| 47 LABORATORY 4713 FLATFISH CD TRANSPORT/PLAYER 4705 PROGRESSION DAC by Constantine Soo May 8, 2002 |
| Go to BACKGROUND COMMENTARY |
| Specifications: 4713 Flatfish: DAC: 4x oversampling, 1-bit Digital Output: 2 Coaxial (RCA) outputs Analog Output: 1 Unbalanced (RCA) output Dimensions: 170mm × 245mm × 60mm Price: $3,600 (without Power Dumpty power supply) 4705 Progression DAC Specifications: Input sampling frequency: 32 kHz, 44 kHz, 48 kHz (automatic) Output voltage: 2.1V Digital Input: 1 Coaxial Analog Output: 1 pair, Unbalanced Dimensions: 60mm × 162 mm × 70mm Price: $2,700 4799 Power Dumpty power supply Specifications: Application: Power supply for both Flatfish and Progressive Dimensions: 130mm × 195mm Price: $1,800 System Price: $8,100 Address: USA Distributor Sakura Systems 2 Rocky Mountain Road Jefferson, MA 01522 Telephone: 508-829-3426 Email: sakurastms@aol.com Website: www.sakurasystems.com |
| Go to BACKGROUND COMMENTARY |
This is a look at the 47 Laboratory's $8,100 CD playback system, comprising the
4713 Flatfish CD Transport and 4705 Progression DAC. Our own Paul Szabady
reviewed the 47 Laboratory Phono Playback System in April of 2001. You may see
my background information on these products in our archives.
THE AUDITION
Canare L-5CFB 1.5 meter 75 ohm coaxial cable and Illuminations D-60 Data Flex
Studio 1.5 meter 75 ohm coaxial cable were alternated in connecting the 4713
Flatfish CD transport to the 4705 Progression DAC. The Progression's fixed-level
analog outputs were connected to the Audio Note M3 Preamplifier, which would
drive the 300B Audio Note Quest Monoblocks or the solid-state McCormack DNA1
Deluxe. To verify the Progression's performance characteristics on cone, horn and
ribbon speakers, I alternated the auditioning with my Apogee Duetta Signatures,
Genesis VI's and Klipschorns. Interconnects were two pairs of Granite Audio #470
with Cardas Quadlink 5C speaker cable. A Sony SCD-777ES SACD Player or my
CEC TL1 belt-drive CD Transport/Wadia 27 Decoding Computer digital system
were used alternately to play source material.
I found my recent concert experience of Franz Liszt's A Faust Symphony in my
C-row perspective an aberrant reminder of the 47 Lab's tonal prowess via the
Genesis VI. Conducted by Roger Norrington, the playing of the San Francisco
Symphony and Chorus somehow provoked a familiarity to what I felt was the
47Lab's sonic signature.
Freshly daunted by such an experience, I hurriedly took out
Daniel Barenboim's same reading on CD with Berlin Philharmonic
and Berlin State Deutsche Choir [Teldec 3984-22948-2] upon
returning home. Most immediately noticeable upon playing that
disc was the tonal accuracy of the 47 Lab, with unprecedented
dynamic contrasts from my Genesis VI in their irrepressibility and
the very uncommon co-existence of orderly gentleness. The sense
of space enabled superb delineation of the orchestra and allowed for precise
localization of each instrument group.
Alas, live sounds are absolute in their vibrancy and scale; and therefore despite
the many intoxicating memories from home listening sessions, my 47 Lab-injected
audio system did not approach the live event. Comparing the CEC/Wadia and
Sony SACD player to the 47 Lab, the Sony approached the same recording in
competent soundstaging but fell short of the 47 Lab's depth with less dynamic
contrasts. The CEC/Wadia's excellence at tonal shadings lent instruments
abundant overtones, producing richer sounds complimentary of the combo's
strength at wholesome dynamics.
Sounding considerably different from the Teldec disc, the Flatfish
and Progression cunningly portrayed the outlines of instruments
with unwavering localization from John Williams' Jurassic Park
soundtrack [MCA MCAD-10859]. The 47 Lab system locked onto
the center stage instruments' images and reproduced complex
activities unswervingly extending beyond the locations of the left
and right speakers. Presenting a most superbly organized
perspective, the 47 Lab seemingly presented a hauntingly convincing E-row
vantage in a hall treated acoustically for the utmost in microdynamics and
imaging. Furthermore, with "Journey To The Island", the choir breathed out soft
but vivid background accompaniments amidst a charged and grandiose
summoning of the main theme.
In contrast, my CEC/Wadia's perspective offered more simmer and had more
sumptuous instrumental texturing that was devastatingly addictive. Though the
Sony SCD-777ES's Redbook CD prowess accorded appreciable dynamics with this
non-audiophile recording, it did not possess the same dimensionality that the 47
Lab so expertly accorded to tranquil passages.
Defying my impression of its sonic character, the Flatfish and
Progression offered newly conceived sense of scale and energy
with Gustav Mahler's Symphony No. 8, Symphony of A Thousand,
[EMI digital CDS 7 47625 8]. With the 47 Lab at the helm, vocal
articulations and their delicate intonations bestowed the melodic
passages with an opulence that was less prominent via the
CEC/Wadia. Whispery chants that were the praises of angels
aptly conveyed a newfound timeless peacefulness, inclusive of a sense of
redemption. More than other conductors of considerable stature, Klaus Tennstedt
sustained the flow of the melody while preserving the subtlety of the sentiments.
This noteworthy accomplishment was all the more prominent with the Flatfish and
Progression.
In contrast, the CEC/Wadia system did capably develop the massive sounds from
the brass and choir alike, with the soundstaging so wide that it seemed limited
only by loudspeaker confinement. The massive brass, however, occasionally
overshadowed the projection of the vocals. By comparison, the Sony had a less
spacious soundstage as evident in tighter grouping of the orchestra. Although the
Sony's tonal shadings were not at the same level as the CEC/Wadia or 47 Lab, its
punctual transients preserved event spontaneity nicely.
Spinning early CD's such as Barry Manilow's Even Now [Arista 32RD-21] on the 47
Lab surprised me with the newfound clarity and soundstaging.
A recording that was previously plagued with severely truncated
harmonics and offering coarse and undistinguished instrument
textures, Barry's voice was at once endowed with a wealth of
tonality, while his signature big band accompaniments revealed
plenty of information and layering for the first time. Instrument
textures have never sounded so clear and involving, as percussion,
piano, saxophones, trumpets and voices all were reproduced with the precious
reverberation that invokes dimensionality.
Possessing a sweet and yet determined voice, Olivia Newton-John's singing went
through phases in her life as documented in the CD Back To Basics, The
Essential Collection 1971-1992 [Geffen GEFD-24470]. Even so,
from early classics such as "I Honestly Love You", to the 80's
super-hit "Physical," the 47 Lab brought out a rare tonal purity
of her voice that was both sultry and touching that eerily
resonates in the listener's mind. Ambience surrounding
instruments was consistently revealing amidst complex and
driving orchestrations, maintaining a vividly 3-D soundstage.
For the first time, the 47 Lab gear revealed the hidden treasures from within the
bits and pits of this recording.
Styx's 1980 best-selling Paradise Theater [A&M CD3719] sounded
more delicate and powerful than ever with the 47 Lab. In addition
to the surprisingly resolute rendition of vocals and instruments,
the hitting of cymbals was heard approximately 2 feet beyond my
left and right speakers in the track "A.D. 1958." Hardly known for
tonality and dynamics, this CD now possessed keen dynamic
contrasts befitting a high-fidelity studio feed, conveying an
energetic band in action. Consistent and organized best describe the imaging
from 47 Lab system and its ability to project delicate ambience in relation to
instrument localization.
A 30-minute 1957 RCA Victor recording by two Native Americans called the Los
Indios Tabajaras, the album Always In My Heart [RCA 8.11411]
was a sensation in its time. Produced by Herman Diaz, Jr., the
monophonic yet atmospheric left and right channels of solo
guitars were joined in the center with a Hawaiian bongo.
Although the sound quality was hardly of demonstration status,
I reckon you will find the music mesmerizing and invigorating
when played on a peaceful and quiet summer night. Despite the
monophonic limitation, the 47 Lab extracted a richness of instrument timbres and
reverberation queues belying its age - something the CEC/Wadia only hinted at.
The single-page foldout liner notes are bare in appearance but quite elaborate
and fascinating on the band's rise to fame.
Most impressive amidst all listening sessions, piano playing drew
the conclusive judgement from me. A 2000 release of pianist
Maurizio Pollini's reading of Beethoven's 33 Variations on a
Waltz by Anton Diabelli, or simply known as the Diabelli
Variations [Deutsche Grammophon 289 459 645-2] is transformed
through the 47 Lab. In surprisingly demonstration-class sonics,
Pollini infused abundant finesse into deeply serene passages
without overindulgence, resulting in a superb display of inspired playing arising
from high degrees of originality. Never before has a DG piano risen in such
dynamic and harmonic clarity from within a reverberating studio, with a vibrancy
so potent, making the stereophonic reproduction eminently rewarding.
Unlike an individual instrument or voice, which often displays highly defined image
specificity, the piano is a large instrument resonating with complex dynamics and
harmonics, whose dispersed localization is not as focused. Despite the
aforementioned, the hammering of strings emerged in distinguished
dimensionality via the Flatfish and Progression, with excellent delineation of
keystrokes that at once communicated acute continuity and individuality in drama.
Last but not least, my usual desire to increase the volume, done in an effort to
compensate for the lack of realism at lower amplitudes, was unnecessary. The 47
Lab gear made a good piano CD remarkably more revealing in dimensionality and
tonality detailing. Instead of needing the higher volume settings to project the
piano playing as though it was startlingly located inside the listening room, a
lower setting now more appropriately depicted the piano and its location within a
larger studio or concert surrounding.
ON CD's WITH EMPHASIS
In regard to 47 Lab's caution of using piezo and/or ribbon speakers because of an
energy concentration of 33% of the musical signal at 22k Hz, the warning is aimed
towards improper amplifier/speaker matching. With only a few disconcerting
exceptions, I did not encounter instances that would warrant concerns when
listening either to the Apogees, Genesis, or Klipschorn.
The exceptions were strictly in the form of CDs mastered with emphasis.
Emphasizing a CD during mastering was a practice most predominant in digital
audio's early days, for the purpose of reducing digital noise at the upper
frequencies; similar to what Dolby did for the analog cassette. With the
improvements in latter digital filters, emphasis was soon no longer applied.
Every time my CEC TL1 transport plays an emphasized track, my Wadia 27
displays "EMPHASIZED" and proceeds to de-emphasize the content for a normal
playback. The Progression, however, passed along data from the same
emphasized CDs unscathed, thus producing excessively grinding and screeching
high frequencies. Whereas both the Apogee and Genesis have tweeter
adjustments that permit compensation, adjusting the Apogee's tweeter involves
the midrange frequencies as well, thus altering the sound unnecessarily. The
Klipschorns reproduced the sharp tones in full force. Consequently, as the
Genesis offers the most flexible user contouring, it is the only speaker among the
three that was a more fitting match to the Progression in all instances.
For readers with a significant collection of emphasized CDs, unless you plan to
replace them with newly remastered reissues that carry no top-end emphasis,
your piezo or ribbon speakers have tweeter level adjustment or you have highly
transparent equalizers, I would have to recommend against using the
Progression.
In realizing his vision of the ultimate in simplicity, Kimura's execution of Kusunoki's
concept precluded circuits that would properly decode emphasized CDs produced
in the early 80s.
VARIOUS CONFIGURATIONS
Connecting the 4713 Flatfish to the Wadia 27 produced slightly more reserved
dynamics than those attained by the CEC/Wadia combo. The aftermarket
RCA/BNC adapter used for connection to the Wadia might have compromised
signal integrity with its possibly substandard impedance rating, thereby
suppressing both the Flatfish/Progression's 3-D soundstaging forte and the
Wadia's textural vividness. As my experience tells me that the Wadia sounds its
best via ST or XLR transmission, the Flatfish's exclusive RCA digital output
precluded such experimentation.
On the other hand, the 4705 Progression DAC did not falter as much as the
Flatfish did when connected to non 47 Lab equipment, in this case, either the CEC
TL1 transport or the Sony SCD-777ES SACD player.
The CEC coupled Progression retained the Flatfish's unreserved dynamics and
meticulous soundstaging to a very large degree, defaulting only at the
Flatfish/Progression's clarity in tonal shadings in favor of the CEC's forgivingly
softer character. I reckon this sound will appeal to certain listeners.
Connecting the Sony SCD-777ES in CD digital-out mode to the Progression
produced tonal shadings approaching that of the Flatfish/Progression level at the
excruciating expense of a sense of spaciousness. While slightly mechanical
sounding, the Sony did achieve more pronounced macrodynamics in the
percussion and brass. Nonetheless, the overall soundstaging specificity and
instrument tonality of the SCD-777ES/Progression surpassed what the Sony
player can achieve alone. For readers who are considering SACD application, you
can do well by getting both Sony SCD-777ES and the Progression DAC for
outstanding jump factor.
SUMMARY
The Flatfish's remarkably "stressless" signal handling and the Progression's
high-integrity signal processing excel at the delineation of aptly varying
soundstages, with extraordinary depiction of individual instrument harmonics.
From a rock band's incisive but overwhelming instrumentation to that of a full
orchestra, there is a unique ambience and sonic signature from each CD,
providing an astounding musicality. Even audience applause sounded more real.
In fair retrospect, the CEC/Wadia's incomparable crowning spectral coherency and
textural smoothness is akin to the visual sensuality of Impressionist oil painting.
In terms of dynamic and harmonic clarity, whether it was reading from an old, or
inferior, or audiophile-grade recording, the 47 Lab was supremely resolute in its
digital-to-analog conversion of layers of information from each audible frequency,
analogous to the high-resolution line scanning in advanced video systems.
Therefore, the biggest contribution this digital system had given me was the
gratifying validation of a great majority of my CD investment since the early 80's
to this day.
A word on soundstaging: in contrast to the Wadia-based system that exhibits
more dispersed and well-formed soundstaging over multiple listening positions,
the 47 Lab's beautiful 3-D soundstaging collapsed and became narrower and
flatter when I was siting just two feet to the left or right of my listening position.
This trait was more evident on cone and planar speakers, such as my Genesis VI
and Apogee Duetta Signature, and less so with my Klipschorns, probably due to
horn speakers' dispersion pattern, which is highly directional to begin with. While
the 47 Lab system has excellent resolution retrieval and soundstaging realism,
the system is best appreciated in predominantly solo listening sessions. On the
other hand, the Wadia-based system is obviously more practical to readers who
value ultimate sonic beauty and prefer to share that sound during group listening
sessions. Nevertheless, an in-depth objective evaluation of your speaker's
characteristics and your priorities should precede actual purchase of the 47 Lab
system.
As an integrated player, the sound of the $5,400 Flatfish with its 4799 Power
Humpty bears certain resemblance to the $2,000 Perpetual Technologies P1A
Digital Correction Engine/Upsampler and P3A DAC: good, solid center stage
imaging with good overall image definition, albeit a relatively less focused
stage-edge definition. Tonality-wise, the Flatfish CD player is less prominent then
the PT gear in the midrange via my Genesis VI's, and less dynamic via my
Klipschorns. Compared to my $3,450 Sony SCD-777ES SACD player in CD
playback, the Flatfish excels in the single aspect of instrument tonality, lacking in
dynamics and bottom-end extension. Considering the Sony provides
user-selectable CD filtering modes, SACD playback and a large, informative
display, the Flatfish becomes overpriced as an integrated CD player.
Having been conditioned by my reference Illumination Orchid-coupled CEC
TL1/Wadia 27 digital system, it was initially difficult to accept the 47 Lab. Despite
the subsequent month-long familiarization period, during which I found the
Japanese system enjoyable, there were instances when I felt the alarming pull of
my CEC/Wadia-addiction from deep within. Instances also occurred during this
review when I persistently returned to my system, concluding I was merely
caught up in the new-gear excitement and passing overly favorable judgment on
the 47 Lab. Alas, for each of my revisits to my digital reference, the impression of
47 Lab haunted me, bringing out dimensionality and resolution surpassing my
CEC/Wadia, despite all the idiosyncrasies, and my resultant criticisms.
With a lack of user-selectable features, the 4705 Progression is probably the most
expensive DAC on the market. Its omission of a phase inversion option requires
the user to reconnect speakers manually to play an out-of-phase recording
properly, should the connected preamplifier lack the phase inversion option as
well. Finally, the singular coaxial digital input of the Progression limits interface
options.
Furthermore, due to the Progression's 22k Hz energy concentration and its lack of
de-emphasizing function, cautious system matching is essential to minimize impact
on fragile tweeters. While it is imperative to avoid playing emphasized CDs, it is of
equal importance that the 47 Lab system is properly matched to a
user-adjustable speaker in a sound system that is, at the same time,
fundamentally neutral.
The Flatfish/Progression's lack of AES/EBU digital transmission may have stopped
the system's continuous ascension to higher grounds, and I have yet to
experience the sound of Progression's 24/96-compatible DAC with an upsampler.
In my opinion, the Flatfish's existence can only be justified in its function as a pure
CD transport, accompanied by the $2,700 4705 Progression DAC. At which point,
putting aside the 47 Lab digital system's sheer diminutive dimensions and visually
deprived aesthetics, the $8,100 Flatfish/Progression fusion forms a formidable
elite CD system, its undeniable triumph made evident by virtues of tonal purity
and 3-dimensional stage depiction. Sonically, the 47 Lab digital system firmly
belongs in the league of other super Redbook CD players.
Associated Equipment:
Digital Front End
Audio Note DAC One 1.1x Signature
CEC TL1 CD transport
Sony SCD-777ES SACD/CD player
Wadia 27 Decoding Computer
Amplification
Audio Note M3 preamplifier
Decware SE84C
McCormack DNA-1 Deluxe
Music Reference RM9 II
Loudspeakers
Apogee Duetta Signature
Audio Note AN-E/D
Celestion SL700
Genesis VI
Klipschorn
Cabling
Audio Note AN-La (8 feet, bi-wired)
Audio Note AN-V silver cables (RCA 1m, 2 pairs)
Aural Symphonics AS-One (RCA 1m pair, 0.5m pair)
Canare L-5CFB 75-ohm digital cable (RCA, 1.5m)
Canare D206 110 ohm digital cable (AES/EBU, 1.5m)
Cardas Quadlink 5C (8feet)
Granite Audio #470 silver cables (RCA 1m, 2 pairs)
Granite Audio #560 AC Mains
Illuminations Orchid (1.5m, AES/EBU XLR)
Illuminations D-60 75 Ohm digital cable (1.5m, RCA)
Van den Hul MCD-352 (8feet)
Virtual Dynamics Nite Series complete cable system
Accessories
Salamander Synergy 20 (2)
ASC Tube Traps
Flat Traps
4713 Flatfish CD Transport and 4705 Progression DAC. Our own Paul Szabady
reviewed the 47 Laboratory Phono Playback System in April of 2001. You may see
my background information on these products in our archives.
THE AUDITION
Canare L-5CFB 1.5 meter 75 ohm coaxial cable and Illuminations D-60 Data Flex
Studio 1.5 meter 75 ohm coaxial cable were alternated in connecting the 4713
Flatfish CD transport to the 4705 Progression DAC. The Progression's fixed-level
analog outputs were connected to the Audio Note M3 Preamplifier, which would
drive the 300B Audio Note Quest Monoblocks or the solid-state McCormack DNA1
Deluxe. To verify the Progression's performance characteristics on cone, horn and
ribbon speakers, I alternated the auditioning with my Apogee Duetta Signatures,
Genesis VI's and Klipschorns. Interconnects were two pairs of Granite Audio #470
with Cardas Quadlink 5C speaker cable. A Sony SCD-777ES SACD Player or my
CEC TL1 belt-drive CD Transport/Wadia 27 Decoding Computer digital system
were used alternately to play source material.
I found my recent concert experience of Franz Liszt's A Faust Symphony in my
C-row perspective an aberrant reminder of the 47 Lab's tonal prowess via the
Genesis VI. Conducted by Roger Norrington, the playing of the San Francisco
Symphony and Chorus somehow provoked a familiarity to what I felt was the
47Lab's sonic signature.
Freshly daunted by such an experience, I hurriedly took out
Daniel Barenboim's same reading on CD with Berlin Philharmonic
and Berlin State Deutsche Choir [Teldec 3984-22948-2] upon
returning home. Most immediately noticeable upon playing that
disc was the tonal accuracy of the 47 Lab, with unprecedented
dynamic contrasts from my Genesis VI in their irrepressibility and
the very uncommon co-existence of orderly gentleness. The sense
of space enabled superb delineation of the orchestra and allowed for precise
localization of each instrument group.
Alas, live sounds are absolute in their vibrancy and scale; and therefore despite
the many intoxicating memories from home listening sessions, my 47 Lab-injected
audio system did not approach the live event. Comparing the CEC/Wadia and
Sony SACD player to the 47 Lab, the Sony approached the same recording in
competent soundstaging but fell short of the 47 Lab's depth with less dynamic
contrasts. The CEC/Wadia's excellence at tonal shadings lent instruments
abundant overtones, producing richer sounds complimentary of the combo's
strength at wholesome dynamics.
Sounding considerably different from the Teldec disc, the Flatfish
and Progression cunningly portrayed the outlines of instruments
with unwavering localization from John Williams' Jurassic Park
soundtrack [MCA MCAD-10859]. The 47 Lab system locked onto
the center stage instruments' images and reproduced complex
activities unswervingly extending beyond the locations of the left
and right speakers. Presenting a most superbly organized
perspective, the 47 Lab seemingly presented a hauntingly convincing E-row
vantage in a hall treated acoustically for the utmost in microdynamics and
imaging. Furthermore, with "Journey To The Island", the choir breathed out soft
but vivid background accompaniments amidst a charged and grandiose
summoning of the main theme.
In contrast, my CEC/Wadia's perspective offered more simmer and had more
sumptuous instrumental texturing that was devastatingly addictive. Though the
Sony SCD-777ES's Redbook CD prowess accorded appreciable dynamics with this
non-audiophile recording, it did not possess the same dimensionality that the 47
Lab so expertly accorded to tranquil passages.
Defying my impression of its sonic character, the Flatfish and
Progression offered newly conceived sense of scale and energy
with Gustav Mahler's Symphony No. 8, Symphony of A Thousand,
[EMI digital CDS 7 47625 8]. With the 47 Lab at the helm, vocal
articulations and their delicate intonations bestowed the melodic
passages with an opulence that was less prominent via the
CEC/Wadia. Whispery chants that were the praises of angels
aptly conveyed a newfound timeless peacefulness, inclusive of a sense of
redemption. More than other conductors of considerable stature, Klaus Tennstedt
sustained the flow of the melody while preserving the subtlety of the sentiments.
This noteworthy accomplishment was all the more prominent with the Flatfish and
Progression.
In contrast, the CEC/Wadia system did capably develop the massive sounds from
the brass and choir alike, with the soundstaging so wide that it seemed limited
only by loudspeaker confinement. The massive brass, however, occasionally
overshadowed the projection of the vocals. By comparison, the Sony had a less
spacious soundstage as evident in tighter grouping of the orchestra. Although the
Sony's tonal shadings were not at the same level as the CEC/Wadia or 47 Lab, its
punctual transients preserved event spontaneity nicely.
Spinning early CD's such as Barry Manilow's Even Now [Arista 32RD-21] on the 47
Lab surprised me with the newfound clarity and soundstaging.
A recording that was previously plagued with severely truncated
harmonics and offering coarse and undistinguished instrument
textures, Barry's voice was at once endowed with a wealth of
tonality, while his signature big band accompaniments revealed
plenty of information and layering for the first time. Instrument
textures have never sounded so clear and involving, as percussion,
piano, saxophones, trumpets and voices all were reproduced with the precious
reverberation that invokes dimensionality.
Possessing a sweet and yet determined voice, Olivia Newton-John's singing went
through phases in her life as documented in the CD Back To Basics, The
Essential Collection 1971-1992 [Geffen GEFD-24470]. Even so,
from early classics such as "I Honestly Love You", to the 80's
super-hit "Physical," the 47 Lab brought out a rare tonal purity
of her voice that was both sultry and touching that eerily
resonates in the listener's mind. Ambience surrounding
instruments was consistently revealing amidst complex and
driving orchestrations, maintaining a vividly 3-D soundstage.
For the first time, the 47 Lab gear revealed the hidden treasures from within the
bits and pits of this recording.
Styx's 1980 best-selling Paradise Theater [A&M CD3719] sounded
more delicate and powerful than ever with the 47 Lab. In addition
to the surprisingly resolute rendition of vocals and instruments,
the hitting of cymbals was heard approximately 2 feet beyond my
left and right speakers in the track "A.D. 1958." Hardly known for
tonality and dynamics, this CD now possessed keen dynamic
contrasts befitting a high-fidelity studio feed, conveying an
energetic band in action. Consistent and organized best describe the imaging
from 47 Lab system and its ability to project delicate ambience in relation to
instrument localization.
A 30-minute 1957 RCA Victor recording by two Native Americans called the Los
Indios Tabajaras, the album Always In My Heart [RCA 8.11411]
was a sensation in its time. Produced by Herman Diaz, Jr., the
monophonic yet atmospheric left and right channels of solo
guitars were joined in the center with a Hawaiian bongo.
Although the sound quality was hardly of demonstration status,
I reckon you will find the music mesmerizing and invigorating
when played on a peaceful and quiet summer night. Despite the
monophonic limitation, the 47 Lab extracted a richness of instrument timbres and
reverberation queues belying its age - something the CEC/Wadia only hinted at.
The single-page foldout liner notes are bare in appearance but quite elaborate
and fascinating on the band's rise to fame.
Most impressive amidst all listening sessions, piano playing drew
the conclusive judgement from me. A 2000 release of pianist
Maurizio Pollini's reading of Beethoven's 33 Variations on a
Waltz by Anton Diabelli, or simply known as the Diabelli
Variations [Deutsche Grammophon 289 459 645-2] is transformed
through the 47 Lab. In surprisingly demonstration-class sonics,
Pollini infused abundant finesse into deeply serene passages
without overindulgence, resulting in a superb display of inspired playing arising
from high degrees of originality. Never before has a DG piano risen in such
dynamic and harmonic clarity from within a reverberating studio, with a vibrancy
so potent, making the stereophonic reproduction eminently rewarding.
Unlike an individual instrument or voice, which often displays highly defined image
specificity, the piano is a large instrument resonating with complex dynamics and
harmonics, whose dispersed localization is not as focused. Despite the
aforementioned, the hammering of strings emerged in distinguished
dimensionality via the Flatfish and Progression, with excellent delineation of
keystrokes that at once communicated acute continuity and individuality in drama.
Last but not least, my usual desire to increase the volume, done in an effort to
compensate for the lack of realism at lower amplitudes, was unnecessary. The 47
Lab gear made a good piano CD remarkably more revealing in dimensionality and
tonality detailing. Instead of needing the higher volume settings to project the
piano playing as though it was startlingly located inside the listening room, a
lower setting now more appropriately depicted the piano and its location within a
larger studio or concert surrounding.
ON CD's WITH EMPHASIS
In regard to 47 Lab's caution of using piezo and/or ribbon speakers because of an
energy concentration of 33% of the musical signal at 22k Hz, the warning is aimed
towards improper amplifier/speaker matching. With only a few disconcerting
exceptions, I did not encounter instances that would warrant concerns when
listening either to the Apogees, Genesis, or Klipschorn.
The exceptions were strictly in the form of CDs mastered with emphasis.
Emphasizing a CD during mastering was a practice most predominant in digital
audio's early days, for the purpose of reducing digital noise at the upper
frequencies; similar to what Dolby did for the analog cassette. With the
improvements in latter digital filters, emphasis was soon no longer applied.
Every time my CEC TL1 transport plays an emphasized track, my Wadia 27
displays "EMPHASIZED" and proceeds to de-emphasize the content for a normal
playback. The Progression, however, passed along data from the same
emphasized CDs unscathed, thus producing excessively grinding and screeching
high frequencies. Whereas both the Apogee and Genesis have tweeter
adjustments that permit compensation, adjusting the Apogee's tweeter involves
the midrange frequencies as well, thus altering the sound unnecessarily. The
Klipschorns reproduced the sharp tones in full force. Consequently, as the
Genesis offers the most flexible user contouring, it is the only speaker among the
three that was a more fitting match to the Progression in all instances.
For readers with a significant collection of emphasized CDs, unless you plan to
replace them with newly remastered reissues that carry no top-end emphasis,
your piezo or ribbon speakers have tweeter level adjustment or you have highly
transparent equalizers, I would have to recommend against using the
Progression.
In realizing his vision of the ultimate in simplicity, Kimura's execution of Kusunoki's
concept precluded circuits that would properly decode emphasized CDs produced
in the early 80s.
VARIOUS CONFIGURATIONS
Connecting the 4713 Flatfish to the Wadia 27 produced slightly more reserved
dynamics than those attained by the CEC/Wadia combo. The aftermarket
RCA/BNC adapter used for connection to the Wadia might have compromised
signal integrity with its possibly substandard impedance rating, thereby
suppressing both the Flatfish/Progression's 3-D soundstaging forte and the
Wadia's textural vividness. As my experience tells me that the Wadia sounds its
best via ST or XLR transmission, the Flatfish's exclusive RCA digital output
precluded such experimentation.
On the other hand, the 4705 Progression DAC did not falter as much as the
Flatfish did when connected to non 47 Lab equipment, in this case, either the CEC
TL1 transport or the Sony SCD-777ES SACD player.
The CEC coupled Progression retained the Flatfish's unreserved dynamics and
meticulous soundstaging to a very large degree, defaulting only at the
Flatfish/Progression's clarity in tonal shadings in favor of the CEC's forgivingly
softer character. I reckon this sound will appeal to certain listeners.
Connecting the Sony SCD-777ES in CD digital-out mode to the Progression
produced tonal shadings approaching that of the Flatfish/Progression level at the
excruciating expense of a sense of spaciousness. While slightly mechanical
sounding, the Sony did achieve more pronounced macrodynamics in the
percussion and brass. Nonetheless, the overall soundstaging specificity and
instrument tonality of the SCD-777ES/Progression surpassed what the Sony
player can achieve alone. For readers who are considering SACD application, you
can do well by getting both Sony SCD-777ES and the Progression DAC for
outstanding jump factor.
SUMMARY
The Flatfish's remarkably "stressless" signal handling and the Progression's
high-integrity signal processing excel at the delineation of aptly varying
soundstages, with extraordinary depiction of individual instrument harmonics.
From a rock band's incisive but overwhelming instrumentation to that of a full
orchestra, there is a unique ambience and sonic signature from each CD,
providing an astounding musicality. Even audience applause sounded more real.
In fair retrospect, the CEC/Wadia's incomparable crowning spectral coherency and
textural smoothness is akin to the visual sensuality of Impressionist oil painting.
In terms of dynamic and harmonic clarity, whether it was reading from an old, or
inferior, or audiophile-grade recording, the 47 Lab was supremely resolute in its
digital-to-analog conversion of layers of information from each audible frequency,
analogous to the high-resolution line scanning in advanced video systems.
Therefore, the biggest contribution this digital system had given me was the
gratifying validation of a great majority of my CD investment since the early 80's
to this day.
A word on soundstaging: in contrast to the Wadia-based system that exhibits
more dispersed and well-formed soundstaging over multiple listening positions,
the 47 Lab's beautiful 3-D soundstaging collapsed and became narrower and
flatter when I was siting just two feet to the left or right of my listening position.
This trait was more evident on cone and planar speakers, such as my Genesis VI
and Apogee Duetta Signature, and less so with my Klipschorns, probably due to
horn speakers' dispersion pattern, which is highly directional to begin with. While
the 47 Lab system has excellent resolution retrieval and soundstaging realism,
the system is best appreciated in predominantly solo listening sessions. On the
other hand, the Wadia-based system is obviously more practical to readers who
value ultimate sonic beauty and prefer to share that sound during group listening
sessions. Nevertheless, an in-depth objective evaluation of your speaker's
characteristics and your priorities should precede actual purchase of the 47 Lab
system.
As an integrated player, the sound of the $5,400 Flatfish with its 4799 Power
Humpty bears certain resemblance to the $2,000 Perpetual Technologies P1A
Digital Correction Engine/Upsampler and P3A DAC: good, solid center stage
imaging with good overall image definition, albeit a relatively less focused
stage-edge definition. Tonality-wise, the Flatfish CD player is less prominent then
the PT gear in the midrange via my Genesis VI's, and less dynamic via my
Klipschorns. Compared to my $3,450 Sony SCD-777ES SACD player in CD
playback, the Flatfish excels in the single aspect of instrument tonality, lacking in
dynamics and bottom-end extension. Considering the Sony provides
user-selectable CD filtering modes, SACD playback and a large, informative
display, the Flatfish becomes overpriced as an integrated CD player.
Having been conditioned by my reference Illumination Orchid-coupled CEC
TL1/Wadia 27 digital system, it was initially difficult to accept the 47 Lab. Despite
the subsequent month-long familiarization period, during which I found the
Japanese system enjoyable, there were instances when I felt the alarming pull of
my CEC/Wadia-addiction from deep within. Instances also occurred during this
review when I persistently returned to my system, concluding I was merely
caught up in the new-gear excitement and passing overly favorable judgment on
the 47 Lab. Alas, for each of my revisits to my digital reference, the impression of
47 Lab haunted me, bringing out dimensionality and resolution surpassing my
CEC/Wadia, despite all the idiosyncrasies, and my resultant criticisms.
With a lack of user-selectable features, the 4705 Progression is probably the most
expensive DAC on the market. Its omission of a phase inversion option requires
the user to reconnect speakers manually to play an out-of-phase recording
properly, should the connected preamplifier lack the phase inversion option as
well. Finally, the singular coaxial digital input of the Progression limits interface
options.
Furthermore, due to the Progression's 22k Hz energy concentration and its lack of
de-emphasizing function, cautious system matching is essential to minimize impact
on fragile tweeters. While it is imperative to avoid playing emphasized CDs, it is of
equal importance that the 47 Lab system is properly matched to a
user-adjustable speaker in a sound system that is, at the same time,
fundamentally neutral.
The Flatfish/Progression's lack of AES/EBU digital transmission may have stopped
the system's continuous ascension to higher grounds, and I have yet to
experience the sound of Progression's 24/96-compatible DAC with an upsampler.
In my opinion, the Flatfish's existence can only be justified in its function as a pure
CD transport, accompanied by the $2,700 4705 Progression DAC. At which point,
putting aside the 47 Lab digital system's sheer diminutive dimensions and visually
deprived aesthetics, the $8,100 Flatfish/Progression fusion forms a formidable
elite CD system, its undeniable triumph made evident by virtues of tonal purity
and 3-dimensional stage depiction. Sonically, the 47 Lab digital system firmly
belongs in the league of other super Redbook CD players.
Associated Equipment:
Digital Front End
Audio Note DAC One 1.1x Signature
CEC TL1 CD transport
Sony SCD-777ES SACD/CD player
Wadia 27 Decoding Computer
Amplification
Audio Note M3 preamplifier
Decware SE84C
McCormack DNA-1 Deluxe
Music Reference RM9 II
Loudspeakers
Apogee Duetta Signature
Audio Note AN-E/D
Celestion SL700
Genesis VI
Klipschorn
Cabling
Audio Note AN-La (8 feet, bi-wired)
Audio Note AN-V silver cables (RCA 1m, 2 pairs)
Aural Symphonics AS-One (RCA 1m pair, 0.5m pair)
Canare L-5CFB 75-ohm digital cable (RCA, 1.5m)
Canare D206 110 ohm digital cable (AES/EBU, 1.5m)
Cardas Quadlink 5C (8feet)
Granite Audio #470 silver cables (RCA 1m, 2 pairs)
Granite Audio #560 AC Mains
Illuminations Orchid (1.5m, AES/EBU XLR)
Illuminations D-60 75 Ohm digital cable (1.5m, RCA)
Van den Hul MCD-352 (8feet)
Virtual Dynamics Nite Series complete cable system
Accessories
Salamander Synergy 20 (2)
ASC Tube Traps
Flat Traps
