Here is the Appogg priceing/eCommerce page:
http://appoggsystems.com/purchase/index.php |
Hi Claude, the JRDG 312 is an amazing amp. . . I have not compared it side by side with 501 monos with PC-1s, so I can't really comment on differences.
I am no longer using Cardas Golden Ref speaker wires and power cords. I am now using Furutech Evolution II wires throughout the system. . . Extremely linear, quite extended, and no emphasis or trofs that I can tell. . . and very graceful treble. |
Husk, I believe the list price of Criterion is approximately $18.5K. You should check with a JRDG dealer or with the JRDG factory at (719-473-1181 to confirm.
The sonic difference between AC and battery operation is subtle but discernable, at least in the moderately dirty Austin power grid. Under battery, there is an enhancement of depth, a sence of increased presence of the recording venue, transparency, and low level detail.
The remote control layout is remarkably ergonomic. Even I managed to learn it by touch alone. . . and I find operations on most remote control obscure at best. The remote itself appears to be milled from a aircraft grade Aluminum billet and is finished with the typical diamond-cut JRDG pattern. The design is somewhat retro. . . reminds me of 1970s Danish or Italian styling. . . a mixture of angular planes and curved surfaces. Buttons are small but with an excellent tactile feel, and layout is very logical.
Guido |
All, after 2 weeks of travel to Ithaca (NY) and Vancouver (Canada) I am back home in Austin. During this time the system was turned off and totally disconnected from the AC outlet.
The system has now just been reconnected and is back online. Criterion is doing some remedial break-in: sitting on the Appogg platform, fed music from my ancient NAD tuner through a transformer-based RCA/balanced adapter designed by Austin audiogoner Lee Roitberg ([lee_roitberg@hotmail.com]
), and I expect that it should have mostly recovered from its offline vacation by mid week for some good listening. |
Very simple. . . Austin is a place of sudden and potentially violent thunderstorms. . . a power surge into the system would have been a rather expensive proposition. I always disconnect the system when I leave town. G. |
Thank you Brazcole for the link to the review. I am enjoying every minute of music from my Criterion, which at about 700 hours seems to me fully broken in. Among other things, the Criterion has added significant authority to my system. As I mentioned on Positive Feedback Online in my review of the Furutech Evolution II wires, the only negative observation that I could make about my JRDG Capri was that the bass, while quite extended and tuneful, suffered of a certain diaphanous lightness. . . If you listened to Edgar Meyer playing the cello Bach suites on his double bass. you will know what I am talking about.
Criterion among other things addresses this particular issue: resulting bass is tuneful and extended for sure, but has also the correct dark timbre, and transient authority is delightfully satisfying. For my Furutech Evo II review, see:
http://positive-feedback.com/Issue45/furutech.htm
Guido
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Brazcole, not too many of us read Portuguese. . . that means that not only we can't read the Andrette review, but we do not even know how to subscribe to the web site. Could you please create a Google translation of the review, then paste the translated text to this thread? Thanks, Guido |
Fabulous idea Brazcole! I will send you a personal message right away with my mailing address. You should find it in your eMail inbox shortly.
Grazie mille! and. . . Obrigadissimo!
Guido |
All, if I manage to get a rough Google translation of the article, I'll post it here. |
All, Criterion will be featured in Soundings Hifi's own showrooms in Denver during a series of open-houses during the RMAF show. The demo system will be identical to my own except for CD player, and will likely consist of the following components:
Primare CD31 player.
Jeff Rowland Criterion preamplifier.
Jeff Rowland 312 stereo amplifier.
Vienna Mahler V1.5 speakers.
Wiring/cabling is likely to be my own set of Furutech Evolution II ICs, PCs, and speaker wires. . . or the new Analysis Plus Big Oval Silver.
Tentative schedule as follows:
Friday October 2nd from 6pm to 10pm,
Saturday 3rd from 6pm to 10pm,
Sunday 4th from 5pm to 8pm.
Soundings will also have a booth in the Marriott lobby, but will not have a demo suite in the hotel this year.
The Soundings showroom is located approximately 10 minutes walk from the Marriott hotel, just across the parking lot. For more info, Soundings can be reached at:
8101 E. Bellview Avenue,
Denver, Colorado
80237
Phone: 303.759.5505
Fax: 303.759.4273
Email: sales@soundingshifi
Driving directions and map at:
http://maps.google.com/maps?f=q&hl=en&q=8101+E+Belleview+Ave,+Denver,+Denver,+Colorado+80237,+United+States&sll=37.0625,-95.677068&sspn=35.768112,76.992187&ie=UTF8&cd=1&geocode=0,39.625328,-104.894038&ll=39.626268,-104.894028&spn=0.008495,0.018797&z=16&iwloc=addr
Hope to see you guys in Denver!
Regards,
G. |
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Thanks to Brazcole, I have just received today a copy of Audio&Video magazine from Brazil featuring a professional review of Criterion by Mr. Andrette. I'll scan the article and will attempt to submit a Google translation. If the translation results are not totally outlandish, I will post salient extracts to the thread in a few days. |
Good stuff David. . . keep us posted on your Criterion. . . old Brazcole and I was just about startin' to get lonesome 'round here. . . wasn't we Braz? (grins!) G. |
David, if my understanding is correct that each input may have its own equalization/isolation transformer, your observation that every input needs to be broken in separately would not be surprising. That is why I ended up converting the unbalanced output of my old tuner to XLR balanced via an external transformer-based RCA/XLR adapter, and fed it into input 1 of Criterion for a few weeks 24/7, so I could spare my trusty X-01 from serving as lowly break-in donkey. |
"old Brazcole and I was just about startin' to get lonesome 'round here. . . wasn't we Braz? (grins!)"
Brazcole, that was an attempt to write something in Texas slang/dialect. . . It means kind of:
Brazcole and I were starting to feel lonely. . . because we were the only 2 real users of Criterion on this thread.
Not at all familiar with Krell 202 so I can't comment on it. Is the gentleman in the Brazilian forum intimately familiar with Criterion?
Guido |
Thank you so much Brazcole, the reaction of the gentleman in question is sadly typical of some people who have not even listened to a device: dismiss it outright as 'obviously' inferior!
On the subject of CD players, my personal favorite is the Esoteric P-03/D-03/G-0S combination. I have listened to Paganini and Puccini, but I thought they may not have been as emotional as the Esoteric combo. On the other hand, as I have not listened to them side by side with the Esoteric, my impressions are not terribly well informed. . . . and are 'subject to change without notice.'
Guido |
Hi Claude, do you happen to know if the Esoteric combo was fully broken in? It takes about 1200 hours for Esoteric gear to sound at its best. . . and when it is not broken in, Esoteric products sound. . . extremely harsh, digital, unemotional, and utterly unpleasant.
On the other hand, Esoteric is extremely revealing and intense, while DCS may sound sweeter. . . it's a matter of personal preference I suppose. G. |
Claude, DCS does make splendid stuff, while up to now I have tended to prefer the TEAC Esoteric sound, I freely admit that DCS is excellentAnd who knows. . . my preference may change in the future. . I'll give a careful listen at DCS at RMAF in October. Guido |
"you seem happy and convinced but not so crazily enthousiastic about the change from Capri to Criterion ... am I right ?"
Hi Claude. . .the answer is an emphatic NO, that is not correct. I am extremely enthusiastic about the differences between Criterion and Capri. . . but I am always shy of using any overwhelming superlatives in writing any of my assessments. Fact is that IMO Criterion exceeds the performance of Capri in approx 12 hours from cold out of the box. . . then it is essentially a rising curve, except for a period of instability between 125 and 175 hours of break in. In the end, Criterion -- as a JRDG product -- displays some kinship with Capri in most parameters, but it is a different animal all together. Authority, macro/micro dynamics, harmonic exposure, top to bottom extension, image resolution, and ability to deliver high SPLs without batting an eye or showing intermodulating fatigue are in a different league. What is even more interesting, is that rather than given you a sense that you are 'seeing deeper into the soundstage', it is more like Criterion plops a solid and vast 3-dymensional soundstage into the listening area. The difference is what I would call transcendent.
On the other hand, it is only audio equipment we are talking about. . . any rumours that Criterion has improved my love life are somewhat exagerated. On the other hand, now that I think of it. . . hmmm (grins!)
Concerning DCS, my impression of DCS is that its house sound is always extremely pleasing, sometimes at the detriment of what to me makes music emotional: the interplay of differentially decaying harmonics, and microdynamics. I'll listen to DCS again at RMAF. . . who knows. . . I might change my mind.
Guido |
Clavil and Brazcole, all of these seem to be worthy comparison projects. . . Let us know your impressions if you have the opportunity of conducting some of them. G. |
Claude, it's quite possible that the Esoteric sound may simply be not what you are after. DCS seems to me sweeter sounding than Esoteric. G. |
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All, time for some updated impressions.
I have now been running Criterion almost 24/7 since mid July. . . it has either being playing from CDs on XLR input 1, or from my old tuner from XLR input 2. During night time, I usually mistune between FM stations and feed Criterion a diet of pure unadulterated quasi-inter-station white noise hash. I estimate that Criterion must have by now passed 2,000 hours of activity on the combined inputs.
Today I loaded a very old CD. . . Jackie Dupre on the Dvorak Cello concerto with her husband Daniel Barenboim at the baton. I always considered this recording more documentary in nature than anything else. While the performance is truly remarkable, the recording is of dubious quality also for vintage standards, with somewhat hazy sound, flat staging and hashi fortissimos. It was always a bit difficult to enjoy this recording. . . Dupre tended to be buried in the lumpy background
I honestly did not know that this CD even knew
what 'soundstage' and 'imaging' even meant. . . my opinion was always that the recording engineer should have been taken to the Lublianka for interrogation as a possible anti-musical plant. . . .
Well. . . today my jaw dropped. . . the words mesmeric, awesome, eerie, and stunningly emotionally involving come to mind.
The soundstage was there. . . and what a stage. . . with Dupre at the front center, more or less lined up with the front of the speakers. The orchestra sorrounds her at a realistic distance, consistent with true placement of instruments in the orchestra. Dupree is passionate beyond belief. . . her Stradivari cello is passionate and rippling with harmonics. . . in double stops I can follow the interplay of the twin melodies with incredible ease. . . there are things that I hear that Dupre intended me to hear, like those amazing harmonics, riveting macro dynamics, microdynamics that have an incredible intimacy. . . there are things that perhaps she did not want me to hear. . . like the swish of her sleeves and the creeking of her stool. and an occasional intake of breath.
The Orchestra sounds majestic, intense, and passionate. . . the emotional rapport and kinship between Dupre and Barenboim is pretty evident in the incredible dynamic synergy between the cello and the orchestra. I was specifically looking for the virtual placement of the triangle. . . would it be highlighted towards the front, or would it have a realistic placement. . . when it arrived it was clear as a bell, but from a distance, from the right and towards the back of the hall, in the spot it would be in a live concert. . . who said that JRDG gear can't image worth a darn (grins!). The fff ends of movements 1 and 3 had a special surprise. . . not only I could hear the great hall through the decaying sound, but the shells of the kettle-drums and perhaps some unused large cymbals were clearly ringing from somewhere close to the triangle player.
It is interesting that with Criterion, 'silent background' does not mean lack of sound. . . Rather, it means complete abscence of that glare and random hash that hides the lowest level of information from recording venues that are by their nature always filled with those tiny mechanical vibrations, that let us perceive their palpable existance, size, and often shape with our eyes closed. Thus, somewhat paradoxically, I suggest that Criterion's profound 'black background' silence actually illuminates musical reality.
During fff/tutti, there is obviously a little distortion (the sound engineer should still be punished, or at least be imparted musical reeducation in a gulag for a duration commensurable with his grievous crime against the Muses), but distortion is much less than I was used to, and the stage never collapses under macro-dynamic stress, which is totally unexpected in this recording.
Bottom line, this creature is amazing. . . and if you think you already love criterion after you used it for a couple hundred hours. . . I can assure you that you have not heard anything yet. I have now reasons to believe that Criterion may continue to mature and blossom well beyond the 1,500 hours mark.
I usually try to be dispassionate about my sonic findings, but what I heard today simply took my breath away. I was supposed to work on some web content creation today instead of wasting time listening to Dupre. . . well I obviously couldn't. . . so I didn't. . . and no apologies either! . .
Saluti,
G. |
During yesterday's session Criterion was on batteries, but was not unplugged from AC. I have not yet run Criterion unplugged from AC. G. |
I agree. . . my only concern is also severing the Criterion's shortest path to ground when removing the PC. G. |
Thank you Vito, Criterion's home theater bypass is very flexible. Any/some/all of the Criterion's balanced or unbalanced inputs can be configured/assigned to home theater bypass. This means that you could have up to 6 inputs configured as theatre bypass if you really wanted.
Note that by default, as all inputs are transformer coupled, all inputs RCA/XLR have identical gain structure. If you want to adjust input gain for any/some/all of the inputs, you can assign a gain offset +/- 10dB in 0.5dB increments to any of the inputs.
All main outputs (2XLR, 2RCA) are also transformer coupled. . . This mean that by default they would present an identical volume gain to a pair of amplifiers that you may be using in a biamped configuration. . . But for greater flexibility in biamped configurations, RCA output 2 can also be configured with an output gain offset (+/- 10dB with 0.5dB granularity).
What's even more interesting, is that the record outs are controlled by a completely separate preamplification circuit. . . this means that you could even assign a Criterion input to drive an amp(s) in a separate room, which would enjoy a completely different musical program with a completely different volume.
On your specific question of compatibility with ML amp. . . Criterion's output impedance is only 60Ohms in both balanced and unbalanced mode. This means that Criterion is compatible with all but the most peculiar amps on the market. Unless your amp has an input impedance of less than 1200 Ohms, you will have no problems.
Saluti,
Guido |
I must echo Dave's assessment of the GamuT room, using their big monoblock amps. Performance of the Bach Toccata Adagio and Fugue in C minor on the organ was stunning and very emotionally involving. Yet it seemed to me that a system consisting of Boulder CDp, Boulder 2010 pre, Rowland 312 amp, and Vienna Die Muzick speakers that we listened to at Soundings Hifi just across from the Marriott hotel may have exceeded the Gamut system in harmonic resolution and low level detail. The 2 systems were definitely comparable in staging, imaging, extension, and superior abscence of any disturbing artifacts. . . the kind of systems that you just would like never to walk away from.
Dave and I were able to listen/contrast the Rowland 312 and the Boulder 2060 stereo amps on the same system at Soundings. . . Boulder CDp, Boulder 2010 pre, Vienna Die Muzick speakers. Both excellent amps. everyone present in the room appeared to favor 312 over Boulder 2060 for authority, staging, harmonic exposure, low level detail.
Unfortunately we were not able to compare directly Boulder 2010 and Criterion in the same system, hence I won't guess about my pref between these 2 devices. |
If I recall correctly, FM Acoustics was showcasings its big monoblock amps costing $128,000. Guido |
And of course let us add those exceedingly fine GamuT monoblocks to Boulder 2060, Rowland 312, and FM Acoustics. Unfortunately I do not remember the model of the GamuTs, but I seem to remember they were priced at approximately $26K, which is 1 fifth the price of the FM Acoustics . G. |
Apologies Husk. I inadvertently missed your post. Unfortunately I have no experience with MBL and DartZeel. I am sure they are fine devices in their own right. If you would like me to elaborate on the behavior of Criterion in some particular sonic/musical area, or you would like some particular tech info, I'll be happy to do so. . . but I can't compare it with devices I am not terribly familiar with. Guido |
Husk01, I can give you only a semi useful answer by indirection as follows:
A friend of mine tried Berkeley DAC by itself as well as Berkeley into a JRDG Capri: he much preferred Berkeley into Capri; never the less he sold capri because of cost recovery considerations only and kept Berkely DAC.
I personally much prefer Criterion over Capri.
By extension, I suspect that I might prefer Berkeley DAC into Criterion than Berkeley by itself.
As I said. . . mine is a valid but indirect hypothesis. |
Mike, a direct in-system Dartzeel/Criterion comparison for both battery and AC ops would be quite fascinating, particularly if vinyl media could be included in the proceedings. Guido |
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One interesting point is that at Soundings Hifi in Denver, in the opinions of several, the Rowland 312 amp was preferred to the Boulder 2060 stereo in the areas of authority, macrodynamics and general fullness of sound, in addition to micro dynamics/microdetail, harmonic exposure, and involving musicality. As already mentioned, the rest of the system consisted of Boulder CDp, Boulder 2010 pre, and Vienna Die Muzick speakers.
Needless to say, we did not have the opportunity of contrasting with MBL.
Please note that, at this level of performance, I am more inclined to utilize the term 'preferred' rather than 'exceeded', because live observations between such top flight devices -- even in the most controlled of situations -- are very much relative to personal taste. G. |
Mike, at this point, Criterion does not support BNC connections. Inputs and outputs are XLR balanced and RCA unbalanced. All I/O is transformer coupled to resolve source impedance mismatches and apparently yields >90dB common mode rejection on balanced inputs. Input offset adjustment is available on all inputs with a 0.5dB resolution, while output offset adjustment is available on unbalanced output 2 with same resolution.
The import of all of the above of course is exquisitely theoretical. Only significant in system a/b listening has a chance of revealing actual musical/sonic differences and address compatibility with personal prefs.
a comparison of the following:
1. PD + Dartzeal BNC + Dartzeel pre,
2. PD + fav XLR IC + Criterion,
3. PD + same fav XLR IC + Dartzeel,
Would be very interesting indeed.
One complication of course is. . . what is the 'best' (cringes about crass absolute term) XLR to use for this exercise? I have had extremely satisfying results with the Furutech Evolution II ICs between Criterion and my Esoteric X-01 Limited, yet I shan't claim that I have reached the pinnacle of my IC quest without a lot of further explorations.
G.
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Splendid idea Dave. It may be worth while you creating a separate thread to locate a Dartzeel user in the Denver general area who would be interested in contributing his unit to perform the Criterion/Dartzeel listening session.
Problem is that not all Dartzeel owners may be following this Criterion thread. G. |
Mike, yes I read the DarTzeal site and saw the 50Ohm impedance characteristics of the DarTzeel BNC interface. I have no idea if it can be added to Criterion post FSC, or what engineering work its addition may involve. G. |
I have the impression that Criterion may be quite insensitive to power cords during AC operation. This has probably to do with the high degree of regulation of the power supply and the final passive power factor correction rectifier built into the power supply itself. G. |
Husk, I have not compared C-03 and Criterion in the same system. From 3rd party comments, I have heard that C-03 is extremely musical, transparent, and smooth, but may yield only moderate authority. What I can tell you for a fact is that authority is one of the exceptionally strong points of Criterion.
From an architecture point of view, C-03 is a single ended design, with balanced inputs and outputs recreated using transformers. Transformers are also used in Criterion, which is however completely balanced in-circuit.
C-03 supports a certain amount of input and output level adjustments, but I have the impression that Criterion may be more complete from this point of view, as all Criterion inputs support offsets adjustments. Specifically, Each input can be assigned an independent gain offset in 0.5dB increments, ranging from -10dB to +10db, for a maximum possible offset of 20dB. Offset adjustments can be assigned from both the main control panel and from the remote control transmitter. Any of its inputs can be assigned to Theater bypass. An output gain adjustment is also available on one of the RCA outs with the same granularity and range.
Another interesting feature of Criterion is it has 2 completely separate preamplifier circuits inside. . . one serves all main outputs, while a 2nd one serves the record outputs, and its volume is set separately. The idea is that Criterion can control 2 completely different music environments. . . from separate sources to output in different areas of the house.
And of course, Criterion has dual AC/battery operations, while C-03 is AC only.
The power supply of Criterion is an SMPS with built in passive power factor correction (PFC) and several level of regulation and isolation. I suspect it is the primary cause of the Device's apparent insensitivity to power cords. C-03 I believe may utilize a toroidal power supply. I have not heard reports of power cord insensitivity about C-03.
Of course, until I hear the devices side by side, much of the above is of theoretical value.
Guido |
Hi Jimmy, Criterion is pretty darn addictive. . . but as for putting your used kidney on Audiogon. If your organ is an 8 or a 9, you might be able to find a buyer, but I am concerned that your better half might get very upset and might thence put a legal lean on your remaining kidney (grins!) |
I estimate I might have just over 2000 hours of music on Criterion. |
A direct comparison of AYRE KX-R with Criterion would be very intriguing. Hope I can make it happen some time. G. |
If past history is a valid indicative of future trends, I speculate that CD players may not be among JRDG 2010 announcements. |
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Merry Christmas all.. . hope everyone is having a Very Musical One! No Rowland gear under my virtual Xmas tree. . . but a little Dillon flugelhorn is being manufactured with 'my name on it.' . . hope it gets shipped soon. If anyone were curious. . .
http://www.dillonmusic.com/HeleoCart/ProductPage/DMB-FL-ROSE.aspx
and the answer is no. . . I have never played brass. . . but it's all DCSTEP's fault. . . he made me fall in love with his flugel last October in denver. . . now I'll have to learn to play it.
Besides who knows. . . if Rowland indeed introduces new products in 2010, I might very well end up succumbing again to audiophrenia. . .
http://positive-feedback.com/Issue46/audiophrenia.htm
and perform some act of uncontrollable audio lust sometimes later in the year.
guido
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Thank you Brazcole.. . I fear I will not make music but only horrid squeals. . . for many many months. I suspect the music from my system may evolve more rapidly than the music I'll be able to produce on the flugel (grins). |
Claude, I do not have complete information, but it is apparently correct that JRDG has unwrapped a new preamplifier at CES. The device is called Corus (that is correct--Latin spelling). It seems it is very similar to Criterion, except that it lacks DC batteries power operations. The AC power supply is likely the same as that of Criterion, but housed in a machined Aluminum box to fit behind the main chassis or on the floor. . . perhaps similar in shape to the PC-1 rectifier. Most other internals I believe may be the same as criterion, or extremely close to it. I'll know more in the next couple of weeks. US price might be just below $10K. |
Raquel, Is your Coherence an II or an I series II? Guido |
Thank you Raquel, one difference in the output stage between Coherence I and II appears to be--according to the copies of the manuals I have--that the older varsion had an output impedance of 300Ohms unbalanced and 600Ohms balanced, while verion II seems to have 50Ohms regardless. Manuals also say that Coherence outputs are direct coupled. I suspect this may mean that there isn't the transformer-coupling present in later designs, whose function, among other things, is to maintain impedance invariance. Whether this has had any bearing on your results with the coax2XLR adapter experiments, is of course, anyone's guess. |
Thank you Raquel. . . looks like the manuals are a little vague in that case. . . they talk about "direct coupling" what ever that means. . . your updated and correct info on the subject is very much appreciated BTW.
Now on Corus, Capri, and Criterion. . . Corus does not replace capri at all. . . Capri remains the JRDG 'entry level' preamplifier at a price point less than $3K. If what I have heard is correct, Corus has much more sophisticated internals in the same class of Criterion, and targets the $10K pricepoint. Criterion remains the JRDG flagship at approx $18K. I'll find out the Criterion vs Corus differences in the next several days and will post here. |
Braz, we could argue the fine points of which technology best couples what other technology until we turn blue in the face. . . In reality it does not matter too much at all. . . what matters are only your ears.. . and the particular combination of a real preamplifier with an equally real amplifier and how you react emotionally to them. . . The technology they use is purely incidental, and even the mutual impedance compatibility does not tell the whole story. Only your heart can. G. |
Clavil, the monster amp is called 925. I still do not know too much about it. . . a 4-chassis design, operating in class A/B, probably with a switch mode power supply and PFC rectification, probable power rating between 500W and 550W per channel. Price between $45K and $50K.
There is also a new 625 stereo amp: once again, my information is incomplete and not definite: single chassis, 330 to 350 Watts per channel, SMPS + PFC. Listed between $12000 and $13000.
I'll add more info as I learn it. G. |
Claude. . . spoke to JRDG marketing director this morning.. . unless things change, prices are as follows:
Corus preamplifier: $10,800;
625 stereo: $12,500;
925 mono: $48,000 a pair.
Note that while 625 and 925 are class A/B, 301 remains a top level current class D product at $29,500. Furthermore, it is my understanding that class D will continue to be used for integrated amps and other amplifiers up to 500 series included.
I have heard that the new amps are expected to be fairly energy efficient and not run hot to the touch.
Late March deliveries for the amps, and perhaps earlier than that for Corus.
Still awaiting firm specs and pics.
G. |
Claude, the interesting comparison will be between 312 and 625. . . 501 uses a generally more basic design without PFC in the front end, and its sound lacks the subtlety of 312. If 625 exceeds the music performance of 312 it will be a very special amp indeed. One detail I do not have yet is the current rating of 625 and 925.
Regarding Corus, the comparison with Capri should be a very interesting one.. . if my scant info is correct, Corus should sound very similar to Criterion, which is IMO significantly more refined than Capri.
Has your dealer told you when he should be receiving his units?
Guido |
