieces.
Iyer is keen to explore contrasts in dynamics, instrumental colors and unpredictable meter shifts in his music. Far From Over opens with his composition, “Poles,” drawing on lightness (the softness of Iyer’s keyboard touches and Graham Haynes’ floating flugelhorn solo) and angular fury (Steve Lehman’s spilling alto sax solo). The locomotive “Down To The Wire” also contains shifting contrasts: an opening Iyer solo combines sweet flashes of concise phrasing followed by a torrent of notes, brimming with concussive bass chords. Iyer and his talented Sextet range from light punches of funk, (such as on the slinky beauty of “Nope”) to the R & B of the propulsive “Wake” – knotty and unpredictable and then smooth as silk in the soulful foundation laid down by bassist Stephan Crump and drummer Tyshawn Sorey (with his blade-like hits on his closed hi-hat).
At one point in the Sextet’s Newport 2017 performance, Iyer soloed in a tranquil moment (with a twinkling flourish of light notes) while tenor saxophonist Mark Shim spun nimble runs shifting in and out of Iyer’s soft piano colors. Iyer and Shim’s beautiful duet reminded of Iyer’s recent recording where he teams up with another intrepid partner, the fearless trumpeter Wadada Leo Smith, on their glowing 2016 recording, A Cosmic Rhythm With Every Stoke [ECM].
The intimate meeting between these two consummate artists will challenge your ears with its music that verges on silence – slow and viscid – contrasted with its leaps of searing power. The excellent sonics of Cosmic Rhythm ensnare beautifully the full harmonic body of Iyer’s piano as well as the metallic blaze and bite of Smith’s expressive trumpet.
Cal Alumni Assoc
In addition to Iyer’s vital partnership with Wadada Leo Smith, Iyer also clearly shares a special telepathic partnership with his intrepid drummer, Tyshawn Sorey, a member of Iyer’s Sextet and an accomplished composer in his own right. For instance, take a listen to Sorey’s original compositions on his recording Alloy [Pi Recordings] joined by pianist Cory Smythe and bassist Christopher Tordini.
Sorey’s music stretches the sounds of the jazz trio into new territory with its mixture of driving forces (the heady “Template”) and slow, repeating meanders as in Sorey’s “A Love Song” – highlighted by Smythe’s gorgeous piano that glows with harmonic richness and repeating, fragile patterns.
I was looking for the chance to hear Sorey again at his drum kit and such a joyous treat presented itself on May 4th, as Sorey joined with Iyer and bassist Nick Dunston for an intimate concert at the Regattabar in Cambridge, MA. (www.regattabarjazz.com). Although Sorey employed only a single large cymbal, a snare drum, a hi-hat and a bass drum for this concert, he created an astounding variety of sounds from his minimalist kit: the lightest of brush scamper to the most startling blasts of percussive force.
Jazz De Gama
The music moved uninterrupted through a series of musical chapters created by Iyer’s rich piano lines and melodies woven from classical references; rock anthems; pixelated one-note hits and Monk-like quips. The young Dunston interwove his gracious bass within Iyer’s storylines with a preference for letting his notes hang in the air (for their maximum harmonic richness) or utilizing languid slides that slipped and fell as they may. For his part, Sorey kept all of this drama ignited with fluid snare runs; glows from a single drumstick hitting the bull’s-eye of his cymbal or attacking his bass drum with startling concussive effect. As all this trio chemistry and drama unfolded, its evolving beauty was captured in excellent coherent and textured sound by sound engineer Dean DeMatteo at this spirited Regattabar show.
Geri Allen: allaboutjazz
Returning to Newport 2017, Iyer was also seen at his keyboard performing in a moving tribute to the singular pianist and composer, Geri Allen, who tragically passed on a few weeks before Newport 2017 (where she was scheduled to appear with drummer Teri Lyne Carrington and bassist/vocalist Esperanza Spalding). Carrington and Spalding organized this Tribute to Allen and were joined by Iyer for a joyful collective romp on “Geri’s Song”- a Calypso inspired number that fired up Iyer, Spalding and Carrington in joyful, grooving celebration of Allen.
Esperanza Spaulding: New York Times
Also taking a turn at the keyboard in this Geri Allen Tribute at Newport was another of my favorite young pianists, Christian Sands, who took flight with his usual exuberance and velvety tumble.
wnpr
Sands has always been one to watch, whether in his piano seat in bassist Christian McBride’s band or now as a band leader in his own right, as on his new recording, Reach [Mack Avenue Records; www.mackavenuerecords.com].
Reach is a recording with a big boned and sparkling sonic presence, offering an upfront perspective to all the action. Take a listen to the opener “Armando’s Song”, one of the disc’s highlights, and if your audio system is up to the task, you will follow each of Yasushi Nakamura’s pungent bass pumps and toe-tap to the throttle of drummer Marcus Baylor’s snare/cymbal combinations. (Baylor emerges on this recording with bright and gutsy presence throughout, another young talent on the drums. Also check out his superb 2017 audiophile gem of a recording with his partner in The Baylor Project, the glorious singer Jean Baylor, on their Grammy nominated The Journey [CD Baby].
Marcus Baylor: Jeff Forman
Taking inspiration from Chick Corea’s “Armando’s Rhumba” (a version of which appears on Corea’s 2003 audiophile gem, Rendezvous In New York [Hybrid SACD; Stretch Records] with Corea joined by the brilliant Bobby McFerrin in a brilliant chase of piano and vocals), Sands makes Corea’s song his own by twisting it into a rollicking jam of flowing runs and surging piano note flourishes.
On another highlight from Reach, the blues surge of “Song of the Rainbow People,” Sand captures the majesty of this cut in glorious fashion, utilizing deep chords and rolling them into thunderous lyrical waves. Sands is also joined by saxophonist Marcus Stickland for a boiling “Pointing West” (all curvaceous in its bebop heat) and by guitarist Gilad Hekselman (for a softly grooving “Reaching For The Sun”with Hekselman’s guitar notes trim and flowing next to Baylor’s light wood rims).
New York Times
Things then get intensely funky when Sands and Hekselman join Baylor and Christian McBride for a hard-hitting “Use Me” featuring a blast of guitar sear from Hekselman’s solo and a funky hoe-down between McBride and Sands in which Sands lays down a clutch of low-end hurls and stride piano next to McBride’s feisty bowing.
Reach ends with a soft caress on Sand’s version of the classic, “Somewhere Out There”. In this intimate moment, Sands twists and turns upwards on his keyboard to an optimistic place with a final flutter up his colorful and expressive range, beckoning sunshine and striving on.
London Jazz News
If you would like to read more reviews like this one, visit Nelson’s blog at www.bostonconcertreviews.com.