COPPER

A PS Audio Publication

Issue 14 • Free Online Magazine

Issue 14 BACK TO BASICS

Why separates?

I often wonder if more people aren’t willing to get involved with great sounding audio systems because they are intimidated by all the stuff. One look at the back of even a moderate stereo setup is enough to send many running for the hills. Wires, cables, connectors, oh my!

Receivers were no doubt popular because they contained it all in a single box. A set of speaker cables, the remote control, and you’re good to go. But then, you might want to connect the TV, perhaps a turntable, Sonos connect… you see where this can lead.

When I was in my twenties things were much simpler. Everyone I knew had a stereo setup, and those setups were simple. Mine’s a good example. Turntable, Kenwood integrated, Phased Array loudspeakers, two concrete building blocks—one underneath each side of a long wooden plank that served as the shelf. A bag of pot if I was lucky, a collection of albums.

Life was simple.

Then I heard my first high-end system and everything turned upside down. Music sounded live, it had dynamics I didn’t know were possible. Drummer Chuck Ruff’s licks on Edgar Winter’s Frankenstein pushed me back in the seat like the Maxell Tape ad and I was gobsmacked, smitten for life.

But that first high-end system had far more going on than my simple Kenwood integrated and two lengths of lamp cord connecting my speakers.

The exotic separates system had multiple boxes, cables, exotic looking accouterments. Frankly, it was as bewildering as it was exciting.

A new column for Copper

Editor Bill Leebens asked me to speak to our Copper readers who might be more music oriented than technical. Readers who want good sound but haven’t yet dipped their toe in the high-end waters. A column on the basics, starting from scratch, easy to understand.

Back To Basics will not appeal to everyone. For the well informed, it might be territory eliciting a yawn. For others it may be an easy refresher in how things work and why.

Why separates?

You don’t need separates to make great sound. A well setup integrated or receiver, even an all in one loudspeaker like B&W’s great MM-1 computer monitor produce terrific sound in small doses and in the right circumstances. And there are others as well.

The term separates comes from the idea of dividing up an all in one music player into separate pieces, each with a specific purpose.

Remember the all-in-one radios of many years ago? Maybe one sat on your mother’s kitchen counter, like this old General Electric beauty.

It’s an all-in-one music system from the 1950s. What’s inside? This radio has four basic elements that make it work.

  •  A radio tuner
  •  A power amplifier
  •  A loudspeaker
  •  A clock

Together this box tells you the time, wakes you up with music if you set the alarm, entertains you while you’re doing whatever it is people do.

When General Electric put this box together their mandate to their design team wasn’t likely, “take the best five elements in the world and put them together in one box”. No, chances are good they said, “we want to sell a clock radio for $19.95. Cobble together what it takes to make a profit and meet these minimum performance standards.”

In the 1950s, when this pink kitchen radio was sold, there were already excellent standalone radio tuners, power amplifiers, loudspeakers, and clocks too. Were you to have collected each of these separate items individually, connected them together, you would have made a significantly better sounding product.

Your mother would never have placed all those bits on her kitchen counter. More likely, she would have thrown you and your collection of kit to the garage.

Separates are for the obsessed

I suppose that sounds harsh. But if you’re obsessed with food, you buy the best you can. Obsessed with furniture, watches, music, cats, books, sports… the nature of the word suggests not a negative term, but rather explains a desire for improving that which interests you.

Good sound and good music interests me. I am obsessed, and my father was as well. I suppose the apple doesn’t fall far from the tree.

I’ll never forget the look of horror on my mother’s face when my dad cut a hole in the hall coat closet and mounted a subwoofer, explaining the volume within the small enclosure and the damping provided by the coats and sweaters was perfect for reproducing bass.

It’s ok to be obsessed with something. Keeps us mentally alive.

Separates can make better sound than all-in-one systems when care is taken to collect the right combination of separate equipment. And separates don’t have to be expensive to be good.

Germany’s ELAC speakers, designed by Andrew Jones, are a great example. They are only hundreds of dollars for the pair, yet make good sound when paired with a decent integrated.

ELAC speakers

How to decide which way to go

Should you think of separates?

The easiest answer is, maybe.

My mother would have chosen the pink General Electric radio without batting an eye. My father, not so much. Their goals were different. Mom wanted convenience and a small footprint, dad wanted sonic excellence within his economic means.

Not everyone wants excellence. I cringe when I witness someone listening to music on the built in speakers on their laptop. The tiny squawks passing as music are like nails on a blackboard to me, but bliss to others.

What are you trying to achieve and how close are you getting to that goal? That’s the real question you need to ask. happy with what you have? Or pining for something better? As I mentioned, there are excellent all-in-one solutions worth trying.

But if you find yourself fatigued after an hour’s listen to music, or perhaps just uninspired, maybe it’s time to step up and take a look at the world of separates.

A trip or call to your local dealer can often be a real ear opener.

More from Issue 14

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#226 JJ Murphy’s Sleep Paralysis is a Genre-Bending Musical Journey Through Jazz, Fusion and More by Frank Doris Jan 05, 2026 #226 Stewardship by Consent by B. Jan Montana Jan 05, 2026 #226 Food, Music, and Sensory Experience: An Interview With Professor Jonathan Zearfoss of the Culinary Institute of America by Joe Caplan Jan 05, 2026 #226 Studio Confidential: A Who’s Who of Recording Engineers Tell Their Stories by Frank Doris Jan 05, 2026 #226 Pilot Radio is Reborn, 50 Years Later: Talking With CEO Barak Epstein by Frank Doris Jan 05, 2026 #226 The Vinyl Beat Goes Down to Tijuana (By Way of Los Angeles), Part One by Rudy Radelic Jan 05, 2026 #226 Capital Audiofest 2025: Must-See Stereo, Part Two by Frank Doris Jan 05, 2026 #226 My Morning Jacket’s Carl Broemel and Tyler Ramsey Collaborate on Their Acoustic Guitar Album, Celestun by Ray Chelstowski Jan 05, 2026 #226 The People Who Make Audio Happen: CanJam SoCal 2025, Part Two by Harris Fogel Jan 05, 2026 #226 How to Play in a Rock Band, 19: Touring Can Make You Crazy, Part One by Frank Doris Jan 05, 2026 #226 Linda Ronstadt Goes Bigger by Wayne Robins Jan 05, 2026 #226 From The Audiophile’s Guide: Active Room Correction and Digital Signal Processing by Paul McGowan Jan 05, 2026 #226 PS Audio in the News by Frank Doris Jan 05, 2026 #226 Back to My Reel-to-Reel Roots, Part 25: Half-Full, Not Empty by Ken Kessler Jan 05, 2026 #226 Happy New Year! by Frank Doris Jan 05, 2026 #226 Turn It Down! by Peter Xeni Jan 05, 2026 #226 Ghost Riders by James Schrimpf Jan 05, 2026 #226 A Factory Tour of Audio Manufacturer German Physiks by Markus "Marsu" Manthey Jan 04, 2026 #225 Capital Audiofest 2025: Must-See Stereo, Part One by Frank Doris Dec 01, 2025 #225 Otis Taylor and the Electrics Delivers a Powerful Set of Hypnotic Modern Blues by Frank Doris Dec 01, 2025 #225 A Christmas Miracle by B. Jan Montana Dec 01, 2025 #225 T.H.E. Show New York 2025, Part Two: Plenty to See, Hear, and Enjoy by Frank Doris Dec 01, 2025 #225 Underappreciated Artists, Part One: Martin Briley by Rich Isaacs Dec 01, 2025 #225 Rock and Roll is Here to Stay by Wayne Robins Dec 01, 2025 #225 A Lifetime of Holiday Record (and CD) Listening by Rudy Radelic Dec 01, 2025 #225 Little Feat: Not Saying Goodbye, Not Yet by Ray Chelstowski Dec 01, 2025 #225 How to Play in a Rock Band, Part 18: Dealing With Burnout by Frank Doris Dec 01, 2025 #225 The People Who Make Audio Happen: CanJam SoCal 2025 by Harris Fogel Dec 01, 2025 #225 Chicago’s Sonic Sanctuaries: Four Hi‑Fi Listening Bars Channeling the Jazz‑Kissa Spirit by Olivier Meunier-Plante Dec 01, 2025 #225 From The Audiophile’s Guide: Controlling Bass Frequencies Through Membrane Absorbers (and How to Build Your Own) by Paul McGowan Dec 01, 2025 #225 Your Editor’s Tips for Attending Audio Shows by Frank Doris Dec 01, 2025 #225 PS Audio in the News by Frank Doris Dec 01, 2025 #225 Back to My Reel-to-Reel Roots, Part 24 by Ken Kessler Dec 01, 2025 #225 Holiday Music by Frank Doris Dec 01, 2025 #225 Puppy Prognostication by Peter Xeni Dec 01, 2025 #225 How to Post Comments on Copper by Frank Doris Dec 01, 2025 #225 Living Color by Rudy Radelic Dec 01, 2025 #224 T.H.E. Show New York 2025, Part One: A New Beginning by Frank Doris Nov 03, 2025 #224 Fool’s Leap of Faith is the Extraordinary Octave Records Debut from Singer/Songwriter Tyler Burba and Visit by Frank Doris Nov 03, 2025 #224 The Beatles’ “Aeolian Cadences.” What? by Wayne Robins Nov 03, 2025 #224 Persona Non Grata by B. Jan Montana Nov 03, 2025 #224 Talking With Recording Engineer Barry Diament of Soundkeeper Recordings, Part Two by Frank Doris Nov 03, 2025 #224 B Sides, B Movies, and Beware of Zombies by Rudy Radelic Nov 03, 2025 #224 The Burn-In Chronicles: 1,000 Hours to Sonic Salvation by Olivier Meunier-Plante Nov 03, 2025 #224 A Conversation With Mat Weisfeld of VPI Industries by Joe Caplan Nov 03, 2025 #224 Blues-Rocker Kenny Wayne Shepherd Celebrates 30 Years of Ledbetter Heights by Ray Chelstowski Nov 03, 2025 #224 Playing in a Rock Band, 17: When Good Gigs Go Bad, Part Two by Frank Doris Nov 03, 2025

Why separates?

I often wonder if more people aren’t willing to get involved with great sounding audio systems because they are intimidated by all the stuff. One look at the back of even a moderate stereo setup is enough to send many running for the hills. Wires, cables, connectors, oh my!

Receivers were no doubt popular because they contained it all in a single box. A set of speaker cables, the remote control, and you’re good to go. But then, you might want to connect the TV, perhaps a turntable, Sonos connect… you see where this can lead.

When I was in my twenties things were much simpler. Everyone I knew had a stereo setup, and those setups were simple. Mine’s a good example. Turntable, Kenwood integrated, Phased Array loudspeakers, two concrete building blocks—one underneath each side of a long wooden plank that served as the shelf. A bag of pot if I was lucky, a collection of albums.

Life was simple.

Then I heard my first high-end system and everything turned upside down. Music sounded live, it had dynamics I didn’t know were possible. Drummer Chuck Ruff’s licks on Edgar Winter’s Frankenstein pushed me back in the seat like the Maxell Tape ad and I was gobsmacked, smitten for life.

But that first high-end system had far more going on than my simple Kenwood integrated and two lengths of lamp cord connecting my speakers.

The exotic separates system had multiple boxes, cables, exotic looking accouterments. Frankly, it was as bewildering as it was exciting.

A new column for Copper

Editor Bill Leebens asked me to speak to our Copper readers who might be more music oriented than technical. Readers who want good sound but haven’t yet dipped their toe in the high-end waters. A column on the basics, starting from scratch, easy to understand.

Back To Basics will not appeal to everyone. For the well informed, it might be territory eliciting a yawn. For others it may be an easy refresher in how things work and why.

Why separates?

You don’t need separates to make great sound. A well setup integrated or receiver, even an all in one loudspeaker like B&W’s great MM-1 computer monitor produce terrific sound in small doses and in the right circumstances. And there are others as well.

The term separates comes from the idea of dividing up an all in one music player into separate pieces, each with a specific purpose.

Remember the all-in-one radios of many years ago? Maybe one sat on your mother’s kitchen counter, like this old General Electric beauty.

It’s an all-in-one music system from the 1950s. What’s inside? This radio has four basic elements that make it work.

  •  A radio tuner
  •  A power amplifier
  •  A loudspeaker
  •  A clock

Together this box tells you the time, wakes you up with music if you set the alarm, entertains you while you’re doing whatever it is people do.

When General Electric put this box together their mandate to their design team wasn’t likely, “take the best five elements in the world and put them together in one box”. No, chances are good they said, “we want to sell a clock radio for $19.95. Cobble together what it takes to make a profit and meet these minimum performance standards.”

In the 1950s, when this pink kitchen radio was sold, there were already excellent standalone radio tuners, power amplifiers, loudspeakers, and clocks too. Were you to have collected each of these separate items individually, connected them together, you would have made a significantly better sounding product.

Your mother would never have placed all those bits on her kitchen counter. More likely, she would have thrown you and your collection of kit to the garage.

Separates are for the obsessed

I suppose that sounds harsh. But if you’re obsessed with food, you buy the best you can. Obsessed with furniture, watches, music, cats, books, sports… the nature of the word suggests not a negative term, but rather explains a desire for improving that which interests you.

Good sound and good music interests me. I am obsessed, and my father was as well. I suppose the apple doesn’t fall far from the tree.

I’ll never forget the look of horror on my mother’s face when my dad cut a hole in the hall coat closet and mounted a subwoofer, explaining the volume within the small enclosure and the damping provided by the coats and sweaters was perfect for reproducing bass.

It’s ok to be obsessed with something. Keeps us mentally alive.

Separates can make better sound than all-in-one systems when care is taken to collect the right combination of separate equipment. And separates don’t have to be expensive to be good.

Germany’s ELAC speakers, designed by Andrew Jones, are a great example. They are only hundreds of dollars for the pair, yet make good sound when paired with a decent integrated.

ELAC speakers

How to decide which way to go

Should you think of separates?

The easiest answer is, maybe.

My mother would have chosen the pink General Electric radio without batting an eye. My father, not so much. Their goals were different. Mom wanted convenience and a small footprint, dad wanted sonic excellence within his economic means.

Not everyone wants excellence. I cringe when I witness someone listening to music on the built in speakers on their laptop. The tiny squawks passing as music are like nails on a blackboard to me, but bliss to others.

What are you trying to achieve and how close are you getting to that goal? That’s the real question you need to ask. happy with what you have? Or pining for something better? As I mentioned, there are excellent all-in-one solutions worth trying.

But if you find yourself fatigued after an hour’s listen to music, or perhaps just uninspired, maybe it’s time to step up and take a look at the world of separates.

A trip or call to your local dealer can often be a real ear opener.

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