The Clarissa LE speakers were premiered at AXPONA in April 2019 to universal praises. We drove them using three different integrated amplifiers: A 100-watt Class D Cyrus One HD from the UK, an 8-watt tube TRV-A300XR from Triode Corp of Japan, and a 150-watt solid-state Majestic from Wells Audio in California. An international lineup of digital and analog sources from Poland, Austria, Mexico, and the USA was also presented. Cables were from Danacable, racks were from Pangea, and vibration control devices were from Gingko Audio.
Here is a video report by AV Showrooms of the demo:
The Clarissa LE are available for order immediately, with a typical lead time of 3 weeks. They are reasonably priced at $1500 each, with dedicated stands priced at $600 a pair. Two finishes are available, gloss piano black and matte red cherry.
Gingko Audio’s Acoustic Resonance Clarifier (ARCH) won a 2018 Positive Feedback Writers’ Choice Award. These awards are given by the editors and writers of Positive Feedback to products that they evaluated in 2018 and selected for superior audio design. The article on this year’s winners can be found in Issue 100 of Positive Feedback.
"I was not prepared for the overall improvement the ARCHs made. Compared to the sound of the speakers and stands sitting on spikes, the improvement to overall transparency and clarity was immediately obvious. The mid-range was less colored, and imaging was better defined. Mid-bass response was enhanced and leading-edge transients were more pronounced. More energetic momentum and timing with a nice ease of flow and a silkiness urged me to get up and dance—and I’m not a dancer. The changes were not subtle, and truly enhanced the listening experience."
From Lyle Workman, film and TV composer (Superbad, 40 Year Old Virgin, Forgetting Sarah Marshall):
I must admit I was a little skeptical, but in a A/B test with and without the Cloud under my turntable and with a second set of ears for another opinion, the difference was very noticeable, instantly. We found improvement in clarity and separation of instruments and vocals in the music. There was less mush in between the highs mids and lows. Simply put, it made the music better in every regard. The cloud is a wonderful upgrade to my system and highly recommended.
Gingko Audio will be at the Rocky Mountain Audiofest in October and the Capitol Audiofest in November. We plan to feature the same demo of the ARCH™ vibration control device that we featured at AXPONA 2017. For an explanation of the vibration measurements used to compare the ARCH’s performance vs. conventional speaker spikes, read our White Paper on why the ARCH works better!
In 2016, Danacable’s Lazuli Reference headphone cable received a Product of the Year award from Headphone.guru:
"It has long been the mantra of high-end audio that cables are as much an audio component as any other part of your system, and this also applies to headphone cables. More so than any other component, it is the job of the headphone cable to get out of the way and do nothing to the sound, letting the music through and Dana Cables Lazuli Reference Headphone Cables do an exemplary job of this, allowing all the resolution, dynamics and silence to pass through without slowing, congesting, compressing or adding tonal changes to the signal. More so than any other headphone, a reference headphone deserves a reference cable which is why we have made Dana Cables Lazuli Reference Headphone Cables our Accessory of the Year."
– Gary Alan Barker
We will again be showing this setup at AXPONA in Chicago on April 21-23. Please be sure to stop by the Ear Gear Room to listen if you plan to attend AXPONA
At the RMAF 2016, we showed the prototype model of the new DanaTone Head-Space headphones amplifier to rave reviews. Dave Hanson of Enjoy The Music writes: “Arguably one of the most impressive products to debut at CanJam at RMAF was the yet-to-be-released DanaTone Head-Space amplifier (price TBD). Developed by Dana Robbins, who is best known for his fantastic lineup of cables, the Head-Space uses a proprietary selective current feedback technology to deliver tight and impactful bass, euphonic mids and well-controlled treble. The soundscape was quite spacious, with very precise variations in imaging depth, width and height. Through the HIFIMAN HE1000, the Head-Space exuded lush musicality without sacrificing an ounce of accuracy.”
On the Lazuli Reference cable, he adds: “I’ve done extensive testing with this cable (review forthcoming) and it offers the most beautiful, natural midrange and the absolute best bass of any cable I have ever tested. Combined with the Head-Space amplifier and the HIFIMAN HE-1000, the sound left very little to be desired.”
We will again be showing this setup at the NYC Audio Show on November 4-6. Please be sure to stop by to listen if you plan to attend the NYC Audio show.
So you’ve read all about Gingko Audio’s vibration control products – from the inexpensive Mini-Clouds to the Cloud 14A that is designed specifically for lighter components to the Platformula™ rack. This simple guide will help you pick the right Cloud™ for your application.
Each Gingko Audio vibration control product has a bottom plate with dimples on it to hold the balls. The balls provide suspension to support a load. Adding more balls creates stiffer suspension, while removing balls results in softer suspension. A stiffer suspension will make the music punchier, with more dynamics, while a softer suspension will make the music fuller, with more body. You can tune the music to your taste by adding or removing balls from the Cloud™ base. You will need a minimum of three balls to support a component. Each ball is designed to support an optimal weight of 10 lbs and a maximum weight of 20 lbs.
The number of dimples on the bottom plate vary across the Cloud™ Series. The Mini-Clouds come as sets of three bases with individual dimples. The Semi-Cloud has 9 dimples so it can hold a maximum of 9 balls for an optimal load of 90 lbs. The Cloud 10 has 15 dimples. The Cloud 11 has 10 dimples inside larger wells to prevent the balls from rolling off the dimples. Besides the suspended Cloud supporting the plinth, the Cloud 12 has a separate fixed platform to hold the motor pod to prevent the vibration from the motor to transfer to the main turntable.