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JustWhat Is "Juicy Music"?

Speaking of "Juicy" just what is it thatMark Deneen is referring to when he talks of his equipment having that "Juicy"sound and hence the name of his company Juicy Music? For a moment just think ofthe juicy flavors you discover when you bite into a fresh apple or grape thattells you that what you are eating is natural and not manmade. It is thatdynamic natural sound he is after when creating his products rather than havinga cold sterile effect. I suppose that is one reason he uses tubes because, ifdone correctly, they can bring that "you are there effect" to the musicalexperience. Being a small, actually one-man company, he can use his own "innerear" to judge what is right for his products to determine what is musical. Hehas only himself to answer to when determining what sound is correct for thegear he builds and markets, as there is no board of directors or committees.Mark Deneen does all this and yet still finds a way to keep his products atprices that are affordable for the average audiophile. Looking at his websiteyou will see the BlueBerry Xtreme II, a full function preamplifier starting at$1895, the Tercel II phono preamplifier starting at $495 in kit form $595factory assembled, and the Peach II linestage with a beginning price of only$1695. Only the pCAT Lynx Power Mono Block amplifiers, at $4995 a pair, seem tobe somewhat pricey in comparison to his other gear yet definitely not out ofline with the market place today. If you keep in mind that all his products aretube oriented you will than realize what bargain pricing these really are.

MusicTo Listen By

What was particularly nice about the Peachwas that whatever musical selections I played the sound remained "Juicy". Thatis to say that CD glare was less evident while music seemed both natural anddynamic. Eric Clapton has always been one of my favorites and I just never seemto tire of hearing Eric Clapton Unplugged (Reprise 9 45024-2). I remember atime when whatever audio salon or show you attended the song "Signe" would beplaying. The Peach allowed it to sound expansive yet I never lost track of theindividual performers within the soundstage. The opening guitar players,including Eric Clapton, sounded soft and fluid, as they should. I could feel thewarmth of the tubes having a positive effect on the performance, giving a niceintimate depth to it. From the same CD "Malted Milk" was a song that EricClapton seemed destined to sing. Again the Peach gave the song a soft blues typeof feel that seemed as if you were in a small nightclub for a private after hour'ssession. The Peach with its tubes gives you that spacious yet intimate sense tosongs.

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AndThen Enters Both McIntosh And Klipsch

I just could not resist trying the Peach II with myMcIntosh MC275 tube amplifier and Klipsch Klipschorn speakers. Tube amplifiersand preamplifiers coupled with horn speakers and a few well-chosen LP's, Idefinitely could do this. Putting on Bob Dylan'sThe Freewheelin' Bob Dylan LP [Columbia/Sundazed LP 5115], the soundwas oh so very clean and very smooth. Lacking any digital artifacts this monorecording reissued by Sundazed was a true pleasure to hear. Luckily I had themono knob on the Peach II, set it from S (stereo) to M (mono) and you are allset to go. I think I will go a little further back in time now and listen to BuddyHolly/The Crickets 20 Golden Greats [MCA 37244] that was released in1978. The songs of course had been previously released way before this. Thenice thing about my systems combination is that I could hear deep into thesoundstage front to back as it gave me good depth to the music. Buddy Holly'svoice was prominent in "Peggy Sue" but the band also sounded clear as the JuicyMusic/McIntosh/Klipsch setup captured a nice layering effect between those inthe band and Buddy Holly.

Final Thoughts

It was not so much the Peach II's ability to bring outdetails, which it could do, but instead its way of allowing you to connect tothe emotional content of a song that impressed me. The Peach II broughtmusicality and liveliness to the listening experience that blended with just theright amount of detail to made everything more enjoyable overall. There arepreamplifiers that can bring too much detail and forget the magic of theperformance, leaving one feeling like you are missing something from the event.The Juicy Music Peach II captures just the right amount of balance to enhancethe experience and not overwhelm it with any one aspect of its presentation.Those seeking to get a little closer to the "performer's stage" and get a senseof being more intimate with the songs should audition the Peach II as I felt itdelivered these qualities in my review system. Because of this it was difficultfor me to package the Peach up and deliver it back to Mark Deneen at Juicy Musicand I am grateful for the time I was allowed to spend with it. . When you thinkabout it $1695 for a tube preamplifier that comes with, among other things, aremote control, selectable ground switch and the Tri-Mode output function,certainly makes the Juicy Music Peach II a terrific buy.

Tri-Mode Operation:

The Mode Switch on the front panel has 3 positions:

LO: This is the SuperLoZ Mode with an output impedance of 90 ohms. In this mode the 6H30 gain stage is connected to a compound 6922 buffer stage to create the very low impedance output needed by some Solid State power amplifiers. In this mode the Peach will easily drive a 5k ohms load, or an extra long cable run.

HI: This is the HiZ Mode with an output impedance of 3.5k ohms. This is the shortest, most elegant signal path using only the 6H30 Class A gain stage and one capacitor to the output of the preamp. This mode is intended to be used with amplifiers that have an input impedance > 100k ohms, such as typical tubed amplifiers. We often refer to this as "BlueBerry Mode" as this is the same line out as the BlueBerry Xtreme.

HT: This is the HT bypass mode, or Unity Gain mode. In this mode the HT INPUT is switched directly to the output jacks as a "straight wire" bypassing all internal Peach circuitry including the volume controls. If you connect the FRONT outputs of your HT pre/pro to these inputs, you can put the Peach in HT BYPASS and control your front amplifiers from the HT Pre/Pro, making it very easy to use a premium amplifier for the front channels of your HT system as well as your music system. NOTE: The Peach must be ON to use the HT mode.

The BlueBerry has superb tonal balance. Cut 14 on the same 6moons disc, Ziroq's "Voices" from Ziroq, I found again that the BlueBerry does not call attention to itself in any one particular performance aspect. It presents music in a very even-handed way. There is no sense of any frequency anomalies. Highs are extended and clear with no tizziness or emphasis. In one email exchange with Mark, I was asking him about the design. He said he worked hard to get a sense of clarity, especially from 1kHz on up. He has succeeded. This clarity is achieved without any cost of edginess or harshness in the upper mids. A compilation CD that I used during the Hyperion follow-up, Jazz Like You've Never Heard It Before [Polygram 819 344-2] illustrates this well. The strings and horn on Ella and Louis' 'Summertime" were just wonderful. In fact, the upper mids were downright creamily smooth. Please do not misconstrue this to imply colorations - not at all.

An interesting quality I noticed was the BlueBerry's ability to play loudly without any sense of strain. If I had to choose one word to describe this quality, it'd be composure. Lovers of rock music would do well to audition this preamp. Wailing guitar solos and full-throttle R&B were a real kick. You can really crank 'er up! I suspected Mark to be a rock music fan and emailed him about his listening preferences. Indeed, he does like the 60s' protest/folk/psychedelic genre

(along with a variety of other music). But this doesn't mean that the preamp is not good with other types of music - it is! To test out the phono stage, I brought the BlueBerry upstairs to mate with my Thorens TD-125 Mk.II. Several amps took turns in the system, too, rotating through my Leak ST-20, Pilot SA-260 and modified Leak TL-12+ monoblocks. In the end, I did most of my listening with the Pilot amp.

First up on the turntable was Miles Davis, In Person, Friday Night At The Blackhawk, San Francisco, Volume 1 [Columbia LE 10018 reissue]. After only the first few seconds of crowd applause followed by Miles' horn, I said to myself "Wow, this is something special!" Permit me to digress here. Are there others like me who have spent the better part of the past six or seven years trying to find a full-function all-tube preamp with a really good phono stage? This has been a tough mission for me. I ended up having to cough up the serious dough for the Hovland. Fellow travelers, rejoice in the BlueBerry because this preamp's phono stage is startlingly good.

Anyone who's read my bio would surmise that as a vintage audio gear lover, I probably do my fair share of tag sales. I do, indeed! Of course, records are a major tag sale treasure for me, too. I must admit to purchasing fewer CDs for myself in the past two years than I have as gifts for others. However, don't think I'm not getting new music all the time. For the price of one CD, I'm picking up ten or fifteen LPs. Clean them up on the trusty VPI 16.5, cull the bad ones and you've got all the "new" music you need.

Now, back to Miles: The BlueBerry just floored me with its phono stage performance. This level of phono stage performance in a preamp at this price point is something to shout about. Perhaps it took someone like Mark who was last designing when LPs were still dominant and may have been out of touch with the slow disappearance of -- or half-hearted attempts at -- onboard phono stages in preamps over the past twenty years. What an honest and commendable effort he now put into LP playback. Mark, welcome back!