March 2010, Newsletter 
 
 
 
 
 The SMc VRE-1
Virtual Reality Engine Preamplifier-
 
-

 
 

"a conduit to the sound of the master tape"

Perhaps once in a decade a product comes along that represents a breakthrough in any given category.  We like to think that the Granada Loudspeaker represents one such development, but the better a loudspeaker is, the more faithfully it delivers the signal it is fed, the more dependent it is on the equipment that drives it to reveal its full potential.  We have come to understand that in a system, every component matters, but in the search for the holy grail of high end performance, the preamplifier may be seen as occupying the preeminent position of "main driving force".  The influence of the preamplifier is central and dramatic.  Typically, the preamplifier acts as a filter that only grudgingly allows a small portion of the musical event to be released - in much the same way that the spillway of a dam only releases a trickle of the tremendous energy that is stored behind the dam's massive wall. One does not know one is missing the "real" event, until it is revealed in its true majesty and glory. Encountering it can be a life changing experience.

We had the opportunity to experience such an event in our own room at CES when Steve McCormack brought us his VRE-1 preamplifier to test during the show (see Jim Merod's overview of these events below). The VRE-1 brought our Granada based system to a level of resolution we had not previously encountered.  Because of the tremendous synergy between these two products, and because it makes every sense for The Lotus Group to participate in the promotion of the VRE-1 and future products that Steve McCormack intends to develop, we engaged in a dialogue with him about the possibility of our becoming involved.  As a result:

The Lotus Group is proud to announce that it has been granted the exclusive rights of worldwide distribution for the SMc VRE-1 Virtual Reality Engine Preamplifier - a direct conduit to the sound of the master tape.

What to expect from the VRE-1:

· Perfect, coherent clarity - seamless character top-to-bottom, with no region

emphasized or lacking, and no vagueness, muddiness, smearing, or veil

 

· Top-to-bottom transparency - that "see-through" quality that gives you the feeling of

looking out across the room or venue of the original recording

 

· Effortless dynamic expression - from the quietest passages to the loudest, the VRE-1

portrays all of the music's dynamic power and subtlety - from the thunderous strike of a drum

to the almost subliminal shift of a singer's breath

 

· Pinpoint focus and localization - instruments and voices are placed solidly within a 3-D sound field, their musical lines clearly individuated

 

· Emotional connection with the music - perhaps the most elusive and important quality

of all

 

· The ability to do all of the above at any volume level.

 

· Elegant simplicity of design and intuitive operation

 

· Beautiful non-resonant chassis - solid-surface technology contributes to performance

 

· Safe, reliable, low-voltage operation generates practically no heat

 

· Absolute reliability and stability. The VRE-1 will always be ready to deliver beautiful

music, whether it is new or many years old.

 

Features:

 

·          Circuit design combines the best aspects of active & passive performance

·          Discrete, wideband JFET circuit uses no feedback

·          Precision stepped-attenuator for accurate volume adjustment

·          Beautiful, heavy, non-resonant enclosure contributes to outstanding sonics

·          Balanced XLR and unbalanced RCA inputs and outputs 

·          Lundahl and Jensen coupling transformers enhance performance

·          No DC leakage, no ground loops, and no RFI issues

·          Completely stable and reliable

·          No heat, no noise, no ground loops, low voltage design

·          External choke-filtered power supply for superior sonic purity

·          Unrivaled transparency and neutrality; incredible dynamic expression

·          A true "window onto the performance."

 
Our faith in the VRE-1 is such that we invite you to compare it with anything costing anything.
 
Now available through audio retailers.  Introductory retail price: $14,950
Jim Merod's recounts with "Fear and Loathing" how the Granada met the VRE-1
 
My trips to CES in Las Vegas are increasingly agog with dilapidated dreams turned
nightmares by the sheer deja vu of erstwhile "beauties" strolling, more than half-nude
through the Venetian Hotel and high roller ports north and south, seeking notice and
(thus) advertisement for the coincidentally scheduled "porn" showcase that graces Sin City
each January. This exclusive and unlimited public viewing of "babes gone naked and senile"
can be yours, too, if you have the jizz to flirt with Nevada's nonsensical discomfort in search
of free pulchritude . . . but then as I told my pal, Howdy, you gotta to see it to believe it and, 
when you do, you'll flee like a parachute loaded with rocks.  All this is background to the mania 
of CES's so called HIGH END AUDIO confabulation, whereupon virtually the only thing worth
going for is the nostalgia and warmth of hanging out with old friends.

Let me recount a highlight here so you don't think my curmudgeonly wrath ill-placed.

First, I love great music and equally great sound . . . when (for example) the great music I carry into Nevada's sinful territory encounters truly great sonic reproduction. That is not a given.  No slam dunk awaiting one's mercurial serendipity. Even if you have a gaggle of recorded musical magnificence tucked in your satchel, ain't no cause for smug certitude. You gotta plow through Venetian corridors
in search of Who Got What when it comes to "sonic sexuality" -- the only one, in public, I'm
interested in exploring ... you dig?  Please let me avoid cellulite mounds of retarded boob-plasticity:
an expensive insult to women with genuine endowments and, equally, to men with good taste
and good luck.

Second: my high-end audio "highlight" : one of only four [at best five] I encountered in Las Vegas in
January 2010 -- my sober self lusting for more, but appreciating what I found.  I stumbled (literally) into Joe Cohen's room on the Venetian's 30th floor. Thank the divine principle of chaos for such fortune!

Here's what occurred (I could not make this up: it's too absurd). 

Part One.  I stumble into the GRANADA SPEAKER SUITE on my first of thee (truncated) days in Ciudad Diablo.  Sound is intriguing but slightly aggressive. I ask someone (not Joe) what tubes are inhabiting the not here to be mentioned quite expensive preamplifier driving the Granadas.  "Sovtek," I'm told.  "A ha," I mutter, and leave . . .  but somewhat unwillingly because I'm abandoning a Speaker-with-pedigree-to-burn.  You can hear its champion's heart beating inside the nail hard sonic envelope. 

Part Two, next day, by unconscious design [read 'accident'], I float back into Joe Cohen's Sonic Parlor with not all that many humans stuffed inside. So I plop my derriere in the middle front seat of an inferior Venetian couch.  Joe indulges my request to put one or maybe seven of my BluePort Jazz recordings into his superior music transport.   I listen.  Speaker pedigree still intact despite an utterly opposed sonic footprint to the one I heard the day before. "What the hell's going on here?" I demand of the elegant and completely gracious Joseph Cohen . . . he looks at me without a trace of irritation or pique (for which I know I like him a great deal already).  "What are you hearing?" he asks, with the calm assurance of an Oxford Don. "Softness .... wussification, you dig?" I belch forth, my stupidly candid confusion regarding how superior speakers could go from Yan to Ying in the mere blink of twenty four hours somewhat perplexing my protocols.

Long pause. Joe responds.  "You don't like it?"  I respond, "Worse than yesterday."  Joe turns and looks at me: What was it like yesterday?"  I know this guy is not stupid because that question is too Socratic. "Aggressive. Like finger nails on Ms. Granger's chalk board. Horrible . . . but this limp thing-a-ma-dong sound is underwhelming." Joe smiles.  "Are you sure?" he asks.  "Yup," I gurgle, "since the sound stage got small and the trumpets in the back row @ BIRDLAND receded and did you notice how Arturo O'Farrill's piano seemed about twelve feet distant when, in fact, it is truly right near your left knee or shoe-top?"

Joe is either thinking I'm the most arrogant, over-confident sonofabitch he's dealt with in three days or more. Or he's trying to decide which guy in the small suite he'll ask to help toss my ass out the door, now stuffed with interested High End Audio Gapers waiting their turn at his transport.   I'm not sure how Joe processed alternative possibilities but I think he voted somewhere in the middle.

I'm told the tubes got swapped out, from Sovtek to Chinese hand warmers (from hard to soft .. great!). The conversation that followed prompted my precise recommendation that Joe or one of his pals head down one floor to the GENESIS room where Steve McCormack -- once famous for inventing tip toes in his Intentional Madness Audio Invention Laboratory in Leucadia, California (a five minute walk to one of the world's best surfing beaches) -- held an uncommitted McCormack VRE-1 preamp, one of the essential pieces of audio gear yet created to my knowledge and not so accidental ongoing benefit. 

How good is the VRE-1?  Ask Joe Cohen.  What transpired after Joe's crew snagged and mounted the VRE-1 to their under-driven (abusively neglected) world class GRANADA speakers is likely to be one of my all time "Data Points in High End Audio History" . . . namely, a completely revived pair of speakers (and, remember, I  HATE  speakers) once gargling superior musical information choked in the pipe line, now offering audio glory despite former strangulation.  Alas and hooray for musical reality !
You had to be there with me to witness an absolutely amazing set of speakers, recently throttled, NOW SINGING WITH LUCIANO PAVORITI'S thrilling glory.

Did I mention how much I like and respect the GRANADA SPEAKERS ?  Did I mention how thoroughly pissed off that a dumb bloke like me can't afford them because a very nice small bank is owed significant bread so I can own a not so small hacienda not far from where McCormack did his infamous mischief with tip toes and the now not easily out-classed VRE-1 preamp?

I'll let Maestro Cohen tell the rest of this story because, for me, the fun was hearing a truly beautiful lady trying to escape confinement.  The naked broads all over Vegas are pigs with lipstick. The GRANADAs, driven by the improbable VRE-1 preamp, are all lipstick, no pig : Marilyn Monroe's lipstick applied where you want it.  Sophia Loren's gorgeous face whispering in your ear.  How come I get to taste the wine, just like Ol' Blue Eyes once crooned, but don't get the dance?  Damn.  I want these GRANADAs (see) and maybe, when Joe's Gang ain't looking someday, my guys can slip their gorgeous bulk out the casino side door to my waiting cab.

  JIM MEROD / POSITIVE FEEDBACK

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Paradigms...  
 
...are made to be shattered.
 
I mentioned the SMc VRE-1 preamplifier in our last newsletter, and was fairly jumping up and down with enthusiasm (internally) over the possibility of our being able to be involved with this ground breaking product, but I couldn't say anything about that involvement until now. 
 
I can't think of another single product that will bring more to a system than the VRE-1. When you come to understand its awesome capabilities, you will likely find yourself in the position of reformulating your thinking about what is possible in audio.  What can I say?  Paradigms are made to be shattered.
 
 
One of the truisms that has held sway over the last decade or so is that "less is more". Therefore a passive preamplifier will be superior to an active one, and no preamplifier will be better than any preamplifier.  But anyone who understands the necessity of driving a signal properly, knows that more can be lost than gained following such thinking. 
 
Steve McCormack spent five years examining the question of how to create a truly uncolored, transparent and dynamically unfettered preamplifier.  His objective in designing the VRE-1 was to, as he says, "provide a window on the sound of the original recording as authentically as humanly possible. I wanted for the VRE-1 to convey the emotional intent of the musicians unlike so many 'straight wire with gain' preamplifiers that fail in the musicality department and sound cold or analytical. If audiophiles prefer and choose a certain coloration because it suits their tastes better, that's great - as long as they know and understand what transparency is first. If they choose to cater to their own taste, that's just fine. But if they choose coloration because they have never heard what undistorted transparency sounds like, then they have been misled."  
 
Here's how he describes the process and the eventual breakthrough, "In principle, designing a preamplifier is trivial but when shooting for true neutrality and trying to open a window on the performance, one runs into tremendous problems. At some point, I actually thought it might be impossible to combine all of the performance attributes I wanted in a single design. I did not know upfront what the best technology would be to reach my goal so I had to try them all. Each design (tube vs. solid state, passive vs. active, circuit topologies etc) had its strengths but also weaknesses. Yet in this preamp I wanted no weakness. 
 
The light went on when I finally learned how to use transformer coupling to its best advantage and was able to match it with a non-regulated power supply. What you hear in a preamplifier is the power supply. Its quality is critical. Minor changes can have a very profound effect on the sound. The more neutral the design, the more obvious the issues become with power supplies. Regulators in power supplies act more or less like amplifiers and are plagued with the same issues that will impact the final sound. When I was able to move to a choke-filtered unregulated power supply for the VRE-1, I managed to remove the last level of distortion and coloration that I had been chasing for a while. In fact, I believe the same factor explains the interest in battery operation we are seeing lately. Battery power is very attractive because it is not regulated and brings most of what the choke-filtered power supply brings to the table but I believe my design goes even further. And, it does not use batteries that will eventually need to be replaced and require regular recharging."
 

 
Liberation is unmistakable and requires no training to appreciate.
 
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Acoustic Revive 
 
 
Acoustic Revive's New LineR Solid Core PCOCCA Interconnect
 
 
 
 Acoustic Revive's New LineX Solid Core PCOCCA Interconnect 
 
A new assault on high end performance at an affordable price: beginning at $325 Retail
 
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Coming Soon
 
 The Hanss Acoustics T-10 Turntable
 
With magnetically levitating platter, built-in preamplifier, OL-1 fully modified arm that plugs into the built in preamp allowing unlimited upgrade potential.  Offered as a complete package at an extremely competitive price.
 
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Our Sales Manager 

 
In case you did not see the last two newsletters, Ben Goldman has been appointed as our new Sales Manager. Ben brings a whole host of skills and many long term relationships with him including stints at Harman Specialty Group as International Sales Manager (Mark Levinson, Lexicon, Revel) and U.S. Western Regional Manager for Mark Levinson, Business Development Manager at Linn, Inc. and Business Development Manager at HI-I, LLC.  His expertise includes not only high end audio but pro audio and the field of a/v installation as well.
Ben can be reached at ben@lotusgroupusa.com. 
 
 
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Daria 

Some of you know my wife Daria sings with Dan Hicks  and the Hot Licks (Upcoming tour schedule), but may not know that she is a consumate jazz vocalist in her own right (Go to her MySpace page to hear complete tunes: www.myspace.com/dariajazz, and visit her web site here www.dariajazz.com for more information and to sign up for her newsletter.)  
 
"Her voice is clear and flavorful, like a prized Zinfandel."  
 
Positive-Feedback Magazine
 
 
 
 
 
All best thoughts, 

 
 
Joe Cohen
The Lotus Group