We all listen to, and consume, music differently. From a Spotify stream played through a a cellphone’s speaker, to dropping the needle on a favorite record, to a Dolby Atmos mixed Blu-ray audio disc played from a true audiophile setup; and everything in-between. Our method of intake may differ, but the euphoric feeling of hearing something truly great is something that most people have experienced at one time or another. For some of us, that feeling is something we continually strive to experience, reproduce, and enhance. Some may call it an addiction, and they’re probably right…but I’ll tell myself it’s a healthy hobby to rationalize the time, effort, and money spent chasing that feeling!
A few months ago, I made a post on Reddit about bringing my Klipsch KG4 speakers out of storage. My plan was to keep them out for the weekend and then pack them back up into storage. But, alas, that was probably a foolish plan on my part. I played album after album, listening to the differences in records I knew well that sounded completely new on these speakers versus my standard R-15M bookshelf speakers. The longer I had the KG4s out and stretching their legs, the more floored I was by just how DAMN GOOD they sounded! Considering these speakers are roughly 30 years old (I believe they were purchased circa 1989), I wasn’t sure what to expect. My initial takeaway was that these vintage speakers have aged like a fine wine, and with very little need for upkeep. They have the classic, and often raved about, Klipsch horn tweeters; and boy…do they work wonders! The highs were crisp and clean, and the bass was well rounded (thanks to the rear passive radiators). The more I listened, the more I wanted to play, and the less I wanted to pack them back up into storage (sorry apartment neighbors!). I decided that I’d go through my hifi albums to really see just how good they could sound.
Before I go too much farther, let me detail my setup quickly:
- Turntable – Pro-Ject Debut Carbon w/ Acrylic Platter
- Cartridge/Stylus – (new!) MoFi Electronics UltraTracker; nude elliptical stylus
- Phono Preamp – Parasound PPH100
- Receiver/Amp – Marantz SR7000 (using “Direct” mode for analog inputs)
- Speakers – Klipsch KG4
Now, before I do any critical listening, I generally make sure everything is properly aligned and calibrated for best possible sound on this system. First, you may notice that my speakers are sitting on risers instead of directly on the floor. The reason for this is that, ideally, you’d like the tweeters of any speaker to be even with your ear level when seated in your preferred listening position. The stands they are on are actually sections of a component rack – I don’t have proper stands for these because I don’t (or didn’t) often bring them out to play…that may change going forward. One thing to note for people newer to swapping speakers in and out – if your Receiver has speaker setting options, make sure you check them before playing. My Marantz has a small/large option, as well as an option to indicate if you have a sub-woofer connected. If I were to play the KG4s on the “small” setting, I’d likely have been pretty disappointed in the sound. After getting the speakers connected and the receiver properly set, I move on to my turntable. First, I remove the platter and clean off any dust that has accumulated (the piano black color of my table really highlights dust…such a pain!) and once the plinth is clean I ensure the belt is on the right speed setting for what I plan to play. Then I pull out my trusty digital scale to make sure VTF is set to 1.70g (my preferred tracking weight for the 2M Bronze). Finally, I’ll dip the stylus into my Onzow Zerodust and I’m finally good to go! The process takes ~10 minutes tops, and while probably a bit over the top and unnecessary, it’s part of the routine now and I’m a creature of habit!
My playlist for the day was a mix of Classic Rock, 90’s Alternative Rock, and Jazz. But, by far, out of all of the albums I spun, my favorite spin of the day was my Classic Records Clarity SV-P II 45RPM set of Louis Armstrong & Duke Ellington’s The Great Reunion. For those who aren’t familiar, Classic Records was a label that specialized in audiophile vinyl pressings and some high-end CDs. Founded in 1994 by known audio aficionado Michael Hobson, the label was sold to Acoustic Sounds in 2010. During the early 2000’s, Classic began experimenting with different vinyl formulations for their releases. The aforementioned album fell into their Clarity Series, and this set is top-notch all around! The Clarity releases employed the new SV-P (Super Vinyl Profile) II formula with groove guard on “clarity-clear” vinyl, and were also cut at 45rpm. The idea behind the clearish color (with a heavy blue tint in direct light) used was that the carbon black additive that gives a regular record its black color contains trace metals that can become magnetized and thus result in more static and general surface noise. This is probably true, though does border on some of the pseudo-science that crosses over into the audiophile world. I have black pressings of audiophile albums that have equally as little surface noise as this, so any perceived benefits of the clarity color itself may be less direct causation of the type of wax used and more a result of general good care being taken in all aspects of production. However, being cut at 45RPM does indeed allow for better sound, as it results in less overall distortion (especially on inner grooves). These are single-sided pressings, on 200g discs, which are intended to allow for deeper/more dynamic cuts; and reduced resonance. All of the releases in the series are sourced from analog tape, use an analog master, and were cut to lacquer without any digital components. Most were mastered at Bernie Grundman Mastering, either by Bernie himself or Chris Bellman. The albums come securely packaged in a removable-top box with thick poly-lined sleeves, a ton of bubble wrap, and a pristine album jacket with hi-resolution artwork from the original release. These releases are absolutely stunning, and compete well (and probably beat out) modern sets like Mobile Fidelity’s UltraDisc One-Steps and Analogue Productions’ UHQR sets. Better yet, their prices were a fraction of what modern sets are being priced at (when they were sold new, the secondary market on these Clarity sets are brutal).
Anyways, to the album itself – dropping the needle on disc A1, the album opens with the extremely well-known track It Don’t Mean a Thing (If it Ain’t Got that Swing). The bass plucks for a few bars, and you can hear the slight fret buzz – a detail so minor that most likely don’t/can’t hear it on other versions, and then a horn appears right in your living room and blows you away. Satchmo eventually drops in and his grovely voice rumbles, centered in the soundstage. The song is irresistible to foot taping, and the sound quality is so good that I find myself listening to this track endlessly; simply picking the tonearm back up and restarting immediately after it comes to a close. On disc 2 (labeled A2) I did detect a slight pre-echo on Don’t Get Around Much Anymore, but it’s extremely minor and once the song kicks in you are lost in the realism of the soundstage. I often can close my eyes and picture being in a small jazz club with these legends right in front of me. Instrument separation on this release is unparalleled, and the amount of detail you can hear is incredible. Notably on the song Azalea, you can hear Armstrong inhale, away from the microphone, before he plays a line on the trumpet. It’s truly “revealing” in every sense of the world. It’s a fully immersive experience to hear an album like this.
All the above, to me, makes the time/effort/money sunk into my growing audiophile habit worth it. When you can hear a song you know and love, and feel like you’re hearing it for the first time; or that you’ve always listened with earmuffs on and now are really experiencing the un-blocked sound with “clarity” (heh, see what I did there?) …it’s just an awesome feeling! Again, maybe it’s an addiction. But I’ll still refer to it as a hobby. Or maybe an obsession. But a health one!
I know this was a bit long winded, so my apologies for that. Hope those that did read it enjoyed my takeaways, and I’m happy to answer any questions you might have – whether on my equipment, the record in question, or music in general! Thanks for stopping by; more to come soon!
The Vinyl Farm 
