Well... there’s a simple reason I became a Dennis Murphy fan boy.\n\nI dropped the system into pure direct with the mains set to large.\n\nMelody Gardot, Currency Of Man (Artists Cut)\n\nSimply: clear vocals, deep and rich bass. These things are vibrating the floor at -10. Everything is in balance and the instruments sound pure. The very stripped down “No Man’s Prize” is somehow even more revealing and intimate than on the BMRs. “Morning Sun” was 4 minutes of goose bumps and chills.\n\nTori Amos, Boys For Pele and From The Choirgirl Hotel\n“Mohamed My Friend” strikes such a great mix in the vocal over piano with bass guitar highlights... and the brief soprano sax part is seamlessly integrated. “Northern Lad” is s track my room had some troubles handling in the 2kHz area... with these on full tilt, the miss in that range are smooth and not strident in any way... the full band doesn’t detract from Tori and her Bösendorfer at all... she and the piano are holding their own in leading the show.\n\nFiona Apple, When The Pawn...\n“Paper Bag” makes me fall in love with her voice all over again. Her strange husky-songbird vocals never get lost in the full band; I hear every little quirk in her voice and love it even more.\n\nRosey, Be Somebody Blues\n“It’s A Ruse” Again, this woman is standing in front of a full swing band, she is right in front of me, and just like in my audition 6 mos ago, her vocals are lush and the very epitome of sexy.\n\nGrateful Dead, Europe ‘72\n“Morning Dew” is... stunning. Turnt up to -4.5. Yeah, I hear the quirks of a live recording, but considering the story that surrounds this cut, with the engineer ditching the console in the truck... this is one of those moments in music where all that’s pure resides: Jerry’s voice and guitar are clean, emotions of the moment are right there like a fruit ready to pick, and I dare anybody to say this isn’t something magical. No acid necessary.\n\nNick Cave and the Bad Seeds, No More Shall We Part\n“Love Letter” is one of the most amazing love songs I’ve ever heard. Here, Nick’s baritone voice and piano over strings, Bass, and light drums never get lost. “The Sorrowful Wife” is a stunning study in sheer dynamics as Nick and his piano build up tension teasing the eventual unleashing of the full Seeds in an all out frenzy. Never does Nick disappear in this frenzy... his piano is still there... not trying to be a guitar, but still leading the pack. The same continues in a less dramatic fashion in “We Came Along This Road.”\n\nI’ll wrap this session with something completely different. One of my Sax heroes, crushing it with a violinist, and a changeover from his EWI to his Tenor... Michael Brecker, Don’t Try This At Home. “Itsbynne Reel” is led by the EWI with the violin and piano coming in shortly after. Each layer is distinct and identifiable clearly for the individual musicians. Just after the 2 minute mark, the full combo hits and the violin drops out... with Michael and the EWI still up front. Around 4:15, he hits the tenor, and this to me is still a magical thing. The rest of the cut is sheer brilliance as one of the modern eras greatest saxophonists struts his stuff. The violinist comes back near the end and they take it out in class. Never once do the artists or the mix get lost. “Scriabin” gives us a proper quartet ballad with a lush tenor sound from Michael, a great bass solo, and all around impeccable musicianship.\n\nThe same that I heard before holds true here and now: the reproduction of sound is just so easy and real coming from these speakers. What the BMRs do to the nines, the 3s do to the 11s! These bad boys are dropping spades on every hand and running the table with clean neutral sound that is the closest thing to real I’ve heard since being in the band.\n\nA parting shot: Rza as Bobby Digital, Digital Bullet\nWhat’s a subwoofer? Clean bass, clear vocals front and center. Every articulated syllable is spot on and distinguishable.\n\nDelicious.