Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

New Year’s (Higher) Resolution

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.

Last month we examined a few home entertainment products that didn’t fit into the convenient categories provided by our usual monthly soirees. Since there wasn’t enough room for everything competing for your bucks, we’ll finish up this month with a few other goodies that can greatly enhance the jazz-listening experience in your home. That’s what we’re here for, after all: improving audio-for-jazz resolution, one living room at a time.

Speakers of the Future

It’s impossible to read the news these days without the constant reminder that real estate prices, by and large, continue to spiral endlessly upward. Anyone who’s looked for an apartment in New York, San Francisco or Boston knows that domestic space now commands an astronomical premium, so expansive yet affordable living rooms are a thing of the distant past. Thus choosing a high-performance speaker system for the square-footage-challenged can be difficult, particularly if high style is also a consideration. Speakers capable of achieving high levels of resolution and volume are typically too large for smaller listening spaces, both in terms of sonics and their sheer overpowering physical size.

NHT ( offers an elegant solution for this dilemma in the stunningly beautiful Xd powered loudspeaker system ($6,000). With two handsome satellite speakers, a robust subwoofer and an outboard processor/amplifier module (the key to the system’s success), the Xd offers a peek at what the future of audio will probably be like, at least in many homes. The Xd is a veritable intelligent loudspeaker system, unlike most speakers that rely on a passive internal electronic crossover to channel each frequency band to the appropriate speaker driver: highs shuttled to the tweeter, lows to the woofer and so on. The problem is that these crossovers are often inexact, so there is usually a too-large overlap in the frequency assignments, such that the woofer has to deal with frequencies it shouldn’t, and the tweeters likewise. This inevitably mucks things up in the resulting sound of the speaker as a whole. In addition, these passive crossovers can’t compensate for individual anomalies in the drivers themselves. Sometimes a specific tweeter might have a small frequency peak or dip which will also have adverse effects on what you eventually hear.

The Xd handles both of these issues in a novel way. It essentially places active crossovers before the amplifier, then bi-amps the speakers so that the tweeter, midrange and subwoofer all have their own amps. Since all this processing is handled in the digital domain, the signal for each frequency band can also be altered, or equalized, to reflect any dips or peaks in the drivers themselves, eliminating those particular problems up front. Most importantly, the crossover points between each band can be more exact, so that only the appropriate high frequencies reach the tweeter, the appropriate mids to the midrange driver and so on, eliminating that sort of muddiness that can occur when two very dissimilar drivers are reproducing the same information.

After the processing, the signals are fed into their appropriate high-efficiency switching amp of which there are four in the box, one for the highs and one for the mids of each satellite. The subwoofer has its own self-contained 500-watt amp specifically designed to power the walloping lows that emanate from the dual 11-inch drivers in this quite fashion-conscious unit.

In addition, the musical signal can be EQ’ed to compensate for the satellites’ room placement in order to optimize the sonics in any given system setup. Whether the satellites are up against a rear or side wall, or placed well into the room away from all walls, the Xd knows how to accommodate and adjust the output accordingly.

Did I already mention that these babies are really, really good looking? The sats, which occupy a very small footprint, come mounted on distinctively designed matching stands and feature a stunning high-gloss finish that comes in a variety of colors. Their small size and the adjustable equalization allow them to be placed nearly anywhere in the room and still produce grand music that belies their diminutive appearance. The matching sub is also compact and can be placed conveniently out of the way, though it will pay off soundwise to experiment with sat placement.

So what about the sound? Well, chances are you have never heard such large, lifelike music coming from such a small system. The integration of the various drivers is seamless and the overall presentation is nothing short of unbelievable, both in the sheer size of the image and the rhythmic and tonal accuracy. Every detail in sound is accounted for and the bottom end is very present and punchy-not bloated in any way. A Norah Jones vocal floated magically-almost palpably-between the satellites, while her backing band cooked along behind her, pitch perfect and perfectly sculpted in a nearly holographic way.

This is not an inexpensive system for sure, but the price seems more like a bargain when you consider the system includes not only three excellent speakers, but also five high-performance amplifiers and some groundbreaking processing technology, all housed in an easy-on-the-eyes, visually sophisticated bundle. If your domestic space is in short supply and you treasure a sound system that will make jazz come alive therein, then the NHT Xd system merits an audition.

Making a Solid Connection

When I bought my first truly high-end system back in the late ’80s, the dealer sold me what at the time were considered to be some of the best speaker cables around: impressively fat, well advertised and supposedly state of the art, or close to it. As time passed, I realized my speakers and amps had more potential than I was getting from them, so I went back to the dealer for advice. He suggested I try new speaker cable to alleviate these problems, and though I was a bit incredulous, I agreed to the experiment. I assumed I would try ’em out and return them the next week. What I was not prepared for was the actual outcome. Suddenly my speakers had bass they’d never exhibited, and a previously noticeable lack of cohesion and clarity in the high frequencies disappeared. It was almost like having different speakers or a new amp-the differences were that apparent. So I made that switch permanent, a clear no-brainer.

One of the main differences between the first cables and the second pair was their construction: the first was a braided multi-strand design comprised of many, many tiny copper strands woven and twisted, and surrounded by thick layers of insulation; the second was a thick solid-core copper wire with only very thin plastic insulation. I’ve been a big believer in solid-core cable ever since.

In the meantime, the cable business has grown into a multimillion-dollar affair with some boutique speaker cables going for tens of thousands of dollars per pair, real insanity in my humble opinion. And apparently to many others as well, including engineer Paul Speltz, who has recently introduced his own line of cables dubbed the Anti-Cable ( because they are unlike most modern high-end wire: They don’t cost a fortune and they don’t have that thick layer of insulation which has been proven to degrade the sound of cable. Insulation, technically referred to as the dielectric, can affect the musical signal by storing some of the electrical energy from the wire, acting like a capacitor, and then releasing it sporadically back into the cable, thus distorting and smearing the signal and the sound.

Speltz’s solution is to utilize a thick, high-quality solid-core copper wire, insulated simply with a light, airtight coating which is there mainly to prevent sonically harmful oxidation. His no-BS wire runs about 10 bucks a foot, or $80 for a standard eight-foot pair, quite a bargain relative to much of the high-strung exotica on the market today.

Speltz explains the cable’s qualities this way: “We believe the Anti-Cables are sonically transparent and neutral because they virtually eliminate the most common source that gives speaker cable their sonic signature, the plastic dielectric material. Beyond the extremely thin red coating, there is nothing left but air, and air is a near-ideal insulation dielectric because it causes virtually no dielectric effect.”

Indeed, using the Anti-Cable in my personal system allowed me to experience these qualities firsthand. Bass definitely tightened up and was also fuller and more present. An increased focus in the midrange became apparent, especially on vocals and acoustic piano, both of which became more fun to listen to after the new cables were installed. In addition, there was no loss of high-frequency information nor was even a trace of distortion added.

If you are still using inexpensive “zip” cord in your audio setup or one of the more costly well-known cables and not getting what you think you should be out of your components, consider switching your speaker cable. It really can make a difference, and the Anti-Cable is an incredibly affordable way to do this. If you don’t like the cable, Speltz offers a 30-day return period, but chances are you won’t need to take advantage of that offer. Speltz also offers interconnects utilizing this same wire, but in a much lighter gauge, likewise affordable, and likewise effective. Thanks to drummer Billy Drummond for turning us on to the Anti-Cable.

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.
Originally Published