Rochester Michigan, USA, October 27, 2021 – Essential Sound Products announces that renowned recording engineer, producer and educator Jim Anderson will be our guest in the “Truman” room, at Capital Audiofest, November 5-7 in Rockville MD (located in the metropolitan Washington DC), to speak with attendees about his experiences and the impact of using MusicCord brand power cords to power “High Definition” and “Immersive” audio recording equipment.
Jim Anderson has received eleven Grammy and Latin Grammy awards and 27 Grammy nominations for his music recordings. Perhaps best known among audiophiles are the Patricia Barber albums he has engineered over a 25-year working relationship with the artist. In addition, Jim has recorded a number of past and present “jazz giants” including Miles Davis, Joe Henderson, Ron Carter, McCoy Tyner, Terrance Blanchard, Paquito D’ Rivera, James Carter, Phil Woods, Kenny Barron, Jane Ira Bloom, J.J. Johnson and Cyrus Chestnut. Mr. Anderson’s body of work in recording classical music is equally impressive. Over the years Jim has engineered and/or produced some of the finest recordings of orchestras in both North America and Europe. More recent projects have revealed Jim Anderson’s mastery of Immersive Audio recording techniques for both jazz and classical music as Jim won a 2018 Grammy for “Best Surround Album” for recording Jane Ira Bloom’s “Early Americans”.
Jim Anderson is currently a professor with the Clive Davis Institute of Recorded Music in the Tisch School of the Arts at New York University. He is a past President of the Audio Engineering Society.
Essential Sound Products’ president Michael Griffin comments, “We are honored that Jim will be spending the weekend at our Capital Audiofest exhibit in the “Truman” room, along with Convergent Audio Technology. I’m sure this will be an insightful and enjoyable time for us and visitors to our exhibit.”
Essential Sound Products will be showcasing their product with an analog frontend by VPI Industries with their HW-40 Anniversary Turntable and Shyla Cartridge.
A speaking schedule will be posted outside the Truman room providing times when Jim Anderson will conduct more formal discussions during the course of the 3-day exhibit.
For more information, contact:
Essential Sound Products, Inc.
Hey everyone, this first post is to share the continued frustration we have been having with our technology/website, forum, and emails. We have been using Godaddy and Weebly and it seems they must have their servers on the containers off the California shore because their "server migration" has been killing us! We haven't pull the plug on them yet because the last thing we want to do is start fresh on our whole backend before the end of the year.
Just to access our website to make this post we had to use a link (provided by Weebly) that seems to be the "Norwegian" portal to access one's website, or whatever the language is my website tools are in now. Regardless, this post is to inform you all what has been happening, we are working on it, and we hope to have some solution in the near future... or Godaddy/Weebly will get their act together. Now, if I don't get locked out of my own website again I'm going to make an attempt to post about the exciting news we have for Capital Audiofest!
- Mat Weisfeld
Inspired by Audio-Technica's flagship ART Series, and a collaboration between the iconic Japanese cartridge manufacturer and the analog experts at VPI, the Shyla dual moving-coil cartridge combines expert design and natural, musical voicing focused on the midrange while also dialed-in to provide strong, deep lows and detailed highs. Featuring a premium magnetic core, special line contact stylus, and 0.26mm-diameter solid boron cantilever, Shyla proves a fantastic tracker that refuses to lose its composure even during challenging passages. Once it hit the grooves of an LP, this premium, high-separation, wide-response model reproduces music with enticing presence, imaging, liveliness, and dynamics.
On the technical side, Shyla boasts all the elements that have helped make both Audio-Technica and VPI renowned names in the high-end industry for decades. As such, Shyla's coils and terminal pins use PCOCC to maintain exceptional purity and conductivity. Its neodymium magnet and permendur yoke significantly increase magnetic energy, while the rated 0.6mV output speaks to its powerful performance.
Shyla's exterior construction is equally important. Modified with advanced internal dampening, its mold ensures exceptional stability and rigidity, limiting unnecessary coil movement and reducing distortion. Similarly, its machined aluminum/hard plastic hybrid body further lessens resonance. Last but not least, the presence of threaded holes allows for easy, hassle-free mounting.
Partnerships between revered high-end companies don't come better than Audio-Technica and VPI. Hear Shyla and experience why.
Frequency Response: 15-50,000 Hz
Channel Separation: 30 (dB at 1 kHz)
Vertical Tracking Angle: 23°
Vertical Tracking Force: 1.6-2.0 g (1.8 g standard)
Stylus Construction: Nude square shank
Recommended Load Impedance: Min. 100 ohms
Coil Impedance: 12 ohms (1 kHz)
DC Resistance: 12 ohms
Coil Inductance: 25 µH (1 kHz)
Output: 0.6 mV (1 kHz, 5 cm/sec.)
Channel Balance: 0.5 dB (1 kHz)
Stylus Shape: Special line contact
Cantilever: 0.26 mm diameter solid boron
Dynamic Compliance: 15 x 10-6 cm/dyne (100 Hz)
Weight: 8.5 g (0.30 oz)
Dimensions: 17.3 mm (0.68") H × 17.0 mm (0.67") W × 25.6 mm (1.01") D
The Story Behind Shyla
Named after VPI owner Mat Weisfeld's daughter, Shyla came about from VPI's desire to have a high-performance MC cartridge for under $2,000 with the company's name on it – a cartridge that captures the sound, experience, and quality VPI values when enjoying music. When listening to Audio-Technica ART Series cartridges, Mat and VPI founder Harry Weisfeld got an idea for a collaboration with Audio-Technica. After an initial conversation, the companies strove to create a product founded on AT's long history of cartridge design complemented by VPI's voicing and natural/musical sound. Harry and Mat first met the AT design team in Munich, after which an initial prototype was developed. Mat followed up with a second trip to AT's home base in Japan to continue the communication and design for the cartridge. During the visit, VPI toured the AT sound room and research-and-development facility where the cartridge would be subjected to the highest level of quality and compliance testing.
The Shyla is also a perfect pairing and option with our Prime 21 turntable and can be ordered with the Shyla mounted as the VPI Prime 21+!
In an effort to keep the lines of communication going last week we started a weekly "Monday Newsletter". To expand upon that we are going to post that same newsletter as a blog as well to make sure everyone stays connected. We understand not everyone uses social media so directly through our site/forum is also here to get the job done. Speaking of our forum, we have being going through some massive overhaul to upgrade/update our forum platform but want to make sure we do it without losing any existing content.
Anyway, wishing everyone another Happy Monday and updates on all things VPI! This past weekend I had a chance to celebrate my 18th birthday (again?) with the VPI team and would like to thank everyone who sent positive birthday wishes. The best present will be when we can all meet together again for some in person listening!
Speaking of in person listening, we are excited to announce we have gotten two of the listening rooms back up and running at VPI House with hopes of having more virtual Events/Listening Sessions. Our ultimate goal is to have limited and safe in person events in the near future.
We have also been working hard to catalog and make the Sid Mark's Record Collection available. We will showcase some of the open albums via Facebook Live on our page. Its exciting to see people have already been able to purchase and put these fantastic records to good musical use! All proceeds are going to Sid's family.
Sid Mark's Collection
Due to some personal conflicts it looks like we will not being having an Episode of "Chat with Mat & Harry" tomorrow. Instead I might take the opportunity for a technical turntable Live Stream, but that is to be determined and will be posted right on our Facebook page.
If you missed last week's episode we have posted it on our youtube Channel. If you think Harry and I are a but sluggish in that episode its because we just finished moving multiple racks filled with records!
Chat with Mat & Harry Ep. 2
We also want to remind everyone that supply prices in all industries have drastically increased and seem to continue on the track. We are going to hold our prices until the first of June but not all companies are waiting on price increases. If you are thinking about that new amp or speaker for your system you might want to think about it sooner than later before there is a 10-20% increase across all types of products.
Thanks again to everyone for being part of the VPI Family and we will talk to you all soon!
Distinctive Stereo LLC
No, this is not about the weight so many of us have gained during the COVID pandemic. Rather, it is about the newest addition to my audio system, the VPI “Fatboy” tonearm.
I first encountered a Fatboy when Merrill Wettasinghe and I shared a room at the 2017 AXPONA. Our friend and colleague Mat Weisfeld, President of VPI, provided us with a belt-drive Avenger turntable with a new, prototype arm. The arm had a wider diameter than the standard arm, and was 3-D printed. Not yet having an official designation, Mat affectionately called it the Fatboy, likely not realizing the name would stick. Our room received rave reviews, so all was good.
At the time of the show, I owned a turntable from a different manufacturer (now no longer in business). A year or so after the show I decided it was time to upgrade my turntable; there was no doubt in my mind that it would be a VPI. I was undecided as to which model to get but after discussions with Mat, I decided to go with the top of the Avenger line, the Avenger Reference. The Avenger Reference has a rim drive, and a magnetic platter. I have long been a fan of rim drive ‘tables, because generally speaking (there are of course exceptions), rim drives – along with idler wheel drives and direct drives – excel in dynamics. The downside of such designs has been increased vibration transmitted to the platter. VPI addresses this by using very high quality motors, but also by the optional magnetic platter. More specifically, there are two platters, both of which contain magnets. The magnets are on top of the drive platter, and on the bottom of the driven platter (upon which the record sits). The lower platter (i.e., the drive platter) rotates the upper platter (i.e., the driven platter) by attraction between the magnets. Because there is no direct contact between the two platters, any vibration in the lower platter is not transmitted to the upper platter.
At the time I got my ‘table, the Fatboy tonearms were out of stock, so VPI founder Harry Weisfeld brought a JWM arm, with a promise to upgrade my ‘table to the Fat Boy soon as they became available. Between work, shows, events, new babies (Mat’s, not mine), we never got around to swapping arms. Not until earlier this week that is, when Harry came by to drop off the Fat Boy (along with some new footers).
Since the time since I first heard the Fatboy prototype, it has undergone a number of changes. First, it now has a full length thin wall copper tube inside for shielding, rigidity, and grounding. Second, the paint job is done by drying the 3D arm tube, sanding the digital stairstep off, sealing the outside to prevent moisture, then finishing with black lacquer paint in 3 coats with sanding between coats. To put the third change in perspective, I’ll begin with an anecdote. Some time after AXPONA, Harry and Mat visited me to hear my system. Harry brought a thumb drive with him (as mentioned in my previous article “I Know What I Hear,” Harry very much enjoys digital music).Harry explained that it contained two files of the same song, and wanted to know what – if anything – I heard different between them. He provided no details as to how the tracks actually differed. After listening for a few minutes, I told him that one track sounded somewhat “airier,” while the other sound a bit more “solid.” Mat - who also did not know the origin of the tracks - concurred with my assessment. Harry then explained the two tracks were recorded identically, the sole difference being that one was made with the VPI Fatboy gimbal arm, the other with the VPI unipivot version (both of course, with the same cartridge). As you likely guessed - and in keeping with “conventional wisdom” – the airier sound was the unipivot, the more grounded one the gimbal. Though both were excellent, the gimbal was more to my liking, and I let Harry know that would be my choice. (As an aside, and as discussed in my previous article, it is fascinating that such subtle distinctions are audible).
Now back to the third change. Harry was aware that – again, as is generally true - the unipivot arm did not track quite as well as the gimbal, though he of course liked other aspects of the design (as he does the gimbal - that’s why VPI offers both models).Never one to rest on his laurels, and possessing of an incredibly creative mind, he came up with an idea that would, he believed, minimize the downside of the unipivot design, while preserving its good points. Specifically, he added to the side an additional pivot that slides along a stainless steel plate, which is polished to mirror-like smoothness. It bears just enough weight to increase the stability of the main pivot, but not so much as to decrease its “responsiveness.” VPI refers to this design - quite logically - as dual-pivot. It reminds me of a motorcycle with a sidecar – more agile than a 4-wheel car, but with less propensity to tip over than a traditional motorcycle. After hearing the dual-pivot at the home of my friend and colleague Isaac Rivera of Living Acoustics, I decided to get it, rather than the gimbal.
Based on all the listening I had done to the Fatboy at shows, at the VPI House, and at Living Acoustics, I fully expected it to be a significant step up (pun unintended…) from the previous arm, but I tempered my excitement until I could hear it in my own system. Having now done so, it is clear that the Fatboy is everything I had hoped it would be, and the dual-pivot arm does indeed bring the best of unipivot and gimbal designs. (My associated equipment is as follows: Ortofon A95 cartridge (now discontinued), Merrill Audio Jens phonostage, Merrill Audio Christine Reference preamplifier, Merrill Audio Element 116 monoblock amplifiers, and Genesis Maestro loudspeakers.) The most notable difference as compared to my previous VPI arm is in the bass, which is rock-solid. Double basses, and the lower registers of the piano, have proper weight and body, yet the entire presentation has an openness and spaciousness that are hallmarks of the VPI unipivot arms. The combination of the dual-pivot Fatboy, and rim drive and magnetic platter of the Avenger Reference, provides incredible musical flow, a low noise floor with excellent musical detail, proper decay (a trait that I find missing in many systems), and image stability that is frequency-independent.
Though I am late to the game, I can now add my voice to those singing the praises of the VPI Fatboy 3-D printed tonearm. As good as VPI’s other arms are, the Fatboy is a major advance, and I enthusiastically recommend it to anyone looking to upgrade their vinyl playback system.
My next planned upgrade is a VPI direct-drive ‘table, which I hope will happen within the coming year. Stay tuned.
Last but not least, I want to express my sincerest thanks to Harry for doing the initial setup, and to Isaac who came out to NJ to give it the whole nine yards treatment (including the use of a USB microscope). I am deeply indebted to both of them.
Write something about yourself. No need to be fancy, just an overview.