About amplification: DEVIALET

DEVIALET

Why did I choose Devialet D Premier amplifiers for my audio system ?

I live in Paris in a three-story apartment. On the fourth floor resides the studio’s control room, full of audio equipment (pictures and description coming soon).

My living room is on the second floor, lined up with CDs, vinyls and books, with a great audio system. It is my favorite place for music listening, as a recording engineer and as a music loving audiophile.

Some people have reservations over Devialet amplifiers. I think they’re wrong and I feel sorry for them. Let me explain why.

Some people feel that an audio system has to be like a good wine. They have like an «oenologist» point of view with audio. They don’t care about the recording as it really sounds and ignore the recording engineer’s work. For them, an audio system has to offer one type of sound. On the opposite side, I feel strongly that the audio system has to be as neutral as possible, because I want to hear the artistic interpretation and the production choices with their qualities and shortfalls. With the Devialet amplifier, each recording sounds unique and genuine, sometimes gorgeous, sometimes…  horrible!

For example let’s talk about the piano.

Some people feel that any recorded piano should sound like « the piano », an instrument they vaguely remember from a concert they attended,  from a family or friend’s music room…..

 

 

They want to hear an “interpretation” of the piano coming from a CD, a vinyl, in fact, from a recording. They like valve amplifiers for their colored sound (even harmonics distortion, compression effects…).

That’s great but what about the recording engineer’s work as a great piece of Modern Art…?

For my own recording  projects, I like to work like a painter: I need to have a respectful and creative point of view in connection with the style of the music.

To obtain such a result I use different microphones, transparent or colored, compression or EQ. (which, for that matter, is not our enemy : some people believe that using an EQ is evil… no comment, that’s plain stupid ! ) .

I’m definitely not an « oenodiophile » !

I want  to hear what really happened on tape, I want to hear the real recording.

That’s the reason why I like the Devialet system. After several tests I decided to use the double mono option. Two amplifiers Devialet D Premier  mono bridged are driving a pair of Proac Response 4.

I like the realistic / true stereo image, the subtleness of the instrument tones, the transparency, the limitless power devoid of the slightest hint of compression. Such rare qualities nowadays.

Some audiophiles appreciate compression but they ignore this fact: a 10 Watt mono triode power amplifier is a compressor, but ….it’s a secret. For sure a compressor like the DW Fearn is a great machine that I really love and use for recording or mixing… Just not for a listening session because I want to hear the real recording!

I like how the Devialet D Premier controls the low frequencies.

Fast, powerful and elegant.

Some people say that this amplifier doesn’t have enough power in the low frequencies. I don’t agree. The Devialet is  really « in tune » regarding this aspect. If for exemple you have a bass drum mixed with a mini moog sub bass and a double acoustic bass, you will  hear all the delicate melodic lines and the real music modulation instead of a big, sluggish, badly off beat « woof woof ».

I like the beautiful design too and the intelligence of the « 500 watts pure class A » concept, the great converters and the phono stage.

If you want to have a real idea about what  a great sound is, try one of the Architekt of Sound high definition audio files. Play it through a Devialet, connected to a good pair of speakers, not necessarily expensive, for example the little Atohm GT1 speakers

Enormous ! Stunning !

… or you can send me an email to arrange for a listening session at home!

 

Uncle Phil from  Architekt of Sound

Time to transmit the knowledge…

1984-1995_The_City_of_Music,_Paris_03

Last week I gave a very interesting Master Class in Paris at the CNSMD for the “Recording Arts” students .

This noble institution decided to create  collaboration with me.

What is the deal?

I’m free to invite class a great personality of the music and audio world for each Master Class, mostly original and talented people I met during my career.

The  first person I invited was Jean Jacques Bacquet, chairman of Klinger Favre, him again…

Jean Jacques arrived with a big audio system from his lineup. What a great experience for the students !

Then we had some great exchanges with the futur recording engineers, talking about audio cables, converters, super tweeter… We shared some recording secrets about  microphone placement, presence and space, compression and limitation but also about the best ways to communicate with the artist.

We had a listening session on the Klinger Favre system, using a lot  Architekt of Sound video and audio recordings. Big succes for Double Rainbow and the Benoit Delbecq/Edward Perraud duo, soon to be released on the label.

Music and sound at their best!

And after discussing all the technical aspects of the recording process the conclusion was:

a good mike position is better than a good microphone, a good balance is better than a great microphone BUT a good artistic collaboration and human relationship between the recording engineer and the artist is really the point, it is what matters the most!

Those young students are really smart and talented and they all are very interested in our label: we are so proud of that!

Philippe

P.S.: my friend, the  Jazz pianist and composer Bojan Z himself, is on the list for the next session!