TRIANGLE ART APOLLO MC US$8,000-00

Lately, I have the pleasure of visit from Gary Koh of Genesis Advanced Technologies of the famed ribbon loudspeakers system of four massive towers (but, of course, they do produce smaller two towers and even bookshelf). Garybrought along some of his prized vinyls to play and upon hearing the first note, I remembered he told the guests there and then, it’s a great cartridge! He shared to us that it is important to have the vocalist sing to you and to you alone and intimately. It’s like a lovers’ intimacy kind of communication. That is what to be expected by Gary when he position any loudspeaker, the final transducer. I expect the first transducer is able to capture the essence of the vocalist’s voice, emotion expressed and the artistry involved.

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To clearly portray the above, I believe that there must be space separating the vocal from the rest of the musicians and instruments. The vocalist’s effort in the voice must be given her stage to express and that is to be spotlighted. Of course, not all recordings are being recorded equal and intended the same. Here, I pulled out FairyTales (Odin LP003) where Ms. Toneffgave an emotional vocalperformance with one of the better recorded piano playing. The voice enjoys her spacing well separated from the piano but yet not away from the musical combination as intended. The space allows the voice to enjoy her individuality uninterrupted, as if I am hearing from the actual mike feed from her lips.

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This is not to be confused with the house sound of the Koetsu‘s rendition of the human voice, that tend to enjoy the mid bloom or flesh out (my opinion). The Apollo MC does not set itself apart like the Koetsu. If it need to be categorized then I would categorize the Apollo MC as a great retrieval of detail and of space in a recording.

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The Apollo MC has equally given the same treatment on Ms. Toneff‘s voice to Mr. Dobrogosz‘s piano and play. Each piano key is well definedfrom top to bottom, and being given actual complete decayed.

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Then I pulled Rob Wasserman’s “Duets” (MCA42131) where Jennifer Warnes sings “Ballad of the Runaway Horse” that I like to listen to her emotion and her artistic manner in rendering the lyrics. Here, the Apollo MC is able to capture the essence of her voice accurately with the strings of Rob Wasserman‘s double bass accurately presented without overwhelming the vocalist. Other well known cartridges are able to capture the vocal and musical instruments very well but due to certain preferences to a particular bandwidth, especially in the mid (and it is not wrong since this bandwidth can be most enticing, sensual and alluring), that will ultimately affect the spacing. I believe each designer of cartridge will have to draw that balance. To me the Apollo MC is more apt towards the balance approach that allow spacing to be retrieved from the recording. Thus all the recorded musical elements will and shall have its place in the music, as intended.

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You can expect the same treatment whether it be the male voice or the female’s. The space really allow the voice to take shape to its intended size, strength, sweat and sin. I like to play Doug MacLeod’s “Come To Find” (AudioQuest AQ-LP1027), where his voice is clearly recorded with a certain presence, weight, energy and spirit.

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The Apollo MC will dig deep to extract the essence of that spirited voice out within its own space. As for the instrument played by Doughere, the guitar strings were plugged with energy and I can hear the pace and rhythmpicked up along the way, as it is meant to be. The low from that guitar is presented clearly and cleanly instead of the usual shadow or hint missing amidst the mid. I do hear the string resonate across a wider bandwidth comparatively.

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The Recording Session…

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I do hear with many top flight cartridges the recording session(s) of the tracks contained in an album. So it is of no great deal to mention that I do hear the same with the Apollo MC.

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Many cartridges do allow me to hear the differences of time, venue and session, but the Apollo MC present the difference with greater clarity. I believe is its ability to present space and emphasize its part and importance in the recording that make the listening experience a tad more intimate and special. It is an added sensation and tangibility to that element of space in the music as if it is another musician present. I know how excited I will be if I discover a new musician in a recording that I know well. That is how excited I am with the Apollo MC in presenting that space of the recording session.

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Most top flight cartridges that I have the pleasure to enjoy in my set up can really handle complicated musical passages with ease. This is one of my top criteria before investing in any cartridges anyway. But each has its differences, thus the presentation of these complicated musical passages differ (maybe) slightly, but equally entertaining.

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The first complicated musical presentation that I love to play to start of this writing is“Festival” conducted by Fritz Reiner and the Chicago Symphony Orchestra (Analogue Production/Living Stereo LSC 2423). Here, you can expect what most top flight cartridges are able to perform such as the ability to control each section and the musicians with their respective musical instrument. You will hear each section of the musicians come into play clearly and cleanly, and flowwith the presentation, as if you are flying with the conductor. The Apollo MC will even direct your attention to the row of musicians of a particular section in a session. To me, what draws the Apollo MCapart from the other top flight cartridges, is the way it’s composure and direction in the presentation. It is more of the conductor’s intention and presentation that you are hearing. The way each section of the orchestra able to play its respective part to its full then continue with the next section as directed by the conductor at the pace that it’s rightly envisioned and directed by the conductor that make the listening experience more meaningful and intimate. I believe this is due to the well space out section in the orchestra and timing spacethat allow the experience to be so special in my book.

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My next play is Howard Dunnconducted the Dallas Wind Symphony, “Fiesta” (Reference Recording RR-38). Here, I always want to check out the thunderous bass from that giant drum at track 1, Side 1, La Fiesta Mexicana’s Prelude. I find that the low bass can really go low lowwith very good articulation, transient and clean throughout. The wave of low low can really move the end of your trousers and hairs on your legs (this is not an exaggeration).

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If there is a ‘but‘, then I find the decay of the low low and any other tunes to be slightly faster and shorter decay than the other cartridges on hand such as the Koetsu Blue Lacedand the Ortofon MC Anna. The pace of decay here did notaffect the impact and definition of the notes. It’s that each note stop and disappear at a faster pace. I believe this is the effect of a cleaner and well defined presentation with each tone well space out to allow pace to be clearly and cleanly defined.

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Let’s get the big band to play and hear what the Count Basie’s conjunction through the Apollo MC. I find that when the Count is leading, he always allow his musicians to shine with ample of opportunities. “No one is left behind”, I believe that is the motto thus you want a transducer that can really bring out that level of detail that you can really hear those musicians play, whether in single or in group and yet enjoy palpability, density and presence of both the musician(s) and the musical instrument played.

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Here, I like to play the album, Count Basie and his Orchestra, “Me and You” (Pablo 2310-891). The Apollo MC really separate the musicians and given them individual space to shine. I hear the direction of the Count and his musicians flowed with his direction. Those musicians placed at the rear of the stage were brought to lifehere, and you know that they were asked to play too. In comparison to the Ortofon MC Anna that will give greater presence to those musicians at the front and to a lesser degree to those at the rear. It’s not that it does not have focus on those musicians at the rear. On the contrary, most top flight cartridges can really dig deep into the grooves to bring out most details and that are what you paid for. The Apollo MC‘s spacing ability is extended throughout the depth of the soundstage that those musicians at the very rear of the stage have the space to shine.

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Next, I have another band leader from another side of the world to lead. I played Eiji Kitamura & All Stars, “30 years in 30 minutes” (Toshiba Records LF-95012). Another band swinging album that I loved and frequently have on duty. Similarly, the band came into life and swinging handsomely and clearly. The musicians are brought forward, including those at far back, and clearly separated with distinct spacing. The spacing also adds up to improved palpabilityand density of each musician in the play.