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A number of Eno's later games such as Enemy Zero (1997, Saturn), and D2 (2000, Dreamcast) have been influenced by Real Sound's unique gameplay. Certain enemies in Enemy Zero were invisible and could only be located by sound, and D2 also drew heavily from the concept of limitations to sensory perceptions, featuring portions of the game where the character is rendered blind (with only a voice to guide her) and alternately deaf (with only vision to guide her).

While the Almarro had really nice mid's and high's on the Corona's, I realized after putting the Still Audio EL84 amplifier into the system that the Corona's were capable of some really quality bass performance as well.

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The Still Audio EL84 is probably only a third or so of the way through a proper run-in of a hundred hours, but it's already sounding really satisfying musically & sonically, and I'll have some more detailed "first impressions" notes to share with you about the Still Audio EL84 amplifier in the near future.

Yasui-san came to the conclusion that improving only the static characteristics of the semiconductor power amplifier would never bring the superior quality sound he sought, and he described the importance of an amplifier's dynamic characteristics, including the actual movement of the speaker, to get superior musical sound.

So needless to say, I recognize that improving the dynamic characteristics of the system, consisting of amplifier and speaker, might be an extremely important factor in getting superior sound quality.

This current causes a negative effect especially on the traditional semiconductor linear amplifier, as well as tube amplifiers with negative feedback circuitry. Particularly, the transfer function of semiconductor is poor in linearity compared to the characteristic of tube, so this type of amplifier inevitably needs to correct the static characteristic by performing deep negative feedback. But this negative feedback makes the amplifier stage vulnerable to the counteraction, counter-electromotive current from speaker, causing complicated phase delays inside of the amplifying stage. Needless to say, this physical phenomenon hurts the sound quality of the audio system, including amplifier and speaker.

Accordingly, the processor makes it possible for the amplifier to drive the speaker more faithfully to the sound source, improving the sound resolution and the dynamics, also reproducing more natural resonances.

Above all it helps you find a deep, rich, 3D-like sound stage full of fascinating tonal characteristics that you have never experienced before, and it allows your amplifier to drive the speaker easily!

I've used the original Spec RSP-901EX Real Sound Processors Yazaki-san sent me to try with excellent effect on my Harbeth Super HL5 loudspeakers, and it was an across the board improvement in musicality and sonics that I really enjoyed.

I should also mention that the original Spec RSP-901EX Real Sound Processors are optimized for loudspeakers of 10 Ohms or less, so they really weren't intended for vintage loudspeakers like my 16 Ohm Altec's, thus the custom pair of Spec RSP-AZ9EX Real Sound Processors that Yazaki-san built to complement the vintage 16 Ohm Altec 832A Corona loudspeakers.

After a couple of days of run-in time the Spec RSP-AZ9EX Real Sound Processors were transformed, smoothing out, losing the initial forwardness I heard, and basically sounding really nice and complimenting the system's performance both musically and sonically.

In essence, the Spec RSP-AZ9EX Real Sound Processors positively dealt with some of those little red flags that signal one is listening to recorded music instead of "real" music, with the net effect of making the music flowing out of the Corona's sound more live-like.

Even though the custom Spec RSP-AZ9EX Real Sound Processors are sounding great right now and you can consider me impressed, I suspect that they will continue to evolve musically & sonically with more time on them, so I'll be reporting back after I'm sure they've fully run-in and I'm getting the best from them.

Now the young Mr. Shirokazu Yazaki who went to work at TEAC was also an audio enthusiast & music lover who particularly enjoyed listening to jazz, so in 1971 when Yazaki-san went to the Tokyo Audio Fair he was impressed by the intense musical satisfaction that could be realized by listening to music with DH-SET amplifiers powering high-sensitivity Altec horn loudspeakers.

We had all been listening to the Yamamoto 45 SET and a variety of other single-ended amplifiers at the time. Imagine that you were there listening with us, and then I blindfolded you and slipped the class-D T-amp into the system and asked you to comment on its sound ... what do you think you'd say? I guess it'd be pretty close to what Bill Van Winkle said: "Its sonic signature reminds me most of the Yamamoto 45. It is clean sounding with lots of detail and decent rhythm and pace. Not quite as smooth and musical but very good."

Yes, really. Forty years ago there were commercial vacuum tube amplifiers available, and DH-SET amplifiers like the now legendary American Western Electric 91A (300B) had been around since 1935 (and the 92A even earlier).

From the development of the class-D amplifier modules, to the selection of every single component that makes up the SPEC RSA-M3 EX Real Sound Amplifier, Mr. Yazaki-san and the entire SPEC team paid serious attention to voicing the amplifier to sound as musically satisfying as the transparent, beautiful tone color, rich, and dynamic nature of the DA30 DH-SET reference amplifier.

Mr. Yazaki-san told me that using the RSP-901EX can result in a pretty dramatic improvement to the sound quality of a pair of loudspeakers, by making them sound more clear, natural, and musical throughout their range.

I listened to the SPEC RSP-901EX Real Sound Processors using my small room system, with the combination of my Harbeth Super HL5 loudspeakers and the SPEC RSA-M3 EX amplifier. I did not use the Real Sound Processors on the outboard Duelund crossovers on my Westminsters, as I would really need to use two pairs of Real Sound Processors, which I did not have access to.

The Leben CS-600 vacuum tube integrated amplifier really turned my head when I reviewed it back in 2007, and it has been a constant fixture in my small-room system since then. The Leben CS-600 also wowed a lot of people with its superb performance at the Salon & Image Show in Toronto in the years following that review, including the cast of excellent Stereophile writers like Stephen Mejias, John Atkinson, Robert Deutsch, John Marks, and Art Dudley, who heaped praise upon it.

The Leben CS-600 and SPEC RSA-M3 EX are both capable of throwing a wide & deep soundstage, and they both present a similar sized soundstage for a given recording, but what I heard within the soundstage was very different for these two amplifiers.

The Leben CS-600 has more resolution compared to the SPEC RSA-M3 EX, and it gives a more detailed representation of a recording than does the SPEC. The SPEC RSA-M3 EX has less resolution than the Leben CS-600, yet it is more comparable to the amount of detail I actually hear when listening to live music, and in that sense it is more accurate and realistic.

Both the Leben and the SPEC have similar levels of aural transparency back into the depths and widths of their soundstages, and they both present similar recorded width & depth for a given recording. I found that a little bit counterintuitive given the more brightly lit presentation of the Leben, as I thought that would allow me to hear more deeply into the soundstage, but it did not. They have roughly equal transparency even though the Leben is brighter and the SPEC is darker overall.

When it comes to dynamics I think the Leben CS-600 is the more dynamic of the two, and that it infuses melodies with an extra little bit of pep as they move along. Tempo-wise, I think the Leben CS-600 sounds more energetic, and it highlights the differences in the speed of tempos to a greater extent, which makes it exciting to listen to, particularly on music with faster tempos. The SPEC is smoother and more relaxed sounding than the Leben, and while you can definitely tell the difference in tempos, the difference is not as pronounced as with the Leben. The increased resolution of the Leben makes harmonies more obvious, but not necessarily as realistic sounding as the SPEC, whose smooth, rich, colorful presentation blends harmonies beautifully together in a very naturally lifelike and sonorous fashion.

One thing I did learn about the SPEC during my time with it was to get the very considerable best out of it you need to get a good AC power cord on it. The stock AC cord is ok, and you can get by with it for a while, but if you want to hear what the SPEC Real Sound Amplifier is really capable of you need a good AC power cord, and the difference one makes is not subtle. I tried quite a number of power cords with the SPEC, and I found the two best with it were the Sablon Audio Gran Corona and Petit Corona (in that order).

I first saw the movie The Sound of Music as a young child, probably in the late 1960s. I liked the singing, and Maria was so pretty and kind! As I grew older, more aware of world history, and saturated by viewing the movie at least once yearly, I was struck and annoyed by the somewhat sanitized story of the von Trapp family it told, as well as the bad 1960s hairdos and costumes. "It's not historically accurate!" I'd protest, a small archivist in the making. In the early 1970s I saw Maria von Trapp herself on Dinah Shore's television show, and boy, was she not like the Julie Andrews version of Maria! She didn't look like Julie, and she came across as a true force of nature. In thinking about the fictionalized movie version of Maria von Trapp as compared to this very real Maria von Trapp, I came to realize that the story of the von Trapp family was probably something closer to human, and therefore much more interesting, than the movie led me to believe. e24fc04721