SG-210

Hello Peter,

First I hope you, your family and staff are all well. I so want everyone to get through this, for people to stay well and for businesses to weather the difficulties they are faced, for the toll not to be too great or dear. Perhaps my little status note is misplaced at this time, and if so, I apologize.

Recently, listening room challenges have been better addressed, and this has allowed me to dial-in the SG-210 system with much more precision by ear, not having room effects masking small but significant changes of setup. As HTA/Zenith and Azimuth were carefully adjusted on the Air Tangent air bearing arm, the smallest details in the mix to the largest dynamics were further liberated in an utterly coherent fashion. Subtle details of timbre and texture were even more beautiful, and the soundstage of recordings is simply 'there'. The overall effect is, simply, music unencumbered, just flowing. From LPs.

 I thought I was probably pretty close before, but all the fabric of a performance just 'pops' in a most musically natural, coherent (and gratifying) way. Words will never by able to convey what the ears hear.
So, didn't want to wax on too long, but wanted to offer a pat on the back for allowing me the pleasure. I can't wait to listen some more.

Stay well.

Best regards, Jeffrey Bernhard

They Said What?

I played this album a few times on my system before adding the Zephyr MK III ES. I found it far superior to the CDs I'd listened to, with excellent tone on Miles' trumpet and a deep and wide soundstage. But when I listened to it the first time with the Zephyr MK III ES, it was another level of cool. Right off the bat, the surface noise was down, significantly. Secondly, the soundstage was deeper and wider than I have ever heard on my system before. James Cobb's snare had more snap and his high hat took on more air. Song after song, I was completely engaged in the music.

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