The Concorde and the Liberation of the Gothic

 

Gothic cathedral.
This is the kind of thing that comes to mind for everyone.

Yes, the pointed-arch windows. They stretched the spiritual space upward, and along with that, the actual space too; in this way, dizzying heights were created. Specifically, at the Seville Cathedral, this means 42 meters.

Statically, other solutions already existed at that time, but still, it was the 'ogee arch', the 'camelback arch' geometry that spread all over the world, probably having migrated from Arab architecture.

Decorative? And beautiful? Well, the situation is much more complicated than that, so much so that you could walk into an entire maze.

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At the dams of hydroelectric power plants, it often happens that a lot of water needs to be released or let through very quickly. If this 'spillway' were straight, like you might first think, letting the water go wherever, the sudden change in flow would cause cavitation. This means air bubbles appear irregularly, 'drumming' on the riverbed walls, and dangerously strong vortices pull at parts of the dam, causing serious problems in the concrete structure.

If water flows out in a nice 'S'-shaped double curve, interestingly, there’s hardly any swirling, no cavitation, and 25% more water can pass through. That curve, yes, it’s exactly the 'ogee curve'.

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The Concorde was the only supersonic passenger plane.

When designing it, they had to meet conflicting principles: at supersonic speeds, it needed a sharply swept, low-drag wing profile; at low speeds, during takeoff and landing, it would have needed a 'conventional' profile that could generate enough lift. The adjustable flaps of normal, still-used passenger planes, which sort of solve this problem, would have torn off at Mach 2.

The solution: the ogee curve, again. In supersonic flight, the double 'S' profile prevented vortex formation, and thanks to the swept-back design, the drag was very low—the plane almost 'sliced' through the air. During landing, at low speed, the maneuver involved a very strong 'pitch-up' [the plane leaning back intensely]—which was really quite spectacular, or rather downright extravagant; pilot colleagues used to say there was always an ovation upon arrival, and even the cleaning staff would watch through the glass, hardly believing that this was routine. Here, the ogee curve prevented the wing from stalling, as the 'mini-tornadoes' caused by the huge angle of attack controlled the plane with their vacuum, and at the soft end of the 'S' shape they left the profile smoothly.

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England wasn't always Protestant; before Henry VIII's great love, around 1500, when Anne Boleyn was born, there was a Catholic 'golden age,' with beautiful cathedrals splashing their splendor across the country. Take Ely Cathedral, for example—its ornate design, ogee arches, and interior spaces were far more than just architectural solutions.

Because by then there were already other techniques for creating high spaces, and besides, the ogee arch can’t be used as a load-bearing element, so this shape wasn’t driven by physical reasons, but rather aesthetic ones, though mostly some kind of strong sacred intent can be discerned.

Intent? Yes, the effect that worshippers felt when entering the cathedral was deliberately intended. The 'S'-shaped convex/concave transition gently 'absorbed' and lifted the spirits without any swirling. Looking at it, the lower, softly curving part of the arch represented the earthly world, while the narrowing of the upper, concave section was a kind of meditative 'guidance', focusing attention toward the Heavenly Gate (Porta Coeli), the pinnacle, the 'Apex', the Divine Absolute.

Then, the 'flamboyant' mystique, the 'flame effect' achieved by multiplying ogee arches — because the physical shape of a flame is actually a combination of ogee arches — is really the wonderful earthly counterpart of the Holy Spirit.

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Music. 
Björn Schmelzer, the leader of Graindelavoix, believes that the music that was played back then is a complete and total match to the above. Not only did he think so, but he also gifted posterity with a dazzling album.

He tried to interpret the extremely complex weaving pattern of early English polyphony; to match the fluid plasticity of the polyphonic works heard in Ely Cathedral with the intricate matrix of architectural decorations.  

The main work, Thomas Ashwell's breathtaking Missa Ave Maria, is, according to B. S., probably one of the most exciting milestones in polyphony, connected to a few motets from the Eton Choirbook by John Browne.  

In the mass, the Ave Maria antiphon keeps appearing in different voices, with increasingly shorter note values, so much so that they almost become 'fractalized' echoes. Moreover, the degree of abbreviations always changes, and the simultaneous syncopations give a spiral-like motion and pulse. The over-ornamentation becomes so 'flamboyant' that sometimes the composition 'loses itself'.

A strange and irrational infinite term enters musical mathematics, and the strictly edited counterpoint set from just a few moments ago will start to resemble more of a labyrinth... The decorative lines will become indistinguishable from the structural ones, down to the tiniest detail, just like in the decorations of a cathedral.

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Protestant image and statue destruction didn’t spare Ely Cathedral either; the main figures and symbols were distorted. But interestingly, in the Lady Chapel, the 'secondary' decorations that convey deeper messages—foliate designs, ogee arches, leaves and seaweeds (?) and all kinds of 'fleshy', even sometimes erotic, intertwining patterns—remained untouched.

So, what is this 'secondary message'? According to Binski [Paul Binski, a renowned medieval scholar], it was actually the material language used to evoke the Virgin Mary—not the person, but the event, the Immaculate Conception—and it subliminally made people aware of Mary's femininity. Back then, people entered this building to heal themselves, to 'sweeten' themselves through the Virgin Mary, and to keep their souls in the right balance.

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Both composers share the idea that music is a tool not just for being understandable, but also for being tangible, and even fluid, so it can move the audience directly. 'Musical' fluidity existed as a real concept in this context, in today's language. Back then — it was completely different. It wasn't today's metaphor, like 'fluid, like…', but fluidity itself. Not abstractly, but concretely. Understanding this from here is impossible. We can only navigate among guesses.

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The Concorde burned 25,000 liters of jet fuel per hour, four times as much as a normal plane, and with a quarter of the passengers/luggage. Freedom, yes, that obviously comes up here, flying itself is freedom, but it was still a bit of a hedonistic way to travel.

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By studying the flow of water, you can get closer to the real essence. The ogee curve is exactly the line that a water jet would trace if we let it flow freely.
When we don’t touch it.
When things 'go according to their own nature'.

Without compulsion, independently, out of inner conviction. Not because someone said so. When the source of faith is free will. A free will that isn’t chaotic and isn’t anarchic and isn’t random and isn’t disorder, but a 'divine,' or even natural/organic metaphysical approach facilitated by a double arc.


Maybe this is the liberation and the true freedom of Gothic.


When the movement or action is such that it could even become a universal law, or already is one.

Immanuel Kant

 

And here you can catch a glimpse of the concept of the categorical imperative, 250 years later, which has faced a lot of legitimate criticism for its rigidity, but still carries a very strong sense of clarity.

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Listening to the album, when the circumstances allow for a bit more focused attention, you can really feel the lift and elevation in many places. Just as the controlled micro-tornado under Concord's wing keeps the aircraft-monster in the Air, this music sustains our spirit amid the turning of the Spheres.

The performance is above class. Voices so varied in range and tone that they practically fall into the category of 'magic.' They pull you into the music, into its very core, into singularity itself.

You rarely hear anything like this.

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Many Gothic cathedrals still stand, but in architectural use, the 'Gothic' window no longer exists today. The Concorde was retired from service in 2003. In the history of aviation, perhaps only the Graf Zeppelin had such prestige, which flew regularly until 1937.

None of them came back into the air, and they never will fly again.

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The square windows stay, along with the standard Boeing 737s with their clunky thick fuselages... And a few videos of the Zeppelin have survived, digitized from some really old film reel.

But this record is here.
And seriously, it's really, really good.

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In the article, I relied heavily on Björn Schmelzer's ideas.
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Thank you for the images
1: Novák Fanni -2-3-4-5-6-7-8-9-10-11-12-13-14-15-16-17-18-19-20-21-22

The Sounds of Silence - Pro-Ject RS2T CD transport review

'Perfect Days' is a very good movie. It has many layers, a delicate spirit, I could write about it until the evening - and there is a tiny slice in it that belongs here, for hi-fi, for listening to music.

Do you remember?, in the story set in the present day, the main character always listened to old music, moreover, on cassette, and in the second-hand record store, the seller said that he would buy any number of program cassettes, because it was very fashionable now.

In Japan, of course.

Will the same thing happen to the CD? It is very difficult to predict this right now. What seems to be the case is that file-based listening has completely displaced the silver disc, and player development has practically stopped, even though large CD collections of several thousand have accumulated on the shelves of serious music listeners. Exceptions can be counted almost on one hand.

One of them is the Pro-Ject RS2T. 

Pro-Ject is a famous name and has always been famous for their LP players.

RS2T is a completely new device, apparently designed for those who still listen to music on CDs but want something better than before.

Why only transport?, but this is obvious: there are a lot of d/a converters on the market right now, especially because of the new file-listening, they're new, and they sound much, much better than the old DACs. New chips, previously unattainably low distortion values, new solutions, plus the rise of premium Chinese devices are typical of the current period.

CD transport - this is a complicated thing. Mostly because, besides cables, it is one of the biggest hi-fi labyrinths, full of unanswerable questions.

One of these questions is the incomprehensibility of the basic thesis itself: why do two CD transports sounds different from each other at all? Why spend a lot of money on this at all? Aren't the ones and zeros the same? 

10001110100001111010101 ≠ 10001110100001111010101 ???

Wasn't digital technology invented so that it wouldn't be, for example? How, for example, can there be a bass difference between two chassis? So, will the digitally controlled ABS in your car work differently if a different wiring goes to the sensors?

The answers or attempts to answer are almost ridiculous. Spaceships are landing on the surface of Mars, but knowledge is stuck here at the hifi-surface, it seems.

There was a time when the jitter was the main villain, everyone kneaded on it to make it as small as possible. There were decades when fabulous industrial artifacts were created, with half-kilogram plate clamps and sapphire bearings and industrial lasers and price tags over 10k.

There were times when the digital output stage and the coulping solutions and the digital interconnect was the main topic. Nowadays, for example, minimizing analog interference signals is one of the bridgeheads. However, the perceived sound quality did not want to show any clear correlation with these technical things.

If you want a good CD transport today, there's a good chance you'll get lost in the maze. Because there's serious chassis with bad sound, and there's swaying plastic transports with brilliant sound, and the opposite is also true.

From there, my own experiences follow, and the thoughts drawn from them. Err reserved, this is only natural (or should be) in hi-fi.

 

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The old, well-thought-out, proven chassis performed poorly for me without exception.

The legendary Sony mechanics work perfectly after 25 years, and their lack of musicality is downright alarming.

 

Philips-based solutions, led by the CD Pro2, which are 'the best CD transports available', gave a strange vagueness, shameless data swallowing in the top range, imitation of ill-conceived analog sound.

That's what got me from those. Even if they used to give you a good car for some. I've heard this even with revolutionary DIYer solutions. As if there were an invisible sphere that they could not break.

Today's players, the few I hosted, have already shed this veil of obsolescence, but in return there were huge problems with tone. In particular, upscaling solutions have brought something strange to the music, even though they measurably 'carry' specific distortions out of a range that is particularly sensitive in digital technology.

In the end, I had two devices that performed perfectly as CD transport for a longer period of time. 

One of them is the Heed Thesis Delta, which only has a coaxial output, and is not even optimized for transport-only use, but still, something special rolling-feeling and sound-beauty is what it produces.

The other is Mark Levinson №.512, the 'Lord' who, with the price of ex15k, obviously plays in the upper caste, where the most painful vocal errors can sometimes be heard. Here, the 512 is an aristocratic, big sound with a subtle tone, of course 10 kilos of unnecessary parts that don't play a role when used as transport, so it's a slightly unnecessary luxury, although I might add, this is true for the whole hifi / HighEnd.

So, that's the sound environment / background for me, and that's what the comparison went to the most. Concert experiences, instrument sounds, imagined tones, expected sound ideals, preferences according to individual tastes support the subjective account below.

Which is mostly about the experience, the feeling.

 

How did Géza Ottlik's character, Gábor Medve, say in the novel Buda?

"What we certainly have, says Medve, is feeling. There is nothing else so certainly. The existence of the world, of other people, is hypothetical, a presumption, an assumption that you can make probable with a sufficient number of trials. You accept it as existing, since you can't do anything else, but it's better not to forget that only the feeling is not hypothetical, surely it is.

However, the feeling is inaccurate before looking for words, trying to find it. It is fundamentally and inherently inaccurate."

 

 

 

 

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At the heart of the RS2T is the Pro8, a mechanism designed by Stream Unlimited in Austria, controlled by the BlueTiger CD-84 servo.

 

 

Top-loaded and mechanically suspended; he underneath the carbon fiber outer layer is surrounded by a solid aluminium housing.

 

 

 

There is no power supply inside, this is important. The external power supply that comes bundled with it is a 3A switching power supply, kind of like a laptop charger, and it's not bad at all. Optionally, a linear power supply can be ordered as a separate device with a toroidal transformer inside. 

Sonically, the linear power supply really seems to be better, but unlike the other testers, I don't think the difference is dramatic. And it doesn't make another approach. There won't be a new voice. The frames that make me love this device so much remain exactly the same.
The LPSU gives a livelier, buzzier, more hi-fi sound, a bit over-balanced. Nice, most of you will probably like it better. The SMPSU is calmer, perfectly balanced in the middle on systems with sufficient resolution, and gives the almost surprising lifelikeness that makes it clearly better for me.

The listening experiences below were born with the original, accompanying food.

The suspension was apparently made with special care; I imagine that they chose this version after many auditory tests.

Really touched, it's a very fine piece. Small, chunky, quite heavy. Gently opening / descending lid, an ultralight puck. And enormous display with big numbers, brightness adjustable, it can also have black base. It's 2024, so you can display CD metadata: both the album title and the track being played can be read.

The remote control is full metal, demanding, handy - of course I reprogrammed my teachable one to the basic commands.

 

Reading is fast, everything is nicely quiet. There is coax, symmetrical and I2S exit - the latter, like the Heed Delta, has the 'European' layout, so not detected by the Chinese Gustard DAC, so there is no experience of this. For me, XLR sounded better than coax, which is not surprising.

The quality of the digital interconnect is key; there will be a weak sound with a weak cable, this is also not surprising. He likes the ultra-thin Radnai bare wire just like the other transports; you have to go very high in price to find a better connection.

 

*

 

Well, finally, the sound.

What is it like?

Well, it's just phenomenal.

I didn't think I'd ever hear anything like that from a 44.1 RedBook conventional player.

Let's consider it in more detail:

The noticeable difference, surprisingly, first appeared not in complex music, but in the single-threaded vocals. This Graindelavoix record, it's a difficult one, there were a couple of years when I thought there was a sound engineering flaw here, that it was so shouty.

 

Pro-Ject is simply magical here. I don't know how he does it. The layering of the midtone has increased into something incredible. Is there some sort of resolution improvement, or rather error exit?, I don't know. A straight, sustained sound, and hitherto unnoticed inner subtleties appear. You could say horizons. Spacious, infinitely free. There was no trace of sharpness. That is?, it turns out again that we are lame at the hifi, there is absolutely no problem with recording.

Savall disc, on SACD. The normal layer crammed into the crippled-small space must now be played.

 

Especially good. Suddenly, upon entry, the background becomes full of noises, noises and barely audible background information. So far, I've heard this about SACD the most, but here we're below the 44.1 limit, which is almost incredible.

Piano.

It's practically the first time I've heard exactly what tone that piano is in the night brothel where it was recorded. (Because I think it is.)

The piano-piano difference between the CD transports here is particularly interesting. Because the smaller the difference, the bigger it is. Actually, roughly objectively, the difference is probably minor. But our perception works with strange twists and turns. For large discrepancies, we immediately detect, compare, comment, OK.  With such small differences, our brain simply changes scale, much like a microscope, when we turn a more powerful lens instead of 40 and suddenly hear and imagine new sets of data, new sounds. And the experience will be quite powerful.

Harpsichord. The nightmare of digital technology. Because there are frighteningly many sensitive overtones. The analogue tends to beautify, swallow, transmit, simply smooth out the bad parts. Moreover, in even/odd class harmonic distortions, analog is simply in a more fortunate position, that is, more tolerable. LP fans jump right now for me, but I've only heard good harpsichord sounds from digital so far, quite rarely, I have to say. Because digital disturbances, distortions, deviations that cause all kinds of discomfort are not beneficially absorbed, but shine in the sun in their complete nakedness.

Here is 1 sec. below you hear that this is very good. Specifically, the best I've heard so far. However, I have a 'harpsichord-optimized' system. The many strings, we already had. However, their separation is now at its best. And something fabulous with instrumental case resonances.

 

Every piece of music tells you that the RS-2T is a deeper thing. Airier, lighter, bolder. The background is blacker, the silences are bigger, quieter, an imaginary basic noise level has jumped lower. The sounds of silence may be very important after all. The easily describable hi-fi parameters, e.g. bass volume, top registers, or space have been good so far; This is something more elusive. I am an advocate that good hi-fi is actually a matter of personalization, so it can happen that we look for and produce something more beautiful and better than real instrument sounds. Here with the RS-2T, however, I feel that the balance is not being embellished, but tilting the scales towards the more real.  And the point is that it feels like more data is what makes music. Because we simply hear more about the CD. Probably that's not the case, it's that what happens is that certain errors, distortions, strange-tasting nonknows, have somehow been subtracted and simply allow the music itself to 'come out'.

Finally, there's a plate where the RS-2T is particularly fantastic. 

A human voice, a monotonous humming, various short readings, accompanied by an electric bass. (article about it here). Yes, acoustic instruments, gamba, piano, so now that would be the real thing, only those are good to test, blah... blah.. and so on, but now, for some reason, it hasn't become.

It's that the humming is so realistic that it could be embroidered on the flag of the BBC school - that's pretty much what we expected, didn't we?, but I didn't expect this artificial bass accompaniment, this one in fact to break up into a thousand more threads, it got deeper, and it happened like string multiplication on the harpsichord - I had never heard anything like that.

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It's the top-loading mechanic, it's not that simple either; it's not just that Pro-Ject makes LP players, that's obviously where the idea comes from.

 

 

The situation is more complicated, gradually it turns out that this is almost a metaphysical issue.

Because you have to get up from the armchair, go there, open it with both hands, because you can't do it with one hand, take off a little weight, gently set aside a small weight so that it doesn't fall, roll, hold the disc skillfully, spread it with two fingers, it's not so easy, lift it, put it back in place, put the other CD in gently, put a little weight on it, pay attention to it right in the middle, close the lid carefully, go back to sit down, grab the remote control, finally press the 'Play' button... - well, this is far from ergonomics and speed and efficiency and purposefulness.

But if we strain our brains a little, we will slowly realize that, for example, the most famous and expensive porcelain teacups have such uncluttered ears and are so vulnerable that it is a complete stunt to hold them without breaking them.

And here's the point: this thing is actually civilizing.

 

 

 

 

It teaches careful, concentrated movements.

It teaches listening.

And the tea is guaranteed to have a different taste. Because it's a ritual like that, it's a rite.

What is a ritual?, well, a thing that sometimes seems complicated and meaningless, but we do it in order for certain things to happen. Here, in the case of the RS-2T, to make the system sound good, to make listening to music itself a great experience.

It will be.

I am absolutely sure of that.

Try it. There will be no disappointment.

Absolutely recommended.

 

 

 

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Thank you for the pictures
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