ach business enterprise has its own so-called "founding myth" (in Western classical scholarship often referred to as etiological myth from the Greek word αἴτιον, “a cause”). The founding myth for Mark Levinson’s company and, hence, for Mark Levinson himself was the LNP-2 preamplifier, launched in 1972. In Levinson’s words, which he later repeated many times on various occasions, he was in a need of a high quality preamplifier for his personal use, so he designed and built his own. The LNP-2 achieves high prices today in the secondary market and is particularly valued in Japan, where it shows in a number of most expensive systems, next to other modern flagship audio components. It is not surprising then that Mark Levinson’s company did not offer a new reference preamplifier until 1998, when it launched to the market the №32 Reference Preamplifier. Not only had it go face to face the legendary LNP-2 but also other contemporary, really good preamplifiers. And again passed more years before the company decided to make the next step, which was made possible by newer and better materials and the knowledge gained in the production of other components. An important factor was also a newly developed environmental awareness. The №32 was an exceptional piece of audio equipment (machine). A two-chassis preamplifier, it literally changed the rules of the game. Previous Levinson preamplifier, the №28, followed the division that had been commonly known and widely used in the world of audio. One enclosure housed the amplification circuits, and the other one was the power supply. This is a rational solution that works really well. However, the №38 was to be much more than another “two-piece preamplifier.” Mark Levinson decided to employ a microprocessor that controls all other circuits, and added a display screen. These two components are notorious for their high noise that interferes with the audio signal. Hence, the machine is divided somewhat against the logic developed over the years: the chassis that sports the volume and input knobs, all the push buttons and display screen, also houses the microprocessor and power supply. The gain stages (amplification circuits), together with all input and output connectors has been relocated to the other, larger enclosure, which sports no manipulators. The two chassis are linked with three umbilical cords. Two of them supply power to the audio section (separately for the left and right channel) and the third one carries control signals and supplies power to the relays. The preamplifier looks insanely good and is considered by many audio journalists to be a reference unit. I have seen it in the list of products and presentation of the chief editor of the Japanese "Stereo Sound" magazine, whose system also included the Tech DAS Air Force One turntable, the machine of my dreams. Mark Levinson in “High Fidelity” REVIEW: Mark Levinson №512 – Super Audio CD player, reviewed HERE Albums auditioned during this review Assemblage 23, Bruise, Accession Records, A 128, Limited Edition, 2 x CD (2012). Brian Eno, Craft On A Milk Sea, Warp Records WARPCDD207, 2 x 180 g LP + 2 x CD + 24/44,1 WAV; Budka Suflera, Cień wielkiej góry, Live 2011 + studio 1975 (box), Polskie Nagrania Muza/Budka Suflera Productions, BSP 05-2011, 2 x 180 g LP + 2 x CD; Cyrus Chestnut, Midnight Melodies, Smoke Sessions Records SSR-1408, CD (2014); Eric Clapton, Journeyman, Warner Bros. Records/Audio Fidelity AFZ 180, „Limited Edition No. 0281”, SACD/CD (1989/2014). Fred Simon, Dreamhouse, Naim Label naimcd044, CD (2000). J. S. Bach, Die Kunst Der Fuge, wyk. Marcin Masecki, Lado ABC C/13, CD (2012). J. S. Bach, Goldberg Variations BWV 988. 1981 Digital Recording, wyk. Glen Gould, CBS/Sony Music Entertainment Hong Kong 88765440092, „No. 0197”, gold-CD (1982/2013). J. S. Bach, The Complete Goldberg Variations 1955 & 1981, wyk. Glen Gould, Sony Classical/Legacy S3K 87703, 3 x CD (1956, 1982/2002). Jim Hall Trio, Blues On The Rocks, Gambit Records 69207, CD (2005). Johann Sebastian Bach, St. John Passion, BWV 245, dyr. Kenneth Slowik, Smithsonian Chamber Players and Chorus, Smithsonian Collection of Recordings/ADDA ND 0381, 2 x CD (1989). John Coltrane, Lush Life, Prestige/Universal Music (Japan), „Jazz The Best. Legendary 100, No. 55”, CD (1961/2008). Neu!, Neu! ‘75, Brain Records/P-Vine Records PCD-93529, CD (1975/2012). Niccolò Paganini, 24 Caprices for solo violin. Op.1, wyk. Mayuko Kamo, BMG Japan BVCC 40003, „RCA Red Seal”, CD (2009/2012). Patrick Noland, Piano Gathering Light, Naim naimcd011, CD (1994). Radiohead, Kid A, Parlophone/EMI 27753 2, CD (2000). Skrzek & Rudź, The Stratomusica Suite, Generator GEN CD 032, CD (2014); Japanese CD editions are available from [REKLAMA5] Let me make it clear, without beating around the bush: the №52 is one of the best preamplifiers I have ever heard. It is hard to state unequivocally that something is “the best” because this kind of a statement is highly suspicious in the context of the differences between various audio systems, user preferences and expectations. Trying to be as objective as possible, in some respects and to some extent it is a reference audio component. It is a real tool that makes my work, and the work of people like me, much easier; a component that would also make for some kind of a “core” of any given top recording studio system. As long as the people working there really cared about “top of the top,” that is. Sitting down in front of a system with the Mark Levinson as a nexus between the other system components, you tend not to think of it as such and that is probably its key feature. Calling something a tool, one depersonalizes that thing, reducing it to an inanimate, manageable object. The №52 is obviously a thing. But as each object or article that is entangled in art – here even twofold, both as the art transmitter and its contributor, through the modification of sound – it has its own personality, something that makes us look at it not as if it were a well-organized pile of metal, silicon and plastic, but almost a person. The thing that is almost shocking, even if we are familiar with top audio components, is the resolution offered by this preamplifier. In a general view, it results in the kind of presentation that is interesting and credible. Any given record played back using this preamplifier has something to show, something to be discovered, because the Levinson is eager to share with what it receives from the source. Please do not think less of it, though. I don’t think this is anything new if I say that a very similar description would fit other flagship products from the 1970s and 1980s, which are simply unlistenable today. Measured by their technology and specifications of that era they seemed the eighth wonder of the world. In reality, they sounded like a nightmare: bright, harsh and empty. Despite all that, the adjectives such as “transparent”, “free of coloration” and “precise” could be applied to them and all of the adjectives would sound true in the case of the №52. The revolution in high-end perception, which the big companies have undergone, is so profound that it is even difficult to speak about a development continuity. Although in the area of preamplifiers Mark Levinson had always done a good job, the preamplifier under review is a new quality even compared to the previous models from the same manufacturer. For a start, the №52 has an exceptionally rich, full-bodied and saturated midrange. Secondly, its treble is vibrant and deep, with an outstanding tonal quality; it is actually better than that offered by the following tube amplifiers that I hold in high esteem: the Tenor Audio Line1/Power1, the Ayon Audio Spheris II and the CAT SL1 Legend. The top end also sounds better than in the two solid state preamplifiers, the Accuphase C-3800 and the Soulution 720. This is a completely new quality, which nicely shows that the demarcation line between the tube and solid state is gradually losing its meaning, at least in the preamplifier department. The sound is not just a collection of individual sub-ranges, I hope that much is clear. For that reason, the description of treble alone is an artificial exercise. We are somewhat used to this kind of procedure in audio, though; this is one of the techniques, which allows us to describe the sound. Especially if we remember that the way any audio component handles the treble is key to the credibility of the whole presentation. This can be done in an elegant manner, by slightly rounding off and warming the treble, as it is done by the Polaris III from Ayon, the SL1 Legend from CAT, the 720 from Soulution and the Line1 from Tenor (in an increasing order). Or you can try to keep the sound precise and resolving and yet still a tad warm, as in the C-3800 from Accuphase and the Robert Koda Takumi K-15. The information carried in the treble is not limited to the direct sound but it also comprises the harmonics of even the lowest bass. The Levinson presents them as something coherent, as an extension of the basic sound. The machine never separates the top end from what lies below. With such an exceptional resolution and equally good selectivity, this is an extraordinary achievement, as that used to be an area where the high-end has been lacking. Here we have it in spades. It was no accident that I contrasted the №52 with the tube preamplifiers, including my Polaris III. All of them seem to be slightly veiled. Of course, compared with any less expensive product they leave it in the dust, proving that their sound is exceptional. However, the American preamplifier is better in that respect and there is no need to keep beating around the bush to prove otherwise. It was by no accident that this is the only preamplifier that let me hear what the UV 22 Super CD Encoder from Apogee Electronics Corporation is all about. The UV22 is a special encoder with its own unique logo – it used to be an important part of this manufacturer’s lineup. Its goal was to encode on the CD more information that seemed possible with the Red Book standard. The company literature claims that the UV22 adds to the audio signal an inaudible high frequency bias signal. Through a special algorithm it adds energy around the frequency of 22 kHz. As we can read, this let the CD reach a 20-bit resolution even though it was still limited to the 16-bit CD format. This technology used to be employed by other companies. It is a classic dithering with noise shaping. Apogee worked out their own algorithm, claiming that it is much better solution from others, like Super Bit Mapping from Sony. The effects were varied, though. In a number of recordings, the treble was bright and had an unnatural “spiky” character. However, better recordings presented us with something special. The sound was still a tad brighter but the amount of treble information was exceptional. The album Sonatas of Brahms and Beach by Arturo Delmoni and Yuri Funahashi has been produced that way. The producer is John Marks, with Robert C. Ludwig handling mastering duties. And it was the Levinson that let me hear it so clearly for the first time. The treble sounds equally well, and in some respects even better than from the best tube audio components I know. I am still to review the Stratos III from Ayon Audio and I admit to have never heard the flagship Lamm or Kondo preamplifiers. But in life there always are surprises ahead and that should not keep us silent for the sake of something we do not know. That would be crazy. For the present moment it is what it is - the Mark rules all the way. This is all the more important as the midrange behaves in a very similar way. After auditioning a couple of CDs, after fetching them from the shelves and opening the boxes, I sat down to write my thoughts and impressions, and then to select for the review the ones that seemed most important during the auditions. It turned out that the majority of them are piano recordings, or those with the piano in the leading role. And it is no wonder. The №52’s sound is so well balanced that this notoriously difficult instrument was coming to life and getting more credible. Gould on the 1981 gold CD version of Goldberg Variations, played back with the Polaris III in the system, sounds warm and extremely "from-the-gut", which makes for a real treat. The Levinson, however, went further still. The sound was no longer so "cuddly" (even though I like it like hell), but there was even more music to it. The resolution, the proper kind of resolution rather than a fake one, brings with it not only detailness. The latter is a derivative of differentiation and the ability to provide, in a short period time, a large number of well-organized information that is linked to something bigger. This results in a "warm" sound, one that is warm with the warmth of density and maturity, rather than any tonal manipulation. Thanks to that, it was the first time when I heard at home the real bodies and the relations between murmuring Gould and the piano. The piano was in the foreground, with its own reverb, and Gould was sitting slightly further down, with more reverb; the piano was the direct sound and Gould was the delayed one. It made for an incredible experience and an even better connection to the music that - I thought – had been embedded into me for good. A perfect tonal differentiation is one thing. But the differentiation of dynamics offered by this component is something much bigger than that. I have never heard so well rendered drums on the recordings from the 1950s and 1960s, like Jim Hall Trio’s album Blues On The Rock. Nor have I even suspected such an incredible degree of layering and showing real differences between the instruments, as on the album Salzau Music On The Water by the trio Danielsson, Dell and Landgren. The differentiation of dynamics and timing are things that are absolutely basic in music. Without them it is difficult to even talk about a musical piece. The Levinson does it better than all the other preamps I have come across. Even passive preamps, which I do not like, but which nevertheless offer an outstanding rhythm, seem compressed and slowed in comparison. Perhaps this is the reason behind my opinion on the bass. It is not particularly dense nor does it seem to extend very deep. These are nothing but appearances as it extends much deeper than it does in the Polaris III. But it is also better controlled, with better defined attack and sustain. That is why the bass in the Ayon, the Tenor and the Soulution seems to be denser and better saturated. I cannot explain it otherwise. Objectively speaking, the kind of presentation as the one offered by the №52 is indisputably more correct. It will be very difficult to repeat such great sounding double basses elsewhere. So clearly demonstrated recording and production problems of Peter Gabriel’s album So tend to elude us elsewhere. The aforementioned components made some sort of "remastering" of this album, perfecting its sound enough for its dry tone and quite crudely captured, contoured bass passable. With the Mark Levinson they attract our attention instead. That is the kind of situation where we hit a brick wall and what is better for us starts to count more from what is objectively better, and these two are not the same. The sound of the preamplifier from the Harman camp is neither light nor dry. Nor is it less full-bodied or dull. Actually, it is exactly the opposite: take each of these terms, cross it out and replace with its antonym, and you will be much closer to the truth. I will, however, perfectly understand all those who will point to the Tenor, the Solution, the Ayon, the CAT, the Audio Research and other similar-sounding, flagship preamplifiers, as those that better suit their needs. Because they do sound denser, warmer, fuller and have a deeper bass extension. I will understand that, even though - as we have already demonstrated - this is just an impression. There is no need to deceive oneself and get mixed up. In most sonic aspects, the №52 is a true reference preamplifier. It has everything required of a preamplifier because. While being extremely transparent, it brings onboard its own personality; although you can hear how it differs from other preamplifiers, it is only through the way it interprets the music rather than individual aspects abstracted from it. The only place where the three best tube preamps I have ever heard may be more likeable is the volume of the sound and soundstage size. The Levinson’s precision also translates into these two aspects, but in its own way. An ideal attack makes the decay seem shortened and, hence, the size of the phantom images slightly smaller. Smaller, that is, than in the best preamps I know. And just slightly smaller, not much. What is more important for the №52 is what happens in the foreground. The latter is fantastically credible and convincing. That which is further away is precise but not as intense, due to a slightly lighter tonal weight. Conclusion Everything that I have just written is not supposed to hurt. Although over the years I have been using a tube preamplifier, and not without a reason, the Mark Levinson would be a valuable upgrade to my audio system. It has beautiful tonal quality, exemplary dynamics and differentiation, and the treble is more sonorous, more three-dimensional and have a better "own" weight than that offered by tube preamps. The bass is reference in terms of its outline and the differentiation of tonality and depth. The Mark Levinson allows for a comfortable listening to the music. It brings loads of information that builds up the credibility of presentation. The albums that are problematic to play back are not massacred by it, but they will not sound as friendly as when they are played back on the Polaris III. For me, this a reference. I will not say, however, that it is the "best" preamplifier in the world. I cannot not to remember the incredibly encouraging sound of the Tenor Audio Line1/Power1, the outstanding smoothness of the Stratos II from Ayon Audio and the wonderful density of the Soulution 720, reminiscent of the best tube components. Or the silky precision of the Robert Koda Takumi K-15 and the C-3800 of the Accuphase fame. But that is precisely why audio is such an exciting activity: there is no such thing as absolute and final truth; instead, there is only the truth of the place where the question about it has found us. The №52 Preamplifier from Mark Levinson joined my reference audio system comprising the Soulution 720 power amplifier and the Ancient Audio Lektor Air V-edition CD player. Additionally, during the auditions the system was also fronted by the two turntables: the Transrotor Dark Star Silver Shadow with the SME M2-9 tonearm and the Fonica Violin with the F03 ver.3 arm, both equipped with the phono cartridges from Miyajima Lab, the Kansui (stereo) and the ZERO (mono). I was using the RCA Audio Sensor Prelude IC outboard phono preamplifier. The Mark Levinson preamplifier was seated in the same spot that is usually taken by my Polaris III preamp, with the audio module resting on Acoustic Revive RAF-48H air board and the control module on the Franz Audio Accessories Ceramic Disc Original and the Acoustic Revive Hickory RHB-20 isolation board. The whole system sat on the three-level Finite Elemente Pagode Edition rack. The №52 was compared to the Ayon Audio Polaris III and the Tenor Audio Line1/Power1 preamplifiers. The control sound that I used was the passive attenuator in my Ancient Audio player. GOLD Fingerprint is a very special award. We give both as a recognition of a specific product and – simultaneously – of lifetime achievement. The №52 Reference Preamplifier is a great example of how modern technology can be employed to convey the music in the best possible way. Not to convey the audio "signal" but simply the music. It is not enough to merely obtain a very low distortion of a static type, typically used to describe electronic components, but to complete it via auditions, using a sensitive and trained ear. And it happens that the design choices made on the basis of auditions often result in a decrease in measurable parameters. As John Atkinson, the chief editor of "Stereophile" and an engineer responsible for measuring all the components reviewed by this magazine, writes in his recent editorial: That happened in the fall of 1989. I explained to the readers that, unlike the mainstream magazines, where measurements appear to define or even replace the listening experience, Stereophile’s measurements would have four goals: 1) discover measured behavior that would affect a product’s possible compatibility with other products; 2) uncover inadequate engineering; 3) ensure that there isn’t some simple reason for a component to sound the way it does (spending a lot of money on a component with a built-in tone control in the form of a nonflat response is not my idea of a good deal); and 4) build up a measurement database that will eventually reveal correlations between what is heard and what is measured. […] A quarter century later, however, that fourth and final goal seems as far away as it was in 1989. All I can do is repeat the words of architect Ludwig Mies van der Rohe that head this essay” [“God Lives in the Details”]. John Atkinson, God Lives in the Details, “Stereophile” October 2014, Vol. 37, No. 10, p. It seems that Mark Levinson knows perfectly well what all this is about. Even though it is a large company, owned by a huge corporation. The №52 is divided between two extremely solidly build enclosures. They are made of aluminum plates and sheets, with a characteristic division of the front panel, copied in all possible ways by other manufacturers, for example Marantz and Lindemann, to mention a larger and smaller manufacturer. The center part is flat and black, and it sports all display screens and buttons, while both sides have rounded surfaces. The division in this case is different than usual, e.g. that used in the Ayon Audio Polaris III or the Line1/Power1 from Tenor Audio. In these two examples, one chassis houses the power supply, and other one is the proper preamplifier, with all the control circuits. The №52 breaks away from that division, which I have seen before in the top preamplifiers from American VTL, in that one of the enclosures, referred to as "noisy," houses the power supply and control logic circuits with all the operating buttons and display screen. The other, "clean" chassis, only houses the amplification circuits and input and output connectors. It seems a much better partition (allocation, distribution, apportionment, allotment). The faceplate of the "noisy" section sports the characteristic Mark Levinson red dot-matrix display. It is quite large, with a good contrast ratio. It can be dimmed in a few steps, and even switched off. At the same time, the user dims or switches off the big red company logo on the front panel of the "clean" chassis. Volume level is controlled with an aluminum knob on the left side, the right knob being input selector. Both of them are also used to navigate through the menu. Since the machine is microprocessor controlled, there are lots of available settings. Starting with giving names to the inputs (which I used), through activating the outputs, selecting the system gain and channel balance, to changing the phono input load impedance and capacity. The manufacturer has equipped the system with yet another possibility - with a few settings you can set up cartridge azimuth. Marvelous. The push buttons under the screen are used to change its brightness, activate various menu settings, mute the output and enter the standby mode. The "clean" chassis is hooked up to the “noisy” module with three umbilical cords. Two of them are used to supply power and the third one carries the control signals. Power supply is separate for the left and right channels - the preamplifier has a dual-mono design. The umbilical cords are branded as Mark Levinson and are terminated with fantastic Lemo connectors. The faceplate of the amplification module is completely bare, except for an illuminated Mark Levinson logo and a red LED. That's why we instinctively think that this is the power supply unit. But it is the rear panel where the real magic happens. We are greeted with three balanced XLR input connectors (2 = hot) – the preamp has a symmetrical, differential design – and four unbalanced RCAs. Below are two pairs of balanced and two unbalanced output connectors (for the total of four) and an extra pair of auxiliary outputs. The AUX is a new, clever way of using the output to function as a third pre-out. It can be activated or switched off, it can also be configured independently of the main outputs, as a pass-through full-range subwoofer output or a record output. There, you can also connect a headphone amplifier. In the middle there is one entry - for phono. MM supports both the insert and the MC. These settings are made in the menu. If you do not use the turntable, this input can be switched off so as not to introduce noise into the system. The power supply and control module is heavier than the actual preamplifier. Its interior is divided with thick screens into three parts. The power supply is the company’s special pride, because it contains innovative design solutions. Electric power is rectified, filtered and controlled in three switching power supply modules from XP Power (± 15 VDC). It is then fed to the AC regenerator via heavy-duty bus bars. The AC regeneration system (very similar to those used by Ayon Audio in the third generation of the Polaris preamplifier and its power supply) is isolated from the mains voltage by the power supply and generates clean AC power that is subsequently sent to the rectifier and filtering circuits, and voltage controllers. The regenerator is actually a massive power amplifier that generates a 200 Hz sinusoidal AC current (vs. 60 Hz in the Ayon), which is fed to large toroidal transformers (one per channel). What is new in this power supply version is the refined and complex voltage controller at the regenerator output. The transformers provide perfect +5 VAC and ± 18 VAC. The former is used to power the relays in the audio circuit, and the latter is further filtered and controlled in the amplification section, providing ± 15 VDC at the output. The IEC power connector is shielded - I assume that it includes a mains power filter. The amplification module is also divided into three parts, although they have different proportions. In the very center, between two thick aluminum screens, sits the phono stage daughter board, which is plugged into the motherboard. Based on ICs, it also employs Wima capacitors and multiple relays to select the circuit gain and phono cartridge load. The amplification circuits, output stage and volume attenuator, all in dual-mono topology, are located on both sides of the phone board. Each channel comprises three daughter boards with the aforementioned circuits. They are plugged into the large motherboard and protected by a Faraday cage. The cage is informally referred to in the company as the "engine blocks." The amplification and buffer stages employ ICs. The volume attenuator is constructed using switchable discreet resistors. This is the fourth generation of the attenuator based on Levinson's idea. It first appeared in 1990, in the №29 preamplifier from Madrigal Laboratories. The company claims that it was the first "transparent" attenuator of the "solid state" type in the world. Volume is adjustable in 1 dB steps up to 23 dB and then in 0.1 dB increments. Input gain can be selected in four steps: 0 dB, 6 dB, 12 dB or 18 dB. Circuit boards with input connectors, activated by relays, are located at the rear panel. The RCA connectors are made by Levinson. They use Teflon® PTFE as dielectric. Each input switching circuit employs two relays in the T-Switch configuration. Their contacts are made of gold plated silver. What is important is the way the unused inputs are handled. The relays disconnect both the signal and ground paths from the RCA inputs connectors. The signal path is also physically coupled to ground in the middle of its trace. This allows for a complete isolation of all the inputs from the audio circuit as well as the inputs from each other. What we are talking about here is the level of isolation of more than 120 dB between the two channels of any given input and immeasurable between inputs. Mark Levinson calls the solution "virtually unplugged switching topology." All PCBs use high-speed Nelco laminate, with gold plated traces and solder pads. The assembly workmanship is simply perfect. Specification (according to the manufacturer) Phono Inputs Input Overload: • >100 mV @1 kHz (40 dB gain) • >10 mV @1 kHz (60 dB gain) Frequency Response: ±1 dB (RIAA response) Input Impedance: • Resistive: 3.3 Ω, 5 Ω, 7.7 Ω, 10 Ω, 33 Ω, 50 Ω, 77 Ω, 100 Ω, 330 Ω, 47 kΩ (user-selectable) • Capacitive: 50 pF, 100 pF, 150 pF, 200 pF, 250 pF, 300 pF, 350 pF, 0.01 μF (user-selectable) Gain: +40 dB, +60 dB @1 kHz (user-selectable) Line Inputs Volume Control Range: 80 dB Frequency Response: 10 Hz – 40 kHz (±0.2 dB) Input Impedance: 100 kΩ Maximum Output Level: 16 V balanced (XLR) connectors | 8 V unbalanced (RCA) connectors Signal-to-Noise Ratio: Residual Noise < 120 dB (20 Hz – 20 kHz, input terminated, balanced) Gain: 0 dB, +6 dB, +12 dB, +18 dB (user-selectable) Output Impedance: 20 Ω – balanced (XLR) connectors | 10 Ω – unbalanced (RCA) connectors Power Consumption (maximum): 65 W Dimensions (H x D x W): • Control - 82 x 438 x 330 mm • Audio - 140 x 438 x 330 mm Weight: • Control – 11 kg • Audio – 16 kg • Total – 27 kg [hfgallery] [img mini="foto_testy/1410/mark/th/05.jpg" big="foto_testy/1410/mark/05.jpg" src="foto_testy/1410/mark/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/06.jpg" big="foto_testy/1410/mark/06.jpg" src="foto_testy/1410/mark/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/07.jpg" big="foto_testy/1410/mark/07.jpg" src="foto_testy/1410/mark/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/08.jpg" big="foto_testy/1410/mark/08.jpg" src="foto_testy/1410/mark/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/09.jpg" big="foto_testy/1410/mark/09.jpg" src="foto_testy/1410/mark/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/10.jpg" big="foto_testy/1410/mark/10.jpg" src="foto_testy/1410/mark/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/11.jpg" big="foto_testy/1410/mark/11.jpg" src="foto_testy/1410/mark/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/12.jpg" big="foto_testy/1410/mark/12.jpg" src="foto_testy/1410/mark/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/13.jpg" big="foto_testy/1410/mark/13.jpg" src="foto_testy/1410/mark/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/14.jpg" big="foto_testy/1410/mark/14.jpg" src="foto_testy/1410/mark/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/15.jpg" big="foto_testy/1410/mark/15.jpg" src="foto_testy/1410/mark/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/16.jpg" big="foto_testy/1410/mark/16.jpg" src="foto_testy/1410/mark/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/17.jpg" big="foto_testy/1410/mark/17.jpg" src="foto_testy/1410/mark/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/18.jpg" big="foto_testy/1410/mark/18.jpg" src="foto_testy/1410/mark/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/19.jpg" big="foto_testy/1410/mark/19.jpg" src="foto_testy/1410/mark/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/20.jpg" big="foto_testy/1410/mark/20.jpg" src="foto_testy/1410/mark/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/21.jpg" big="foto_testy/1410/mark/21.jpg" src="foto_testy/1410/mark/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/22.jpg" big="foto_testy/1410/mark/22.jpg" src="foto_testy/1410/mark/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/23.jpg" big="foto_testy/1410/mark/23.jpg" src="foto_testy/1410/mark/23.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/24.jpg" big="foto_testy/1410/mark/24.jpg" src="foto_testy/1410/mark/24.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1410/mark/th/25.jpg" big="foto_testy/1410/mark/25.jpg" src="foto_testy/1410/mark/25.jpg" desc="HighFidelity.pl"] [/hfgallery]

[From: Wojciech Pacuła Date: Monday, October 6, 2014 at 4:40 PM To: Scot Hull Subject: Re: Introducing: The Audio Traveler] Dear Scott, I am editor of High Fidelity (High Fidelity.pl) magazine, Polish monthly magazine since 2004. We publish in Polish and English and more - we cooperate with Positive-Feedback and EnjoyTheMusic.com magazines. My bio you can find here: LINK For two years I've been conducting a program of interviewing editors from the audio world. The last one with all listing you can find here: highfidelity.pl/@main-490&lang=en (it was published at Positive as well): positive-feedback.com/Issue74/john_marks.htm An now - would you be interested in such interview? Just let me know. Yours truly Wojciech Pacula editor [From: Scot Hull Date: Monday, October 6, 2014 at 11:41 PM To: Wojciech Pacuła Subject: Re: Re: Introducing: The Audio Traveler] I’ve been reading your reviews for years.  Yes, I’d be happy to participate. Scot Hull Wojciech Pacula: Please tell us about yourself, your career, occupations etc. Scot Hull: The problem with gazing at your navel is that, occasionally, it gazes back at you. Which can be rather uncomfortable, especially if you’ve not been terrifically diligent about hygiene. The dirt, lint, and general clutter you find there really does undermine any serious attempt to glamorize an “origin story”, especially if you’re reaching for something poignantly prophetic that would clearly articulate the future you find yourself unfolding. “And that’s why I became King of the World,” you want to be able to say. Instead, you’re left with a fingertip full of nonsense that, instead, you have to attempt to explain with something other than a series of non-sequiturs. I say all this because I’m not really a writer. And wasn’t really all that interested in audio. At least, not before I started to do both.  But first, let me back up a step and introduce myself. My name is Scot. I am an introverted geek.  Twenty years ago, or thereabouts, I ditched my PhD program in Philosophy in search of fame and fortune. More specifically the “fortune" bit, because I had none and the credit card companies were become rather insistent about that whole repayment thing. I fell into technology, because in the 1990’s, that was the thing to do. It wasn’t by choice, or even reasonably “a plan”, I just lucked into a series of jobs that paid rather better than my graduate stipend. For much of that time, I truly intended to go back and finish the program. Get my doctorate. Teach, even. I imagined myself a professor, somewhat perpetually and charmingly disheveled, beloved by many and feared by more, putting shape to the ideas that would craft a generation. Yeah, that’s me, the buffoon, though I’m still a bit whimsical, foolish, and romantic about that missed connection. Instead, Life sunk its teeth into me, shook me like a toy, and spat me out into the ragged pile I now currently animate. Still an introvert. Still a geek. Albeit with a slightly better wardrobe than my visions of myself as a prof. How Part Time Audiophile started – why and when? Back in 2009, I was an avid consumer of ComputerAudiophile.com. I was bored at the day-job and ended up spending too much time on this particular forum. I read about and dove headlong into all manner of debates about the nature of Science, cheerfully untangling the apparently various meanings and intentions behind interesting terms like "double-blind methodology” and “the absolute sound”. I’m pretty sure there was some audio conversations in there, too, but I remember having had a fine time. By the time I came up for air, I had contributed quite a few (thousand) words and I thought it was huge fun, but at some indeterminate point, I became a bit worryingly OCD about the whole thing. I started reading Stereophile and The Absolute Sound. Thoroughly. Cover to cover. Scoured the forums. The e-zines devoted to audio. Everything.  I quickly noticed I was battling my own sense of attention deficit. I kept almost unconsciously flipping through to the end of a review. Did they like it? Did they not? What was the basis for the judgement? And then, bam, on to the next. It was all just a bit dull. Where was the fun? Anyway, being something of an idiot, I eventually said, “Hey, maybe I can do better!”  So, I started writing reviews.  By 2012, Part-Time Audiophile was starting to get traction. Two years later, we’re drawing over a million readers a year. Is it a “periodic” magazine or “portal”? How do you see web magazines, like magazines at all? be aperiodic and the content can be varied in length, depth or relevancy and still be valuable, entertaining and magnetic. With a magazine, it’s by definition a periodical. There’s good and bad with that, but Part-Time Audiophile hasn’t reached the size (or income!) level where I can create a staff that can contribute enough content, on deadline, to work it all into a book that’s released on a given schedule. Even if it does reach that point, I’m not sure I want to take it in that direction. Right now, I like the fluidity of publishing whatever, whenever. Pivoting a bit, I find the magazine format challenging and a bit restrictive. Paper is expensive, which means space is expensive. For me, the web is precisely the place where you’re not penalized for following an idea down a rabbit hole. Not saying that an editor isn’t a handy, useful or necessary thing (I’m looking at you, Stephen King and Neal Stephenson), but only suggesting that arbitrary abbreviation is not a requirement or even a desired goal. Online, I can add as many words as required, and still have space to add visuals. And that’s key. What do you write about in PTA? Part-Time Audiophile is an e-zine destination devoted to audio’s high-end. It’s an exploration, a ruminator’s tour through a land of artistic fetishism, though saying it that way makes it sound absurdly fancy, which it isn't. On PTA, I publish reviews on audio equipment, but also spots about the people, the places and all the weird little ideas that audiophiles obsess about. I’ll also spend a disproportionate amount of time on the arguments, the trends, and the blind alleys. Everything is in scope. About a year-and-a-half ago, PTA evolved a bit. I was encouraged to get a bit more commercial, and as this coincided with my wife’s irritation that this unpaid part-time jobby (job + hobby = jobby) was consuming quite a bit more of my time than merely “part”, I started recruiting other writers to help me expand the site. With this inclusion, I’ve been able to bring in some interesting new voices and give them a platform. That change also marks a bit of a shift in that PTA went from a think-piece site to a more mainstream review-site, and that’s the preponderance of what you’ll find there now. You just announced that you start The Audio Traveler – what it is and why did you do this? Stereophile’s Michael Fremer is quite fond of citing three major trends in audio’s high-end: the vinyl resurgence, the advent of high-resolution audio, and the explosion of the headphone market. To that trinity, I’d add a fourth — the growth of the audio show circuit.  There are a lot of reasons for that growth, I’m sure, but allow me to wave my hands a bit. Economic downturns since the Dot-Bomb bust, and the rise of online competitiveness, have made the audio show an interesting sales venue. Audio shows have always been a great marketing opportunity, but the explosion of the regional shows, at least in the US, have added a new twist: the audio show as a social event. This last bit is pretty interesting. At least, it is to me. You see, it turns out that I’m a wild, thorough-going, introvert. This is very different from saying that I’m shy, which I feel reasonably confident in saying that I’m not. It’s just that being around other people is a challenge for me, and one I routinely manage poorly. The more people potentially involved, the more poorly I manage it. I offer this not as a confession, but more of an invitation. High-end audio, I submit, has quite a few folks like me, hidden away in our man-caves and perfectly content and comfortable to reside there.  What’s interesting is that the audio show is a tailored opportunity to do that thing that we introverts are far too likely to dismiss or find an unconscious excuse to avoid: get out of the man cave and share. At an audio show, we can stretch. Mingle. Enjoy a meal, lift a pint, and swap snarky comments in person and not troll each other , facelessly, on some forum. And it’s at an audio show that we realize that, as audiophiles, we're not any weirder than anyone else — there are lots of us out there in the Real World. That’s not why I started going, but it is why I kept going once I started. As a result, I met a lot of people. I got a chance to see beyond the product to the artist behind it. Learn about their passions. Meet others just as bent as I, and rub elbows with those wildly different. My own fascination with headphone-based audio began at a show. Sadly, not being wildly wealthy, I was unable to make as many shows as I would have liked. So, in those cases, I turned to “mainstream media” to get my vicarious jollies. And that’s where the wheels came off the wagon. Turns out, most magazines either ignore the audio show entirely, or relegate it to a couple of paragraphs with some tiny, blurry photos. Worse, some will only skim the show, pulling a dozen or so highlights out and offering them up to the readers as “coverage”. But this isn’t a show. Capturing the party in words and safe-for-work images is hard enough, but one photo for every three or four rooms or product announcements was more frustrating than not covering the show at all. So, I started covering the show as I saw it. As I experienced it, at least to some extent. It was hard. It was overwhelming. Pretty much exactly like a show, actually.  The problem was that audio show coverage on Part-Time Audiophile was swamping everything else. A single article, a review on a high-end loudspeaker for example, would be completely buried by the fifty or more articles that would come from a single audio show. I needed to do something to make the content stick around a bit longer, so I broke out the noisiest part — show coverage — and landed it in it’s own space to make it easier to read. Please tell me, do you believe in future for perfectionist audio? 7. What things let it down and what can help rise it? I think you’re asking whether or not there’s a future for high-end audio and if so, my answer is “yes”. I think the future — ten, twenty years — may look rather different than it does today, but yes, I think there will be audiophiles for many, many years to come. In many ways, I think we’re very close to the industry’s height when it comes to real sound quality. Right in the middle of the “Golden Age”, if you will. If you believe in “the absolute sound” as the one, legitimate target for in-home audio reproduction systems, then I think we are closer now than we’ve ever been. That said, I’m not convinced we’ve come terrifically far — those vintage Altec/RCA systems did something that modern systems seem to have forgotten. We talk now about bringing a performer into our living spaces, when those older systems clearly took us to another place entirely. It’s a gap, to my mind, and one we’re not adequately addressing. But yesterday’s innovations are still unfolding. Napster and the iPod have profoundly changed the way new hobbyists are approaching the industry. That impact has not been fully felt yet, and more change will come.  Home Theater, as a segment, seems to have commoditized itself out of relevance. This is incredibly disappointing to me, as I’m a huge movie fan and love movies even more than music. Achieving immersive reality escapism at home was one of my earliest “true audiophile” experiences and was utterly formative to my interest in the larger hobby. But I don’t see the sound bar as anything other than a colossal mistake and industry-collapsing dead-end. Unless something revolutionary happens, and I’m not sure Atmos qualifies, I can’t see this as a viable market for boutique manufacturers some twenty years from now. Personal audio, by contrast, is just now gaining steam. With Beats, we have a market-anchor heavy enough to swing broader interest and I think many “traditional” hi-fi manufacturers are now, or will be soon, exploring this segment. With that shift, I expect headphone-based audio will experience something of a Renaissance. By that, I mean that innovation will accelerate and sound quality will make dramatic progress, but perhaps most importantly to the high-end as a whole, this shift may provide a bridge toward growth. In the near term, portable audio gear will get radically better. It will also get a lot more expensive. And eventually, there will be another disrupt and personal audio will face its own “home theater moment”. Vinyl, as a segment, will continue to grow. If I had to guess, it’ll be a least another ten years. Downloads were a catastrophe for the music industry, and not due to piracy. Vinyl requires an investment, both in time and in gear — and vinyl is the path forward, at least in part, for both them and for audiophile manufacturers. Albums, a charming anachronism, are suddenly a requirement again with vinyl. Good “album making” is an art, and if the music industry can pull its head out of its ass long enough to stop with the formulaic construction of song-making and band-construction, it might find relevancy again due in part to the requirements that vinyl bring to sales. We’ll see.  As for the long term, who knows. I think the problem with prognostication is that very little ever changes very much, or very quickly. So, I suspect that “audio’s high-end” will be around much longer than anyone expects.  Are you listening vinyl, CDs or files. Why? Most of my listening is computer-based. I was a big mixed-tape guy in the 1980’s and mixed-CD enthusiast in the 1990’s. Playlists were a natural extension. That said, I’ve been working on a growing LP collection. I have about 300 so far and have no plans to stop. For me, an LP is a commitment. When I want to “listen to music” (emphasis on listen), I’ll fire up the vinyl playback system. When I want music, I start up iTunes.  Lately, I’ve been doing a lot of streaming. Where iTunes with playback and room-correction software like Amarra kicked it up to a whole other level, streaming was perfectly good for background music. Ambience. I got hooked on Pandora shortly after it’s launch, and I’ve been using it regularly since. I really wanted to like Spotify or Beats, but the sound quality was so dull, it didn’t keep my attention any better than Pandora did. Tidal HiFi, a new service I just started using carries a dramatically better sound experience, so I’ve been doing more with that.  What are the biggest sins of web magazines? The number one cardinal sin is “being boring”. Just about everything else is forgivable. But if you’re boring, that’s pretty much death. There’s a lot of sites out there. Some magazines, like High Fidelity and InnerFidelity, are really quite dense with good, useful and hard-to-find-elsewhere information. Some, like mine, shoot for a balance between info and entertainment. Others? Well, for many, it’s not really clear what their value proposition is. That’s not helpful, but part of that is growing pains. Eventually, you hit on something and it works. Or, you go do something else.  What the Internet lets us newcomers do is explore. It also allows us the freedom to do things we cannot do within the confines of traditional media — perhaps because we’re changing the paradigms, but more likely because there’s really no room up there at the top. Web-based publishing lets us all bang around, get better at the craft and to gain the experiences that only writing will bring. A proliferation of venues has a means writers now have a lot more options, too — it’s now much easier for a writer to cobble together something approaching a living, even when focusing on a tiny niche like high-end audio. And all this means that there are lots of voices to choose from, and the chances of any given reader finding a writer that lines up with their taste and preference is dramatically higher. That’s a good thing. The downside, of course, is that not all of that material is actually worth the time it takes to consume it. It was a trivial thing to keep the quality of journalism quite high when there was a small number of outlets. Now, the bar to entry is quite low. There are no agreed upon standards for what a “good review” is or should be, what baselines or references are or could be, or even what commonly used terms should mean. This makes value unclear. Worse, there are now players in the pool that really ought to be remaining on the sideline. New writers with excellent potential are on equal footing with shills with obvious conflicts of interest. And they’re forced to compete with all of the noisily outraged and the aggrieved, those with no sense of restraint or interest in doing more than railing at perceived injustices. It’s all a bit of a muddle. The web-based magazine that doesn’t offer a clear alternative, with obvious editorial standards, will find itself lost in a sea of noise. In fact, even those with those lofty ideals, most are swamped. Welcome to the free-for-all! Right now, I think the biggest challenge facing web-based publications generally is one of relevance. What makes a site good or useful or worth the time it takes to visit and consume the content? Quality content! But in the Wild West of Internet publishing, good writers with real skill and a unique voice are a hot commodity. Which is a problem for magazines! This requires finding a way to keep that talent interested and invested. Which means finding ways to keep them happy. Which means, usually, money. Or prestige. Or something. Web magazines are at risk of seeing their talent flee, and with that talent, their value proposition, and soon after, their reader base.  Which brings me back around, almost full circle. The biggest sin, then, that a web magazine can make is by letting itself become boring. Both to the readers, and to its contributors. In the end, it isn’t enough simply to “be out there” or “to have been out there for a while.” You have to keep it interesting. For me, that means keeping it fun. Time will tell if my formula works. But I’m paying attention to it. What is your audio system? What you dream about? My system, as a reviewer, is pretty much always in flux. The current iteration revolves around a high-sensitivity loudspeaker from DeVore Fidelity and electronics from BorderPatrol. Vinyl playback comes courtesy of TW-Acustic. I have another system that leverages some uber-speakers from TIDAL and electronics from Vitus Audio. I have desktop gear from Cavalli and Audeze, and portable gear from Noble Audio and Astell&Kern. Unfortunately, however, I’ve become something of a hoarder. Not enough for my own TV episode or anything, but more than I can use for certain. Are you happy? I mean - are music and writing something that can give happiness? What an interesting question! I think it’s almost a truism to say that music can evoke emotion. If I denied that, I’m not sure what I’d be saying about my underlying humanity. Nothing good! But even though I’m an introvert, I do have feelings and yes, music can evoke them. Including happiness and joy — and all those other ones, too. But writing is a little different. It’s not painful, per se, nor is it cathartic. Writing is just a natural way for me to order my thoughts. To translate the things I’ve learned and to approach the things I haven’t. I love words! I’m always reading, always absorbing, but also diversifying — I’m an omnivorous consumer of information. But the essence of writing is hard to capture with its own tools. I love it. I hope to get good at it, one day. In the meantime, I bang away.  But to peel off that last layer … yes, I am happy. In my own way. I could be happier. I could also be wealthier. I’m not sure those are unrelated. But I’m certainly happy with what I’ve done with Part-Time Audiophile. I’ve written for some of the biggest names in the audio publishing business. In the US, at least. I have my sights set on one more. And then I might write a book about the whole sorry, weird, tangled mess. Something with monsters or robots, maybe. Who knows. But what I do know is that I’m not quite done. Not yet. Please tell us 10 albums that readers of High Fidelity should listen right away. Please tell a few worlds about them. This is kind of like asking to see my underwear! I have no expectation that my taste in music is relevant to anyone else, much less shared, but this is what I’m listening to these days: Dave Carter & Tracy Grammer, Drum Hat Buddha Roseanne Cash, The River & the Thread Nick Cave and The Bad Seeds, Push Away the Sky Rumer, Boys Don’t Cry Cat Stevens, Tea for the Tillerman Matthias Landaeus Trio, Opening Mumford and Sons, Sigh No More Johnny Cash, American IV: The Man Comes Around Morcheeba, Blood Like Lemonade Lake Street Dive, Bad Self Portraits Thank you very much! Thank you! In “THE EDITORS” series we have interviewed so far: ART DUDLEY, “Stereophile”, USA, editor-at-large, see HERE Helmut Hack, “Image Hi-Fi”, Germany, managing editor, see HERE Dirk Sommer, „HiFiStatement.net”, Germany, chief editor, see HERE Marja & Henk, „6moons.com”, Switzerland, journalists, see HERE Chris Connaker, “Computer Audiophile”, founder/chief editor, see HERE Matej Isak, "Mono & Stereo”, chief editor/owner, Slovenia/Austria; see HERE Dr. David W. Robinson, "Positive Feedback Online", USA, chief editor/co-owner; see HERE Jeff Dorgay, “TONEAudio”, USA, publisher; see HERE Cai Brockmann, “FIDELITY”, Germany, chief editor; see HERE Steven R. Rochlin, “Enjoy the Music.com”, USA, chief editor; see HERE Stephen Mejias, “Stereophile”, USA, assistant editor; see HERE Martin Colloms, “HIFICRITIC”, Great Britain, publisher and editor; see HERE Ken Kessler, “Hi-Fi News & Record Review”, Great Britain, senior contributing editor; see HERE Michael Fremer, “Stereophile”, USA, senior contributing editor; see HERE Srajan Ebaen, “6moons.com”, Switzerland, chief editor; see HERE

he Digital Revolution 2.0 that has been happening in audio world in recent years changed the whole industry. It shifted the focus to devices that play and convert digital signals. Suddenly digital players, USB converters and DACs became very important parts of many manufacturers' activities. While it is an USB cable that is used between computer and DAC, most other digital connections are made with coaxial S/PDIF cables. There are not so many Polish digital cables. To make them one has to combine listening experiments with a technical rigor that will allow cables to match industrial, measurable standards, among which the most important one is impedance of 75 Ω. To fulfill such requirements one needs something more than just a small workshop, it requires knowledge and access to proper manufacturers that actually make such cables. As I'd mentioned in my review of KBL Sound Red Eye power cable: manufacturing audio cable is a complex job that only few companies around the world undertake. Usually these are large companies manufacturing OEM cables for a large number of small finished cables manufacturers. Having a digital cable in a portfolio in the top Red Eye line is a sort of nobilitation for KBL but on the other hand also an obligation. The RCA-RCA (S/PDIF) termination is the only one available in : 1 m, 1,5 m and 2 m lengths. It sports a characteristic red-black sleeve and nicely looking connectors made of tellurium copper with carbon fiber jackets. It is delivered in a nice box giving a very positive first impression of a product of a professional manufacturer. KBL SOUND in „High Fidelity” TEST: KBL Sound REFERENCE POWER DISTRIBUTOR + RED EYE, see HERE | RED Fingerprint Award KBL Sound Since that's a digital cable its impedance of 75 Ω was one of key parameters we had to remember when building it. Surely other factors like purity of a conductor mattered too. We decided to use OCC silver that was also artificially aged. Silver crystals are particularly long which makes the whole conductor's environment very homogeneous. Due to this process the sound is smoother and any harshness often introduced by silver is eliminated. Surely we couldn't have any of it to achieve a neutral, well balanced sound. There is a double silver shielding to eliminate any distortion that could effect the sound. We also paid a particular attention to the problem of vibration damping, We used two auxiliary solutions, both based on advanced plastic production technologies (derivatives of Teflon), with the key focus on the internal structure of the cable. Connectors are made of tellurium copper, silver and rhodium plated, with a carbon fiber jackets that offers the best conductivity, best contact and best protection from RFI and EMI interference. They were carefully selected during trials with several different types and are manufactured for us upon our order. We managed to keep cable quite flexible despite the complex internal design. I think it's a good idea to offer some explanation here, in particular concerning two things. One of them concerns my reference system. When reviewing new Acoustic Revive cables I was truly impressed with Mr Ishiguro's new achievement (see HERE). I declared it clearly more then once. But despite that some people asked me why I hadn't like these cables, which was their conclusion they'd drawn from a few critical words I'd used in my review. There is surely some misunderstanding here. What I do is reviewing audio products not just praising them. I am not interested in comparing a review item to other products from its price range, nor to less expensive ones (I might do it as a small part of the comparison but conclusions are not the ultimate ones). Doing it this way one could write a review praising particular product but this sort of review wouldn't hold much value. If one wants to find out something of value about amplifier, speakers or cable one has to compare it to much more expensive reference product. Only such a comparison will clearly show the weaknesses of the reviewed product. And only knowing it's downsides one could try to understand what exactly this particular product is, where it fits and where it doesn't, how to use it to benefit from particular set of features – long story short: whether it is a right product for one's needs. Writing panegyric that say: it is the best product in the world, known universe and beyond is simply stupid. It could boost manufacturers' and distributors' ego, in a short term also increase sales. But a lie has no legs. One doesn't have to be an expert on audio magazines to notice a certain regularity: most reviews are very enthusiastic (about how great the product is), few are very critical. The latter, trust me on that, are in fact agreed with manufacturers and/or distributors, they don't just happen. And nothing new comes from those reviews, readers don't really learn anything new about the product. I think it is one of the reasons why many audiophiles don't trust reviews in audio magazines. A second “thing” concerns Acrolink cables. One of my reference cables is RCA-RCA digital Mexcel 7N-DA6100. I listened to only two other cables that offered better performance but both were way more expensive. Acrolink offers everything I need: fidelity, stable performance over time and it works with any device. And now: I heard more than once that it was a cable delivering “lean sound”. With all due respect: that is not true. It delivers very precise, detailed sound but also with proper “weight”, richness. What for example Siltech Double Crown offered was even better density, richness of the sound. But it doesn't mean that Acrolink's midrange isn't rich enough, or that it doesn't deliver proper bass. Most cables compared to it sound like they were “hollow” even if the first impression tells us they sound “darker”, more mature. But what we really get is usually some modification of tonality, timbre, some softening of the attack phase and decreased resolution. To the point: Red Eye cable, as you are about to find out, is a great product. That made this test a great pleasure. But it also brought some responsibility on me. I spent more time testing it then I usually do. I compared it to above mentioned Acrolink Mexcel 7N-DA6100 (as top reference), and with Acoustic Revive COX-1.5tripleC-FM (copper; as low point reference) and Oyaide DB-510 (silver). The source of signal was Philips CD Pro2 transport inside my Ancient Audio Lektor AIR V-edition. The alternative source used for Red Book signal as well as for hi-res DXD one was AURALiC Aries. Signal was then converted by AURALiC Vega DAC. Recordings used during test (a selection) Miralula. Medieval Music for Saint Nicholas, wyk. Ensemble Peregrina, Agnieszka Budzińska-Bennet, Tacet 213, CD (2014). Zapach psiej sierści, soundtrack, muz. Włodzimierz Nahorny, GAD Records GAD CD 019, „Limited Edition 500 Copies”, CD (2014). Al Di Meola, Flesh on Flesh, Telarc, 24/96, źródło: HDTracks, FLAC. Billie Holiday, Billie Holiday, Clef/UMG Recordings UCCV-9470, „David Stone Martin 10 inch Collector’s Selection”, CD (1954/2013). Cream, Disraeli Gears, Polydor/Universal Music LLC UICY-40023, Platinum SHM-CD (1967/2013). Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, "Special Edition Hardbound Box Set", CD+USB drive 24/44,1 WAV (2012); Depeche Mode, Ultra, Mute/Sony Music Labels, Blu-spec CD2, (2007/2014). Fleetwood Mac, Rumours, Rhino, FLAC 24/96. Jerzy Milian Trio, Bazaar, Polskie Nagrania “Muza”/GAD Records GAD CD 017, „Polish Jazz vol 17”, CD (1069/2014). Kankawa, Organist, T-TOC Records, UMVD-0001-0004, "Ultimate Master Vinyl", 4 x 45 rpm 180 g LP + CD-RIIα + 24/192 WAV; Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014). Mikołaj Bugajak, Strange Sounds and Inconceivable Deeds, Nowe Nagrania 001, 45 rpm LP+CD+WAV 24/44,1; Robert Kanaan, Continuum, Soliton SL 383-2, CD + pliki WAV 24/44,1 (2014). Japanese issues available at [REKLAMA5] Sending signal via any connection changes this signal. That's an axiom from a philosophical and practical point of view. Digital cables are no exception. The fact that the character of send signal differs from the analogue one doesn't change a thing; what changes are the ways the signal is changed which ultimately translates to how they change the sound. In my experience digital cables, treated by many audiophiles with similar, low esteem as power cables, seem, at least at first, to introduce smaller changes to the sound than analogue cables, interconnects and speaker cables. But after couple of hundred trials I tend to believe now that the above sentence is true and not true at the same time. It is true as some element responsible for the sound impression don't change. Not so true as there is something changing that lays deeper in the sound, something that gives the sound a proper structure. Red Eye sounds (I will used this word even though it is rather about the changes it introduces to the sound) in a warm way, delivering large scale sound. It would be difficult to mistake its sound with any other I used for reference in this test. In general its tonality reminded me the one of Harmonix HS-102. What is even more important is that accent is shifted towards lower midrange which effects the way instruments are presented. This Polish cable presents them bit closer to the listener, which creates also an impression of them being bigger. This cable offers “large scale” sound – something that many systems, no matter their price, lack. KBL cable will introduce large scale, rich sound to any system. They will deliver beautiful, mature sound which a nicely detailed, close foreground, large soundstage and a hefty bass. Acrolink 7N-DA6100 delivers extremely precise sound. It is fully capable of delivering precise attack and everything that follows. Sound definition is exemplary and so it its resolution. These are surely required features but in practice one won't always be comfortable with them. An example – the latest Leonard Cohen's album Popular Problems. There are two main planes here – Cohen's voice is one and all the rest (instruments, chorus) is the other. These two were recorded in a completely different way, in a completely different acoustic environment and the quality of these recordings differs significantly. Cohen's voice is recorded poorly. Since the artist barely speaks he sand directly to the microphone, and the sound engineer did his best to make everything, even smallest details audible. To do that he used quite heavy compression which translated into quite a rough sound. In this particular case Red Eye did kind of remastering smoothing out harsh edges, emphasizing lowest part of vocal and rolling off its upper part. I observed a similar effect when listening to 1952 Billie Holiday album. The vocalist's voice seemed large, warm, and the accompanying trumpet seemed a bit withdrawn. It seems that this is a characteristic feature of this cable as I observed similar effect on all recordings I listened to. With some of them it gave the music a new, better quality improving some unwanted “effects”. But with others, like for example with Jerzy Milian's Bazaarem, or Robert Kanaan's electronic music of Continuum, it changed the overall character of the presentation making it warmer, darker, and loosing a bit of their clarity that was delivered by Acrolink, Acoustic Revive and Oyaide. To be honest – I don't think anybody could really dislike this sound. I mean there it might lack some precision so don't expect equally perfect imaging as Acrolink or the top Siltech deliver, but there will be amazing richness and depth to the sound. It doesn't mean that Red Eye offered dark sound lacking clarity or a spark at the top. This could be true if it was a case of an analogue cable. When it comes to digital cables changes are about something deeper “under the skin” rather then just only on the surface so one has to think about them differently. Changes a digital cable introduces to the sound are not of “wow!” kind, but rather they make listener more interested in the music, make one wonder what will come next with another piece of favorite music. Especially because the sound offered by this cable is very well aligned, very coherent with top treble being a bit of exception as it seems to be slightly emphasized (because upper midrange seems slightly rolled off). One will notice that only when listening to puristic classical music recordings and even then it should not be a real issue. The attention will be focused on lower parts of the range, on richness and palpability of the sound. It is one of very few cables that really benefits form offering exceptionally palpable sound. Any recordings listened with KBL will sound nicely and will offer a lot of satisfaction to the listener. Summary It is very difficult to combine precision and density on the highest performance level. I encountered that maybe twice in my life, one being listening session with the top Siltech cable. The most expensive Acrolink follows the path of precision and dynamics without losing proper richness of the sound. The bass extension is better then offered by any other cable I know and the same goes for precision of imaging. Red Eye can do equally well. But it delivers something that is the main difference between Acrolink and Siltech, density, richness of the sound, at the expense (there is always a cost of doing something better than others) of attack and resolution. It always allows for amazingly pleasant contact with music and it never does anything wrong. It will save more then one expensive system that delivers a lot of sounds and but not music. When used in the most expensive, most sophisticated systems their owners will have to find their own answers whether Red Eye introduces changes they require. But even there, among top systems, KBL will often find its place being the final puzzle making the system a whole and allowing its user to truly enjoy any music. Most information about the design of Red Eye Mr Robert Szczerbowski already gave you above. Let's summarize: it is an unbalanced cable (available only in RCA-RCA version) with aged, long crystal OCC silver conductors. It sports a double shielding, also made of silver. Dielectrics, derivatives of Teflon, serve also as damping material. Clamped connectors are made of Rhodium plated Tellurium copper. Connector's body is made of carbon fiber. Cable is quite flexible which make implementing it in a system very easy. It is delivered in a very nice box. This is as good place as any to announce that KBL Sound Reference Power Distributor and KBL Sound Red Eye power cables became parts of SYSTEM B, together with Graham Audio LS5/9 speakers, Leben CS-300 XS (Custom Edition) amplifier, Siltech Classic Series signal cables, Pro-Ject Xpression1 turntable and Linear Audio Research LPS-1 phonostage. This system is used mainly for „Music To The People” magazine but also for my reviews conducted for „High Fidelity”. ROBERT KANAAN Continuum Soliton SL 383-2, CD (2014) When it comes to art everything is connected with everything. Even these artists that choose their own, solitary path, can do that by refusing to be a part of some larger movement. They base their artistic creation on something they touched, inhaled, something that got stuck to them, or just barely touched them. Every artist is a sum of all impressions processed by his own personal sensitivity. Similar mechanism works also for those who perceive the art. So it is quite natural that once we get interested in some subject, in something that attracts our attention, delighted by something sooner or later we try to explore the subject, to learn as much as possible about it. So in a way a review of the newest album by Robert Kanaan, called Continuum simply had to come after the review (in September's issue of HighFidelity) of the Hołd by Robert Kanaan & Krzysztof Duda & Przemysław Rudzia (see HERE). Robert Kanaan's album Continuum was released on August 22nd 2014. Robert Kanaan is a composer born in Wrocław, and presently living in Gdańsk. He is known most of all of music he composes for theatrical spectacles. On Bandcamp he describes his music as a: modern „World/Ethno/Electronica”. Continuum is a concept-album, same as the previous release Gaja. As you can read on artist's webpage this album depicts a vision of a paradise lost, an utopia „Sacred island”, where man live in harmony with “Nature” and “Universe”. Robert Kanaan composed music, lyrics were written by Anna Kobiela – Kanaan (info from her www site: „founder and president of Foundation Re: Akcji Artystycznych FREA-art, director, educator, business coach, mother”), and vocals were done by Katarzyna Chudzik (student of Music Academy in Gdańsk, a participant of TVP 2's show „Bitwa na Głosy”). The recording was done in Kombinat Produkcji Dźwięków, and it was realized by Mirosław Worobiej. The album was issued as digipak. There were two paintings used on front and back cover. The former is Henri Rousseau's (1844-1910) The dream (1910), and the latter is The snake charmer (1907). The Dream was the last painting Rousseau ever did. I asked Mr Robert directly some questions and that's what he told me: Wojciech Pacuła: Could you describe the process of making material for this album? Robert Kanaan: I work on a computer with Cubase 5 software that is a “heart” of this system. As for the sound – apart from a significant VST collection (East West Quantum Leap among others – a full range of instruments on a disc, KONTAKT Komplete, Sonic Couture) I use also sound of some electronic instruments like: Roland XV 5080, Kurzweil K2000, or Korg R3 with vocoder . I record material as MIDI tracks, trying to play mostly live, using sampling frequency of 96 000 kHz and 24 bit resolution. Simply, instruments sound best when I use these parameters. This material is later pre-mixed. When the computer can't deal with all the tracks simultaneously I can “freeze” some of them while still being able to use EQ, effect edition and automatics in Cubase. In this way I arrive at my premix, and then I give it, or myself some time before I come back to it and change the project. When I'm at the stage when premix becomes acceptable, I have to export all tracks to wave files, usually transferring both the effect tracks and my raw solo tracks with the latter at the front and the former in the back (East West Quantum Leap Symphonic Orchestra offers this feature because the material was recorded with microphone in three positions).  And then? When this huge folder is ready (it happened that I transferred 38 mostly stereophonic tracks in Continuum so folder was HUGE), I finally take it to the studio. I have been working mostly with Mirosław Worobiej from Bydgoszcz for some time now. Previously he worked as sound engineer in Radio PiK, but now he works in his own studio called KOMBINAT PRODUKCJI DŹWIĘKU. Sometimes I work with other sound engineers too in different environment like in Radio Gdańsk for example. I believe that an objective sound engineer can spot the key elements of particular piece of music and competently expose them which makes recording clearer, apparently simpler. That's what I want.... What is really achieved, that's not for me to judge. For the last album also Katarzyna Chudzik's vocals were recorded in KOMBINAT PRODUKCJI DŹWIĘKU studio. As for studio's equipment - Continuum was made using the newest version of PRO TOOLS, with a set of very good effects, both internal and hardware ones like: TC Electronic, Alesis, Brainworx Studios series, obviously WAVES top series and others. Usually we work together with sound engineer mostly using classic Yamaha monitors, sometimes switching from near to far field listening. More information about studio can be found HERE . Finally when the material is almost ready, mixed it comes to listening sessions – I personally use my Beyerdynamic DT 990 PRO cans – and later it goes to mastering. At this stage mastering engineer works on wave files and uses such devices as TC Vitalizer, plus he runs music via tube devices. Finally he uses WAVES MAXIMIZER, but only to make changes of 2-3 dB. I don't want my music to sound “flat”. It is not an easy process, you need to find the golden mean. Material for Continuum was mixed using 24-bit depth and 48 000 kHz bitrate. Most studio hardware use this standard. So still in the same resolution the material is mastered and only when it comes to finalizing master “tape” it is down-sampled to a Red Book CD standard. Any other interests than electronic music? Apart from electronic music I've been focusing my activity for some time now on string quartets. First time was when I was commissioned by City of Żnin to compose a music poem that was titled CARMINA IANICII. To perform it I invited LA SCALA quartet form Gdańsk, singer Iza Plath from Baltic Opera and actor Andrzej Pieczyński. One of the things I do presently is a transcript for string quartet of my music for Bal u Salomona play. In fact I did a lot of illustrative music, mostly for theatrical plays, in the past. On many occasions I invited different soloists to perform my music – violist (Marta Wiśniewska), soprano (Elżbieta Stengert), sometimes I also experimented recording actors' voices. I've been also orchestrating carols for the last few years for periodical charity event "FALA DOBRA" for Pozytywne Inicjatywy Fundation. I mentioned that because this years I decided to base my orchestrations on vocal recordings that were “tuned” and sampled by me. As a main tool I decided to use KONTAKT Native Instruments, although for some effects I used also a free plug-in, Shortcirquit, mostly because it is one of very few that allow working on 24-bit samples. SOUND The sound of Mr Robert's album is well balanced. It is clear that the goal was to achieve sound with impressive, very clear spacial effects. Sound is vivid, agile but producer didn't “forget” about lower end. Sound might seem a bit “light” but that is just an impression. Lowest bass isn't as rich as on some other recordings like, for example, of Novika, Michał Bugajak and other bands performing dance an electronic music. I wouldn't say that there is too little bass here, it is rather a sonic character of this recording. It seems that what musicians and sound engineer had in mind was first of all clarity and selectivity, also spacing seemed important to them and they achieved exactly what they wanted. Due to proper usage of reverb and spacial effects sound that we get has many layers with sounds from the background smoothly entwining with these placed in the front. It's a really good, solid production. What's not there? I can't tell you why but Polish productions don't have same large scale of sound as the best recordings done abroad. Even really poorly recorded Mike Oldfield's Man On The Rock album offers richer, more meaty sound. Continuum offers much, much higher sound quality, as it's clearer, with less compression, more spacious. But still this one particular aspect makes Oldfield's recording sound „fuller”. Not to mention old Vangelis recordings, like Spiral from 1977, like old recordings of Jean Michel Jarre from before 1969, that you can find on Rarities from Essentials & Rarities album, and like many others. Surely some credit has to go to newer, more advanced digital instruments, but the other factors are changes in a way material I recorded, mixed and mastered./p> This is the only one thing I would change about the sound of this album. It's a really cool, enjoyable, easy to listen album. It offers pure and selective sound, no brightness, no harshness or whatsoever. Sound is rather on a soft side so don't need to worry about any sharpness. I would appreciate bit more density of the more, more distinct imaging and larger scale of the sound, but very few recordings are done this way nowadays. Mr Robert was kind enough to send me, together with CD, also two CD-Rs with the same material but in 24 bit/44,1 kHz resolution, which allowed me to compare Hi-Res files with a final product - a CD that is sold to customers. Differences between Red Book resolution and Hi-Res are always clear especially if you listen 16-bit right after 24-bit material. This case is no different, especially bass definition was clearly better when I played Hi-Res files, but also sound clarity on both frequency range extremes. These differences didn't really influence my take on sound quality of this recording and in fact they were less significant then I'd expected. Than means that change from 24 to 16-bit was done properly. Sound quality: 7-8/10 robertkanaan.pl robertkanaan.bandcamp.com [hfgallery] [img mini="foto_testy/1411/kbl/th/05.jpg" big="foto_testy/1411/kbl/05.jpg" src="foto_testy/1411/kbl/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kbl/th/06.jpg" big="foto_testy/1411/kbl/06.jpg" src="foto_testy/1411/kbl/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kbl/th/07.jpg" big="foto_testy/1411/kbl/07.jpg" src="foto_testy/1411/kbl/07.jpg" desc="HighFidelity.pl"] [/hfgallery]

Many people wonder what will we do next. As you can see the only thing we lack in our portfolio is a signal source. And, to be honest, we have been working on our own streamer's platform for years now (yes, platform, not streamer itself) and we should finalize our project very soon. You can't even imagine how many features will this product offer. We will present it next year in Munich during HighEnd Show. It will be another cutting edge product that will change audio industry. Wang Xuanqian | President & CEO A few simple words…, see HERE t's hard not to notice how proud Mr Xuanqian was telling me that. When I spoke to him in Munich in 2014 he told me the same thing and when listening to him I already knew that he was right. Aries is a files player – that's probably the best description for it. Audio manufacturers still haven't decided which word should be a universal one describing this sort of device, which leads to usage of many words among which „streamer” seems to be the most popular one. This particular name suggest device's function – receiving data from a data carrying medium (HDD, SSD, FLASH drive) and forwarding it to a D/A converter. I think that the name Auralic came up with - „Wireless Streaming Bridge” - describes their device in an even more precise way. A files player not only transfers audio files from medium to DAC but it also decodes them translating WAV, FLAC, ALAC, DIFF, DSF and other files to a signal that is understood by DAC, to PCM or DSD to be exact. That proves that usage of a word: bridge, makes sense, as this device is a bridge between either local data storage or Internet (it does not really matter as that is only a detail describing where the read data are stored) and DAC. That's more or less what all files player do, even very basic ones. Aries offers much more. It is able to decode even the 32 bit 384 kHz (DXD) files. It will also play DSD 2,8224 MHz and 5,6448 MHz (respectively: DSD64 and DSD128) signal. Well, there are few D/A Converters capable of processing even Octuple DSD (DSD512, 22,5792 MHz) and 768 kHz PCM signals but... there are no recordings in neither of these formats, or maybe there are two or three, meaning nobody has to worry about being able to play them. I believe that for many Readers another feature might be particularly interesting – Aries can work as wireless Bridge playing not only Red Book CD files but also Hi-Res, even DXD and DSD128. Manufacturer invested a lot of money to develop this feature believing that it was one of the keys to Customers' hearts. ARIES is powered by AURALiC's proprietary Tesla hardware platform that includes a Quad-Core ARMCoretex-A9 processor running at 1GHz, 1GB DDR3 onboard memory and 4GB internal storage. The Tesla platform has a calculation ability of 25,000 MIPS, more than enough to decode a vast spectrum of audio formats, including AAC, AIFF, ALAC, APE, DIFF,DSF, FLAC, MP3, OGG, WAV, WV and WMA. AURALiC has chosen this platform for a long term supporting consideration, the feature planned include DSD up-sampling, room acoustic treatment and other acoustic DSP function. The device is quite small and looks quite differently from previous Auralic's products. Because of it's wireless functions and lack of external antennas manufacturer has decided to use casing made of plastic, not metal. The design is very nice though, it looks a bit like oyster's shell. Front hosts a small OLED display that allows user to read the track number, time, plus a graphic representation of a play time. I haven't found an option to force it to display title of album nor track. One can control it via a plastic remote control, that works also for Vega DAC but unfortunately both devices react to remote commands at the same time. The truth is that if you want to have a full control you need to use a tablet with Lightning DS App. I have to admit – I don't like iOS, or to be exact I don't like to be force to use devices with this system. That's why I waited a long time with this review hoping that an app for Android would be released. It is still not out and I couldn't wait any longer. Knowing my luck Android app will come out very soon. So I decided to borrow an iPad from Polish distributor and used it to control Aries. At the time of the review using USB external HDD wasn't still an option so a signal was delivered from Synology NAS. There are two versions of the Aries. I reviewed the more expensive one that sports two FemtoClocks, for USB input and digital inputs, and also a more advanced linear power supply that is based on a proprietary Auralic's This device is able to send out a signal in few different formats. I was interested in two of them: S/PDIF via electric RCA and USB. The former delivered signal to AURALiC Vega D/A converter, and the latter to a special version that we received for „High Fidelity's” 10th anniversary of a DAC/headphone amplifier Gemini 2000 (basic version's price is: 8000 PLN). During this test Aries was placed on Acoustic Revive TB-38H platform, which rested on Finite Elemente Pagode Edition. I used two cables for S/PDIF connection: Acrolink Mexcel 7N-DA6100 and KBL Sound Red Eye. Both are very good performers but offering very different sonic signature which gave me a better idea about Auralic's capabilities. Signal to Gemini was sent via Acoustic Revive USB-1.0SPS with separate runs for audio signal and power. Power was delivered from external battery PS. Signal from Synology DS410j/8 TB was delivered to Linksys WAG320N router with Acoustic Revive LAN-1.0 PA cable with RLI-1 filter (server-router), and next with Reference LAN Cable by JCAT (router-player). AURALiC in „High Fidelity” • TEST: Auralic VEGA Digital Audio Processor – D/A converter, see HERE | Awards RED Fingerprint/BLUE Fingerprint • TEST: Auralic ARK MX+ – D/A converter, see HERE Recordings used during test (a selection) Miralula. Medieval Music for Saint Nicholas, wyk. Ensemble Peregrina, Agnieszka Budzińska-Bennet, Tacet 213, CD (2014). Vinyl Magic for High Fidelity, sampler, DVD-R, vinylmagic.pl, 16-24-32/44,1, WAV, ripy z DVD-R. Zapach psiej sierści, soundtrack, muz. Włodzimierz Nahorny, GAD Records GAD CD 019, „Limited Edition 500 Copies”, CD (2014). Al Di Meola, Flesh on Flesh, Telarc, 24/96, źródło: HDTracks, FLAC. Billie Holiday, Billie Holiday, Clef/UMG Recordings UCCV-9470, „David Stone Martin 10 inch Collector’s Selection”, CD (1954/2013). Cream, Disraeli Gears, Polydor/Universal Music LLC UICY-40023, Platinum SHM-CD (1967/2013). Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, "Special Edition Hardbound Box Set", CD+USB drive 24/44,1 WAV (2012); Depeche Mode, Ultra, Mute/Sony Music Labels, Blu-spec CD2, (2007/2014). Dick Hyman, From The Age of Swing, Reference Recordings HR-59, HRx: WAV 176,4/24, DVD-R (1994/2001). Fleetwood Mac, Rumours, Rhino, FLAC 24/96. Jerzy Milian Trio, Bazaar, Polskie Nagrania “Muza”/GAD Records GAD CD 017, „Polish Jazz vol 17”, CD (1069/2014). Kankawa, Organist, T-TOC Records, UMVD-0001-0004, "Ultimate Master Vinyl", 4 x 45 rpm 180 g LP + CD-RIIα + 24/192 WAV; Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014). Mikołaj Bugajak, Strange Sounds and Inconceivable Deeds, Nowe Nagrania 001, 45 rpm LP+CD+WAV 24/44,1; Robert Kanaan, Continuum, Soliton SL 383-2, CD + pliki WAV 24/44,1 (2014). Japanese issues available at [REKLAMA5] Performance of digital sources based on mini-computers gets better and better. Aurender X100L, that we reviewed in June (No. 122) turned out to be a solid and very well sounding device, very easy to use too. Comparing looks and functionality of Aurender and AURALiC proves that “digital source” is quite a complicated subject despite the fact that these are just transports so we can take out of this equation players with their own DACs, or PC computers. So even when we deal with such a narrow definition of a digital source there are still numerous possibilities, functions, some not related in any way to the music itself, and manufacturer has to make his choices regarding all these aspects. It so happens that the sound of Mr Wang's transport is so different from what Aurender and Ayon Audio NW-T have to offer that it is easy to make a choice basing on personal preferences/priorities. The sound of this transport (what I really mean are changes it introduces to the sound) is very pure and it lack something that often irritates me a lot when listening to any computer-based source: indefiniteness. It takes a lot of effort, hardware and software tweaking, choosing the right software player and proper USB cable to finally arrive at quality sound delivered by PC or MAC. And it is still, in my opinion, something that is just OK and nothing more. Aries is a proof, that a specialized computer with precise clocks and advanced power supply can deliver proper performance. The “indefiniteness” I mentioned before I understand as lack of definition and precision in imaging which results in me not “seeing” instruments in their 3D form occupying particular place in space. The transport under review doesn't act this way like most computers do. I'd rather compare it to classic disc players, say like high end Blu-ray player. That puts it in my definition among high quality sources rather than just another digital player. It offers very pure but also deep sound, also relaxed and unforced. If there are any limitations to dynamics they emerge only when playing 16/44 material and are insignificant. This is another case when hi-res files offer significantly better dynamics, resolution and definition. But leaving that aside for a moment I would say that Aries delivers large shifts of dynamics in an impressive way, clearly differentiating characters of such different instruments like grand piano, electric over-driven guitar, percussion but also a quiet baroque harp. Another important feature of Aries sound is tonality coherence. That is something that brings presentation together, makes it sound smooth and well defined. This device seems very “colorful”, it doesn't always sound the same. Sound changes not only between one recording and the other but also inside particular track if that was an intention of its creators. There is slight emphasis in the midrange, somewhere near 1 kHz rather than 600 Hz. This gives most instruments more clarity and better definition. Resolution is good, same goes for selectivity. That gives each instrument proper depth, and I mean both – in tonality and in physical dimension. SO what we get is a believable, “friendly” presentation that attracts and keeps our attention. I enjoyed also the way Aries delivers bass. It is a part of dynamics and this ease of presenting any music and that's what makes Auralic such a good, valuable source. There is a very good extension, bass goes really deep and has a lot of power. Hi-res files added some more smoothness and density to it. Such material also allow a better insight into recordings, better differentiation even on subtleties level, smallest dynamic and tone changes and so on. That goes hand in hand with another property of this player – the foreground is shown a bit closer than usually and it's bit bigger too. I think most people will like it as it sounds really good and the sound stays on the line between speakers, doesn't come closer to listener so it's is not at all aggressive. The fact is that the foreground is large and intense. Everything that goes on behind that also seems bit closer to listener so there is this impression of a large, dense, rich sound. This is particularly impressive with Hi-Res files. And since I have repeated this already few times I should finally compare the sound of 16/44 files ripped from a CD and the same CD player directly by CD Player. Since AURALiC Vega DAC has two coaxial input I was able to perform a very direct comparison switching sources with a remote control. A result of this test wasn't really surprising to me. It was the same as in many other cases before and the conclusion was still the same – there was still a lot to do before computer audio could sound as well as a CD. Same music played from CD seems more spacious, less focused on foreground and more resolving. Differences were pretty clear to me despite the fact that Aries played files in such a coherent, friendly way that I would hardly call it's presentation flawed. I'd say it is a characteristic feature of computer audio for today. The advantage of computer based source is their upgradability – every now and then manufacturer releases new software which usually improves also Aries' sonic so it is possible that even the next release will bring some improvement. But today CD still sounds better directly from disc then from a ripped files, and it sound more like analogue master-tapes and LPs – these two are my personal references. Summary I wouldn't make much of a problem of it. Without direct comparison to high-end CD drive differences are almost unnoticeable. Simple multi-format drives used in Blu-ray players when playing a CD sound surely worse then Aries playing rip from same CD. There is less focus, sound is smeared, and there is some sort of sound “diffusion”. The device under review does a much better job at it, and I think today it simply has no competition on the market that I know of. The fact is that you will get most of its performance when playing Hi-Res files. Listening to them is simply comfortable and pleasant. Modifications I mentions also here apply. But we have to remember that there are no perfect audio devices, so when choosing one you have to consider your needs and available option and forget about wishful thinking of some ideal, non-existent devices. It is a well balanced, “mature” sound. It is not as smooth and rich as the sound of Lumin, nor has it such a deep base of the sound of Aurender and Ayon, but these are much more expensive devices. But it is surely as clear, dynamic sounding as them. It is a small, well equipped device. It can easily be used even in quite expensive audio systems. RED Fingerprint. AURALiC GEMINI 2000 What makes company a quality manufacturer is not only consistence and reliability of its products, but also how innovative it is. It takes only a short read of technical specification of Auralic devices to realize the this is surely on of the innovative firms. You can see that also just by looking at their products. You can enjoy simplicity and elegance of their designs that remind me some projects of Nordic designers. The looks of Aries only confirm that. And yet, no matter what Mr Wang will come out with in future I think that Gemini 2000 (and less expensive Gemini 1000) will remain sort of reference for a long, long time. The idea was ingenious in its simplicity: it was about building a DAC and a headphone amplifier into Klutz Design headphone stand. I have five of these at home and I have to admit that they are simply perfect in every way. AURALiC managed to do something that seemed impossible: all the electronics necessary for this project was built into stands flat foot or plinth, if you will. The input and power socket were placed on the back of the stand, and headphone outputs on front (unbalanced) and the back (balanced). The 1000 version offers lower power output and only unbalanced output. Every Gemini system sports a FLASH 4GB SDXC card with Windows drivers on it. In the future this card will hold also a special software that will change Gemini into a flash card player which will allow to play music directly from flash cards. This is not the first project of that kind – let me mention the abandoned SDMusA system by Ancient Audio (see HERE) or another project, that is still work in progress - the Laminar Streamer by LessLoss. So it is possible that Gemini will be the first commonly used player of that type that is based not on microprocessor but on different type of chips. I hope we will get back to that project once it is ready. The D/A converter used here used scaled down technology from VEGA. It accepts PCM signals up to DXD resolution, as well as DSD and Double DSD (DSD128). The headphone amplifier on the other hand is a scaled down version of Taurus II. It operates in class A offering both balanced and outbalanced outputs. Unfortunately since only a very limited space was available inside stand manufacturer had not to use Tesla modules. The device looks fantastic and it is delivered in a beautiful, functional box. Additional this particular unit has a laser-engraved logo that says:„High Fidelity 10th Anniversary”. A wonderful present. It wouldn't be fair to expect that Gemini 2000's performance will match the one of Vega and Taurus II. Different size and different price level. You have to be reasonable and realize that what you get is so beautiful that it lets you forget about other things. This is incredibly discrete and fine looking design. It delivers a very good sound too, rich and pure. There is a good resolution, large tonality scale from the top treble to deep bass. Larger systems are able to deliver better resolution and large scale of sound, which translates into more realistic instruments size and more realistic sound. Gemini 2000 with Audeze LCD-3 delivered slightly dark sound, but together they created a rich and forgiving system. Due to that even strongly compressed (even though 24 bit) files with Delta Machine by Depeche Mode were quite enjoyable. Differentiation is strongest feature of this system – one has to be aware of that. Regardless of all of that what we have here is a unique system that will look great on the desk of Lotos CEO, or chief editor of „Dom & Wnętrze” magazine, but also in any room of any of us. Cena: 8000 PLN I believe that creating this design took a lot of considering of many factors and was done by professionals. It looks damn good but all these round shapes serve their practical purposes too. The enclosure is made of plastic and there are three parts: silver upper and lower part and the middle part placed between them that is black. On the front there is an OLED display that gives use most important information, but no album/track titles. On the back there is a set of digital inputs. Signal might be delivered via: USB, RCA and Toslink. The DXD and DSD might be delivered only via the first two. There is also another USB input that in near future will be used for external storage devices (not active during this test). Signal to the device might be delivered by a LAN cable from NAS, or wirelessly over WiFi connection. The latter is worth noticing at it allows also for transmission of DXD and DSD signals. During the test I used cable connection. Aries is powered up by external power supply. It is a solid, metal box with two sockets: IEC on the back (with mechanical on/off switch) and and another socket on the front with a screw-on cable that delivers power to Aries. Technical specification (according to manufacturer) Streaming Services Local uPnP/DLNA library content; Qobuz and WiMP online streaming; Internet Radio; AirPlay and Songcast; USB hard drive files Supported File Types AAC, AIFF, ALAC, APE, DIFF, DSF, FLAC, MP3, OGG, WAV, WV and WMA Sampling Rates PCM in 44.1Khz – 384Khz at 16 - 32bits DSD 2.8224MHz and 5.6448MHz Control Software AURALiC Lightning DS AURALiC RC-1 remote control OpenHome compatible software uPnP AV compatible software Media Server Compatibility Minimserver, Twonky, Asset UpnP, JRiver DLNA/uPNP compatible server software On-Device 3” 256*64px OLED Input RJ45 Gigabit Ethernet Dual-Band WiFi connection USB 2.0 High-Speed for external disk Output USB 2.0 High-Speed for compatible DAC AES/EBU, Coaxial, TOSLINK Power Consumption Standby:

f you wanna get things going, start with panache. This is one of the strategies of drawing customers’ attention and one that brings about good results. In the areas where experience counts, such a dramatic entry must be followed by a continuation that will keep the interest in the brand and products running. Audio is just one of such areas. It must have been two or three years ago, give or take, when I was transfixed by the sight of massive audio components in an exhibition room of a Cypriot company that goes by the name of Aries Cerat. The preamplifier and monoblocks presented there and then literally eclipsed with their size everything that home audio had offered previously. The machines were the size of a solid fridge, and with their brightly glowing vacuum tubes they arrested everybody’s attention and left them with their distinct logo on their retinas – that of the stylized horns of the zodiac Aries. Size matters, don’t let anyone convince you otherwise. It is especially important where classic mechanical and electrical solutions matter i.e. in the tube audio gear. In that particular case the amount of iron in the transformers and chokes translates directly into their capabilities. The ageing factor is also very important. Everywhere where the high temperatures are involved, proper ventilation is the key factor. The better the heat dissipation the longer the components life. This is the fact known to all tube aficionados. Not without the reason the first tube amplifiers that were made for the cinemas from Western Electric looked like large wardrobes (it is enough to recall the Western Electric Ballantyne MX24D and RCA Western Electric Theatre Amplifier). I cannot resist the feeling that the reference models from Aries Cerat are the result of longing for those ancient machines and that starting a company with such specific profile was an attempt to restore the hierarchy of demands which made the audio business in the 1920s and 1930s, mostly in the US where it was the domain of scientists and engineers, responsible for the greater part of the solutions that we know and use until today. Miniaturization has its merits, too. Shortening of the signal path, eliminating of the majority of cable connections, tighter tolerance and, something that should not be underestimated, bringing the audio systems to the living rooms instead of just basements and garages – all of that was a good thing. We all benefit from that. Aries Cerat, however, seems to suggest that it was a compromise, which resulted in losing something that made music sound so natural. The sound might have not been so accurate and “faithful,” in the sense of “precise at all cost,” but it was unbelievably normal and “humane.” Looking at the Incito and knowing how huge the Impera II Ref and Pondera Reference amplifiers are, we are aware that the company had to work out a compromise. The Incito is much smaller than its more expensive cousins, which makes it look more like classic preamplifiers. Its weight, on the other hand, combined with bullet-proof construction and design solutions employed, all directly refer to the original “wardrobes”. Its exterior indicates that we are dealing with an original proposition. Before powering it on, the thick, semi-transparent acrylic front panel is black. After switching it on, three components light up its surface from below: large abbreviations of the active inputs near the top, volume level in the right bottom corner, and a green diode in the center (after 30 seconds when the preamp is stable). The input names and volume level in such components, if at all, are displayed using LCD or OLED display screen, or sometimes alphanumeric LED displays. Here, an old solution was employed, based on Numitron tubes, with incandescent filaments arranged in the typical seven-segment plus decimal point matrix. Passing current through the filaments creates letters or numbers. The whole unit looks just fantastic and it is hard to believe that Aries Cerat is just four years old. STAVROS DANOS owner, designer I am a Mechanical and Aeronautical Engineer, specialized in robotics, CNC automation and electronics. As a music lover I always pursued the ideal and perfect home music reproduction. As I felt disappointed by what the market had to offer, early on I was interested in designing and building speakers and audio electronics for myself. Using my engineering background, I studied and experimented everything regarding audio reproduction and acoustics. Before establishing our company, Aries Cerat, I already developed and built my personal horn and full tube electronics audio set-up, from PC-to-ears. Starting the company pushed the R&D capabilities to another level. Aries Cerat was founded in 2010, in Limassol, Cyprus. Our goal was to give to the audiophile community a new perspective on how true music reproduction should sound. Specialized high tech equipment, such as our 5-axis, high-envelope working station, 3-axis mini work station, as well as sophisticated modeling and designing software, provide us with the skill and abilities to develop and manufacture speakers with unique properties and performance. Novelties include our stacked ply enclosures for all of our speakers, 360deg horns as well as our GD optimized crossover circuits, along with true top notch drivers used. Our tube and hybrid designs, always provide something unique and new to their respective market, while their implementation follows strict rules in part quality and built process. Many of our designs use proprietary circuits, true tube topologies never used in audio before, with unsurpassed sonic performance, of which the Impera II (inverted tube output stage), the Pondera (N.O.I.S PSU), the Ianus hybrid (super-triode output stage) are two standouts. The Incito is our smallest and simplest preamplifier. It had been developed for some years now, and we decided it was mature enough to go into consumer production. We took a great Einstein’s quote, “Make everything as simple as possible, but not simpler” and put it at work on this design. Simple circuits always work and most important, sound much better. However, simple solutions come with many shortcomings. Especially in audio, this comes in the form of questionable measuring performance. This is not the case with the Incito preamplifier. The heart of the Incito preamplifier is a zero feedback power gain stage, which is consisted of a transformer-coupled super-triode, using the ultra-high trans-conductance E280F which was only made by Siemens. This superb tube is loaded with a highest quality step down transformer, of 5:1 step-down ratio. Measuring data are supreme for a zero feedback design. Voltage swings of over 320V are easy task for the power stage, and is stepped down to 64Vpp, while keeping transistor-like noise figures. Our step-down transformer provides very low output resistance and more than adequate current to drive any load down to 200 ohms! The power supply is built around the 5AR4 rectifier, with separate double pi filtering for each channel, using oversized chokes and high speed capacitors, along with a double ultra-low noise adjustable bias supply. Nagrania użyte w teście (wybór) Alice Coltrane, Eternity, Warner Bros./Warner Bros. Japan 8122-79598-0, “Jazz Best Collection 1000, Nr 9”, CD (1976/2013). Anna Maria Jopek, Barefoot, Universal Music Polska, “Promo Copy”, CD (2002). Billie Holiday, Billie Holiday, Clef/UMG Recordings UCCV-9470, „David Stone Martin 10 inch Collector’s Selection”, CD (1954/2013). Charlie Parker & Dizzy Gillespie,Bird & Diz, Mercury/UMG Recordings UCCV-9466, „David Stone Martin 10 inch Collector’s Selection”, CD (1952/2013). Cream, Disraeli Gears, Polydor/Universal Music LLC UICY-40023, Platinum SHM-CD (1967/2013). Depeche Mode, Ultra, Mute/Sony Music Labels, Blu-spec CD2, (2007/2014). Electronic, Electronic, Factory Records/EMI Records 5099990743122, “2 CD Special Edition”, 2 x CD (1991/2013). Jerzy Milian Trio, Bazaar, Polskie Nagrania “Muza”/GAD Records GAD CD 017, „Polish Jazz vol 17”, CD (1069/2014). Kenny Burrell, Soul Call, Prestige/JVC JVCXR-0210-2, XRCD2 (1964/?). Miles Davis Quintet, Relaxin’ With The Miles Davis Quintet, Prestige/Universal Music LLC (Japan) UCCO-40005, Platinum SHM-CD, (1958/2013). Shankar, Song For Everyone, ECM 1286, “ECM Touchstones”, CD (1985/2008). The Modern Jazz Quartet, Plastic Dreams, Atlantic/Warner Bros. Japan 8122-71068-2, “Jazz Best Collection 1000, Nr 6”, CD (1971/2013). Japanese issues available at [REKLAMA5] This time I will start from the end, for a change:: Hello! Stavros, could you please tell me the price of the preamplifier. The review is ready but I don’t know the price. Wojtek Wojtek, The retail price is 7500 EURO. Regards Stavros Thanks! Wojtek Dear Wojtek, Please, let me know how the preamplifier sounded in your system; I’m really very curious… Regards Stavros Stavros, Your Incito is a fantastic preamplifier! I asked for the price at the end because I had to put my impressions in the right context. Now that I know the price I have to say that it is more than justified, I liked the product a lot! Greetings, Wojtek Wojtek, thank you very much! We simply try to give our customers a better quality at lower prices than those of our competitors. The Incito is our smallest preamplifier, and yet we have a customer who swapped his 35,000 euro preamplifier from another manufacturer for the Incito. It is an honor to us that you liked it, too. Regards, Stavros This type of a short e-mail exchange is quite normal; it is the “kitchen” of a process that results in the text you are reading. Being in touch with an audio manufacturer I try to learn as much as possible, to get as close as I can to the designer. I want to walk in his shoes for a mile and learn what he wanted to achieve, why he made the choices he did and where the results came from. I do believe that in the high-end audio understanding the intentions of the manufacturer is essential to a proper description of a product. Because in the high-end a person and a product are just two sides of the same coin. The preamplifier made by Stavros is remarkable. As he says himself, it is the smallest machine of this kind in his product lineup and yet he approached it with the same zeal and devotion as if he had been designing a reference, statement product. I believe that this type of approach guaranties an audio component that sounds exceptional and does not come with a too high – in the high-end terms, that is – price tag. It is not as good as the Ayon Audio Spheris III and Mark Levinson №52, commanding a price of (respectively) 30,000 USD and 33,000 Euro. I am convinced that sticking to all principles of reviews and comparisons, a good product for 30,000 euro will always be better than one for 7,500 Euro; such is life. But I cannot deny that in certain systems and configurations, and with precise expectations in mind, it MAY really turn out that with a good preamplifier for 7,500 Euro we can achieve better results than with a preamp costing 30 K and more. There is also one more possibility - that the 35,000 Euro preamplifier Stavros wrote about, which was replaced by the Incito, was not so good after all… Fortunately, the Incito does not need any rhetorical props; it stands on its own. The sound is well organized internally, drawing our attention to the well extended edges of the frequency range. It is a rare feat to have both the bottom and top end in such a refined form in the same product. If a component has a good treble, i.e. one with good resolution, selectivity and saturation, which is usually true about tube preamplifiers, their bottom end tends to be not equally satisfying. Almost always it lacks definition and selectivity. Solid state preamplifiers, in turn, usually have a well-controlled bass but the treble leaves something to be desired. It is frequently thin, dead and bright. If not, it tends to be muffled. The Incito’s edges of the frequency range are equally good. The top end sounds selective and resolving, but never unpleasant. Even with the remixes of Depeche Mode, and this is a rather difficult material for a pleasant playback, the system with the Cypriot amplifier sounded engaging and interesting, the cymbals did not disturb my listening session and even added to it with different hues. The same happened to good recordings, for example, The Modern Jazz Quartet’s album Plastic Dreams, with graphic art designed by Stanisław Zagórski, a Polish artist. The good recordings had depth and three-dimensionality, which the worse ones were lacking. To tell the truth, I kind of suspected that. I was familiar with the sound of expensive designs from Aries Cerat from the High End show in Munich and one thing that always grasped my heart was their dense, beautiful treble. This is one of the things that separate hi-fi from hi-end. And I just knew that inside were tubes in a SET configuration with transformer coupling – I know that from phono preamplifiers and some common sonic characteristics can be identified. Despite the fact that I was not surprised with such a good treble presentation, the level of Incito’s refinement was the prize I expected and longed for. Bottom end. The Achilles heel of most tube amplifiers. Here it played a fundamental role. This was the range that gave the whole sound its character. It was extremely disciplined. The recordings, which I got used to go easy on when playing them back with other tube amps, acting on the assumption that such is their "charm" and that’s it, sounded deep, colorful and interesting with the preamplifier under review. Even such deep extensions, as those on The Love Thieves from Depeche Mode album Ultra or on Tricks Feat. Sqbass from Novika’s Tricks Of Live, seemed to make no impression on the Incito. Unlike me - I was very much impressed by the definition, very pretty, deep colors and extremely deep bass. The preamplifier is transferred equally to the very edge of the possibility of Harbeth M40.1. Only the reference preamplifiers (the Ayon and the Levinson) managed to do it better. Apart from them, however, I have not come across a preamplifier that would handle this range so well, regardless of its price. What was the differentiating factor, which showed Incito’s own character, was among others the way of building up the instruments’ bodies and the way they were set in space. The sound of this preamplifier is saturated and full, dense. It is a good sound. Unlike in most of similar cases, the presentation is slightly recessed, behind the speaker line. “Recessed” is probably somewhat misleading, because it's not meant in a negative sense, but perhaps more like “pushed back” intentionally. This gives you the kind of perspective like in the tenth row of a concert hall, or like from the middle and rear sectors of a stadium during a rock concert. The foreground is strong, solid and dense, which results in a clear presentation, which is open and firmly rooted in the ‘base.’ At the same time, however, it is slightly distanced, not offering such tangible phantom images as the Ayon and the Mark Levinson do. I know this type of sound from high quality phono preamplifiers, with step-up transformers in the first stage, for example the Manley Steelhead V2. It is usually combined with a less expressive midrange, compared with the edges of the frequency range. Here, everything is served with a slight restraint; with freedom but without imposing anything. The sound is extremely clear, which gives the recordings breath and perspective. At the same time, it is far from being bland. What helps in that is a slightly emphasized mid-bass, which gives everything depth and authority. This is a modification, which in this case brings about a cool result – it saturates everything and makes it bigger. I would be hard pushed to call it a flaw, because without that the sound might seem slightly too distanced and too controlled. The way it is, we get an expressive, strong sound with superbly saturated midrange. Conclusion The Incito is a very versatile preamplifier. Every kind of music sounds professional on it. In modifies the sound to a small degree, leaving lots of room for auxiliary components. It is not ultra-transparent, but such is the charm of audio – each and every time it is nothing but an attempt to put together individual components to make a whole, which would give us as much music as possible. Stavros evidently has a great ear, as this kind of sound cannot be achieved in a "blind" fashion, or just going by measurements. If only the unit’s design is consistent with the design of your room and with your idea of what an audio component should look like, the Incito may turn out to be a bull’s-eye hit. It has its own character, but one that is "subservient" to a greater cause. All in all, an interesting piece of audio gear, offering a beautiful sound. The preamplifier from Cyprus was reviewed in my reference system, where it was pitted against two other preamplifiers: my new Spheris III from Ayon Audio and the №52 from Mark Levinson. It was driving two power amplifiers: the Soulution 710 and the YBA Passion Power Amplifier 650. The Incito was hooked up to the CD player via the Siltech Royal Signature Series Empress Double Crown interconnects, and was feeding the signal to the power amplifier via 1.5 m Acoustic Revive RCA-1.5TRIPLE C-FM interconnects. Power was supplied via the Acrolink Mexcel 7N-PC9500 power cord. I usually use isolation feet under the preamplifiers I review. This time I gave up on that idea – the Incito is very heavy and I was afraid that by lifting it up and moving around several times a day I might inadvertently damage (harm) it. The preamplifier from Cyprus will take by surprise anyone who would want to lift it up. All the more so that its dimensions - 480 x 320 x 165 mm - do not prepare you for that. And yet it weighs no less than 33 kg. Fortunately, the weight is evenly distributed and does not affect the balance. What contributes to the weight is the enclosure and the massive transformers and chokes. The chassis is made of steel sheets, with laser-cut holes for cooling, which form a pattern of the Aries Cerat logo. The side panels are thick aluminum plates, with rounded wooden components mounted on top. The front panel is twofold: when viewed from the front, we first have a thick blackened acrylic sheet, with user interface components behind. They are mounted on circuit boards bolted to an aluminum plate behind them. The selected input and volume level are indicated on a display using Numitron vacuum tubes. In the center there is a green LED that lights up when the unit is ready for operation. The Incito is operated using the remote control unit, so you need to keep an eye on it. It is an aluminum affair with steel push buttons, which I have seen used by several other manufacturers. It gives us access to input selection, volume level control, mute mode and allows us to switch off the volume indicator and the green LED. In the latter case, however, the selected input’s symbol is still lighted up. There is no on/off button. From the bottom you can see an acrylic disc with the infrared receiver LED. The mechanical power switch is located on the rear panel, near the mains socket. The rear panel boast six pairs of rhodium plated RCA connectors (the same are used in the ASP-1000 preamplifier from the Polish company Abyssound; see HERE). These are very solid, screw-on connectors, here stacked vertically, with much distance from each other. On customer’s request, the company also includes an XLR balanced input. The preamplifier circuit is unbalanced, but the input transformer allows for a very nice desymmetrization. The input signal load is thus exactly the same as in fully balanced systems. As a matter of fact, the output has been treated the same way – here we have a pair of RCA connectors and a pair of XLRs from Cardas. With the latter, you have to lift off the ground connection, using large toggle switches that need some force to operate. The electrical circuit seems simple, which is the case with all the best audio products. At the same time, however, you can see a few unusual components, like rarely used vacuum tubes, or a very carefully designed power supply. The topology resembles that of a small SET power amplifier. Each channel sports a single gain stage on the triode, loaded with large coupling transformers, visible from the side. The transformer ratio is 5:1, and allows driving low impedance loads, up to 200 Ω, without modifying the frequency response, which is 4 Hz - 100 kHz (at -6 dB). The gain stage capabilities are proven by something that I was told by Stavros. During their tests, they once used a transformer with the ratio of 25:1, which allowed them to directly drive high sensitivity speakers. The preamplifier turned out to be capable of 1 W power output. They keep this unit in their office, where it drives the Symphonia speakers. We can also find fantastic resistors in the signal path, in the form of flat plates with resistive layer, which I have seen in crossover networks used in the Dynaudio Confidence Platinum line. The circuit sports small potentiometer knobs which are part of the circuit, used to set the tube bias current. It can be adjusted to a certain extent, slightly changing the Incito sound. For me, it sounded best in the position recommended by Stavros. Input selector employs relays, and volume control is handled by a discrete attenuator that includes small, great looking relays and SMD resistors. Each channel has its own attenuator circuit board. This section is controlled by an encoder. Siemens E208F tubes are coupled to the input and output using impedance matching transformers. The input connectors look great and allow for twisting the wires - in the Incito they are screwed on and additionally soldered. As I said, the power supply is very complex. Its basis is a powerful toroidal transformer, mounted to the side panel, and a choke. Power supply circuit includes a 5AR4 tube rectifier. Adjacent to it, you can see fast-charging capacitors and a polypropylene capacitor specifically designed for high-quality power supply circuits. Similar capacitors are used in the power supply of my Spheris III. And a few words about the names. 'Incito' in Latin means "exciter" or "to lift." Stavros says that they came up with the preamplifier name because that is how they perceive its role in the audio system and that is how it sounds. He also says that all Aries Cerat products have names that reflect their "personality." Equally interesting is the origin of the company name - Aries Cerat. 'Aries' is the Greek word for 'ram' and Stavros is the zodiac Aries. 'Cerat' means horn (in Latin), and is derived from the Greek word κέρας (keras). The word is used to describe the conical shape of a horn, rather than an actual animal horn. The juxtaposition of the two words results in a very distinctive logo – that of a ram, whose horns are replaced with "horns" as musical instruments. Specification (according to the manufacturer) Frequency Response: 4 Hz – 100 kHz (-6 dB) Output Voltage (max): 32 Vrms/10 kΩ Output Impedance: 

ANOTHER CLOSE ENCOUNTER WITH KONDO, AND YES, EXALTED AGAIN 've been tube fan for a long time now, from the moment first (quite inexpensive in fact) SET landed in my room and took me for unforgettable musical adventure. Don't get me wrong – there are a lot of high quality solid-state devices offering great performance – I'm not an enemy of solid-state. My (personal) point is that whenever I want not only to enjoy but also to experience music, to live it (which in my opinion is the whole point of our audiophile hobby) I choose a “tube” system to do that for me. It is my personal choice based on my experience, expectations and I am fully aware that it means (as any other choice would) a certain compromise. In the beginning I listened mostly to relatively inexpensive tube amplifiers made in Poland (Amplifon, Delta), but I also had a 300B amplifier from Ukraine (Abraxas). It was only later that I had a chance to listen to products of some well known brands, but even before that happened I searched information on the Internet and one of the names that stood out was a Japanese company called Kondo. I remember that my first encounter with this name was on some (probably American) audio forum, where some owner of one of their devices described his experience with it in such a manner that Kondo became a synonym of a “tube nirvana” for me. After that I searched the web intensively looking for any and every piece of information about this brand. Please take into consideration that since it was several years ago there was much less information available than it is today. At some point I came across some interviews with Kondo-san, and I found out that what drove him was a distinct memory of a concert he'd attended as teenager of classical music, that was conducted by the great ArturoToscanini. The ultimate goal of Mr Kondo was to achieve a level of sound reproduction that would allow him to relieve this amazing, unforgettable experience. Since I always loved live music, including classical one, this philosophy was something I could definitely identify myself with. Ultimately every person who attends great concerts would love to have a chance for reliving this sort of transcendent experience at his home at any time. So when I found out that this was exactly what this Japanese designer wanted to achieve – to have a natural (or as natural as possible) sound of orchestra at home, and, what also was important to me, he claimed that the way to achieve that was via usage of tube devices – I knew I would most likely love his creations. Obviously it was a purely “platonic” love, so to speak. Sure, man should set ambitious goals for himself in life but even though it was hard to imagine that some day I might be able to afford to buy some Kondo products. To be honest – at that time I didn't even think that some day I would listen to some of these devices at my home. And yet – here we go, a second test of Kondo amplifier that I can conduct in my room... In April 2013 (what a memorable date for me!) I had a chance to review a 2A3 SET called Souga and that was THE moment when one of my dreams came true. That test lasted few days and left unforgettable memories. It was something I might one day tell my grand kids about. Well, most likely they will treat me like an old full as at the time they will be used to listening to heavily compressed music played directly from a cloud via chips implanted in their brains, but I won't mind telling them anyway. Souga offered a level of intimacy between me and my favorite music as none other amplifier had ever before. It was not only about listening to the music but experiencing it, living it, it delivered an emotional connection with music that was so intense that it could only be compared to emotions one experiences during live event. Sure it still wasn't a live event – that is simply impossible no matter how much money you spend on a system, but it was as close to it as it gets. The conclusion from that review was simple – should I ever have 50 kEUR to spare Souga would be mine. Having Souga was like having a Piece of ART at home, or not just a piece but a MASTERPIECE. People pay millions to have a painting or sculpture to look at. Souga offered so much more! Time with Souga passed very quickly which was really sad also because I thought it would be the only chance to listen to any Audio Note Japan product at my home. A year passed by. After High End 2014 show in Munich, where – by the way – I had a chance to meet few people associated with Kondo (not those who design and build devices though, as they weren't there this year), Mr Wojtek Szemis called me with an information that there was a chance he could have Kondo's flagship monoblocks Kagura brought to Poland. After that news he asked whether, in case he succeeded, I would be interested in listening and possibly reviewing them. Obviously that was a rhetorical question... Kagura wasn't a totally new product for me. In 2014 they were only displayed in Munich (Kondo did not exhibit themselves, it was a British distributor who chose to use Gaku-On with top Living Voice speakers), but a year before prototypes were a part of a complete Kondo system. How did that sound like? Let me quote myself from Souga's review (no, it's not my megalomania kicking in :) ): Let me add a small addendum to this text – I wrote it after my visit to High End Show in Munich. As you can probably imagine after reading this text, once I got to Munich I had to find Kondo's room there and to spend quite a lot of time in there. In fact this was a room I spent most time in during three days of Show, I came back many times and sat there for long, long minutes. The (almost) complete Kondo system consisted of new Kondo Biyura loudspeakers (the ones that didn't make it to Warsaw AudioShow), driven by new monoblocks with twin 211 in PSE, called Kagura, that probably will be placed above Gakuon model in company's portfolio (or maybe replace it?). There were two source – an analogue one - Kondo Ginga turntable, and a digital one with Kondo DAC and Esoteric transport. Of course there was also a M1000 mkII preamplifier and silver cables. The Kondo crew used mostly jazz and classical music for presentations, mostly selected older recordings, but some contemporary too. And regardless of how old the recording was, or what medium was used system gave me the same thrill as Souga in my system did. Obviously the general circumstances during show are always far from optimal, but still each time I sat in this room I forgot immediately about the noise coming from outside, all that mattered was pure music. In fact once or twice I really lost a track of time because of extraordinary selection of music chosen by Kondo guys. This might not have been an audiophile's dreamed system, maybe not the most versatile one, but surely every true music lover (who often is not the same person as audiophile) must have appreciated absolutely unique feature of this system – the way it connected listener with the very essence of the music and how it allowed him to experience the most thrilling emotions. That's what Kondo did for me, that's all I expect from my dreamed audio system. Long story short – I loved it! At least I loved the sound of this system, because when it came to aesthetics of Kagura I had some reservations. Then they sported really ugly green on/off switches placed on the front. An amplifier was beautiful but this switch spoiled the whole concept, in my eyes of course. It seems I wasn't the only one to think that as the present version sports a very nice, fitting the whole design on/off switch. It's a beauty now. KONDO in „High Fidelity” REVIEW: Kondo SOUGA – power amplifier, see HERE INTERVIEW: MASAKI ASHIZAWA | Audio Note Japan - CEO, see HERE Recordings used during test (a selection): Louis Armstrong & Duke Ellington, The great summit, Roulette Jazz 7243 5 24548 2 2, CD/FLAC. The Ray Brown Trio, Soular energy, Pure Audiophile PA-002 (2), LP. Patricia Barber, Companion, Premonition/Mobile Fidelity MFSL 2-45003, 180 g LP. Miles Davis, Sketches of Spain, Columbia PC8271, LP. Lou Donaldson, LD+3, Blue Note MMBST-84012, LP. Arne Domnerus, Jazz at the Pawnshop, Proprius ATR 003, LP. Keith Jarret, The Koeln Concert, ECM 1064/65 ST, LP. Ella Fitzgerald & Duke Ellington, The Stockholm Concert 1966, Pablo Live 2308-242, LP. Kate Bush, The sensual world, Audio Fidelity AFZLP 082, LP. Bobo Stenson Trio, Indicum, ECM B008U0FJ9Y, FLAC. V.A. Mozart, Le Nozze di Figaro, Harmonia Mundi HMC 901818.20, CD/FLAC. Tomasz Stańko Quartet, Suspended night, ECM 1868, CD/FLAC. Etta James, Eddie 'Cleanhead' Vinson, Blues in the Night, Vol.1: The Early Show, Fantasy B000000XDW, CD/FLAC. Kari Bremnes, Desemberbarn, FXCD 247 CD/FLAC. Japanese issues available at [REKLAMA5] Kaguras are big and heavy. That is sort of obvious when it comes to powerful tube monoblocks but I have to mention that to give credit to Mr Wojtek and people who helped him to get these monsters up here to my apartment. Size and, to some point, also a weight of these amplifiers require special stands to put them on as most racks won't be able to accommodate Japanese amps. As I didn't really have anything I could put Kaguras on I asked very last minute Mr Bartosz from Audiophilar, if he could help me out. Despite such a short notice he came up with two beautiful granite stands with adjustable feet that were big enough to accommodate reviewed monoblocks. Thanks to him we didn't have to put them on the floor and instead these two beauties could sit (comfortably :) ) on two equally elegant stands. Just as any Kondo product I'd ever seen also new flagship amplifiers look amazingly well in their simplicity. It didn't take much to notice that every little detail was a part of a greater idea of how extremely expensive device should look like. In fact Kondo's product are something more than just devices reproducing music, these are pieces of art so a customer who decides to buy them expects a look that says: this is one of the best and most beautiful amplifiers money can buy, and he gets just that. The copper top cover that holds tube sockets looks simply amazing. This material was chosen not only for its original color, but also for its shielding properties – top cover shields tubes from electronics working underneath. The casing has a rectangular shape with front and back being shorter sides. Tubes (accept for rectifiers) are placed in front with transformers covers, six of them to be exact, behind. The above mentioned rectifiers, four of GZ34, sit at the back, behind one of the transformers. Kaguras use two 211 triodes per channel in Parallel Single Ended setup which allows them to deliver 50 W per channel. That's enough power to drive most loudspeakers available on the market, not just the high-efficiency ones. Signal tubes' set per channel comprises of one 12AU7 and two 6SN7. Each monoblock has to be powered up with two power cords (main and heater). Manufacturer delivered Kaguras for tests with six power cables and two powerstrips. Kondo's Silver power cables were terminated with American standard plugs, so in fact I was able to use four of them to connect monoblocks (each with separate) power strips but to connect these two with my wall electric outlets I had to use my own copper PCs. Mr Wojtek delivered also Kondo's silver IC and speaker cables, and KSL-M77 preamplifier (Kondo is still working on their new flag preamplifier that should be a perfect match for Kaguras, it will be called G-1000, but it wasn't ready yet during this test). For first three days amplifiers worked with standard tubes and later distributor brought some high-value NOS tubes from his collection and we replaced standard signal and rectifier tubes with these. Let's start with my impressions from listening sessions with standard tubes. Just as most (if not all) SET amplifiers also Kaguras needed several minutes to warm up before they offered optimal performance. I did mention that already when reviewing Souga but I need to do that again – I simply wasn't able to ensure an accompanying system of an equal or higher class than Kaguras. I was fully aware of that and so was the Audio Note Japan's distributor, Mr Wojtek Szemis. And yet, when the system was set up, turned on and we started to play the first record (on Zontek turntable, that I reviewed recently) it seemed that nobody present in a room really cared about searching for “weakest links” in this system. Kondo was doing it's magic from the very first second. It was, on one hand, the same sort of magic that Souga had delivered before, on the other hand it was different but equally convincing, equally enchanting. It was the same when it came to the effect it had on listeners – an absolute surrender to the music flow. Kaguras had the same ability of captivating listeners' attention from the very first sound right until the very last note – it was not really a choice, I felt compelled not to lose a single second of this outstanding performance. That these two amplifiers had in common. But on the other hand sound wasn't the same as I remembered it from my sessions with Souga. With standard tubes Kaguras sounded bit brighter and at the same time I could feel much bigger power headroom, and even more impressive dynamics. The “brightness” I mentioned wasn't really it. I thought it was rather about more linear sound presentation and bit less of the sweetness Souga delivered. Souga presented amazingly rich, sweet midrange and lower and mid-treble and these elements attracted listener's attention. Treble was vibrant, lively, rich, but also quite sweet (but not syrupy!). Here treble seemed better extended while also being rich up to the very top end. That delivered stunning cymbal performance on Bobo Stenson's Trio Indicum, as they were very distinct, powerful sounding, vibrant and lively, and, which was very important, the differentiation was amazing. As the treble was less sweet it sounded bit sharper, even more lively and that gave all cymbals and other metal percussion instruments a very convincing, true tone. I was equally impressed with realism of presentation of brass instruments like trumpets for example. Whether it was Louis Armstrong, Miles Davis, or more recent recording of Tomasz Stańko, it seemed to hypnotize listeners with how smooth or how harsh could this instrument sound depending on requirement of the moment. Outstanding resolution, also on micro level, allowed me to enjoy every single, tiny element of masters' play– every blow, every breathe, every movement of an instrument getting closer to or further from the microphone – it was all there, right in front of me. Sure, one doesn't need these elements to still enjoy the music, but once these elements are there one can finally appreciate a new, surprising but welcomed level of realism. I was simply impossible not to notice how well Kaguras differentiated recordings, how different were the ones from Louis' era, from these by Miles, and again from these recorded recently by Mr Tomasz. The way Kaguras presented both timbre and texture of instruments, how they rendered 3D images on a large, nicely layered soundstage brought every recording to life, especially when I applied an almost concert-like sound pressure. Having highly sensitive speakers I was able to enjoy also low volume level listening a lot, but it was playing, especially live albums, at almost concert volume level that introduced a new, astounding level of realism. No matter how loud I played sound was very pure with no signs of compression nor distortion, and when the sound level was close to live-like I could feel shivers going down my spine as I felt like I witnessed my favorite musicians playing in front of me, almost within a grasp. It was sort of breathtaking experience, so involving that it happened more then once that I loudly applauded after some particular solos, piece, of performance. Kaguras draw an amazingly realistic three-dimensional picture with musicians and their instruments having natural size and weight, with spaces between them also being clearly shown and realistic and with lots of air filling space between them. Music delivered by Kondo was so lively that I could never really sit still in my chair – I had to participate rocking back and forth, tapping out the rhythm or singing along. Listening to the music with Kaguras in my system was nothing short of addictive – there was no way to just do something else when the system was on. Once it was on there was only the music that I was directly connected with and nothing else mattered... Let's get back to how these amplifiers differentiated recordings. For me the older ones sounded more “analogue”. They sounded bit more round, with focus on tonality and texture rather then transparency or details. Newer productions still delivered proper tonality, timbre and texture but as they sounded “clearer”, like for example recent ECM recordings, the focus seemed shifted towards more transparent, more detailed sound. Regardless of how old the recording was, as long as it was a (technically) good one it offered amazing coherence, smoothness and liquidity. Kaguras were able effortlessly to present in a very natural way both the 60 years old recordings and those made just a few months ago. It was never about the recording as such, about how good of a job sound engineers did (although it was also clear) but about music itself, about how brilliant musicians played it, about how real it sounded, how spacious, how open it was and how amazingly convincing this presentation was placing musicians in my room just few meters away from me sharing true emotions that simply felt real. NOS-y After a few days of listening Mr Wojtek visited me again these time bringing a box of NOS tubes with. We replaced standard signal and rectifier tubes with NOS ones recommended by distributor, most of which remembered Miles Davis' times, and some maybe even Louis Armstrong ones. There was no replacement for power tubes, 211 triodes, but in this case all one could do was to try some other brands manufactured nowadays with no guaranty that any of them would actually be better sounding than the ones chosen and branded by Kondo. As a tube fan I witnessed many times how much influence on performance signal tubes could have but still each time I do tube-rolling in some new amplifier I tend to be amazed again by the extent of the changes introduced by high quality NOS tubes. What I heard were not just some subtle, hard to recognize changes but rather surprisingly significant ones. First of all sound became more like what I remembered from Souga test – bit sweeter and warmer. Secondly, although I'd had no idea before that these element could get even better, the insight into deeper layers of music, into micro details, was even better as well as the slightest changes in dynamics and tonality that became even clearer now. The whole presentation seemed more relaxed, unforced and more sophisticated. It was like suddenly sound became richer because thousands of tiny little things emerged from the background making sound presentation even more realistic. Sound seemed even more open, filled with air surrounding instruments, the decay phase lasted longer, and in live recordings room's acoustics started to play even bigger role. These things I noticed first made Kaguras more forgiving for these not that perfect recordings. Listening to some recordings with lots of sibilants wasn't that nice with stock tubes, but with NOS ones they sounded more natural. I mean sibilants were still there but they were presented in more “live-like” way. I don't recall sibilants ever bothering me during live concert – they are a natural element of some voices and when heard in nature they are never really unpleasant. So in this sense Kondo now presented them in an even more natural way. I loved vocal recordings already with stock tubes but after the change for NOS ones I was sitting in my armchair, listening and wondering if listening to Ella Fitzgerald, Etta James, Kari Bremnes and others could possibly ever be more enjoyable, more intimate, more live-like experience. It was not just about how well Kaguras conveyed timbre and texture of each voice, but also about how true were the emotions I felt, how easy it was to figure out, regardless of whether I understood the lyrics or not, what mood was singer in, what sort of emotions she was trying to express. I could clearly “see” every deeper breath, every sight, every smile and every gesture singer made as if she stood right in front of me. Replacing stock signal tubes, and most likely also rectifiers (at least that's what my experience with other SETs told me) resulted also in improvements in dynamics, bass extension and how deep it went. That allowed one of my favorite instruments, double bass, to sound fuller, richer, with more “wood” in sound. Also grand piano sounded more “seriously” now, meaning: like a big instrument it really was. Kaguras were able to deliver even more information than details like musicians technique, like instruments strings and body, they showed also the air vibrating around instrument and carrying these vibrations towards listener's ears. There are some elements of the sound that are really hard to describe – one could say that when listening to any instrument with Kaguras in the system one could see or feel sort of aura surrounding it, very much like the one that could be “seen” during live performance. It is the vibrating air loaded with energy emitted by each instrument with each string's pluck, each knock on instruments body, each hand movement along fingerboard and so on, but it is also about interactions between this energies coming from different instruments, and about emotions that each musician puts into his play. Souga had been able to deliver all that in a fabulous fashion and now Kaguras, especially after tube rolling, showed this aspect of music in equally incredible way. This little something leaves listener only two options – he can either react to what he hears in a very emotional, lively way, or sit in complete silence, motionless, perfectly focused on music. Which one is it depends solely on what sort of music one is listening to. All it takes is a minimum level of sensitivity (at least I believe it does) to appreciate how close do Kaguras come to the ultimate purpose of any audio system, to perfect reproduction of live music. Even though other elements of my systems were not able to keep up completely with Kondo's performance, the system as a whole still delivered amazing performance offering absolutely unique interaction with music, offering a level of enjoyment of music that I could compare only to Souga and to live music I knew from concert halls. To be honest none top-high-end system I ever had a chance to listen to gave me the same level of musical satisfaction. I warned you at the very beginning that this time I also got extremely exulted – I couldn't help it when listening and then writing about a device delivering this level and sort of musical performance. I believe that Kaguras should be called what they really are – genuine masterpieces. Obviously it is a piece of art only very few, very rich people can afford, but hey, if you ask me – buying Kaguras makes much more sense to me then spending millions on a painting, or sculpture. Kondo amplifiers offer any music lover much more joy and emotions then any other piece of art would – again, that's my opinion. So “...if I were a rich man...” I'd buy Kondo at once to enjoy this absolutely unique musical experience any time I wanted to – that would be worth any and every money! Summary What is there to write after man experiences something that can't really be described with words? There are things, like listening to Kondo, that can be described with so many beautiful words and yet only a person who experiences Kondo's performance personally will really understand what these Japanese amplifiers have to offer. I can tell you that Kaguras are one of a kind. I can tell you that they, same as Souga before, offered me a level of emotions, of intimate contact with music that is normally reserved for live performance only. Yes, it came THAT close! Never before and never since music in my room sounded, or felt so real. This very particular experience set for me a new reference level of music reproduction that I would use from this point forward to compare all other amplifiers to. All that is true, but these are just words that can't truly describe this particular experience. This review is different than any other and I simply don't see any point in trying to describe what Kaguras have to offer with a regular vocabulary, in a “regular” way I use for other devices. What these ingenious amplifiers have to offer to (above all) classic and acoustic music fans is so special, so complete, so accurate that trying to describe it in the same way as other devices would be useless. I guess that fans of some heavy music could find other amplifier that would fit their needs better. But Kaguras paired with proper speakers (not necessarily high-sensitive ones, but rather not extremely difficult to drive ones) will offer spectacular, large scale, dynamic presentation even when playing a grand symphonic orchestra. I realize that this is almost „mission impossible”, but if you want to find out how close to live performance an amplifier can come try really hard to listen to Kaguras. No matter how much effort will it cost you I can assure it will be worth it. You will witness what can be achieved in regard to sound reproduction if a proper combination of knowledge, experience and passion is put in practice like Kondo's crew did. It happened to many brands that once their creators were gone legend died with them. It seems that when it comes to Audio Note Japan, Kondo-san found worthy successors who carry Kondo's legend on. They give a very rare opportunity to a very few (let's be honest – rich one) lucky people who can enjoy a (almost) live music in their listening rooms thanks to pieces of art created in Kondo's workshop. Envy is not a very nice emotion one usually should share with others, but yes, I'm honest enough to admit that I envy those very few lucky Kondo owners. Kondo Kaguras are monaural Parallel Single Ended tube amplifiers using 211 triodes as power tubes. This is, at present, a flagship model of this legendary Japanese manufacturer. Prototypes were presented during HighEnd Show in Munich in 2013 an, as far as I know, since then only some small, cosmetic changes were introduced to the final product. Kagura, as most tube monaural amplifiers is a large device. The rectangular casing's width is not that impressive with its 32 cm but a depth of 56 cm is quite impressive. Every piece of this amplifier, unpacked, weight 62kg – that should give already an idea how big of a monster Kagura is. Fit & finish is simply perfect, as it was to be expected. The black (I think) thick front plate originally shaped hold a single silver push-button (on/off switch) and a red LED plus company's logo and model's name. Side and back panels are made of the same metal in the same color as front. The top cover is made of copper which gives Kagura original, beautiful look, but the reason for choosing copper were its shielding properties. In the front manufacturer installed signal and power tubes' sockets, behind there are six black “cups” each holding (and shielding) a transformer inside, and behind one of these cups there is a space for four rectifier tubes. The back panel sports a single RCA input, Kondo's own speaker bindings, and two IEC inlets – each amplifier needs to be connected with two power cables, as the heater requires a separate one. Manufacturer delivered monoblocks together with own silver power cables and power strips. Amplifier is equipped with black, metal covers for tubes. These actually look pretty nice. Considering Kaguras weight and price we didn't dare to use any tools to open them up to check inside. All information about the design come straight from manufacturer's webpage. Circuit design is configured with 12AU7 and 6SN7 x2 for amplification and 6SN7 x2 (cathode follower) for the driver stage to powerfully drive the large-scaled transmitter 211 power tubes. These circuits are independently powered by grand-scale, low ripple and low impedance power supply sections supporting high purity amplification stages. There are total of 3 power supply transformers that are employed; B power supply transformers above the rear section of the chassis, and amplifying heater transformers and rectifier heater transformers inside the chassis. Further, 4 choke coils are installed to form 3 system power supply circuits with 4 different voltages +/-200V, +450V, and +950V. Powerful and high grade power supply section with oil capacitors rated at 1000V withstand voltage, and newly developed cut-core type choke coils. Between amplification stages Kondo employed newly developed electrode oscillation proof silver foil capacitors contributing to the improvement of sound density. Instead of conventionally used EI core choke coil, Kondo developed cut-core type anew for drastic improvement in sound quality natural and strain-free by having removed unpleasant signals. Kagura’s pure silver coiled output transformer handles output impedance of 4, 8 and 16Ω. By selecting positions at the speaker impedance switch and change relevant jumper plates, speaker impedance switch-over is done with NFB level always set to our designed level –3dB. Specifications (according to manufacturer): Product: 211 Parallel Single Ended monaural amplifier Rated power: 50 W @ 1 kHz, 5% THD Frequency response: 8 Hz – 40 kHz (+0 dB, -3 dB @ 1 W) Input/impedance: 1 PC RCA (unbalanced)/ 50 kΩ Output: 4, 8, 16 Ω (switchable by internal jumper plate) Noise: less than 0,5 mV Tube set: 211x2; 6SN7x2, 12AU7x1; GZ34x4 Power consumption: 270 W Dimensions: 320 x 370 x 558 mm Weight: 62 kg [hfgallery] [img mini="foto_testy/1411/kondo/th/05.jpg" big="foto_testy/1411/kondo/05.jpg" src="foto_testy/1411/kondo/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/06.jpg" big="foto_testy/1411/kondo/06.jpg" src="foto_testy/1411/kondo/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/07.jpg" big="foto_testy/1411/kondo/07.jpg" src="foto_testy/1411/kondo/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/08.jpg" big="foto_testy/1411/kondo/08.jpg" src="foto_testy/1411/kondo/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/09.jpg" big="foto_testy/1411/kondo/09.jpg" src="foto_testy/1411/kondo/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/10.jpg" big="foto_testy/1411/kondo/10.jpg" src="foto_testy/1411/kondo/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/11.jpg" big="foto_testy/1411/kondo/11.jpg" src="foto_testy/1411/kondo/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/12.jpg" big="foto_testy/1411/kondo/12.jpg" src="foto_testy/1411/kondo/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/13.jpg" big="foto_testy/1411/kondo/13.jpg" src="foto_testy/1411/kondo/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/14.jpg" big="foto_testy/1411/kondo/14.jpg" src="foto_testy/1411/kondo/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/15.jpg" big="foto_testy/1411/kondo/15.jpg" src="foto_testy/1411/kondo/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/16.jpg" big="foto_testy/1411/kondo/16.jpg" src="foto_testy/1411/kondo/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/17.jpg" big="foto_testy/1411/kondo/17.jpg" src="foto_testy/1411/kondo/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/18.jpg" big="foto_testy/1411/kondo/18.jpg" src="foto_testy/1411/kondo/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/19.jpg" big="foto_testy/1411/kondo/19.jpg" src="foto_testy/1411/kondo/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/20.jpg" big="foto_testy/1411/kondo/20.jpg" src="foto_testy/1411/kondo/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kondo/th/21.jpg" big="foto_testy/1411/kondo/21.jpg" src="foto_testy/1411/kondo/21.jpg" desc="HighFidelity.pl"] [/hfgallery]

he Isis is the largest speaker in the Trenner&Friedl "Egyptian" sub-series, which also includes the Pharoah, reviewed by “High Fidelity” in February 2014, and the smaller Ra that is actually higher in the line hierarchy despite its size. Trenner&Friedl also offers the less expensive Dizzy and Art, and the flagship no-compromise modular Duke, selling for just a bit less than 600,000 PLN. Against this background, the 95,000 Polish zlotys for a pair of the great looking, classically proportioned Isis may seem like a downright bargain. After all, it is the top high-end we are talking about here. Leaving aside the name game and looking at the design, it turns out that there is no other similar product in the Austrian manufacturer’s product lineup. The cabinet resembles a medium-sized wardrobe, and to me personally it is reminiscent of a ceramic kiln control cabinet, which was my diploma project in high school. The speakers’ weight matches their looks, and they tip the scales at 65 kg (each). When two nice men (that’s right, two of them!) arrived at my doorstep and hauled in two huge wooden crates to slide the Isis out not without much effort, I let out a weak moan, figuratively speaking, that is, since ‘boys don’t cry’! I could not really imagine how, after putting them on spikes, I would be able to move them around to find the best positioning for them. So I asked to put them on felt pads, in my mind already seeing myself gliding along with them on the floor, without much of an effort. If I only had a bit richer imagination, I would have associated the way the woofer is loaded in the Isis with the Pharoah (and the Ra) design, and drawn the only right conclusion: the bottom panels of both designs feature two outlets of the system that loads their big woofer. The distance of the outlets from the floor is, therefore, very important because it determines the lowest bass propagation. Hence, when placed directly on the floor, the speakers sounded a little too dull. Two centimeters of clearance between the bottom cabinet panel and the floor, provided by the spikes, completely eliminated the problem. The massive weight and size of the Austrian design result both from the cabinet design, which uses thick, multi-layer plywood, as well as the drivers used. The speakers look extremely traditional and, at the same time, "proper." This may be due to the fact that their dimensions are in the golden ratio i.e. the height to width ratio is the same as the ratio of their sum to the width. The ratio is also called the "golden number" and its value can be rounded to 1.618 The 380 mm woofer is one of the largest woofers that are used in home audio systems, though there are not too many equally massive drivers even in professional audio. It has a traditional paper cone, with characteristic ribbing to improve its stiffness, a huge magnet and massive cast basket. As I have mentioned earlier, in the Isis it is loaded into a system that we already know from the Pharoah. It is a combination of "bass-reflex and classic horn," to quote the words of Andreas Friedl, half of the Trenner&Friedl duo. The midrange driver is very large, too; larger in fact than a woofer used in many floorstanding loudspeakers. It also has a paper cone, this time reinforced with fiber. It is loaded into its own chamber, which is not sealed, though. The rear panel of the chamber features drilled out holes, which suggest the presence of some kind of passive radiator. And then there is the horn loaded compression driver with a titanium diaphragm. We have heard it before in the Pharoah, but it is also used in the modular Duke. The speakers eventually ended up in the same exact spot as my Harbeth M40.1. If your speaker cables come with stiff and long connectors, the location of the speaker terminals in the Isis may be problematic. The quality copper Cardas terminals that are used here have a specific design and only accept spade connectors plugged in straight from the top or bottom. They are tightened with a single screw, which results in an even pressure. However, the terminals are located quite close to the floor, which is why I just barely managed to fit the spades of my Tara Labs Omega Onyx cables. Eventually, I put the speakers on the stock spikes, and those in turn on spike receptacles from Acoustic Revive. The speakers were positioned directly at me. The Isis are equipped with black grilles mounted on a wooden frame. They are fitted so as to form a whole with the front baffle. The speakers look interesting without the grille, too, as then you can see the drivers and large, wooden front baffle. It is surely a matter of taste, but I liked them more without the grilles. TRENNER&FRIEDL in “High Fidelity” REVIEW: Trenner&Friedl PHAROAH – loudspeakers, see HERE Albums auditioned during this review Alan Parsons Project, I Robot, Arista/Sony Music Japan SICP 30168, 2 x BSCD2 CD (1977/2013). Anita Lipnicka, Vena Amoris, Mystic Production MYSTCD 244, CD (2013). Aquavoice, Memoris, Generator GEN CD 011, CD (2009). Artur Rojek, Składam się z ciągłych powtórzeń, Kayax Music 071, CD (2014); Billie Holiday, Lady Day, Columbia/Pure Pleasure PPAN CL637, 180 g LP (1954/2010). Chopin, Waltzes, wyk. Dinu Lipatti, EMI Records CDC 7 47390 2, CD (1950/1986). David Gilmour, On An Island, EMI Records 3556952, CCD (2006). Ella Fitzgerald, Ella Fitzgerald sings the Cole Porter Song Book, Verve/Speakers Corner Records MGV 4001-2,2 x 180 g LP (1956/2000). Jean Michel Jarre, Essentials & Rarities, Disques Dreyfus/Sony Music 62872, 2 x CD (2011). John Coltrane Quartet, Ballads, Impulse!/Universal Music LLC (Japan) UCCU-40001, Platinum SHM-CD (1962/2013). Miles Davis Quintet, Relaxin’ With The Miles Davis Quintet, Prestige/Universal Music LLC (Japan) UCCU-40005, Platinum SHM-CD (1956/2013). Mobley/Cohn/Coltrane/Sims, Tenor Conclave, Prestige/Analogue Productions CPRJ 7074 SA, SACD/CD (1957/2014). Morton Subotnick, The Wild Bull, Karlecords KR018, “Limited Edition of 500”, 180 g LP (2014). Niemen & Akwarele, Czy mnie jeszcze pamiętasz?, Polskie Nagrania MUZA/Polskie Nagrania, PNCD 1572, CD (1968/2014); Skaldowie, Podróż magiczna, Kameleon Records KAMLP2, „Limited Edition 250 Copies”, 180 g Blue Wax LP (2013). Sławomir Kulpowicz, Sadhana, Polskie Nagrania „Muza” SX 2686, LP (1989). Japanese issues available at [REKLAMA5] Have you ever wondered, what is the aim of audio manufactures in designing and then producing better and better components, speakers and accessories? Besides making money, that is, which is completely natural – we all work to make money. What do they want to achieve, what do they aim for? The answer that suggests itself is that they want to achieve an even better sound. This is a reasonable observation and one could stop there, were it not for another "obviousness": how to define the "better" sound and how is it characterized? "Better is just better," that’s it, which is actually true here. However, audio is a field full of trade-offs and design choices, whose result is a product being a combination of science and art, and hence by definition ambiguous. If a recorded event could be perfectly reproduced or copied, that is shown the same way it had been in the time of the recording, there would be no problem and everything that approaches that ideal would be "better", and whatever departs from it would be "worse." Unfortunately, in this respect the high-end is no different from audio equipment that sells for $300. This is in spite of the fact that the sound obtained from a properly set up audio system, which includes quality components, is incomparably better than that of a budget system. From the high-ender's point of view we are in heaven. However, since we start from a completely different level, the differences that can be noticed after upgrading any of the system components to a $20,000 more expensive one have as big an impact on the way we perceive music as those resulting from replacing a $300 amplifier for a $600 one. Pitting against each other the Isis and my reference Harbeth M40.1, which together with custom-made Acoustic Revive stands cost exactly the same as the Austrian floorstanders, was therefore a journey into the world of ambiguous choices and unambiguous changes. Plugging in the Isis instead of my Harbeth M40.1 brought significant changes in the many aspects of the presentation, changing the sound of my system. While both speakers have more in common than what separates them, the differences are very clear and it will not be difficult to pick up your favorite pair. To be honest, let me say that in many respects the Isis were the best speakers I’d ever had at home. For example, I’d never heard such a good soundstage. The speakers offer outstanding holography, showing a fully credible soundstage. My Harbeths are excellent in this regard, and other speakers that behaved fantastically include the Amphion Krypton3 and the Franco Serblin Ktêma. Nevertheless, the level of holography showed by the Isis was unbeatable; the best I’d ever experienced at home. I have long been irked at hearing a stereotype that is prevalent in the audiophile world (and only in it; the "pro" audio world is free of it) and says that it is small stand mount monitors that present the best soundstage, and if we are talking floorstanders then only those with a narrow front baffle. I eventually let it go when I realized that many music lovers may actually be taking something else for it. What I mean is that small speakers, with narrow front panels and petite woofers, can mask soundstaging problems. It is true that they can help bring out the edges and emphasize them. And that is, I think, what is usually perceived as "a clear soundstage." Well, it is not. The true soundstage is holography, imaging and drawing instrument bodies. Monitors (almost all of them, but for a few exceptions) can only guarantee imaging. If you want to become convinced of that, listen to the flagship Harbeth or better yet to the speakers under current review. The show the soundstage as a continuous space, in the shape of a sphere. It surrounds the listener without drawing attention to itself. Electronica albums, such as Jean Michel Jarre’s Essentials & Rarities, Aquavoice Memories or Morton Subotnick’s The Wild Bull, which has recently been released on vinyl, were shown from a new perspective. I’d never heard so well the sounds from behind and from the sides, nor had they been so independent of my room and the presentation in front of me. Early stereo recordings, like Coltrane’s Ballads, with the instruments extremely wide in the channels, they were super-independent of the speakers that simply disappeared. I just had to close my eyes. Coltrane's saxophone, placed to the far left side, was heard playing outside the outer edge of the left speaker, while the drum set on the right side sounded slightly outside the inner edge of the right speaker. As if these instruments were not associated with the source of the acoustic wave. Such excellent soundstage, without a clear division between the acoustic planes and the instruments, between the reverb and the instrument, and yet with an amazing reliability, is possible - I think - thanks to very flat frequency response, great combination of drivers and extremely low bass. For it is the bass that will come as a surprise to anyone who knows its sound, who listened to other large high-end speakers and who knows the sound of live instruments. It has an incredibly deep extension, which is most impressive with electronic instruments, the organ and piano. It is perfectly controlled even at the bottom end. It also provides a solid foundation for everything that is above. It differs from the Harbeth bass with a different way of shaping the attack – the British speakers are more energetic, more clearly focused sounds. And yet it is the Isis that have a better differentiated low range and that better display the differences in the recordings, the latter always shown a bit nicer and prettier by the Harbeth. Most importantly, however, the bass provides the basis for building up the instrument bodies and whole structures. The treble and midrange are one and the same, forming a whole. Horns have a bad reputation because most of them are just low-quality drivers, where the horn not only amplifies the sound but also any distortion. Flagship JBL, like the S3900, and now the Isis, show that it is possible to combine delicacy with resolution, selectivity with liquidity. All the more so that in the Isis the treble is part of the midrange, never sounding alone, detached from the rest. And the midrange is dense, warm and big. The vocals have a huge volume. They are bigger than in reality, but it is not the fault of speakers from Trenner, or even Friedl. That is simply how you hear the vocals over a close-up microphone. The further away it is, the smaller it gets. There is also less bass, but even after adjusting it in the mixing console and achieving tonal balance, both presentations differ from each other with just that: the volume. The speakers only showed how to do a recording and brought out a particular recording technique. And it was very enjoyable. Sitting in front of the Austrian floorstander duo we find ourselves in a bubble that includes a direct and surrounding sound, as well as the hiss of air in the recording studio and/or tape hiss. There is also a large volume, i.e. a close, warm, natural presentation, and a sense that the speakers do not have any restrictions in the bass department. That translates into a relaxed but at the same time compelling presentation. At home, I listen in the nearfield, in other words closer than usually, to minimize the impact of my room on what I hear and to be closer to the sound sources, which I like. The huge Isis, standing close to me, put me in a situation similar to that experienced by audio journalists in Japan. The Austrian speakers did not disturb anything and there was no need to position them further away for everything to "settle down" and sound fantastic. It is obviously obvious that there are no ideal speakers. The Isis, too, are only an attempt to present musical events. A successful and interesting attempt, but still an attempt. Even they cannot show everything that the Austrians from Trenner&Friedl are capable of. Otherwise, their flagship Duke, which sells for nearly 600,000 PLN, would be a fraud rather than duo’s attempt to implement all their ideas, with a no-cost objective. And fraud is the last word to occur to me while auditioning their second design from the top. Other flagship speakers simply also show something special and different than the Isis. We are talking about top high-end, but even here the customer’s taste is just as important as absolute quality. The more so that very often several different audio products offer a similar quality level. The Harbeth have a somewhat narrower frequency response and are not as resolving in the treble. Their sound is, however, more dynamic and thus more colorful. The slightly “soup-up” all the recordings, so even weaker ones sound at least interesting. They do not do this through homogenization, but rather a slight "pause" before pointing finger of blame. The Isis are more explicit in their “assessment.” The Harbeth, the said Amphion and the Sonus faber Guarneri Evolution show more expressive bodies, denser and richer in texture. Although all of them are among the best speakers in terms of imaging, the Isis are even better, despite the fact that their focusing our attention on particular events, music (instruments, voices, etc.) is not as phenomenal. I think their objective lies in showing a continuous, consistent, huge soundstage. The Harbeth show it in a slightly smaller scale and are not as holographic. Conclusion This is one of the best speakers that I have heard at home. In terms of tonal quality and presentation they are reminiscent of the Hansen Audio Prince v2, which are still in my mind despite the several years that have elapsed since I reviewed them. The Austrian speakers combine it with a much better soundstage. When it comes to its size (the whole sphere, not just the tunnel in front of us), it is almost unrivaled. Their classic proportions and absolute conservatism with regard to their finish make them timeless. Just like their sound. They will sound equally well in a small and large room. Preferably paired with a powerful amplifier, be that solid state or tube. Truly magical speakers, hence the RED Fingerprint. The Isis is a 3-way, 3-driver speaker design, to some extent similar to classic JBL speakers. They are related by using a large paper woofer and horn tweeter. Although the shape of the horn used in the Austrian speakers is of course different. The 45 mm (1.75-inch) compression driver has a diaphragm that is made of titanium coated with titanium nitride (TiN). It is loaded into an aluminum horn that has been designed by T&F and is made in-house. It is a very solid component machined from a single block of aluminum. The driver’s neodymium magnet has a heat sink mounted to its back. The 200 mm (8-inch) midrange driver is the same as that used in the Pharoah, where it served as a midwoofer. It has a paper diaphragm reinforced with fiber and is custom made for T&F by SEAS, which also sells it as H1613-08. In Austria, the diaphragm is coated with six layers of Italian balsamic oil lacquer, used for soaking wood in musical instruments. The true power lies in the woofer – I have seen similar drivers in the K2 and the Everest from JBL. Its diameter is 380 mm (15-inch). The cone features ribs that were characteristic in high-sensitivity drivers from years ago and were used to stiffen its surface. The crossover employs high-quality components from Mundorf, like silver/oil capacitors and air-core inductors, as well as MOX resistors. Internal wiring is on Cardas cables. Pure copper speaker terminals come from the same manufacturer. There are two pairs of terminals, separately for the woofer and mid-tweeter. They are coupled via jumpers from the same Cardas cable as that used for internal wiring. The cabinet is beautiful, made of multi-layered plywood finished with natural wood veneer (choice of several versions). The individual layers vary in hardness, thus helping to damp vibration. The interior is damped with sheep wool – the company claims that it comes from Austrian sheep… The speaker sports a solid plinth that adds to the thickness of the bottom panel. It has a cut-out at the rear, to direct the air from the reflex port/tube system towards the wall behind the speaker. In spite of that, the Isis can be positioned very close to the rear wall and room corners, which I tested personally. The spikes are mounted to the bottom of the plinth. In my opinion, it worth replacing them with footers from Franc Audio Accessories or at least put them on spike pads from the same manufacturer. Specification (according to the manufacturer) Frequency Response: 28 Hz (-6 dB) - 40 kHz (-3 dB) Sensitivity: 91 dB (2.83 V / 1 m) Nominal Impedance: 8 Ω Dimensions: H 1200 mm x W 500 mm x D 350 mm Weight: 65 kg/each Distribution in Poland MOJE AUDIO ul Sudecka 152 53-129 Wrocław e-mail: biuro@mojeaudio.pl www.mojeaudio.pl [hfgallery] [img mini="foto_testy/1411/trenner/th/05.jpg" big="foto_testy/1411/trenner/05.jpg" src="foto_testy/1411/trenner/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/06.jpg" big="foto_testy/1411/trenner/06.jpg" src="foto_testy/1411/trenner/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/07.jpg" big="foto_testy/1411/trenner/07.jpg" src="foto_testy/1411/trenner/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/08.jpg" big="foto_testy/1411/trenner/08.jpg" src="foto_testy/1411/trenner/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/09.jpg" big="foto_testy/1411/trenner/09.jpg" src="foto_testy/1411/trenner/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/10.jpg" big="foto_testy/1411/trenner/10.jpg" src="foto_testy/1411/trenner/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/11.jpg" big="foto_testy/1411/trenner/11.jpg" src="foto_testy/1411/trenner/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/12.jpg" big="foto_testy/1411/trenner/12.jpg" src="foto_testy/1411/trenner/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/13.jpg" big="foto_testy/1411/trenner/13.jpg" src="foto_testy/1411/trenner/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/14.jpg" big="foto_testy/1411/trenner/14.jpg" src="foto_testy/1411/trenner/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/15.jpg" big="foto_testy/1411/trenner/15.jpg" src="foto_testy/1411/trenner/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/16.jpg" big="foto_testy/1411/trenner/16.jpg" src="foto_testy/1411/trenner/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/17.jpg" big="foto_testy/1411/trenner/17.jpg" src="foto_testy/1411/trenner/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/18.jpg" big="foto_testy/1411/trenner/18.jpg" src="foto_testy/1411/trenner/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/19.jpg" big="foto_testy/1411/trenner/19.jpg" src="foto_testy/1411/trenner/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/trenner/th/20.jpg" big="foto_testy/1411/trenner/20.jpg" src="foto_testy/1411/trenner/20.jpg" desc="HighFidelity.pl"] [/hfgallery]

xhibitions and shows are surely not the best place for presentations of high-end audio systems, at least not when a sound quality is what matters. Problems with acoustics, power, and a really short time for setting up result in million dollars worth systems delivering only a small portion of their true potential, and some of them sounding even really, really bad. Visiting a room with a system combined of JWB Merlin electronics and YG Acoustics speakers was therefore all the more interesting experience. I came across this presentation in a room that was built in one of the main halls at MOC during High End 2014 in Munich. I sat there for quite a while enjoying immensely dense, rich, even warm sound, but it was this natural warmth of sound and not artificially imposed by the system. Speakers with aluminum drivers in aluminum enclosures and a solid-state electronics that offered a “vintage-like” sound but without its usual downsides? Yes, it was just the case. Awarding this system with Best Sound High End 2014 was just a formality (High End 2014 coverage HERE). Despite all the show related problems I mentioned above it does happen that a system delivers stunning performance. There are many reasons why that sometimes happens, one of them being pure luck, another being extraordinary effort by exhibitor, sometimes it's just about something else. I remember very well my visit to German company ASR's room four years ago. I spent a lot of time there listening to a system with Emitter II amplifier, Bergmann Audio Sleipner turntable and YG Acoustics Anat Reference II loudspeakers. It shouldn't be much of a surprise if I tell you that this system was then also awarded with “The best sound” (coverage HERE; review ASR Emitter II amplifier HERE, Bergmann Audio Sindre turntable HERE ). YG Acoustics doesn't have a distributor in Poland at the moment. Despite that I'd like you to read what a man, who made perfection his hallmark, has to say, as this is the future of high end. Yoav Geva, the owner and chief engineer of YG will tell you about his work, his past, and you will find out that his family comes from… - to learn that you need to keep on reading. WOJCIECH PACUŁA: Let's start with how YG Acoustic started? YOAV GEVA: An anecdote about me that few people know is that my family's original name was actually Gonczarowski, not Geva. This means that while my father is from Germany, somewhere "higher-up" in the family-tree I'm part Polish. I thought that your readers would find this an amusing side-note :) Music has been a big part of my life since I was a small child. My brother is a professional opera singer. My father is a bass player, and I've always played keyboards. Listening to classical music was a substantial part of the family activities, and I continue that tradition with my own children. When I was a teenager, I bought my first stereo system. It didn't sound very good, so I asked my father for advice. My father gave me two options: work more, save up more money, and buy a better stereo system. Or, build my own speakers. My father agreed to finance the textbooks and materials to learn the trade, because he saw educational value in building something, and that's how I started. I was trained by the military in digital signal processing. Afterwards, I went to university to augment my education with some electrical engineering, but the majority of the training came from the military program. Speakers are essentially analog signal processing. What I did in the military was digital signal processing, but the ideas of how to do both are basically one and the same. When I left the military, I tried to use the same thought-process but applied it toward speaker and crossover design. That was actually the beginning of our DualCoherent technology, which is the one technology that has remained consisted in all YG Acoustics speakers from Day One. The idea of having a crossover with near-zero relative phase and a flat frequency response at the same time. All that came from my background in digital signal processing. I submitted my first prototype, made using DualCoherent technology, to an annual competition for young inventors. I was fortunate enough to win a grant which I used to start YG Acoustics. Why did you start another loudspeakers company – aren’t there enough ones? We live today in a world where almost anything that you may want to buy - someone probably already makes it. Therefore, the criterion in my mind should be not whether speakers are already available on the market, but rather - can I innovate and push the edge of the art further, towards more lifelike sound. At YG Acoustics, we constantly invent new speakers and new technologies that bring us closer and closer to the ideal of live sound at home. We'll always continue innovating and pursuing this elusive goal. We believe that the world is better off with companies like YG Acoustics that continuously push the edge of the art in any field; without this approach, nobody would invent anything because almost always some product is already offered on the market. How do your speakers differ from others? Sonically, YG Acoustics speakers are not voiced, and simply convey the recording - nothing more, nothing less. This results in a lifelike, natural sound that has made us famous around the world. Technologically, YG Acoustics offers six key solutions that distinguish us from other manufacturers: BilletCore - revolutionary drivers machined from solid billet ForgeCore - the ultra-low-distortion motor system ToroAir - leading-edge inductors without signal contamination DualCoherent - the crossover coherent in both time and frequency domains Cabinet Technology - fully CNC-machined, aircraft-grade aluminum construction FocusedElimination - pinpoint elimination of resonances without loss. For your tech-savvy readers, details and measurements that demonstrate these technologies can all be found on our website at. Business-wise, YG Acoustics has a very loyal and strong customer-following thanks to our modular, upgradeable speakers. Typically, one can start with a smaller YG Acoustics speaker and expand it to a larger speaker by adding modules without replacing existing ones. When new technologies arrive, existing YG Acoustics customers can typically upgrade their speakers, in the field in a matter of hours, to the new technology without replacing their speakers. This way, we protect our customers' investments for many years to come, and allow them to conveniently remain at the edge of the art. What kind of amplification you suggest for your speakers? YG Acoustics speakers work well with a very wide range of amplifiers. We have customers who use solid-state, and other customers who use tube amps. I can give a few general guidelines, but of course a specific choice should take into account the room-size, listening-habits, and other components in the system such as source and cabling. Here are a few ruled-of-thumb: 1. 60+ Watts is recommended to achieve higher volume levels. A current-capable power supply is preferred, so some amps (with current-capable power supplies) can work well even if their wattage is a bit lower. 2. A decent damping-factor is required to maintain the speaker's neutrality, so solid-state and push-pull tubes tend to work better on our speakers than single-ended amps. 3. Single-amping and bi-amping are both typically supported. Some models support tri-amping as well. How is it to start a new company in a world where “everything” is already available on the market? In today's world, since almost everything can be purchased from many companies, the demands on a manufacturer are higher than they were in the past. The things that have allowed YG Acoustics to distinguish itself from the crowd, and to succeed and grow in this market, are a relentless dedication to sound-quality, reliability and on-time delivery. We achieve this through constant innovation, both in terms of delivering lifelike sound, but also very importantly we constantly make sure that our workmanship is second to none. The same standards apply to the quality of our manufacturing-equipment, to our insistence on fulfilling our promises to customers by delivering our speakers on-time, and by making sure that our speakers are robust and can provide many years of trouble-free musical enjoyment. YG Acoustics seems to be very well capitalized company – where do the money come from? The source of the funds are people just like your readers - discerning audiophiles who love having lifelike sound at home. We are very grateful for our customers' support, and we continuously earn their trust by investing proceeds from their speakers in new research, development, equipment and manufacturing-processes to offer products that meet and exceed their critical demands. I'd like to take this opportunity to thank your readers for supporting YG Acoustics and the high-end industry in general - your pursuit of perfection is what drives us to excel. We view it as our ongoing responsibility to translate your support into continuously providing you with innovative solutions for lifelike sound at home. Why, do you think, were you included in Robert Harley’s book The Absolute Sound’s Illustrated History of High-End Audio. Volume One: Loudspeakers? We're honored that Robert Harley and the other expert reviewers at TAS have considered us worthy to be included in this flagship project. The best people to answer your question are of course TAS' reviewers. From my end, I played the speakers for them, and let the sound "do the talking". You surely know of Linn’s approach expressed by: “source first” – is it still viable today? In today's world, to achieve lifelike sound, everything needs to be good. Source, amplification, speakers and accessories all have to be at a high level. Any musical information that is lost anywhere within the audio chain, can never be recovered. Assuming that all components in the system are of high quality, the question still remains as to where the biggest return-on-investment lies within an audio system. I have personally heard more systems with high-end speakers and slightly less expensive electronics that sounded pleasing, than the other way around. The reason is that a speaker is essentially multiple devices, all grouped into one product, with very careful alignment to each other. Typically, each frequency-range has its own dedicated circuitry (electronics), its own dedicated driver(s) (mechanics), and sometimes its own dedicated enclosure (acoustics). In a 3-way 3-module speaker like our flagship Sonja 1.3, for instance, you're dealing with 22 devices per pair of speakers: 10 drivers, 6 circuits, and 6 enclosure-modules. Most other pieces of gear in a system don't have that many devices that operate in all three domains (electronic, mechanical and acoustical), and have to be perfectly aligned with each others in both the frequency and time domains. What you think about digital file “revolution”, is it “the next big thing”? Can we stream it on high-end level? I believe that high-resolution digital files are a very interesting medium, that is showing a lot of potential for the future. Currently it is still in its early stages, but already it's quite exciting. We should also remember, though, that in all high-end mediums, whether they be CD, LP, SACD, master-tape or high-res files, the level of execution is the determining factor. For instance, well-executed analog, and even well-executed red-book CD, can produce remarkable results. Please tell me something about 10 music albums my readers should listen right away and why. I love classical music first and foremost, and therefore you'll notice that most of my selections below are classical. I made sure to include some other genres, though. 1. Beethoven's 9 symphonies with Karajan conducing the Berliner Philharmoniker 1963. My personal favorite is the 2nd movement of the 9th symphony. 2. Mozart's Violin concertos played by Anne Sophie Mutter with Yuri Bashmet. I know that some people claim that Mutter is often too technical, but I believe that after listening to this wonderful album, it's easy to see that she has a lot more than just technical ability to offer. 3. Bach's Orchestral Suites #1~4 by Ton Koopman. First of all, I'm personally a Bach fan so this is an easy choice. Second, I feel that Koopman offers virtuosity without sacrificing authenticity, in perfect balance. 4. My brother, Yannai Gonczarowski, performing Schubert's Winterreise and additional Lieder. I think that the reason is obvious. My favorite Lied is Schumann's Belsazar. 5. Bach's Suites for Solo Cello by Janos Starker. Another easy choice for Bach fans. 6. Maria Joao Pires' Complete Complete DG Solo Recordings. I'm sure that many of your readers will share my enthusiasm with the multitude of wonderful Chopin pieces. I also personally love the Schubert pieces. 7. Bach's Organ Works by Karl Richter. As a keyboard player, in my dreams this is how I play. In reality, I can only admire it. 8. The Stimulators, Loaded (2009). This wonderful band combines Afro-Cuban rhythms, jazz-inspired solos, and blues-style vocals into a fascinating mix. 9. John Lee Hooker's The Healer, which also features Carlos Santana and many other top-notch artists. My favorite blues artists are John Lee Hooker and B.B. King, so I had to put at least one album from one of them in this list. 10. Charles Mingus' Blues and Roots. A humble, very old, mono recording. I recommend that you check out the track Moanin. Thank you for letting me share my philosophy and my musical favorites with „High Fidelity” Readers! We would like to thank Mr Kerry St. James (YG Acoustics | Senior Account Executive) for his help in arranging this interview. [hfgallery] [img mini="foto_testy/1412/wywiad_kerry/th/05.jpg" big="foto_testy/1412/wywiad_kerry/05.jpg" src="foto_testy/1412/wywiad_kerry/05.jpg" desc="Huge aluminum slabs delivered to YG Acoustics factory in Colorado."] [img mini="foto_testy/1412/wywiad_kerry/th/06.jpg" big="foto_testy/1412/wywiad_kerry/06.jpg" src="foto_testy/1412/wywiad_kerry/06.jpg" desc="Aluminum slabs are transported inside one of three huge halls in YG Acoustics' factory (please notice a proportion between worker's feet and sheets)."] [img mini="foto_testy/1412/wywiad_kerry/th/07.jpg" big="foto_testy/1412/wywiad_kerry/07.jpg" src="foto_testy/1412/wywiad_kerry/07.jpg" desc="Front panels machined on huge Portatec CBC lathes. Exactly the same machines are used in Airbus factory."] [img mini="foto_testy/1412/wywiad_kerry/th/08.jpg" big="foto_testy/1412/wywiad_kerry/08.jpg" src="foto_testy/1412/wywiad_kerry/08.jpg" desc="The Sonji's front panel starts getting its final form."] [img mini="foto_testy/1412/wywiad_kerry/th/09.jpg" big="foto_testy/1412/wywiad_kerry/09.jpg" src="foto_testy/1412/wywiad_kerry/09.jpg" desc="Partially completed, but fully finished Sonji's front baffle (before anodizing). "] [img mini="foto_testy/1412/wywiad_kerry/th/12.jpg" big="foto_testy/1412/wywiad_kerry/12.jpg" src="foto_testy/1412/wywiad_kerry/12.jpg" desc="5-axis Gildemeister lathe while working. Woofer's diaphragm processing. "] [img mini="foto_testy/1412/wywiad_kerry/th/13.jpg" big="foto_testy/1412/wywiad_kerry/13.jpg" src="foto_testy/1412/wywiad_kerry/13.jpg" desc="Woofer BilletCore processing."] [img mini="foto_testy/1412/wywiad_kerry/th/14.jpg" big="foto_testy/1412/wywiad_kerry/14.jpg" src="foto_testy/1412/wywiad_kerry/14.jpg" desc="Processing of the back side of driver's diaphragm. YG's drivers are not pressed – metal never has to undergo any stress. "] [img mini="foto_testy/1412/wywiad_kerry/th/15.jpg" big="foto_testy/1412/wywiad_kerry/15.jpg" src="foto_testy/1412/wywiad_kerry/15.jpg" desc="Partially finished mid- lowrange drivers. "] [img mini="foto_testy/1412/wywiad_kerry/th/16.jpg" big="foto_testy/1412/wywiad_kerry/16.jpg" src="foto_testy/1412/wywiad_kerry/16.jpg" desc="Consecutive stages of making a diaphragm. It starts with a 7 kg aluminum cylinder and it ends with a 35 mm diaphragm."] [img mini="foto_testy/1412/wywiad_kerry/th/17.jpg" big="foto_testy/1412/wywiad_kerry/17.jpg" src="foto_testy/1412/wywiad_kerry/17.jpg" desc="Making of own PCBs. Precise cutting of thick copper. There wide traces that are cut instead of narrow ones that are etched."] [img mini="foto_testy/1412/wywiad_kerry/th/18.jpg" big="foto_testy/1412/wywiad_kerry/18.jpg" src="foto_testy/1412/wywiad_kerry/18.jpg" desc="Air-core coils are wounded in-house. The machine that does wounding is controlled by CNC and was custom build for YG. Toroidal coil eliminates cross-talk."] [img mini="foto_testy/1412/wywiad_kerry/th/19.jpg" big="foto_testy/1412/wywiad_kerry/19.jpg" src="foto_testy/1412/wywiad_kerry/19.jpg" desc="Complete toroidal coils. "] [img mini="foto_testy/1412/wywiad_kerry/th/20.jpg" big="foto_testy/1412/wywiad_kerry/20.jpg" src="foto_testy/1412/wywiad_kerry/20.jpg" desc="Jumpers made in-house. Highest quality ultra pure copper gold-plated with two-side covers made of anodized aluminum."] [img mini="foto_testy/1412/wywiad_kerry/th/21.jpg" big="foto_testy/1412/wywiad_kerry/21.jpg" src="foto_testy/1412/wywiad_kerry/21.jpg" desc="Speaker bindings made in-house. Highest quality ultra pure copper gold-plated. "] [img mini="foto_testy/1412/wywiad_kerry/th/22.jpg" big="foto_testy/1412/wywiad_kerry/22.jpg" src="foto_testy/1412/wywiad_kerry/22.jpg" desc="In-house made aluminum spikes with steel cores. They are optimized by YG for each speaker model separately."] [/hfgallery]

nformation about yearly „High Fidelity's” awards are firstly presented during AudioShow each year. The show is a perfect opportunity for Distributors and Manufacturers to „spread the word” to their customers, to „brag” about being awarded and we are happy to see that many of them actually use this opportunity. Also Srajan Ebaen, chief editor of „6moons.com”, noticed that in his show coverage (See HERE). And I believe being awarded by “HighFidelity” magazine is something worth bragging about. I think that during our 10 years in business we have managed to develop quite a precise and delivering good effects system that allows us to offer high quality reviews. It starts with a selection of what we want to review, then products undergo our evaluation and finally the best of the best are awarded with „Best Product” awards. There is a limit to the number of products we are able to review each month, and thus just a fact that some product is chosen for a review already indicates its extraordinary value. We simply do not review products we don't like or don't understand. Life's too short to waste time on such products. Yearly Best Sound Awards are a pinnacle of our yearly work. I know for a fact that these awards are eagerly used by many brands in their world-wide promotional campaign. In fact that puts even more pressure on us as it gives us more responsibility as the information put on the Internet stays there forever. I also believe that we have built our position, our status in audio world through our credibility so that Readers know they can trust our opinions. We intend to keep doing just that! You are welcome to find out what products are awarded and we hope you will join us in appreciation of award winners' success. On the other hand we would like to congratulate all the awarded – manufacturers, distributors, musicians, producers and record labels – great job everyone!!! Gramofon Turntable AIR FORCE ONE There is no perfect audio system. All the more – there is no perfect audio device. Air Force One turntable from a Japanese company TechDAS delivers such a stunning performance that it is easy to forget about that truth. And it is even easier to lose oneself in the music played by this deck. It's an ingenious sound source, according to Wojciech Pacuła one of the best there are. Only some top professional reel-to-reel tape recorders are able to deliver even better performance with high quality mother tapes. But actually they outperform Air Force One only by a small margin. This turntable is on a short “to die for” list of chief editor, Wojciech Pacuła. Review was published in issue No. 119, March 2014 See HERE Linestage Ayon Audio SPHERIS III A preamplifier is a heart of a classic, analogue audio system. The final sonic effect relies a lot on how well this “heart” works. Many manufacturers don't understand that, treating this element of the system lightly, often not realizing how different it is from other system elements and thus treating it not differently than a headphone amplifier or D/A Converter's output. Compared to them, Gerhard Hirt seems to be an alien from another planet. He treats preamplifier as one of the biggest challenges. He devoted a lot of time and spent even more money to achieve proper results. Spheris III is the product that took Ayon's engineers and Gerhard himself most time ever to develop. Since “HighFidelity's” chief editor, Wojciech Pacuła, spent last few years with Ayon's Polaris linestage, using its consecutive versions: II, III, and finally III (Custom Version), he knows the path Gerhard worked his way through. That is why he can claim with utmost certainty that Spheris III outperforms all previous models by a large margin. It is the best preamplifier that ever played in Wojciech Pacuła's system. Ayon Audio Spheris III is now a part of “HighFidelity's” reference system. Review will be published in issue No. 128, December 2014 See HERE Power amplifier Kondo KAGURA There was no way this very particular product could not be included in our awards' list. For the second consecutive year Marek Dyba had a great pleasure and honor to review one of the products of Japanese legendary manufacturer, Kondo. Already during High End Show in Munich on 2013 Marek spent most time in a small room, where a complete Kondo system was presented, that included a prototype version of new Kondo's flagship monoblocks called Kagura. This year he was incredibly lucky to receive current version of these amplifiers for a review, that was accompanied also with Kondo's preamplifier and cables and while the rest of the system could not quite match the class and performance of Japanese devices, Marek lived in his listening room for almost a week not to lose any second of the musical experience of the highest order that Kondo delivered. Price one has to pay for Kaguras is beyond imagination for 99,9999999% of people, but those very few lucky ones who can afford it (in fact one has to spend a lot more for a matching system) will never ever regret this purchase. The level of emotional and musical experience Kaguras deliver is simply priceless! Review was published in issue No. 128, November 2014 See HERE ANALOGUE SOURCES Turntable + phonostage Zontek ZONTEK Linnart P-1 X Considering a limited number of products that can be awarded choosing few of them is always difficult. Marek gets to nominate 3 while he'd rather named most of them. This year Marek Dyba was particularly happy giving one of the awards to these two products as they were made in Poland, as some other products he awarded in previous years like Ardento speakers and Amare Musica electronics. Of course it was not just about these products being designed and made in our home country but also about outstanding performance and world-class fit&finish they offered. This year this choice was one of the easiest - Zontek turntable and Linnart P-1 phonostage get a shared award for 2014. This duet seemed to come always together during shows, presentations and other events with music played from vinyl. These devices had matching looks, and what was even more important - matching top level performance, which, as Marek had written in his review, meant that there finally was a Polish high-end analogue system available for purchase! These were products we, Poles, should be proud of and should brag about around the world! Way to go Mr Paweł and Mr Mirosław! Way to go!! Review was published in issue No. 125, September 2014 See HERE Turntable + tonearm PTP Audio SOLID9 Audiomods SERIES FIVE Years old technologies seem to be triumphantly coming back these days. After a period in recent audio history that was driven by coming up with and developing modern solutions, a return to “old ways” was inevitable. Usually it is caused by a “nostalgia” for “good old times”, and probably this element played some role in reemergence of tubes, turntables and different NOS elements, too. But what really matters is going back to the truly valuable “old” things, that after their prime time were never brought back to their full glory, or were transformed into something else, less valuable. An idler PTP Audio Solid9 turntable is a an example of a proper usage of an “old” solution. It delivers outstanding performance and some virtues of its sound are matched only by some very expensive belt-drive competitors. The Audiomods tonearm is an excellent addition to this drive and it allows the deck to truly shine. Review was published in issue No. 126, October 2014 See HERE Turntable + tonearm Fonica F-901 VIOLIN + F-03 rev.3 The idea was to create an interesting design that would catch people's attention by its looks. But in fact the Violin, one of latest additions to revitalized Fonika brand offer, seems to be, according to Wojciech Pacuła, their top achievement so far also in terms of sound quality. Despite the fact that other mass-loader models seem to offer more in terms of bass performance and scale of the sound, it is the sound of this key-note-shaped like model that is most coherent and most complete. A wonderful appearance, beautiful sound, Polish design and a cult brand. It's all right there. Review was published in issue No. 125, September 2014 See HERE Turntable + cartridge Pro-Ject 1XPRESSION CARBON CLASSIC Ortofon M SILVER A complete analogue source (it lacks phonostage actually) at the price of 3.500 PLN? It seems impossible, especially if one got used to prices of good digital sources starting at 10.000 PLN. But Pro-Ject's turntable together with Ortofon's cartridge create a really nice duet complementing each other and allowing their users to enjoy music for hours without an impression of something missing in the sound. This is the best way to promote audio industry especially among young people. 1Xpression Carbon Classic Turntable with Ortofon M Silver cartridge is the basic analogue source in “HighFidelity's” B SYSTEM. Review was published in issue No. 122, June 2014 See HERE Turntable (deck + tonearm) Pre-audio BT-1301 When Wojciech Pacuła learned the price of this turntable he found it hard to believe. Would the price be twice as much he could start to understand how its manufacturer managed to make such a nice device and be able to make some money of it. But hey, one should pay the price as it is and simply be happy about a great deal because one would have purchased an extraordinary turntable with an unique tonearm. Not only does it offer a unique looks that other manufacturers could only dream about, but it delivers a really good, interesting performance. Review was published in issue No. 118, February 2014 See HERE DIGITAL SOURCE Transport Compact Disc C.E.C. TL0 3.0 If you'd asked Wojciech Pacuła which digital product made a largest impression on him in the recent years, the Compact Disc TL0 3.0 transport would be at the top of his list. CD format might be slowly becoming obsolete but for now it still has a lot to offer and on high end level it will beat any audio files player easily. When combined with top notch D/A converter it will deliver top performance. That's another device on „High Fidelity's” chief editor “to die for” list. Review was published in issue No. 121, May 2014 See HERE Transport Compact Disc D/A Converter/preamplifier Pro-Ject CD BOX RS PRE BOX RS DIGITAL Not only in our opinion this is the best digital source Pro-Ject made so far. This analogue specialist designed a digital system that offers sound inversely proportional to its dimensions. Functional, nice looking, compact, susceptible to modification (power supply!), it is simple a great device. Don't waste time – go and get it! Review was published in issue No. 124, August 2014 See HERE Music server Aurender X100L For Tomek, who wrote the second opinion on this product, Aurender was one of latest “large” purchases for his system. As he said, he'd been building his system for 15 years and finally he felt that he found what he was looking for, and he could finally focus on enjoying the music. Audiophilia is a way of life, something that, if once caught, stays with a man forever. Perhaps in this particular case Aurender was really the final touch this system, or its user, needed. For it is truly good sounding digital source, user friendly, compact and functional. Each new version of its firmware introduce improvements to its functions and performance. Tomek is very happy with his newest addition to his system – we can assure that so will you be, if you decide to buy Aurender. Review was published in issue No. 122, June 2014 See HERE D/A Converter / headphone amplifier Cambridge Audio AZUR 851D A short summary of this review could look like that: great design, lots of useful functions, rich sounding DAC/headphone amp. As a part of British Cambridge Audio top line ‘851’, 851D is a worthy partner for 851W power amplifier. We don't use this term too often, as it is commonly abused these days, but in this particular case we are happy to call this product: a reasonably priced high end device. Review was published in issue No. 118, February 2014 See HERE INTEGRATED AMPLIFIER G•LAB Design Fidelity BLOCK The appearance of completely unknown brand, G•LAB Design Fidelity, in Munich at HighEnd 2014 Show took many people by surprise, us included. We never knew neither founders of the company, nor designers, nor people responsible for the concept of G•LAB products. So these people seemed to come from nowhere and maybe that gave them a chance to think outside the box.. The Block amplifier looks like nothing else we've ever seen. The point is – most people, once they saw it, started to wonder why nobody had come up with such an idea before? It's a puristic tube (triode) low power amplifier capable of driving even large speakers. Brilliant combination of design and outstanding sound. And it comes from Poland! Review was published in issue No. 125, September 2014 See HERE Linear Audio Research IA-120H Wojciech Pacuła has known Mr Czyżewski, the founder and chief engineer of Linear Audio Research for many years. Mr Czyżewski is a well-mannered man with principles that he holds really dear, but he is a very warm person too. His products reflect his personality. A hybrid amplifier IA-120H, for the moment his newest creation, is, in our opinion, also the best one ever created by Mr Czyżewski. It offers fast, colorful, dynamic sound. And at the same time it is a remarkable headphone amplifier. And it is a Polish design! Review was published in issue No. 125, September 2014 See HERE MBL CORONA C51 Sticking to ones heritage is the right thing to do. In audio industry it is even more important as it proves that people behind the brand have proper knowledge and good hearing. These elements allow however to build also something new, something leaning towards future. An integrated amplifier MBL Corona C51 is an example of such device working in class D. It is not based, however, on modules bought from external vendor, but on designed by MBL's engineers. And this looks! A luxury audio product for a demanding customer. Review was published in issue No. 120, April 2014 See HERE Jeff Rowland CONTINUUM S2 INTEGRATED Jeff Rowland stays faithful to the design style we've known them of for many years. As you can see devices of this American firm still look very modern and still are able to stir up a lot of emotions. And still it is the performance, the sound that is paramount – everything serves the single purpose of maximum performance, starting with solid casing and ending with every little element of internal design. The Continuum S2 Integrated is a perfect combination of applied art and solid engineering. It is based on class D power amps and it sounds like a really good tube amp. Review was published in issue No. 119, March 2014 See HERE Advance Acoustic X-i60 It's getting more and more difficult to come across an inexpensive audio device of a regular size. One reason is a market trend, another is cost-oriented production – smaller device usually means lower costs. There are few examples available on the market and this particular device is one of them showing how this should be done. It combines past (linear inputs and phono input) with future (digital inputs). And it offers a very good performance. There is nothing more one could expect from a device at this price level. X-i60 is a great start point into a life-time passion called Audiophilia Review was published in issue No. 119, March 2014 See HERE PREAMPLIFIER + POWER AMPLIFIER YBA PASSION PRE 550 PASSION AMP 650 The French are champions in individual sports. This need of “individuality” manifests itself also when it comes to audio devices from this country. At first they might seem no different than products from other parts of the world, the deeper one goes into details the more obvious a divergence from commonly used schemes becomes. They don't deviate from those schemes just for fun of doing it, they do it to achieve certain results. Devices belonging to Passion line, PRE 550 preamplifier and AMP 650 amplifier offer fantastic performance with their deep, powerful sound, accent on lower midrange and large phantom images. As a bonus one gets a unique look of these devices. Review was published in issue No. 126, October 2014 See HERE elinsAudio MILLE It doesn't happen often that a product of a new manufacturer is so well-prepared, refined, and offering such a fantastic performance, as elinsAudio Mille is. This Polish company decided to put an integrated amplifier in a three-box casing, so in fact it doesn't look like an integrated at all. It is a complete setup that will be a perfect match for truly demanding Magnepan speakers, as well as for high-efficiency horn speakers. Its presentation gives listener an impression of a very close, palpable, intimate even contact with music. Spacing and imaging is simply spectacular. Review was published in issue No. 122, June 2014 See HERE LINESTAGE Tenor Audio LINE 1/POWER 1 If we were to point out a product offering the most intimate, rich, warm sound that we listened to this year the reference preamplifier of Canadian company Tenor Audio would occupy the top of the list. Its sound is so incredibly rich, so dense that it is hard to believe that it can be achieved to such an extent. And a preamplifier is not the only function of this device as it also sports a headphone output. And it does drive cans in equally outstanding way as it drives power amplifier. It is simply also a reference headphone amp. Review was published in issue No. 124, August 2014 See HERE POWER AMPLIFIER ABYSSOUND ASX-1000 Mr Julian Studnicki has every reason to be proud. Thanks to company Abyssound his ideas for power amplifiers he worked for many years on, finally became real, commercial products. The ASX-1000 power amplifier is unique in so many ways that it could be a subject of almost endless discussions. This amplifiers delivers a powerful, rich, slightly dark sound with focus on vocals. It's huge power headroom allows it to deliver proper drive to a very dense sound. Review was published in issue No. 118, February 2014 See HERE TRIODE TRX-M300 REFERENCE EDITION We sort of take it for granted that every time we get a Japanese tube amplifier for a review it has to be a very special product. So it would be easy to say that Triode TRX-M300 Reference Edition amplifier is just another, great example of Japanese approach to designing a high quality tube device. But in fact it is much more than that. The Japanese company that has been specializing in manufacturing relatively inexpensive products this times created a high end reference amplifier, with a single 300B triode. Beautifully made, wonderfully sounding, it is sort of “statement” product in Triode portfolio. Review was published in issue No. 121, May 2014 See HERE LOUDSPEAKERS Manger X MSSp1 It took 45 years of the existence of the brand for Marek Dyba to have a chance to listen to and immensely enjoy one of their products. A close encounter with Manger MSSp1 speakers was a valuable and incredibly intense experience for him. He's been a fan of wideband drivers (and speakers using them) for years. He has never been blinded by this passion as he realized also weaknesses of this solution. Mangers proved that widerange drivers are one of the good ways of music reproduction for a music lover. Ingenious coherence of the performance, without, usual for widebanders, limitations of range extremes results in astonishing, natural music presentation. These speakers put listeners in the middle of musical event so that the performance sounds incredibly real. Many even more expensive multidriver bass-reflex speakers are not capable of such realism. If you love music most, if natural sound is more important for you than a race for most detailed, most transparent sound, deepest bass and so on than you have to try Mangers out. But be AWARE – that might start a relation ship that will last till death do you part...! Review was published in issue No. 126, October 2014 See HERE Kaiser Acoustics KAWERO! CHIARA There is a special use for monitors. They can't deliver such a scale of the sound and large floorstanders can, they are simply too small for that. And yet, in many aspects Kavero! Chiara by Kaiser Acoustics sound better than many huge floorstanding boxes with multiple drivers. They deliver large, rich, dense three-dimensional sound, that is also very clear with no distortions or whatsoever. It is possible due to ingenious cabinets and high performance drivers. The performance they deliver goes beyond any expectations one might have for a two-way standmounted speakers. In this particular case buyer gets speakers with stands designed for them. Review was published in issue No. 124, August 2014 See HERE Graham Audio LS5/9 Engineers from BBC Engineering Department not only became part of the history but also shaped part of the history of audio industry. Loudspeakers that for several years have been one of reference point for other were created thanks to their work and inspiration they gave others. Their vision of sound has been attractive for many manufacturers even in recent years and thus some of them recently started to produce loudspeakers basing on licenses from BBC. One of such manufacturers is Graham Audio. Their first and (for now) only model LS5/9 monitors offer unique naturalness, dynamics and a chance to truly enjoy the music. These speakers are a part of „High Fidelity's” SYSTEM B . Review was published in issue No. 124, August 2014 See HERE Pylon Audio PEARL 25 One of the most important news we heard during Audio Show 2014 http://highfidelity.pl/@main-2250&lang= was the one that Polish company Pylon Audio shared with us. They have received a financial support from European Union that would allow them to start production of their own drivers. It's a wonderful news considering that even using drivers made by other manufacturers Pylon Audio managed to make a truly inexpensive speakers that offer absolutely fantastic price/quality ratio! They look really well, their finish is very good, and they offer dynamic, open sound. Any true music fan could be proud having them in his/her room. Review was published in issue No. 123, July 2014 See HERE PMC DB1 GOLD Professional manufacturers hire sound engineers with a lot of experience brought from recording studios and/or live concerts. They bring with them priceless knowledge and experience. And yet it does not happen so often that these people create products to the liking of perfect audio enthusiasts. One of few companies that managed that is British Professional Monitor Company (PMC). One of their products, DB1 Gold monitors deliver open, selective sound, and one of their advantages is incredible dynamics. When buying PCM speakers we can be sure that what we get is a professionally designed product that was made using knowledge, experience but also love for music. Review was published in issue No. 118, February 2014 See HERE GoldenEar TRITON SEVEN In his review of these American speakers Wojciech Pacuła wrote, that he would use following tags for them: richness, depth, openness, delicacy, forgiving nature, energetic, large scale. These are quite big loudspeakers with multiple drivers and yet offering very coherent, liquid sound. The „folded ribbon” tweeter delivers delicate and yet detailed sound, and it seems that this is a case of particularly successful application of this driver. Tritons will work equally very well in a home theater system (and you won't need subwoofer anymore) and in a stereo rig. Excellent, reliable product for everyone. Review was published in issue No. 124, August 2014 See HERE APS TRINITY A material for UnCovered by Audiofeels was recorded in APS's presentation room, using their AEON monitors. It is one of the highest quality recordings made in Poland ever. Achieving such quality wouldn't be possible without these monitors. Model Trinity is significantly larger and much better. Its dynamics is remarkable, its resilience to overdrive and sudden shifts of signal is outstanding. You might not know this but many Polish recordings and remasters were done using these speakers. They can be also used for a minimalist but outright system for an audiophile who wants to hear exactly what is recorded on a CD (or in a file). Review was published in issue No. 119, March 2014 See HERE Trenner&Friedl ISIS Might, classic, remarkable. Soundstage they offer is phenomenal, incredibly natural in size, planes, mass, and “feeling” the air. Tonal balance is perfect, but even though bass will take most listeners by surprise. It goes very deep, but it is never overdone, or overstretched. Sound seems a bit soft and very pleasant. Ones of very few speakers Chief Editor of „High Fidelity” could gladly live with every day. Review was published in issue No. 127, November 2014 See HERE Albedo APTICA Italian products are usually beautiful designs. We got used to it. Many products from this country also sound very well. But there are quite few that offer such a great performance as Albedo's Aptica speakers. It is incredible how “large” and wonderful sound comes from such small speakers that in fact look like the design itself was the key element, not the sound. Ceramic drivers offer, unlike in many other cases, warm, sweet sound but keeping their usual great dynamics too. Aptica will look amazing in any modern interior. And they will sound equally great. Review was published in issue No. 123, July 2014 See HERE Dynaudio CONFIDENCE C1 PLATINUM When a particular model of speakers is a favorite of both, the owner of the company and its chief engineer, it must mean that it is actually a very particular product. In this case of Confidence C1 it gets even more interesting considering that these are shelf speakers, and not even from the flag line. But it is Confidence C1 that are loved by Mr Wilfried Ehrenholz, the owner of Dynaudio. The Platinum is its newest and best version that proves how fantastic can a sound of a shelf speaker be, how to use all advantages of such design without “pretending” to be a floorstander. Outstanding fit&finish only confirms how unique speakers these are. Review was published in issue No. 127, November 2014 See HERE CABLES Interconnect + speaker cable Acoustic Revive RCA-1.5TRIPLE C-FM SPC-2.5TRIPLE C-FM A new material used for these cables means a different, new philosophy of the sound. Company Acoustic Revive used this moment for an improvement of quality while keeping the same, very good styling of their products. The new Triple C-FM cables offer some unique features like combining huge amounts of details into the larger picture, like conveying perfectly both: tonality and dynamics. It is simply a reliable manufacturer. They prove it with each new product. These cables are part of „High Fidelity” REFERENCE SYSTEM. Review was published in issue No. 126, October 2014 See HERE Interconnect + speaker cable + power cable (system) Tellurium Q BLACK DIAMOND + BLACK DIAMOND + BLACK POWER The key word of this review was: „good”. It was used to describe tonality, dynamics, coherence. The point is that these British Tellurium Q cables are “GOOD” in EVERYTHING they do, in EVERY aspect of the sound. That's why they deliver a refined and exciting performance. They should fit into any system adding some emotions and colors to the presentation. Review was published in issue No. 117, January 2014 See HERE Power distributor + power cables (system) KBL Sound REFERENCE POWER DISTRIBUTOR + RED EYE KBL Sound power distributor looks like it was made by a company with several years of experience on audio market that just prepared its newest, top model. Fit&finish, packaging and sound – all these features of this Reference Power Distributor are great. That is amazing especially considering that this is in fact one of the first KBL's products. Together with Red Eye power cables it creates a complete power system that should work very well in every high-end system. Reference Power Distributor and Red Eye power cable are now elements of „High Fidelity's” SYSTEM B. Review was published in issue No. 117, January 2014 See HERE ANTI-VIBRATION SYSTEMS Anti-vibration platform Pro Audio Bono LIGNOFOL AVP The Lignofol AVP by Pro Audio Bono is one of the few offered by this manufacturer that are not decoupled, it means it does not sport sub-platform that the main platform could be decoupled from. Resonances are damped due to large mass of the platform made of plywood (lignofol) and inside feet with roll elements. Together they create an amazing combination that allows Lignofol AVP to compete with reference pneumatic platforms by Acoustic Revive. This platform offers a great resolution and dynamics. Review was published in issue No. 125, September 2014 See HERE Anti-vibration platform Rogoz Audio 3RP1/BBS The platforms “offers” rich, warm sound, with tonal balance slightly shifted towards bass. It's a rare achievement as usually using anti-vibration elements results in a more precise, though less rich sound – but not in this particular case. A patented decoupling solution offers deeper, richer sound. This platform should give any system more authority and more “weight”. Review was published in issue No. 125 September 2014 See HERE CZESŁAW NIEMEN REMASTER 2014 COMPACT DISC A re-issue of artist's catalog We all have known him for years, we all realize how important he is, how his music became a part of our lives, how many emotions it brought us. So it is obvious that the information about Polskie Nagrania restoring the whole catalog of Czesław Niemen was very exciting for everybody. In case of the first titles already issued on Compact Disc a cooperation between many people engaged in the process like: Ms Anna Grzywacz, (supervisor of this re-issue from Polskie Nagrania), Ms Eleonora Atalay (remastering, restoration), Mr Jacek Gawłowski, sound engineer (transfer from tapes and remastering; awarded with Grammy 2014) and last but not least Repliq Media company, that prepared covers and dealt with pressing, presented results beyond expectations. Their cooperation simply resulted in an exemplary digital re-issue of Czesław Niemen's works. Ale previous re-issues were merely mediocre attempts and nothing more. Incredible!

NOSPR usic lovers all over Poland lick their lips with jealousy at the concert hall in Katowice. By this, I mean the new headquarters of the Polish Radio’s National Symphonic Orchestra. Mr. Tomasz Konior, the architect who designed it, refers to the idea of “context architecture.” He also emphasizes that a building can only be considered successfully built when visitors have no stupid questions to ask about its design and function. If an architect creates a space which has its own natural rhythm, dictated by the building’s intended use, everything went well. You can’t miss it looking at the design of the building’s elevation. It is based on traditional Silesian themes and associations with music. Even its pillars have a clear rhythm. Tomasz Konior said that he wanted the building itself to be a story of its own, a spatial narrative growing out of the roots of Silesia’s rich culture. That means the brick-built, red-colored landscape of the Nikiszowiec district of Katowice, which is associated with the traditional look of Silesia within Poland. But what’s most important to the musical world is what hides inside this building. It contains two concert halls: a large one with the capacity of 1800 people, as well as a chamber hall that can seat 300 music lovers. Both halls have a very warm atmosphere thanks to the materials used to build it: birch wood combined with exotic wood as well as a wavy concrete base. A specially shaped plafond hangs under the ceiling of the large concert hall to improve the sound propagation. The process of building this concert hall was complicated because of acoustics. Nagata Acoustics, a Japanese company, helped with preparing the halls. The process was supervised by Yasushisa Toyota, a master of his craft. The Japanese company previously worked on building places like the Suntory Hall in Tokyo, the Walt Disney Hall in Los Angeles or Amsterdam’s Concertgebouw. Yasushisa Toyota cooperated with other architectural celebrities like Frank Gehry and Jacques Jean Nouvel. One of the key moments when Nagata was designing the hall’s acoustics was building a 1:10 scale model of the room. The PRNSO’s miniature was used by Nagata’s engineers to run acoustic tests. “The miniature room, replicated in even the smallest details and filled with nitrogen, became somewhat of a sound laboratory” – said Ms. Ewa Niewiadomska. The idea for engaging the Japanese in the process of creating the concert hall was brought forth by the famous Polish pianist, Mr. Krystian Zimerman, who took part in planning the new PRNSO headquarters from the very start. He even visited the building site, paying attention to all the details that he believes to be crucial to the musicians and music lovers. He wanted extra attention to be paid to the atmosphere of the chamber hall, which is meant to house concerts of smaller ensembles and solo artists. During the official opening concert which took part on October 1st, 2014, the orchestra performed Witold Lutosławski’s Tryptyk Śląski, Krzysztof Penderecki’s Przebudzenie Jakuba, Wojciech Kilar’s Siwą mgła, Johannes Brahms’ 1st Piano Concerto , and Ludwig van Beethoven’s IX Symphony. The orchestra was accompanied by the Bavarian Radio Choir, while the solo parts were performed by Krystian Zimerman, Wiesław Ochman, Luba Orgonášová, Anna Lubańska, Christian Elsner and Dimitry Ivashchenko. The whole thing was directed by Alexander Liebreich, PRNSO’s artistic director. www.nospr.org.pl ICE KRAKÓW That’s all that we heard about the opening of the PRNSO’s new headquarters from Ms. Ewa Niewiadomska, who is responsible for the promotional materials of the Polish Radio National Symphonic Orchestra. If I can add my own two words, I’d like to point out that the opening ceremony was a huge event, commented in TV, radio, and daily press. I don’t remember this much attention being paid to any other culture-related opening ceremony in the last few years. Let me put it this way: we, Kraków folk, are very jealous of the PRNSO. Here we are, getting ready to attend future concerts in Katowice, but we all wish we had something like this back home, too. Although… I kept a newspaper clipping from a “Gazeta Wyborcza” edition from April 2nd, 2009, where Dawid Hajok wrote an article titled Testing in Cambridge. As I read there, the model of the Congress Center’s main concert hall was taken to be acoustically tested in Great Britain. The Centre, which was to be erected on an empty lot near the Grunwaldzki Roundabout in Kraków, was expected to become the “architectural icon” of Kraków. Its architectural design was meant to be done by Krzysztof Ingarden and Jacek Evý. I can still remember going on walks in the place where the ICE’s impressive building stands today. The walks usually lead me towards cheap hot dog stands, or, alternatively, the bus stop, hidden there amongst unkempt tall grass and bushes, from where the 101 bus (which goes to the Kościuszko Mound) had its first stop. The way that this place, as well as all its surrounding area, has changed since then is incredible. The ICE’s appearance is one-of-a-kind and, unlike the PRNSO’s headquarters, it caused quite a stir in Kraków. On October 16th, 2014, exactly 16 days after the ceremony in Katowice, during the official opening ceremony, while standing amongst the journalists from all the major Polish TV and radio stations, as well as magazines and newspapers, I heard both quiet growls that could only translate to: “this place looks like a bathroom”, as well as those that went like “outstanding.” The former referred to the building’s elevation that is made up of tri-colored, rectangular plates. But these are the people who cannot look past a detail. The second group is made up of people who can see the bigger picture. And I stand with them, united. Through this, Kraków has gained a place in which people can finally comfortably listen to music concerts of a high standard. Similarly to Katowice, though, the concert hall was definitely its most important aspect. The concert hall in ICE can hold up to 1800 people in the audience and has a “vineyard” shape – similarly to Katowice, yet again – i.e. a shape resembling a grape vine. Its particular design is slightly different, though, as the PRNSO orchestra stands on a scene suspended in the very middle of the room, surrounded by seats on all sides. Meanwhile, the scene in the ICE is arranged at the front of the “vine”. ARUP Acoustics from Cambridge is responsible for the acoustics of the ICE concert hall – the same company that received a 1:50 scale model of the building for testing purposes. The company had been previously responsible for the acoustics of the Copenhagen Opera House, the Sydney theatre, and the Olympic Stadium in Beijing. As Mr. Ingarden said, after the first few tests it turned out that the room’s reverb was just right for classical music. It was compared to the Musikverein in Vienna, for example. Acoustic reflectors have been suspended above the scene so that the musicians can hear themselves better. The main acoustics expert and head of the acoustic design of the ICE Kraków was Mr. Raf Orlowski. The design for this building was chosen in an international competition. The work on the building started in 2007 and the whole investment cost over 357.5 million zlotys. The Center is over 35,000 square meters in size, and the largest hall can seat up to 2,000 people. Zbigniew Preisner, composer for Krzysztof Kieślowski’s and Agnieszka Holland’s films, composed a piece for the opening of the ICE Congress Center in Kraków, titled 2014. Tu i teraz (“2014. Here and Now”). The Thursday concert at which the composition had its premiere was an invite-only event, but it was repeated the next day for the wider public. Lisa Gerrard, who featured on Preisner’s album Diaries of Hope released in 2013, was meant to take part in the performance. However, she had to cancel her appearance due to illness. www.icekrakow.pl ACCUPHASE I could not find this information in the beautiful book specially prepared for the opening, so again I quote from Hajok’s article: The Krakow studio developed the concert hall design in consultation with the Japanese office of the world-class architect, Mr. Arata Isoaki. – This is the most complicated project I have ever worked on – discloses Krzysztof Ingarden, co-author of the concept. The presence of a Japanese architect and designer in the process of building another extremely successful concert venue is no accident. "High Fidelity" readers surely know that, but it does not hurt to repeat it: there are areas in audio where it is difficult to compete with the Japanese. These include phono cartridges, CD and SACD pressing, CD and SACD players, tube amplifiers, cables, anti-vibration accessories, but also inexpensive (mass produced) audio. Everybody I asked about that pointed to a particular predisposition of the inhabitants of the Japanese islands to persistent work and honing everything to the last detail. It is hard to disagree with that. Just look at the components from the Japanese audio manufacturer, Accuphase. Made with extreme precision and sounding great, they are a kind of statement product; reference components for other audio manufacturers. This can be seen both in their visual design and in the technical solutions that were started by Accuphase and which I saw later reused and employed (sometimes quite creatively) in many other products. On October 16th, when the ICE Krakow was opened, in the morning we were with my son at the official session for journalists led by Mrs. Izabela Helbin, director of the Krakow Festival Office, and Jacek Majchrowski, Mayor of the City of Krakow. In the evening, we were invited to the Preisner’s concert about which I wrote earlier. In the end, we did not get there, as explained below. An hour before the first bars of 2014. Here and now sounded at 19:00 in the Auditorium Hall of the ICE, I welcomed special guests from Japan, who are the most important people in Accuphase: Jim S. Saito (President & CEO), Mark M. Suzuki (Executive Vice President) Tatsuki Tozuka (Manager, International Marketing Div.) and Kohei Nishigawa (Supervisor, International Marketing Div.). DG-58 Our meeting did not happen by accident. We had been planning a visit of Accuphase managers at a Krakow Sonic Society meeting for a long time, at least since the interview I had with Mr. Saito in January 2012 (see HERE) . The meeting topic was not accidental, either, especially in the context of the both venues I mentioned earlier: it was the DP-58, the latest model of room acoustics equalizer from Accuphase. The contribution of the Japanese acousticians and architects to the success of the Polish Radio National Symphonic Orchestra and ICE Krakow is not to be underestimated. Apparently, they know quite a bit about room acoustics. Hence, we were very curious to find out what the DP-58 could improve in the sound of Tomek’s, our host’s, audio system. The DG-58 Digital Voicing Equalizer, as it is called in the Accuphase literature, is designed to measure and then to adjust the listening room acoustics. The DG-58 has the dimensions of a medium-sized amplifier and its built quality is as perfect as the quality of every other Accuphase audio component. We learn about its intended use by looking at the front panel. It sports a large touchscreen display, which shows various types of information, e.g. the measured acoustic response of the room (in the 63 sub-bands), introduced compensation, and the differences in measurements and compensation between the left and right channel. The DG-58 can perform the measurements and compensation automatically ("simple voicing"), but it also allows the user to create any desired response simply by drawing on the screen with the supplied stylus pen ("custom voicing"). The machine is based on high-speed, 40-bit floating point DSP chips, custom programmed by Accuphase engineers. One of the basic ways of plugging it in the audio path is to feed the digital signal in and out. Hence, if we have a CD, audio file or SACD transport, instead of connecting it directly to a D/A converter, we first hook it up to the DG-58 and then, also digitally, to the DAC. The unit is also equipped with analog inputs and outputs. Thinking in purist terms, the "digital" connection is much better, because using the "analog" version the signal is first digitized and then converted back to analog. However, Mr. Mark M. Suzuki who led the presentation surprised us by connecting the equalizer between the DAC and amplifier (in the latter role the Accuphase A-70). As he said, the point was to correct the longest part of the audio path, which includes the DAC and preamplifier. Krakow Sonic Society meetings have been going on for 10 years. During that time, we developed a certain methodology of auditions (tests) and certain habits, as well as gained knowledge. All these elements are equally important. We grew together, as did our audio systems. We built up our music collections, exchanging information, observations, and often calling each other with the "super-important" news about the recently released, one hundred fiftieth version of Kind of Blue (I am obviously generalizing). Each one of them was exciting for us and we were curious about it. KSS meetings usually take a similar course: we greet each other, listen to new music to get "warmed up", and gossip about. We drink some wine and have a bite of something. Then I introduce the topic of the current meeting and we start auditions. Because they are usually based on comparisons, we listen for 2 minutes to one element (album track) and then switch to another, and so on. After some time, I sit down in front of everyone and ask for comments, writing them down and passing on to “High Fidelity” readers. And then we drink some more wine. However, our meeting with the visitors from Japan and their DG-58 looked different. The audition methodology I have just described is nothing "sacred" and was born out of practice. The same practice suggests, however, that often the audition road we travel is not fully chosen by us, but rather that we are invited to a journey. It can happen through specific characteristics of a given product (or album), unexpected sonic changes or some functional peculiarities (idiosyncrasies). The objective of this meeting was to determine whether the DG-58 affects the sound (1), and if so, in which way (2), and how to evaluate this type of change (3). I planned the auditions the same way as any other KSS auditions - a guest is just a guest, and we are the hosts. And while it is good to create the best conditions for nice gentlemen, where they can feel comfortable and can be fully involved in the auditions and discussion, we expect active participation in the meeting prepared by US, not the other way round. This rule has applied to all our guests whom we had the pleasure to meet. The Accuphase (I am referring to the component) had other plans, though. There was no discussion. We did not to persuade each other with passion and zeal worthy of a better cause, nor did we try to outshout each other, showing gaps in logic. There were no angry frowns, winces or pursed lips as we listened to someone else’s opinion. No flapping the arms, either. And all these things do take place during KSS meetings. The reason for the change was the fact that the DG-58 impact on the sound (1) is clear and unambiguous. I think that even people with impaired hearing (I am not being ironic) should notice it. We listened to a lot of albums on that evening and despite the fact that the size (volume) of changes was large with some of them and huge with others, the changes were similar in nature and had a common denominator: calm, size, mass, peace, fullness, smoothing (2). Our assessment of what we heard with the DG-58 in active mode was 100% positive (3). About fifteen percent of the one hundred percent was conditional, though. The correction that the Accuphase introduced to the signal, eliminating the impact of the room acoustics on the sound, makes everything sound better, more genuine and more (this is the major change) natural. The low bass is even lower and less loose. Despite a better definition it is not contoured. For me, contouring is something bad, unnatural; definition – as good as it gets. Switching the DG-58 in and out of the audio path, we noticed equally strong changes in the upper midrange presentation. In many audio systems, it is this range that is responsible for a nervous sound and listener’s irritation. It happens because it is usually too bright and too strong. That's too bad. The highest quality sound is dark and velvety at first glance. It is never detailed, in the common sense of this word. All of that is there, but kind of "underneath", not really "audible." What you can hear is music, which sounds the way it does. Always in that order. If you have it any different, if the sound attacks you, think it through and try to change something in your system. And it is the direction towards the "density," "velvet" and "darkness" that the Accuphase equalizer brings to the sound and music. These changes represent the 15% I have mentioned earlier. Not everything the DG-58 does is unambiguously better; in some aspects it is simply different and I can imagine those who will not be happy with that. The equalizer calms down the sound, smoothing out tonality and dynamics. The latter is higher when it comes to individual instruments, because differentiation is better with the DG-58, but in the overall presentation the dynamics are calmer. Even distortion, such as a slight sharpening, sometimes has a value because it adds certain flavor to the whole, spicing it up. ありがとう (Arigatō) An amazing experience was to watch our guests, especially Tozuka Tatsuki-san, reading the descriptions on Japanese albums the same way as we read a newspaper. Even though everybody knows that this is the way it should be the Japanese alphabet, treated by us as an ornament or secret writing, almost burst out with information as soon as it was read and translated. And the fact that the meaning of "OBI", i.e. the name of the paper band that is mandatory on the edge of every Japanese release and which means a kimono belt, even though apparently known, took on a deeper meaning when it was explained and shown "manually" by Mr. Tatsuki. It is no coincidence that the best discs are pressed in Japan. Nor is it coincidence that the biggest design studios in the world hire acoustic architecture specialists from Japan and that PRNSO Katowice and ICE Krakow have some of the best concert halls in Poland. This is the result of the pursuit of perfection, the need to clarify any and all uncertainties. But also a kind of artistry and understanding of what music and sound are all about. Years ago, in the conference room of the building No. 100 of the Fair Center in Poznan, the then Polish president and Nobel Peace Prize winner Lech Walesa promised us that "we would build a second Japan in Poland." Contrary to what some people say, we are now much closer to this goal. All the more so that on this October evening in Krakow Japan was at hand’s (and a wine glass) reach for us. RYSIEK B. Kraków Sonic Society I felt a little shy around our very important guests, which probably influenced my judgment at this meeting. Regardless, here are my impressions: 1. When it comes to the size of the soundstage and room fill, I suddenly felt like I were at a concert in St. Catherine’s Church in Kraków – the Dynaudio C4 speakers suddenly grew to the size of McIntosh XRT-28 or the Ancient Audio Wing. This has always been my sensitive spot; a room without a sound processor is a major limitation. 2. The Accuphase processor helps any poor or mediocre quality record release, and there are thousands of those, so it’s undoubtedly a huge plus. 3. Price-wise? – For a similar sum of money you can have a very successful and professional acoustic adaptation of your listening room. But not every wife is ready to tolerate something like that, which makes for yet another positive aspect of the equalizer. If your system, room, and wife fulfil all of the aforementioned prerequisites, this unit may become useless, but does it really? I don’t know. KONRAD WOJCIECHOWSKI „Gazeta Wyborcza” My amateur’s opinion: Using very simply language – this corrector sure made a difference. Was the difference always a positive one? Probably. I didn’t think that a component this small was capable of generating an instrumental orchestra where you could previously only hear a guitar, bass and drums. Were there three members of Cream, or six? After switching on the corrector the music sparkled with a more colorful tone, and each instrument that played in unison started sounding like an independent, fluid, solo performance. It’s amazing that with one little move of the stylus pen you can either expose or hide the vocals, solo instruments, or rhythm section. BARTEK PACUŁA „Music To The People” As it has been said countless times before, the Japanese are the masters of acoustics – this is confirmed by both the big (buildings, for example) as well as small (CDs/SACDs) monuments to their own expertise that they have erected. Auditioning the DG-58 acoustic equalizer (and in what a great company!) had me excited from the start, and I couldn’t simply imagine that nothing would happen after switching on the unit. I didn’t know whether the changes would be positive or negative, but I was sure that the difference would be audible. And it was. The DG-58’s influence is unequivocal. There was no need for discussion or speculation. With the DG-58, the sound IS better. It’s a fact. At first earshot it may be less effective than a system that doesn’t use a digital sound corrector, but the appeal of these “bare” systems is very much garish and tacky and has no concrete meaning in the long run. The sound that we all heard this day, after powering up the unit that came to us straight from the Land of Cherry Blossoms, was very mature – darker, heavier, devoid of all the annoying shrill in the treble. In other words: it was far more pleasant to the ear. Despite that, it’s hard for me to make a definite conclusion, even though the DG-58’s influence on sound was unambiguously positive. The way I see it, this product is intended for use with complete systems, i.e. those in which the owner sees no need for any further upgrades. This corrector won’t fix a poorly-put-together system, nor will it improve the sound of a cheap system. It must be treated as a very exclusive cherry atop an already deluxe cake. TOMEK Krakow Sonic Society In all honesty, I have to admit that the Accuphase DG-58 does miracles. I tested its predecessor, the DG-48, and back then its effects were far from my initial expectations, even though its job was more difficult, because it was before I had my Ecophon ceiling, which meant that my listening room had a very long reverb. The correction introduced by the DG-58 really makes it seem that all of your room’s imperfections just cease to exist; in just a few seconds you can forget all about unpleasant resonance, echo, standing waves and other such phenomena which cause us daily trouble in listening to music. This processor smoothes everything out, darkens the tonality and calms down the sound. I do have some doubts as to whether investing in room acoustic adaptation doesn’t result in something more natural to the human ear, even if – in the long run – there’s always something imperfect even in the best of rooms. We’d have to check how the DG-58 performs in spaces which are completely dedicated to listening to music. For example, in Laudata sempre sia from the La Mandragore album by Convivencia released by Fidelio Musique (WAV 24/176.4), which is possibly the most faithful and realistic digital file version of an album that I have in my music collection, the snare drum definitely sounded better without the DG-58, in my “natural” system. I also liked the “suspension” of particular vocals in three-dimensional space better without the processor. But these were all small exceptions to the general rule of the evening. The DG-58 did an amazing job. ANDRZEJ Krakow Sonic Society Our KSS meetings may have been varied, but I can’t remember the last time we came across such striking differences between auditions. In the “analog” configuration, all of the most important sonic aspects, like tonal quality, dynamics (especially micro-dynamics), imaging or detail, i.e. those that influence the emotional message of music, were improved by the DG-58, in my opinion. The sound became denser and darker (in a most positive sense of that word). The changes were usually so notable it sometimes seemed like we were listening to a different, better remaster of the same album. To put it short, I don’t see much point in further auditioning – I’d rather make my way to the dining room and indulge in the delicacy-laden table (hats off to our Hosts, especially the Lady of the House and her Sister), try all the different food, and then come back for another round of good music and wine. I actually have only one question to ask of Suzuki-san or, more precisely, of the Polish dealer for Accuphase who is present with us here today – a low bow in his direction  : will donating one of my kidneys, slightly worn after years of heavy (ab)use, be enough to buy myself a DG-58? Reference system: CD Transport: Ayon Audio CD-T Audio file transport: Aurender X100L, reviewed HERE Preamplifier/DAC: Ayon Audio Stratos Power amplifier: Accuphase A-70 Speakers: Dynaudio C4 Signature Speaker cables: Acrolink 7N-S8000 Anniversario Interconnects: Acrolink 7N-DA2090 Speciale, reviewed HERE Power strip: Oyaide PS After the auditions, the DG-58 was bought by one of the meeting participants. [hfgallery] [img mini="foto_testy/1411/kts95/th/17.jpg" big="foto_testy/1411/kts95/17.jpg" src="foto_testy/1411/kts95/17.jpg" desc="Konrad Wojciechowski, a journalist from the Polish newspaper “Gazeta Wyborcza” visiting me at home and listening to an album by the Polish act “Siekiera.”"] [img mini="foto_testy/1411/kts95/th/18.jpg" big="foto_testy/1411/kts95/18.jpg" src="foto_testy/1411/kts95/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kts95/th/19.jpg" big="foto_testy/1411/kts95/19.jpg" src="foto_testy/1411/kts95/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kts95/th/20.jpg" big="foto_testy/1411/kts95/20.jpg" src="foto_testy/1411/kts95/20.jpg" desc="In the picture, Mr. Jim S. Saito (second from left), Mr. Mark M. Suzuki (second from right), Mr. Tatsuki Tozuka (first from right), Mr. Kohei Nishigawa (center) and Robert Szklarz, head of Nautilus, thanks to whom the meeting came to fruition."] [img mini="foto_testy/1411/kts95/th/21.jpg" big="foto_testy/1411/kts95/21.jpg" src="foto_testy/1411/kts95/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kts95/th/22.jpg" big="foto_testy/1411/kts95/22.jpg" src="foto_testy/1411/kts95/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/kts95/th/23.jpg" big="foto_testy/1411/kts95/23.jpg" src="foto_testy/1411/kts95/23.jpg" desc="Left channel without correction."] [img mini="foto_testy/1411/kts95/th/24.jpg" big="foto_testy/1411/kts95/24.jpg" src="foto_testy/1411/kts95/24.jpg" desc="Left channel with correction."] [img mini="foto_testy/1411/kts95/th/25.jpg" big="foto_testy/1411/kts95/25.jpg" src="foto_testy/1411/kts95/25.jpg" desc="Right channel without correction."] [img mini="foto_testy/1411/kts95/th/26.jpg" big="foto_testy/1411/kts95/26.jpg" src="foto_testy/1411/kts95/26.jpg" desc="Right channel with correction."] [img mini="foto_testy/1411/kts95/th/27.jpg" big="foto_testy/1411/kts95/27.jpg" src="foto_testy/1411/kts95/27.jpg" desc="Right channel minus left channel (the difference), without correction."] [img mini="foto_testy/1411/kts95/th/28.jpg" big="foto_testy/1411/kts95/28.jpg" src="foto_testy/1411/kts95/28.jpg" desc="Right channel minus left channel (the difference), with correction."] [/hfgallery]

n my previous reviews of products of American company ModWright I explained in detail why it belonged to my favorites. Long story short – it's a reasonable company that has been delivering high quality products from the very beginning (although new product are getting better and better) and it based its success on talent and knowledge of its designers and engineers. Pricing of ModWright products is also very reasonable and it is achieved through something I call “smart savings” despite the fact that almost every element of each of their products is made in USA. What are “smart savings”? For example: same metal casings used for more than one product, also all are made in one color and while there is a black option, customer has to pay for it extra, the design itself serves purpose – for that it doesn't have to look fancy, and so on. That is why I use two ModWright products in my reference system (LS100 preamplifier and KWA100SE power amp), plus an Oppo player with full tube modification done by Dan Wright (ModWright's owner). I simply appreciate ModWright's approach to audio business and I love the sound these devices deliver. When I planned my trip to Munich for the HighEnd Show in 2013 I came across an information that Dan was coming to Munich too (he'd never been to Poland so Munich seemed to be the only place to meet him). I didn't waste any time and contacted him to set up an appointment. Dan told me he was coming but in fact to the other Show that took place at exactly the same time – HiFi Delux in Marriot Hotel. That told me that his approach to shows was as reasonable as to everything else. This show might not be visited by as many people as HiEnd, but it is exactly what makes this show more private, less crowded and... surely less expensive to attend. We sat down together with Dan and Kristin Rose Boyd, ModWright's Executive Director of Operations, sipping a very nice, cold Weissbier and talked for almost three hours about many interesting topics. One of the “topics” I was particularly interested in were phonostages. ModWright had offered one stand-alone before, in my opinion a very good one (as far as I know one of Polish reviewers still uses it today), but some time before our meeting Dan had stopped offering it. Shortly after that two other phonostages were added to the portfolio but only as optional cards to be installed in KWA200 integrated (a simpler, solid-state version), and in my LS100 preamplifier (more advanced tube one). Dan explained the differences between them, as they were not that obvious to me and later told me he was already working on a new stand-alone model. He wasn't sure though how long would it take to finish it and he wasn't ready yet to dwelve into details of this project. During out conversation we focused on another idea instead. Dan was wondering whether or not he should design a cost-no-object amplifier. Such a product wouldn't really fit into company's profile but the idea was to show, that ModWright was capable of creating such product. Why do it? To change the way this brand was perceived by some audiophiles. It's a fact, although not every person would admit it, that many audiophiles perceive products, at least partially, through their prices. For them ModWright products are to cheap, ergo – unworthy of their attention. So such a cost-no-object amplifier could change the perception of ModWright brand, so that it would no longer be a hi-fi manufacturer (maybe knocking to high-end's door) but a “true” high-end maker. Those who gave any of Dan's products a try already know very well, that he offers a real bargain. Whether one calls is high-end or hi-fi doesn't really matter, what matters is excellent performance, much better one could expect looking at the price tag. As far as I know this project is still, at best, at its early stages, but some time after our meeting a rumor spread about new phonostage and D/A Converter that Dan was planning to release in a near future. I saw both of them, and listened to them for the first time in Munich, during High End (DAC Elyse) and HiFi Delux (phonostage) Shows. And I met Dan and Kristin again and spent few hours having another interesting conversation with them. But I'll save most of this story for another time. The new stand-alone phonostage, that I finally received for a review, is called PH 150, but the manufacturer adds also a proudly: a Reference Phonostage. We talked about it with Dan in Munich and he was very clear about both DAC and Phono – he and his co-workers had worked very hard, using all of their knowledge and experience to create the best devices possible. PH 150 was designed with quality and performance in mind and not with whatever maximum cost or assumed price level. As a result both products are, as for this brand, quite expensive. They are in the same price range as ModWright's top of the line power amp. After Dan told me that all I could do, was to demand getting review samples as soon as possible. It took some time but I finally got first of these two new products for a review (thanks to a Polish distributor, of course), the PH 150. In fact I received one of two units that arrived in the first shipment from US. That's why my unit was almost brand new. One of the things you need to know about Dan's devices is that they need quite a long break-in period. One has to be patient before ModWright delivers its optimal performance. I experienced that with both my units – LS100 and KWA100SE. Mr Maciej (Polish distributor) told me, that this unit had only several hours of work on it so I would have to give it a lot of time before it would really break in. I waited so long to get my hands on PH 150 that I didn't want to wait any longer. Well, there is one problem with breaking a phonostage in. It is difficult to loop a record, say for a week or two... Unless one has a special break-in record (from Clearaudio for example) one has to play record after record after record after record... And all that while performance is far from optimal. PH 150 spun records for maybe 50-60 hours before distributor picked it up to present it (on static display) during AudioShow 2014. My first impressions were quite positive, but, to be perfectly honest, I couldn't really hear anything yet, that would allow me to name PH 150 a Reference Phonostage. One should expect much more considering the price of the device, and I was expecting more after what I heard during presentation in Munich (despite far from optimal show-like acoustics of the room). Fortunately I was aware of the fact that this phonostage needed another 100 or so hours to show me it's best performance. Soundclub (distributor) knew that too and that's why the phonostage did not come back to me right after the AudioShow but a few weeks later, after a full break-in period. ModWright IN „High Fidelity” TEST: ModWright Instruments KWA150 SIGNATURE EDITION – power amplifier, see HERE  YEARLY AWARD 2012: ModWright Instruments LS 36.5 - linestage, see HERE TEST: ModWright Instruments LS 36.5 - linestage, see HERE TEST: ModWright Instruments KWI 200 – integrated amplifier, see HERE TEST: OPPO BDP-83 by Dan Wright – Blu-ray audiophile player with full tube modification, see HERE Recordings used for test (a selection): Frank Sinatra, Live in Paris, Mobile Fidelity MFSL 2-312, LP. Dead Can Dance, Spiritchaser, 4AD/Mobile Fidelity MOFI 2-002, LP. Cannonball Adderly, Somethin' else, Classic Records BST 1595-45, LP. Albert King with Stevie Ray Vaughan, In session, STX-7501-1, LP. Vivaldi, Le Quatro Stagioni, Divox/Cisco CLP7057, LP. Muddy Waters & The Rolling Stones, Live At The Checkerboard Lounge, Chicago 1981, Eagle Rock Entertainment B0085KGHI6, LP. Pink Floyd, The Endless River, Parlophone Records 825646215478, LP. Rodrigo y Gabriela, 9 dead alive, Rubyworks RWXLP110, LP. Buddy Guy, Living proof, Silvertone Records 88697-78107-1, LP. Lou Donaldson, LD+3, Blue Note Stereo MMBST-84012, LP. Arne Domnerus, Jazz at the Pawnshop, Proprius ATR 003, LP. Dire Straits, Communique, Vertigo 800 052-2, LP. Kate Bush, The sensual world, Audio Fidelity AFZLP 082, LP. Ella Fitzgerald & Duke Ellington, The Stockholm Concert 1966, Pablo Live 2308-242, LP. Japanese issues available at [REKLAMA5] Let me start with a short description of the PH 150. As I already mentioned it is a phonostage and now I should add that it can work with MM and MC cartridges. As anybody who knows Dan's previous designs would hope for, this is a tube phonostage (with 2 x 6C45 and 2 x 6922/6DJ8/7308), and with external solid-state power supply. A maximum gain for MC carts is 72 dB and for MM it's 57 dB, which combined with adjustments available for both kinds (3 steps for: maximum gain, and attenuated by 6 and 12 dB) allows to chose optimal gain for any cartridge available on the market. Front panel controls (large knobs) allow user to adjust also input impedance and capacitance to optimize these values for a particular cart. Two other knobs are used to set a type of cartridge (MM or MC) and to choose gain level. One of two small push button is an on/off switch (an external power supply doesn't have its own), and „mono”, used if one wishes to play mono records. Back panel sports two inputs (separate for MM and MC), ground pin, two outputs (a fully balanced one and unbalanced), and two small toggles – one is an input selector and the other allows phase switching. There is also a multi-pin power inlet that connects, via attached umbilical, with external power supply. PH 150 sports “classic” ModWright's aluminum casing, with a small blue backlit logo on front and a much larger one on the top. Dan keeps casings of his devices solid, rigid and simple, although I noticed that with these new devices he introduced some subtle changes – like the beveled edges – that make them look much better, at least in my opinion. The casing of external power supply is also finished in a much nicer way than power supply for my modified Oppo. In fact the main “upgrade” (in terms of looks) is a thick front panel, nicely finished and with engraved writing that says only: PS 150. This change seems like not much but my power supply sits behind rack while PS 150 could be placed next to PH 150, as it looks equally good as the main unit. The standard finish is natural, brushed aluminum. Those who prefer black finish have to pay extra for it (poor me!). This device is another proof that Dan puts function before looks. Using large knobs placed on front panel for all important settings and adjustments is really comfortable – that is a huge advantage of this ModWright compared with most competitors equipped with small dip-switches often placed on the bottom of the device. But having four large knobs on the front panel... well, let me put it this way - PH 150 is unlikely to win a beauty contest. Two large knobs and two much smaller ones, or four much smaller ones would increase it's chances dramatically. In my honest opinion, of course. But from my perspective it doesn't really matter as I belong to those audio freaks who look for the best performance and not for beauty contest winners. Also, as for all other Dan's products, I prefer black version – but again, that's just me. I must admit though, that the silver version I got for the review looked better than any other silver ModWright I saw before. When I got PH 150 (for the second time as I explained before) I had my favorite quite inexpensive cart mounted on Terminator tonearm – the Audio-Technica 33PTG. I did realize that ModWright deserved a higher quality partner, but since it was late afternoon, and I felt bit tired I decided not to replace 33PTG just yet. Few well known (to me, I mean) records landed on the platter one by one in more or less the same order as during my first meeting with this phonostage couple of weeks before (when it wasn't performing that well just yet, as it wasn't broken-in). Even taking into consideration how unreliable our sound memory is I was damn sure of significant improvement of PH 150's performance. In fact, I didn't think I'd ever heard 33PTG to perform that well with any phonostage. It is true that usually I conduct my tests of high-end phonostages with my other cartridge (Koetsu Black), but at least some of them for some period of time played also with AudioTechnica and it often performed really well with them, but not as brilliantly as now, with ModWright. A very smooth, liquid, rich and open sound – that's what I heard while listening to the last Pink Floyd's album. Audio-Technica usually tends to deliver a slightly dark sound. With ModWright AT surprised me with amazingly vibrant, lively but also rich treble. Tone of percussion cymbals was bit deeper then usually but also more “metallic” which I liked a lot, and with a nice, long decay. Sound seemed more detailed – an operative word here being “seemed” (compared to my phonostage's presentation) as the same stylus couldn't read more information from record's groove just because it sent signal to a different phono. So in fact the same number of details was presented in a more noticeable way. The general sonic character of 33PTG did not change compared to what I knew from everyday's listening sessions with other phonostages – it was equally smooth, liquid, involving and simply easy to listen to, but the few above mentioned additional qualities made AT sound better then ever and play music in a most beautiful way. Yes, I do realize, that any phonostage, including ModWright, at this price range is an „overkill” for this AudioTechnica. PH 150 should and will be surely targeted by owners of much more expensive cartridges. In fact the moment I switched AT for my Koetsu Black I started to regret that I didn't ask Soundclub for my absolutely favorite, dreamed cart – AirTight PC3, which, as I'd found out during my test of it, was a perfect partner for my Salvation deck with Terminator tonearm. Also in terms of price level it would fit ModWright even better than a basic model of Koetsu. Someday PC3 is going to be mine, until then I'll keep enjoying my very nice Koetsu. This Japanese cart has in fact a similar sonic character (like 33PTG), although at different, much higher performance level. As it also offered a bit warm, rich, smooth sound, the question was whether combining it with a tube phonostage wouldn't result in too warm, too round, too syrupy sound. I found out very quickly that it wouldn't! Quite the opposite, I might say. What caught my attention from the very beginning was how open the sound seemed and what an outstanding spacing this setup delivered. These two sound qualities came mostly from treble and upper midrange. It actually was the amazingly rich and open, smooth and detailed, with no sign of roll-off, treble that distinguished ModWright from most other phonostages I'd listened to in my system. There were others that extended treble equally well to the very top of the range but none of them combined that with this amazing richness of high end, which in turn made them sound a bit “dry” and thus not so naturally as PH 150 did. Tubes used in preamplifiers (linear or phonostages) usually offer something that (most) transistors can't – this amazing airiness of the sound, its openness which results in remarkably spacial presentation. My own ESE Labs Nubiru, or the brilliant Trilogy Audio 907 might have been bit more resolving (although I wouldn't bet my life on it), but I liked, especially with acoustic recordings, ModWright better. It delivered more of this acoustic aura, ambiance around acoustic instruments, it felt like there was more of the vibrating air surrounding them, and since it was the air that transferred vibration/music to listener's ears, it sounded better, more natural. Also a decay phase very well presented by both above mentioned solid-state phonos, now seemed bit longer and fuller. It seemed to come effortlessly (if I can call it that) to PH150 to show proper proportions between guitar or double bass strings and wood. These two crucial elements came together in a very smooth way creating a wonderful, inseparable, very natural sounding whole. Did it mean that Nibiru or Trilogy did same thing in a wrong way? Hell no! Both did a fantastic job, too, but both are much less expensive wonderful pieces of equipment, and ModWright just showed me that paying much more was surely worth it. That's the essence of our hobby – we spend more and more money and it buys us better and better performance (although at some point of the way up next steps become smaller and smaller while costing more and more). Usually (maybe except for the very first experiments most of us perform as the beginners) – we have a very well sounding systems and we don't really miss anything in their performances, we love them, at least until... we get to listen to some new, better performing component or a whole system and then we realize that our system could sound even better. It will costs us twice as much to get this better performance, but it is worth it! Anyway – direct comparison with these two damn good solid-state phonostages I had at my disposal at the time, plus every other phonostage I'd ever reviewed, proved beyond doubt that Dan Wright kept his word. He created, as he said, the best phonostage he knew how to make, it in my opinion it was a fully justifiable thing to do, to call if a “Reference” one. And he priced his creation accordingly. Treble is surely not the only part of the range of interest but before moving on I have to go back for a minute to one of its aspects – to how spacial that presentation was. I have to admit that this aspect of presentation is very important for me. Soundstage is one of its elements and PH 150 delivered impressive width and depth. The second element is imaging – and ModWright created wonderfully palpable, three-dimensional images – instruments and vocalists that actually had body, and each of them was precisely placed somewhere within width and depth of the soundstage. These images/instruments not only were extremely palpable, they interacted with each other – like during live performance when it is not just about static picture of five instrument of the stage, but about so much more, about how musician interact with each other, how they together create the sound that arrives to our ears. And finally there was one more thing about this presentation, usually attributed to the speakers, but since I could compare few phonostages in exactly the same system I realized, that PH 150 also should have received part of the credit for speakers completely disappearing from my room. Speakers were simply not there – there was music and me and nothing else in the room especially when it came to live recordings when musicians and vocalist were “present” in the room in front of me. Everything about this presentation was accurate – size of instruments, distances between them and so on. ModWright presented a very good selectivity when playing some live recordings done in small clubs, where a lot of musicians crowded on a small stage. I mean records like Jazz at the Pawnshop, or a fantastic concert of Muddy Waters who invited to the stage guys from Rolling Stones who visited his club to listen to him. I used a “very good” term to describe the selectivity and not “perfect” or something like that, but I think that it was slightly limited not by ModWright but rather by Koetsu. I remember that AirTight PC3 with my Nibiru phono offered better selectivity – so again I could only regret that I didn't ask distributor to let me have a PC3 for this test. Don't get me wrong - Koetsu is a great cartridge but it is only the least expensive one in company's range, so its performance in terms of resolution and selectivity, compared to more then twice as expensive PC3, had to be limited. What I love about this cart is the way it presents midrange – rich, creamy, palpable, but also very liquid and smooth. One might call it a “tube-like” sound. That's exactly what created that risk, I mentioned at the beginning, of phonostage amplifying this warmth and richness even further. As it turned out ModWright offered a “tube-like” treble in the best possible sense of that phrase, delivering a wonderful, high quality performance at the top end. As for midrange I would still call it “tube-like” with amazingly palpable, smooth and creamy sound, but what made it different from many other tube devices was that it was also very resolving and clear sounding. I do realize that it is quite a rare combination – I mean warm but resolving and transparent. but that's what PH 150 delivers. Maybe it is able to do that because it doesn't add any warmth by itself, it rather reproduces a natural warmth that is inherent to the sound of each natural (I mean acoustic) instrument. I've mentioned that many times before in my reviews – acoustic instruments and human voices are, by nature, warm sounding, and by warm I understand this inherent quality that makes them sound “friendly” to human ears, and not really, really warm. When reproducing sound of these instrument/voices it is very important not to add any artificial warmth to the sound, nor to “cool” it down. If the former happens sound looses transparency, sometimes it seems even less detailed, less resolving, if the latter happens sound is not perceived as natural. Dan Wright found a perfect balance here – listening to Ella Fitzgerald, or Frank Sinatra I didn't spend a single second wondering whether their voices sounded in a natural way, in the way they really sounded like (as far as I know) – it was obvious to me. They didn't sound too warm, nor too cold, presentation gave me an easy insight into the texture and timbre of these fantastic voices, and without any effort I could experience whatever emotions these vocalist expressed. It was a wonderful experience to listen to these brilliant artists with PH 150. My favorite acoustic instruments: guitars and brass sounded... lively would be the best description probably, authentically, brisk and snappy. Tubes sometimes tend to slow down the pace of music a bit but surely not in this case. The best proof I needed was the latest album by Rodrigo y Gabriela. These two brilliant, formerly heavy metal, guitarists, delivered astonishing performance on two acoustic guitars with incredible pace and technical perfection on their side, and impressive clarity, richness, and proper share of “wood” in the sound. Also the specialty of Gabriela, meaning turning her guitar into a percussion instrument, was simply spectacular due to proper pace&rhythm. This last aspect of the sound was what convinced me to go back, few times, to this fantastic concert of Muddy Waters and Stones, but also to equally involving album recorded by Albert King with Stevie Ray Vaughan. This outstanding pace&rhythm was supported with extraordinary dynamics. Dynamics in macro scale wasn't that surprising as most phonostages, even tube ones, delivered it as well. But the one in micro scale was something special and only few competitors could try to keep up with ModWright in this aspect. The more complex, more sophisticated recording the bigger role of even smallest changes in dynamics and tonality, and while playing such records PH 150 proved (again) to be a Reference Phonostage. These attributes of the reviewed phono allowed me, for example, to truly appreciate mastery of jazz giants like Miles Davis, Coltrane and so on. It delivered every tiny detail, every nuance of their play living me sometimes breathless after some particularly spectacular solo, or other show of their talents. Also listening to orchestral music delivered special experience as it allowed me to appreciate all musicians that gave their individual inputs to the sound of whole orchestra. Symphonies and operas allowed me to truly enjoy the scale of the sound PH 150 was capable of delivering. It was truly impressive how easy it seemed for American phonostage to present such a complex, “huge” performances. It effortlessly put dozens or even hundreds of elements in a perfect, harmonious order, in a wonderful whole, in naturally sounding, dramatic music. After few such recording I was also sure that whenever a particular recording (and cartridge of course) allow, PH 150 was able to deliver a very powerful sound with a thunderous, deep bass, that was nicely defined and differentiated. Just to confirm that I played also some rock music knowing that Koetsu Black wasn't a perfect fit for such music as it delivered lower end in it's own way – powerful, rich, but slightly rounded. Having that it mind I still thought that ModWright, like most tube devices, offered a mighty and tuneful low end, well differentiated with a very good pace&rhythm. It wasn't that well defined or that fast though, as the best solid-state devices delivered it. There are no perfect audio devices, making a particular choice one accepts its sonic characters, its upsides and few downsides. So when you decide to buy a tube device don't expect it to be the fastest one, or delivering super-precisely defined bass. ModWright impresses with other virtues. Tunefulness of lower end, it's power, unlimited energy, and a very good pace&rhythm. What's more – this is a “type” of bass performance that fits best with the rest of PH 150's range, that's what makes its performance so coherent, energetic and spacial. . Summary Dan Wright promised a „reference phonostage” and in my opinion he kept his word. It is a well thought-through design based on high quality components, that is surely more user-friendly (due to all important controls and adjustments being placed on the front of the device) than any competitor I know and it delivers an astounding performance, too. There is one more aspect many potential ModWright's users will find interesting – they can play with tubes. Tube rolling is one of the reasons why people buy tube devices. In this particular case, as PH 150 uses 6922 tubes (ECC88 family), there is plenty of both currently manufactured and NOS tubes which offers a chance to optimize the sound of this device to users liking. It won't be easy in case of a phonostage as it requires high quality, very quiet tubes to work properly so many NOS tubes might not work. But there are still plenty of low noise, low microphony NOS tubes that will work fine and allow you to enjoy even better performance than stock ones. And, as I already said, it is a part of fun of having a tube device – one might do something about how it sounds, which is not possible with solid-state devices. Unfortunately when it came for me to the fun of tube rolling I caught a cold that would let me go for a longer time, so I had to give up all that fun as I wasn't even able to hear any differences anymore. Fortunately several listening sessions before that cold allowed me to assess that ModWright PH 150 is a fantastic device already with stock (I am sure that selected) Russian tubes from current production. By a fantastic device I mean the one I would love to use on everyday basis. I've had my ESE Labs Nibiru for, I think, at least 4 years now, and none of the phonostages I reviewed in the meantime made me want it to replace Nibiru. So even if you are not fans of tube rolling you should try ModWright out. It doesn't need any input from you side (except for as good cart as you can offer) to offer a remarkable, organic performance, that will allow you to enjoy your favorite music for hours, days, and probably years. If you're looking for a phonostage at this, or even higher price range, do yourself a favor – check ModWright PH 150 out! It surely is one of the best phonostages I've ever heard regardless of their price. Congratulations Dan! You've earned it! SMINGUS Black Diamond Loose Wire Records, LP (2014) Text: Bartosz Pacuła I don't like the term „alternative music”. On one hand it's a term with a very wide meaning, so it can describe almost any music, but the other hand it does put on some limitation and it makes some people suspicious about the music described with this term. But there are some albums that I would gladly call “alternative” and that would be a complement from my side. It is exactly such a case - the Black Diamond album recorded by a band called Smingus. It is an international project (if I can call it that, with a headquarter in Cracow) created by five musicians: Dave Molus, Tomasz Zapala, Thymn Chase, Chris Bodzon and Jarek Wyka. Music these gentlemen create is quite eclectic so it avoids a need of categorization. This is a mixture of light rock, electronic tunes and very nice acoustic sounds. Every single piece on Black Diamond is unique, one-of-the-kind, and it takes us into a new world, tells us a new story. At the same time the whole album seems very complete, coherent. Despite the fact that there wasn't a single hit on a Black Diamond I truly enjoyed listening to it – it is a great example of good performance of a decent, alternative music. Another important aspect of this album is sound quality. Unlike many alternative artists Smingus obviously cared about quality of sound delivered to the buyers if their record. I was lucky to receive a vinyl version of Black Diamond which allowed me to fully appreciate sound quality. It's a very easy, warm and spacial sound. There were some moments when I wished for bit more expressive dynamics, and the slow pieces were sometimes too slow, but the general impression was very good. Black Diamond is a well recorded album way ahead of its “alternative” competitors in terms of sound quality. Sound quality: 7,5/10 Facebook pl-pl.facebook.com/smingusband PH 150 is a new, reference, stand-alone, MM/MC phonostage offered by American manufacturer ModWright. It sports a simple, solid and elegant aluminum casing with a thick, aluminum front panel. New products (as it goes for the new DAC, Elyse, too) gained this more elegant look in a very simple way – the edges of the front panel are beveled Standard finish is silver (brushed aluminum) but, on order, a black (bit more expensive) version is also available. DwTwo elements that allow one to recognize ModWright's product are backlit, blue logos –smaller on front baffle, and the larger one on the top cover (it is an element of a grid cut out in to top cover to help dissipate heat coming mainly from tubes). Dan is one of these engineers who put function first. The form is less important and it should serve the function anyway. I guess that is why he decided to put four large knobs on the front of the device to make it for user very easy to choose required settings. The first knob (from the left) gives user a choice between MM and MC cartridge (it is a three-position switch with MUTE function in between other two). Next know is a three-position gain setting (maximum gain [72 dB for MC and 57 dB for MM], -6 dB and -12 dB). One uses a combination of these two knobs as the settings of the second one depending on the choice between MC and MM made with the first one. Just below these two knobs there is a small on/off switch. In the middle of the front that is above mentioned logo. On the right side there two more knobs – one sets optimal (for MM carts) capacitance, the other optimal impedance. Both settings allow user to choose from six predefined settings which should be more than enough for any cartridges. Below there is a „MONO” button. On the back panel (starting from left) there is a ground pin, RCA inputs separate for MM and MC cartridges, separately right and left channel. On the right side there is a RCA output, and fully balanced XLR one (with small toggle allowing user to choose one of them), plus a multi-pin power inlet that connects with external power supply with a solid umbilical. Casing of PS 150 power supply is as slick as the one of the main unit, with its thick, aluminum front with PS 150 writing engraved on it. Unlike PS for my modified Oppo, this one uses not tubes – it is a solid-state device with a large power transformer on board. PH 150 sport three gain stages. For a very delicate (small) signal from cartridge to travel as short path as possible, the first gain stage – high quality Lundahl MC step-up transformers are placed right behind input. Right after that there is the second, hybrid gain stage, that boost the signal to a level required for RIAA correction, and after that signal travels to the final gain stage. Finally it goes to a tube buffer stage with another high quality, and quite costly Lundahl output transformers. Inside there are a lot of high quality passive elements like capacitors branded with ModWright's logo, or another ones by WIMA. Tube complement comes from current production of Sovtek (2x6C45) and ElectroHarmonix (2x6922), but fans of tube rolling might have a lot of fun here (especially with popular 6922 family). Another element that caught my eye are two long, metal rods that allow to apply capacitance and impedance settings, which is performed by two knobs on the front, directly at the input of a signal. It's a much better solution than long cables sending a signal through whole depth of the device. And one more thing that irritated me each time I had to get under cover of my LS100 or KWA100SE – their covers are fixed to the main casing with like hundreds and hundreds of screws. To get inside PH 150 all I had to do was to unscrew just four screws – small detail? Sure, until you have to unscrew dozens of screws couple of times in a raw :) Technical specs (according to manufacturer) MM/MC: 72dB max MC gain; 57dB max MM gain. Loading: (6) resistive and (6) capacitance loadings via front panel control – on the fly! Gain Adjustment: Front panel on-the-fly control of gain = 0dB, -6dB, -12dB attenuation. Input Switching: MM/Mute/MC input switching on-the-fly via front panel controls Mono/Stereo switching: front panel controls Phase switching: rear toggle Outputs: XLR (fully balanced) and RCA, selectable via rear toggle Power supply: external, solid-state, via 4 ft. umbilical Tube complement: (2x) 6C45; (2x) 6922/6DJ8/7308 Dimensions: 430 x 335 x 120 mm Weight: 15 kg Polish distributor SOUNDCLUB ul. Skrzetuskiego 42 02-726 Warszawa | Polska e-mail: soundclub@soundclub.pl www.soundclub.pl [hfgallery] [img mini="foto_testy/1412/modwright/th/05.jpg" big="foto_testy/1412/modwright/05.jpg" src="foto_testy/1412/modwright/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/modwright/th/06.jpg" big="foto_testy/1412/modwright/06.jpg" src="foto_testy/1412/modwright/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/modwright/th/07.jpg" big="foto_testy/1412/modwright/07.jpg" src="foto_testy/1412/modwright/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/modwright/th/08.jpg" big="foto_testy/1412/modwright/08.jpg" src="foto_testy/1412/modwright/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/modwright/th/09.jpg" big="foto_testy/1412/modwright/09.jpg" src="foto_testy/1412/modwright/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/modwright/th/10.jpg" big="foto_testy/1412/modwright/10.jpg" src="foto_testy/1412/modwright/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/modwright/th/11.jpg" big="foto_testy/1412/modwright/11.jpg" src="foto_testy/1412/modwright/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/modwright/th/12.jpg" big="foto_testy/1412/modwright/12.jpg" src="foto_testy/1412/modwright/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/modwright/th/13.jpg" big="foto_testy/1412/modwright/13.jpg" src="foto_testy/1412/modwright/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/modwright/th/14.jpg" big="foto_testy/1412/modwright/14.jpg" src="foto_testy/1412/modwright/14.jpg" desc="HighFidelity.pl"] [/hfgallery]

riends who set their stands during Audio Show 2014 to sell CDs and LPs all told me the same thing after the Show – sales dropped by half compared to previous years. Some of them started to wonder whether next year they should even set their stands or just let it go and come as private persons to visit the Show. They all pointed out a single reason of that situation – audio files. Most people coming to stands, interested in particular record labels or particular titles asked for files and not for physical medium of any sort. I respect these opinions but I'd like to offer another explanation. There is nothing anybody could do with present trend of replacing physical mediums with files stored on one or other sort of data carrier. It is happening and that's a present mainstream trend. But we should remember that audio never really followed mainstream. It often took some paths opposite to trends and standards. Otherwise things like vinyl record, tube, or reel-to-reel tape recorder wouldn't have survived till today. But as you can see all of them still exist, they even thrive and nothing suggest they could disappear from the market any time soon. It is in fact a matter of scale, or proportions. In the 1980ties turntables and in 1970ties & 1980ties tubes had to give way to CDs and solid state devices. Today physical mediums will have to (or maybe they already have taking into consideration smartphones and portable players?) give way to file players. And that's fine. We can't turn the tide and there is no use in trying. It will still take some time to develop proper technologies for audio files players that could offer true high-end sound quality. When it finally happens, when a full potential of Hi-Res (PCM, DXD i DSD) files is utilized, I'll be the first to start using it. But not as the only source of music and probably not even as the first choice source. I believe that PC Audio supremacy, that resulted in extremely fast grow of D/A Converters, headphone amplifiers and headphones markets is just a temporary fascination, as were home theater and “custom” systems before. These are cool, interesting, but in fact only for some specific group of customers. And after a short era of „Home Theater” and „custom” systems craziness, audio came back to its stereophonic origins based on the same types of devices as always. Yes, these devices were somehow different, improved thanks to technological progress, but their core principles are still the same. The physical medium is more than that – not just a medium for musical signal. It is also an object that carries some cultural and sociological contents, information and values. Together with, in my opinion, higher sound quality than any files can offer, in case of CDs and LPs it gives users added value (yes, a CD, for me, is still a better medium which a listening sessions with dCS Vivaldi system confirmed). A file is immaterial, so it is difficult to attribute any value to it. I am convinced that for my generation physical mediums will be the most important ones for a long time. Hopefully we will have a chance to use CDs and LPs till the end of our days. Unless someone comes up with some exceptional idea involving music files that will offer top sound quality (but I don't really believe that). For us, fans of physical mediums, it is a wonderful time. The number of very special editions proposed mainly by Japanese companies, who wants to get as much of our money as possible, is overwhelming. Compared to that offer presented at AudioShow was bland, to say the least. Most sellers tried to sell regular editions, same ones as in October 1982, when a CD format had been firstly introduced. It takes more effort today to sell music on physical medium. It is not enough to just stand behind a table with some discs on it. Poor sales during AudioShow were, in my opinion, caused by these three elements I've described. But, from my perspective, future looks very bright. A lot of money is still to be spent. That is why a release of a new Compact Disc or Super Audio CD Player is not surprising for me, is not an anachronism. It proves that there are people there, who can still heard the difference. Mr Bogusław Dubiel, the owner and chief designer of Dubiel Accoustic, obviously shares my view. Two years ago we reviewed his new Compact Disc Player, and now we got our hands on the newest, battery powered version of the same Player. BOGUSŁAW DUBIEL | Dubiel Accoustic Designer | owner Both mechanical and electronic concepts remained unchanged. I got rid of two power transformers together with accompanying diodes, capacitors and voltage regulators. Also a power inlet with a fuse was no longer needed. It was replaced with a 5-pin socket for battery charging (Amphenol) and a mechanical on/off switch with an indicator. The space that was “saved” inside was used for 11 units of gel batteries that supply power to mechanics (motor), and electronics, including all integrated circuits (decoder, DAC, and so on). Batteries supply power also to a tube output stage. The NOS DAC chip is coupled with tube stage via a custom made transformer (made by one of renowned European manufacturers). For battery powered tube output stages I prefer to use some types of (NOS) tubes like: 3A4, DL95, 3Q5, DL33. In this particular unit delivered for test I used Mullard DL33 tubes. Output capacitors are copper Jensens filled with oil. I also used a new type of master clock shielded with copper enclosure. Fully charged batteries allow for 5,5 hours of continuous work, and up to 7 hours if listening is divided into few sessions. A blinking LED placed on The remote control indicates that batteries need recharging. From the moment this LED starts to blink user still has 40-60 minutes of listening. During listening sessions charger has to be disconnected from the CD Player. One must not charge batteries when the Player is ON! (it might cause a serious damage to the Player). Charger's plug sports sort of a latch. When connecting it to the Player user must connect it in a such a way that this latch is on the right side (looking from the back side of the Player). Do not twist the plug inside socket – one should check the proper placement before plugging the charger in. Charging takes 10-12 hours and its finish is indicated by a green light turning on. It is placed next to the main, blue one. After green light comes on you need to keep charging the Player for another 30 minutes, then turn the charger off with its switch, and then unplug it from the Player. I am not so sure if we should call this model “new” as it uses a lot of elements that were used already by the first devices of that kind ever build. The transport mechanism is a NOS Philips CDM-2 with a swing arm system using a counterweight (like a tonearm). Mr Dubiel tried a CDM-1 mechanism first but finally he chose almost identical CDM-2, because it was build of a material (resin) that damps resonances more effectively than aluminum used for CDM-1. Another advantage of CDM-2 is a laser of the same type that was used also for next generations of Philips' transports so its availability (if replacement is needed) is surely better. CDM-2 sports a one-beam swing arm to be exact. Another advantage of CDM-2 is good quality linear motor (later models used commutator motors). This type a transport mechanisms were used from the beginning by Philips and Marantz. Marantz used CDM-2 for its CD-25 and CD-45 Players, and for CD-65 in 1985. A DAC chip Mr Dubiel decided to use is of equally vintage sort – it's a TDA1541. It's a second DAC chip ever released by Philips, but their first 16-bit one. Usually it was used in combination with a digital filter SSA7220P/A, that was responsible for a 4 times oversampling (without noise shaping filter). Marantz used it for the first time in 1985 for their CD-65. And finally tubes – for the output stage Mr Dubiel uses a simple low-pass filter and amplification based on triodes. In this particular player the whole circuit is powered with batteries. That is the main difference between previous and reviewed versions (you can read our review of the previous version of Nirvana HERE). Remark: output signal is higher than standard 2 Vrms and a particular value depends on the type of tubes used for a particular unit. The signal is not attenuated. The unit under review delivered signal at 3,6 V level. As I couldn't find a name of this battery powered version anywhere, I decided to name it myself, so from now on it should be called: Nirvana Battery. It's not the first and probably not the last time when I get to play a Godfather for a new audio product. DUBIEL ACCOUSTIC IN „High Fidelity” • TEST: Dubiel Accoustic NIRVANA - Compact Disc Player, see HERE Recordings used during the test (a selection) Cream, Disraeli Gears, Polydor/Universal Music LLC UICY-40023, Platinum SHM-CD (1967/2013). Depeche Mode, Ultra, Mute/Sony Music Labels, Blu-spec CD2, (2007/2014). Elton John, Goodbye Yellow Brick Road, Mercury Records/USM Japan UICY-40025, Platinum SHM-CD (1973/2013). Eno, Moebius, Roedelius, After The Heat, Sky/Captain Trip Records CTCD-604, CD (1978/2007). Frank Sinatra, Songs For Swingin’ Lovers!, Capitol/Mobile Fidelity, UDCD 538, Gold-CD (1956/1990). Jerzy Milian Trio, Bazaar, Polskie Nagrania “Muza”/GAD Records GAD CD 017, „Polish Jazz vol 17”, CD (1069/2014). Krzysztof Duda, Deep Sea, Soliton, CD (2014). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); Peter, Paul and Mary, In The Wind, Warner Bros. Records/Audio Fidelity AFZ 181, „Limited Edition No. 0115”, SACD/CD (1963/2014). The Handsom Family, Singing Bones, Carrot TopSAKI036, CD (2003). Yes, 90125, ATCO/Warner Music Japan WPCR-15914, „7 Inch Mini LP”, SACD/CD (1983/2014). Japanese issues available at [REKLAMA5] True Detective is one of the best TV series I've ever watched (HBO, 2014). Both actors playing main characters, Matthew McConaughey and Woody Harrelson, were simply brilliant. But what I remembered most, after the last, eighth episode of the first series (the second one will come in 2015) is the music used for the series. The main motive in True Detective is the Far From Any Road piece from Singing Bones album (2003) by The Handsome Family. It was recorded somewhere in an old barn in Albuquerque, New Mexico (well, that's how I imagined that at least) it had a very special vibe and some sort of a “truth” in it. And it is this “truth” about music, about something “behind” sound, behind notes even, Nirvana Battery conveys in an absolutely exceptional way. I think that it was during this listening session that for the first time ever I heard a true potential of this particular CD Transport, 16-bit DAC and tubes. It was as if Mr Dubiel finally was able to present what were the limits of these elements' performance, what they could and what couldn't they convey – as any technology, any solution had it's limits. Already the previous version of this player had given me an idea about those limits, but now, in this newest Player, Mr Dubiel pushed the limits even further. Tonal balance of the presentation is well balanced and “vigilant”. Sound never gets too bright, or harsh. That was to be expected from the combination of Philips TDA1541 DAC chip with battery power supply. Many other devices, based on at least one of those two elements, display the same sound qualities. They might not be that good at it, but the general impression is the same. None of these other devices ever presented these qualities combined with such an impressive dynamics and lack of this “syrupy” effect often associated with NOS DACs. I would call this sound “gold -ish”, as it is so smooth and shiny, but without any harshness, that it slightly modifies the music so that it sounds bit more “gold”. But the point is that it doesn't paint the whole picture with gold, doesn't sink it in syrupy. Despite the fact that such a “sweet” sounding sources (many turntables sound this way, but also some digital sources) often deliver better performance than many very analytic but dry sounding ones, we can't pretend that it is what “fidelity” to the recording is about. It seems that Nirvana's balance between “sweetness” and “truth/fidelity” is set right where it should be. On one hand it plays all, I mean ALL, recordings in a very pleasant way, but it never forgets to inform listener about the kind of recording, about musician's performance in it, about how it was prepared and put on CD. Dynamics plays a key role in this presentation. Battery power supply usually tends to limit dynamics, even in performance of such a fantastic device like Human Audio Libretto HD CD Player. Mr Dubiel told me, that it was one of the biggest challenges for him, when he'd been designing this device, but he'd known also that it would have been a key to success. And, if I understood that correctly, the solution was quite simple: each section got its own battery delivering exactly the voltage required for this section, so there was no need to use any voltage splitters (usually resistors are used for that). It would seem that what limits dynamics in most such battery powered devices are those little resistors. And the dynamics delivered by Nirvana Battery is truly impressive, almost as impressive as with Ancient Audio's Lektor AIR V-edition, and at the same level as offered by Mytek's Manhattan D/A Converter, a great device by the way and one of the most up-to-day ones, too. We have to remember that a Player from Opole uses mostly 30 years old solutions, and some of them even a 100 years old! Another surprise was the bass reproduction. This element almost always “suffers” from battery supply and tubes in output stage. Very few manufacturers know how to avoid that effect. Some examples, from Audio Research, Ancient Audio and Dubiel Accoustic prove, that it can be done, that it is in fact a question of application rather then choice of particular technology. Each of these manufacturers “shapes” bass to its own preferences, bit differently in each case, of course. Nirvana Battery allows its bass to go very deep. Bass is very rich and powerful. A differentiation of tonality and dynamics is exceptionally good, as it is also for treble. In fact when listening to the music one wouldn't really pay attention to bass, treble or midrange, as the sound is very coherent along the range, and one listens to it as a whole. I can tell you about particular sub-ranges based on observations of particular instruments. And I have to add that is was quite easy to follow a chosen instrument once I set my mind on it. The scale of the sound, I mean of vocals, instruments and whole soundstage, is massive. Sinatra from Songs For Swingin’ Lovers!, Brian Eno with Moebius and Roedelius of Cluster (After The Heat), but also Cream from Disraeli Gears, a recording issued on Platinum SHM-CD, whatever I decided to play it sounded marvelous. Sound was dense, rich, with deep, powerful bass and with impressive dynamics. This Player delivers every type of music with equal commitment and it always sounds really good. As in any other case also during this test there were some recordings that impressed me even more than others. Like In The Wind by a super-trio Peter, Paul and Mary, like electronic music played by analogue synthesizers, like Cohen's Popular Problems. Yes, even this album, recorded for a „mass market”, meaning – I am writing this in the second decade of the 21st century – for smartphone's owners with their tiny in-ear cans, sounded really nice. Nirvana Battery was able to put all the pieces within this recording together into enjoyable whole. Nirvana was able to “domesticate” Cohen's voice, that had been recorded in a completely different acoustical conditions than instruments, in a way so that together with music it created a uniform message. Yes, it was a sort of a manipulation, as these two elements of this recording were completely different, but this interpretation of the signal actually made sense, it allowed me to enjoy listening to this recording. This sort of „harmony” of these two elements with a completely different acoustical background was possible due to combination of some sound qualities Mr Dubiel chose for his Player and some technologies he involved in his design. I've already mentioned some qualities of the sound like: density, richness, smoothness, liquidity, proper tonal balance and impressive dynamics. Philips' drive and DAC offer some qualities, that their designers tried to improve in their later version. This device allowed me to confirm that, as I'd observed that when reviewing other Players before, and since the observations seemed to be similar each time, I would attribute them to a drive and a DAC rather than to their particular applications. Nirvana seems to present everything that happens in the back of the soundstage bit closer to listener than my reference Player, and it seems to unify the acoustics. “Unification” might not be the best word here, as it suggests that it is a flaw, something that bothers listener (and it doesn't), so maybe I should rather say that it “adjusts” the acoustics. It is a sort of correction, no doubt about it. But it is done in combination with everything I described before and thus it seems natural. Bringing back of the soundstage bit forward means that some vocals, that I could usually hear not in the front but rather somewhere in the middle of soundstage's depth like Dave Gahan's on Depeche Mode's Ultra, like Mary's on above mentioned In The Wind, like Jack Bruce’s in Sunshine of Your Love (Cream) seemed to be closer to me, seemed to be larger, conveyed in a more distinct way. It changed listener's perspective, as the whole soundstage gained in density. But it also shortened the perspective. Other thing I noticed is imaging that is not quite as good as offered by Lektor, Accuphase DC-901, or by already mentioned Mytek Manhattan. Nirvana does not convey such a precise, well defined images, but rather less distinct, that tend to blend into the background bit more than competitors'. The upside of this is that it's exactly that, what makes sound so liquid. It seems that modern DAC chips are more resolving, offer better separation of images. It's easy to check that out listening to mono recordings as these offer us only depth of the soundstage and images on it. When playing such recordings, including, for example, Disraeli Gears by Cream, the reviewed Player produced less distinct, less palpable images compared to above mentioned Players. Also textures of each instrument seemed but more unified. Summary Nirvana Battery is an excellent Player. It offers much better performance than its “regular” version (with classic power supply). Why? Because everything that its predecessor did right, Battery does even better. Its character allows user to enjoy music for hours (until batteries deplete, actually) without any fatigue. It is surely not too sweet, nor too warm, so it stays “fresh”, it doesn't get boring. Impressive dynamics makes listening to it even exciting, it's a pure pleasure to listen to. It is not that resolving, as many other high quality Players from the same price range, like, to mention just few, products of Ayon Audio, Accuphase and others. Also there is no such a huge depth of the soundstage as some other Players offer, but it is so due to a very dense, rich front of the soundstage. It doesn't change the fact, that what we have here is a fantastic product of a small Polish manufacturer, workshop really. And this tiny company designed and manufactured a product that can compete with Players made by largest companies from around the world. What's more - in terms of performance level it will be a fair fight. For some aware users, who know exactly what how they want their music served, and who will find proper sound qualities in Nirvana Battery choice will be very simple. KRZYSZTOF DUDA Deep See Solition, CD (2014) GAD Records has just announced their plan for the second part of Sonda, their bestseller that help them establish a position on the market. This album contained illustrative music to a very popular TV show called Sonda. It was a very popular science show aired by Polish TV between 1977 and 1989, that was presented by Zdzisław Kamiński and Andrzej Kurek. Following huge success of that album GAD released an album Altus, with works of Polish composer who wrote music for Sonda, but also for several other shows (review HERE). This album turned out to be another success after which Mr Duda agreed for an interview for „High Fidelity” (see HERE). Altus is a collection a music written in different periods of time by this composer of electronic music. His newest album, Deep See, is based on a completely new material. This record was released by Solition, another label that issues also music by Krzysztof Kanaan, also a composer of electronic music but a man from a younger generation (review of Continuum album HERE). This is a “budget” edition, with only basic cover, no insert, and there is even no catalog number. Recording and mixing was done by Mr Duda, a mastering by Piotr Madziar. If I understood the information correctly only analogue synthesizers were used to record this material. Mr Duda's music seems inspired by the 1970ties and 1980ties. Some elements though reflect more contemporary music. For example the opening of the first piece on the album, called: The Harbour of Poseidon, is clearly inspired by Daft Punk;s soundtrack from Tron movie, or to the introduction to Transbalticus, that could be an opining of any piece of club music. Sound quality is really good. It is easy to tell that whoever prepared this material did a good job and had a good understanding of this music. It is a large scale sound, slightly “soft”, with greatly built both range extremes. Treble is truly vibrant, lively but never harsh, and bass goes down really deep. This type of presentation truly fits the type of music Mr Duda plays. It's a really cool music with amazing drive and the sound quality is also very good. The only thing the sound lacks is a true palpability of images, of sound sources, so something that krautrock from 1970ties offered in plenty. But, as I already mentioned in my review of Robert Kanaan's album Continuum, nobody really records music this way anymore. Sound quality: 8/10 Such a complex and time consuming design might have been built only by a very small company – none of the “giants” of audio market would decide to release such a product. Just a casing comprises of many elements that combined together create an extremely rigid, mechanically damped shell. Main chassis is made of polished, stainless steel sheets. A marble slab is screwed from below to the bottom of the device (just like in German Audionet CD Players), and a thick plywood plate is glued to it (you might want to compare that solution to the one used by Japanese company SPEC, see HERE). Side panels are made of wood – that will remind one audio devices from 1970 ties and 1980ties, when wood panels very popular. A front panel is made of polycarbonate, with some print placed on its back side. Underneath there is a large, alphanumeric, orange display with four LED modules. Since there are only four modules one can ready only track and index number on it (the latter is usually not used today, but it is particularly helpful when it comes to classic music), or track time. Below display there are two amber LEDs, indicating display's status. Third comes on when “pause” function is used. Nirvana Battery is a top loader. One puts CD directly on motor's ax, and than puts a wooden puck on top of the disc. There are two ways to control the device – either by using push-buttons on the front panel, or by using a remote control. The latter has a wooden enclosure and push-buttons identical with those on front of the Player. Buttons on front of the device are backlit. On the left side there is a red LED that flashes whenever Player accept commands from a remote. Back panel sport a pair of very nice, high quality RCA sockets made by American company CNC, a five-pin XLR socket (Amphenol) used for connection with external charger. Above XLR socket there is a red light that indicates charging, and an amber LED that by different brightness indicates different charging level. Few more information about usage of batteries. Batteries supplying output tubes deplete first. Drive might still be spinning a CD while the sound is already gone. That's fine, but I wish that an information about how much time on batteries we still have left was presented in some more visible spot – on the top cover for example. It would be nice if the message was also unambiguous – a row of LEDs or an alphanumeric display. Also when it comes to a device at this price I would expect an automated charging with some relays that could disconnect charger from Player at the moment Player was switched on. The whole process of charging is not particularly difficult as it is, but if one pays a certain amount of money one expects also some level of convenience. The external charger is a large, plastic box with power cable on one end, and much thicker cable leading to the Player on the other. This cable connecting Player with charger is not particularly long so both devices need to placed quite close each other. This battery powered Player's weight is quite significant. Two main element contributing to such a weight are solid casing and batteries placed inside. Batteries are grouped into three lots – two on one side of the drive and third next to the tubes. There is a lot of them and they occupy a lot of space. Each circuit is powered by a battery delivering voltage required by this particular circuit. Some of them, to fulfill particular requirements of some circuits, need to be custom made. Mr Dubiel is a fan of the first Philips CD drives. He buys old Philips CD Players just to retrieve only CD Drives (with controllers). For Nirvana Battery he decided to use a CDM-2. The drive sits on springs and on cork washers. There are rubber tubes placed over springs to damp their horizontal vibrations. Behind the drive there is a PCB with decoder and DAC chip: Philips TDA1541, that receives signal via I2S line. This is a 16-bit no oversampling chip. Next to it one will find precise ERO capacitors, that work as I/U converter and low-pass filter. A SAA digital filter widely used by Philips and Marantz in the 1980ties this times is not used. The TDA chip works though without oversampling and without digital filter. Above this PCB there is another with copper shielding – this is a precise word clock - Clapp oscillator. This type of oscillator is used in short wave radios for its low jitter. Similar oscillator was used for a previous version of this Player, but for a Battery version a totally new clock was created. A decoded signal is sent to a two-stage output stage and analogue filter. It is based on direct heated tubes. For this particular project Mr Dubiel chose Mullard DL33 tubes, but as alternative he could use one of the following types: 3A4, DL95, or 3Q5. All of them were designed with battery power supply in mind. Mullards used in the reviewed unit were manufactured in 1943 in a British factory later destroyed by Nazi bombs. This factory was never rebuild. There is a coupling transformer between DAC and output tubes, which is also custom made for Dubiel Accoustic. Copper Jansen capacitors couple tubes with RCA output. Another interesting oil capacitors are used for anode voltage decoupling – one was made in Soviet Union, other was made by Unitra Telpod. This factory also doesn't even exist anymore – fancy condos took its place. [hfgallery] [img mini="foto_testy/1412/dubiel/th/05.jpg" big="foto_testy/1412/dubiel/05.jpg" src="foto_testy/1412/dubiel/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/06.jpg" big="foto_testy/1412/dubiel/06.jpg" src="foto_testy/1412/dubiel/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/07.jpg" big="foto_testy/1412/dubiel/07.jpg" src="foto_testy/1412/dubiel/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/08.jpg" big="foto_testy/1412/dubiel/08.jpg" src="foto_testy/1412/dubiel/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/09.jpg" big="foto_testy/1412/dubiel/09.jpg" src="foto_testy/1412/dubiel/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/10.jpg" big="foto_testy/1412/dubiel/10.jpg" src="foto_testy/1412/dubiel/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/11.jpg" big="foto_testy/1412/dubiel/11.jpg" src="foto_testy/1412/dubiel/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/12.jpg" big="foto_testy/1412/dubiel/12.jpg" src="foto_testy/1412/dubiel/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/13.jpg" big="foto_testy/1412/dubiel/13.jpg" src="foto_testy/1412/dubiel/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/14.jpg" big="foto_testy/1412/dubiel/14.jpg" src="foto_testy/1412/dubiel/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/16.jpg" big="foto_testy/1412/dubiel/16.jpg" src="foto_testy/1412/dubiel/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/17.jpg" big="foto_testy/1412/dubiel/17.jpg" src="foto_testy/1412/dubiel/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/18.jpg" big="foto_testy/1412/dubiel/18.jpg" src="foto_testy/1412/dubiel/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/19.jpg" big="foto_testy/1412/dubiel/19.jpg" src="foto_testy/1412/dubiel/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/20.jpg" big="foto_testy/1412/dubiel/20.jpg" src="foto_testy/1412/dubiel/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/21.jpg" big="foto_testy/1412/dubiel/21.jpg" src="foto_testy/1412/dubiel/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/22.jpg" big="foto_testy/1412/dubiel/22.jpg" src="foto_testy/1412/dubiel/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/dubiel/th/23.jpg" big="foto_testy/1412/dubiel/23.jpg" src="foto_testy/1412/dubiel/23.jpg" desc="HighFidelity.pl"] [/hfgallery]

t's hard to take eyes off new iFi products. This British company using logos, letters and design that all look like taken from Luxman, Leak, or Richard Allan products from 60ties or 70 ties, or from present production of Leben, entered a new (for them) niche part of a market usually called “vintage” (if you want to find out more about true “vintage” amplifiers you should read an article in „Hi-Fi News & Record Reviews” by R. Hindle, who offers valuable hints about which solid-state amps from 70ties are worth buying [December 2014, s. 130-134]). British company named its new line (I believe it will include more than two products) iFi Retro, and the design is simply great, eye-catching, much better than the one of most authentic products from THAT time. The integrated amplifier/DAC Stereo 50 and LS3.5 loudspeakers, that premiered recently are in fact something other than just a new version of “vintage” designs. Amplifier sports a wooden casing and tube output stage using EL84 power tubes plus ECF82 tubes in input stage and working as drivers. But its power supply differs from what we got used to as it is a switched mode PS. If you take a look at this device from the top you might notice two things: a narrow gap across its width and an antenna sticking out from the back of the amplifier. Both are surely products of XXI century (at least in terms of popularity) and allow wireless connection via Bluetooth (also with AptX codec) with, for example, a tablet that can be placed in the above mentioned gap in a way they will allow user to see covers of the albums he listens to. Also any smartphone can be used to stream signal to Stereo 50. Stereo 50 is about so much more than just wireless streaming of music. It is a hi-res D/A Converter accepting higher resolution files than any other DAC I know of. Most of currently manufactured DAC are not even capable of playing DXD files (32 bit / 384 kHz), or DSD256. What about iFi? Well, via (only) USB it accepts signal with the resolution of 2 x DXD, meaning up to 768 kHz, but also DSD512 (24,6 MHz = Octo DSD). Have you seen any other device that could do that? I haven't. Sure, there are no recordings in these formats on the market and one can't even be sure if there will ever be any. Even if there will be some, their number will surely be very, very limited. But iFi proved, by designing a device with such a capabilities, that they simply were already able to do what others couldn't – they have “know” and “how”. Except for USB port the device sports also other digital input: coaxial and Toslink, but also a very nice phonostage. It will work with both, MM and MC cartridges. And it will produce a very nice sound with any of them. It sports adjustments and settings that will allow it to be a good match for almost any cartridge. One of the very interesting features is also a possibility of choosing a correction curve! There are very few phonostages, usually very expensive ones, that allow user to select a correction curve. One of them is Zanden 1200, reviewed some time ago by the „Hi-Fi Plus” magazine. In fact today quite a few people even know that there were different recording curves for stereo records used in the past, so it should be a good idea to explain this matter a bit. Most vinyl fans believe that all the records were made using one standard RIAA (Recording Industry Association of America) curve. But in fact at the beginning of LP recording different labels used different curves. Some specialists name the following as the most important ones: Columbia, CCIR/Teldec, Decca, DMM and EMI. Such a classification is questioned nowadays by many other specialists. Some companies offer phonostages with adjustable, specialized curves that are supposed to be optimal for each of those standards. The former „Hi-Fi+” Chief Editor, Roy Gregory, and few other prominent audio journalists are enthusiastic supporters of the idea of using different curves for different recordings. One of the most known opponents is Michael Framer, Mr Analogue as some call him, or in other words one the most respected vinyl experts (see an interview with Michael HERE). He points out a lack of hard evidence proving that these labels actually used their own curves. He cites his conversations with technicians and engineers engaged in vinyl pressing process, working for those labels in 1950ties, who told him that the common RIAA standard was widely accepted and used already back then. Whatever one's opinion on the subject, it is nice to be able to choose different curves for different records and to find out which one sounds best in every particular case. Does it remind you of something? Like 2 x DXD and Octo DSD playing capability – you have no idea how to use them but it makes you fell better knowing that you could use these features, right? It is really cool. What you will find really useful is a very serious headphone amplifier. ifi sports two headphone outputs: one for a large 6,3 mm jack, for low-sensitivity, high impedance cans, and one for a 3,75 mm mini jack, for portable headphones with low impedance. As for a „retro” device iFi Stereo 50 offers a lot of XXI century technologies which allows it to meet requirements of today's computers' users. The LS3.5 loudspeakers refer directly, also with their name, to the „legendary legend” (that's a title I gave to my review of LS3.5a speakers, representatives of famous BBC family). Initially they were intended for monitoring recordings in BBC's mobile recording studios, but it didn't take long for music fans to realize that these speakers would do their job also in a home system, mainly because of the outstanding midrange reproduction. Many manufacturers, using a license from BBC built and sold (some do that still today) such speakers, including KEF, whose speakers I had a chance to review HERE. The iFi LS3.5 differ from those legendary speakers as iFi used different drivers, different cabinets, crossovers, binding posts, and obviously also their measurements are different. But the size and looks surely refer to BBC's loudspeakers. An approach to the review of such a device with so many different functions had to differ from a “regular review”. I had to evaluate Stereo 50 in few different configurations and places. To do so I used both “HighFidelity's” reference systems: System A and System B. In the former iFi worked with Harbeth M40.1 speakers and with two sources: Ancient Audio Lektor AIR V-edition CD Player and with  Lumin S1. Signal was delivered to Stereo 50 via both, analogue and digital inputs, to evaluate separately a power amplifier and DAC. I also played some vinyls with  Pro-Ject 1Xpression Carbon Classic. In System B Stereo 50 worked with Graham Audio LS5/9 speakers, and Pro-Ject turntable as the main source. For assessment of headphone output I used: Sennheiser HD800, AKG K710, Audeze LCD-3 and HiFiMAN HE-6. Part of the test was conducted with LS3.5. These are very small speakers that should be placed very close to the back wall. That's how they were placed for most of the time. To listen to the speakers without any colorization I moved them also to the middle of the room. A distance between listener's position and speakers was around 150cm – so that was a near-field listening. This way I managed to eliminate most of room's influence on the sound. iFi AUDIO IN „High Fidelity” TEST: iFi Audio (Micro) iUSB POWER | iDAC | iCAN – USB power supply + headphone amplifier + D/A Converter USB , see HERE Recordings used for this test (a selection) Marek Sierocki przedstawia: I Love 80s, Sony Music 8725464752, 4 x CD (2012). Aretha Franklin, I Never Loved a Man the Way I Love You, Atlantic Record, DSF (1967/2014). Billie Holliday, Body And Soul, Verve Records, DSF, (1957/2013). Fleetwood Mac, Rumours, Rhino, FLAC 24/96. Frank Sinatra, The Voice, Columbia/Classic Records CL 743, Quiex SV-P, “50th Anniversary”, 180 g LP (1955/2005). Freddie Hubbard, Open Sesame, Blue Note/Classic Records BT4040, Quiex SV-P, 200 g LP (1960/1999). Hans Theesink, Live at Jazzland, Sommelier Du Son sds 0016-1, 180 g LP (2014). Kitty, Daisy & Lewis, Kitty, Daisy & Lewis, Sunday Best SBEST25, 180 g LP (2008). Led Zeppelin, Led Zeppelin (I), Atlantic/Warner Music, WAV 24/96 + 180 g LP (1961/2014). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); Nat "King" Cole, Love is the Thing, Capitol, DSF (1957/2012). Savage, Tonight, Extravaganza Publishing/Klub80 Records CD001, “25th Anniversary Limited Edition No59/150”, CD (1984/2009); Stan Getz/Joao Gilberto, Getz/Gilberto, Verve/HDTracks, 24/96 FLAC (1964/2009). Urszula, Wielki odlot 2. Najlepsze 80-te, Universal Music Polska 378 577 4, CD (2014). Japanese issues available at [REKLAMA5] When a true audiophile company that in a process of creating new devices combines solid engineering with listening sessions done by engineers who also happen to be audiophiles and music fans themselves, releases a new product that is so different from anything they've done so far, a question arises – who is this new product designed for? A well managed company with concrete future plans for development wouldn't suddenly experiment with something totally different just to check out if it could work. There is no place for this kind of “maybes” in a real world. If there were, one should be seriously worried about the future of such a venture. An information about Stereo 50, that I had received right before Munich High End Show 2014 was of that kind that makes one scratch one's head wondering: “what the hell had these guy being thinking?!”. After I had a chance to see it with my own eyes first in Munich and then in Warsaw and talk to iFi's Vincent Luke, despite the fact that I didn't actually get any concrete explanations to my doubts about this product, I started to think that maybe iFi guys were not that “crazy”. First answers really came only after I had a chance to unpack Stereo 50 at home, listen to it and play with it. I realized that it was a system for music fans and audiophiles, not those extreme ones, but those who like to have fun with their audio “toys”. That is also a product that we, audiophiles, could recommend to our friends, wives, kids, families, neighbors and anybody who seeks an advice from an “expert”. „Fun” is a key word here. Using Stereo 50 is a great fun as it is a complete system designed by true professionals, who really know what they're doing. But I suspect that these “serious” guys are also, at least partially, somewhere deep inside, kids who appreciate a simplicity of usage, „looks”, and a connectivity that allows them to use almost any sound source they might think of, and all that at very reasonable price. Stereo 50 gives you all that, and it sounds damn good! As with any multi-functional device also this time I had to take a multidimensional approach to this review – more about it you can find in “test methodology” section. I think that most customers will buy this setup to use this amplifier with speakers, delivering digital signal to the DAC, probably mostly via USB from a computer. If that's the case I have a good news for you – it so happens that USB input offers the best performance, plus it is also the most versatile input. STEREO 50 This British rig offers a very pleasant, amazingly smooth sound. I think that most of the credit for this sound characteristic goes to the DAC. I don't mean that DAC has to “correct” the sound of amplifier. No, it doesn't, which I checked using also CD Player and Lumin S1 as sources of analogue signal. These delivered more open sound but still dominant sound features were: smoothness, liquidity and richness. It is possible to hear this “richness” of the sound only when one puts speakers on a large, flat surface (on a desk, or on commode) close to a back wall. The LS 3.5 speakers are able to deliver such a good quality bass, at least its middle and upper part, that even placed on stands in the middle of the room they don't sound “lean” or “slim”. Well, I gave them some support by using „Xbass” switch, but that's what it was for, right? Same as „Bass Boost” switch in Leben, that I also like to use when listening via headphones. If it is there, why not to use it? For this particular test I used a lot of recordings that we like to listen to, but don't like to brag about it (apologies to those who don't listen to “such” music). What kind of recordings? Well a lot from 1980ties, like remastered Savage's Tonight, like Urszula, Bajm (I attended their concert recently), in short – a lot of recordings that don't sound like audiophile SHM-CDs. And a sound these hardly compressed, bright (except for Savage), harsh sounding recordings was, to our surprise quite pleasant. DAC did a good job of smoothing them, rolling slightly the treble off, but just slightly, enough to make them sound in a pleasant way and not to damp treble completely. The result was quite vivid, palpable, large scale sound, also quite dynamic one, pleasant to listen to. It turned out that this amplifier was able to drive also large speakers in a way, that nobody sane would think was possible. If that had been just a tube amplifier for 5.000 PLN it would have been a very attractive proposal, one of the best in its price range. But it is not just an amplifier. It sports a good sounding D/A Converter with multiple inputs, DSD and hi-res capabilities. When you think about it, it seems that you get this DAC as a free bonus. But that's not the only one. There is also a very nice phonostage at your disposal. And headphone amplifier, too. Well, it is obviously not true that you get them for free – iFi surely wouldn't give away anything for free, because, as every company, they also have to make money of their products. But considering how good the amplifier is one might have an impression that all other elements one gets for free. I have no idea whether Leben CS300 was any sort of inspiration for Stereo 50 designers, but the truth is that both sound really good with Sennheiser HD800. ifi sounded also very nice with AKG K701. With these cans I noticed some similar qualities of the sound that I'd noticed with mighty Harbeth M40.1 driven by Stereo 50 before: richness and smoothness. But this setup wasn't that resolving nor selective. And the focus was surely on everything that was happening in the front of the soundstage and not in the back. This latter quality is usually considered by audiophiles as a deviation from neutrality. But, as we've already established, this is a device for audiophiles but also for many different people audiophiles are surrounded with. 1 I listened to few records played with Pro-Ject 1Xpression Carbon with Ortofon M2 Silver cartridge. This time there was this depth of the sound that is usually attributed to vinyl records. Presentation was also nicely balanced and colorful. Dynamics wasn't its particular strength, at least on micro level, which was one of the similarities to DAC's presentation. On macro level dynamics was quite impressive like on Hans Theessink's Live at Jazzland (it was a copy signed by the artist after his performance at Audio Show 2014 for our translator, Andrzej Dziadowiec so it had to sound really good! :) ) I listened to few records played with Pro-Ject 1Xpression Carbon with Ortofon M2 Silver cartridge. This time there was this depth of the sound that is usually attributed to vinyl records. Presentation was also nicely balanced and colorful. Dynamics wasn't its particular strength, at least on micro level, which was one of the similarities to DAC's presentation. On macro level dynamics was quite impressive like on Hans Theessink's Live at Jazzland (it was a copy signed by the artist after his performance at Audio Show 2014 for our translator, Andrzej Dziadowiec so it had to sound really good! :) ) Now I could just move to the next part of this review but there is one more thing I need to write about before I do that: bass. The EL84 power tubes used in this design are small penthodes designed originally by Philips for audio purposes. It's surely not as popular and respected like its larger cousin EL34 or beam tetrodes like KT66 and KT88, but in good hands it can deliver an outstanding performance. A quality of bass range delivered by amplifier/DAC Stereo 50 is extraordinary comparing to any other tube or solid-state amps. Bass is rich, punchy and punctual. It seems to control and drive the whole presentation. It is not particularly selective, the envelope of bass guitar and bass drum notes is not as distinct, as clear as presented by the best solid state amps at this price range, but iFi doesn't fall far behind either. And it makes up for it when it comes to tonality, tunefulness. These elements contribute to the final effect which is very attractive to listen to. SYSTEM In this configuration proposed by iFi, with LS 3.5 speakers I mean, Stereo 50 delivers a very good performance. But between these two products it is the amplifier/DAC that has more potential. Speakers offer fast, open sound, while amplifier/DAC delivers more “creamy”, warmer one. These two “halfs” complete each other creating a very nice sounding rig together. And yet, it is possible to get even better performance from this amplifier/DAC by replacing speakers. I would suggest listening to it with Harbeth, Spendor, and above all with Sonus faber like, for example, Minima Vintage, or a model from Olimpia line speakers. You can use any source you like. An inexpensive turntable like Pro-Ject I used, seems a very reasonable choice. A choice of digital source is more up to a particular user of Stereo 50. I usually don't use any compressed files, but to my surprise I had a real fun listening to the music played via Bluetooth. A party with this rig must be a real fun! Still, if one expects a really good sonic results one has do deliver iFi a good quality digital signal. Many users will surely use their computers, as it is the least expensive solution. And that's a good solution – this way you can play DSD and DXD files, too. Another solution is to buy an inexpensive files player and connect it to a coaxial input of Stereo 50. But if you REALLY want to hear what iFi is capable of in terms of sound quality you need a high quality CD Player. Today, in times of many “ultimate” music formats, you might think of CD as an anachronistic, or obsolete medium, but for me it is a CD that still offers the highest sound quality. In my opinion even the best files players playing files with sampling frequencies of millions of bits are not able to deliver such a highest quality performance as the best CD Players. Files surely have a potential, that probably will be utilized some day. But today I have most pleasure, most fun listening to the music from a CD (and vinyl). So what I would recommend for you is to get a nice CD Transport like Heed Audio DT, Pro-Ject CD Box RS, or one of Cyrus products. It will be a very nice addition to this wonderful rig and together they will deliver a heartful performance with any kind of music. Summary The system under review was like a meteor that entered Earth's atmosphere with a loud boom and filled the sky with light. You should really give it a listen. Yes, with separate iFi products you might get a better performance in terms of dynamics and resolution, but it will take a lot more effort, money, and additional costs for proper cables. And you won't be able to enjoy this original Stereo 50's looks. I can fully understand those, who value sound quality above all and will buy separate iFi devices – but I wouldn't do it. This system does a good job in everything it does. Both, together with LS3.5, and as a separate amplifier/DAC iFi provides its user with a lot of fun and joy. Whatever you think you need from your system – iFi's got it. This iFi system is usually presented on photos as a whole, but in fact one can buy Stereo 50 and speakers separately. That's why they also have their own names and are packed separately inside very nice, “lifestyle” boxes. STEREO 50 It is an integrated amplifier with MM/MC phonostage, D/A Converter that also with Apt-X Bluetooth input and a headphone amplifier. All that in one Bamboo box. There is probably no other manufacturer who'd be prepared to create a device like that. ifi could do it thanks to its experience with Micro line. Despite its huge functionality Stereo 50 looks, at least at first look, like a tube amplifier from 1950ties, or 1960ties. It is the wood-like casing and a front panel that makes us think that. The casing is in fact made of Bamboo plates. Despite the fact that this plant belong to grass family it looks more like a tree. Bamboo has a higher compressive strength than wood and is more resilient to fluctuations of humidity levels. And it looks simply great! There are some elongated slots on the side panels and another on top panel (covered with a grid) to improve heat transfer thus keeping tubes and electronic circuit at reasonable temperatures. Front Front panel is made of aluminum. A color was chosen on purpose to make iFi look like old Luxman and Marantz devices. Another company that uses today the same idea is Leben. ifi's gold color reminded me more of actual old gold than the color used by Leben or Accuphase. Front sports also four middle-size knobs and a whole row of toggle switches. Two on the left can be used to adjust tone, or to set a curve for phono input. This first function is self-explanatory. There is a switch that allows user to turn this adjustment off. The knobs on the right allow user to choose an active input and to control volume. There are two analogue, linear inputs, one of them with dual function with RCA sockets on the back and mini-jack input on the front. There are also two phono inputs – for MM and high level MC, and for low level MC cartridges. A small switch allows user to choose gain for MM/MC input (38 dB/50 dB), or to switch this input into linear mode with +6 dB gain. On a front panel there are two headphone inputs: one for large jack, for classic high impedance cans, another for mini-jack suitable for portable headphones of low impedance and high efficiency. As I've mentioned above one of the switches allows user to turn tone control off. Those who had a chance to play with iFi iCAN should recognize the next two: „XBass” (with 3 settings: two of them enhance bass, the third is called „Direct” and means no enhancement at all) and 3D HolographicSound (also three settings – two enhancing spacing, one playing it „Direct”). The last switch allows user to choose an active digital input. There are four of them: USB, coax RCA, optical mini-Toslink and Bluetooth. The latter offers high quality performance due to usage of AptX codec. When user chooses particular input the magic begins with small backlit writings and a multicolor triangle LED coming alive on a front panel. Small writings, or logos inform us of a type of signal delivered to DAC: DXD, DSD or PCM. A color of the LED tells us about active input and sampling frequency of the signal delivered. There are a lot of colors but don't worry together with the device comes a detailed description with a drawing that explains meaning of each color. Back This device combines functions of an integrated amplifier and a DAC in one box. Despite that iFi's engineers managed to design a back panel in a way that it doesn't look “overcrowded”. There are two pairs of gold-plated speakers posts. At the time of the review no description of the device was available so I can't tell you for which speaker impedance this amplifier was optimized for. What I do know is the rated output power of Stereo 50 is 25W per channel. Below there are two rows of RCA sockets for linear and phono inputs and also digital inputs. The asynchronous USB input is the most amazing among digital inputs. ifi's engineers achieved something that none other did – USB port accepts PCM signal up 24/192 and DXD up to 768 kHz! As for DSD it will accept even DSD512 (24,6 MHz), which is called Octo DSD!!! Yes, I do realize that I got excited about something with no practical use today, as there are no such recordings, and to be honest we can't be sure there ever will be. But iFi users can easily wait for the future to come – whatever happens they will be ready. The coaxial and optic inputs accept signal up to 24 bits and 192 kHz. Above those there is a socket for a Bluetooth antenna. Inside When you take off this very nice bamboo enclosure you will realize that the actual casing is hidden underneath. It is a rigid frame made of steel bars that shields the digital section of the device. This section together with a switched mode power supply are additionally shielded with a metal sheet. To get under it I would have to completely disassemble the whole device – I gave up. I could see an amplifier section though. It is based on tubes: miniature triode-pentode ECF82 working in the input section, as phase inverters and as drivers, and EL84X power tubes in the output section. The latter work in AB class, push-pull mode. Tubes bear an iFi „Premium Sound” logos – the selection and matching is done in-house. The ceramic tube sockets sport gold plated pins. A tone adjustment is conducted via miniature pots, and a black motorized Alps is used for volume control. Volume can be also controlled with a small remote that sports just two small buttons. Manufacturer decided to use also high quality passive elements like Wima coupling capacitors and had a good idea how to connect a pot with the rest of the circuit. Usually this connection is made with poor quality shielded cables. iFi uses a much better solution: signal goes with high quality cables, same as are used for real time transmissions, and they use the same sort of cable to connect Bluetooth's antenna with a receiver. Cables are plugged to PCBs with professional, gold plated plugs. LS3.5 The LS3.5 loudspeakers seem a simpler design than Stereo 50 amplifier, but in fact I think that they are even more interesting. Their cabinets are made of bamboo. The side walls are thinner than top and bottom because these speakers are tuned in way that some instruments, like guitar, are. There are some additional elements fixed inside to tune resonance frequency. It is possible that iFi's designers took this idea from Japanese Kiso Acoustics HB-X1 speakers. On their web site you can watch a film showing how it is done. This manufacturer mentions designs of P.G.A.H. Voight. This inventor and designer is known, among other things, of developing a horn called Tractrix ( in 1926). On the back wall there is a horizontal gap – that's an vent of an acoustic loading of the mid- lowrange driver, that includes a small labyrinth with two chambers. Above that gap there is a single pair of gold plated, copper binding posts. LS 3.5 sports two drivers: a 25 mm tweeter with silk dome, and a 110 mm mid- lowrange woofer with a paper, coated diaphragm. It uses a metal basket and large magnet. Tweeter uses a small neodymium magnet. Both drivers are marked with iFi's logo. Inside of cabinet is damped with special advanced amino-plastic open cell acoustic foam. There are small cubic pieces of that foam placed in the upper and lower chamber and there is nothing else in there. Drivers are connected with multistrand silver plated copper wires. A crossover is absolutely minimalist – there is only a single polypropylene capacitor soldered directly to the tweeter. The design of LS3.5 is quite extraordinary and so is their performance. On one hand it is quite a simple design using some solutions that's been known for many years, but on the other it is somehow appealing to the best part of my technical education. [hfgallery] [img mini="foto_testy/1412/ifi/th/05.jpg" big="foto_testy/1412/ifi/05.jpg" src="foto_testy/1412/ifi/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/06.jpg" big="foto_testy/1412/ifi/06.jpg" src="foto_testy/1412/ifi/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/07.jpg" big="foto_testy/1412/ifi/07.jpg" src="foto_testy/1412/ifi/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/08.jpg" big="foto_testy/1412/ifi/08.jpg" src="foto_testy/1412/ifi/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/09.jpg" big="foto_testy/1412/ifi/09.jpg" src="foto_testy/1412/ifi/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/10.jpg" big="foto_testy/1412/ifi/10.jpg" src="foto_testy/1412/ifi/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/11.jpg" big="foto_testy/1412/ifi/11.jpg" src="foto_testy/1412/ifi/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/12.jpg" big="foto_testy/1412/ifi/12.jpg" src="foto_testy/1412/ifi/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/13.jpg" big="foto_testy/1412/ifi/13.jpg" src="foto_testy/1412/ifi/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/14.jpg" big="foto_testy/1412/ifi/14.jpg" src="foto_testy/1412/ifi/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/15.jpg" big="foto_testy/1412/ifi/15.jpg" src="foto_testy/1412/ifi/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/16.jpg" big="foto_testy/1412/ifi/16.jpg" src="foto_testy/1412/ifi/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/17.jpg" big="foto_testy/1412/ifi/17.jpg" src="foto_testy/1412/ifi/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/18.jpg" big="foto_testy/1412/ifi/18.jpg" src="foto_testy/1412/ifi/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/19.jpg" big="foto_testy/1412/ifi/19.jpg" src="foto_testy/1412/ifi/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/21.jpg" big="foto_testy/1412/ifi/21.jpg" src="foto_testy/1412/ifi/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/22.jpg" big="foto_testy/1412/ifi/22.jpg" src="foto_testy/1412/ifi/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/23.jpg" big="foto_testy/1412/ifi/23.jpg" src="foto_testy/1412/ifi/23.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ifi/th/24.jpg" big="foto_testy/1412/ifi/24.jpg" src="foto_testy/1412/ifi/24.jpg" desc="HighFidelity.pl"] [/hfgallery]

he world today relies on charts and measurements and results. And while audiophilia tries hard not to follow the mainstream, pointing out its weaknesses and failures, we should still use this popular “method” of evaluating things, simply because in this particular case it will allow us to save some time. S1 is the latest product of Hong Kong's company Lumïn. The company was founded just four years ago when its founders found out that Sony's PS3 was hacked which allowed ripping SACDs into DSD files. The idea was: to create a device that would play such files. It took engineers from Pixel Magic Systems Ltd. (company dealing until that point with transmission of HD vision signals) two years to design, finalize and release (in 2012) the first product called „LUMÏN - THE AUDIOPHILE NETWORK MUSIC PLAYER”. „THE” in the name of this player was used on purpose because, as Mr Li On from Lumïn, told us during interview, at the moment and for some time later it was the only network music player capable of playing DSD files. Plus, according to its creators, it was simply the best one. Before designing this player its designers studied products of digital audio market leaders like dCS and Linn. One can easily spot an influence of the latter just by looking at the design of Lumïn – how it looks, how its casing is made (precision-machined from an aluminum block), also the solution for output seems similar with usage of Lundahl transformers. Software for this product though, was done from a scratch by Pixel Magic Systems' engineers. It is software that makes a real difference in a digital world. In October last year I reviewed the first Lumïn's player and I concluded that it was the best files player I heard up to this point. It's amazingly rich, deep sound brought to mind some high-end turntables, and some features of that sound reminded me even of mother reel-to-reel tapes. During the interview, I already quoted, Mr Li On said that they planned to scale their player down to make it affordable for more music loving audiophiles (the original player was priced at around 6 thousand EUR). Shortly after that they released the T1 model. S1 on the other hand, is a step forward, a further development of the original concept. The earlier models already played all PCM 16-32 bit, up to 384 kHz files, and DSD64, the S1 is capable of playing also DSD128 (sampling frequency of 5,6 MHz). Manufacturer re-designed the D/A section completely. Before it was based on two (one per channel) Wolfson Microelectronics WM8741 chips. This time they used four eight-channel ESS Sabre ES9018S chips! That allowed to minimize distortions. The device is controlled by a special app designed for iOS. It is possible to use also a Linn's Android app, called Kinsky. That will not give you an access to Lumin's settings though, it will only allow you to play music. So in fact if you want to use Lumïn you have to get Apple's tablet too. For this test I used two music storages: Synology DiskStation DS410j NAS (UPnP), with four 2TB HDDs, and Lumin's own 2TB L1. Server and player were connected with Linksys WAG320N router with Acoustic Revive LAN-1.0 PA cables with RLI-1 filters (see HERE). Signal was than sent to preamplifier with unbalanced Siltech Royal Signature Series Double Crown Empress cable. Lumïn was placed on a set of Franc Audio Accessories Ceramic Discs. Lumïn S1 was directly compared with Auralic's system - Aries and Vega, Compact Disc Player Ancient Audio Lektor AIR V-edition and Accuphase DP-900/DC-901 SACD system. A separate comparison was made using Mytek Manhattan DAC with signal delivered from a computer. LUMÏN IN “High Fidelity” TEST: LUMÏN - THE AUDIOPHILE NETWORK MUSIC PLAYER – audiophile network music player, see HERE Recordings used for this test (a selection) Aretha Franklin, I Never Loved a Man the Way I Love You, Atlantic Record, DSF (1967/2014). Art Pepper with Warne Marsh, Art Pepper With Warne Marsh, Contemporary, DSF (1956/2013). Billie Holliday, Body And Soul, Verve Records, DSF, (1957/2013). Brian Eno, Craft On A Milk Sea, Warp Records WARPCDD207, 2 x 180 g LP + 2 x CD + 24/44,1 WAV; Cream, Disraeli Gears, Polydor/Universal Music (1967/2013), DSF. Cream, Disraeli Gears, Polydor/Universal Music LLC UICY-40023, Platinum SHM-CD (1967/2013). Daft Punk, Random Access Memories, Columbia Records, 24/96 FLAC (2013). Eno/Moebius/Roedelius, After The Heat, Sky/Captain Trip Records, CTCD-604, CD (1978/2007); rip z CD. Jerzy Milian Trio, Bazaar, Polskie Nagrania “Muza”/GAD Records GAD CD 017, „Polish Jazz vol 17”, CD (1069/2014); rip z CD. Keith Jarrett, The Köln Concert, ECM/HDTracks, 24/96 FLAC (1975/2011). Keith Jarrett, The Köln Concert, ECM/Universal Music Company UCCE-9011, “Keith Jarrett Solo Piano Gold Collection”, gold-CD (1975/2001). Lars Danielsson & Leszek Możdżer, Pasodoble, ACT Music, ACT 9458-2, CD; Led Zeppelin, Led Zeppelin (I), Atlantic/Warner Music, WAV 24/96 (1961/2014). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); Miles Davis, Kind of Blue, Columbia/Legacy/Sony Music Entertainment, COL 480410 2, FLAC 24/192 (1959/2013). Miles Davis, The Original Mono Recordings, Columbia Records/Sony Music Japan SICP 30521-9, Blu Spec CD2 x 9 (1957-1964/2013); rip z CD. Nat "King" Cole, Love is the Thing, Capitol, DSF (1957/2012). Nat "King" Cole, Love is the Thing, Capitol/Analogue Productions, CAPP 824 SA, SACD/CD (1957/2010). Peter, Paul and Mary, In The Wind, Warner Bros. Records/Audio Fidelity AFZ 181, “Limited Edition No. 0115”, SACD/CD (1963/2014); rip z CD. Stan Getz/Joao Gilberto, Getz/Gilberto, Verve/HDTracks, 24/96 FLAC (1964/2009). Japanese issues available at [REKLAMA5] Have you ever thought about how easily audiophiles tend to label sound depending on the form of signal? Most associates everything that is “analogue” positively. „Analogue” usually means: sounding like a vinyl record, as only very few of us had a chance to listen to reel-to-reel master tapes, or to record music on them. As you surely realize “analogue” seem to contradict “digital”, right? The former is usually described using such words as: „smooth”, „relaxed”, „warm”, „rich”, „liquid”, „natural” as opposed to “digital” that is supposed to be: „bright”, „dry”, „harsh”, „lean”, „unnatural”, and sometimes even „irritating”. These are obviously stereotypes, but, at least that's what I think, they are still quite popular even though digital audio has been with us for more then 30 years now. Whatever one might think about this particular stereotype there were basis for its creation. The first CD and later DVD players actually sounded like this stereotype described it. It was surely not a high quality sound. It turned out, that the key issue responsible for such a poor sound was clocking that had to be improved. Later manufacturers started also to use higher quality passive elements and improved power supply sections. I think that if someone had listened to Lumïn S1 early in the 80ties without seeing it, he would have thought that he'd listened to a very well sounding turntable. Although it is possible that lack of cracks and pups would have made him wonder if that really could have been a turntable playing. Why? Because many aspects of sound of the player under review are usually attributed to the sound of an analogue record. That also means it shares some weaknesses of vinyl but it comes with the job – there are no perfect devices in audio business and I'm sure we all got used to it already. Altogether Lumïn delivers a certain type of performance that one might like or not, but that is amazingly involving and that can be described only as: beautiful. All recordings sound better or nicer when played by S1. One simply can't stay numb, uninvolved even if the system plays some music that used to give one a headache because of its poor quality. Sound seems dense with the accent shifted towards lower regions. I haven't found a single recording that would sound “lean” or “thin” on S1. Surely when some crappy recording is played there will be indications of its poor quality. But it will rather be just a hint and not a clear statement of how poor the recording is. Lower part of the range plays a key role in Lumïn's presentation. One might thing that it is a midrange that is the most important element, as it seems to be most impressive one, but I think midrange sounds so good because of the quality of bass. And last but not least – a treble. Sweet, slightly rolled-off, non-aggressive. That's what makes S1 sound bit warm, “analogue” as some might say, or “turntable-like”. That's probably why I decided that dividing the description between particular recordings, formats and so on, would be rather useless in this particular case. It could be done but it would mean just repeating same descriptions, adjectives on and on. So I'd rather offer you a synthetic description that should be more useful and providing more accurate information about S1 as a complete solution for playing music from files. I will use some titles, names of formats as it will be necessary, but they will only serve their purpose. No matter what format, bit depth, or sampling frequency, Lumïn offers a complete musical picture. Picture isn't always the same as with Red Book files (16/44) it isn't as sharp, as clear as with hi-res files, and DSD files offer even better quality. These differences are quite significant but not at first, one has to go deeper into recording which usually takes time as at the beginning one is simply inclined to enjoy what one hears. S1 never ever PROVOKES one to study the sound, it makes it POSSIBLE. It doesn't take any particular effort to study the sound, the recording and so on, but it is the listener who decides whether he wants to go there or just simply enjoy the music. These differences I've mentioned are revolving mostly around the DSD files being more resolving and offering more depth, and they become more obvious, or easier to notice when one directly compares same recording in different resolutions. Better focus, and better inner-coherence of DSD files – that's the conclusion of a head-to-head comparison. But to learn that, one has to compare hi-res PCM with DSD directly using same musical material in two formats. Otherwise probably one wouldn't even catch this difference. But even CD rips, or simply 16/44 files sound really well when played by S1. Often such files sound much worse than any hi res or DSD material, but in this case listening to them is also truly enjoyable. Placing an accent on lower mids and bass allows Lumïn to “polish” any recording. Interestingly enough this “modification” is even easier to catch with hi res files than with 16/44, and it is even more difficult with DSD. The latter seem smoother and “softer” by the nature so maybe they just don't need this “polishing” as the PCM signal does. Treble is slightly “overshadowed” by midrange. Although the most powerful part of the range is bass that goes deep and is very smooth and liquid, it is the vocals that seem the most important element of almost any recording. But only due to large scale of the presentation, and because of how well is the acoustics of each recording conveyed. Vocals are not the key element of the presentation because they are pushed forward, towards listener with some emphasis on midrange nor through treble roll-off (which is the same thing actually). An element that helps to achieve that is something usually not associated with audio files players – an amazingly dense tone. Let me get back for a moment to this comparison to a turntable – such a dense tone is something that most vinyl fans seek. That is why I wasn't surprised when my friend from Japan told me that in his country most people who buy Lumïn players were not the ones who wanted to move from using Compact Discs to Hi-Res audio files, but rather those who already had high quality vinyl setups and wanted to enlarge their music library but still to enjoy the same type of “right” sound, a sound that vinyl provided. That is what S1 has to offer – an unusual, wonderful approximation between the world of analogue and digital sound. But it comes with a cost. I am not absolutely convinced that a vinyl is the only true high-end music medium. A CD, so disregarded by many, is able, in certain, high quality systems, to deliver performance beyond expectation. Sure, it still has its own inherent flaws, but on the other hand it offers some features of the sound that remind me not of vinyl but rather an analogue mother tape, like a fantastic combination of separation with richness of the sound, like ability to convey at the same time a black background and a very distinct image. It doesn't also suffer from different types of distortions which are a part of vinyl playback. Yes, for home audio vinyl is the number one music medium, but CD, as I know it, is almost as good one. Lumïn S1, in this context, seems to be an alien from another planet. When one starts to listen to it one forgets about any analyzes like the one above. One just plays the music and flows with it or immerses in it. One realizes that this sound was “made”, or “formed” (like it is for Audeze cans too) in such a way that one has to like it, but one simply doesn't care and enjoys it as much as possible because it might take a while before one encounters another such a wonderfully sounding device. The best CD Players such as: CEC-a TL0 3.0 with Accuphase DC-901 DAC, Reimyo system with DAP-999EX Limited DAC, or like my own Lektor AIR V-edition are more resolving and offer better dynamics. They offer also a better selectivity while still delivering a very coherent overall performance. But what S1 introduces to one's system is so unique, that only few best turntables like Air Force One (which is no news as it simply is the best source around) offer truly better performance. Summary An availability of DSD files, apart from those written on SACDs, was sort of Big Bang for people behind Lumïn. It was a ZERO point that offered a new beginning, like in the theory of cycling nature of the universe. With one difference being learning from previous mistakes, remembering them. It is quite obvious that DSD files were and still are what drives Lumïn guys. They did a great job and as a result any files sounds equally well so one can simply enjoy the music without paying attention to the specification of particular file. S1 sounds in a specific way. It is hard to call its performance a „high fidelity” one, despite the fact that IT IS for sure a top “high end” one. „High fidelity” would make sense if the device was true not to the recording itself but to its musical message. What Lumïn delivers in full scale is something that audiophiles rarely even get a glimpse of – the cardinal value of music – emotions it provides listeners with. Everything that gets in the way of it is redundant. That's the ultimate level of performance – to offer something that is clearly not very “audiophile” as it doesn't event try to convey every little squeak made during recording but rather shows clearly WHY something squeaked, offers a bigger picture. There is no greater “fidelity” than “fidelity” to the MUSIC. Lumïn S1 is awarded with RED FINGERPRINT. The form, shape of Lumïn's body even today, two years after its first appearance on the market, seems to look really well. When it comes to its looks and mechanical design it is surely based to some point on Linn's Klimax DS player (see HERE), but I perceive is rather as a form of tribute paid to Linn rather than just a simple imitation. A body of Lumïn consists of two main elements: a main shell made of aluminum block and a cover that is screwed on its bottom. On the tilted front side manufactured cut out a small “window” for a blue, alphanumeric display. Despite its small size it displays a lot of information while being easy to read. One can find there data concerning file that is currently played (format, sampling frequency, bit depth). The display might not be as nice as the OLED ones used by Auralic or Polish Amare Audio Diamond server but it didn't bother me at all. Since S1 looks exactly the same as the first Lumïn ever (now called A1) manufacturer put a golden plaque with logo on the front of the device. The back panel includes analogue outputs, both balanced XLR and unbalanced RCA, and digital inputs: Ethernet and 2 x USB. There are also digital output there: BNC (S/PDIF) and HDMI – the latter should be perfect to connect S1 to Devialet. I don't really think that in any other case sending a digital signal out makes any sense – the D/A converter in S1 is simply that good! All sockets are “hidden” under a top panel that protrudes beyond the back edge of the casing including a power inlet. S1 sports a separate power supply. Its aluminum casing is not as nice and solid as the casing of the player. Its front panel sports only a single on/off button with a blue backlit LED circle around it. Inside there are two toroidal transformers, one for D/A section and the other for the rest of the players circuit. They are accompanied by high quality Elna smoothing capacitors (made for Pioneer). A special, short cable connects PSU with the device. Separating PSU into two parts makes sense since S1 sports two devices inside – a file player and D/A converter that are separated with a thick aluminum panel that is a part of the casing, and these two circuits have separate power supplies. Under a radiator there is a microprocessor „MIPS core CPU”. Next to it there are 4 GB of FLASH Single Level Cell (SLC) and 2 GB of RAM. Another element of the circuit is a fast FPGA which might be responsible for a very smooth switching from one sampling frequency to another. Next to LAN socket there is a Realtek RTL8201CP chip IEEE 802.3 compliant. Both digital inputs and outputs sport matching impedance transformers. D/A Converter is a completely new design. It is based on four 32-bit ESS Sabre ES9018S 8-channel chips. Their full name says: „SABRE32 Reference Stereo DAC”. Each chip sports 8 channels that can be internally combined into two. These two are combined with two from second chip and finally 16 channels give us two (stereo). This allows to reduce noise and other distortions. Same solution has been used for years by Japanese Accuphase. A I/V conversion and filtration is based on National Semiconductors LME49860 chips. These are ultra-low distortion, low noise, high slew rate operational amplifiers. Output sports separating transformers accompanied by Wima capacitors. Mostly surface mount technology was used on multilayer PCB with gold-plated tracks with exception of above mentioned capacitors and large Swedish Lundahl LL7401 transformers. The solution with output transformers has not been very popular (but used for example by Linn and Jeff Rowland) in the recent years. But lately manufacturers approach seems to have been changing as more and more of them started to use it. Specifications (according to manufacturer): Streaming protocol: UPnP AV protocol with audio streaming extension Gapless Playback On-Device Playlist Supported audio files formats: • DSD: DSF (DSD), DIFF (DSD), DoP (DSD) • PCM: FLAC, Apple Lossless (ALAC), WAV, AIFF • Compressed (lossy) audio: MP3, AAC (w M4A) Sampling frequency and bits depth: • PCM: 44,1 kHz – 384 kHz, 16 – 32 bit, stereo • DSD: 2,8 MHz | 5,6 MHz, 1 bit, stereo Upsampling:: DSD upsampling option for all files up to 96kHz Analogue outputs: • XLR: 4 Vrms, pin 2=hot • RCA: 2V rms Digital outputs: • BNC S/PDIF: PCM 44,1 kHz–192 kHz, 16–24 bit • DSD (DoP, DSD over PCM): 2,8 MHz, 1 bit Finish: raw brushed aluminum; black anodized aluminum upon special order Dimensions and weight: • player: 350 (W) x 345 (D) x 60 mm (H) | 8 kg • power supply: 100 (W) x 315 (D) x 55 mm (H) | 2 kg Polish Distributor MOJE AUDIO ul. Sudecka 152 53-129 Wrocław | Polska e-mail: biuro@mojeaudio.pl www.mojeaudio.pl [hfgallery] [img mini="foto_testy/1412/lumin/th/05.jpg" big="foto_testy/1412/lumin/05.jpg" src="foto_testy/1412/lumin/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/lumin/th/06.jpg" big="foto_testy/1412/lumin/06.jpg" src="foto_testy/1412/lumin/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/lumin/th/07.jpg" big="foto_testy/1412/lumin/07.jpg" src="foto_testy/1412/lumin/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/lumin/th/08.jpg" big="foto_testy/1412/lumin/08.jpg" src="foto_testy/1412/lumin/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/lumin/th/09.jpg" big="foto_testy/1412/lumin/09.jpg" src="foto_testy/1412/lumin/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/lumin/th/10.jpg" big="foto_testy/1412/lumin/10.jpg" src="foto_testy/1412/lumin/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/lumin/th/11.jpg" big="foto_testy/1412/lumin/11.jpg" src="foto_testy/1412/lumin/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/lumin/th/12.jpg" big="foto_testy/1412/lumin/12.jpg" src="foto_testy/1412/lumin/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/lumin/th/13.jpg" big="foto_testy/1412/lumin/13.jpg" src="foto_testy/1412/lumin/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/lumin/th/14.jpg" big="foto_testy/1412/lumin/14.jpg" src="foto_testy/1412/lumin/14.jpg" desc="HighFidelity.pl"] [/hfgallery]

udio industry is like show business in that it feeds on the latest and newest. Large audio corporations launch new models of the same components every year or two, while smaller manufactures do it every three or four years. High-end companies like Accuphase usually upgrade their flagship components every five years. Generally speaking, however, the newer is assumed to be better. It goes without saying that it is nothing but a marketing strategy. And there is no reason to take offence at that: this is how all trade works. Changes and upgrades introduced to new components often translate into a better sound. Equally often, the sound is simply different. In the case of audio products where the driving force are technological advancements that take place outside our industry (e.g. in the computer industry in relation to audio file players, home cinema – D/A converters and acoustic room treatment, etc.) it mostly translates to improved specification and characteristics, increasingly better functionality and changes in component “cosmetics.” This is the normal state of affairs. In the case of top shelf products, things are not so clear any more. In the loudspeaker manufacturing industry there have been no significant, game-changing inventions and development for (tens of) years. All there is to it is to polish and refine that which was developed by Bell Labs in the 1920s, and what was worked out in the period 1950-1970 and, in some cases, in the 1980s. After that, there have only been "tiny steps forward." The most expensive speaker models are simply a display of the craftsmanship of their designers, who make use of tried and reliable design solutions, showing off their skills. They use better and better diaphragm materials, design more and more refined enclosures and increasingly sophisticated crossover networks. In audio, these small changes, if they are based on a solid foundation, represent the true value of the product. It turns out that what is left for the designers, these "scraps" I have just written about, is the key to a truly high-end sound. It is novelty that drives the sales. For the industry branches that rely on accumulated knowledge, and perfectionist audio is the best example of that, tradition and conservative thinking turn out to be equally important. This may seem rather schizophrenic but we face such paradoxes every now and then – "stability" is as much important as "novelty." It is hard to connect one with the other if particular models are upgraded too often. On the other hand, the manufacturer somehow needs to mark the changes and upgrades to the product that has gained popularity and widespread acclaim. The way Dynaudio has coped with that is so interesting and representative that it could be a great example to teach marketing in specialist industries. This Danish company has a long tradition in the design and manufacturing of high-end monitors. Suffice it to mention such models as the Contour 1.3 SE, the Crafft or the Confidence 3. In the mid-1990s, Dynaudio began to work on the Confidence C1 stand mount speaker, which immediately became part of the new Confidence line. Its first reviews, e.g. by "Stereophile," were published in 2007 and immediately pointed to its unique status. It truly was a remarkable speaker. Its enclosure was a break from the tyranny of the cuboid shape, which was achieved by mounting the drivers to a wide front baffle, which was optically separate, tapering downwards, where the tweeter was located. Of course, the midwoofer was still loaded to its enclosure, but the latter had a rather unusual proportions - it was very narrow and deep. As Dynaudio manufactured both transducers in-house, it could quite easily adjust their parameters to such an enclosure design./p> It seems to me, however, that the real value of this design lied in the fact that the speakers became a favorite of Mr. Wilfried Ehrenholz, the owner of Dynaudio. The man who could, and even (for marketing reasons) SHOULD have picked any model from his catalog, decided for the Confidence C1 as his home speakers. I do not think that his choice was only dictated by their absolute value. It is not hard to imagine that the more expensive Dynaudios are better. The thing is that the speakers are a critical part of the audio system, since they work with, and share in, particular room acoustics. Therefore, equally important as the quality of the speakers themselves is how they behave in a particular place, with given electronics. It very often happens that the best speakers do not sound as good as that are – theoretically – inferior, but are better matched with the particular room and amplifier that drives them. And, it seems, what we deal with here is exactly this kind of situation. And what can a man like Wilfried Ehrenholz do, with his knowledge and capabilities, sitting day after day (more likely, night after night) in front of his beloved loudspeakers? I bet that he thinks about how to improve them. Hence, if I were to bet, I would put lots of money on the fact that the first clues concerning the direction of change, the first impulse to create upgraded versions, not just of the Confidence line, had its origin in his night sessions with a pair of the C1 in front of him. The result of these improvement ideas was the Confidence C1 II and its limited version, the Confidence C1 Signature. There were few apparent design changes. The most notable was a new finish – the Signature was finished in dark brown Mocca or dark red (ruby) Bordeaux veneer. Its rear panel also featured a plate with Dynaudio owner’s signature. Much more important were the technical upgrades. A much more refined, precision coating was used for the silk dome of the Esotar2 tweeter. The midwoofer voice coil was redesigned, too. It was now even more precisely wound, using aluminum wire on a Kapton carcass. The drivers operate with a first-order crossover (-6 dB/oct). Although seemingly the simplest design, its proper implementation requires using the best possible passive components. Hence, the manufacturer employed higher quality capacitors and very expensive Caddock resistors. And, last but not least, internal wiring was upgraded. The loudspeakers from Confidence CII and Confidence Signature lines had their world premiere at the 2011 Salon Son & Image show in Paris, in March 2011, but were presented to a wider audience in May of the same year, during the High End in Munich (see HERE). All that time, Dynaudio designers were working on speakers from a higher line called the Evidence Platinum. It employs everything that had been learned through the CII and Signature lines and takes the upgrades even further. Let me remind you that real upgrades in the loudspeaker technology come about through advancing and polishing up long-known solutions. And the Platinum Evidence seems as polished up as can be. It is no coincidence that an audio system that included these speakers, which could be auditioned during the Audio Show 2013, was given our Best Sound Audio Show 2013 award (see HERE). Let me also remind you that at the same time Wilfried had at home his beloved C1, by then their Signature version (I wonder if he signed them for himself, too?). It is not difficult to conclude that he was thinking about how to transfer these upgrades to the Confidence. The way I see it, that is how the Confidence Platinum line came about, with the Platinum C1 in the lead role. On the surface, it is still the same speaker as the C1: a two-way stand mount design in a vented enclosure, with a large bass-reflex port on the rear panel and two drivers in an inverted configuration, manufactured in-house. The 170 mm (6.5-inch) mid-bass woofer has a diaphragm made of MSP (Mineral Silicate Polymer) and a cast basket with narrow ribs that do not impede airflow. The magnet is mounted inside the basket, and the voice coil has a very large diameter. The cone is formed of one component, together with a dust cap. So far, we have seen it all in other Dynaudio speakers over the years. The improvements consist in a better selection of the mix material, more precisely made cone suspension, a change of the voice coil and bobbin and a different finish of aluminum components. We will come to the looks right back. The treble and part of midrange is handled by a driver that became Dynaudio is also known by the fact that over the years he was as well as other versions, sold to other companies. Here we have a 28 mm Esotar2 model with an aluminum front and dual neodymium magnet. The diaphragm is now coated using a special process, and has a slightly different shape than before (such as in the Evidence Platinum speakers). The speakers look even better than those in the Signature line. Among other things, because it changed the way aluminum anodizing and finishing elements, which are now black and have a matte surface. The set can be purchased Stand6 aluminum stands, with a multi-layer sandwich basis, which can tighten the column. That's the set I tested. DYNAUDIO IN „High Fidelity” REVIEW: Dynaudio CONFIDENCE C1 SIGNATURE + Stand4 – stand mount speakers + stands, see HERE REVIEW: Dynaudio FOCUS 340 – floorstanding loudspeakers, see HERE BEST SOUND HIGH END 2011: Dynaudio FOCUS (new) 140 – loudspeakers, see HERE AWARD OF THE YEAR 2011: Dynaudio FOCUS 260 – floorstanding loudspeakers, see HERE REVIEW: Dynaudio FOCUS 110A – active speakers (in a system), see HERE REVIEW: Dynaudio FOCUS 260 – floorstanding loudspeakers, see HERE REVIEW: Dynaudio SPECIAL TWENTY-FIVE SIGNATURE EDITION – stand mount speakers, see HERE REVIEW: Dynaudio DM 2/6 – stand mount speakers, see HERE REVIEW: Dynaudio AUDIENCE 52 SE – stand mount speakers, see HERE REVIEW: Dynaudio Excite X16 – stand mount speakers, see HERE REVIEW: Dynaudio FOCUS 140 – stand mount speakers, see HERE AWARD OF THE YEAR 2006: Dynaudio FOCUS 140 – stand mount speakers, see HERE REVIEW: Dynaudio FOCUS 140 – stand mount speakers (in a system), see HERE REVIEW: Dynaudio SPECIAL TWENTY FIVE – stand mount speakers, see HERE AWARD OF THE YEAR 2005: Dynaudio SPECIAL TWENTY FIVE stand mount speakers, see HERE Albums auditioned during this review Alice Coltrane, Eternity, Warner Bros./Warner Bros. Japan 8122-79598-0, “Jazz Best Collection 1000, No. 9”, CD (1976/2013). Bajm, Ballady, Pomaton EMI 8 55988 2, CD (1997). David Crosby, Croz, Blue Castle Records BCR1142-1, CD (2014); Depeche Mode, Ultra, Mute/Sony Music Labels, Blu-spec CD2, (2007/2014). Elton John, Goodbye Yellow Brick Road, Mercury Records/USM Japan UICY-40025, Platinum SHM-CD (1973/2013). Enya, Shepherd Moons, Warner Music UK/Warner Music [Japan] WPCR-13299, SHM-CD (2009) Jetho Tull, Thick As a Brick, "40th Anniversary Set", Chrisalis/EMI 461923, CD + DVD PCM 24/96 (1972/2012). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); Peter, Paul and Mary, In The Wind, Warner Bros. Records/Audio Fidelity AFZ 181, “Limited Edition No. 0115”, SACD/CD (1963/2014). The Modern Jazz Quartet, Plastic Dreams, Atlantic/Warner Bros. Japan 8122-71068-2, “Jazz Best Collection 1000, No 6”, CD (1971/2013). The Paul Butterfield Blues Band, The Paul Butterfield Blues Band, Elektra Entertainment Group/Audio Fidelity AFZ 187, “Limited Edition No. 0115”, SACD/CD (1965/2014). Japanese issues available at [REKLAMA5] In the case of the C1 Platinum, "small is beautiful" is interchangeable with "small is big." We are already familiar with such paradoxes in audio, so this one is not really surprising. The size of the new Dynaudio speakers manifests itself in many ways, but the one I'm talking about is literal: the sound presented by them is truly powerful. Even earlier, with the C1 and especially the Signature, the volume, that is the size of the instruments and vocals, was large and impressive, but the Platinum is something else entirely. Of course, it is a matter of physics and psychoacoustics, nothing magical about it, but the sound can actually be perceived as something beyond your imagination (in other words, there seems to be some magic involved). When you hear the vocals on the great Audio Fidelity release of the album In The Wind by Peter, Paul and Mary, they are amazing in their presence and normality. They are extremely effective. And the electric organ used on the Alice Coltrane’s album Eternity? Outstanding. David Crosby’s guitar and vocals on his album Croz? Strong, saturated and dense. Jerzy Milian’s vibraphone on Bazaar? Beautiful. The C1 Platinum, like no other stand mount speakers I know except perhaps the twice as expensive Sonus faber Evolution, offer a full, genuine sound. The midrange saturation, because that is really what we are talking about here, is not the result of coloration and designer tricks. It is just that these speakers present the low bass with a rare effortlessness. And in their bottom end they do not pretend to be bigger than they are. In their case, it is more important HOW deep their extension is, rather than how DEEP it is. Large speakers, such as the Harbeth M40.1, the Trenner&Friedl Isis that I compared the Platinum with, but also the C4 Signature owned by Tomek (of the Krakow Sonic Society fame), build their volume of sound upon the freedom of bass and its control, down to the deepest end, having at their disposal a large cone vibrating area and big or very big cabinets. This cannot be simulated (yet). The C1 Platinum do not have that and yet, sitting close to them and driving them with a high-end amplifier, I did not feel cheated nor was there anything I found amiss. Not because they are capable of the same things as large speakers; I'm not saying that and it is simply not true. But at the same time I can see what kind of speakers they are and I know how much they cost. I have no illusions. But there is no need to delude oneself, nor is there any reason to get it in your head; the Platinum monitors are a closed world and they do not need to be referred to anything else in order to appreciate what they do. As such, they offer a big sound capable of deep bass extension. I can assure you that the way the form it into a whole will surprise anyone. The combination of electronic and live instruments on Depeche Mode Ultra, especially on the track The Love Thieves, was outstanding. To a large extent, it resulted from the fact that despite masses of information that could be heard thanks to the Esotar2 driver, there was no problem with sharpening and brightening. It is a very open presentation, rich in detail and information. What is largely responsible for that is the amazing tweeter, one of the best tweeters of this type I know. Among dome compression drivers, i.e. dynamic transducers, only diamond dome tweeters are capable of something more (but even they have their limitations). My Harbeths, and other designs "by BBC," do not handle the range that well. One might dream that instead of SEAS, which are great dome tweeters in themselves, they used Dynaudio drivers, like the Electa Amator II from Sonus faber, one of the best monitors ever created. This is, however, only wishful thinking. A speaker system (set) is called a system not without reason. Just like with an audio system, which comprises the best combination of properly matched components, offering something more than they are capable of on their own, so in the case of speakers the driver is merely one of many components. To design the best speaker it is not enough to simply take the best drivers available; in truth, it is almost certainly a recipe for disaster. Hence, all I can do is dream about “what if.” Let’s go back to the C1 Platinum, though. The coherence with which they convey the musical material is amazing. There seems to be no treble, bass and midrange but instead a continuous sound. This is a very striking presentation, with an emphasis on what comes immediately after the attack; in other words, without hardening but with lots of energy. Space is breathtaking, especially its size. Listening to medieval music performed by Ensemble Peregrina one could see not only the side walls but also the top; the sound surrounded the listener with a thick coat. At the beginning, I even thought for a moment that the speakers were in counter-phase. Although the vocals in the center were steady and strong, the whole thing was so spacious as never before. I checked twice and everything was as it should be. It is just that their acoustics, interior and quality were so different from what I had recently heard (maybe except for the Isis from Trenner&Friedl) that my first reaction to it was a thought that I made a mistake somewhere. Because the presentation is large and full, and yet practically devoid of the lowest bass (these are stand mount speakers, mind you), it is built on a strong foreground. The latter is what calls the shots here – every now and then the instruments come before the speaker line, creating a sense of their presence in the room, right in front of us, and not as they are heard (seen) from a distant row at a concert, away from us in the front. The C1 Platinum belong to a small group of stand mount speakers which are outstanding in their own idiom, i.e. as stand mount speakers. They stand on their stands high and proud, next to such designs as: the Sonus faber Guarneri Evolution, Raidho D1 and Kaiser Acoustics Kavero! Chiara. That they are about half price of all the above speakers does not change much. The decision which one to choose, apart from the price (10,000 US dollars left in your pocket is no picnic), should be based on the kind of music you listen to. Each one of these speakers comes out slightly better with a particular music genre. If I were to guess what the Dynaudio owner listens to in his or her house, I would say that it is the music from the 1960s and 1970s, or at least contemporary music played and recorded in that spirit. The density, fullness and tangibility of the foreground they offer with blues, folk and jazz are a great experience. And the tracks on Ultra, Depeche Mode album, with guitars and harmonies that are blues in spirit, sounded so good that I found it hard to sit still. Large orchestral compositions, fast and dense rock, slightly poorer recorded, are the domain of large floorstanders and the C2 Platinum or the C4 Platinum will cope with it better. Conclusion In the evening, on the same day the speakers left my apartment after the review, I was at Elton John’s concert (time: 19:30; venue: Krakow Arena, 7 Lema St). The concert was retrospective in nature. The first four numbers he played were from his multi-platinum album Goodbye Yellow Brick Road. Contact with an artist of this caliber in a live setting is a special experience. It cannot be replaced by playing it back at home, at least when it comes to the so-called "experience." Earlier, on the same day before noon, I listened to that album at home, released as a high-quality Platinum SHM-CD. I am about to say something bordering on heresy but what the heck, I take responsibility for it: I preferred what I heard at home on the Dynaudio. It was a real spectacle and it evoked equally strong emotions. And, above all, a much better sound. The C1 Platinum sound beautiful. They look wonderful. They are "specialized", but what isn’t these days? For anyone looking for stand mount speakers, this should be "required reading." RED Fingerprint. The speakers were placed in the same spot that is normally occupied by my Harbeth M40.1. They were mounted on the proprietary Stand6 stands, with which they looked great. I put the Acoustic Revive SPU4 receptacles under the speaker spikes and placed the receptacles on the RST-38H quartz isolation boards. The angle of speakers’ toe-in can alter both the amount of treble as well as space presentation. For me, as most monitors auditioned in my room, they sounded best with aggressive toe-in, with their axes crossing some 50-70 cm in front of me. This resulted in a superbly defined, deep soundstage and improved tonal balance. The height of the speakers with respect to the listener was critical. You should sit so that your ears are at the height of the midwoofer, not lower! Apart from that, the C1 Platinum did not cause any problems with positioning and they do not need to be placed close to the rear wall to offer a deep bass (for monitors, that is). The speakers have low sensitivity and impedance. They need a really capable amplifier to play on the best of their ability. Perhaps not even in terms of sheer power output as much as current capacity. Tiny amps are not welcome here. THE MODERN JAZZ QUARTET Plastic Dreams Atlantic/Warner Bros. Japan 8122-71068-2 “Jazz Best Collection 1000, No 6”, CD (1971/2013) ALICE COLTRANE Eternity Warner Bros./Warner Bros. Japan 8122-79598-0 “Jazz Best Collection 1000, No. 9”, CD (1976/2013) “High Fidelity” readers quite frequently ask me about my particular fascination with albums released in Japan. I always give them the same answer: I’m fascinated by the superiority of their sound, compared to their counterparts manufactured in Europe and the USA, as well as the incomparably better quality of cover art printing, which – especially in the case of “mini LP” releases – are faithful to the vinyl original, from the cover art to the printed material contained within. A while back, Piotrek Stachowski from the Łódź-based Audiofast audio store asked me whether I’d seen CDs with OBIs, i.e. a band with information written on it in Japanese, in the popular Polish audio-video retail store, Saturn. He said he’d bought some himself and he was shocked by the sound quality. There wouldn’t be anything strange about that, save for their price – around $10 per album (while Japanese editions cost $30 or more here in Poland) and the fact that they are manufactured in Europe, but are intended for the Japanese market. Intrigued, I made my way to the Saturn store in Kraków, where there was indeed an entire shelf practically littered with CDs like that. The albums included top-quality jazz. I chose two albums at random, paid a total of $14, and made my way home. I took a closer look at them at that point. Even while I was still in the store I found one box that said “Made in Japan” on it. The rest of them says: “Manufactured in the E.U.”. The discs themselves say: “Made in E.U.”, but also: “Manufactured and Distributed by Warner Music Japan Inc.” right next to it. It’s all very interesting, because the sound of these CDs is remarkable. I compared it with other Japanese editions that I own (classic CDs, but pressed in Japan) and, to be honest, I preferred the versions I’d bought in Saturn. Their only down-side is that they use the standard “European” cover art and print. The sound is top-notch, though. I’m not sure what to attribute all of this to, but it seems that the Japanese were personally involved in the process of music material preparation and pressing itself, from A to Z. Perhaps they also provided their own remasters, although that’s not certain. What’s the conclusion, then? It seems that it actually is possible to press CDs of a comparable quality in Europe, to those made in Japan. All we need is a Japanese approach, i.e. all-out and uncompromising. Go get your own copies while stocks last. Sound quality: 9-10/10 Two-way stand mount speakers usually look very similar. Dynaudio Confidence series from the very beginning, from the first C1 version, was eye-catching with slightly different solutions. The drivers were mounted to a flat baffle, tapering downwards. Driver configuration is reversed, with the larger driver on top. A thick MDF board, to which the drivers are mounted, is cut out using CNC machines and painted black. The cabinet to which the front baffle is mounted is considerably narrower. This gives the impression of lightness. Between the cabinet and the front baffle are vibration-damping parts to mechanically decouple the cabinet from the speakers. The cabinet is made more rigid with internal braces and strongly damped. The side panels are lined with fairly rigid foam with large chambers and the interior is filled with artificial sheep wool. The cabinet is finished with natural veneer in one of four color types: Mocca, Bordeaux, Rosewood and Piano Black. On the rear panel you can see a very large bass-reflex port outlet, with a long port. There is also a name plate. The Esotar2 tweeter sports a silk dome coated with a special material to damp parasitic vibration, a dual neodymium magnet and front made of precisely cut and milled aluminum. In the Platinum version, it is black anodized and treated in a special process to give it a silky shine finish. The 170 mm midwoofer basket has a similar finish. Like the silk dome tweeter, the midwoofer is manufactured by Dynaudio in-house. Its cone is made of MSP (Mineral Silicate Polymer) in one piece with the dust cap. The 1st order crossover network is mounted in the speaker base. It sports high quality passive components, including Caddock resistors. The drivers are crossed over at 1800 Hz. The signal is fed to them via pure copper braid, which is soldered rather than connected using clip-on connectors. The speaker has a single pair of terminals – the hallmark of this manufacturer. A narrow cabinet forces mounting the speaker to the stand in some way. It is best to use the dedicated Stand6 from Dynaudio, which is bolted to the speaker with four bolts. It is made of an aircraft wing-shaped column (with a drop-shaped cross-section) and has two multi-layer tops with vibration damping material. Speaker cable can be pulled through the column and released from the bottom, improving the system aesthetics. The stand rests on small steel spikes. The whole stand has a height of 640 mm and weight of 8.4 kg. It can be filled with various material to increase weight. During the review it was filled with 3.5 kg of sand. The stand is available in four finishes: matte silver and black, and high-gloss white and black. Specification (according to manufacturer) Sensitivity: 85 dB Maximum Power: 170 W Impedance: 4 Ω Frequency Response: 45 Hz - 22 kHz (± 3 dB) Weight: 10.9 kg / each. Dimensions: 200 x 445 x 430 mm [hfgallery] [img mini="foto_testy/1411/dynaudio/th/05.jpg" big="foto_testy/1411/dynaudio/05.jpg" src="foto_testy/1411/dynaudio/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/06.jpg" big="foto_testy/1411/dynaudio/06.jpg" src="foto_testy/1411/dynaudio/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/07.jpg" big="foto_testy/1411/dynaudio/07.jpg" src="foto_testy/1411/dynaudio/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/08.jpg" big="foto_testy/1411/dynaudio/08.jpg" src="foto_testy/1411/dynaudio/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/09.jpg" big="foto_testy/1411/dynaudio/09.jpg" src="foto_testy/1411/dynaudio/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/10.jpg" big="foto_testy/1411/dynaudio/10.jpg" src="foto_testy/1411/dynaudio/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/11.jpg" big="foto_testy/1411/dynaudio/11.jpg" src="foto_testy/1411/dynaudio/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/12.jpg" big="foto_testy/1411/dynaudio/12.jpg" src="foto_testy/1411/dynaudio/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/13.jpg" big="foto_testy/1411/dynaudio/13.jpg" src="foto_testy/1411/dynaudio/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/14.jpg" big="foto_testy/1411/dynaudio/14.jpg" src="foto_testy/1411/dynaudio/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/15.jpg" big="foto_testy/1411/dynaudio/15.jpg" src="foto_testy/1411/dynaudio/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/16.jpg" big="foto_testy/1411/dynaudio/16.jpg" src="foto_testy/1411/dynaudio/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/18.jpg" big="foto_testy/1411/dynaudio/18.jpg" src="foto_testy/1411/dynaudio/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1411/dynaudio/th/19.jpg" big="foto_testy/1411/dynaudio/19.jpg" src="foto_testy/1411/dynaudio/19.jpg" desc="HighFidelity.pl"] [/hfgallery]

BLANK ow, tell me that people do not read. Wrong! The Krakow edition of “Gazeta Wyborcza” from 27th October 2014 had on its front page the article titled Tu królową jest literatura (Literature is the Queen Here). Just below, it read in bold: “Record! About 60 thousand readers has visited 18th International Book Fair in Kraków”. And in the article we read: “An exceptional fair has just ended. The most pronounced 18th anniversary this year!” (all quotations from: Małgorzata I. Niemczycka, Tu królową jest literatura, “Gazeta Wyborcza”, 27 października 2014, s. 1). A déjà vu of sorts, since three days later I published the editorial that read: “Audio Show is growing at an exponential rate! And although it is hard to believe we have broken last year’s impressive record of more than 100 conference rooms and demonstration rooms booked by our exhibitors. This result only confirms the Audio Show to be the 2nd biggest hi-fi exhibition in Europe.” – wrote Adam Mokrzycki, organizer. Just behind High-End from Munich, let’s add. I have previously compared the Audio Show to International Book Fair in Kraków on several occasions. Mostly because they are of the same age but also because, at least theoretically, people who come there belong or at least aspire to belong to the same circles of high culture. These two events have something else in common: both target groups, readers and audiophiles/music lovers, are treated like minor aberrations and have long been considered to be in decline. It seems, however, that there is something wrong with that picture. So called high culture, even though difficult to define with its evaluative criteria changing over the time, is quite easy to understand intuitively because it stands in opposition to mass culture. Both are equally desirable and valuable, except that what is higher is usually more demanding and its target group is smaller. This is the case with reading books and listening music, and especially with listening to music in a perfectionist way, the way the music creators intended. For them, audio quality mattered. The record of Audio Show 2014 was well earned. It is a result of promotion (a lot of information on morning TV shows on TVP1 and Polsat on Saturday, ads in Google, ads in both audio and regular press) but also of people’s authentic desire to listen to something more than just noise, which is forced on us by great many of producers who tell us it is music. How many of us are out there could be seen on Saturday when the halls of Sobieski hotel looked very much like buses in Kraków in the morning rush hours. Just walking through the seven floors and the spacious ground floor was a difficult feat, not to mention getting into one of the rooms. Bristol and Tulip hotels had more breathing space but this was quite understandable as the former attracted only those with specific interests and the latter had bigger halls and just a few listening rooms. VENUE The stunning success of the Book Fair in Kraków was made possible by moving it to another location. I believe that if Audio Show is to expand further and become more professional, it will have to change its venue. The model of such a change, which adopted by the High End Society – the organization responsible for the High End show in Munich, is worth considering. I can vividly recall the fears and truly ominous premonitions, including curses aimed at those responsible for the move. Those who thought that moving the High End show from Kempinsky hotel in Frankfurt would spell the end of the world were wrong. Without that move it would remain just another local exhibition and now it is the biggest high-end audio event in the world. So, how is Audio Show, the second biggest audio show in Europe, different from High End? Location, location, location. I talked to quite a few exhibitors and guests and while voicing their desires differently they all agreed that there have to be changes and that the exhibition needs to move to a different, one (rather than three separate) venue. That is where the troubles begin. It is very hard to find a suitable place. It needs to be spacious like an exhibition hall and has comfortable rooms. It has to be easily accessible and available at the required time, and not too expensive. I have no idea whether there is something suitable in Warsaw but it is really worth starting to look for such a venue. Everything points to the growing popularity of this event and breaking new records each next year, which means even bigger crowd and noise. SPECIAL AWARD OF AUDIO SHOW 2014 Before we move to best sound awards I would like to take a while to say something about the products and companies that impressed me the most. Their design solutions, ideas and the way they showcased their products seem to be more important to me than the sound itself because they point to a better direction. A good sound at the exhibition is a sort of lottery; it depends on so many factors that only some exhibitors can be proud of consistent results, year by year. What I am writing about below will stay with us for a while (or so I hope). Here is my list of the most interesting “events” of the Audio Show 2014. ANCIENT AUDIO | P-3 Ancient Audio presented the P-3 digital acoustic equalizer. This is the future of audio. A “with” and “without” comparison was staggering. Not all the changes were convinving to me but this is only the beginning and I believe that Jarek Waszczyszyn has a powerful tool in his hand that will prove itself in EVERY system. This will have to be verified during the KSS meeting. FONICA | Affordable turntables Fonica is not any more associated only with turntables remembering the old communist Poland but has its new products as well. The “vice” is their high price. You pay for quality, no doubt about it, but there has been a certain shortage of more affordable products in the lineup offered by the manufacturer from Łódź. Not any more – the new additions look pretty and one can hope they sound good as well. JR AUDIO | The Impossible tonearm /turntable A Swedish-Polish enterprise (the Polish designer has been living in Sweden for years) with fabulously looking turntables that boast an equally interesting design. The most interesting is the tonearm with an arm head that always aligns to the grove at the same angle. We know a similar solution from the Thales tonearms. VOICE | Blue Note albums presentations Mr. Milan Weber, head of Voice, apparently knows what’s the most important thing about our business: music. Inviting to the show a Universal representative with Blue Note vinyl remasters was a splendid idea. The 75 years old jazz Mecca is doing fine but its strongest weapon is its extensive album catalogue from the 1950s and 1960s. During the exhibition, selected tracks were played back on a system consisting of a nice-sounding Pro-Ject turntable, electronics from Primare and speakers from Sonus Faber. It was great. Not far from there, in the hall, the Czech company Indies Scope presented their records. Mr. Weber’s friends brought to Warsaw their whole catalog, including LPs. My attention was drawn to Kieslowski band and I bought one of their LPs – its review will soon follow. NOMOS | Vintage audio Vintage audio enjoys a true revival. And not accidentally so. Chasing the new things we have forgotten that the sound once used to be good, too, and that it had a wholly different dimension. Nomos specializes in putting together vintage audio systems. Their room could give you a heart attack – I would be happy to take practically every component from there and put it in my own house! BEST SOUND OF AUDIO SHOW 2014 This year’s exhibition was more diverse than the last one and the one before, at least as far as the sound is concerned. We have witnessed several spectacular failures, bang up jobs and sonic catastrophes. Interestingly, most of them happened to expensive and very expensive systems. Everybody with a pair of ears has probably heard it so there is no need for me to point fingers. I cannot help wondering though, whether the people responsible did not hear it themselves? If not then maybe they are in the wrong field. The failures were monstrous indeed and those responsible have no excuse, I say again: none! This was the worst marketing of the presented products one can imagine./p> The middle of the pack, i.e. systems that were sensible, good or simply just average, were in majority. This is totally acceptable. Considering the conditions in Sobieski and the crowds of visitors it could be not any different. The more so that the mains voltage in the wall sockets dropped to 197 V after all the machines were switched on (down from the nominal 230 V). On the other hand, in Bristol the exhibitors had to fight with constant voltage peaks – most of the time the voltage was 238 V. Some amplifiers were damaged. Such is life and every exhibition has the same problems. Hence, we would like to draw your attention to the systems that surprised us with their sound. Since the “High Fidelity” crew was larger than in previous years, you will also find my friends’ picks. I will point to my favorites first and I will try to shortly support my points. Here we go, in no particular order. PYLON AUDIO SOBIESKI | 518 Speakers: Pylon Audio Sapphire 25 Amplifier: Musical Fidelity (vintage) CD: Lector CDP-7T/mk3 Sapphire 25 speakers cost 3,000 PLZ per pair. If I had to point out the coolest system of the show, i.e. one that gives you most fun, it would be this one, built of several good, inexpensive components among which the cheapest were the speakers. Marcin writes more about it further below, so let me just join in here. The sound was so natural, so open and so unobtrusive that you could spend a really long time in the Pylon’s room. If somebody asked me what could draw more people to our hobby, Pylon with the Sapphire 25 would be my first choice. ETER AUDIO BRISTOL | KIEPURA Turntable: Transrotor Artus Cartridge: ZYX Premium Omega Preamplifier: Ayon Audio Spheris III Amplifier: Ayon Audio Crossfire Evolution Speakers: Avantgarde Acoustic Duo Mezzo Cables: Siltech Double Crown, Acrolink Mexcel Rack: Base Audio system of such calibre should sound just like that at the exhibition. It will sound even better in home environment. No matter what the source, it was a high quality sound in terms of its tonality, dynamics and resolution. The scale was enormous. This was also the room in which we held our open Krakow Sonic Society meetings on Saturday and Sunday. ESA/INTRADA BRISTOL | KOSSAK Turntable: Avid HiFi Volvere Cartridge: EMT TSD15 Preamplifier: Avid Pellere Amplifier: Mastersound Compact 300B Speakers: ESA Credo 1 Illuminator Cables: ESA Acoustic treatment: Nyquist The system, according to Andrzej Zawada, ESA’s owner, was selected in such a way that all the components were of similar price and complemented their sound. It was not a very expensive system (not cheap, either) and yet it had a very nice tonal quality and fluidity. The source was a turntable and even if the statics were a little disturbing (hotel room electrostatics is horrible) the overall impression was very good. Due to sonic fluidity, density and class. LIVING SOUND BRISTOL | TULIP 2 Speakers: Boenicke Audio W8 Power amplifier: Sanders Sound Systems MAGTECH Audio file transport: Computer Audio Design CAD Audio Transport D/A Converter: Computer Audio Design DAC 1543 Power conditioner: PurePower +3000 Cabling: PAD Luminist 25th Anniversary Some of the rooms in the Tulip hotel are very spacious. They are seldom audio friendly. The tiny speakers from Switzerland came as a real surprise to all. They offered a powerful, well controlled sound with great dynamics and no coloration. I know that a man from Boenicke spent all day walking around the room looking for the best speaker placement. He found it. All the system components complemented each other in a way you can rarely find at audio exhibitions. VOICE SOBIESKI | 302 Turntable: Pro-Ject RPM-1.3 Genie CD Player: Pro-Ject CD BOX RS + Pre BOX RS Digital Amplifier: Pro-Ject MaiA Cables: Cardas Speakers: Sonus faber Olimpica 1 Acoustic treatment: EZ Acoustic I could have actually chosen any of the systems prepared by the Cieszyn-based company Voice, because they were all very well put together, thought through and polished. I chose this one, because it’s another system that emphasizes the fact that you don’t have to spend giant sums of money to be able to enjoy beautiful sound. There were two sources in this system – a turntable and a two-piece CD player, which I recently reviewed. That, together with the company’s own amp and Sonus faber speakers, sounded incredible! You could hear a fat beat, great tonality, tangible spaciousness, and a strong ambience. They were all pretty small components, and yet they produced so much MUSIC! ETER AUDIO SOBIESKI | 616 Turntable: Transrotor Silver Shadow Cartridge: ZYX SACD Transport: Accuphase DP-901 Acoustic equalizer/DAC: Accuphase DG-58 Amplifier: Leben CS-1000 Speakers: Spendor SP-100/2R2 Cables: Acrolink According to the opinions of many of the visitors, this system should wear a crown. It sounded unbelievable. I spoke with Philip Swift, the owner of Spendor, about the changes that come with the new version of the SP-100/2R2. Keeping in mind what he said, and then giving his speakers a go, it was impossible not to agree with the fact that improvement is still possible. So long as it’s based on a solid foundation. The system sounded incredibly consistent, dense, and nice. The bass wasn’t boomy while it still had a very deep extension. But I already knew what the DG-58 is capable of – you can find a report from the KSS’s meeting dedicated to this component in the very same “High Fidelity” issue. A signal corrector won’t ever replace a well-built acoustic treatment, let’s not lie to ourselves. But if that isn’t possible – because of a room’s interior design, for example – it will be truly irreplaceable, and what it does will sound truly miraculous. This was a really beautiful presentation, in which Leben and Spendor turned out to be perfect partners, yet again. MOJE AUDIO SOBIESKI | 701 Turntable: The Funk Firm Little Super Deck Amplifier: Trilogy Audio 925 Power conditioner: ISOL-8 HC + ISOL-8 LC Speakers: Trenner & Friedl Pharoah Cables: Harmonix I already know part of this system, as I’ve previously reviewed the speakers, turntable and cables. The ISOL-8 electronics was new to me, though, as well as the amplifier and power conditioner. It turns out that a combination of all the aforementioned parts creates an incredible sound that leaves no space for the unexpected. It seems that all of the components just “clicked” and sounded together very well as a system. The sound was fast, dynamic with a big soundstage depth and no brightening. A great sound. AUDIOTHLON SOBIESKI | 515 Speakers: Equilibrum Ether Ceramique Audio file player: Atoll ST200 Amplifier: Atoll Gamme PR400 + Gamme AM400 Cables: Equilibrum Tune Power supply: ENERR In a room devoid of any kind of acoustic treatment (except roll-ups and everything that was behind them) the sound actually had a great dynamic and a very nice tonality. The bass, loose and wooly in nearly all the other rooms, here was really focused and dense. The ceramic converters have a very specific sound, i.e. their accent falls on the countour, on a rather firm support of the sound. But they are also capable of being beautifully warm and dense. As they were in this case. A marvellous cooperation of Atoll’s top-range lectronics with Polish speakers, cables and power supply. SOUNDDECO/WITOWA SOBIESKI | 515 Speakers: Sounddeco Sigma 4 CD player: Exposure Preamplifier: Art Audio Conductor Amplifier: Wells Audio Innamorata Cables: Albedo Entering the high-end world is a huge challenge for any company that specializes in low-cost speaker systems. But if it’s going to look like Sounddeco and its Sigma 4 speakers, then it’s bound to be a successful path to take. In a room where hardly anything seems to sound very well, in a room that takes a lot of hard work to provide any concrete results, these new, Polish speakers – which cost 33,000 zł – sounded very well, because they were both very dynamic and open, with a good tonality. Their large size helped with creating a very powerful soundstage and great holography. MOJE AUDIO SOBIESKI | 216 CD Player: Reimyo CDT-777 + DAP-777EX Limited Preamplifier: Reimyo CAT-777 Amplifier: Reimyo KAP-777 Powerline stabilizer: Reimyo ALS-777 Speakers: Trenner & Friedl Isis Cables: Harmonix I know all of the products presented in this room, and the Isis speakers were actually featured on the cover of November’s issue of “High Fidelity”. A printed version of this review came with an Audio Show catalog. The system actually played to about 50% of its true capability (I’m comparing it to what I heard at home), but it still trumped all the other systems around it. It was cultured, full, deep, free and – most of all – had an incredible tonality. All of these features caused this system to make pretty much any CD that landed in the Reimyo CD player tray sound great and captivating. AUDIO CENTER POLAND SOBIESKI | ARKADIA IV-V All-in-one system: Naim Muso Expensive top-range stereo systems are the true magnet at any audio show. Even if people can’t actually afford buying one, they get to enjoy looking at it and giving it a listen, as well as getting a better idea of what they like or don’t. I’ve written about Pylon before – they are a great ambassador of our particular audio business. The Muso system from Naim did an equally good job, though. This small all-in-one system sounded so well that people assumed it’s actually a huge system with massive speakers playing. The speakers actually had to be moved aside from each other to make people believe that this sound quality was coming from such a small, pleasant-looking unit. Hats off! AUDIO SYSTEM SOBIESKI | 307 Speakers: Audio Physic Classic 20 ND  Gloss Integrated amplifier: BC Acoustique EX-332D  CD player: BC Acoustique EX-622 The speakers are the most expensive part of this system (just over 11,000 zł). Its electronics cost a little less, overall. But it still sounded great, as confirmed by Marcin from the Krakow Sonic Society. This is the way audio should be promoted: as a hobby open to everyone. LUTZ-PRECISION/„HIGH FIDELITY” SOBIESKI | 507 Reel-to-reel tape players: Stellavox SP9 Turntable: MG-HiFi Headphone amplifiers: Eternal Arts Tube Headphone Amp KHV Professional II – Lutz Version Headphones: Sennheiser HD800, Sennheiser HD700 My own false modesty almost made me omit the room that we prepared ourselves, in cooperation with Lutz-Precision. But I decided not to, after all, especially since we played a very minor part in all of it – “High Fidelity” merely found and imported a guy who knows a whole lot about analog tapes. He records them in his record label and sells the first copies of master tapes, including those made by other companies. I have a deep conviction about the fact that any person who’d give at least a little bit of their time to listen to a copy of a 1st generation master tape, played back on the Stellavox tape player, would experience somewhat of an “enlightenment”. This is what a real source sounds like! And if we’re talking about “High Fidelity’s” room, let me mention something that you might find interesting. This year, our magazine organized three events: Hans Theesink’s concert, shows prepared by the KSS, as well as the master tape presentation I’m currently writing about. Please take a look at the reviews found in other audio magazines, whatever they may be, and check if they’ve written anything about them. If not – cool, selectiveness is a writing strategy, after all, especially when it comes to reports and reviews. But if they mention any of the three without mentioning “High Fidelity”, we’re dealing with some auto-censorship. I never do this myself, because pointing out the inability, weakness or even ignorance of your competition isn’t something people with good taste do. But this time I don’t have to point any fingers, since the readers can verify other’s journalistic diligence themselves. Please believe me: if anyone uses auto-censorship in this particular case, they are 100% likely to do it in other cases. MARCIN BOBULA Kraków Sonic Society I planned to go to the Audio Show in 2013, but an immense amount of other events took over and the planning stage was as far as I got. That’s why I decided to get my act together this year and actually attend it, come hell or high water. Especially since a few of my mates had confirmed that they would be attending the show. We planned a train trip together, although all of us booked our tickets independently. At the train station in Kraków it turned out that not only did we all have tickets for the same train, but all of us had seats in the same carriage. As if that wasn’t enough, all of us were coming back home in the same train and in the same carriage, again. I thought that a coincidence spree like this called for buying a lottery ticket; I was bound to win. The 18th edition of the Audio Show was also my first, so I attended it without any major prior expectations. I didn’t really know what this event looks like nor what I should be expecting, so I was open to everything. I began my tour with the Sobieski Hotel. After visiting a dozen rooms or so I felt somewhat of a bad aftertaste. Most of the presentations sounded average, to say the most. I was sure that all the exhibitors would sell their souls for their room to sound like a reference room. Instead, I had the feeling that all the components playing there had been put together at random. For example, if you’re presenting a particular speaker model, you have to – whether you like it or not – hook it up to “some sorta source”, “some sorta amp”, and then put it all together somehow. But if high-end audio is your job, you know full well which direction to follow if the final configuration doesn’t sound very well. You change one of the components and search for improvements until the system “clicks” with what you want to present – like the said speakers. Room’s acoustics are a whole different story – sure, they’re generally bad in any hotel, but there are ways to remedy this. I visited subsequent rooms in which I found more and more big fat “boxes” that cost big fat money, components that I knew can sound beautiful, elicit powerful emotions, even move people’s whole souls – and yet there they were and all they did was to make sound. It resembled retail stores rather than presentations of top-range audio systems. Fortunately, I was able to find rooms in which the music truly was the most important factor. It was the one thing that really grasped your attention for long enough for you to want to approach the front end and check which manufacturer and company were behind it. I think that’s what every exhibitor should strive for. I’d like to name a few rooms that elicited this sort of response from me. First of all, there was the ground-floor presentation of a Pro-Ject turntable with Sonus faber speakers. On the 7th floor there was a room with the brilliant Albedo speakers which were paired with electronics from Lumin. I also noted the BC Acoustique system, on the second floor, even though it was far cheaper than the two systems mentioned earlier. However, the biggest surprise to me, in terms of sound quality, was the Pylon Audio system. The company showcased its Sapphire 25 floor speakers. They sounded simply wonderful. This was even more surprising given that a pair of these Polish flagship speakers costs $1000. In the high-end world this is a sum of money that might get you some stands or cables, and mid-range ones at best. Each time I left this room I had to keep my jaw from dropping with one hand – otherwise it would drag along the floor and obstruct the way for other visitors. And I wouldn’t want to be rude like that. A guaranteed award-winner: Pylon Audio Sapphire 25 speakers with a two-piece Musical Fidelity amplifier and a CD player from an Italian company, Lector. After visiting the Sobieski, I made my way (by a dedicated coach, courtesy of the Audio Show organizers) to the Bristol Hotel. Exposition conditions are much better in the Bristol than they are in the Sobieski (bigger rooms and a more spacious hall), which is why the quality of auditions was better. The difference was really noticeable and this is probably what the entire show should look like. I left the Golden Tulip for last. And yet again, I was very pleasantly surprised. It has beautiful, spacious rooms in which the systems could really be presented to their best capabilities in the best acoustic and visual conditions that could be mustered. The only issue were the thin walls in between the rooms, which resulted in me hearing what people were listening to in the next room. But ideal conditions can only be achieved in a studio or in the comfort of your own home, so I just had to suck it up. It’s no wonder that it was in the Tulip that I found the best-sounding system of the Audio Show 2014 – in my personal opinion. It was Grobel Audio’s room. The sound from the tape was simply incredible, although the black disc didn’t sound much worse. As usual, Grobel Audio’s room offered calmness and class. The sources included the Revox PR99 tape player. The signal was amplified by the Jadis I-50, which uses KT150 tubes, and the sound came from the Franco Serblin Accordo speakers. I finished my first visit at the Audio Show with Hans Theessink’s concert. He played a simply jaw-dropping gig and I truly regretted having to leave during the short break, after the first hour. Concerts like this are the real “cherry on top” of the whole show, they really fasten their last button. They cause the whole day to be complete and make you wonder what you’ll be surprised by next year. BARTOSZ PACUŁA „Music To The People” www.musictothepeople.pl There is a separate long version of my own report from the 2014 Audio Show (which will appear in the December issue of “High Fidelity”), but I will place a condensed summary of all the things that made the biggest impression on me here. Namely, the rooms prepared by three particular companies. First of all – Moje Audio. As they tend to do every year, the Wrocław-based company “went wild” and invested in renting out four rooms. And it was totally worth it: each of the rooms occupied by this particular company hosted systems with a remarkable sound (the amazing Aptika speakers + Lumin as well as the reference Isis with Reimyo’s electronics), attention to detail (very well used acoustic room treatment) as well as being, frankly, pleasing to the eye. Honey to our ears: Trenner&Friedl Isis speakers with Reimyo electronics and Harmonix cables. Another great presentation was made by Eter Audio, a Kraków-based company. They had one room in the Sobieski and one room in Bristol, and both of them presented a completely different – but praise-worthy in both cases – sound aesthetic. In the Sobieski, Accuphase was the king, together with the beautiful vintage speakers from Spendor (enriched by the presence of the company’s owner, a remarkably pleasant man), while the Bristol hosted Gerhard Hirt and Ayon products (with the Spheris III line preamplifier leading the whole parade, in my opinion), as well as Transrotor (namely, their Artus turntable which costs over half a million zlotys). It was nice, musical, and simply enjoyable. Last, but not least, we have a company that made a special impression on my memory – the Polish speaker manufacturer, Pylon Audio. After listening to their Pearl 25 speakers, I knew that I was dealing with a very promising company – they sounded amazing and didn’t cost the equivalent of a small hosuehold, which made me decide to follow the company’s latest releases. And let me just say it out right – it was totally worth it at the Audio Show. Their products (the aforementioned Pearl 25 and Sapphire 25) literally divided and conquered all the other products, showing a stylish, classy, and heart-grasping sound. Apparently, Pylon is meant to manufacture their own converters in the near future. After what the lads have presented in Warsaw, I can hardly wait to see what they’ll come up with. „HIGH FIDELITY” ON AUDIO SHOW 2014 We celebrated “High Fidelity’s” 10th anniversary with our readers. The Audio Show, where many of them were planning to make an appearance, seemed like the perfect occasion to do it. As we’ve mentioned before, there were three events planned: Hans Theessink’s concert, a comparison of the analog tape, LP and audio file, as well as the chance to listen to 1st generation copies of analog tapes on Stellavox tape players. I don’t believe I’ll be wrong if I say that you thoroughly enjoyed what we prepared for you. All of the aforementioned events were very popular, and the tickets to Theessink’s concert disappeared quicker than those for Jack White’s concert (which the whole “High Fidelity” crew attended soon after the show, at Stara Zajezdnia in Kraków, on 12.11.2014, at 10.30 PM). Hans played the guitar, sang, as well as played the harmonica with a mic connected to the same amp as his guitar. The concert was marvellous. Hans is a real bluesman and on the first day he played for as long as he was inspired to do so, meaning two and a half hours, including a break. He surprised everyone with this, and when he asked for a short break after the first hour (during which he signed albums and tapes), part of the audience left. As it turns out, many people expected a short concert, like the one given by Antonio Forcione two years ago, and they had planned something else for the rest of their evening, unaware of the sheer scale of the concert (time-wise). But the vast majority had a brilliant time, singing along with the artist, clapping until their arms hurt, and shouting along. Before the Sunday concert I had a conversation with Hans and he told me that he was delighted by the audience’s reception and planned an even longer set for Sunday. We were unfortunately forced to ask him to cut his setlist short, due to the entire Audio Show ending. Saddened by this, he asked to give all the “High Fidelity” readers a special shout-out and thank them all for a very warm welcome. And if we’re talking about this – it turns out that he’s a true audiophile, familiar with many audio brands, systems, and the entire terminology. What’s more, he has already read the review of his album which was published in the November’s editorial, even though it was only released in Polish at the time. www.theessink.com The Krakow Sonic Society on tour brought an equal amount of smiles to people’s faces. The Nagra IV-S was operated by Mr. and Mrs. Dirk and Birgit Sommer, with Dirk also having a go at being DJ, playing back the LPs, which contained the very same material as the tapes, on the Transrotor Artus turntable that cost (including the cartridge and phono stage) over 600,000 zł. Audio files were presented by Gerhard Hirt, the owner of Ayon Audio and manufacturer of all the other electronics. The four musketeers in Nautilus’s room, right before the first KSS show: (from the right) Gerhard Hirt/Ayon Audio, Jochen Räke/Transrotor, Wojciech Pacuła/“High Fidelity” and Dirk Sommer/Sommelier Du Son/hifistatement.net. Comparing tapes and LPs resulted in an almost unanimous opinion: almost everybody believed the tape to be the superior medium. Most mentioned a lightness, smoothness, freedom and general naturality of sound. The LP’s sound seemed to be more “artificial” or “manufactured”, not quite as light and resolving, and a bit veiled. Despite that, all the listerners agreed that the LP sounded amazing. I have to admit that my heart supported those who favoured the LPs, especially their superior vividness, i.e. a better tangibility of all the instruments on this medium. Comparing the LPs to audio files was a mirror reflection of the previous comparison, except the “supreme” medium turned out to be the LP, in this case. But here, too, people pointed out certain superior qualities of the file sound, which were lacking on the analog discs. The most important differences included bigger dynamics, lower noise level, and less veiling. The sound was clearer, but also more contoured. It also lacked the analog tape’s “charm.” Another very interesting comparison was that of the same track, converted from a master tape into two different file types: the PCM 24/192 and DSD. The participants took an A/B/A blind test and pointed out the sound that they preferred. As far as I remember (and if I’m wrong, I do apologize!) majority chose the “B” sample, which turned out to be the DSD file. The latter seemed more natural and reminiscent of the analog tape’s sound. The room that “High Fidelity” prepared together with Lutz-Precision/Analog Arts, the sponsors of Hans Theessink’s arrival in Poland. There are Stellavox SP9 tape players and an MG-HiFi turntable on the table. And, finally, highfidelity.pl’s room, in which Lutz-Precision/Analog Arts, the sponsor of Hans Theessink’s concert, enabled the visitors to audition master tapes. The source was two Stellavox SP9 tape players, as well as a turntable manufactured by the German company MG-Hifi. They were available for free auditions using Sennheiser HD700 and HD800 headphones, driven by the Eternal Arts Tube Headphone Amp. The version presented at the show was modified and was named the KHV Professional II – Lutz Version. Sommelier Du Son hifistatement.net Analog Arts ENDING (BLANK) It’s obvious now that the Audio Show has become the centre of attention of the European audiophiles and audio press. Now all that’s left to do is improve whatever can be improved, as well as keep up what is already great. This is why I initially wanted to write a mini-guide for any beginner exhibitor to setting up their own exposition, which would help them make it through an event like this. I also wanted to point out the most common mistakes made by exhibitors as well as answer some frequently asked questions. But that would require me to divide this report into even more parts, which is something I didn’t want to do. But all you really have to do is take a look at the best rooms and the more popular systems of the companies which achieve highest popularity and have a full room of an audience, year after year – because their audio gear sounds GREAT. It doesn’t take many brains to notice that most of the rooms which have been rewarded had some sort of acoustic treatment, be it passive or active. If there weren’t many acoustic treatment accessories, the company usually tinkered around with the speaker positioning. It’s also useful having a sense of constructive self-critique, which many lacked. These expositioners would stand there, proud of themselves, while their speakers produced some uncorrelated noise that pretended to be music. But I promised to leave out any tips and advice. The Audio Show 2014 is in the past, now, after all. Yet another record has been set, and another batch of great experiences has been lived. Below, in the gallery (over 100 pictures!), you will find a rollercoaster ride through all the AS’s rooms. The photo order follows the order in which I toured through the Audio Show. I wasn’t able to get to all the rooms, and I didn’t find all the rooms worth documenting. But it’s worth checking out what I did have enough time to see. I’d like to warmly thank all of the people who contributed to making the Audio Show the amazing exposition that it was. I also send my greatest regards to all of those who contributed to the success of the events and panels organized by “High Fidelity”. And most of all, I’d like to thank all of you who have been reading this magazine, every month. There are another exciting 10 years ahead of us! Post Scriptum This is the first part of my report from the exposition. On December 1st you’ll be able to read the next part, written by Bartosz Pacuła, the editor-in-chief of “Music To The People”. It will also contain a short piece written by our translator, Andrzej Dziadowiec, as well as Marek Dyba’s report from the closed displays prepared by FM Acoustic and Audio Tekne. [hfgallery] [img mini="foto_testy/1411/as2014/th/1.jpg" big="foto_testy/1411/as2014/1.jpg" src="foto_testy/1411/as2014/1.jpg" desc="The system presented by the Łódź-based company Audiofast: Wilson Audio Sasha 2 speakers, Dan d’Agostino Integrated amplifier, and the Vivaldi front end system from dCS (sans up-sampler). The voltage was filtered through Synergistic Research’s Galileo LE PowerCell."] [img mini="foto_testy/1411/as2014/th/6.jpg" big="foto_testy/1411/as2014/6.jpg" src="foto_testy/1411/as2014/6.jpg" desc="Our friend and member of the Krakow Sonic Society, dCS’s marketing manager, Raveen Bava."] [img mini="foto_testy/1411/as2014/th/10.jpg" big="foto_testy/1411/as2014/10.jpg" src="foto_testy/1411/as2014/10.jpg" desc="A system in which a Zontek turntable and Linnart electronics play the main part. The turntable is equipped with two arms and cartridges: the Ortofon Windfeld and Lyra Dorian. The phono preamplifier: Pre Phono Linnart P1. Preamp and monoblocks from Carry Audio, the Harbeth Super HL5 Plus speakers, and Sound Box acoustic treatment accessories."] [img mini="foto_testy/1411/as2014/th/12.jpg" big="foto_testy/1411/as2014/12.jpg" src="foto_testy/1411/as2014/12.jpg" desc="The Pre Phono Linnart P1 phono preamplifier next to the same company’s SP-01 line amplifier. "] [img mini="foto_testy/1411/as2014/th/23.jpg" big="foto_testy/1411/as2014/23.jpg" src="foto_testy/1411/as2014/23.jpg" desc="The system in ESA and Intrada room: the Avid HiFi Volvere turntable with the EMT TSD15 cartridge, the Avid Pellere preamplifier, the Mastersound Compact 300B amplifier, the ESA Credo 1 Illuminator speakers, and acoustic room treatment from Nyquist."] [img mini="foto_testy/1411/as2014/th/33.jpg" big="foto_testy/1411/as2014/33.jpg" src="foto_testy/1411/as2014/33.jpg" desc="A beautiful system: the Mark Levinson No.585 integrated amplifier/DAC, the Mark Levinson No.512 SACD player, and the JBL K2 S9900 speakers. Cabling from Cardas, rack from ROGOZ."] [img mini="foto_testy/1411/as2014/th/41.jpg" big="foto_testy/1411/as2014/41.jpg" src="foto_testy/1411/as2014/41.jpg" desc="A DSP chip, the heart of the P-3 processor from Ancient Audio."] [img mini="foto_testy/1411/as2014/th/43.jpg" big="foto_testy/1411/as2014/43.jpg" src="foto_testy/1411/as2014/43.jpg" desc="Jarek Waszczyszyn next to Ancient Audio’s new component: the P-3 processor. It’s a signal corrector, DAC and preamplifier in one."] [img mini="foto_testy/1411/as2014/th/55.jpg" big="foto_testy/1411/as2014/55.jpg" src="foto_testy/1411/as2014/55.jpg" desc="Hi-Fi Club system, with the massive Avior speakers from Rockport Technologies. Weight: 100 kg."] [img mini="foto_testy/1411/as2014/th/69.jpg" big="foto_testy/1411/as2014/69.jpg" src="foto_testy/1411/as2014/69.jpg" desc="The Nagra IV-S with a special add-on that allows you to play back wide diameter tapes. It changes the tape player from a single-motor to triple-motor unit."] [img mini="foto_testy/1411/as2014/th/70.jpg" big="foto_testy/1411/as2014/70.jpg" src="foto_testy/1411/as2014/70.jpg" desc="The second sound source during the KSS’s show: the Transrotor Artus turntable with the ZYX Omega Premium cartridge. "] [img mini="foto_testy/1411/as2014/th/86.jpg" big="foto_testy/1411/as2014/86.jpg" src="foto_testy/1411/as2014/86.jpg" desc="Mr. Jochen Räke with our translator, Andrzej Dziadowiec."] [img mini="foto_testy/1411/as2014/th/91.jpg" big="foto_testy/1411/as2014/91.jpg" src="foto_testy/1411/as2014/91.jpg" desc="A source change – moving on from the LP (Dirk Sommer, in the middle) to the S-5 Ayon Audio file player – Gerhard (on the right side)."] [img mini="foto_testy/1411/as2014/th/95.jpg" big="foto_testy/1411/as2014/95.jpg" src="foto_testy/1411/as2014/95.jpg" desc="Jochen Räke/Transrotor in the middle, Robert Szklarz/Nautilus on the right, Andrzej Dziadowiec/“High Fidelity” on the left."] [img mini="foto_testy/1411/as2014/th/97.jpg" big="foto_testy/1411/as2014/97.jpg" src="foto_testy/1411/as2014/97.jpg" desc="Dirk Sommer talking about LP pressing technology."] [img mini="foto_testy/1411/as2014/th/98.jpg" big="foto_testy/1411/as2014/98.jpg" src="foto_testy/1411/as2014/98.jpg" desc="The system we used for all comparisons: the Transrotor Artus turntable, ZYX Premium Omega cartridge, Ayon Audio’s Spheris III preamplifier, Ayon Audio’s Crossfire Evolution amp, Avantgarde Acoustic Duo Mezzo speakers, Siltech Double Crown cables, Base rack."] [img mini="foto_testy/1411/as2014/th/101.jpg" big="foto_testy/1411/as2014/101.jpg" src="foto_testy/1411/as2014/101.jpg" desc="After the first demonstration… "] [img mini="foto_testy/1411/as2014/th/105.jpg" big="foto_testy/1411/as2014/105.jpg" src="foto_testy/1411/as2014/105.jpg" desc="The tickets to KSS’s show disappeared in a matter of seconds. "] [img mini="foto_testy/1411/as2014/th/106.jpg" big="foto_testy/1411/as2014/106.jpg" src="foto_testy/1411/as2014/106.jpg" desc="Naim Label stands for both fantastic sound and very interesting music – on CDs, LPs, and files, too. During the AS2014 they had physical formats on sale. "] [img mini="foto_testy/1411/as2014/th/109.jpg" big="foto_testy/1411/as2014/109.jpg" src="foto_testy/1411/as2014/109.jpg" desc="The brilliant, new Sounddeco Sigma 4 speakers, with a 4 Ω impedance, with SB Acoustics drivers: the Satori MW 16P woofer and Satori TW 29 tweeter. CD players are from Exposure and AVM. The Wells Audio Innamorata amplifier and the Art Audio Conductor preamplifier. "] [img mini="foto_testy/1411/as2014/th/114.jpg" big="foto_testy/1411/as2014/114.jpg" src="foto_testy/1411/as2014/114.jpg" desc="A new Asus converter, the EONE Muse MkII, with Ultrasone headphones."] [img mini="foto_testy/1411/as2014/th/120.jpg" big="foto_testy/1411/as2014/120.jpg" src="foto_testy/1411/as2014/120.jpg" desc="A system made up of solely new devices: the Arcam CDS27 file and SACD player in one, the Arcam C49 preamplifier, and the P49 power amplifier. Speakers: the Monitor Audio PL200."] [img mini="foto_testy/1411/as2014/th/121.jpg" big="foto_testy/1411/as2014/121.jpg" src="foto_testy/1411/as2014/121.jpg" desc="This could be a big hit: Arcam’s first-ever file and SACD player in one, the FMJ CDS27."] [img mini="foto_testy/1411/as2014/th/124.jpg" big="foto_testy/1411/as2014/124.jpg" src="foto_testy/1411/as2014/124.jpg" desc="This was an amazing demonstration: the Naim Muso all-in-one system, which sounded like a standalone, big system. People demanded to see the back of the speakers because they couldn’t believe their own ears. "] [img mini="foto_testy/1411/as2014/th/125.jpg" big="foto_testy/1411/as2014/125.jpg" src="foto_testy/1411/as2014/125.jpg" desc="One of the most expensive, if not the single most expensive system at the show: the Focal Utopia Scala V2 speakers with the Soulution 701 monoblocks and Soulution 725 preamplifier. The monoblocks stood atop custom-made Franc Audio Accessories isolation boards."] [img mini="foto_testy/1411/as2014/th/135.jpg" big="foto_testy/1411/as2014/135.jpg" src="foto_testy/1411/as2014/135.jpg" desc="The Czech-based Indies Production label – some really interesting music here, I’ll definitely have to investigate further."] [img mini="foto_testy/1411/as2014/th/143.jpg" big="foto_testy/1411/as2014/143.jpg" src="foto_testy/1411/as2014/143.jpg" desc="The Sound Project Model1, a headphone amplifier with regulated load impedance and transformer output. The VU-meters’ backlight color can be changed via remote control. "] [img mini="foto_testy/1411/as2014/th/144.jpg" big="foto_testy/1411/as2014/144.jpg" src="foto_testy/1411/as2014/144.jpg" desc=" To me, this is one of the most important comebacks on the Polish market: after many years, Artur Mierzwiak is back with his company, Sound Project. Pictured is his Sound Project Model1 headphone amplifier, the Audeze LCD2 headphones, the Exposure 1010 CD player, and Sound Project Special cables. Artur is standing on the right side, behind the Graham Audio speakers. "] [img mini="foto_testy/1411/as2014/th/146.jpg" big="foto_testy/1411/as2014/146.jpg" src="foto_testy/1411/as2014/146.jpg" desc="The return of Technics, with two product lines: the Reference R1 and the C700. The former includes the SE-1 amp, SU-R1 file player and SB-S1 speakers. "] [img mini="foto_testy/1411/as2014/th/148.jpg" big="foto_testy/1411/as2014/148.jpg" src="foto_testy/1411/as2014/148.jpg" desc="The SE-R1 amp with its characteristic VU meters. Technics introduced them for the very first time in 1977, in the SE-A1 amp. The SE-R1 has a built-in D/A converter. "] [img mini="foto_testy/1411/as2014/th/158.jpg" big="foto_testy/1411/as2014/158.jpg" src="foto_testy/1411/as2014/158.jpg" desc="Audio System prepared a really cool system, which included: the Audio Physic Cardeas Plus speakers, Van Den Hul electronics and cables, the Acoustic Signature Thunder turntable, the Van Den Hul Crimson cartridge, and the Finite Elemente Pagode Edition rack & isolation boards. "] [img mini="foto_testy/1411/as2014/th/164.jpg" big="foto_testy/1411/as2014/164.jpg" src="foto_testy/1411/as2014/164.jpg" desc="The Sveda Audio Dapo active speakers with Wombat subwoofers. The signal from the computer was processed by the Mytek Manhattan DAC. The system also included HIS mass conditioners made by the Polish company Paanaudio. "] [img mini="foto_testy/1411/as2014/th/179.jpg" big="foto_testy/1411/as2014/179.jpg" src="foto_testy/1411/as2014/179.jpg" desc="The Boenicke Audio W8 are small speakers with an incredible sound. The system, prepared by Living Sound, also included: the Sanders Sound Systems MAGTECH power amp, the CAD file transport, the CAD 1543 converter, the PurePower +3000 conditioner, and PAD Luminist 25th Anniversary cables. "] [img mini="foto_testy/1411/as2014/th/181.jpg" big="foto_testy/1411/as2014/181.jpg" src="foto_testy/1411/as2014/181.jpg" desc="The Sanders Sound Systems Magtech power amplifier was designed to drive Magnepan speakers, which are a very difficult load. But it turned out to be beneficial to the Boenicke speakers, too. "] [img mini="foto_testy/1411/as2014/th/188.jpg" big="foto_testy/1411/as2014/188.jpg" src="foto_testy/1411/as2014/188.jpg" desc="This wonder has already arrived at my place and is waiting to be auditioned. Demonstrated for the very first time at the High End 2014 show in Munich, you could also give it a listen in Warsaw. And it was definitely worth it! It’s a tube amp on EL84 tubes, with a tube preamplifier and D/A converter, headphone amp and phono stage, which accepts pretty much every DSD, DXD and PCM format that exits at the moment. Add small stand mount speakers to the mix, based on the legendary BBC LS3/5 monitors. Everything is housed in a bamboo enclosure; a member of the grass family which is several times harder than wood."] [img mini="foto_testy/1411/as2014/th/189.jpg" big="foto_testy/1411/as2014/189.jpg" src="foto_testy/1411/as2014/189.jpg" desc="Zeta Studio presented some remarkable-looking speakers this year, the Zeta Zero, as well as a new model – temporarily called the Zeta Zero “Orbital”, which resembled a caged Ninja warrior, rocket, or Muslim woman. "] [img mini="foto_testy/1411/as2014/th/190.jpg" big="foto_testy/1411/as2014/190.jpg" src="foto_testy/1411/as2014/190.jpg" desc="The Wilson Audio Alexia were driven by the latest Audio Research Galileo GS150 two-piece amplifier, with the Aurender W20 server as a digital source, the MSB Select DAC and the MSB Signature Data CD player."] [img mini="foto_testy/1411/as2014/th/193.jpg" big="foto_testy/1411/as2014/193.jpg" src="foto_testy/1411/as2014/193.jpg" desc="The Audio Research Galileo GS150 is a prime example of how to combine the retro style of the 1950s with a modern approach to tube technology. The large VU-meters are definitely attention-grabbing. "] [img mini="foto_testy/1411/as2014/th/195.jpg" big="foto_testy/1411/as2014/195.jpg" src="foto_testy/1411/as2014/195.jpg" desc="A complete system from the Japanese company Robert Koda: the K-15 preamplifier (on top) and the hybrid, three-piece K-70 Gen II power amplifier. It’s beautiful, truly beautiful! "] [img mini="foto_testy/1411/as2014/th/196.jpg" big="foto_testy/1411/as2014/196.jpg" src="foto_testy/1411/as2014/196.jpg" desc="I wanted to show SoundClub’s room in its entirety to turn your attention to the sheer amount of hard work they put into preparing it. The Acoustic Manufacture acoustic panels placed on three sides of the room, as well as a limited number of seats because of it, translated into a wonderfully refined sound. "] [img mini="foto_testy/1411/as2014/th/204.jpg" big="foto_testy/1411/as2014/204.jpg" src="foto_testy/1411/as2014/204.jpg" desc="The base of SoundClub’s system were these Marten Coltrane 2 speakers with ceramic woofers, and midrange drivers, and a diamond dome tweeter. To the side you can see one of the Tenor Audio 350M monoblocks, driven by the Line1 preamplifier (also from Tenor Audio). The monoblock was seated on a custom-made board from Franc Audio Accessories."] [img mini="foto_testy/1411/as2014/th/206.jpg" big="foto_testy/1411/as2014/206.jpg" src="foto_testy/1411/as2014/206.jpg" desc="SoundClub’s system also included power cords and power strip from KLB Sound. The rest of the cables were supplied by Jorma."] [img mini="foto_testy/1411/as2014/th/207.jpg" big="foto_testy/1411/as2014/207.jpg" src="foto_testy/1411/as2014/207.jpg" desc="GrajPudła changed their name to “Holophony.” They are still based on old, paper cone drivers, often half a century old. The speakers in this Polish room were driven by the Audio Akustyka Primus amp. "] [img mini="foto_testy/1411/as2014/th/226.jpg" big="foto_testy/1411/as2014/226.jpg" src="foto_testy/1411/as2014/226.jpg" desc="Hans Theessink’s concert is about to start – I’m just welcoming everybody here, in the spirit of “High Fidelity’s” 10th birthday. "] [img mini="foto_testy/1411/as2014/th/233.jpg" big="foto_testy/1411/as2014/233.jpg" src="foto_testy/1411/as2014/233.jpg" desc="The first track of the evening, and the first guitar. "] [img mini="foto_testy/1411/as2014/th/257.jpg" big="foto_testy/1411/as2014/257.jpg" src="foto_testy/1411/as2014/257.jpg" desc="The guitar and harmonica were connected to a tube amp. The signal was picked by a large-membrane AKG 414 microphone. Another one of these microphones was pointed at the guitar’s box. Only then did the signal get to the mixing table. Many thanks for the WONDERFUL mixing! "] [img mini="foto_testy/1411/as2014/th/270.jpg" big="foto_testy/1411/as2014/270.jpg" src="foto_testy/1411/as2014/270.jpg" desc="Thank you, too!"] [img mini="foto_testy/1411/as2014/th/272.jpg" big="foto_testy/1411/as2014/272.jpg" src="foto_testy/1411/as2014/272.jpg" desc="The Albedo Aptica speakers with the Crayon Audio CFA1.2 amplifier and the ISOL-8 Integra power conditioner. The source is the Lumin S1 file player. The rack is from Solid Tech."] [img mini="foto_testy/1411/as2014/th/276.jpg" big="foto_testy/1411/as2014/276.jpg" src="foto_testy/1411/as2014/276.jpg" desc="New stuff from Hong Kong: the Wow Audio L1/M1 two-piece amplifier. Simply marvelous workmanship. "] [img mini="foto_testy/1411/as2014/th/278.jpg" big="foto_testy/1411/as2014/278.jpg" src="foto_testy/1411/as2014/278.jpg" desc="The Trilogy 925 amp – the newest of the new – the first unit to ever be manufactured. A PIN had to be inputted to get it to start."] [img mini="foto_testy/1411/as2014/th/283.jpg" big="foto_testy/1411/as2014/283.jpg" src="foto_testy/1411/as2014/283.jpg" desc="One of the systems that got an award from us: the Trenner&Friedl Pharoah speakers, the Trilogy 925 integrated amp, the ISOL-8 SubStation HC conditioners for the integrated and ISOL-8 SubStation LC for the rest of the components. The ISOL-8 Reference power cables. The Trilogy 907 turntable preamplifier, The Funk Firm Little Super Deck turntable with The Funk Firm FX and Achromat arms, and the ZYX R 100 cartridge. The Tellurium Q Black Diamond signal and speaker cables."] [img mini="foto_testy/1411/as2014/th/290.jpg" big="foto_testy/1411/as2014/290.jpg" src="foto_testy/1411/as2014/290.jpg" desc="Premium Sound presented a very refined system, which included: the Lumin T1 file player from the D1 server, the Audia Flight Three integrated amp, the Audia Flight Three CD player, the Audiobyte Black Dragon DSD converter and the AudioSolutions Rhapsody 80 speakers, alternately with the AudioSolutions Guimbarde. Additionally: the ISOL-8 Axis conditioner and XLR Tellurium Black Diamond interconnect. "] [img mini="foto_testy/1411/as2014/th/291.jpg" big="foto_testy/1411/as2014/291.jpg" src="foto_testy/1411/as2014/291.jpg" desc="The Lumin T1 (seated on Acoustic Solid support platforms) atop the Hegel H160 amplifier, which could be heard on Saturday, past 3 PM. "] [img mini="foto_testy/1411/as2014/th/293.jpg" big="foto_testy/1411/as2014/293.jpg" src="foto_testy/1411/as2014/293.jpg" desc="The Pełne Brzmienie room, no. 707, was dominated by the Systemdek 3D Precision turntable + Audio Origami PU-7 12" arm + Transfiguration AXIA cartridge."] [img mini="foto_testy/1411/as2014/th/295.jpg" big="foto_testy/1411/as2014/295.jpg" src="foto_testy/1411/as2014/295.jpg" desc="Under the turntable itself you can see the Triode TRV-EQ3SE turntable preamplifier, and right next to it: the Art Audio Argento integrated amp that uses EML 300B XLS tubes. The speakers were the ART Loudspeakers Alnico 8."] [img mini="foto_testy/1411/as2014/th/297.jpg" big="foto_testy/1411/as2014/297.jpg" src="foto_testy/1411/as2014/297.jpg" desc="The number of events this year was incredibly high, it was very difficult to attend all of them. "] [img mini="foto_testy/1411/as2014/th/300.jpg" big="foto_testy/1411/as2014/300.jpg" src="foto_testy/1411/as2014/300.jpg" desc="A collection of Polish headphone amplifiers, including the Citrone and SWS Audio."] [img mini="foto_testy/1411/as2014/th/303.jpg" big="foto_testy/1411/as2014/303.jpg" src="foto_testy/1411/as2014/303.jpg" desc="This time Szemis Audio decided to make a system “for the people”, i.e. something that doesn’t cost the equivalent of a small space shuttle. The system includes the Helius Alexia turntable with the Helius Omega arm and the Audio Note MM cartridge. A new, inexpensive Masterclass power amp from Sugden, operating in class A, and old concentric speakers (without crossover) from the 1950s, made by Goodmans, with Furuyama tweeters. The cabinet was made by a private carpenter, Mr. Zdzisiek. "] [img mini="foto_testy/1411/as2014/th/306.jpg" big="foto_testy/1411/as2014/306.jpg" src="foto_testy/1411/as2014/306.jpg" desc="Artech has been manufacturing both network cables and network panels for years. "] [img mini="foto_testy/1411/as2014/th/308.jpg" big="foto_testy/1411/as2014/308.jpg" src="foto_testy/1411/as2014/308.jpg" desc="MJ Audio Lab’s well-prepared room, with Acoustic panels. There were three systems set up within, with (from right to left) the PMC Twenty.26, Bryston Mini-A, and PMC Twenty.21 speakers. The systems used Bryston electronics. "] [img mini="foto_testy/1411/as2014/th/312.jpg" big="foto_testy/1411/as2014/312.jpg" src="foto_testy/1411/as2014/312.jpg" desc="Fonica’s latest new product: an inexpensive turntable. It’s not certain how much it will cost nor what it will be called. It is equipped with the F-02, mk3 arm. "] [img mini="foto_testy/1411/as2014/th/316.jpg" big="foto_testy/1411/as2014/316.jpg" src="foto_testy/1411/as2014/316.jpg" desc="The F-02 arm, in mk3 version, in its transport box. Its components are either anodized or plated with gold."] [img mini="foto_testy/1411/as2014/th/330.jpg" big="foto_testy/1411/as2014/330.jpg" src="foto_testy/1411/as2014/330.jpg" desc="Mr. Philip Swift, the owner of Spendor, tells me about the differences introduced in the new version of his flagship speakers from the Classic series. "] [img mini="foto_testy/1411/as2014/th/333.jpg" big="foto_testy/1411/as2014/333.jpg" src="foto_testy/1411/as2014/333.jpg" desc="An award-winning system, with the Accuphase DP-901 transport and DP-58 acoustics corrector; the Leben CS-1000 amp and the Spendor SP-100R2 Vintage Edition speakers."] [img mini="foto_testy/1411/as2014/th/338.jpg" big="foto_testy/1411/as2014/338.jpg" src="foto_testy/1411/as2014/338.jpg" desc="JAG’s system – this time they presented amps with classic, metal fronts, as well as tube-based file players. "] [img mini="foto_testy/1411/as2014/th/339.jpg" big="foto_testy/1411/as2014/339.jpg" src="foto_testy/1411/as2014/339.jpg" desc="This is one of the most beautiful presentations, with a brilliant message: listen to the music! As part of the 75th anniversary of Blue Note, Voice – in cooperation with Universal – prepared a playback of this label’s vinyl remasters. The system included: the Sonus faber Olimpica III speakers, the PRE60 Primare preamplifier/file player, and the A60 Primare power amp. The turntable is the Pro-Ject Xtension9 with the Ortofon Quintet Black cartridge. And that’s what I like to hear! "] [img mini="foto_testy/1411/as2014/th/343.jpg" big="foto_testy/1411/as2014/343.jpg" src="foto_testy/1411/as2014/343.jpg" desc="The three musketeers: Gerhard Hirt/Ayon Audio, Dirk Sommer/Sommelier Du Son and Wojciech Pacuła/„High Fidelity”."] [img mini="foto_testy/1411/as2014/th/352.jpg" big="foto_testy/1411/as2014/352.jpg" src="foto_testy/1411/as2014/352.jpg" desc="The second day of KSS’s shows; we could not manage to fit in more people. "] [img mini="foto_testy/1411/as2014/th/363.jpg" big="foto_testy/1411/as2014/363.jpg" src="foto_testy/1411/as2014/363.jpg" desc="One of the recordings offered by Lutz-Precizion on LPs and tapes is a performance by the Polish marimba player, Katarzyna Myćka."] [img mini="foto_testy/1411/as2014/th/364.jpg" big="foto_testy/1411/as2014/364.jpg" src="foto_testy/1411/as2014/364.jpg" desc="The LP product lineup – LPs and analog copies of master tapes."] [img mini="foto_testy/1411/as2014/th/365.jpg" big="foto_testy/1411/as2014/365.jpg" src="foto_testy/1411/as2014/365.jpg" desc="JPLAY’s system with Auralic electronics: the Aries streamer, the VEGA DAC, the Taurus PRE, the Merak monoblocks, the Kawero! Chiara speakers, and a Leading Edge rack and acoustic accessories."] [img mini="foto_testy/1411/as2014/th/375.jpg" big="foto_testy/1411/as2014/375.jpg" src="foto_testy/1411/as2014/375.jpg" desc="Amare Audio & Audio Philar system with the Amare Musica Trinity amp, the Amare Musica Deforest preamplifier, and the Amare Musica Diamond Music Server. The speakers – which somewhat resemble Marten Tenor designs – are the Amare Musica Etna prototypes. The DAC is the Mytek Manhattan. The rack and boards are from Audio Philar."] [img mini="foto_testy/1411/as2014/th/381.jpg" big="foto_testy/1411/as2014/381.jpg" src="foto_testy/1411/as2014/381.jpg" desc="One of the best-sounding rooms: the Equilibrium Ether Ceramique speakers, the Atoll ST200 file player, the Atoll Gamme PR400 + Gamme AM400 amp, Equilibrium Tune cables, and a power supply by ENERR."] [img mini="foto_testy/1411/as2014/th/391.jpg" big="foto_testy/1411/as2014/391.jpg" src="foto_testy/1411/as2014/391.jpg" desc="The room of This.pl with the RP8 turntable and electronics from Rega; all of it was set up on Monolith Audio boards. "] [img mini="foto_testy/1411/as2014/th/396.jpg" big="foto_testy/1411/as2014/396.jpg" src="foto_testy/1411/as2014/396.jpg" desc="Probably one of the most-expected premieres: prototypes of the new version of Altus speakers from Tonsil. Each one of them weighs 50 kg, the crossover uses Mundorf M-Cap Supreme capacitors, and a pair of the Altus is supposed to cost around 5,000 zł."] [img mini="foto_testy/1411/as2014/th/407.jpg" big="foto_testy/1411/as2014/407.jpg" src="foto_testy/1411/as2014/407.jpg" desc="ElinsAudio’s great amp with an Accuphase player and Dynaudio C2 Platinum speakers. Unfortunately, the speakers had just been unboxed. "] [img mini="foto_testy/1411/as2014/th/410.jpg" big="foto_testy/1411/as2014/410.jpg" src="foto_testy/1411/as2014/410.jpg" desc="Just next to it you could find another formidable Polish manufacturer: Abyssound. You can see their prototype integrated amp and phono preamplifier on the table. The system included the Infinity vintage speakers."] [img mini="foto_testy/1411/as2014/th/416.jpg" big="foto_testy/1411/as2014/416.jpg" src="foto_testy/1411/as2014/416.jpg" desc="Audiostereo.pl/DIY room. The speakers: Tomek 50177; the amp (a Naim clone): Tomek 1685; the Robertus DAC: Tomek 1685; the Noje turntable: Piters1966. And, to top it all off, the Husaria phono preamplifier: Ahaja."] [img mini="foto_testy/1411/as2014/th/420.jpg" big="foto_testy/1411/as2014/420.jpg" src="foto_testy/1411/as2014/420.jpg" desc="Gigawatt and Sevenrods’ room, with the Audiovector S3 Super or Audiovector M1 Signature speakers. The source and amp were the Perreaux ECD2 CD and E160i, respectively. The signal cables were Sevenrods ROD4 RCA + Sevenrods ROD4 SP. The power supply – GigaWatt PC4 EVO/LC3 mkIII HC + LC3 mkIII."] [img mini="foto_testy/1411/as2014/th/423.jpg" big="foto_testy/1411/as2014/423.jpg" src="foto_testy/1411/as2014/423.jpg" desc="Together at the Audio Show for the very first time: electronics made by an Italian company, Lector, and speakers made by an Israeli company, Morel. 2N-Everpol will be the distributor. "] [img mini="foto_testy/1411/as2014/th/425.jpg" big="foto_testy/1411/as2014/425.jpg" src="foto_testy/1411/as2014/425.jpg" desc="Beautiful products in a great arrangement. The Lumin T1 file player with the Jeff Rowland Continuum S2 integrated amp, interchangeably with the Capri preamplifier and the Model 125 monoblocks. The speakers were the Raidho D1. It’s worth noting the incredibly well-prepared rack made of natural wood. "] [img mini="foto_testy/1411/as2014/th/429.jpg" big="foto_testy/1411/as2014/429.jpg" src="foto_testy/1411/as2014/429.jpg" desc="The Polish-British Friendship Society was represented by Audio Punkt’s room. The Graham Audio LS5/9 speakers and Naim electronics. "] [img mini="foto_testy/1411/as2014/th/435.jpg" big="foto_testy/1411/as2014/435.jpg" src="foto_testy/1411/as2014/435.jpg" desc="G Lab Design Fidelity prototype speakers with a new full range driver. They’re driven by the Block amp that received our award."] [img mini="foto_testy/1411/as2014/th/440.jpg" big="foto_testy/1411/as2014/440.jpg" src="foto_testy/1411/as2014/440.jpg" desc="Who says that acoustic treatment accessories are always eye-sores. Acoustic Lab.pl showed us that this is clearly not the case!"] [img mini="foto_testy/1411/as2014/th/450.jpg" big="foto_testy/1411/as2014/450.jpg" src="foto_testy/1411/as2014/450.jpg" desc="Goodmans speakers, which we have seen previously in a system with Sugden electronics, here paired with electronics from the Polish company, J. Sikora. The company is back on the market after 17 years of absence. We spotted the Reference turntable and the Reference phono preamplifier (below).."] [img mini="foto_testy/1411/as2014/th/451.jpg" big="foto_testy/1411/as2014/451.jpg" src="foto_testy/1411/as2014/451.jpg" desc="The J. Sikora Reference Turntable came with two Kuzma 4 Point arms. "] [img mini="foto_testy/1411/as2014/th/456.jpg" big="foto_testy/1411/as2014/456.jpg" src="foto_testy/1411/as2014/456.jpg" desc="Unitra is currently a conglomerate of several manufacturers, who offer their products under this legendary brand name. Pictured here are the Fryderyk turntable, made by Ad Fontes; the Edward integrated (tube) amplifier; and the ZGWS-R-301-CO speakers from Pylon Audio. "] [img mini="foto_testy/1411/as2014/th/473.jpg" big="foto_testy/1411/as2014/473.jpg" src="foto_testy/1411/as2014/473.jpg" desc="The “Italian” room: the Diapason Astera speakers, the Aqua Aqoustic Quality CD transport, the Aqua Aqoustic Quality D/A converter, the Art Audio Conductor preamplifier and the Wells Audio Innamorata monoblocks. "] [img mini="foto_testy/1411/as2014/th/486.jpg" big="foto_testy/1411/as2014/486.jpg" src="foto_testy/1411/as2014/486.jpg" desc="The Power Station power strip from the Polish company, Audiomica Laboratory. "] [img mini="foto_testy/1411/as2014/th/488.jpg" big="foto_testy/1411/as2014/488.jpg" src="foto_testy/1411/as2014/488.jpg" desc="The very minimalistic presentation of Franc Audio Accessories’ isolation feet looked unreal. You could see the new finishes. "] [img mini="foto_testy/1411/as2014/th/494.jpg" big="foto_testy/1411/as2014/494.jpg" src="foto_testy/1411/as2014/494.jpg" desc="A very pleasant system put together by Q21 salon: the Amphion Argon 3L speakers, the Hegel H160 amp/DAC, and the Hegel HD25 converter. The room’s acoustic adaptation was done by Acoustic Manufacture."] [img mini="foto_testy/1411/as2014/th/500.jpg" big="foto_testy/1411/as2014/500.jpg" src="foto_testy/1411/as2014/500.jpg" desc="An inexpensive, but truly great system: the Audio Physic Classic 20 ND Gloss speakers, the BC Acoustique EX-332D integrated amp, and the BC Acoustique EX-622 CD player.  "] [img mini="foto_testy/1411/as2014/th/508.jpg" big="foto_testy/1411/as2014/508.jpg" src="foto_testy/1411/as2014/508.jpg" desc="Another prime example of the fact that you don’t need to be a millionaire to listen to music on a very high level: Voice’s room. The Pro-Ject RPM-1.3 Genie turntable, Pro-Ject CD BOX RS + Pre BOX RS Digital CD player, the Pro-Ject MaiA amplifier, and cables from Cardas. "] [img mini="foto_testy/1411/as2014/th/519.jpg" big="foto_testy/1411/as2014/519.jpg" src="foto_testy/1411/as2014/519.jpg" desc="Polish products (with McIntosh components): the Tatami Audio Glasba speakers. "] [img mini="foto_testy/1411/as2014/th/531.jpg" big="foto_testy/1411/as2014/531.jpg" src="foto_testy/1411/as2014/531.jpg" desc="Many audiophiles had been waiting for these speakers, their incredible appearance captivating their attention. The Vivid Audio Giya G3 were driven by the Cary Audio CAD-211FE amps."] [img mini="foto_testy/1411/as2014/th/541.jpg" big="foto_testy/1411/as2014/541.jpg" src="foto_testy/1411/as2014/541.jpg" desc="The ADC Pentoda with a hybrid amp from its “silver” line. 180 Watts power output, gain stage on 4 x PCF 82, and current stage on 8 x V-Mos. The speaker system, with all its advantages and immense sound, allows you to change its configuration based on your own needs. It’s characterized by its great impulse response, wide base, and an incredibly effective bottom-range which radiates from the central speaker, with the lower one playing more of a support function. "] [img mini="foto_testy/1411/as2014/th/552.jpg" big="foto_testy/1411/as2014/552.jpg" src="foto_testy/1411/as2014/552.jpg" desc="Nomos Audio Fintage brought along a true paradise for “anachrophiles”, it was amazing! The system included the Nakamichi Dragon tape recorder. Pictured is a tower of amps, FM and stereo receivers. "] [img mini="foto_testy/1411/as2014/th/553.jpg" big="foto_testy/1411/as2014/553.jpg" src="foto_testy/1411/as2014/553.jpg" desc="The debut of Polish-Swedish company, JR Audio. Equally important to the turntable itself is its arm, where the head is kept at a constant angle to the groove. "] [img mini="foto_testy/1411/as2014/th/565.jpg" big="foto_testy/1411/as2014/565.jpg" src="foto_testy/1411/as2014/565.jpg" desc="Hans Theessink signed albums and tapes for us “High Fidelity” folk, too."] [img mini="foto_testy/1411/as2014/th/571.jpg" big="foto_testy/1411/as2014/571.jpg" src="foto_testy/1411/as2014/571.jpg" desc="Hans’s rehearsal before the Sunday concert."] [img mini="foto_testy/1411/as2014/th/578.jpg" big="foto_testy/1411/as2014/578.jpg" src="foto_testy/1411/as2014/578.jpg" desc="Hans Theessink with the article’s author."] [/hfgallery]

y memories from (I think) the first edition of High End Show in Munich (after it moved from Frankfurt's Kempinsky Hotel), survived in few „capsules”. Each of them contains a part of me, but also – as I can see it now – sort of prelude to the future events. That's what happened in 2005 in Munich where I met for the first time (among others) Mr Fabio Camorani, the owner of AudioNemesis, Ms Eunice Kron, chief of KR Audio, Mr Hervé Delétraz – the boss of darTZeel and many, many others. It was also then when I first talked to Dirk Sommer, who, at the time, was a Chief Editor of „Image Hi-Fi” (coverage HERE), and today is a Chief Editor of hifistatement.net”. All these people were really nice and friendly and I started a cooperation with some of them right away. One thing they all had in common was a certain reservation about Polish audio market and Polish audio journalist as they were all convinced that there was no high end market in our country. So they all suggested that if I wanted to review some of their products it should be rather something not too expensive. I mean, they all said that in a very nice, indirect way, but it was what they meant. A year later even though I'd known many of them already for a year, their approach was still about the same. They were still nice, friendly and very professional but they still didn't see Poland as a market for their top products (coverage HERE). In 2006 I saw something that really stayed in my head for a long time: products of Ayon Audio. And again, just like a representative of Soulution later, someone for Ayon (probably the owner, Gerhard Hirt, but it was a long time ago so I can't be sure) didn't really think that any of their products could be reviewed by “HighFidelity” in a foreseeable future. I was disappointed since I fell in love at the first sight with Spheris preamplifier presented this year. It looked great (you can see its picture in my Show coverage), sounded even better and immediately became my personal Holy Grail. As it turned out less then ten years was more then enough to completely change the (audio) world. Most manufacturers I met then now are present on Polish market and for many of them Poland is the second biggest, and sometimes even the biggest market in Europe. Acrolink, who's representative (at the time), Mr Bé Yamamura, advised me strongly against even checking such expensive cables out, today sells kilometers of them in Poland, and I personally have four of their top power cables in my system. A Soulution power amplifier has been a part of my reference system for a few years now. And Gerhard Hirt is a friend and an honorary member of Cracow Sonic Society. What's more, his preamplifier, Polaris (only second to the top of the line, Spheris), has been my pride and joy for the last few years. We live in interesting times and it is (unlike the meaning of this saying in China) a good sign. The Polaris preamplifier, in its few versions, has been a part, or rather a heart, the key element of my reference system since 2009, meaning since my review that was published in „High Fidelity” in April that year (issue No. 60, see HERE). Over this time it underwent several upgrades. The version under review was already marked with number „II”. The gain stage was based on Siemens C3m penthode working in triode mode, it sported a tube power supply and a volume control based on step-up transformer. After the review I bought this device as I couldn't image my system without it. Some time later Gerhard with his engineers developed a completely new power supply, well – a power conditioner actually, still using tubes and generating high voltage sinusoid for signal tubes. Improvement of sound quality was significant but the character of the sound remained the same. I had no choice but to upgrade my preamplifier by purchasing the new power supply. The new version was now called Polaris III. And I was happy. Until, in 2009, I listened to the top of the line Spheris II. This was a game changing experience despite the fact that I knew, more or less, what to expect. After this review, knowing I couldn't afford changing my Polaris III for Spheris II, I asked Gerhard if he could upgrade my preamplifier. It was a custom one-time job, and the result was called Polaris III [Custom Version]. The upgrades included changing all passive elements for the same as used in top preamplifier, and also upgrading few other details. Progress in sound quality was significant and while performance was still not the same as offered by Spheris, I was happy again. But I knew then already that sooner or later I would have to get myself Ayon's top of the line preamp. So even when Ayon presented Polaris IV, despite the fact I appreciated another progress of performance it introduced, I still wanted Spheris III. It took Ayon five years of hard work to develop improvements worth implementing. They concern mostly the volume control. It is still based on step-up transformers, but now these are controlled by sophisticated electronic system and contact relays instead of mechanical pot. Another element of this solution is an alphanumeric display on the front panel that allows user to read a current volume level. The prototype of this device premiered in Munich in 2013 and the same unit was a part of a system awarded with Best Sound Audio Show 2013. It took Ayon another year to finalize the production of this device. I have received one of the first production units for a review. And it stayed for good… GERHARD HIRT Ayon Audio | CEO Gerhard Hirt during Audio Show 2014, Warsaw (an away meeting of Cracow Sonic Society). Dirk Sommer, Chief Editor of hifistatement.net whispering to Gerhard Hirt's ear. In the year 2000 one of the developers of my single-ended amplifiers visited me with a prototype of a free-wired preamplifier mounted on a wooden board. He succinctly asked me to completely unbiased listen to “the thing”. It always was his hobby to make experiments with exceptional and crazy concepts (on this board he has worked secretly for almost 8 years, and he never mentioned about it) and he knew all our top preamplifiers very well we were distributing at that time. Actually he also made the service of all foreign brands. But on this wooden board there were the cheapest components etc. and connections respectively and everything looked so different (even the C3m tubes) from a “normal” preamplifier which I was used to. Actually I did not really want to listen to this thing, but as luck would have it, my reference preamp struck and had to get the tubes changed. What I heard then completely turned upside down all my imaginations of the previous preamps. Abruptly also tonally many things were different, an airiness, speed, incredible sound colors, plenty of transparency and deep dimensional picture and everything so tangibly true or a spatiality I did not know before - and this from a “wooden board model” with simplest components, barely enough to make it work. Spheris I (first version, with small power supply) – High End 2006, Munich I said to myself that in the design of preamps this happens only once every 20 years. We sat together and talked about a possible small limited series production, but first the wooden board had to give way to a real prototype housing and we needed an adequate power supply. Then we started working, first with the components. We started to change the components on a high level, but then noticed that this preamp (a special C3m triode/penthode design) reacted very stubbornly to components and hence again and again we had to listen to every component and try out new arrangements. The component-mix was very delicate and we reduced the unnecessary components wherever possible; but with every component less the total became “to the square” more difficult to master. Additionally also the C3m tube itself made life difficult: this posttube frivolously tends to microphony and therefore is difficult to handle for audio application. Its tonal properties are beyond any discussion, no small signal tube (e.g. ECC81, 82, 83, 88, 6SN7, 6H30 etc.) is able to hold a candle to it. For years we needed to reach deeply into our bag of technical tricks to eliminate this disadvantage. Until today we do not know, where someone seriously came to grips with this problem; however, immediately after the presentation of the Spheris there were 2 top preamps with C3m, but they disappeared after a very short time. I have also seen some “funny” power amps using a C3m as driver for the 300B, this never can work cleanly and satisfactorily. Spheris I (second version, with large power supply) 5 more years passed until all critical points were finished or solved and the first serial Spheris was put on the market in 2005. We had never thought, that we had to go into so many uncharted waters to reach technical maturity; incredibly many difficulties as every piece in the preamp had a big influence on the sound, many in-house purpose-built items as the design was completely different from everything previously known; we even had to change the housing and the layout 3 times until we were completely satisfied. But the first success of the Spheris showed us that we were absolutely right and over and over we were overwhelmed by the worldwide feedback. But they were 15 long painful years with many setbacks, until this concept could be developed from the first prototype design to technical maturity. This stimulated us further to promptly improve the original design and its peripherals around this circuitry. Another 5 years passed until the Spheris II appeared on the market in 2010; a completely novel tube power supply with re-generator (a re-generator which now was adopted perfectly to all internal operating voltages and we bypassed the bothersome re-transformation to 230 V as is necessary for traditional re-generators). And we developed chokes combined with film cap filtering, the peak of feasibility for a preamp power supply. Spheris II Then came the next milestone: the step-switched 4-channel ELMA volume potentiometer with 192 resistors of the Spheris I had to be replaced. There was only one acceptable solution: super-permalloy transformers placed on the output (not one resistor in the volume control system); an extreme challenge as here a completely different requirement (voltages) had to be considered; in the sense of being different from positioning the volume control at the input as is the case of almost every conventional preamps. We used up an enormous number of test equipment of step-up transformers until the right tonal combination of number of coils and transformation etc. became evident. The Spheris II again set a landmark based upon the legendary Spheris I and was built for 5 years. By the way, every Spheris is assembled by hand and tested by only one person (no work-share with others) from A to Z. This assembly is extremely complex and a great challenge of craftsmanship. Spheris III, prototype – Audio Show 2013, Warsaw But there was still another „little something“ that annoyed us to make the Spheris II absolutely perfect down to the very last detail; we wanted a volume control without any mechanical switching support via potentiometer. The idea was to drive the 4 super permalloy step up transformers not by means of a mechanical potentiometer (Spheris II) but by a sophisticated electronic control system. Consequently, we needed an encoder instead of a mechanical pot, every single super permalloy transformer got its PCB with 24 reed relays each and an MCU with special software (i.e. in total 96 relays an 4 MCU components). This MCU receives the switching signals from the encoder potentiometer, processes them accordingly and with every operation always switches 8 relay contacts with a switching speed of 2/1000th seconds. The development of this system took 3 years and even our digital specialists had to tackle this task to scrupulously adopt the software for the precise 4 time MCU-control! Thus, the most complex volume control ever incorporated into a tube preamplifier was born. In 2014 at last the series production of the Spheris III preamplifier started. As of today the Spheris III really nor reasonably cannot be improved anymore; it is matured in itself for almost 23 years and brought to perfection as perhaps no other series tube preamplifier on the actual world market. Gerhard Hirt with Spheris III, prototype – Audio Show 2013, Warsaw Ayon Audio in “HighFidelity”: Integrated amplifiers TEST: Ayon Audio CROSSFIRE III - integrated amplifier, see HERE TEST: Ayon Audio SPIRIT III (NEW) - integrated amplifier, see HERE KRAKOWSKIE TOWARZYSTWO SONICZNE: Spotkanie #79 – lampy Ayon Audio KT88sx, see HERE TEST: Ayon Audio ORION II - integrated amplifier, see HERE TEST: Ayon Audio SPARK DELTA - integrated amplifier, see HERE TEST: Ayon Audio MERCURY II - integrated amplifier, see HERE TEST: Ayon Audio 300B - integrated amplifier, see HERE Preamplifiers TEST: Ayon Audio ORBIS - preamplifier, see HERE TEST: Ayon Audio Spheris II Linestage - preamplifier see HERE TEST: Ayon Audio Polaris II - preamplifier, see HERE Power amplifiers TEST: Ayon Audio ORTHOS XS - power amplifier, see HERE TEST: Ayon Audio VULCAN II - power amplifier, see HERE TEST: Ayon Audio TRITON MONO - power amplifier, see HERE Digital sources TEST: Ayon Audio SIGMA - converter, see HERE TEST: Ayon Audio CD-3s + NW-T - CD Player/DAC/preamplifier + audio files transport, see HERE CRACOW SONIC SOCIETY: Meeting #80 - Gerhard Hirt and his S-3 (Ayon Audio), see HERE TEST: Ayon Audio Skylla - D/A converter, see HERE TEST: Ayon Audio CD-2s – CD Player, see HERE TEST: Ayon Audio CD-5s Special - CD Player, see HERE TEST: Ayon Audio CD-1s - CD Player, see HERE TEST: Ayon Audio CD-1 – CD Player, see HERE TEST: Ayon Audio CD-3 – CD Player, see HERE TEST: Ayon Audio CD-07 – CD Player, see HERE Others INTERVIEW: Gerhard Hirt, Ayon Audio – Owner, see HERE Nagrania użyte w teście (wybór) Zapach psiej sierści, soundtrack, muz. Włodzimierz Nahorny, GAD Records GAD CD 019, „Limited Edition 500 Copies”, CD (2014); Bill Evans Trio, Waltz for Debby, Riverside Records/Analogue Productions APJ009, "Top 25 Jazz", Limited Edition #0773, 2 x 180 g, 45 rpm LP (1961/2008). Bing Crosby, Bing Crosby’s Greatest Hits, Decca Records/MCA Records, MCA-3031, LP (1941-1945/1977). Chet Baker Quartet, Chet Baker Quartet feat. Dick Twardick, Barclay Disques/Sam Records, "Limited Edition", 180 g LP (1955/2011). Cream, Disraeli Gears, Polydor/Universal Music LLC UICY-40023, Platinum SHM-CD (1967/2013). Depeche Mode, Ultra, Mute/Sony Music Labels, Blu-spec CD2, (2007/2014). Hans Theesink, Live at Jazzland, Sommelier Du Son sds 0016-1, 180 g LP (2014). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); Ludwig van Beethoven, Sonatas op. 109, 110 and 111, piano: Evgeni Korolov, Tacet 208, “The Koroliov Series Vol. XVI”, CD (2014). Miles Davis Quintet, Relaxin’ With The Miles Davis Quintet, Prestige/Universal Music LLC (Japan) UCCO-40005, Platinum SHM-CD, (1958/2013) Pet Shop Boys, PopArt: Pet Shop Boys – The Hits , Parlophone/Toshiba-EMI TOCP-66252-54, 3 x CCD (2003). Queen, Queen Forever, Virgin/Universal Music LLC (Japan) UICY-15347/8, 2 x SHM-CD (2014). The Paul Butterfield Blues Band, The Paul Butterfield Blues Band, Elektra Entertainment Group/Audio Fidelity AFZ 187, “Limited Edition No. 0115”, SACD/CD (1965/2014). Japanese issues available at [REKLAMA5] One can't really overrate preamplifier's role in audio system. From time perspective I can now see that preamplifier shapes the final sound in a way that is more difficult to perceive (unlike when one changes amplifier, speakers, or source). But it is a preamplifier that plays the key role, that sets a sonic direction for the whole system. In my opinion top models of speakers of most brands aren't really their best ones, when it comes to amplifiers and digital sources sometimes top models are the best and sometimes they are not, but when it comes to preamplifiers flagships always offer top performance. Spheris III is not only Ayon's flagship linestage but it is also one of the best linestages I've listened so far to. What's more – the set of features it brings to the table, the way it shapes the sound of my system is almost perfectly “tailored” to my needs and expectations. In other words, Spheris III is a perfect addition to „High Fidelity's” reference system making it complete. I am sure that it is still possible to create even better device, and I am sure it will be developed. But I also realize that it will be very, very difficult and it will take a lot of time. How do I know that? Well, I've been waiting for Spheris III in its today's form for 10 years! It's primary feature is sound's density. This element can be also interpreted as rich, mature sound, as the ability to convey the full body of each sound and not just its leading edge. It's like a coloring book for children, or a painting in its frame. The more of this “something” that fills the frame in, the better, the more natural, or should I say: the more palpable the content of it is. Using the word “natural” for anything coming from a system that only reproduces live music probably isn't really justified. Transferring a live event in 1:1 proportions to our home using any audio system is not possible. What we get is always sort of approximation of reality and an artistic creation at the same time. People responsible for it are: musicians, producers, sound engineers, and also (especially when it comes to pop music) record labels. It so happens that we, audiophiles, attribute significant role also to companies manufacturing the final audio medium, or selling audio file. Anyway the “naturalness” is one of key features of any audio system. But it is not that easily defined, its definition might change or “bend” in particular cases. Because since the reproduction of music in our home is sort of creation that imitates live event, this “naturalness” has to be different from the one of live concert. It has to appeal to our sensitivity to beauty. Spheris III allows listener to hear or understand exactly what I am talking about. It adds some density, richness to the sound, it increases the depth of the sound. That means it modifies sound in such a way to fit a huge church, stadium, or a large club into a very limited space listener has in his room. I like that! That's what I want/need/expect. I think that this sort of sound modification is the right one for a high-end audio in general. It allows a system to convey more layers of music. Another amazing feature of Spheris is how resolving it is. It was already an advantage of Polaris III. But having a chance to compare it with competitors like: Thrax Dionysos (see HERE), Robert Koda's Takumi K-15, or Mark Levinson №52 I realized that Polaris had its limitations. They didn't really bother me as they were a part of the whole sound concept that I liked, but I realized they existed. Top High end is about getting rid of any limitations, so surely I wanted these gone. Spheris III in this aspect is a totally different device. Only the above mentioned Mark Levinson came close (among linestages I reviewed). And on top of that Ayon offered also this immense richness of the sound that Levinson couldn't quite match. With Spheris there are large, very distinct, palpable, intense phantom images rendered in space. Each of them combines many layers that overlap one another to create something that I would describe as “natural” sound, assuming that “natural” means: causing impressions similar to those we experience during live concert. That means that this “artificiality” of music reproduction is somehow not an issue here. It is still not the same thing as “live music”, it is “an impression of naturalness”. One listens to the music and gets sucked in. The reviewed preamplifier sports only a single gain stage using tubes. Such minimalist setups, especially one using tubes, are hardly something one would suspect of delivering a very focused sound and a truly deep bass at the same time. But that's exactly what this linestage delivers. It was were obvious with Soulution 710 power amp and Harbeth M40.1 and Trenner&Friedl Isis speakers. Both loudspeakers sport huge bass woofers so are well equipped to deliver even lowest bass notes. Bass not only went really deep, it was also amazingly rich, and it seemed to still have some headroom no matter how deep it went or how much energy was already released. That allowed the system to present more of other things – it conveyed acoustics of the recording in a better way, more dynamics shades, tiniest tone shifts and so on. Almost all other preamplifiers I know tended to homogenize those tiny differences. It wasn't cold, emotionless sound that we get – unfortunately – from most passive preamplifiers or from sources with adjustable output signal level (with some exceptions like from: dCS and Ancient Audio). Those devices do homogenize those small differences to even larger extent. They don't really differentiate them, they try to “carve” those differences out and that has nothing to do with music, it might, at most, has to do with technical issues. I've praised bass so much because this part of the range is a foundation for everything that happens up the range. Yes, there is a beautiful, colorful, rich and resolving treble that seems to be bit darker than with Mark Levinson №52. It is not as warm as absolutely exceptional (in this aspect) Tenor Audio Line 1, but to be honest I don't think I've ever heard something like Canadian linestage before. Ayon presents a slightly subdued picture comparing with a true world. It's like it was saving us something, like it presented to us only what it “believes” is good for us. That's a very subtle feature of this preamplifier but since on this level of top high end every little detail matters, getting it the way we want it costs a lot of money, I had to mention it for you to know what to expect if you plan to buy it for your system. Before I wrote this review I had listened to Spheris III for a few months, using it in combination with different systems and different speakers. And before that I had listened to it couple of times during shows in yet another systems. So I could keep writing about it for a long time. But it would be pointless really – if you decide to treat seriously what you have already read, putting for a moment aside a reasonable approach of not completely believing in what you read (which is reasonable and understandable!), if you really ACCEPT what I've already written you already know almost everything you need to about this preamplifier. And yet, I'd like to add a few words about soundstage. The whole idea of delivering a three-dimensional space via two speakers is somewhat artificial. When it comes to recordings done with microphones, i.e. with acoustic or electric instruments (the latter with their own sound sources like Leslie speakers for Hammonds, or guitar amplifiers, and so on), the space/soundstage is determined by the microphone technique chosen by a person conducting this recording. Whatever choices this person makes they always have some downsides, but they also have something that other techniques do not offer. Putting few techniques together will result in emphasizing some elements at the expense of others – that's how it goes. When it comes to studio recordings stereo effect is always in fact a realization of recording's producer vision. It is sometimes hard to understand how in a particular case such a believable holography of the recording was achieved using such a unreliable means that producers had at their disposal. I'd say that we play some active role here too – we just got used to certain way of presentation and, unconsciously, we adapt to it by using or applying our experiences from concerts to what we can hear at home. It kind of replaces what we can really hear. It seems to work really well. The micro-information about phase and level are conveyed by Spheris III in a uniquely good way. Only Mark Levinson and Thrax did something similar, but they were different in presenting other elements. With Ayon soundstage becomes a part of the room and speakers are no longer perceived as sources of the sound. Even when the sounds came directly from the speaker, which happens with some stereo recordings from 50ties and 60ties, I could usually hear them BEHIND speaker, or from the same place in space where the speaker was. If the idea behind particular recording was to surround listener with the sound I truly felt surrounded with it. Sounds coming from behind my head? Absolutely and not only with Roger Waters' Amused to Death but also with some stereophonic Opus3 recordings and some others too. A dense, focused presentation. Summary It's the richness of the sound, its energy that makes this presentation so emotionally engaging. Almost every recording I listened to was an interesting experience assuming that music was actually interesting, of course. But even these bit boring, or those I'd been avoiding (for whatever reason) became interesting, involving. I can't really image a better recommendation for an audio product. It is still not an “absolute sound”, as it doesn't exist, it's just an idea that everybody pursues. There are few more devices that I liked very much, each of them offering something that others didn't: Tenor Audio Line1 - richness and warmth, Soulution 720 amazing smoothness and coherence, Dionysos Thrax Audio consistency, richness and smoothness, and Mark Levinson offered it all plus remarkable openness in higher frequency and sheer energy in each sub-range. The point is that each of us has to find his/her perfect fit, like a perfect pair of gloves that fit. If the fit isn't perfect it will bother you on some level and it won't matter whether there will actually be a problem with a glove or a hand. Spheris III is a perfect fit for me. I could easily enjoy music with every of the above mentioned preamplifiers and be really happy about it, but it is Ayon that comes closest to my personal expectations, that is the best “fit” for me and my system. And that's why it has become a part of my reference system. It allows my system to sound in a very pleasant, satisfying way, while still being a useful tool for a reviewer. It encourages me to listen without hiding weaknesses but also allowing me to ignore them. But it is ME who ignores them and not my system, it is my choice. That's the role of a reference system. GOLD FINGERPRINT AYON AUDIO SPHERIS III Development of current version of this preamplifier took 25 years – it is really hard to imagine – a quarter of a century! That also means 25 years of investing in a project – it took not only a lot of time but also effort and money. Spheris III playing music confirms in every millisecond that it's been a damn good investment worth every penny, sweat and minute spend on development. It is remarkable in every aspect. It offers its own vision of sound that is rather different then better than few other equally fantastic linestages. This was a “no-brainer” for me. This device pushes all buttons inside my head that make listening to the music a pure pleasure and a challenge at the same time. This preamplifier works flawlessly with any power amplifier and any source. It is built of innovation and passion. And passion is a bonus we get with it, it is what makes it special and not just another product. This is priceless for every music lover. The Spheris no. III repeats the idea Ayon used already in 2005 for version no. I – separate casings for power supply and the rest of the device. Starting with no. ‘II’ casing started to look similar to that of Polaris, i.e. with round corners and all panels made of aluminum. Also large chromed knobs are similar. These allow to select an active input, control volume and set balance between right and left channel. There is an additional element that makes it easy to differentiate Spheris from Polaris – all knobs have a round, red, backlit acrylic bands around them. The backlit can be switched off with a small switch placed on the back of the device. It is so discrete though that I never felt a need to do so. On a front panel there is another new element – a small alphanumeric display showing current volume. This last element make you wonder – why there is exactly the same knob for volume control taken from version ‘II’ that sports a large dot that help you to recognize the position of this round knob. This dot was useful before but now the knob controls encoder and just turns round and round. So in fact this dot misleads user. There are two small red LEDs next to the knob that indicate that device is on (same as those red bands around knobs) and the other shows when „mute” function is active. The back panel looks very nice. There are two rows of RCA sockets and XLR input and output – it is a fully balanced device. There are six inputs – one balanced and five unbalanced, and as many as four outputs – one balanced and two unbalanced (with adjustable signal level), and one tape out that might be also use to send signal to headphone amplifier. But to use it the device must be on. Sockets are arranged in a different way than in previous versions – before Gerhard used Audio Research's system, with right (red) channel on top, and left (white) below. Most manufacturers use opposite arrangement and this device also uses it. All electronic circuits are mounted on few PCBs. The most important of them are the ones with four horizontally mounted Siemens C3m penthodes – the ones in my unit were made before II World War and come from a supply of German post. Each of them works in triode mode, a pair works in each channel – as channels are balanced they require two tubes for right and two tubes for left channel. It is amazingly simple circuit, at least if we consider only a signal transfer. Signal goes from inputs to the PCB with relays. Then, with cables, it goes to the front of the device, to four (two per channel) transformers with multiple tappings. Signal level is changed via change of ratio between primary and secondary winding. It is the same solution as the one used in Music First Audio preamplifiers for example. Transformers with classic core are made by Ayon in-house, and to switch windings they used an innovative system of relays instead of mechanical switch they used previously. And finally signal reaches tubes, and than the output via a single large Mundorf MCap Supreme Silver/Gold capacitor. All passive elements were carefully selected during listening sessions and all, obviously, are high class ones. There are Lundahl transformers in the input section – signal from RCA inputs is symmetrized and then processed in balanced form. The power supply sits in a separate casing but its small part is located in the main casing of the device. There is a large Lundahl choke and two huge polypropylene capacitors that are a part of power supply circuit for anode. There are no electrolytic capacitors in tubes' power supply circuit. The main unit is connected with external power supply with a multi-core umbilical. Cable for Spheris III is more flexible and it sports much larger plug than the one for Polaris III (have a look at the picture in the gallery). Power supply sports two large (I mean high-power amplifier large) toroidal transformers, shielded with metal covers. The anode voltage is rectified in CV135 tubes, full-wave rectifier, with polypropylene capacitor following. As you can see both channels use the same power supply. It seems that the second transformer supplies a large PCB at the back of main unit's casing, that transforms voltage from power grid into pure sinusoid @ 60 Hz. You can see this value displayed on the front panel of the device. Only this “re-generated” voltage is sent to transformer that supplies power to the main unit. This whole circuit is called: AC~ ReGenerator. This device has a classic Ayon's looks with extremely solid casing, engraved writings on it and anty-vibration feet. It still benefits from a good anti-vibration platform and even more advanced feet – I use Franc Audio Accessories Ceramic Disc Classic. The whole electronic circuit seems very simple from electric point of view but its execution is very complex. Power supply itself is as important as the circuit supplying it. Spheris III comes equipped with a simple, small remote control that allows user to change volume and use a „mute” function. Specifications (according to manufacturer) Class of operation: class A/triode Tube complement: C3m Maximum output (@ 1 kHz ): 40 V rms S/N ratio: > 98 dB Input impedance: > 1 MΩ Output impedance: 30 Ω Frequency response/Line: 0,5 Hz – 500 kHz Harmonic distortion (@ 1 V) Line: < 0,01% AC~ ReGenerator: max. 300 W AC~ ReGenerator frequency: 60 Hz Dimensions Pre (WxDxH): 500 x 430 x 110 mm Dimensions ReGenerator (WxDxH): 500 x 430 x 110 mm Weight (pre & power supply): 43 kg [hfgallery] [img mini="foto_testy/1412/ayon/th/06.jpg" big="foto_testy/1412/ayon/06.jpg" src="foto_testy/1412/ayon/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/07.jpg" big="foto_testy/1412/ayon/07.jpg" src="foto_testy/1412/ayon/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/08.jpg" big="foto_testy/1412/ayon/08.jpg" src="foto_testy/1412/ayon/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/09.jpg" big="foto_testy/1412/ayon/09.jpg" src="foto_testy/1412/ayon/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/10.jpg" big="foto_testy/1412/ayon/10.jpg" src="foto_testy/1412/ayon/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/11.jpg" big="foto_testy/1412/ayon/11.jpg" src="foto_testy/1412/ayon/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/12.jpg" big="foto_testy/1412/ayon/12.jpg" src="foto_testy/1412/ayon/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/13.jpg" big="foto_testy/1412/ayon/13.jpg" src="foto_testy/1412/ayon/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/14.jpg" big="foto_testy/1412/ayon/14.jpg" src="foto_testy/1412/ayon/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/15.jpg" big="foto_testy/1412/ayon/15.jpg" src="foto_testy/1412/ayon/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/16.jpg" big="foto_testy/1412/ayon/16.jpg" src="foto_testy/1412/ayon/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/17.jpg" big="foto_testy/1412/ayon/17.jpg" src="foto_testy/1412/ayon/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/18.jpg" big="foto_testy/1412/ayon/18.jpg" src="foto_testy/1412/ayon/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/19.jpg" big="foto_testy/1412/ayon/19.jpg" src="foto_testy/1412/ayon/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/ayon/th/20.jpg" big="foto_testy/1412/ayon/20.jpg" src="foto_testy/1412/ayon/20.jpg" desc="HighFidelity.pl"] [/hfgallery]

udio shows are not a perfect place for sound quality assessment. Anybody who attended at least one of them realizes that. Unfriendly room acoustics, many people walking around and wanting something all the time – these are problems every exhibitor has to face. But still there are some, not many, presentations successful enough, for an experienced listener to draw correct conclusions about sonic character of presented systems/devices. Usually such presentations are organized by experienced exhibitors who really know what they are doing, and who have a nose for finding particularly good sounding products. There were few rooms during Audio Show 2014 where I spent a very nice time in, truly enjoying presentations in comfortable conditions. We awarded best of them. Two of the awarded belonged to Moje Audio, and among awarded brands one could find: Trenner & Friedl, Reimyo, Trilogy, The Funk Firm and others. Now, couple of month after the show I would add one more room to the awarded pool, also organized by the same distributor. The one I have in mind hosted a system with fantastic Albedo Aptica loudspeakers, Lumin S1 player, and two amplifiers used interchangeably: Crayon Audio CFA1.2 and Wow Audio Lab L1/M1 set. This rig offered wonderful sound and it looked equally well. For me this factor – the looks of the systems and its elements – is very important during shows. After all this is a place where one can first of all SEE audio devices. And when one comes across a product (products) that look like those of Hong Kong's Wow Audio Lab, one will surely want to listen to them in a more suitable environment later. Srajan Ebaen wrote in his review that devices made by WAL reminded him of those made by American company Boulder, because of similar shapes of their casings and some similarities between the ways these are done (although American devices are much, much larger). Srajan also noticed some technical affinity to Australian Burson Audio Timekeeper amplifier (more HERE). I think he's right and I would add also some similarity to Ayre Acoustics devices of the R line. I can see some similarities in the general internal layout, and in similarly atypical dimensions of these devices – depth is larger than width (240 x 357 x 96 mm | WxDxH) and also despite of relatively small size they do weight quite a lot – preamplifier weights more than 10 kg , and amplifier almost 14 kg. L1 and M1 are the only two products of this company at the moment, although I know that they have been working also on D/A converter for more than a year now. Company was founded already in 2010 and it took them almost three years until they started their first production. I am pretty sure that perfecting the design of the chassis took quite a significant part of this time. These enclosures are made of solid blocks of 6061-T6 aluminum, same one that is used by aircraft industry. It is interesting to know that Jeff Rowland (see HERE and HERE) and French Metronome Technologie (see HERE) use exactly the same type of aluminum for their products. It is a high quality, aircraft grade type, appreciated also by audio industry for its unique mechanical properties, one of them being a very good resonance and damping characteristic. This might also be a reason for Japanese masters of, for example, Acoustic Revive to use it. The aluminum blocks are caved and milled to make room for the all electronic circuits – Ayre does exactly the same thing for their products. The chassis made this way offers outstanding resonance damping properties and also excellent EMI and RFI shielding. Another interesting fact – this type of aluminum is used also to make frames for some high end bicycles. These devices sport two large linear power supplies and fully discrete amplification circuitry (based on transistors). L1 sports one chassis with two devices in it. There is a linestage with JFET input section and bipolar transistors in the output section, but there is also a high class headphone amplifier that shares JFET input with linestage but has its own MOSFET output. L1's specification suggests that the headphone section should be able to drive most headphones. All sections work in class A. Power amp sports bipolar transistors working in class A/B. There are three RCA inputs. Large, blue display provides information about current volume and input. To make usage more convenient manufacturer delivers a small remote control. It allows user to control volume, select input, set balance between channels, plus start/stop “mute” function. Both, preamplifier and power amp, have on/off switches placed next to power inlet on the back of the device. So since access is limited it might suggest that users should leave these devices on all the time. That might not be a very “green” solution but it surely is a purist one. Recordings used during test (a selection) Bach Rewrite, wyk. Orzechowski, Masecki, Adamus, Capella Cracoviensis, Universal Music Polska | Decca 375 457 5, CD (2013). Sonda2. Muzyka z programu telewizyjnego, GAD Records GAD CD 023, CD (2014). Ed Sheeran, X, Asylum | Atlantic/Warner Music Japan WPCR-15730, CD (2014). Helen Merrill, Helen Merrill with Clifford Brown. Singles box, EmArcy/Universal Music LLC (Japan) UCCM-9336/8, “Limited Edition” 3 x SHM-CD (1955/2014). John Coltrane Quartet, Ballads, Impulse!/Universal Music LLC (Japan) UCCU-40001, Platinum SHM-CD (1962/2013). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); Patrick Noland, Peace, Naim Label naimcd065, CD (2002). Paula Cole, Courage, Decca B0008292-02, CD (2007). Royal Blood, Royal Blood, Warner Music UK/Warner Music Japan WPCR-15889, CD (2014). Tears For Fears, Songs From The Big Chair, Mercury Records/Universal Music LLC (Japan) UICY-40071, Platinum SHM-CD (1985/2014). Japanese issues available at [REKLAMA5] Insert delivered with the Bach Rewrite album, recorded by Capella Cracoviensis for Decca, reads: In this joint recording instruments determine interpretations of the music, they stimulate different approach to the original material. Piotr Orzechowski plays Rhodes Mark 1 electric piano from the late 1970ties. („Bach sounds great when played on electric instruments, but this one is truly special” – he said), Marcin Masecki plays Wurlitzer piano, also from 1970ties. Jerzy Hawryluk, Bach z prądem w: Bach Rewrite, Orzechowski, Masecki, Adamus, Capella Cracoviensis, Universal Music Polska | Decca 375 457 5, CD (2013). www.bachrewrite.com This album contains a very special performance of J.S. Bach's Concertos… , a performance executed with electric pianos instead of harpsichord. Musicians that played them were known for their slightly anarchistic approach to the classical music – musicians were Piotr ‘Pianohooligan’ Orzechowski and Marcin Masecki. Introducing quite modern instruments to the classic orchestra using period instruments might seem quite suspicious. It is not a matter of nonchalance, nor just art for art's sake – it is a perfect example of a sonoristic interpretation of music that seems to be pre-defined, and thus contributing something interesting, refreshing to the canon. The album was recorded in Lutosławice, in Krzysztof Penderecki European Music Center, by composer's favorite producer, Ms Julita Emanuiłow (I had a pleasure to see her working a few times and even helped her set microphones once or twice), and Mr Leszek Kamiński, one the top rock and pop music producers in Poland. A result of their work is great. By a system including Wow Audio Lab set, this recording was interpreted in a way that I recognized later in every other recording I played. The electric instruments (insert includes pictures that suggest that these instruments used tubes) are gently favored against orchestra. Concertos… were recorded with pianos placed in front of the orchestra and yet they still seemed to play the main role. Listener perceived it in this way because the reviewed set delivered very rich, warm and deep sound. It seemed to emulate an EL34 based amplifier. Not any EL34 amp, but a very good one, nice sounding, inspiring. This rich, powerful sound of electric pianos was a result of a lower tonal balance of this amplifier. This was not the only reason but one of the important ones. Whatever album I decided to play it delivered rich, powerful sound. It never offered a particularly analytic performance, as such elements as selectivity and resolution were never most important, leading ones. Probably that's why some recordings that, when played with very open sounding amplifiers seemed bright or flat, this time sounded in a very interesting way. It was so due to tonality that was set bit lower then usually, but also due to powerful bass with slight emphasis on it, and a gently rounded treble. These three elements constituted together: richness, power and vividness of the sound. This was obviously some sort of deviation from neutrality but a nice one. If you like to search for small details, nuances (not necessarily musical ones) you won't find them with this amplifier. Wow Audio Lab does not comply with such expectations, but if offers a unique naturalness of the sound. I started with classical music, although in an “electrical” flavor and it sounded in a very interesting, “dense” way, but also acoustic instruments, especially small ensembles recorded without large compression sounded amazingly well. Like a Patrick Noland's piano on Naim's album Peace, or Ed Sheeran on his X. The latter is known to all Hobbit fans, because he performs a song played at the end of Hobbit: Desolation of Smaug (dir. Peter Jackson, 2015). His album combines samples, live instruments known from rock bands and a sound of acoustic guitar. And it is the latter that sounds in a most natural way. Our reviewed amplifier presents it in a fantastic way, adding also a beautiful, close presentation of Sheeran's voice. The sound is clear but also rich and warm. Because that is exactly how this amplifier sounds like it is able to do an amazing thing – it makes recordings that usually sound a bit harsh (for different reasons), sound much better, like Cohen's Popular Problems for example, or Helen Merril's singles recorded with Clifford Brown. It will also deliver a low, powerful, bass with slightly rounded leading edge, but quite a precise decay phase. This device tends to homogenize presentation – it shortens a decay phase, delivers more of instruments' acoustics rather than room's acoustics. So it “transports” performers into our room rather than take us to the performance. A richness and palpability I mentioned before are more convincing due to this way of presentation. Listener does not perceive that as a artificial warmth of the sound, nor as enlargement of the phantom images, but rather as a very intimate presentation that is intended only for him. Despite the fact that it is not a very resolving amplifier, and that it adds additional weight to the presentation, it doesn't force this type of presentation. When one plays a vivid recording amplifier will not change that and will do its thing next to this leading attribute of the particular recording. While listening to the Tears For Fears Songs From The Big Chair album with unforgettable opening tune Shout I did not hear a boomy bass. This amplifier played this album in a bit warmer way with tonality set bit lower than usually, but it did not add more “air”, more openness to the music as many other bass-pushing, warm sounding amplifiers did. It was simply a very good sound, I truly enjoyed it. I also enjoyed a lot the sound of recently released Sonda 2. Muzyka z programu telewizyjnego album, that includes music from the 1980ties used for Sonda TV show. A company, New Sun, that did a mastering of this material coming from multiple composers, musicians and production did a really good job as the sound throughout the whole album seemed consistent. But it was still easy to tell the difference between John Fiddy and Andrzej Korzyński, Krzysztof Duda and Arp Life, and how all these differ from Klaus Weiss. Wow Audio Lab amplifier did not lose those differences and added some richness, warmth and palpability to the sound that made listening to this album even more enjoyable. The headphone amplifier in L1 should easily drive any model of headphones including the most difficult ones to drive I know – the HiFiMAN HE-6. These, if not properly driven, sound bright and harsh. L1 itself offers warm sound with hefty bass and has no problem with driving this load. It resulted in a creamy, deep sound. L1 offered also a fantastic sound when partnered with Sennheiser HD800. The main difference between this device and Bakoon HPA-21 is a closer, richer and warmer sound of the former. There is less ambiance and more of direct sound. I think it might be exactly what some music fans are looking for. With WAL listening to the music via headphones will be a very intimate, personal adventure into world of music. Summary The already cited Masecki said about his play on Bach Rewrite: These concerts were written for harpsichord and orchestra. Harpsichord is not an instruments that over orchestra, so I decided to keep this concept – I wanted to have more of orchestra and less of solo instrument. It's not a cantilena with accompaniment. Anybody who witnessed at least once a harpsichord playing with orchestra is aware of that. This is exactly how, this instrument sounded like in Haendel's Messiah played by Capella Cracoviensis in Congressional Center ICE (Dec 21st 2014) – it was rather quiet and yet clearly audible. It was the first concert I attended in this very special place (more about ICE concert hall HERE) and it was a spectacular experience. Hall's acoustics is fantastic – warm, rich, and yet allowing instruments to sound very clearly. Harpsichord's sound was very clear even though it played quietly. Organs played by Jan Tomasz Adamus, a director and conductor, delivered much louder, more powerful performance. Wow Audio Lab's system with L1 + M1 does exactly the same. It emphasizes rich, dense sounds, takes smoothness to the next level, and enriches what is already rich. Since the tonal balanced is set quite low amplifier offers a lot of high quality bass, which makes music sound more serious, fuller. This amplifier is capable of delivering a good performance from almost any recording, although a powerful rock played by Royal Blood sounded a bit bland, emphasizing a compression introduced to the recording by its producers. Small bands, electronic music, vocal music – these are type of music that should really shine with this amplifier. An amazingly good addition to this set is a headphone amplifier that, as one might say, we get for free, as a bonus. If one likes its sound character there will be no need to buy a separate headphone amp even for the top cans like Audeze LCD-3, or HiFiMAN HE-6. Both devices use exactly the same casings, milled from 6061 T6 aluminum blocks with nicely milled edges. They were designed using CAD, and produced using advanced CNC machines. Two finishes are available: anodized natural aluminum and (less expensive!) „titanium” version. There is a characteristic pattern on top covers, slightly different on L1 and M1, and side wall of the latter were milled in a such a way that they look like radiators. In fact whole casings are used to radiate the heat produced by active elements. The devices sport aluminum feet with a rubber ring on bottom. Similar feet are manufactured in Hong Kong also by Ayon Audio. All information on the casings is placed on stickers – no engravings. This is the only elements that does not quite fit, beautiful otherwise, aesthetics of these devices. Aluminium 6061 T6 Aluminum type 6061 is an alloy of three main elements: aluminum, magnesium and silicon. There are also additions of: copper, zinc, manganese and titanium. These additional elements make up to 4% of the alloy. There are few tempered grades of 6061 and the most popular ones are: T0, T4 and T6. T6 is solutionized and artificially aged. Preamplifier's front side seems to be a more interesting one (it is so for most preamplifiers I know). There is a nice blue display, that allows user to check volume level and active input, a volume control knob and headphone output (6,3 mm large jack). Device allows user to choose a name (like CD, DAC, or DAT) for each input, that is stored in device's memory. On the back panel there are only three sets of RCA sockets – two of them are inputs, one is output. High quality RCA sockets come from CMC. Manufacturer recommends a proper break-in time for this device. A new device should play for 100 - 200 hours before it spreads its wings. WAL is surely not one of these companies that make a beautiful casings for their devices and then fill them up with low quality elements. On contrary – most of the elements that one finds inside are the top ones available on the market (except for NOS elements). One can find there Rifa and Nichicon capacitors, Dale resistors and other, top quality elements. Even PCBs seems to be of high quality with their thick, golden tracks. To look inside one has to unscrew bottom plate of L1. One will see the elements are fixed to the back panel of the device. What's more – a headphone section is larger than preamplifier's. Both sections look like a top class designs. Both sport separate power supplies with Shottky diodes and multiple filtering capacitors, powered by a secondary winding of a large, toroidal transformer, that is shielded in a separate chamber. Volume control is executed by an integrated resistor ladder Burr Brown PGA 2311, that is powered by another, separate power supply. On the front of M1 there is a single blue LED that indicates that device is on. It is placed in a small milled space almost centrally – a similar solution to the one used by Ayre Acoustics. Back panel sports two pairs of gold-plated speaker posts with plastic nuts, and an input - a pair of solid RCA sockets. Since speaker posts are placed in a small recess they are not accessible for spades – one must used speaker cables terminated with banana plugs (manufacturer mentions that in a manual). Also power amp's circuit is sort of „who is who” of audio industry: Toshiba, Snaken, Nippon Chemi-Con, Dale, Rifa and other. Input circuits are placed on small PCB that are plugged via pins to the main PCB. Transistors on these PCB are bound with copper bands – I guess to even temperature levels between them. Sanken transistors drive bipolar Toshiba transistors working in push-pull configuration (two pairs per channel of 2SA1943+2SC5200). All electronic circuits are placed at the back of the device, a large toroidal power transformer is placed in the front, in a separate chamber sealed with additional cover. Each channel gain stage sports its own power supply, with a separate secondary winding; a protective circuit has its own power supply. Specifications (according to manufacturer) L1 PREAMPLIFIER Preamplifier: Frequency response: DC -1 MHz/-1,5 dB Gain: 15 dB Input impedance: 22 kΩ Maximum input level: 4,5 Vrms Maximum output voltage swing: 30 Vpp Headphone amplifier Frequency response: 10 Hz – 300 kHz/-1,5 dB Gain: 16 dB Input impedance: 22 kΩ Maximum input level: 4,5 Vrms Maximum output voltage swing: 75 Vpp Power: • 5,2 W/32 Ω (with protection disabled) • 4,6 W/64 Ω • 3,5 W/120 Ω • 2,1 W/250 Ω • 1 W/600 Ω Dimensions: 240 x 357 x 96 mm | W x D x H Weight: 10,8 kg M1 POWER AMPLIFIER Power (RMS/8 Ω): 2 x 100 W Frequency response: 10 Hz – 150 kHz/-1,5 dB Gain: 27 dB Input impedance: 22 kΩ Dimensions: 240 x 357 x 96 mm | W x D x H Weight: 13,4 kg HELEN MERRIL Hush EmArcy Records/Universal Music LLC (Japan) UCCM-9336/8 Medium: 3 x SHM-CD | Limited Edition Premiere: 1955/Dec 10th 2014 Born in 1930 in New York, Helen Merril is a jazz vocalist, who's carrier has spanned six decades. She has recorded and performed with some of the most notable figures in the American jazz scene. She recorded her first record (Helen Merrlil, Dec 22-24th 1955) featuring legendary trumpet player Clifford Brown. This album was produced and arranged by Quincy Jones. The newly released 3-disc Japanese box Hush includes singles release to this record. Each disc comes in a separate carton mini-LP cover. These come in a single box with addition insert. These are SHM-CDs. Portal „AllMusic” classifies this album as “a classic bop”. Originally this album was released by EmArcy, a division of Mercury Records, and this re-issue was released by Japanese division of Universal Music Company, Universal Music LLC. Discs markings are: EP-1-6103, EPI-1-6104 and EP-1-6105. There is a picture of the singer made especially for the cover of this album. Three discs include all original 7 songs from first release of Helen Merril. There is no bonus material. SOUND People that listen to Nat „King” Cole’s album released by Analogue Productions (as hybrid SACD/CD) are often disappointed by how bright and harsh his vocal sometimes sound. It is even more obvious in stereo version than in mono ones. People who listened to Nat at the time when his albums were actually released, or not much later, got used to his vocal being warm and rich. But the material obtained from mother-tapes and released without correction tells us a different story. People who remember his voice from “good old times” listened to it via radio, or from vinyl records played via single speaker. None of this audio systems really delivered much treble at all. Most of the material recorded at that time, i.e. in the mid-50ties sounds brighter, with more sibilants, with more forward sound. This is exactly how a vocal of Helen Merril sounds like on a discs from reviewed box. There is nothing wrong with that. What is important is richness of the sound, depth of the soundstage, multiple layers of music, and a beautiful tonality caught on the tape. Remaster combines resolution with richness of the sound – such combination is usually attributed to analogue mediums. It offers a great insight into recording, but ta the same time this wonderful sensation of a music's presence in our room. It is a beautiful release offering a high quality sound. It might be exactly what many might expect, as it won't sound “warm”, but it will sound “real”. RE-ISSUE Sound quality: 8-9/10 [hfgallery] [img mini="foto_testy/1501/wow/th/05.jpg" big="foto_testy/1501/wow/05.jpg" src="foto_testy/1501/wow/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/06.jpg" big="foto_testy/1501/wow/06.jpg" src="foto_testy/1501/wow/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/07.jpg" big="foto_testy/1501/wow/07.jpg" src="foto_testy/1501/wow/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/08.jpg" big="foto_testy/1501/wow/08.jpg" src="foto_testy/1501/wow/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/09.jpg" big="foto_testy/1501/wow/09.jpg" src="foto_testy/1501/wow/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/10.jpg" big="foto_testy/1501/wow/10.jpg" src="foto_testy/1501/wow/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/11.jpg" big="foto_testy/1501/wow/11.jpg" src="foto_testy/1501/wow/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/12.jpg" big="foto_testy/1501/wow/12.jpg" src="foto_testy/1501/wow/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/13.jpg" big="foto_testy/1501/wow/13.jpg" src="foto_testy/1501/wow/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/14.jpg" big="foto_testy/1501/wow/14.jpg" src="foto_testy/1501/wow/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/15.jpg" big="foto_testy/1501/wow/15.jpg" src="foto_testy/1501/wow/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/16.jpg" big="foto_testy/1501/wow/16.jpg" src="foto_testy/1501/wow/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/17.jpg" big="foto_testy/1501/wow/17.jpg" src="foto_testy/1501/wow/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/19.jpg" big="foto_testy/1501/wow/19.jpg" src="foto_testy/1501/wow/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/20.jpg" big="foto_testy/1501/wow/20.jpg" src="foto_testy/1501/wow/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/wow/th/21.jpg" big="foto_testy/1501/wow/21.jpg" src="foto_testy/1501/wow/21.jpg" desc="HighFidelity.pl"] [/hfgallery]

t must be a real shock for a company that uses some particular material as a key element for its products when it learns that it won't be manufactured anymore by a single provider. If the whole philosophy of a company, which means its all activity, is based on this single element/material the end of its production/availability might mean the end of this company. It's like to tell a painter that he won't be able to buy his favorite paint, shade or whatever he likes to use to create his art. Trauma! In audio industry something similar could happen to many manufacturers if Philips decided to stop producing Compact Disc CD-Pro2LF transport mechanism, or some manufacturer stopped making some top quality capacitors used in crossovers of top high end speakers. The only thing left to do, assuming that a company wants to keep its business, is to get to work to find new solution. In this particular case of a cable manufacturer such a situation means a huge investment in everlasting trials to find a new material that will allow company to offer to customers a sound still the same in sonic character, and at least equal, or even better in terms of sound quality. Another problem is creating a whole new philosophy. In case of Oyaide, and some other Japanese manufacturers like Acoustic Revive for example, the end of production of PCOCC-A wires meant only one of two things, the end of these companies or a new beginning (on March the 4th 2013, a year before its 130th anniversary, Furukawa Electric announced the end of production of PCOCC wires; more about this story HERE). Satoru Murayama, the general manager of Oyaide Elec. Co., Ltd., chose a new beginning for his company. Oyaide started a cooperation with a Japanese manufacturer of cables and conductors, company Sanshu Electric Wire Company to develop a new kind of wires called Oyaide 102 SSC. Mr Murayama will tell you a story of this new conductor himself. SATORU MURAYAMA Oyaide Elec. Co., Ltd. | CEO CREATING THE ULTIMATE COPPER: Oyaide New 102 SSC Conductor: For many years, we produced our cable masterpieces using a very high quality material made by Furukawa Electric Group called PCOCC-A. It was the basis of most Oyaide cable products and, for us, a source of pride that they were 100% Made in Japan. However, at the beginning of 2013, Furukawa suddenly announced the discontinuation of PCOCC-A. This announcement was earth-shattering news not only for Oyaide, but also for manufacturers worldwide who had come to rely on the high value and dependable performance of PCOCC-A. After deep contemplation of the available options, many of which required unacceptable compromises, we decided that the best course of action was to make our own proprietary, brand new conductor. Taking on this immense challenge is a reflection of the spirit we bring to our creations - to constantly strive to make them the best they can possibly be, while offering the highest value and performance to our customers. With this philosophy in mind, we invested over a year and a half of research and development into our new revolutionary conductor – 102 SSC. We began our journey by digging deeply to define the new concept. We decided that the right approach would be to “produce copper of the highest quality ever made using the most advanced technologies available that would be available without interruption.” The advantages of developing our own custom conductor are many. Previously we relied on available materials such as PCOCC-A and LC-OFC, but we realized that given the changing social situation, the small size of the Hi Fi Audio market and the inefficiency and uncertainty of relying on others’ for critical materials, we needed to create our own “super” copper using more commonly available copper as a base material to insure a long term stable supply. It also allows us to maintain our 100% Made in Japan signature. Finally, by investing in the time and research to produce our own conductor, we have complete control of every aspect of design, quality and ultimate sonic performance. 102 SSC will allow us to further extend our technological lead in the Hi-Fi market. The copper base material for 102 SSC is refined in Japan and conforms to the elite Japanese JIS C1011 industrial standard. Compared to other JIS C1011 coppers, we specified only pure virgin copper that does not contain any recycled material. This eliminates any chance of legacy contamination and impurities. While acceptable performance can be achieved with recycled copper, the extra effort required for using virgin copper produces not only a superior product but also a degree of pride, which comes from knowing we are using the purest possible approach. Even though assay testing reveals no quantitative difference between pure virgin and recycled C1011 copper, we felt that even the remotest possibility of contamination was unacceptable. Our aim is always to achieve the maximum possible performance and never to settle for “good enough”. Our virgin copper base material is delivered to one of Japan’s most advanced wire drawing facilities where it is first rolled into a rod and then brought to a fineness of about 1mm in numerous stages to minimize stress and deterioration of the crystal structure of the copper. In typical copper wire drawing processes, impurities are removed by acid cleaning (pickling). However, the cleaning liquid tends to leave a residue, which affects performance and does not succeed in completely removing all impurities. For our 102 SSC copper, we have instead employed mechanical peeling – a very precisely controlled process that removes 100% of impurities. Our use of this more costly process, rarely seen in audio cable production, demonstrates our commitment to bring you products of the highest possible quality. After mechanical peeling, the wire is annealed to remove all stresses and strains induced by the drawing process. A great deal of skill and dedication went into determining the exact time and temperature specifications required to maintain maximum mechanical strength, highest electrical conductivity, and optimal recrystallization. Commonly used bell type annealing leaves a residue of soot. To avoid this, we adopted ‘in-line’ electric annealing. Test results after this process, show an incredible conductivity level of 102.3 % IACS. This result is the namesake for 102 SSC. After numerous inspections, the annealed copper wire is vacuum packed to prevent any oxidation. It must then be shipped immediately to the fine drawing and stranding facility. We specify that this must occur within two days. It is rare to impose such a strict timetable on shipment of bare copper wire, but we have done so to prevent degradation of the conductor surface. We schedule the process of fine drawing to occur within two days of arrival for the same reason. As a result, our conductor is guaranteed to remain preserved in its purest form between the different stages of development. The standard of precision that we at Oyaide are attempting to achieve may be seen to be beyond all common sense. Our vision was to create a conductor that transcended standard technology and entered the realm of art – a conductor whose quality could be compared in its field with the likes Patek Philippe and Vacheron Constantin in theirs. Key to achieving this was our focus on the basic theory that “most electrical signal travels through the conductor’s surface.” To achieve the quality we sought, we knew that that the facility conducting the fine wire drawing would have to be best in the world. To this end, we engaged Sanshu Electric Wire Company in Aichi Prefecture. Without their highly skilled artisans and their commitment to pushing the limits of what is technologically possible 102 SSC would not have been born. Following the success of our FTVS-510 and FTVS-910 pure silver wires, we imagined applying a similar approach to our new copper wire. Drawing by means of natural diamond dies and use of the ‘skin pass process’ imparts a mirror like finish to our silver wires. (Even though the wire is annealed in an inert gas, some minuscule amount of oxidation remains. Perfect surface dies are used to skim away all traces of oxidation.) We already understood through extensive testing that this level of surface perfection directly results in pure transmission of extremely high frequencies used in digital audio signals but also contributes to perfectly balanced analogue sound signals. Lack of homogeneity of the wire surface will give rise to high frequency noise which in turn reflects negatively on signal to noise ratio and playback accuracy. By applying the ‘skin pass process ‘, a high degree of surface uniformity over the entire length of wire is achieved. In our collaboration with Sanshu Electric Wire Company, we embarked on a quest to improve machining accuracy and the polishing process. Dies normally used in drawing wire are made from synthetic diamonds for cost and efficiency. We adopted the use of natural diamond dies which are far more costly, but which yield more uniform volume reduction with reduced stress and improved lubricity. With natural diamond dies, we can set targets of ± 1μm for the outer diameter tolerance of the wire. This is an incredibly precise specification among wire producers. The adoption of natural diamond dies, and associated technologies to achieve this level of precision in outer diameter are the result of Sanshu Electric’s many years of experience. They are able to monitor tolerances 1,600 times per second over the entire length of a single line of wire. Natural diamond dies are very delicate and require constant maintenance. The inner hole of each die is polished after each operation with diamond powders of less than 1μm. The 102 SSC dedicated dies all have strict maximum limits for time-hours and the distance/length during continuous run. Before being set in place, dies are always checked for wear, cracking and chipping by microscope. If there is any problem whatsoever, they will be replaced immediately. The frequency of replacement is 10 to 20 times that of normal dies, but this is necessary to achieve the level of quality we require. In this way we have created a copper wire whose surface structure is far superior to all others. With our outer diameter accuracy of ± 1μm far exceeding the ± 8μm in JIS C 3102 standards for conventional copper wires, we decided to call our process Special Surface Copper. Thus our special copper, with the world’s finest surface, quality is called 102 SSC. For the final annealing process, to remove stresses induced by fine drawing, custom annealing methods, including optimal time and temperature settings for each diameter of wire produced, were chosen based upon extensive experiments and study. Our long journey to create a new conductor is nearing its end. The final determining factor in designing our new wire is determining the stranding method. At Oyaide, we have adopted many types of wire stranding and cable structures depending on the product type. These include: bunched stranding, concentric stranding, uni-lay stranding, rope lay stranding, cylindrical structure and solid core. We engaged Sanshu Electric’s artisan craftsmen to further reflect on our established methods and together we developed a new, higher-spec technology. For the first time in history, 3E (3 Element) stranding, developed and patented by Sanshu Electric Wire, has been adopted for an audio cable. 3E stranding combines strands of three different diameters to increase the density of the wire by decreasing the spaces between strands. This difficult to achieve stranding is only possible by means of Sanshu Electric’s severe production controls. No other company in the world possesses the skill set required to achieve perfect lay 3E stranding. The result is a conductor with a smaller outer diameter than the same gauge wire made with identical individual strands, plus a more accurate, stable and perfectly circular cross section with uniform strength and super high audio performance characteristics throughout the entire cable production. The extreme care taken in the stranding process is another example of Oyaide’s commitment to excellence, to delivering the highest level of Japanese craftsmanship with pride. Sanshu Electric Wire’s collaboration was essential to the creation of the 102 SSC conductor. By applying extreme focus and deep insight, and by our willingness to depart from common practices we were able to produce an entirely new class of copper. We have received a few cables for a review. I wanted to find out how this new kind of copper behaves in a system – using cables from one manufacturer for all connections in the whole system makes a lot of sense since it allows us to maintain the same tonal character throughout. So I decided to use RCA interconnect Across 750 RR V2, a speaker cable Tunami II SP-B V2 and a power cable Tunami GPX-R V2 in a single test. I compared them with my reference cables, i.e. Siltech Royal Signature Series Double Crown Empress IC, Tara Labs Omega Onyx SC and Acrolink Mexcel 7N-PC9500 PC. But not only with them. Oyaide wasn't the only company affected by a Furukawa decision to cease production of PCOCC-A wires. Another one was also Acoustic Revive. The owner of the latter decided to use PC-triple C copper (Pure Copper-Continuous Crystal Construction) for the new generation of his products. It was definitely a positive change, as you can read HERE. So I compared new Oyaide cables also to the new Acoustic Revive products. Below you will find a description of my tests. OYAIDE in „High Fidelity” INTERVIEW Satoru Murayama | Oyaide – CEO, see HERE REVIEW: Oyaide TUNAMI GPX-R + MTS-4e – power cables + power distributor, see HERE BEST SOUND 2006: Oyaide PR-02, TUNAMI Nigo – interconnect + power cable, see HERE REVIEW: Oyaide PR-02, TUNAMI NIGO – analogue interconnect + power cable, see HERE REVIEW: Oyaide Tunami GPX – power cable, see HERE REVIEW: Oyaide OR-800 ADVANCED – speaker cable, see HERE BEST SOUND 2005: Oyaide STRAIGHT LINE 75AD – digital cable, see HERE REVIEW: Oyaide STRAIGHT LINE 75AD – digital cable, see HERE CRACOW SONIC SOCIETY: meeting #50 - Power (part one), see HERE, CRACOW SONIC SOCIETY: meeting #51 Power (part two), see HERE Recordings used during test (a selection): Abraxas, 99, Metal Mind Records MMP CD 0102, CD (1999). Abraxas, 99, Metal Mind Records/Art Muza JK2011CD07, gold-CD (1999/2011). Aquavoice, Nocturne, Zoharum Release ZOHAR 077-2, CD (2014). J.S. Bach, English Suites 1, 3 & 5, wyk. Piotr Anderszewski, Warner Classics/Warner Music Japan WPCS -12882, CD (2014). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); Ludwig van Beethoven, Sonatas op. 109, 110 and 111, piano: Evgeni Korolov, Tacet 208, “The Koroliov Series Vol. XVI”, CD (2014). Pet Shop Boys, PopArt: Pet Shop Boys – The Hits , Parlophone/Toshiba-EMI TOCP-66252-54, 3 x CCD (2003). Porcupine Tree, The Incident, Roadrunner Records/WHD Entertainment IECP-10198, 2 x HiQualityCD (2009). Queen, Queen Forever, Virgin/Universal Music LLC (Japan) UICY-15347/8, 2 x SHM-CD (2014). Sting, All This Time, A&M Records 212354-2, SP CD (1991). Voice Factory, Voice Factory Sings Chopin a Capella, Voice Factory, CD (2014). Japanese issues available at [REKLAMA5] ACROSS 750 RR V2 + TUNAMI II SP-B V2 Interconnect with speaker cable create a unique pair. I believe I was the first reviewer in Europe who listened years ago to the first versions of Tunami and Across cables and I still remember how well they sounded, how nicely they filled in the whole range without attenuating any part of it. It was a combination of features that in my private book defined a sound of Japanese cables for a long time. My assessment was only confirmed each time I reviewed other brands of Japanese cables. Although truly devoted to „vintage” products, truly conservative deep in their hearts, Japanese keep searching for new solutions, for advancements. Even if they are forced to look for something new, like cable manufacturers in this case, they try to develop a new final, or finished product, rather than something that is average or just good, to use it until they develop final product. This new, final product should offer, obviously, a better performance than a previous one, and not just different. The best example of these efforts are Across 750 RR Vv2 interconnect and Tunami II SP-B V2 speaker cable. Their tonal balance, especially the one of IC, was surprisingly similar to that, of Siltech Double Crown cables. It is a different level of performance, that is hopefully obvious, but the tonal balance, the way it “shapes” the sound, is very similar. It's just like a search for best possible conductivity was a main goal of Mr Murayama, just as it was for Edwin van der Kley-Rijnveld of Siltech and his silver-gold cables. A sound of new Oyaide cables is very rich and dense. Both sound range extremes are slightly rolled off, although it is not that obvious when one just listens to the music. But when one knows what to look for, one will find that out in every recording. A part of the treble seems slightly emphasized. Not much, just a bit so that phantom images seem more distinct, presented closer to the listener. This is a small modification of the sound and it is related also to the lower part of the range. Whatever happens in the back of the soundstage is presented a bit closer, not much closer, but still – that creates closer, more palpable picture. I can easily imagine that in many systems, for many music fan this type of presentation will be exactly a fulfillment of their expectations and needs. The same can be said about lower part of the range. The very bottom is not particularly powerful – I mean the lowest bass below 50 Hz. Everything above is on other hand very energetic which makes this slight deficiency below 50 Hz almost irrelevant. Even my Harbeth M40.1 speakers, with their big woofer, still delivered powerful, rich bass with Oyaide in the system. Only when it came to electronic music, with truly low bass, one could tell that the lowest notes were not as audible as usually. One important remark: that was true when compared to my reference Siltech Double Crown and Tara Labs Omega combination! Most cables behave exactly as Oyaide does, only the best ones (much more expensive ones) offer more. And yet, Japanese cables offer sort of compensation for this small deficiency with its very energetic presentation of bass range that starts right above this lowest part. Bass is also very resolving. Leading edge seems exactly as it should be – not too “edgy” and not too “soft”, and it has nothing to do with a very good clarity of multi-layered soundstage, nor clarity of sounds themselves. Comparing with my reference cables Oyaide did not offer as tuneful, as three-dimensional images. But the moment one takes prices of Japanese cables into consideration their performance becomes absolutely, incredibly good. TUNAMI GPX-R V2 At the first sight the difference between old and new version of GPX-R is not significant. I don't know how, but Oyaide managed to keep a general sonic character of the older version. It makes it possible to combine old and new cables in one system – I checked and they worked fine together. At the same time there are some differences, some accents that V2 puts in different places, which, the longer we listen to it, the more important they become. The most important one is a different sort of presentation. The older version focuses on everything in the foreground. It is still quite resolving but sometimes, in some systems, this might be perceived as a sort of unwanted aggressiveness. It's not a matter of an inherent feature of this cable but rather its interaction with some systems, although the cable itself might provoke such behavior of the system. V2 puts a bigger distance between listener and the foreground of the soundstage, it shows more space around instruments, more “air”. At first one might perceive this type of presentation as less palpable, less “essential” (which I personally don't like). But after a while one realizes that this is actually a more sophisticated presentation. Yes, phantom images are not as big as with GPX-R. But that's the way it is – you get something, you loose something. But the sound is also smoother, with better balanced tonality, no emphasis in the midrange nor in the treble. Both range extremes seem not that energetic but it's a good thing here. It ensures a proper tonal balance. GPX-R V2 offers better performance. It's more sophisticated, smoother, even silky. GPX-R's advantage is richer, more essential imaging. So I can understand why some might still choose the older version. But it is still worth to to give the V2 a chance to find out what direction Oyaide took after this (for them) huge change OYAIDE ACROSS750 RR V2 | 1 m | RCA This interconnect inherits the concept of the original Across 750, that was introduced to the market in 2007. Since then over 10 000 m of this cable was sold. While the name of the model is almost the same V2 is entirely new design. It's a coaxial cable, with a single central conductor with a shielding around it. This central conductor is a multi-stranded wire structure of 102 SSC copper, with wires of different diameter – the idea was to get as much conductor into as small space as possible. Wires are braided together by a special machine in a process called "3 E twisted". Each strand combines wires of three diameters. A design of this cable uses also C.I.S. (Cross Insulated Structure) structure, that allows to eliminate vibration using proper materials and a layer of air. Shielding is made of the same copper – it sports 100 wires of 0,18 mm diameter. Using experience form older model also this time company decided to use a polyolefin, a special polymer, as a dielectric. A color of external jacket was not chosen randomly – it is called „Beluga Caviar” (yes, like the most famous caviar). Cable employs a halogen-free sheath. Cable uses brass, rhodium plated connectors, conductors are soldered with a special audio grade, lead-less solder called SS-47. OYAIDE TUNAMI II SP-B V2 | 2 x 3 m Also the speaker cable was built using 102 SSC copper. The same cable might also be used as power cable, and that is why, according to specification, it can endure a maximum voltage of 600 V and a current of 30 A. It is build of three identical, shielded strands. Two of them conduct signal, the third is connected to the shielding. Each strand consists of wires of different diameter braided together in a 1,15 times tighter way. A polymer, polyolefin, is used as dielectric. Conductors are enwraped with a conductive carbon tape and copper foil. Cable is terminated with proprietary Oyaide SRBN banana plugs made of phosphor bronze bar, finished with silver (internal) and rhodium (external) plating. TUNAMI GPX-R V2 | 1,8 m Oyaide for its power cables used the same cable as for its speaker cables. They terminated PC cables with custom designed plugs manufactured for them by company Nicoon. Model GPX-R sports plug P/C-004 Special Edition, with special cover called „Aspirin Snow White”. These plugs are made of beryllium copper, plated with combination of platinum and palladium. Polish distributor NAUTILUS ul. Malborska 24 | 30-646 Kraków | Polska tel.: 12 425 51 20/30 e-mail: info@eteraudio.pl www.eteraudio.pl [hfgallery] [img mini="foto_testy/1501/oyaide/th/05.jpg" big="foto_testy/1501/oyaide/05.jpg" src="foto_testy/1501/oyaide/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/oyaide/th/06.jpg" big="foto_testy/1501/oyaide/06.jpg" src="foto_testy/1501/oyaide/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/oyaide/th/07.jpg" big="foto_testy/1501/oyaide/07.jpg" src="foto_testy/1501/oyaide/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/oyaide/th/08.jpg" big="foto_testy/1501/oyaide/08.jpg" src="foto_testy/1501/oyaide/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/oyaide/th/09.jpg" big="foto_testy/1501/oyaide/09.jpg" src="foto_testy/1501/oyaide/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/oyaide/th/10.jpg" big="foto_testy/1501/oyaide/10.jpg" src="foto_testy/1501/oyaide/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/oyaide/th/11.jpg" big="foto_testy/1501/oyaide/11.jpg" src="foto_testy/1501/oyaide/11.jpg" desc="HighFidelity.pl"] [/hfgallery]

firstly met Mr Andrzej W. Matusiak in 2006 not long after I started „High Fidelity” (‘W’ in the name is ‘Wincenty’). We „met” via email to organize a test of Audiomatus AM250 ver. R amplifier. It surely required a lot of guts from Mr Matusiak to deliver his creation to me, a guy who wasn't really well known at the time and who's magazine also had only just started. Surely a confidence that a product, an effect of several years of hard work, was good enough, must have helped. It turned out it was not just „good enough”, it was actually a very good product that received a 2006 „High Fidelity” Annual Award. Since that time we have reviewed (I think) all Audiomatus products helping, I would hope, to spread the word about this company and its achievements. Each new product seemed to be a step forward – better performance accompanied with better looks. They all shared one thing in common – a decision that their designer made at the beginning about the way they amplified an audio signal. Namely each power amplifier and integrated amplifier worked in Class D. Today there is nothing special about it – many companies do that – but 8 years ago Class D was something not widely recognized nor appreciated by Audiophile community. Listening test of Audiomatus products indicated a large potential of this solution, and a high quality of Danish Bang&Olufsen's ICEpower modules used by Audiomatus. This impression seemed correct as also other famous brands like Jeff Rowland (Model 201 for example) and BelCanto decided to use the same modules. Today many large manufacturers including such a big names as MBL and Mark Levinson also offer class D amplifiers. But at the time when Audiomatus started, it was based on a conviction of the potential of this, unpopular at the time, solution based rather on listening experience than anything else. It is worth mentioning that Mr Andrzej started experimenting with this technology already in a year 2000, when Audiomatus was founded. In the interview published with my first review of his product he gave me three reasons of his interest in B&O modules: The first reason, that I already mentioned before, was a very interesting result of listening tests of TacT's amplifier, and later also BelCanto's. EVO200.2 was the first digital power amplifier on the market that proved that using simple solution at a reasonable cost, one can build a high quality amplifier. The second reason was market analysis that we'd done that told us that market for such devices should be growing in coming years and that it was a perfect moment to get on board with this new trend and start our own production. Last but not least we knew we could use our knowledge and experience in designing and building switched mode power supplies which used very similar technology, similar elements, and that required almost the same measuring equipment that we already had at our disposal. Well, the man was right! And since he got on board quite early, today he is one of the most experienced designers of „switching” amplifiers. For years Audiomatus manufactured mostly power amplifiers. There were only very few preamplifiers ever offered by them. The first one (or maybe the second, I'm not sure) was PP03. It was a passive preamplifier. Many manufacturers encountered serious problems when trying to create a high quality preamplifier for their class D amps. Mr Andrzej was obviously aware of that as in the already mentioned interview he said: Wed don't plan releasing a preamplifier in the nearest future. We studied this issue, we even built a prototype. But we concluded that designing a preamplifier performing well enough not to limit the potential of our amplifiers would require a lot of time, effort and money […] We have not abandoned the idea though. It is possible that by the end of this year we will present a high quality preamplifier matching our amps with both: looks and performance. The first active preamplifier released was, if I'm correct, the TP 01, that we reviewed in March 2013. So it would seem that development of this project took almost 13 years. When the first one was released next was obviously much easier to develop… A year later Audiomatus released another active preamplifier, called TP 02. The main difference is a different choice of tubes: TP 01 used two 6H30Pi triodes working in parallel (similar solution to that used in Lamm LL1 and Conrad-Johnson CT5), while TP 02 is a classic design based on ECC82 (12AU7A) double triodes with one triode working as as voltage amplifier and the other as cathode follower. This particular model is an subject of this review. ANDRZEJ MATUSIAK Audiomatus | Owner, designer Measurement system During our listening test to chose proper elements for our preamplifier we use Beyerdynamic DT 880 headphones driven by LME49600 audio buffers. Output splitters sport carbon Takman resistors. Our source of signal is a PC with Asus Xonar Essence STX soundcard. For measurements purposes we use another PC with exactly the same soundcard. To avoid problems with ground loops we use a separating transformer for PC. Such a measurement system offers parameters that few years ago were obtainable only with a very expensive AP equipment. Our system is surely less convenient to use – no automatic measurements and it's surely less user-friendly but the several times lower cost of it (compared to professional one by AP) is good enough reason not to complain about convenience. Primary criteria of the project 1. Preamplifier should offer a tube-like sonic performance (but not too much tube-like). 2. Output impedance no higher than 800 Ω. 3. No cathode capacitors. An experience I gained when working on TP 01 preamplifier tells me that cathode capacitors have a strong sonic influence and not a very good one, I have to add. To lower that negative influence one has to use very expensive capacitors which does not seem to be a reasonable thing to do. How we chose tubes for the project When looking for tubes for TP 02 project I assumed that: 1. It would have to be a double triode. 2. It should offer several to 20 times amplification ratio. 3. We needed an acceptable heater negative with respect to cathode of minimum 180 V. 4. A high availability (so current production). 5. Noval tube socket. We knew that since we wanted to use one of triodes as voltage amplifier and the other as cathode follower the difference of potential on both cathodes would be of half of anode voltage – that's why we created a requirement no. 3. This problem can be solved in one of two ways: we could set heater to a ¼ of anode voltage by connecting it to anode voltage splitter. This solution has been known and used for many years. There is one problem with it though. Today there are many devices of dynamic range bigger than 100 dB and using this solution means increasing distortion and reducing dynamics on both: macro and micro level, since we wanted to use full dynamic and microdynamic potential of tubes we had to connect heater with ground and use a tube that fulfills requirement no. 3. All of the above mentioned requirements are fulfilled by two types of tubes: - ECC82 (12AU7A) and all types fulfilling requirement no. 3, - 6CG7 and all types fulfilling requirement no. 3. We started our selection of tubes with finding optimal operating points, based on measurements on listening sessions, for triode with cathode follower, because I assumed that it would be a sonic characteristic of cathode follower that would determine a sonic character of the whole circuit. My expectation of a bit of “tube element” was fulfilled in a better way by cathode follower in ECC82.. I chose capacitors and resistors basing (mostly) on everything I learned when creating TP 01 preamplifier. Than I'd used an experimental circuit based on a single triode of 6H30Pi tube, with grid polarized with voltage from a battery. The anode power amplifier used for TP 01 offered a very low level of noise and a very low output impedance (below 2 mΩ within 10 Hz - 20 kHz range). Such a circuit with a single, very linear amplifying element working with no negative feedback is very “transparent” which makes it a very good tool to assess even smallest modifications of sound introduced by elements. When working on TP 01 I primarily focused on input and output capacitors since I assumed these would have a greatest influence on the sound. For my trials I chose only metallised and foil polypropylene capacitors. I found out soon enough that a price itself of a particular capacitor did not relate directly with offered sound quality. What was more important was rather how particular manufacturer positioned particular model in his offer. This did not concern truly costly capacitors (with prices above 80$ a piece) as we did not even test those. Listening trials were time-consuming since first we had to eliminate obvious problems with the circuit and after we did that it was not easy to tell difference between capacitors. These trials were conducted by two people and we tried to keep them as “blind” as possible. The prime factor we used in our assessment was sound and price was a secondary one. If we couldn't tell two capacitors apart we chose the less expensive one. After we finalized these trials and chose AMPOHM (later this company was overtaken by LCR) FP-CA-AU caps for output and ESA ClarityCap for input, we started out trials with anode resistors. After few rounds of soldering in and out different elements we draw the first conclusion – the biggest influence on sound had NOS carbon resistors that also added a lot of noise to the sound. This noise, low stability and reliability were the reasons why we decided to exclude these resistors from further trials. A side note: I am pretty sure that if in the 1950ties designer had had metallised and carbon film resistors at their disposal they would have never used these “mass' carbon ones :-) Significant noise level was also a reason why we excluded MOX resistors from out tests. Later we eliminated wire resistors, because of how our experimental circuit behaved in upper frequencies. I personally believe that not every circuit that measures well has to sound well, but is is highly unlikely that a good sounding devices does not measure well. Obviously assuming, that one measures what should be measured. Most of us can remember very well a “distortion war” some years ago that resulted in creating some of the worst sounding amplifier ever created. So finally we were left with metalized and carbon film resistors. Of these we chose carbon Kiwame ones. They seemed to be almost sonically transparent, and if there was any influence it was towards a little warmth in sound. Utilizing results of these trials I finally decided to use Kiwame carbon resistors and LCR FP-CA-AU output capacitors. When finalizing our project we realized that there was a problem with output capacitor – the results of out listening trials were not consistent with what we could hear now. We thought that results were different because in TP 01 output capacitor is polarized with a direct current and in TP 02 it worked without such polarization. It is our guess for now that has to be experimentally confirmed. So later we continued our tests to finalize them with a new winner - Mundorf Supreme, that seemed to sound even better than ESA ClarityCap. During our trials for capacitors for TP 01 we thought that it was ESA that was slightly superior sonically. This told us we should always test elements in the circuit we want to use them for. I still had to find the best resistor for inputs triode's cathode. I started with my personal favorites Takmans only to realize that metalized PRP in this particular circuit were slightly better. Choosing a potentiometer was much simpler job, as we could use our experience with TP01 development. At that time our reference, we compared other solution to, was a multi-position switch based on Takman carbon resistors. I tested a well known and highly acclaimed resistor ladder, but the results were not even good. These were unfortunately not, at least at this stage of development, the elements that could be used for a high quality tube preamplifier. I wrote “unfortunately” because these were inexpensive, reliable and easy to use. But the unwanted sonic influence was bigger that anything introduced by capacitors and resistors. Since one of the requirements was a remote volume control, I focused my test on a “blue” and smaller “black” ALPS. They both offered similar sound quality although the “blue” one seemed to sound slightly better. Also measurements indicated that larger pot offered better balance between channels. AUDIOMATUS in „High Fidelity” REVIEW: Audiomatus TP 01 - linestage, see HERE REVIEW: Audiomatus AM400 – monaural power amplifier, see HERE REVIEW: Audiomatus AS500 – power amplifier, see HERE ANNUAL AWARD 2010: Audiomatus AS250 – power amplifier, see HERE REVIEW: Audiomatus AS250 – power amplifier, see HERE REVIEW: Audiomatus PP03 + AM500 R – passive preamplifier + power amplifier, see HERE ANNUAL AWARD 2006: power amplifier Audiomatus AM250 ver. R, see HERE REVIEW: Audiomatus AM250 ver. R – power amplifier Audiomatus, see HERE Recordings used during test (a selection) Zapach psiej sierści, soundtrack, muz. Włodzimierz Nahorny, GAD Records GAD CD 019, „Limited Edition 500 Copies”, CD (2014); ); Alice Coltrane, Eternity, Warner Bros./Warner Bros. Japan 8122-79598-0, “Jazz Best Collection 1000, No. 9”, CD (1976/2013); Depeche Mode, Ultra, Mute/Sony Music Labels, Blu-spec CD2, (2007/2014). Guru Guru, Live in Germany ‘71, Cleopatra Records CLP 6844-2, CD (2011); Kraftwerk, Live on Radio Bremen, Philips 2561971, Bootleg, CD (2006). Ludwig van Beethoven, Sonatas op. 109, 110 and 111, piano: Evgeni Korolov, Tacet 208, “The Koroliov Series Vol. XVI”, CD (2014). Pet Shop Boys, PopArt: Pet Shop Boys – The Hits , Parlophone/Toshiba-EMI TOCP-66252-54, 3 x CCD (2003). Peter, Paul and Mary, In The Wind, Warner Bros. Records/Audio Fidelity AFZ 181, „Limited Edition No. 0115”, SACD/CD (1963/2014). Queen, Queen Forever, Virgin/Universal Music LLC (Japan) UICY-15347/8, 2 x SHM-CD (2014). The Modern Jazz Quartet, Plastic Dreams, Atlantic/Warner Bros. Japan 8122-71068-2, “Jazz Best Collection 1000, Nr 6”, CD (1971/2013); Japanese issues available at [REKLAMA5] Sonic character of a device reproducing recorded music is what defines our long term relationship with it. In other words – if we want to use some product for a longer period of time our needs and expectations and its sonic character have to match. Some features of the sound that we recognize at first often create a sort of a “pattern” in our mind that influences our perception throughout the whole listening session. These sonic features are obviously very important but the general character of the sound turns out to be even more important to our perception. I think there is not other audio device for which this general characteristic of the sound is more important than for preamplifier. This is the real heart of every audio system, even if, in some cases, it seems not to play any sonic role at all. It's basic functions are: volume control and matching source of signal with power amplifier. The secondary functions are: input selection, and sometimes phonostage, DAC and headphone amplifier. Today there is more and more devices that are more difficult to define as they combine preamplifier with music files player, headphone amplifier with preamplifier, and so on. TP 02's is a preamplifier with a very simply primary function – it is a linestage with five unbalanced inputs. One can easily realize that designers focused all efforts on this single function as TP02 delivers coherent and well organized sound. Listener is offered a participation in a musical spectacle, a sound that enters his room. This impression is based mostly on a very deep, powerful, rich lower end. And I mean not only bass but also a lower midrange – bass and lower midrange should be treated in this case as a whole. Writing on particular parts of the range is, in this case, on one hand a bit “artificial”, on the other it should help Readers to better understand the description of the sound. Audiomatus seems to offer a very coherent lower part of the range that smoothly gives over to the midrange. This is why concerts of Krautrock bands like Kraftwerk and Guru Guru, both recorded in 1971 sounded so well. The overdriven, rich guitars, synthesizers, even flute played by Florian Schneider Esleben (Kraftwerk) – all these instruments seemed to be big, rich and powerful. This created a large, in all its dimensions, soundstage. It was a really convincing musical spectacle. I think that such a presentation of lower range will satisfy those who search for richness in music presentation and not only for details. TP 02 does not convey a particularly detailed sound. It focuses more on the music as a whole rather than on details that create it. Not because the presentation lacks details, but the general sonic characteristic of this device suggest perceiving music as a whole rather than going into details, searching for nuances, phantom images' separation and so on. So I wouldn't count on a precise, detailed “picture” of a double bass player. Low sounds are rather warm and bit rounded. Bass is not boomy, not overblown, but it is surely not particularly taut, there is no fast, hard attack. My perception of treble is similar. These are soft, “golden” and slightly rolled of against upper midrange. The latter is slightly emphasized, but since it's upper midrange sound remain open. It seems that if some music fan is looking for a stereotype “tube” or maybe “analogue” sound of percussion's cymbals this is a preamplifier for him. I mentioned “music fan” on purpose. I truly enjoyed Guru Guru and Kraftwerk due to TP02's relaxed presentation of this music, the richness and density of the sound, but it was only the recently released Queen Forever, with, for example, Mother Love or The Miracle that proved that this was a choice that designer had made and not just a coincident. It was a powerful presentation of a musical material that was surely not perfect. Queen's songs sound bit bright and there is no depth to the soundstage due to significant compression of the recorded material. Audiomatus was able to gently modify that with its particularly rich midrange, and this slight roll off in the treble took care of a brightness of Mercury's vocal. Long story short – this album definitely benefited from TP02's sonic signature. Presentation of midrange requires a separate chapter. As I already mentioned its lower part is extremely rich and dense and it smoothly merges with bass. I also said already that emphasis is placed on its upper part, above, say, 800 Hz. So it is hard to call this sound, at least according to stereotype, a “tube-like”. But there are some “tube-like” aspects – wonderful tonality, and musicality. I think that TP 02 was voiced to match best Audiomatus power amplifiers. So most likely it will be a best match for class D amplifiers using Bang&Olufsen ICEpower modules. The above information is an oversimplification as Audiomatus worked very well with my mighty Soulution 710. Still I think that owners of Audiomatus amplifiers, but also of Jeff Rowland's should be more than happy with TP02. TP 02 “lights up” upper range of human voice, or lower range of cymbals, and this particular part of the range is not the strongest part of class D amps – it is often rolled off and not very dynamic. The same can be said about tube amplifiers. Combining these two technologies, often within one device, seems like a good idea. They complement each other. For quite a long time I have not heard any bright sounding class D amplifier. If you have, I'd assume that there is some problem in a particular system that should not be credited to the amplifier itself. One could view a matter of resolution in one of two ways. If one considers precision of placement and detail selection as the key factors, one has to consider purchasing a different device. Audiomatus is not a master of these elements. Its designer chose a different path for it – via wonderful tonality and timbre differentiation and fantastic stereophony. Whatever recording is played Audiomatus will deliver a large scale sound and amazing spacial effects if that's what its producer wanted to achieve, like on Polish group's Abraxas album 99, or Roger Water's Amused to Death. Listener is surrounded with rich, dense sounds, he can hear a lot of details, nuances and so on, that when played by most preamplifiers at this price range are barely audible. In this presentation these are an important part of it. The soundstage ahead of listener is presented in a slightly different way, It is not very wide, what matters in richness of everything in front of the stage. These wonderful spacial effects I mentioned create an impression of a huge soundstage, but in fact they tell us more about space, acoustics, and not particular placement of instruments. Summary TP 02 is a serious product made by serious manufacturer. It offers a “mature” sound, solid casing – it is easy to tell that we deal here with an experienced designer who has a plan and knows how to carry it out. I guess it helps that he can really hear/recognize the sound he creates, and while he does it to fulfill his own need and expectations I bet that many music fans share exactly the same ones with him. This preamplifier offers a rich, warm sound, and its way of presenting treble allows listener to enjoy even not so perfect recordings. There is a slight emphasis in the upper midrange so when choosing speakers one should avoid those that put emphasis in their presentation in the same area. Bass goes down deep, it is rich, powerful, but not as precisely defined as it is by reference devices. Spacing is one of the greatest attitudes of TP02 – soundstage is impressively huge. It is an excellent product made by a man who knows how to put knowledge and years of his experience to use. TP 02 is the best device he created so far, at least among those I had a chance to listen to. TP 02 surprised me with its size and weight. I was used to Audiomatus power amplifiers (Marek Dyba had reviewed TP 01 for HF) so I wasn't prepared for such a heavy weight and dimensions. The front panel is a thick aluminum slab and the rest of the casing is made of steel sheets. Front sports four knobs that reminded me of the 1970ties and a Mark Levinson LNP-02 preamplifier (more HERE). The on/off knob is placed bit atypically, as it is not the first from the left or right, but one in the middle. Next to it there is another, bigger one that allows user to select inputs – there are 5 of these marked with letters (from A to E). On the other side of the front panel there are two more knobs: a smaller one for adjusting balance between channels and larger one for volume control. The latter can be adjusted also using a remote control. Mr Andrzej decided to use not a very handy, programmable one, but it does it job fine. The back back panel reminded me the one of the Audio Research devices, like SP20 for example, or one of Ayon Audio's, like Spheris III, due to installing high quality RCA sockets and placing them far enough from each other to accommodate even largest RCA plugs – one can use any RCA cable with any plugs and there will always be enough space. There are two parallel outputs. Since this is an unbalanced design there are only RCA inputs and outputs. Not only the external design seem very orderly, the internal one also looks this way. Electronic circuits are placed on few circuit boards. Input and output sockets are soldered directly to small board bolted to the back panel. When one looks from the inside, it easier to tell that manufacturer used high quality RCA sockets. Inputs are switched with a small, hermetic relays. Signal from a selected input goes with quite long cable to the front of the device, to a blue Alps pot. Next to it, on the same board, there is quite a large bank of relays that switch resistors used to adjust balance between channels. Attenuated signal goes again with quite a long cables to another circuit board where it is amplified. As most tube based designs also this one is quite a simple one sporting high quality passive elements. One ECC82 for each channel is used to amplify signal. The unit under review used NOS tubes. These sat in solid ceramic sockets with gold plated pins. Tubes are coupled with pot section with Mundorf M-Cap Supreme capacitors, and on the output side with large LCR FP-CA-AU ones. T he resistors were chosen in course of listening tests – these are carbon ones from Kiwame. Manufacturer used also large, high quality Wima caps. Power supply is mounted on two separate circuit boards. They are powered with a solid toroidal transformer made by Polish company Toroidy. It sports two secondary windings: a high voltage one for tubes anode, and a low voltage one for a heater and auxiliary circuits. Both voltages are rectified and regulated. There are four large BC smoothing capacitors. Transformer is bolted to sort of a “platform” as far from tubes as it was possible in a common casing. These two elements should be kept as far from each other as possible. The whole design look really solid, well made and meant to last for a long time – that reminded me a solid job of another brilliant Polish designer, Mr Eugeniusz Czyżewski of Linear Audio Research, a his creations are in this aspect an absolute point of reference for me. The only thing that caught my eye were these long cables form input to pot and back. It is just my guess, but it is possible that getting rid of them by moving pot to the back of the device and using a long ax from the know in the front to the pot in the back could even improve the sound. But first of all I am not a designer, a secondly I don't know the story behind TO02 prototype – maybe Mr Andrzej tried that and found his solution to sound better. Specifications (according to manufacturer) Tubes: a single ECC82 (12AU7) per channel Gain (typical): 7 dB Input impedance: 22 kΩ Frequency range: 5 Hz – 200 kHz (+ 0/-1 dB; @ R load > 20 kΩ) Dynamics (typical): > 106 dB (A-weighted @ 2 V output) THD+N (typical): < 0,1 % (f=1kHz, U output =1 V, R load > 20 kΩ; only second harmonic) THD+N (typical): < 0,003 % (f=1kHz , U output =1 V, R load > 20 kΩ; harmonics above second) Output impedance (typical): 600 Ω (@ f > 1kHz) Balance adjustment: in -1, -2, -3 dB steps Inputs: 5 x stereo RCA Outputs: 2 x stereo RCA Voltage: 220-240 V AC/50-60 Hz Power consumption: 30 W Weight: 10 kg Dimensions: 440 x 126 x 400 mm (W x H x D with feet and sockets) [hfgallery] [img mini="foto_testy/1501/audiomatus/th/05.jpg" big="foto_testy/1501/audiomatus/05.jpg" src="foto_testy/1501/audiomatus/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/06.jpg" big="foto_testy/1501/audiomatus/06.jpg" src="foto_testy/1501/audiomatus/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/07.jpg" big="foto_testy/1501/audiomatus/07.jpg" src="foto_testy/1501/audiomatus/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/08.jpg" big="foto_testy/1501/audiomatus/08.jpg" src="foto_testy/1501/audiomatus/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/09.jpg" big="foto_testy/1501/audiomatus/09.jpg" src="foto_testy/1501/audiomatus/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/10.jpg" big="foto_testy/1501/audiomatus/10.jpg" src="foto_testy/1501/audiomatus/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/11.jpg" big="foto_testy/1501/audiomatus/11.jpg" src="foto_testy/1501/audiomatus/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/12.jpg" big="foto_testy/1501/audiomatus/12.jpg" src="foto_testy/1501/audiomatus/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/13.jpg" big="foto_testy/1501/audiomatus/13.jpg" src="foto_testy/1501/audiomatus/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/14.jpg" big="foto_testy/1501/audiomatus/14.jpg" src="foto_testy/1501/audiomatus/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/15.jpg" big="foto_testy/1501/audiomatus/15.jpg" src="foto_testy/1501/audiomatus/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/audiomatus/th/16.jpg" big="foto_testy/1501/audiomatus/16.jpg" src="foto_testy/1501/audiomatus/16.jpg" desc="HighFidelity.pl"] [/hfgallery]