here is an abundance of crazy, or at least bizarre audio products on the market. Every now and then we got surprised by a new idea delivered by visionaries or madmen (quite often they are the same) – designers who started to think out of the box and by experimenting arrived at, in their opinion, interesting results. Want some examples? All right, how about: Bybee Super Effect Speaker Bullets, or Frank Tchang's Acoustic Resonators, or Shakti Hallographs? From time to time „High Fidelity” tries to find most interesting products of that kind, describe and assess them. But the truth is that we don't care about most of them. One might think that esoteric is our kind of thing, but in fact we keep out feet firm on the ground – if some product works, we write about it, if it doesn't, or we are not sure if it does, we don't write about it. As simple as that. Each time one has to convince oneself to believe a manufacturer of such product – usually either there is some theory behind the product, but there are no scientific proofs to back it up, or if there are some, they are quite “weak” at most. On the other hand sometimes is it worth trying anyway – we might not understand how something works but it doesn't mean that it can't work. Discoveries are often made by an accident and it sometime takes even years to scientifically explain why this discovery works. For thousands of years (true) scholars believed that it was Sun that circled Earth not the other way around, that man could never fly, and so on, and so on. These were not just common people, but the brightest minds of their times. So from time to time if we force ourselves to try something “weird” and get lucky we might discover interesting products after all. My own, personal discovery were products of Japanese company Acoustic Revive (see HERE). I had a chance to assess their products in many different configurations, in different systems, and in most cases the effects of using these devices were similar. So for two years now Acoustic Revive devices have been part of my reference system, and I've treated them as equally important ones as any other, more “traditional” elements of this system. The anti-vibration platforms and cables offered by Mr Ishiguro seem to be “normal” products everybody is used to. But for him the most important products are those developed basing on the research conducted on Tokyo University (that Acoustic Revive cooperates with), even though these products, or how they work is not that easy to understand. These that cause most emotional reaction of audiophiles (and non-audiophiles) are rarely seen in audio systems: Schumann resonance wave generator RR-888, disc demagnetizer RD-3, negative ion generator RIO-5 II (also for CD), quartz insulators called Natural Quartz Insulators RIQ-5010, and also small Natural Quartz Resonators QR-8. Already their names sound bizarre, and when it comes to scientific explanation of how they work.... Audio is a “science” based on experiments – hearing means believing. And it's easier to believe if you meet a man behind such products – just as we did meet Mr Ken Ishiguro, the owner of Acoustic Revive. What we heard during the meeting of Cracow Sonic Society, and the results of the tests I conducted in my own system (see HERE), changed my perception of products that do change the sound of the system, often for better, even though it is difficult to explain why they do it. I am not the only one who's discovered that. There were others like me, before me. Let me name Jeff Day, who obviously loves products of Acoustic Revive (his latest article on the subject HERE). But it's not just him – also editors of “StereoTimes”, and other editors of „Positive-Feedback Online” fell for Acoustic Revive products (see: Sources). What's interesting – all of them discovered also products of a German company – Stein Music. The company lead by Mr Holger Stein that offers a CD Player, power amplifiers, preamplifier and cables is known mostly thanks to their another product – small cubes called Harmonizers. These black (or white) cubes sport a blue LED on the front, and a small toggle switch and knob on the back. A switch turns device on and off (with a Blue LED in front on or off). The knob allows user to adjust “intensity” of this device operation. What it does is sort of room treatment and thus it effects sound of the system. What's inside is unclear – it seems there might be some pulverized crystals immersed in some sort of resin, that are treated with voltage. Theory says about increasing an energy of air molecules in the listening room. Such a „warmed-up” molecules move easier, i.e. they transmit (easier/better) an energy from speakers to our ears. That's a hypothesis, but Mr Holger Stein claims that it actually works. What's more, some other audio manufacturers, like Mr Norbert Mundorf, owner of MCap (Mundorf) company, support this claim. I got used to some crazy theories, and when these are proposed by reasonable people, and verified in practice by others that I trust, I usually decide to give them a try myself. In this particular case it was even easier as all reviewers of Stein products, also use some products of Acoustic Revive in their systems, including RR-777 generator (present model is called RR-888). I also use, on regular bases, the generator and Natural Quartz Insulators RIQ-5010. One might say that I have been “pre-programmed” for this review, even if I totally haven't been sold on the explanation of how Stein Music's product worked. German company offers a few different products, all of them using pulverized crystals used in proper proportions – some of them are “passive”, some are “active” (the latter use voltage). A single set of H2 harmonizers includes two H2 cubes, marked with letters „a” and „b”, two small Black Stones and two stands. H2 are placed around 70 cm above the ground and turned on. You can start with a single H2, placed in the middle between speakers. The next step would be placing two such elements behind speakers, and another would be using four of them – two behind speakers, two behind listener (so that they would be corners of a rectangle). Black Stones should be placed on speakers, on the rack, or on the devices in the system – manufacturer recommends placing them in the corners of the room on the floor. To enhance the influence of H2s one might use two other Stein Music products with it: Blue Diamonds, that should be placed on speakers, and Blue Sun – elements, that should be fixed on walls behind audio system and behind listener's position, slightly higher than a rectangle that H2s create. One can be also placed on the ceiling. A full scale magic, one might say. I decided to follow all recommendations and listen to the full system at once instead of testing particular elements. SOURCES Mike Silverton, SteinMusic’s H2 Harmonizers, Magic Stones and Magic Diamonds. Call This an Unqualified Rave, “StereoTimes”, Dec 2011, see HERE. Dave Clark, Audio Ramblings - The Stein Music Harmonizers, Stones, and Diamonds, “Positive-Feedback OnLine”, June/July 2012, see HERE. Big E, Room For Harmony! Stein Music H2 Harmoniser, Magic Stones & Magic Diamonds, “HiFi Unlimited”, Jan 5th 2012, see HERE. Clement Perry, Steinmusic's H2 Harmonizer, Magic Stones and E-Pads, “StereoTimes”, see HERE. Recordings used during test: John Coltrane, Coltrane’s Sound, Atlantic/Rhino R2 75588, “Atlantic 50th Anniversary Jazz Gallery”, CD (1964/1999). Mal Waldron, Left Alone Bethlehem/Toshiba-EMI TOCJ-9257, “RVG Special Edition”, CD (1959/2000). Lisa Gerrard, The Silver Tree, Rubber Records/Sonic Records SON212, CD (2006). The Beatles, Abbey Road, Apple/Toshiba-EMI TOCP-51122, “EMI 100”, CD (1969/1998). Japanese issues available at [REKLAMA5] Tests of atypical, unusual, even bit suspicious products have to be conducted in a different way than usually. Why? Because testing such products is quite stressful. Even if a person has some experience with such test the way they are conducted might affect assessment. So if fact such test require more time and effort, at least if one wants to get some credible results. In this particular case I tried to minimize a number of variables by using only four selected pieces of music (instead of much bigger number of whole albums I usually used). I knew these four pieces very well, I'd listened to them on many different systems and configurations before. These four tunes were: John Coltrane, The Night Has A Thousand Eyes from Coltrane’s Sound, Mal Waldron, Left Alone from Left Alone, Lisa Gerrard, Space Weaver (Lisa Gerrard and Michael Edwards) from The Silver Tree, The Beatles, Come Together from Abbey Road. To further confirm my observations I also played the last of these four pieces of music to Bartosz, who runs „Music To The People” portal, and News column of „High Fidelity”. I listened several times to short fragments of these songs in series of 5s and 10s. Not to be biased by blue LED on front of H2s, I used a position of toggle switch that turned device on but with LED off. Bartosz listened without knowing when Steins were on and when off (comparing A to B, with A and B unknown). His observations were exactly the same as mine. It turned out that, regardless of the fact that theory behind these products offered by manufacturer wasn't very convincing for me, these products did influence sound and it was really easy to notice. What's more – this influence was repeatable and constant over time. Influence on sound (or on listener – that remains uncertain) is obvious and undoubtedly positive. The changes introduced are always the same, although they manifest themselves in a different way depending of type of music we play. They are different when compressed and not particularly resolving material is played (electronic and electric music) and different when acoustic recordings are played, in my case - jazz. When I played jazz turning Steins off created an effect of sound „collapsing”. It seemed that sound was closing down, “imploding”. Part of the information in treble disappeared, and the soundstage shrank towards the middle of it. With the Beatles and Lisa Gerrard turning H2 off gave a bit different effect. In case of jazz music an influence of turning H2 off was immediate and unambiguous. When it came to this type of music, where any sort of reference could be only from another reproduction, where there could be no “live sound” reference (as the same band might sound differently on different concerts as the sound is “produced” by a sound engineer), it took me much longer to realize what sort of influence there was. But once I figured that out I could hear the same influence each time I played same song. When I listened to these two pieces of music with Steins off, I thought that the sound was more clear, articulated in a better way, deeper and more mature. Everything was presented closer to the listener and it created an impression of more information being delivered. With every following repetition I realized more and more that sound without Steins was clearer, but at the same time it was quite “flat”. Turning H2 on smoothed edges, made the presentation bit darker, but it also improved three-dimensionality of phantom images, and increased richness of the sound. I guess many people, who don't listen to top quality systems too often, when asked to choose could point sound with H2 off as a better one. But it makes as much sense as offering two books written by finalists of this year's Booker's and Nike's Awards to someone who's reading is limited to advertisement column in a newspaper. To assess a sound reproduced in one's room one has to be prepared – hearing can be trained, just as muscles are trained. To achieve certain results one has to perform thousands of repetition of mix exercises. A natural predisposition might be helpful, of course, but learning process is, in my opinion, a key to success. If one knows what to expect from a system, if one has proper experience and reference, one will surely notice that with Steins on music becomes more rhythmic, background become more “black”, and sound becomes more tuneful. One will have to confirm that influence of H2s is unambiguous, repeatable, and definitely positive. Summary For me there is no doubt that Stein system does influence sound of the system. It proves its value even in “blind” tests. I'm not sure why it works, but fortunately it's not my job to deliver an explanation. How significant will an influence on particular system be will depend on the quality of acoustic environment our systems works in. In my room this influence was not that big – I'd rather say “noticeable” and „required” than „breath taking”. Still, it was unambiguously positive. I can easily image rooms with less “friendly” acoustics, where Steins could be as valuable parts of the system as, say, high quality power cables. These are very interesting products intended for systems that already deliver a very good performance, the way we want them to. If there is some problem already within the system they won't “cure” it. Whenever performance is already great, just the way the owner of the system likes it, than Steins, without changing sonic character, can add some more depth, smoothness and rhythm. DESCRIPTION Stein Music Harmonizer System H2 is a black or white cube with a blue LED on front. It is made of lacquered MDF plates. Inside that is a battery holder for four AA batteries with leads leading to a smaller cube fixed to the upper panel. The latter is the key element – it is filled with some pulverized crystals immersed in some sort of epoxy resin. I really liked the design, also packaging is impressive. It shows a rare level of professionalism of the manufacturer. H2 can be mounted on a nice looking although inconspicuous stand with an MDF base and chromed brass pivot. H2 can be also mounted on the wall – proper holders are delivered with devices. It is important that a lower edge of the device is placed 100 cm from the floor. On the back panel there is a toggle switch and a small knob. The former allows use to turn the device on with the front LED on or off. Knob allows you to adjust voltage delivered to crystals, and in effect an intensity of H2's activity. It did not experiment with it – I stuck to recommended “11 o'clock” position. Product is powered from four AA batteries. Power consumption is minimal, so even with Steins turned on permanently batteries should last about two years. Black Diamonds and Blue Sun are enhancing H2's operation. The former is cone-shaped, the latter is more of flower or sun shape. Inside, immersed in epoxy resin, there are some carbon fibers and few types of pulverized crystals “mixed in perfect proportions”. What are these crystals? That's a trade secret of SteinMusic. [hfgallery] [img mini="foto_testy/1501/stein/th/05.jpg" big="foto_testy/1501/stein/05.jpg" src="foto_testy/1501/stein/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/06.jpg" big="foto_testy/1501/stein/06.jpg" src="foto_testy/1501/stein/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/07.jpg" big="foto_testy/1501/stein/07.jpg" src="foto_testy/1501/stein/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/08.jpg" big="foto_testy/1501/stein/08.jpg" src="foto_testy/1501/stein/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/09.jpg" big="foto_testy/1501/stein/09.jpg" src="foto_testy/1501/stein/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/10.jpg" big="foto_testy/1501/stein/10.jpg" src="foto_testy/1501/stein/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/11.jpg" big="foto_testy/1501/stein/11.jpg" src="foto_testy/1501/stein/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/12.jpg" big="foto_testy/1501/stein/12.jpg" src="foto_testy/1501/stein/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/13.jpg" big="foto_testy/1501/stein/13.jpg" src="foto_testy/1501/stein/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/14.jpg" big="foto_testy/1501/stein/14.jpg" src="foto_testy/1501/stein/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/15.jpg" big="foto_testy/1501/stein/15.jpg" src="foto_testy/1501/stein/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/stein/th/16.jpg" big="foto_testy/1501/stein/16.jpg" src="foto_testy/1501/stein/16.jpg" desc="HighFidelity.pl"] [/hfgallery]

o be honest I can't remember how it started. In my own review of Dionysos preamplifier for January 2011 I wrote that I'd firstly learned about existence of Thrax Audio one year earlier during High End 2010 Show in Munich. But now I really can't remember any details. It seems though that I somehow knew already then that it was a brand worth interest. I was the first, or at least one of the first people who reviewed Rumen Todorov Atarski's product (outside his homeland, Bulgaria). For a few years it was also the only review in Poland, as it took few years to find a proper distributor in our country. Since the foundation of this company its core product has always been a linestage – as if Rumen thought that it was a key element of the system (I always thought exactly the same thing) – that is quite a unique approach in audio world. For the first few years all other products were presented always as prototypes. As you can read below, in fact he started his audio adventure by designing loudspeakers. It took him many years before the first model, Lyra, was finally released in 2014. Just like his preamplifier and power amplifiers also speakers are quite a unique design. Last month you could read in “HighFidelity” what a CEO of YG Acoustics, Mr Yoav Geva, had to say about his loudspeakers (see HERE). Not only do they use many interesting solutions for the drivers and crossovers, but also cabinets of their speakers are quite particular, being a key factor in achieving a final sound. These cabinets are made of aluminum slabs using vibration-free pressurized assembly, creating sort of monolith design, that reminds me of products of another American company – Magico. Not more then 5-6 years ago using any other material for speakers' cabinets than wood (in one of its forms or the other) was thought to be eccentric (at best), possibly harmless but having nothing to do with “true” audio. These eccentricities included materials like: glass, concrete and aluminum. Today, after the audio world recognized the amazing Crystal Cable speakers (glass) and both above mentioned manufacturers of aluminum speakers, the general view on what is and what is not the “right” material for speaker's cabinet has changed significantly. Thrax Audio Ltd., a manufacturer of Thrax products, decided to use most rigid, vibration-free enclosures for their products. Based on the experience of other manufacturers, they knew how to do it – it “only” required them to buy crazy expensive CNC machines. So they did. It didn't take long before they had such an advanced machinery and such an experience with using them that some renown European high-end manufacturers started to commission enclosure production to the Bulgarian company. A casing of the new power amplifier, Teres, looks like it was carved of solid aluminum block – the fit and finish is that good. Actually it was made of aluminum plates put precisely together, with outer surfaces of side panels milled in such a way that they look like radiators. This amp is getting really hot under stress as the current mode uses a pair of single transistors per phase. It is a unique design as there are only two gain stages in a cascode: a single penthode C3g in the input stage and JFET followers in the output. C3g is an octal tube with metal body. Input and output stages are coupled with a single transformer. There is no negative feedback loop. When it comes to electronics aluminum casings are very common, even such advanced ones as Thrax's. But aluminum cabinets for speakers are still quite rare. Lyra speakers are the newest addition to Thrax portfolio despite the fact, that Rumen Atarski's first audio project ever was speakers. It is a two-way, three-driver design, with drivers in D’Appolito array. The concept is quite unique because of extraordinary rigidness of the cabinet, very special, aluminum bass-reflex port design, and very special crossover. The latter sports a huge capacitor for tweeter and that's it! Speakers and amplifiers use a high quality, user-friendly Furutech speaker binding posts. RUMEN ATARSKI Thrax Audio | CEO The story of Teres. As you know Spartacus is our statement amplifier, 2 gain stages with Class A push pull output stage. Many people were scared by the exposed tubes and all were requesting a bit more power. So I started working on a circuit that will have a tube controlling a power MOSFET that can replace the output tubes in the Spartacus. Solid state and inductive loads don’t go well tighter and many devices let their gray smoke out. Fortunately for us new devices were introduced to the market that could withstand the high voltages and power required. This gave birth to a unique cascode system for the output. It is still operated at high voltage but not nearly as high as on the tubes. The output transformer used to load this cascode made it sound and behave as a tube amplifier and simplifying the input, as to be essentially a single stage device. So Heros was born. A year later all our dealers started asking for more power and bigger amplifier with the same character. There was no commercially available output transformer of sufficient quality for power above 200W, so the only option was transformer less output stage. This automatically prevented the use of Heros driving system, so I went back to the drawing board. We resorted to the topology of Spartacus again and implemented it in Teres. we use an input tube for voltage gain and a transformer for phase splitting (same as in Spartacus), but here we replace the standard push pull output with 2 totally independent single ended followers based on a scaled version of our cascode. Running them out of phase to each other and sharing the load, forming a bridge that is unbalanced by the phase splitting transformer signal in order to be re-balanced trough the load with a mirror image of the same signal. The output stage has no character of it’s own, so the sonic color of the the tube stage is the overall character of the amplifier. Regarding Lyra. The development started around a driver developed by BMS. It uses a ring diaphragm. It was patented more than 15 years ago. During the research for wide bandwidth horns at Spherovox new profiles with different directivity properties where developed. We just adapted one of the designs for high end audio. It uses a custom “short” version of the driver and the special horn to cover the 1.5k-20k range with an outrageous sensitivity of 112db/W. We use a combination of the horn loading and the High Pass filter to tailor the response of the tweeter while severely attenuating it to mach the mid/bass unites. There is no stress for this driver at ANY level. It practically has lower intermodulation distortion than the amps.! The 6.5” drivers are used only bellow the 1.5kHz crossover. This prevents them from exiting the breakup modes of the magnesium diaphragms. In order to get the perfect time/phase alignment the front panel of the speaker is carved from solid accommodating for the relative positions of the drivers. Geometry is optimized for listening distance of 3.5m. The solid aluminum prevents any vibrations in the enclosure and specially the front. THRAX AUDIO in „High Fidelity” • TEST: Thrax Audio MAXIMINUS + DIONYSOS + SPARTACUS – D/A Converter + preamplifier + power amplifier, see HERE • INTERVIEW: Rumen Atarski | Thrax Audio – CEO, see HERE • TEST: Thrax Audio DIONYSOS - linestage, see HERE Recording used for the 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). Bob Dylan, Oh Mercy, Columbia/Sony Music Labels Inc. SICP-30579, Blu-Spec CD2 (1989/2014). 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). 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); Leszek Kułakowski Ensemble, Looking Ahead, ForTune 0043, “No 031”, 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). Zapach psiej sierści, soundtrack, muz. Włodzimierz Nahorny, GAD Records GAD CD 019, „Limited Edition 500 Copies”, CD (2014); Japanese issues available at [REKLAMA5] Whatever will I write later, whatever assessment will I pass I would like to send a strong signal already now to all electronic music fans, to those who like close, palpable presentation, and to those who expect not a huge space far behind speakers, but a close sphere built around listener sitting in its center: all of you can can search no further. If you can afford this system just buy it and keep it for ever. It is a system of a very strong sonic character. What it offered might not have been exactly my cup of tea, but it did not matter at all. This time I didn't mind at all to fall for something offering quite different qualities from those I usually search for. The quality of the above mentioned sound features is so high that this Thrax system could be exhibited in the Museum of Sound as a perfect example of a high class, sophisticated piece of art. Lyra speakers together with Teres amplifiers build a warm, rich sound that is also amazingly vibrant. This is obvious no matter what recording one plays, no matter what music genre. The precision this system forms the sound with, makes you wonder about choices of other audio designers, in particular those who create loudspeakers. If you use Thrax amps with most of speakers using paper drivers you will realize that they tend to mask problems generated by other elements of the system. Lyra show us that paper, which under certain circumstances sounds warm and soft, is used to mask a roughness, harshness of the sound. I think that these solid, metal cabinets of Lyra speakers work in similar way. If one uses a low distortion, precise drivers in such z high class cabinets they will start to act as sort of magnifying glass providing listener with information about any problems originating from any element of the system. To use that to one's advantage one needs a very well designed crossover and a high class system driving these speakers. Not all manufacturers utilizing paper or plastic cone drivers for their loudspeakers with wooden cabinets do that because they can't do any better. Anybody who knows JBL, Spendor or Harbeth speakers can vouch for that – these “antique” technologies and materials, properly used, deliver outstanding results. But more often then not using them will result in less favorable sonic results. Thrax chose a different, I think most difficult way. There are only very few companies that took the same path and succeeded - YG Acoustics and Magico are best examples. Thrax system produces similar results. Anybody who claims that transistors produce a “cold” sound, and metal cabinets and drivers deliver a “dry” sound, has really no knowledge of the audio industry and audio products. If he based his opinion on particular products, these particular products must have been faulty and not the technology or solutions. The latter offer particular benefits, have some flaws of their own, but are surely not a bad choice – only a particular application might be wrong. Was it because of elimination of cabinets resonances, or usage of amazingly linear C3g tube, (whose cousin, C3m, I knew from some other top products), or most likely due to many elements working together, these speakers create a dense sphere made of air, sounds, details that surrounds listener. If only recording we play allows that. Because when we play a recording that was made in such a way, that we perceive sound as coming from far behind speakers, than Thrax allows the sound out of this sphere. That's how the latest Piotr Anderszewski CD recorded in Warsaw with J.S. Bach's English suites 1, 3&5 from Warner Classics, sounds like. I have a version of this recording released in Japan. This type of production focuses on a soloist presented quite close to the listener, but it does not create a “wow” effect as there are not so many other sounds coming from sides or from behind us. It is not a very lively sound. Thrax system did not try to “light the presentation up”, didn't try to deliver the very essence of the music, it simply conveyed the recording in a way it had been made proving why other recordings, like Anderszewski from Carnegie Hall sounded better. Quite a different result we shall achieve with recordings where some spacial spacial effect were used, were out of phase sounds were used to create an impression of sound coming even from behind listener, These recordings create an impression of surround, multi-channel sound. There are quite a lot of such recordings. The best ones were prepared using the Q-Sound system, like, for example: Roger Waters' Amused to Deathor Sting's Soul Cages. There are also some Polish interesting recordings of that kind. I really like the group Abraxas so I often listen to their album 99. They are representatives of so called art-rock (progressive rock), and this particular album was recorded in 1999 by Jacek Gawłowski, who received a Grammy Award in 2014 for Włodek Pawlik's Night in Calisia. For that album he was involved as a producer and a mastering engineer. He was also involved in a project of re-issue of first four Czesław Niemen's albums. Anyway, on 99 between tunes there are additional pieces of music that include very special spacial effects. The reviewed system recreated those spacial effects in an amazing way. I have not heard any multi-channel system (regardless its price level) that came even close to Thrax's performance. Bulgarian system delivered extremely rich sound, surrounding me continuously, without and division for front and back sounds. This system will present in a very interesting way also some recordings that are usually not “liked” by most audio systems. I mean those recorded with microphones placed very closely to instruments, mixed from multiple tracks, usually as multi-mono – this actually means 99% of music material that's been produced for many years now. For example – the latest Leonard Cohen's album, Popular Problems. System delivers the foreground very close to the listener. It is a large scale, rich sound so it creates an impression that we sit in the first row, just in front of the stage. This manner of presentation was even clearer when I listened to Voice Factory album with Chopin's music, sang (a Capella) by NOVI Singers (album comes from GAD Records). Microphones were placed so closely to singers that it created an impression of a very small distance between listener and singers standing in my room. The reviewed system provided also information about quite aw realization, not so perfect voiced were taken by microphones placed very closely. Tonal balance is set quite low. Speakers deliver very clear, rich sound, with bass going really, really deep. The lowest octave is “indicated” mostly with higher harmonics, but these are delivered in almost perfect way which creates an impression that we listen to much larger speakers and the we can really hear even lowest notes. Treble seems warm but also very vibrant. Cymbals sound seems bit darker than in reality, even slightly darker than delivered by my Harbeth speakers. But there is no “rounding” or “softening” of leading edge. It's a rare combination – sound are not “lightened up”, and yet the decay phase is rich and long enough. The key element of this presentation is midrange though. Many good things can be said about deep bass and rich treble, but they both seem to only complement midrange that is amazingly rich and complete. Images are not precisely depicted as they are presented very close to the listener. Their energy is extraordinary though. Sound is quite energetic despite the fact it is also quite warm. This particular set of features should satisfy all fans of music I mentioned before, plus fans of electronic music. I believe that if Tadeusz Łuczejko, whom I met a few days earlier (a musician, member of Aquavoice, an organizer of Gorlice Ambient festival could have listened to his album Nocturne on Thrax system, who would have loved it. The sound was very essential, rich, mature but also very pure. Summary I have defined a potential owner of this system at the very beginning of this text. Thrax does not like compressed signal, as it decreases scale of the sound, and creates an impression of the whole sound coming from area in axis in front of the listener. It does happen even with well produced recordings like Porcupine Tree's The Incident. The whole structure of the music seems to fall apart, there is chaos instead. Thrax doesn't forgive that. Classic recordings with a lot of air BEHIND performers (and above them) tend to be re-interpreted as the foreground will be shown closer to us and there will be less of the air in a distance. Also phantom images won't have a real depth. But if one listens to the music I mentioned before sound will be amazingly palpable. It will fulfill expectations of those who search for a rich, clear and close sound rather than presented in a distance. Depth of the sound in outstanding and I am sure that one could credit low-distortion drivers and resonance-resistant (coloration free) cabinets for that. Make and finish is top class. Also elements used for both products are of top quality. Rumen Atarski developed a system he can be proud of. TERSE Teres is a monaural power amplifier. It is a hybrid design, with C3g penthode (in triode mode) in the input stage and transistors in the output stage. According to Rumen Atarski there are only two (!) gain stages. What's more, input stage (tubes) are loaded with transformer – it is the large cube in the middle of the casing. Behind it there is only a second cascode gain stage based on JFETs and MOSFETs. Developing a device based on such a simple concept requires a lot of time and effort. At least if sound quality and good measurable parameters is what we want to achieve. Teres is uniquely simply design. Input section is placed on a PCB bolted to the back panel of the device. It includes almost complete power supply section for C3g. Power transistors are placed inside two small aluminum boxes. These have a shape of a section of cylinder. They are bolted to the sides of the device and they produce most of the heat one can easily feel after turning Teres on. In the middle there is a large toroidal transformer and two large smoothing capacitors. On top of them designer put a small board with SiC Shottky diodes. This material called carborundum is used in many top designs, one of them being SPEC Corporation Designer Audio REQ-S1 EX phonostage. Amplifier sports RCA and XLR inputs, but the device works in an unbalanced mode. Signal is balanced in coupling transformer. The whole circuit is controlled by a microprocessor that sits on separate board and sports a separate power supply. Teres works without negative feedback. LYRA Lyra is a two-way, three-driver monitor. It sports a vented enclosure that is made of aluminum plates screwed together. Also bass-reflex port is made of aluminum. A mineral wool was used for internal damping. Drivers are screwed to the front baffle from inside, so the screws are not visible. A solid aluminum carved front panel incorporates a horn with specific directivity and frequency response. Its shape was developed by a company Spherovox. A ring diaphragm compression driver was custom built by German company BMS. Two mid- lowrange magnesium diaphragm 6,5'' woofers work together. These look like top line SEAS drivers. They sport a magnesium membrane and copper phase plugs. They work below 1,5 kHz. Loudspeaker sport a puristic crossover of the 1st order, built of the most expensive elements including Mundorf silver capacitors and a huge coil. Even speaker posts were chosen to achieve the best sound quality – these are the same posts that are used in amplifier - Furutech FT-816. The only thing these speakers miss are matching stands. For now any solid 70cm stands should be fine, but since these are high-end speakers they will show any problem with accompanying system including low quality stands. Specifications (according to manufacturer) TERES Inputs: • 1 x RCA • 1 x XLR Power: • 250 W/8 Ω • 350 W/4 Ω LYRA Frequency response: 34-20 000 Hz Nominal impedance: 4 Ω Maximum power: 250 W Dimensions: 210W x 385D x 520H mm Weight: 35 kg/PC Finish: black or silver, anodized aluminum Sensitivity: 90 dB [hfgallery] [img mini="foto_testy/1501/thrax/th/05.jpg" big="foto_testy/1501/thrax/05.jpg" src="foto_testy/1501/thrax/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/06.jpg" big="foto_testy/1501/thrax/06.jpg" src="foto_testy/1501/thrax/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/07.jpg" big="foto_testy/1501/thrax/07.jpg" src="foto_testy/1501/thrax/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/08.jpg" big="foto_testy/1501/thrax/08.jpg" src="foto_testy/1501/thrax/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/09.jpg" big="foto_testy/1501/thrax/09.jpg" src="foto_testy/1501/thrax/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/10.jpg" big="foto_testy/1501/thrax/10.jpg" src="foto_testy/1501/thrax/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/11.jpg" big="foto_testy/1501/thrax/11.jpg" src="foto_testy/1501/thrax/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/12.jpg" big="foto_testy/1501/thrax/12.jpg" src="foto_testy/1501/thrax/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/13.jpg" big="foto_testy/1501/thrax/13.jpg" src="foto_testy/1501/thrax/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/14.jpg" big="foto_testy/1501/thrax/14.jpg" src="foto_testy/1501/thrax/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/15.jpg" big="foto_testy/1501/thrax/15.jpg" src="foto_testy/1501/thrax/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/16.jpg" big="foto_testy/1501/thrax/16.jpg" src="foto_testy/1501/thrax/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/17.jpg" big="foto_testy/1501/thrax/17.jpg" src="foto_testy/1501/thrax/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/18.jpg" big="foto_testy/1501/thrax/18.jpg" src="foto_testy/1501/thrax/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/19.jpg" big="foto_testy/1501/thrax/19.jpg" src="foto_testy/1501/thrax/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/20.jpg" big="foto_testy/1501/thrax/20.jpg" src="foto_testy/1501/thrax/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/21.jpg" big="foto_testy/1501/thrax/21.jpg" src="foto_testy/1501/thrax/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/22.jpg" big="foto_testy/1501/thrax/22.jpg" src="foto_testy/1501/thrax/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/thrax/th/23.jpg" big="foto_testy/1501/thrax/23.jpg" src="foto_testy/1501/thrax/23.jpg" desc="HighFidelity.pl"] [/hfgallery]

s I already mentioned once (in the review of Wow Audio Lab L1/M1 amplifier), Audio Show in Warsaw is a place for me to collect information. Not necessarily about the sound but rather about brands, products and people. But I always welcome a nice surprise, I mean a really good sounding system. Such a system, such a presentation is usually awarded by us by Best Sound Audio Show. Such an award in 2014 was given to a system that included a product of a British company Trilogy Audio, and one can find it mentioned next to their hybrid integrated amplifier 925 on company's website. To be clear – this system, with this amplifier delivered truly delightful presentation during Show, so the Award was no coincident. Trilogy was founded in 1992 by Nic Poulson and from the very beginning power supplies of their devices received special attention from designers. This might be obvious today, but at the time power supplies were rarely at the center of interest of audio equipment designers. Nic knew what he was doing – his professional background (working for BBC, designing runway lighting systems and others) gave him enough knowledge and experience to ensure that. Since power supplies were that important for him it was a natural move to start another company that would focus its activity on designing devices and accessories improving a quality of a current fed to audio systems. And so he was a co-founder of a company called Isotek. Little is known about reasons but Nic left Isotek in 2001 to start his own company ISOL-8. It's a sister company to Trilogy Audio. If you take a look on Trilogy's webpage you'll surely notice that there seems to be a few blank years in company's history between 2001 and 2008. It seems that it was a period of hibernation for this company. Before that Trilogy offered tubes based devices. And then, in 2008, they came up with the first hybrid design, and integrated amplifier called 990. After that new products were launched but it seems that it never has been done in hurry. A phonostage, 907, was launched in 2010, a headphone amplifier, 933, in 2012. 2013 was a year when a new hybrid integrated came to life - the 925. It is a fully balanced design, with a preamplifier section based on two double triodes 6H6Π. As one can read on manufacturer's webpage, these particular Russian tubes were chosen for their “high transconductance and very high linearity”. A carefully optimized servo ensures the tubes operate perfectly symmetrically. The output stage works with no negative feedback loop and it's based on two types of transistors – MOSFETs and bipolar ones. The former operate only within the first watt, in class A. The latter operate up to few watts also in class A and then they start to work in class AB, in push-pull mode. The device looks really solid. Operating it is something nerds will love. After turning the amplifier on one has to input a unique PIN before one can start to listen to the music. The amplifier has a sophisticated monitoring system to maintain safe operation at all times. Temperatures and critical voltages report to a dedicated microcontroller. Proprietary formulated algorithms monitor output current against time and frequency with great accuracy. This enables reliable discrimination between DC faults or demanding musical conditions, providing excellent protection but avoiding unwanted shutdowns. Despite the fact that it is a classic integrated amplifier it is also a user-friendly one. User can label inputs and set a sensitivity of each of them separately to equalize different signal levels from different sources. Settings of volume and channel balance are stored in device's memory so the next time device starts it uses the same settings. Remote control allows user to change phase, but it can be set also in amplifier's menu. A proprietary external communication interface, TAS link, allows 925 to communicate with outside world and other Trilogy devices. A real time clock provides multi event, seven day system that allows user to pre-programm an activity of the amplifier: it can turn on or off the device at set time on any day of the week using TASlink. User might use this system to turn the amplifier on some time before listening session, thus allowing a warm-up time. A sleep function provides power down after a selected period of user's choice. Other Trilogy products can be "Named" via TAS link for status monitoring and remote control. Any intelligent features will then be available for use or monitoring via the 925. A wide range of user programmable defaults are possible, including setting the home page display and PIN protected control menu locking. This amplifier was used as a part of my reference system, and additionally with the Compact Disc CEC CD5 Player, that was used also as a DAC receiving signal from a PC. As a power cable I decided to use the Crystal Cable Absolute Dream. Along the amplifier user receives a small, plastic, not particularly nice looking remote. If one wants something better it's an optional purchase – a very good looking, user friendly Personal Remote Control (PRC). I believe that it is an integral part of the 925 experience so one should simply add it to the bill – one shouldn't regret it. NIC POULSEN Trilogy, ISOL-8 | CEO From a designers point of view an integrated amplifier has a lot of advantages from a sonic point of view. You can keep the signal path really short and the current loops nice and tight. You can often miss out an extra stage of amplification compared with a pre-power combination too. The only area where you have more restrictions is the physical size, you have to package everything in one chassis. That gives you a ceiling for output power because you need to shift the heat of the output stage and you have a size limit on the power supply. I didn’t want this restriction to limit the every day performance of the amplifier at all, so we made the 925 as good as it could possibly be within its power envelope. I wanted the amplifier to be fully balanced, even right through the output stages and drive to the loudspeaker. Some amplifiers claim to be balanced, but they get converted to single ended somewhere along the signal path. The signal positive and signal negative are never tied to ground in the 925. This keeps big currents out of the vital ground reference and the whole signal path is fully symmetrical. The gains in small signal resolution and dynamic composure are worth the extra complication of doing everything twice; once for the positive phase and once for the negative phase. It also means we could do absolute phase inversion as a feature. I observed long ago, that if everything else is equal, zero feedback amplifiers have better musical flow and less listening fatigue because the harmonic structure of the amplifier varies less under the different drive conditions the music demands as it plays. The input stage uses a pair of 6H6П triodes for Class A voltage gain and the output stages use our unique MOSFET and bipolar topology for current gain, so the amplifier has no overall feedback. Recordings used during test (a selection) Filia Praeclara, wyk. Ensemble Peregrina, Divox CDX-70603, CD (2008). Legend of St Nicholas, wyk. Anonymous 4, Harmonia Mundi France HMU 907713, CD (1999). Miracula. Medieval Music for Saint Nicholas, wyk. Ensemble Peregrina, Agnieszka Budzińska-Bennet, Tacet 213, CD (2014). Western Electric 300B Vacuum Tube Sound, ABC Records HF1043, “HD Mastering”, CD (2012). Bemibem, Bemowe Frazy, Polskie Nagrania MUZA/Polskie Nagrania PNCD 1096, “Polish Jazz DeLuxe”, CD (1974/2007). Blood, Sweat & Tears, Child Is Father To The Man, Columbia Records/Audio Fidelity AFZ5 195, „Limited Edition No. 0115”, SACD/CD (1968/2014). Bud Powell, Jazz Giant, Norgran/Verve Records/Universal Music Japan UCCU-5062, „Jazz The Best No. 62”, CD (1956/2003). Count Basie, Count Basie Live at the Sands (before Frank), Warner Bros. Records/Mobile Fidelity MOFI UDSACD 2113, “Special Limited Edition No. 0197” SACD/CD (1998/2013). Cream, Disraeli Gears, Polydor/Universal Music LLC UICY-40023, Platinum SHM-CD (1967/2013). Eric Clapton, Pilgrim, Warner Bros. records Inc/Audio Fidelity AFZ 188, „Limited Edition No. 0115”, SACD/CD (1998/2014). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); Miles Davis Quintet, Relaxin’ With The Miles Davis Quintet, Prestige/Universal Music LLC (Japan) UCCO-40005, Platinum SHM-CD, (1958/2013) Japanese CD editions are available from [REKLAMA5] Some reviews are more difficult than others as they bear even more responsibility. Like this time. Trilogy 925 is a “statement” product of Nic Poulson, he dedicated his entire life to get to this very moment, to create this product. So writing about it means a lot of responsibility. For such a review to have a proper “weight” for Readers and Manufacturer it has to be informative to give a proper sense about what this product is and what it offers, but it also has to include, subjective obviously, assessment. An assessment based on knowledge and experience of the reviewer. At least that's my approach to reviewing based on what I expect, as a reader, form other reviewers. Yes, every month I read a lot of reviews from different magazines – just as I did 20 years ago when I heard the word “audiophile” for the first time. In fact in this particular case review was that hard to conduct, as Trilogy amplifier is a remarkable device. It is quite pricey but if you're not ready to spent 5 times more money on another system, then ‘925’ is a no-brainer. Obviously one needs to realize what one gets in this “package”. There are other great choices available – fully solid state amps like Mark Levinson No.585, or Accuphase E-560, or some great tube amplifiers. These are also fantastic designs offering top performance that might appeal to a particular person more than what Trilogy has to offer. But the whole audio “art” is about matching – all the element of the system has to match, and the system as a whole has to match its owner's expectations, needs and so on. Once one find the ONE device that offers an amazing experience of listening to the music, that brings incredible amount of enjoyment, then one can't help but thinking – how could have I lived without it before? It was very clear to me at the very beginning of the first listening session with Trilogy what kind of system one could build with this amplifier. Later all I had to do was to clarify some details. This is one of these cases where it is an amplifier that can be the most expensive element of the whole system. When it comes to building an audio system I tend to be an agnostic, I guess. Although I'm a pragmatic person too – when something works, it means it's good. One could build a system around a source of choice, or around speakers, or amplifier. In ma particular case amplification (power amp and preamplifier) cost 5 times more than speakers and source altogether. It wasn't planned, it just happened while I was developing a system for a particular person, for myself. Trilogy opens for its owner a similar path of development. It is a device with a soul, with a beautiful soul. All that is left to do for its owner it to choose other elements of the system offering similar set of sonic features. In this case, so when it comes to particularly sophisticated performance adding on even more sophistication will never hurt. It will only intensify the best features of the performance. One of the key elements of this performance is an outstanding differentiation this amplifier delivers. It is this type of differentiation the “supports” understanding of played music. It is not about bringing more details to the surface. Surely they are all there, nothing's lots or hidden. What you get is an impression that all these details serve a purpose of emphasizing interactions between sounds, instruments and planes. Lots of details presented as a way of making distinction between different elements of the music doesn't work well, it separates elements of music. Trilogy delivers plenty of details, lots of information, but they all are there to serve the “bigger picture”, to serve the music. Tonal balance is very accurate so it's not really a “warm”, neither a “cold” sound. If you put a gun against my head to make me choose I'd probably say: slightly “warm” rather than “cold”. But one gets this impression not because the leading edge is soften, or roll-off of treble, but because of how rich and dense the sound is. That's probably what makes most recording sound so well with this amplifier. At least as long as they make some “musical sense”, if there is something more to them than just a “surface sound”, if there is some depth in them. That is why I enjoyed so much Bemowe frazy by Bemibem. This record was originally released in 1974 and recently it was remastered by Ms Karolina Gleinert. It's a fantastic recording, also because Tomasz Jaśkiewicz, who had left Niemen's band three years earlier, played a guitar there. I knew that this recording offered a very interesting sound but with Trilogy it was only a second time (the first was with my own system) that I could fully realize how great it was despite recording's own limitations. Next to amazing richness and wonderful treble, British amplifier correctly presented not that rich bass, and slightly “rustling” midrange. But listening, right after that, to new Audio Fidelity remasters of Blood, Sweat & Tears and Eric Clapton, I couldn't help but admire the quality of Polish producers. Especially considering the quality of equipment they had to work with. Both American recordings offered slightly smothered attack and decay phase, but also deeper sounding vocals. Sounds delivered by this amplifier (assuming it's supported by well-matched system) materialize in front of the listener with a wonderful, black background. Such a performance recreates all aspects of the recording including instruments' acoustics, room's acoustics, tonality, and non-musical effects caught on the recording, making it sound amazingly real. So what would be a well-matched system? There are several options. If the budget is limited and you can't spend a 50.000 PLN per system's element, I would recommend spending most of your budget on Trilogy 925. Next step – speakers. I have to “first choices” here - Harbeth M30.1, or Graham Audio LS5/9. Or some other similar design. As for power supply – the choice is obvious: 925 for designed to work best with ISOL-8 products and that's the best recommendation. Other cables could also come from UK – I'm thinking - Tellurium Q should do a great job here. If you're vinyl fans I can see two options. The basic one would be Kuzma Stabi + Stogi S. That's a beautiful, wonderfully sounding turntable. If the design is too modern for you another choice would be the Funk Little Super Deck, a deck that was a part of a system awarded by us during Audio Show 2014. But if you could spend more than Avid Acutus SP should be a great choice. If digital source is your choice that a natural partner for Trilogy could be (coming from the same distributor) Lumin T1 or (more expensive) S1 music server. If you are, like me, CD aficionados, than the CEC CD5 might do a trick – don't be fulled by its price! Later you could always purchase the Aurender X100L music server and hook it up using USB input in CEC. Summary Considering its price I can't really see anything that could still be improved. Even with double the price tag I'd still have to think really hard to point out some space for improvement. It's easier for me to define Trilogy's sound by comparing it to my, costing over 300.000 PLN, reference amplification. When compared head-to-head they delivered similar performance in terms of tonality and impressive, TNT-like dynamics. My Austrian-Swiss tandem, that I am so proud of, creates deeper, more palpable images, and is able to differentiate textures even better than 925. But switching from my system to Trilogy clearly shows that there is no huge gap between their performances – my system is simply slightly better. The only obvious advantage of my system is its ability to create significantly deeper, more natural soundstage. Trilogy builds a wonderful soundstage too, but it is more focused on whatever is going on in the front of the stage. Model 925, a pinnacle of Mr Poulsen's professional life is an outstanding device. It's a fabulous design, one of the best I've ever seen, and it delivers glorious performance too. As for and integrated amplifier it's not particularly big, looks good and is user-friendly. I gave you a recipe to build a top performance system around it. If you can afford it you could also build a much more expensive system around 925, with other elements even from a 100.000 PLN price range, or even more. It seems as the sky is the limit for this remarkable integrated. It is pure high-end, an amplifier for a life-time… Trilogy 925 is a device created by an experienced designer for people, who want to feel special and require a certain level of convenience when using their special devices. So 925 is not another “big box” that user has to fight all the time to get it working. It is a rich-feature, customizable, user-friendly integrated amplifier. Let's start with colors of its casing. It is made of high grade aluminum and offered in one of five colors: „Sunburst Yellow”, „8C Red”, „Mediterraneo Blue”, „Nero Carbonio” and „Iron Grey”. These fancy color names try to describe a particular color in the best possible way and, you have to admit it, they also sound cool. There is another British manufacturer who uses similar strategy – Roksan (also from London). Their K3 series devices are offered in colors like: „Opium” (dark brown), „Anthracite” (silver) and „Charcoal” (black). Casing is build up with aluminum elements – thick slabs and extra-thick radiators. Front panel seems minimalist so it is hard to believe that a manual for this device has a form of a thick book. It is so because the device is highly customizable. Also all safety guard are very elaborate. Apart from many commonly used customizable settings like changing inputs' label, changing phase, or display deeming, Nic Poulsen thought about many other useful features. Amplifier is equipped with a “real time” clock that allows scheduling certain activities of the amplifier so each day of a week. Amplifier, or the whole system (when using TASlink), can automatically turn on or off according to pre-programmed schedule. One can program the amplifier to turn on some time before planned listening session, so that when time for session comes amplifier/system is already warmed up. An access point to the whole menu is a large volume control knob, that is also used to operate menu in conjunction with three small buttons. The large, red, readable display is very helpful too. The back panel sports an abundance of sockets. There is a clear division between right and left channel. There are three balanced inputs – there are Neutrik XLR sockets. The whole amplifier is a balanced device. The output stages are arranged in a bridge configuration and large currents are kept out of the system ground. There are also three single ended inputs with very solid sockets that look as they might be coming from Mundorf. Same manufacturer (most likely) delivered solid speakers posts. 925 sports also a pre-out (RCA). Next to it there is an Ethernet (RJ45) port, used for communication between Trilogy devices using TASLink protocol. You can always try connecting 925 with devices from other manufacturers – there is still a chance that they will be able to communicate despite different brands. Amplifier is delivered with ISOL-8 power cord and it was used during this test. Inside one will find even more elements from Mundorf, like polypropylene capacitors coupling preamplifier section with output stage. 925 is a hybrid design with tube input stage, and solid-state output. Tubes in the preamplifier section are Russian 6H6Π (6N6Pi), at the first glance quite similar to popular 6H30 Π (6N30Pi), used, among many other devices, also in my Ancient Audio CD Player. There are two NOS triodes working per channel, manufactured in Soviet Union in Nowosybirsk. Output stage is a Nic Poulson's proprietary design. It combines advantages of MOSFET and bipolar transistors. The output devices are configured to operate in a high bias state, giving a generous envelope of Class A operation. The relatively high dissipation, in conjunction with the high thermal inertia of the heatsink, keeps the devices in their optimum operating condition and improves sound quality. The fast, agile FET only operates within the critical first watt region. The bipolar transistors then seamlessly contribute high current when music conditions demand. It reminded me of the Devialet that sports a small, analogue amplifier operating in class A, combined with a powerful class D amp. Trilogy uses two analogue amplifiers though. Signal's path is very short. Three fully balanced and three single ended rear panel inputs are switched via instrumentation grade ruthenium plated relays within millimeters of the rear panel connectors. A separately selectable auxiliary loop is provided. In addition, a 3.5mm jack on the front panel allows portable sources to be connected quickly and easily. A carefully selected audio grade digitally controlled potentiometer provides volume control and balance in 1.0dB steps. Conventional extruded heatsinks display strong resonant signatures and have been rejected in favor of custom, machined solid billets of aluminum. Each weighs in excess of 5kg. Their high mass and irregular form provide outstanding mechanical and thermal stability for the output devices. Trilogy 925 sports three power transformers. One supplies output stage, one preamplifier, and third logic circuits. The power transformers are mounted on a thick machined plate of K-material (same one is used inside ISOL-8 power conditioners). This high metal, low resin content composite has excellent mechanical properties and superior self damping to metal. It provides additional damping and stiffening of the non magnetic chassis too. K-material is also used for the feet, providing the optimum interface between the 925 and the equipment support. Custom (Mundorf?) Trilogy reservoir capacitors smooth each channel of the output stage DC and valve HT supplies. This is an outstanding piece of engineering. All aspects of the design were carefully thought through. While the signal's path is extremely short the rest of the circuit is very complex, just like in my Soulution 710 power Specifications (according to manufacturer) Rated power (@ 8 Ω): 2 x 135 W Input impedance (single ended): > 42 kΩ Input impedance (balanced): > 84 kΩ Distortion: Less than 1% A weighted at rated output Frequency response: 10 Hz-50 kHz (+/- 0,5 dB) Input sensitivity: 600 mV RMS (for rated output) Dimensions: 445 x 430 x 127 (WxDxH) mm Weight: 20,5 kg YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? JOIN US ON TWEETER: UNIQUE PHOTOS, UP-TO-DATE INFORMATION, NEWS!!! [hfgallery] [img mini="foto_testy/1502/trilogy/th/05.jpg" big="foto_testy/1502/trilogy/05.jpg" src="foto_testy/1502/trilogy/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/06.jpg" big="foto_testy/1502/trilogy/06.jpg" src="foto_testy/1502/trilogy/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/07.jpg" big="foto_testy/1502/trilogy/07.jpg" src="foto_testy/1502/trilogy/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/08.jpg" big="foto_testy/1502/trilogy/08.jpg" src="foto_testy/1502/trilogy/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/09.jpg" big="foto_testy/1502/trilogy/09.jpg" src="foto_testy/1502/trilogy/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/10.jpg" big="foto_testy/1502/trilogy/10.jpg" src="foto_testy/1502/trilogy/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/11.jpg" big="foto_testy/1502/trilogy/11.jpg" src="foto_testy/1502/trilogy/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/12.jpg" big="foto_testy/1502/trilogy/12.jpg" src="foto_testy/1502/trilogy/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/13.jpg" big="foto_testy/1502/trilogy/13.jpg" src="foto_testy/1502/trilogy/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/14.jpg" big="foto_testy/1502/trilogy/14.jpg" src="foto_testy/1502/trilogy/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/15.jpg" big="foto_testy/1502/trilogy/15.jpg" src="foto_testy/1502/trilogy/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/16.jpg" big="foto_testy/1502/trilogy/16.jpg" src="foto_testy/1502/trilogy/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/17.jpg" big="foto_testy/1502/trilogy/17.jpg" src="foto_testy/1502/trilogy/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/18.jpg" big="foto_testy/1502/trilogy/18.jpg" src="foto_testy/1502/trilogy/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/trilogy/th/19.jpg" big="foto_testy/1502/trilogy/19.jpg" src="foto_testy/1502/trilogy/19.jpg" desc="HighFidelity.pl"] [/hfgallery]

n October 2013 Mr Michał Jurewicz, a Polish engineer, USA resident, founder and owner of Mytek Digital, when discussing future plans of his company mentioned that he was planning to release few new models for a professional market, but also for home audio one (A few simple words…, „High Fidelity”, Oct 16th 2013, No. 114, see HERE). Only a few months later, in May 2014 during HighEnd Show in Munich we had a chance to witness an European premiere of the newest Mytek product, a digital-to-analogue converter and headphone amplifier in one body called Manhattan. Mr Adam Bielewicz, a person responsible for Mytek's operations in Poland (Mytek manufactures its products in Warsaw; Warsaw's facility also hosts a large part of Mytek's R&D), told me then that a new DAC was in part similar to the STEREO192-DSD DAC, with some enhancements, mainly in power supply section, and in a different chassis. The external design of the latter is very distinct. If you saw Sex in the city TV series, and later two theatrical films, especially the second part, one look at the front panel should be enough (Sex and the City, HBO, 1998-2004). My wife noticed that immediately and commented that: “this thing would match my ball dress nicely”. And I guess that was the idea of people who created this design – it was supposed to raise positive feedback, positive associations, and it works very well. It is a technologically advanced device, but its creator made sure it wouldn't be just another “boring” audio product. A front panel, a thick, aluminum plate, looks like a snake's skin or like sequins (depending on whom you ask). I would say: hammered paint, but – as I already said – it depends on whom you ask. Side panels are finished in the same way, and an aluminum plate constitutes a top cover. The inside chassis is made of steel, so in fact the whole chassis is made of two different metals. It, according to manufacturer, helps to keep diminish mechanical resonances. The total weight of the device is quite impressive - 8 kg and it's placed on four spikes. Also functionality of DAC was improved. It is a D/A converter, analogue preamplifier and z headphone amplifier in one body. It is a fully balanced design that sports both, digital and analogue inputs. Digital inputs accept PCM signals of sampling frequency of 44,1 to 384 kHz (DXD), but also a Quad DSD256 (11,2 MHz). It is a significant change compared to STEREO192-DSD DAC. Signal might be up-sampled either in PCM domain to 24/192, or in DSD, up to Quad DSD256, although this option will be available in the near future. At the time of the test PCM up-sampling to 192 kHz and DSD to DSD128 were actually available. There is plenty of inputs, not only USB and S/PDIF RCA but also AES/EBU, Toslink, SDIF, FireWire 400/800, and one for external word clock. This device might be used also a as preamplifier. A digital and analogue volume control (selectable in menu) are at user's disposal. It is also a headphone amplifier. There are two headphone outputs on the front panel, both driven by high current amplifiers. Due to the analogue volume control Manhattan can act as an analogue preamplifier in a system, with three analogue inputs (one of them is balanced). In the near future one more option will be available. There will be an additional board with MM/MC phonostage available and, upon request, it will replace one of analogue inputs. Mytek was created mostly with hi-res files playback in mind. Mr Jurewicz though, had worked on DSD decoder for Sony, and thus he had a lot to do with SACD format. Hence another optional function that might be installed in Manhattan – a ST optical inputs, one for signal, other for word clock, that will accept signal from EMM Labs or Playback Design SACD transports. MICHAŁ JUREWICZ Owner, chief engineer The demo unit of Manhattan you have received for a test still uses the first version of menu that derived directly from Stereo192-dsd-dac. One of our goals is to create new, more intuitive, or user-friendly menu for our new DAC. One of the new features will be more intuitive detection of active inputs. We are working on a new solution for hardware up-sampling to DSD256, that in an interesting way “improves” DAC's performance. This enhancement will allow us to bypass interpolation filters that are implemented inside DAC chip which will mean a simplification of signal processing that in turn will result in a “purer” signal. We plan to release these new features beginning 2015 in a form of firmware update. At the same time we should be ready with two optional boards for our DAC – one with ST input that will allow connection with SACD transport, a bit later a second one which will be a high quality MM/MC phonostage. MYTEK in „High Fidelity” 2013 YEARLY AWARD: Mytek STEREO192-DSD DAC – D/A Converter/headphone amplifier, see HERE TEST: Mytek STEREO192-DSD DAC – D/A Converter/headphone amplifier, see HERE Manhattan was created mostly with fans of music files playback in mind, at least I think it was. And not just any files but rather hi-res ones. So the key digital input has to be a USB 2.0. I delivered signal to this input from Auralic Aries, that was connected to Liksys WAG320N router and it played files stored on Synology DiskStation DS410j, with four HDD, 2 TB each, configured as a UpnP server. During this test I used also Lumin L1 (2 TB). I used Acoustic Revive LAN-1.0 PA cables with RLI-1 (see HERE) filters. As an alternative source of signal I also used my HP Pavilion dv7 laptop, 128 SSD + 1 TB HDD, 8 MB RAM with JPLAY software player. Two other sources: Ancient Audio Lektor AIR V-edition (transport Philips CD-Pro2 LF) and Lumin S1 sent signal to Mytek via coaxial input using Acrolink 7N-DA6100 Mexcel digital cable. I placed Manhattan on Franc Audio Accessories Ceramic Disc and used Siltech Royal Signature Series Double Crown Empress RCA cable for connection to my system. While evaluating its capabilities as headphone amplifier I decided to use following cans: Audeze LCD-3, HiFiMAN HE-6, Sennheiser HD800, Ultrasone Edition 5, AKG K701, AKG K271 Studio. I used Bakoon HPA-21 headphone amplifier as my reference device. Recordings used during 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). 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). Depeche Mode, Ultra, Mute/Sony Music Labels, Blu-spec CD2, (2007/2014). Eno/Moebius/Roedelius, After The Heat, Sky/Captain Trip Records, CTCD-604, CD (1978/2007); rip z CD. Lars Danielsson & Leszek Możdżer, Pasodoble, ACT Music, ACT 9458-2, FLAC 24/96; Led Zeppelin, Led Zeppelin (I), Atlantic/Warner Music, WAV 24/96 (1961/2014). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (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). Stan Getz/Joao Gilberto, Getz/Gilberto, Verve/HDTracks, 24/96 FLAC (1964/2009). Japanese issues available at [REKLAMA5] 1500 USD for a recently released LP box seems a lot, crazy lot even. And that's what one has to pay on British Ebay for Pet Shop Boys box called Electric Signed Numbered Limited Edition Box Set. By if you're a fan who knows exactly what he pays for then the price seems a bargain. It is a very special, limited edition prepared by The Vinyl Factory of Electric album, with each song pressed on one side of 12'', 45 r.p.m. fluorescent vinyl, packed in a special, acrylic, also fluorescent box. It was released in a series limited to 350 copies, all signed by Neil Tennant and Chris Lowe, and it and the whole quantity was sold within 48 hours (more HERE), despite the fact that original price was 500£ (plus shipment). The visual, aesthetic form of this edition is astonishing. Needless to say its predecessor, the YES box released in 2009, is displayed in the British Design Museum and received the Most Collectible Product of the 21st Century award from „Record Collector” magazine. As fabulous its graphic form was, the sonic side wasn't that good. The vinyl edition sounded quite good, but (and the same goes for a digital release) compared with other recordings of electronic music (Daft Punk) sound lacked richness and “weight”. So in fact it sounded similar to any other “regular” release of this group, or any other recordings of electronic music recorded in the same period. Such issues with sound quality Manhattan started to report right after it received a signal from the Electronic album by Electronic duet. This, as we would call it today, synth-pop supergroup released its most important pieces on their debut album called Electronic in 1991. The group was founded by the vocalist and guitarist of New Order, Bernard Sumner, and by Smiths ex-guitarist, Johnny Marr, and for this album they invited members of Pet Shop Boys. For another album, Raise the Preassure (1996) they invited Karl Bartos, a former musician of Kraftwerk. This album sound in a similar way to most of releases from the same period and even a luxury, two-disc edition from 2013 that was remastered didn't change that. My problem is that I like this type of music, and I like musicians who participated in this recording. This was a problem because Mytek DAC calls things by their names. So whenever a tonal balance was shifted, Mytek delivered just that. Whenever recording sounds harsh, you won't hear anything different using Manhattan. Mytek's devices are used in many recording studios so I can't really understand how it is possible that recordings of such sound quality as Electronic, or thousands of others produced nowadays, can be released by those studios. The only explanation is, that sound engineers really WANT their recordings to sound this way. Maybe it is not about sound engineers being deaf (although in some cases we can't exclude that possibility), but rather about a choice made by producers, or labels. Anyway Manhattan is a very precise, offering a "high fidelity” if you will, and it presents exactly what you feed it with. The leading edge is really fast, precise, there is no softening of the sound, no rounding on the edges, it doesn't try to sound warm which is usually “achieved” by attack and treble softening. Having said that, I need to say that Mytek can sound warm and rich. But it delivers such a performance using other means than most competitors, like, for example, Nirvana Battery Dubiel Accoustic CD Player. A comparison of the performance of the very modern, advanced technology used in Mytek, with signal delivered by the last in Philips history, CD PRO-2 LF CD transport, and with 1985 Philips CDM-2 combined with TDA1541 DAC was truly fascinating. Nirvana delivered warmer, more liquid performance, I mean “richness” of the sound resulted in a better „flow” of music. But its sound wasn't particularly resolving nor differentiating. And it was clear that leading edge was somewhat softened and not as fast as delivered by Manhattan. DAC developed by Mr Jurewicz is able to deliver warm sound if: a) that's how the played material sounds like, b) system, we used it in, offers proper tonal balance. This is an amazingly resolving device and its musicality is based of this feature. By musicality I understand its ability to deliver not only sound, that is a sort of outer shell, but also to get through to the inside layers of music. Sounds have to create a certain patter in front of our ears to create an impression of a live event, something that would allow us to forget that whatever we hear is not real, is not happening in front of us. That's exactly how Mytek presented a mono version of Miles Davis' albums played from both, Blu-spec 2 CD, and a hi-res, 24/192 files. There was an amazing depth of the soundstage, fantastic separation, and impressive selectivity. Presentation has a big scale with large phantom images. Images had proper size and palpable body. Peter, Paul and mary's In The Wind and Frank Sinatra's Songs for Swingin’ Lovers! sounded as impressive. Listening to Leonard Cohen's latest album, Popular Problems turned out to be particularly interesting. Mytek showed me very clearly how the voice of he vocalist was recorded: a microphone was placed very closely, lots of compression was used, and a long reverb was added too. But Mytek was able to nicely present well recorded accompaniment, and a work that producers did to combine these two parts of the recording together. One of the remarkable characteristics of Manhattan is is ability to combine outstanding selectivity with coherence of the presentation, of the “big picture”. Most of highly resolving devices, including ones designed for professional market, are not able to deliver such a coherent presentation focusing on presenting tons of details that don't come together to create a coherent picture. In result what they offer is a chaos. Mytek is very unique product this way. It always delivers context, not just sounds, it combines all the elements into a coherent whole, it delivers music, and not just sound. I already mentioned an impressive depth of the sound. It is particularly difficult to achieve when playing mono recording, because it's difficult to “cover up” the lack of depth of such recordings. Mytek creates an impressive depth of the soundstage, nicely differentiating following layers, planes of soundstage. There is no homogenization of the events happening further away from the front of the soundstage, they are still nicely differentiated. What helps is a clarity of upper midrange, but not only that. Usually this element is that good when a jitter is very low (there is a direct relation between one and the other), and in this particular case jitter level must be really low. Another element that helps is a phase coherence and I guess that's another of Mytek's multiple assets.. Two headphone output on the front panel are there not just for show. Mytek's engineers worked really hard to make sure that these headphone outputs would be able to drive any cans. In fact with the +6 dB gain setting Manhattan was able to drive even HiFiMAN HE-6. This headphone amplifier has its own, distinct sonic character. It is very fast, transparent, but it doesn't not create such large images, and doesn't offer such a dense sound as the DAC while playing in my stereo system with speakers. Although with Sennheiser HD800 tonal balance is bit lower, and with Audeze LCD-3 sound was even creamy, but in general with most cans tonal balance was slightly shifted up. That's why I liked it a lot with AKG headphones, with K701 for example, but also with K271 Studio (with Oyaide cable). Such a setup will deliver truly enjoyable performance, resolving, without any harshness in sound (these with HE-6 were not acceptable). If one requires more from one's headphone setup one has to consider purchasing a separate headphone amp from at least 3000-4000 PLN price range. Mytek Manhattan, despite its outstanding transparency, has its own sonic signature. But we have to remember that there is no such thing as as a device without any sonic character. In this particular case sound was no as palpable as my personal reference digital devices like Accuphase DC-901 and Reimyo DAP-999EX Limited. But also my Lektor AIR V-edition CD Player and previously mentioned Nirvana Battery, are able to create deeper, more palpable, more “within a reach” images. It's a well known audio paradox and manufacturer's conscious choice – in the real world sound are not that palpable, as when delivered by audio system. But a closely placed microphone, and the microphone technique in general, promote more distinct separation, more saturated tonality, more precise localization. These elements should compensate for the lack of image that delivers a lot of information when we witness a live performance, including those that deliver information about spacing and imaging. Mytek delivering more distant presentation is a matter of its creators choice. Also the way Manhattan present bass is worth noticing. It is very tuneful and powerful. Presentation is never “light”, size of the soundstage is never an issue, neither is a size of phantom images, as these are based on a above mentioned great presentation of a low range. Both above mentioned DACs and my Ancient Audio Players, offer better extended bass, and deliver even more energy there. I don't mean level/volume of bass but how energetic it is. Mytek does a good job, offers a nicely defined bass. But there is still room for improvement. Summary Regardless of how a signal will be delivered to Manhattan, it will deliver an orderly, well thought-through sound. Not to bright but selective and tuneful. Hi-res files, especially DSD ones, seem to offer slightly “softer” sound, more open, with more air. For me though, a classic CD transport still has some advantages, like coherence and liquidity of the sound. But still both sources combined with Mytek will deliver high quality sound. Its sonic character is quite opposite compared to such devices as Nirvana Battery CD Player, Reimyo DAP-999EX Limited DAC, Vitus Audio DAC and Player (see HERE), Audio Research (see HERE) and emmLabs/Meitner (see HERE). There are much more similarities between Mytek and Accuphase (see HERE), Esoteric and CEC. Impressive set of features, appealing looks and relatively (as for its high-end performance) low price make this device an attractive candidate for a digital “heart” of any system. And on top of that in the near future its user will also be able to feed it with a signal from SACD/CD transport via ST link. A potential of this device as a D/A Converter is simply amazing. Most of the companies that manufacture professional audio equipment, whose priorities (when designing a device) are reliability and functionality, have problem to adjust to the requirements of audiophile's market segment. With that said, I can't help but admire guys from Mytek who really thought things true and came up with truly appealing look for their new device, while improving chassis rigidness and vibration damping qualities at the same time. The main chassis is made of thick, steel slabs. Then the outer “shell” of nicely finished, aluminum plates was screwed on on top of that. Middle of the front panel there is a large, easily readable dot-matrix display, with large, white dot making up all the writings. It's brightness is user adjustable. It displays information like: an active input, selected output (headphones or loudspeakers), signal's sampling frequency and a type of signal. Additionally an information about a selected digital filter is also displayed. Push-buttons are not easy to find as they are finished exactly the same way as the whole front panel. These are used to select input and to move around in device's menu. A small pot works as volume control, but it is also used to change some settings in menu. There are two, 6,3mm headphone outputs at the side of the front panel. There is an abundance of connectors on the back on the device. There are RCA inputs, two USBs (there is a separate 2.0 one that requires driver installation to work properly, and the other one is just 1.1 standard), but also a FireWire 400/800 port. The latter has been used for years in professional studios for signal transfer from a computer, but it seems its popularity has been decreasing in recent years. It allows an asynchronous transfer of PCM signal up to 24/192 resolution, and of DSD signal. Also optical TOSLINK and electrical AES/EBU (XLR) are available. USB 2.0 input accepts PCM signal up to 32 bits and 384 kHz, and DSD up to DSD256. There are also two BNC inputs, that can receive a DSD signal (SDIF, up to DSD256). Additionally there are sockets that allows synchronization with an external word clock. In the middle of the back panel manufacturer placed analogue outputs: a balanced XLR, and single ended RCA. There are also three analogue inputs including 2 x RCA and 1 x XLR. The whole electronic circuit works on a single PCB. Half of space inside chassis is occupied by a power supply with two fully shielded toroidal transformers – one for digital section of the device, other for analogue. 50W each. Digital processing is performed by few chips including: Xilinx Spartan and Alter Cyclone III. The latter is a FPGA, that was programmed by Mytek. Next to it there is a D/A conversion circuit with ESS Sabre 32-bit ES9080 chip in 8-mono to 2 stereo configuration. Mytek decided to use a precise Femto Internal Clock Generator (1ps jitter). Despite that signal is additionally re-clocked in a separate anty-jitter circuit. Signal might be up-sampled either in PCM domain (up to 192 kHz) or in DSD one (up to DSD256). I/U conversion, filtering and buffering are all executed by chips, but their names were wiped out so I can't tell their models. There are two methods of volume control (user selectable). A digital one he output level is controlled by a digital 32 bit fader prior to conversion. It controls the main output or headphone output simultaneously. And an analogue where the output level is controlled by a programmable analogue fader with 1 dB steps. Headphone Amp is a High Current, High Slew Rate ultra low distortion 1600mA Hi-Fi dual mono design with 0.25 Ohm impedance and with gain selector switch. Volume control may be bypassed. There is a space on the back panel for future (optional) add-ons. One of them will be a board with ST sockets that will allow user to use an external emmLabs or Playback Design SACD transport. The second option will be a high quality MM/MC phonostage. Manufacturer includes a small Apple remote control, but also some other, universal remote might be used. Chassis is equipped with four isolation spikes. You might want to replace them with some more advanced feet like Franc Audio Accessories Ceramic Discs for example. Specifications (according to manufacturer) Conversion: 32 bit, PCM up to 384 kHz, DXD, DSD64-DSD256 Dynamic range: 130 dB THD (DAC): -110 dB Digital outputs: • S/PDIF, AES/EBU, Toslink, all working up to 24bit/192kHz • Fire/Wire 400/800 – up to 24/192 + DSD • USB – PCM up to 32/384 kHz + DSD up to DSD256 • 2 x BNC – DSD up to DSD256 Chassis: 1U Dimensions: (H) 50/66 (incl. feet) x (W) 431 x (D) 300 mm Weight: 8 kg YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? JOIN US ON TWEETER: UNIQUE PHOTOS, UP-TO-DATE INFORMATION, NEWS!!! [hfgallery] [img mini="foto_testy/1412/mytek/th/05.jpg" big="foto_testy/1412/mytek/05.jpg" src="foto_testy/1412/mytek/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/06.jpg" big="foto_testy/1412/mytek/06.jpg" src="foto_testy/1412/mytek/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/07.jpg" big="foto_testy/1412/mytek/07.jpg" src="foto_testy/1412/mytek/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/08.jpg" big="foto_testy/1412/mytek/08.jpg" src="foto_testy/1412/mytek/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/09.jpg" big="foto_testy/1412/mytek/09.jpg" src="foto_testy/1412/mytek/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/10.jpg" big="foto_testy/1412/mytek/10.jpg" src="foto_testy/1412/mytek/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/11.jpg" big="foto_testy/1412/mytek/11.jpg" src="foto_testy/1412/mytek/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/12.jpg" big="foto_testy/1412/mytek/12.jpg" src="foto_testy/1412/mytek/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/13.jpg" big="foto_testy/1412/mytek/13.jpg" src="foto_testy/1412/mytek/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/14.jpg" big="foto_testy/1412/mytek/14.jpg" src="foto_testy/1412/mytek/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/15.jpg" big="foto_testy/1412/mytek/15.jpg" src="foto_testy/1412/mytek/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/16.jpg" big="foto_testy/1412/mytek/16.jpg" src="foto_testy/1412/mytek/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/17.jpg" big="foto_testy/1412/mytek/17.jpg" src="foto_testy/1412/mytek/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/18.jpg" big="foto_testy/1412/mytek/18.jpg" src="foto_testy/1412/mytek/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1412/mytek/th/19.jpg" big="foto_testy/1412/mytek/19.jpg" src="foto_testy/1412/mytek/19.jpg" desc="HighFidelity.pl"] [/hfgallery]

ynaudio belongs to the top loudspeaker manufacturers in the world – that's exactly what one could read in press information released for the premiere of two models from Contour S Limited Edition line, a floorstanding model, Contour S 3.4 LE and a compact one, Contour S 1.4 LE. This type of statement is a classic PR. But in this particular case of this Danish manufacturer this happens to be true. All you have to do is to comb through audio magazines issued in the last, say, 10 years, to realize how Dynaudio's portfolio changed over the years. These changes were based on a need of refreshing the offer, which is a marketing requirement, but also on actual advancements and improvements Dynaudio engineers accomplished during this time. Dynaudio is a conservative company, at least when it comes to introducing new lines. These change only rarely, and even if they do it is clear that there is a strong connection between new models and older ones. Maybe that is why this manufacturer tries to keep lines' names, changing only markings for particular models in the line. That's what they did with Confidence line. Two years ago they presented models marked “II” and “Signature” during High End Show in Munich. Same happened with Platinum and last year we reviewed Confidence C1 Platinum. I think this type of changes is what initiated a release also of two new models from a lower, Contour line. To distinguish them from regular models manufacturer added „LE” („Limited Edition”) to their name. “LE” is usually used for electronics, rarely for speakers, and it means that particular version will be available for a limited time. The LE speakers were presented during High End 2014. The first thing most people will notice is their look, which is more similar to Confidence line. It is offered with unique finishes like: Bubinga High Gloss, Walnut Special, Mocca High Gloss and Black Piano Lacquer with a steel front. The drivers' die-cast aluminum baskets are finished with a black color and so is the front panel all drivers are fixed to. Only the Black Lacquer version sports a silver front baffle that is made of stainless steel. The front baffle is on one had a decorative element (and it really works this way!), but on the other it also has its actual job to do improving working conditions for drivers. This front plate has three layers – MDF, damping material and a steel plate. The key changes were made inside the speakers obviously, as some elements directly responsible for sound quality were upgraded. The same tweeter was used, as in regular version, but with addition of Precision Coating (Dynaudio does it also for Confidence line). The internal wiring uses high-quality, thick OFC copper cable, and the crossover sports special Thin Film Ceramic Resistors for treble section, same ones that were used for Consequence Ultimate Edition and Confidence Signature. The mid- lowrange woofer sports a diaphragm made of MSP and extremely light aluminum coil on a Kapton coil former. We received these speakers for a review with dedicated Stand4 stands. Speakers were screwed to he top plate of each stand. Despite the fact that these stands can be bought separately one should remember that they were designed to work with these particular speakers. DYNAUDIO in „High Fidelity” TEST: Dynaudio CONFIDENCE C1 PLATINUM + Stand4 – shelf speakers, see HERE TEST: Dynaudio CONFIDENCE C1 SIGNATURE + Stand4 – shelf speakers + stands, see HERE TEST: Dynaudio FOCUS 340 – floorstanding speakers, see HERE BEST SOUND HIGH END 2011: Dynaudio FOCUS (new) 140 – loudspeakers, see HERE YEARLY AWARD 2011: Dynaudio FOCUS 260 – floorstanding loudspeakers, see HERE TEST: Dynaudio FOCUS 110A – active loudspeakers (as part of a system), see HERE TEST: Dynaudio FOCUS 260 – floorstanding loudspeakers, see HERE TEST: Dynaudio SPECIAL TWENTY-FIVE SIGNATURE EDITION – shelf speakers, see HERE TEST: Dynaudio DM 2/6 – shelf speakers, see HERE TEST: Dynaudio AUDIENCE 52 SE – shelf speakers, see HERE TEST: Dynaudio Excite X16 – shelf speakers, see HERE TEST: Dynaudio FOCUS 140 – shelf speakers, see HERE YEARLY AWARD 2006: Dynaudio FOCUS 140 – shelf speakers, see HERE TEST: Dynaudio FOCUS 140 – shelf speakers (as part of a system), see HERE TEST: Dynaudio SPECIAL TWENTY FIVE – shelf speakers, see HERE YEARLY AWARD 2005: Dynaudio SPECIAL TWENTY FIVE – shelf speakers, see HERE Recordings used during test (a selection) Aquavoice, Nocturne, Zoharum Release ZOHAR 077-2, CD (2014). Blood, Sweat & Tears, Child Is Father To The Man, Columbia Records/Audio Fidelity AFZ5 195, „Limited Edition No. 0115”, SACD/CD (1968/2014). Charlie Parker, Charlie Parker, Clef/UMG Recordings UCCV-9478, „David Stone Martin 10 inch Collector’s Selection”, CD (1952 | 1953/2013). Diana Krall, Wallflower, Verve/Universal Music LLC UCCV-9577, “Deluxe Edition”, SHM-CD + DVD (2015). Ed Sheeran, X, Warner Music UK/Warner Music Japan WPCR-15730, CD (2014). Maroon5, V, Interscope Records/Universal Music LLC (Japan) UICS-9146, CD + DVD (2014). Peter, Paul and Mary, In The Wind, Warner Bros. Records/Audio Fidelity AFZ 181, “Limited Edition No. 0115”, SACD/CD (1963/2014). Royal Blood, Royal Blood, Warner Music UK/Warner Music Japan WPCR-15889, CD (2014). Sławek Jaskułke, Sea, Kayax 079, CD (2014). Wojtek Mazolewski Quintet, Polka, Agora 6813801, CD (2014). Japanese issues available at [REKLAMA5] I'd like to start with a very non-scientific observation, but a very true one: both Limited Edition speakers look fantastic! Quality of veneer and metal elements is outstanding, and the way these were combined together brings Confidence Platinum models immediately to mind. I think that these present the same, premium level of fit&finish. Small things made with style can be very attractive! The second observation, even less related to their performance, is about value of these speakers. I mean their performance is excellent, they look gorgeous and they are a “limited edition” models. That means their number on the market is limited – they are actually collectibles. You should always buy (if you can, of course) such products as their value decrease over time is much smaller than of regular product. If you're looking for speakers from this price range and have a fairly powerful amplifier, NOT buying these beauties will be hardly justifiable. The looks, fit&finish quality, and a limited quantity manufactured – these are reasons good enough to buy products (also audio) as collectibles. I think that such approach should be acceptable also for audiophiles. The speakers under review comply with all these conditions and yet, their primary function is playing music. They deliver rich, coherent performance. They are capable of delivering a large number of details although not as big as C1 Platinum or Special 25. These two speakers were bit more resolving, which translated into richer, more saturated picture. But I urge you to listen to Contour S 1.4 LE driven by some high quality, powerful amplifier – I am pretty sure that for many music fans the way they convey music might be even more engaging, more enjoyable. Both above mentioned models offer, by objective terms, better performance than 1.4 LE, and yet… S 1.4 LE deliver very rich performance. Considering their size they surprisingly well perform in bass area, and particularly well in lower midrange. Scale of the sound, its intensity is truly impressive and could easily be compared with that of many small, and even mid-size floorstanders. Double bass, capable of going as low as 42 Hz, on Wojtek Mazolewski Quintet's Polka was presented with nice “weight” and wonderful timbre. Despite the fact that lowest notes were not as energetic as these from up the range (regardless of what the measurements say) it didn't really matter. Other models of comparable size deliver “smaller” sound, unless they are “pumped up” but there is a price to pay for that – some type of coloration is always involved. Dynaudio deliver very clean sound. Not as pure as that of their more expensive cousins also created by Wilfried Ehrenholz, the owner of Dynaudio, but the differences between them are not particularly big. This clarity of the sound allows „LE” to convey even richer, more coherent sound. I believe that this particular set of qualities is better suited for a larger number of various systems for greater variation of music genres, than the one of more expensive models. What they are good at is combining all these qualities and modeling sound in such a way that gives listener an impression of particular richness and completeness of the sound. Reliability of sounds plays a key role here. I mean how rich and palpable they are. They sport a large „body” that seems to be three-dimensional. Some closely recorded vocals like Diana Krall's on Wallfowers or May Allin Travers' (one third of the Peter, Paul and Mary trio) were very focused and had proper size. Often some objects are presented very clearly on the stage but it seems as they are just hollow shells, or flat as piece of paper, that they lack the “body”. In these case I could see two women, flash and blood. The soundstage, as you probably guessed by now, is remarkable. Spacing is very precise, all phantom images are placed in particular places of a multi-layer soundstage. And since those images have a “body” whole presentation seems very realistic, natural and each element truly “lives” on the stage. These speakers should sound nice even with low-watt tube amplifiers. But in my experience the better control amplifier has over these speakers the richer and warmer (!) sound will they reproduce. 1.4 LE deliver very coherent performance comparable with one-driver speakers – tweeter's range coupled with woofer's, but the latter requires perfect control. This might be achieved with a powerful tube amplifier, or efficient solid-state one. Place them on solid stands and toe them in so that their axes cross 50 cm ahead of listener's position. Width of the soundstage might decrease a bit but you'll get better depth, and localization of all objects on the stage will be more precise and steady as a rock. Summary Buy them! The speakers were reviewed together with dedicated stands – Stand4. It is a perfect match in aesthetic terms as well as in terms of performance. If you're using not very thick, and flexible cables you could even place them inside of one of stand's legs. Stands sport adjustable spikes. I decided to use additionally Acoustic Revive SPU8 spike bases, that were placed on RST-38H platforms (same brand, signed by company's owner). As I already mentioned speakers were toed in with axes crossing around 50cm ahead my head. The better stereo base you'd like to get the further from the back wall must the position of speakers be. But the bigger the distance from the back wall the less impact bass will offer. So you need to find you optimal position for speakers for particular room and for your expectations and system. I placed them 110 cm from a back wall. I already mentioned how to drive them. In my place, as usually during test, I used Soulution 710 power amplifier. But also with Mark Levinson No585 integrated amp and that was a fantastic setup. But the absolutely ultimate performance Dynaudio delivered when driven by 760 000 PLN Naim Statement. I don't think such setup will happen in a real life, but Naim forced these speakers to give all they got and it was a lot. But lets stay reasonable – I'm not trying to convince you to get Naim statement for these speakers. What you need is a decent performer (I mean amplifier), not necessarily expensive, capable of delivering high current over short time. You could hook them up to Heed SiIII (with X-2 power supply) or one of Linear Audio Research amps, and such a setup will keep you smiling for a long time. These relatively small speakers measuring 188 x 404 x 360 mm are perfectly made. They are available in three natural veneer finishes: Bubinga, Walnut Special, Mocca, and in Black Piano Lacquer, all with high gloss finish. The designer did his best to combine natural wood elements with a nice piano lacquer and some metal elements. The latter have additional job – they ensure proper rigidness of the cabinets, but they also look really good. Front panel is in fact a sandwich of three layers: a thick MDF plate, 2mm stainless steel plate and a damping material between them. Additionally cabinet is strengthened by cross braces. There are two sorts of damping materials inside – one placed on the side walls plus there is some polyurethane foam. The single WBT speaker posts were mounted in the lower part of column's back. Contour 14LE sport a soft dome tweeter with special coating that damps resonances, called Precision Coating. Its motor included a neodymium magnet, and its back side is sealed in a chamber to damp resonances. Tweeter covers also a large part of a midrange as the crossover point is set on 1900 Hz. Below works mid- lowrange woofer with MSP diaphragm. Drivers sports a large diameter coil, as most Dynaudio drivers do. Drivers are made by Dynaudio in-house. Internal wiring uses large diameter OFC cable. Magnetic grills use metal frames. Stand4 is made of two pipes/legs that connect lower and upper plates. Lower plate sports a sandwich design of two metal boards with elastic damping material between them. Using these stands with Dynaudio speakers one has to remove top plate and screw both legs directly to the lower part of the speaker. Stand uses quite tall, adjustable spikes. Parameters (according to manufacturer) Sensitivity: 85 dB Power handling (IEC): 160 W Impedance: 4 Ω Frequency response: 41 Hz – 25 kHz (± 3 dB) Crossover frequency: 1900 Hz Weight: 12,6 kg/pc. Dimensions: 188 x 404 x 360 mm DIANA KRALL Wallflowers Deluxe Edition Format: SHM-CD + DVD Released: Feb 3. 2015 Diana Krall hasn't been playing jazz for a long time now. I think that to best describe the music she offers one would have to use term: smooth jazz. And yet you can find her records in shops on shelf with jazz music, and they get reviewed by jazz magazines and portals. It's quite some achievement. I think that her latest album Wallflower won't change that. It includes covers of Diana's favorite singers and bands that have nothing to do with jazz. You find among other names: Elton John, The Eagles, Bob Dylan, The Mamas and The Papas. She did also few duets, for example with Michael Bublé and Bryan Adams. The album was promoted with a single California Dreaming (The Mamas and The Papas). Ever since I heard this piece on the radio I knew I had to buy this album. I just fell in love with this slow, “dense” arrangement. But unexpectedly it took a while before anyone could actually purchase this album. The release date was scheduled for Oct 14the 2014, and a concert tour was supposed to start on Nov 7th in Phoenix. Due to severe case of pneumonia both the release of the album and the American tour had to be postponed until Feb 3rd 2015. Diana Krall released a statement: “I’m deeply saddened that I will have to postpone the release of my new album Wallflower and the Wallflower US Fall Tour until next year. I’ve been battling a severe case of pneumonia and am under doctor’s orders to rest for the next few months in order to regain my strength and good health. Performing is both a privilege and a joy for me. When I go out on stage I want to be able to give it everything. Taking this time to rest and recuperate will allow me to do that. It is frustrating to be so close to the record release and have to delay but I am very proud of this record and want to be able to give you all my very best when we finally present this music to you. Thank you so much for your understanding.” – Diana Krall Due to that unfortunate circumstance album was released simultaneously all over the world, including Japan. It was there, where it was released also as SHM-CD and in Deluxe Edition that included both, SHM-CD and DVD. By a pure luck I received my copy before official premiere, on Jan. 30th. On Saturday, the 31st we could listen to it on our Cracow Sonic Society meeting. The sound is unbelievably rich. Dense, warm, palpable and “mature”. But also very dynamic and open. Vocal is obviously a key element here and it has a large scale, it is three-dimensional and palpable. The accompanying strings enter gently and never try to be in the center of attention. Soundstage is huge in all directions. Dominant features of the sound are clarity and richness – an unusual combination. I was surprised with such a great sound quality as this time the guys responsible for the sound of previous albums, including 1995 XRCD24 All for You, Tommy LiPuma and sound engineer Al Schmitt were not involved. Wallflower was recorded in more than one studios by David Foster and Jochem Van Der Saag. I shouldn't be surprised though: David Foster, a composer and producer won 16 Grammy Awards and was nominated 47 times! Jochem on the other hand is a respected sound engineer from Holland, he also plays keyboard and drums. It is not the first time these two gentlemen worked together – Seal's A Change Is Gonna Come is an example of an album they recorded, that also sounded amazingly well. Sound quality: 9-10/10 www.dianakrall.com YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? JOIN US ON TWEETER: UNIQUE PHOTOS, UP-TO-DATE INFORMATION, NEWS!!! [hfgallery] [img mini="foto_testy/1502/dynaudio/th/05.jpg" big="foto_testy/1502/dynaudio/05.jpg" src="foto_testy/1502/dynaudio/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/dynaudio/th/06.jpg" big="foto_testy/1502/dynaudio/06.jpg" src="foto_testy/1502/dynaudio/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/dynaudio/th/07.jpg" big="foto_testy/1502/dynaudio/07.jpg" src="foto_testy/1502/dynaudio/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/dynaudio/th/08.jpg" big="foto_testy/1502/dynaudio/08.jpg" src="foto_testy/1502/dynaudio/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/dynaudio/th/09.jpg" big="foto_testy/1502/dynaudio/09.jpg" src="foto_testy/1502/dynaudio/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/dynaudio/th/10.jpg" big="foto_testy/1502/dynaudio/10.jpg" src="foto_testy/1502/dynaudio/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/dynaudio/th/11.jpg" big="foto_testy/1502/dynaudio/11.jpg" src="foto_testy/1502/dynaudio/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/dynaudio/th/12.jpg" big="foto_testy/1502/dynaudio/12.jpg" src="foto_testy/1502/dynaudio/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/dynaudio/th/13.jpg" big="foto_testy/1502/dynaudio/13.jpg" src="foto_testy/1502/dynaudio/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/dynaudio/th/14.jpg" big="foto_testy/1502/dynaudio/14.jpg" src="foto_testy/1502/dynaudio/14.jpg" desc="HighFidelity.pl"] [/hfgallery]

There is no "one size fits all" solution when it comes to effective power conditioning. We know this through many years of development and hard won experience. We offer a range of products so you can benefit from the optimum solution for your system. A good rule of thumb is to spend 10% of your system cost to optimize your power supply. www.isol-8.co.uk nother good rule is to question other people's opinions and to personally verify them. Audio hobby makes it relatively simple as one can verify almost anything by listening sessions in one's own system, or in friend's system, or finally in some audio salon's reference system. Today it is much easier than several years ago as the distributors and dealers are more helpful today than they were years ago. It is a good idea for any audiophile to find his own „friendly” audio salon and keep this relation for as long as possible. Whatever information your trying to verify, whatever type of audio device you try to assess you should be able to remain objective, cautious, and keep your expectations low. The “cooler” you can stay before test, the more impressed you might be after one. If you're not into advanced power systems for your audio rig just yet, try good quality power cables, power strips, power conditioners and filters. You will be amazed by how much these could do for you, for the performance of your system. The quote above comes from Nic Poulson, and it sits on the main page of ISOL-8, a British manufacturer of power solutions of audio („Isolate, to render free from external influence”), webpage. It says about spending 10% of one's whole budget for audio system, for power accessories. This tells us that Nic must be a humble person who's not really after our money. My own experience tells me that the whole power system for audio setup should be treated equally with any other element of this system like source, power amp, or signal cables. What's more – power cords, power strips/filters/conditioners require same amount of our “support” as any other system element. So we should use anti-vibration feet under them, and these should be placed on anti-vibration platforms, or even on specialized ones. I don't want you to believe me. I want you to get from your dealer such a highly specialized power system, meet your friends, and drink some wine or beer with them while listening to the music. When I did that for the first time with Acoustic Revive RTP-4eu Ultimate power strip I wasn't expecting much, or in fact I wasn't expecting anything at all. But after I tried it myself I was immediately „converted” because of all the positive changes in sound that were clearly audible. Issues with current powering up electric devices have been known to electrician from ever since first electrical gain elements were built (over a hundred years ago). There are places that use an advanced protection against electrical noise, spikes and surges, like hospitals, command centers, computer/server centers and so on. Today electrical noise surrounds us almost everywhere we go as it comes from grid by air, by power lines, and one of the worst things that happened in the recent years was an idea of delivering Internet access via electrical lines. Already some time ago recording studios realized they needed a proper quality power for their equipment. It is worth mentioning that one of the elements of the special re-mastering process that JVC has been doing for their XRCD releases, was powering all the equipment from a special filter with special power cables. One might think that a good power system for audio setup is not a big deal. Just a shielded cable, separating transformer and... voila! But the truth is, that it is a complex issue and there is only a handful of companies that create true state of the art power systems, and there is even less people who really know how to do it. One of them is Nic Poulson, a founder of Isotek (and Trilogy), and later of ISOL-8. The latter's portfolio includes a wide range of power “accessories”, including power cords, filters, and conditioners. The latter are true conditioners, unlike devices called filters. Filters, in my understanding, are passive devices, conditioners are active ones. There is quite few “true” conditioners on the market. These are offered by such brands like: Accuphase, PS Audio, Ancient Audio and ISOL-8. For this test Distributor leased us two elements that were part of a system we awarded after Audio Show 2014 - conditioners called Substation LC and Substation HC, both armed with 1.8m IsoLink Ref. Power cords (that need to be bought separately and cost 3850 PLN a piece). I had to mention these cables as they were an important element of this puzzle. At the devices end they are terminated with wonderful Neutrik PowerCon plugs. These were developed by the Swiss company basing on their SpeaCon plug used for loudspeakers connections. It's a round plug with locking device that was designed for extremely rigid connection. There are two conditioners as each of them is intended for a different current demand. The „LC” version, or „Low Current” offers four outlets for low to medium current loads, like sources or preamplifiers. The other called, „HC” (“High Current”) was designed for high current loads, meaning power amplifiers, or active subwoofers. Internally they differ with larger/more powerful components used for the latter. Each conditioner sports a passive and an active section. Passive is composed of „Pi” type filters, with two nice Mundorf coils and the whole bunch of Rifa capacitors. Active section includes a transformer (or two), rectifier, and a large bank of fast electrolytic capacitors. Recordings used during test (a selection) Miracula. Medieval Music for Saint Nicholas, perf. by Ensemble Peregrina, Agnieszka Budzińska-Bennet, Tacet 213, CD (2014). Western Electric 300B Vacuum Tube Sound, ABC Records HF1043, “HD Mastering”, CD (2012). Art Pepper, Art Pepper With Warne Marsh, Contemporary Records/Universal Music Japan UCCO-5101, „Jazz The Best. Legendary 150”, CD (1957/2007). Bemibem, Bemowe Frazy, Polskie Nagrania MUZA/Polskie Nagrania PNCD 1096, “Polish Jazz DeLuxe”, CD (1974/2007). Blood, Sweat & Tears, Child Is Father To The Man, Columbia Records/Audio Fidelity AFZ5 195, „Limited Edition No. 0115”, SACD/CD (1968/2014). Bud Powell, Jazz Giant, Norgran/Verve Records/Universal Music Japan UCCU-5062, „Jazz The Best No. 62”, CD (1956/2003). Eric Clapton, Pilgrim, Warner Bros. Records Inc/Audio Fidelity AFZ 188, „Limited Edition No. 0115”, SACD/CD (1998/2014). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); review HERE. Miles Davis Quintet, Relaxin’ With The Miles Davis Quintet, Prestige/Universal Music LLC (Japan) UCCO-40005, Platinum SHM-CD, (1958/2013). Japanese CD editions are available from [REKLAMA5] An operation of high quality devices aiming at minimizing noise coming from power grid is somewhat similar no matter what brand they are, or what technologies they employ. Details are what makes them different, their influence on the sonic characteristic of a particular system, that's what allows an audiophile to choose an optimal (from his perspective), or best suiting his expectation, solution. There is a common denominator for all such devices though – using them results in smoother and, subjectively, warmer performance of most systems. I think this is a reason why many inexperienced audiophiles initially don't like what high quality power systems do with the sound of their precious setups. When a bright treble is gone, sound becomes (internally) more quiet they perceive it as a loss of dynamics and in turn as a worse performance. As always, one has to understand first, what one really hears. My experience tells me that many of these beginners confuse a certain elements of the sound that are born from distortion with actual dynamics. These distortions make sound more harsh and lacking this inner-coherence that is an inherent element of the music. So when these distortions are eliminated sound gets “quieter”, or just more accurate. Art Dudley wrote about it in the last issue of „Stereophile” - you should take your time and read it (How I learned to stop worrying and love second-harmonic distortion, „Stereophile”, Vol. 38 No. 2, Feb. 2015, p. 35-41). This is an important notice, as these two ISOL-8 conditioners seriously effect the sound in the above described way. I switched from Acoustic Revive power strip to SIOL-8 and the sound suddenly got “suspended” between speakers – figuratively and literally. Sound became more subtle, deeper and lower, and treble became more subtle, too. Tonal balance seemed bit lower, and upper bass gained on its power. Definition of this bass was more or less the same, but it seemed richer, more “present” but still quite soft. It's a rare combination of qualities. What Substations do to sound I would compare to the effect we get when switching from PCM files to DSD ones. I've heard it many times even in the top digital systems like dCS Vivaldi. I also know exactly what a mastering of signal in DSD domain does to sound. Recordings prepared this way sound quite differently from those remastered in analogue domain or in digital PCM. Those of you, who have heard properly played DSD files or SACDs should know what I mean. It's about richness and smoothness of the sound that analogue aficionados dream about since even this analogue format doesn't always sound as silky, as the sound deprived of all the distortions caused by power grid “pollution”. Sometimes vinyl might even sound bright and harsh in comparison. One needs a perfect calibration of the cartridge/tonearm, high quality amplification and speakers, cables, power supply and when all these elements “click” together, only then “analogue sound” becomes a real value. Turntable by itself offers only a promise of “analogue sound”, but it requires a lot of work to deliver on this promise. Nic Poulsen's system does something similar with a system with digital sources. And it's able to reveal this “inner-coherence” of the recording, that without it doesn't sound that well because of some imperfections of mixing or mastering process. Such imperfections might be born on any of those stages. A latest Leonard Cohen album, Popular Problems, is a perfect example. Musically it is one of the best creations in years of this experienced Canadian. Sound-wise it is not bad either. But it took ISOL-8s to place leader's vocal inside the mix, in a proper place. It seemed that it required some “smoothing over” to arrive to listener's ears from the same place in space as the, very well recorded, background music. This time sound of the album was really smooth, liquid, but also dynamic, when needed to be. Now I could finally feel the real momentum of this music and its richness. Vocal became “larger” and richer and it was presented in a more intimate way. As with any other device that is supposed to improve performance of others, one, also with ISOL-8, has to know how to use it properly. Substation HC was a perfect partner for Trilogy 925 integrated amplifier (which is a high current load). The same amplifier plugged directly into electric outlet, or into Acoustic Revive power strip performed beautifully, and I couldn't really point out any weaknesses of any of these solution. And yet, „HC” somehow enriched its performance, and everything I loved this amp for, became even better. „LC” did similar job with my CD Player. Tonal balance was slightly lower and the sounds density/richness even more impressive. Despite the fact that I – considering AIR's price and general quality – don't have a single reason to complain about any aspect of its sound, conditioner still did a good job, especially in treble area. Yes, presentation now seemed bit darker and maybe there was slightly less air/openness in the top end. But this is an inherent feature of my system and Harbeth M40.1 loudspeakers are the ones to be “blamed” for that. Substation LC even further intensified this characteristic. This allowed even those not so perfect recordings to deliver richer, more subtle performance. There might always be some devices that will force you to consider pros and cons of using ISOL-8. In my case it was my preamplifier Ayon Audio Spheris III and Soulution 710 power amp. Gerhard Hirt developed his own power conditioner installed inside preamplifier, that delivers very pure power for tubes. When I added another conditioner to the equation it resulted in a bit more “closed” sound, and slightly decreased soundstage's depth, although sound was also sweeter and richer, more “heavyweight”. But I lacked this unlimited dynamics that Spheris III offered when plugged into a simple power strip without any filtering. Soulution 710, a mighty, Swiss power amplifier also presented the same sound “enhancement” as digital sources did, but also some limitations I mentioned a moment ago. In this case choice was really difficult. I loved this amazing richness of the sound as the presentation was simply enchanting this way. And I loved it as these were features I've been trying to improve in my system. But there was another side of that “deal” - a slight decrease of dynamics. From my point of view it was acceptable but I needed to mention it so that you had a clear picture of what this device did in a system. There is one more aspect to using this type of devices in audio systems. It's about system's safety. You have no idea how many bad things are happening in power grid! ISOL-8 is a credible company, and it makes a lot of sense to accept a protection their devices offer to our systems, as it should extend their “lives”. The key element is Axis DC Blocking. That's particularly important today when Internet is provided also via power grid. Equally important is protection against power spikes and surges. ISOL-8 also sport earth line chokes that are custom wound on special core material to prevent RFI circulating within the system earth and degrading sound quality through intermodulation. Summary Power system should be chosen to match a particular audio system. One might say – it should be tailor made, with as many corrections as necessary to achieve a perfect fit. It might take a while to find all the correct elements but there is no other way but to try different solution until you find the right one. The other choice – powering our precious system directly from wall outlet – is not acceptable. It's like going to the prom with bow tie but without pants. ISOL-8 system will be a fantastic match for many systems. It will add some finesse, more smoothness, it will eliminate a lot of distortion, and make soundstage more palpable. Subjectively system's dynamics might be lower but once you get used to it there will be no turning back to the previous state of “higher” dynamics as now you will perceive it for what it really is – another distortion. Conditioners won't be a perfect match for each and every system component, although they will improve something for each of them. I can only urge you to try it for yourselves. Life's short and don't waste it for “average” hi-fi. ISOL-8 products might make your life more exciting. Quality and robustness of Substation's chassis could be easily compared to that of a solid amplifier. It sports a solid, curved base, and aluminum elements that constitute side, front and top panels. A bright, white LED indicates that power is on. It is connected with a special, mechanical switch placed on the back of the device – it's an element often used in industrial devices with two buttons - „start” (green) and „stop” (red). On the back of both devices there are solid power outlets - “LC” sports four of them, “HC” two. Next to them one will find a power inlet – that's a Neutrik's PowerCon socket. Test was conducted with the top IsoLink power cord called Reference. It is made 2mm² stranded and unplated conductors of finest Japanese 7N (99.99999%) copper (most likely these come from Furukawa, the largest Japanese manufacturer of such conductors). The primary conductor insulation in the IsoLink Reference is a variant of polyolefin. It has a dielectric constant that is 75% less than conventional PVC (same insulation is used by Oyaide and by Polish GigaWatt). A unique annealing process removes critical external stresses placed on the conductor during manufacture. The conductor is energized to carry current during annealing, promoting a large crystal structure, optimizing it for ultra high fidelity transmission. A copper foil shield screens the inner cable assembly from external electromagnetic interference. Completing the cable body is a high stability, neoprene and air elastomer wrap. An internal design of both conditioners is somewhat similar. Both sport two sections – an active one and passive one. All outlets share common active section, while passive one is separated for each of them. Passive section sports large PI filters with Mundorf coils and large Rifa capacitors. In „HF” this section is bolted to a plate of K-material – a high metal, low resin content composite that has excellent mechanical properties and superior self damping to metal. It provides additional damping and stiffening of the non magnetic chassis too. The active section sports a large transformer with classic EI core, and the „HC” version uses additionally another, smaller, toroidal transformer, too. Voltage is then rectified and filtered in a large capacitors' bank. MIRACULA. MEDIEVAL MUSIC FOR SAINT NICHOLAS perf. by Ensemble Peregrina/Agnieszka Budzińska-Bennett Item number: Tacet 213 Medium: COMPACT DISC Premiere: Nov 27th 2014 In the Middle Ages the reverence of Saint Nicholas wasn't only limited to Christmas season, as it is today. Tacet, using this forgotten tradition, decided to release this album before December the 6th (2014). Santa we know today was based on Saint Nicholas, also called Nikolaos of Myra a historic 4th-century Christian saint and Greek Bishop of Myra. The oldest historical records of him come from the 6th century. His name was removed from the official list of Catholic Church saints only by Vatican Council II. Many musical pieces coming from England, France and Switzerland refer to this saint. Ensemble Peregrina chose almost 30 most interesting ones that were created between 11th and 15th century, and Andreas Spreer recorded them during a puristic session in Basel in November 2013. The ensemble was lead by Ms Agnieszka Budzińska-Bennett, its founder – a Pole currently living in Switzerland. Ms Agnieszka graduated in Basel from Schola Cantorum Basiliensis and decided to stay in the city for good. We know the ensemble and its leader from their performances, for example during Misteria Paschalia festival in Cracow. We know that they specialize in recording music that is rarely performed – one of the recordings I remember really well is Filia Praeclara, recorded for Divox Antiqua with music from 13th and 14th century Polish Clarisse Convents (2008). It served as a reference point for me. For the other one I chose Legends of St Nicholas (1999) by Anonymous 4 with similar music, recorded for Harmonia Mundi France. The music on the latest Ensemble recording delights with wonderful ease of flow, and with its coherence. Although music performed by Anonymous 4 sounds already very well, Tacet sounds even better. A slightly higher pace of this music improves its coherence. Also sound-wise this is a very interesting recording. Voices takes from the same perspective as on Harmonia Mundi recording, seem more resolving, and the acoustics of the recording is presented in a better, more precise way. Sound definition is also definitely better. Sound of Anonymous 4 seems more focused on the midrange and thus it sound is warmer. It lacks openness of Mr Spreer's recording though. In comparison, Divox recording shows that microphones were placed very close to the ensemble during recording. It creates an impression of a very close, direct contact between performers and listener, but it also changes tonality of the recording making it bit too bright. Miracula… is a wonderful recording nicely “sustaining” Tacet's deserved reputation. www.tacet.de Sound quality: 9/10 YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? JOIN US ON TWEETER: UNIQUE PHOTOS, UP-TO-DATE INFORMATION, NEWS!!! [hfgallery] [img mini="foto_testy/1502/isol8/th/05.jpg" big="foto_testy/1502/isol8/05.jpg" src="foto_testy/1502/isol8/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/06.jpg" big="foto_testy/1502/isol8/06.jpg" src="foto_testy/1502/isol8/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/07.jpg" big="foto_testy/1502/isol8/07.jpg" src="foto_testy/1502/isol8/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/08.jpg" big="foto_testy/1502/isol8/08.jpg" src="foto_testy/1502/isol8/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/09.jpg" big="foto_testy/1502/isol8/09.jpg" src="foto_testy/1502/isol8/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/10.jpg" big="foto_testy/1502/isol8/10.jpg" src="foto_testy/1502/isol8/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/11.jpg" big="foto_testy/1502/isol8/11.jpg" src="foto_testy/1502/isol8/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/12.jpg" big="foto_testy/1502/isol8/12.jpg" src="foto_testy/1502/isol8/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/13.jpg" big="foto_testy/1502/isol8/13.jpg" src="foto_testy/1502/isol8/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/14.jpg" big="foto_testy/1502/isol8/14.jpg" src="foto_testy/1502/isol8/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/isol8/th/15.jpg" big="foto_testy/1502/isol8/15.jpg" src="foto_testy/1502/isol8/15.jpg" desc="HighFidelity.pl"] [/hfgallery]

PRE-INTRODUCTION eople, in one of the categories, can be divided into "pickers" and "predators. Homo sapiens because its eating habits is quite a strange. What he accumulates – he eats, what he catches - the same. It's as if we lived in the "crossroads" of the two separate worlds of animals. This strange human duality for millions of years in different individuals differently evolved, highlighting one tendency "at the expense of" the other. Robert De Niro in the movie ‘Heat’ said: "If you want a friend, get a dog" (‘Heat’, directed by Michael Mann, Warner Bros., 1995). Ok, but what about the cat ...? Both of these species, totally different due to its natural determination has been staying with a man for a long time. It is not the coincidence that people can be divided into two explicit categories: dogs and cats lovers. Dogs, I ask for forgiveness of all fans, are a type of scavengers. They need food from rotting mass of bacteria and other various dirty stuff to maintain adequate bacterial flora of the gastrointestinal tract. In addition, they follows the herd, creates a hierarchy the dogs will jump into the fire for a guide and they love to be told what to do. Do not blame them - that is their nature. Cats though are totally different. As a typical predators they will touch nothing but the freshly hunted juicy bits of meat. The cat is an individualist, he has an "opinion". He only follows the paths discovered by himself. The cat will never betray you, provided that there is no beef three times a day next door. Beef is a “natural” cat’s food. Seriously it can be the topic of the endless discussions but the point is that cat is for you an equivalent partner, while for the dog you are the master and he's your slave. Does this mean that from human point of view cat is objectively worse? After all, this species came to our homes some "circa about" a million years later than the dog. To live with a cat under one roof you must be able to accept and appreciate a different perspective on the world, self-reliance, individualism. Yet you don’t want to wag your tail as soon as someone will call you. And in these traits is the problem of cat’s ‘career’ among the people. These features in the opinion of the majority are at least "unpopular", and places “cats” in a difficult position to make new friends. Because of these features, many of our "cat" male-ancestors were burned on the Spanish Inquisition barbecues, and the female-ancestor were drowned in rivers, with their cats anyway. What's the point of this introduction? Well, while observing the various forums, despite the fact that reading them makes me angry, or feel like vomiting, I do not know what more, I noticed some interesting phenomenon. The people in the face of "freedom", which gave them the Internet, 'freedom' of their own views, choices and opinions, went back thousands years in history. The so called freedom of choice turned out to be the trap and revealed human immaturity. Internet forums are filled mostly by whimpering "pickers", pleading for help: "I beg you, please choose me the best possible item, for a tenner (...); "What should I do, I beg for help!" Etc. ". There are also the omniscience Founding Fathers, with knowledge that comes from the very core of the universe, providing the "holy" advices at a distance, like a TV-priest. Very rarely, but still, there are online forums "predators”, the supporters of freshly hunted meat. People who in good faith and for the good of the general public, are trying to fathom some topic ALONE, test it, explore it and describe. They are the most hated forum attendees. They irritate unnecessarily! They undermine the authority of the Founding Fathers through reliable information and, worst of all, they destroy the conformist peace of servile subjects! Their existence on the forum can be compared with the situation when we let the cat into the house of beaten dog and show him that it is possible to live differently. Not once I saw a small cat leading the large dog. I wonder why? INTRODUCTION In our Close Encounters of the FIRST Kind we will once again put cat among the pigeons. One we will ruin an idyllic sense of tranquility, dog's world sleeping on the porch. Others we will give the opportunity to explore new territories in the cat’s, nocturnal escapades. We all know the indiscriminate male jokes about why women have battered car bumpers, or why they wouldn’t know how to park their cars. Why? - because their male partners told them that "this" is fooourrrrrrrteeeeeeeen centimeters ... The problem is that this joke, after all, is nothing more than a shot in the knee! On the other hand, there is an adage: small one but crazy one! Does this mean that the small needs, like mammal in the era of dinosaurs, to catch up speed and cunning? So, I put once again the fundamental, tormenting men all over the world, question (because apparently women do not ask themselves about it): Does length matter…? Adding fuel to the fire we will try to answer this question in the field - let's call it elegant - not anatomically, but in the audio field. Why do I need a longer ... cable? After unpacking shipments with wires that came to me for testing, in the case of one of them (length compared to the cross section), I came to the conclusion that it would be good to hang myself on it… This cable can also hit well, if someone is a certain socio-political orientation (only right) or appreciates "old-school" methods of education! INTRODUCTION THE RIGHT But no kidding, en average, "uninitiated" audiophile probably assumes that the cable length between each audio device is purely practical dimension. It must be long enough to insert the plugs into the individual devices. This audiophile visiting audio showrooms, or various exhibitions not once looked with envy at the "miles" of winding wires behind the systems. With envy, because the length means the "price", which is often unattainable for him, considering the high prices of audio cables. I also know such cases where the desired cable was cut by half and re-terminated. The devices placed tight on each other gave the possibility to connect them, for example, by a half meter section. Besides the purely practical and economical treatment of the cable, there are some myths, in the world of audiophile, whispered tales of a wire lengths. For example: the interconnects may be long but the speaker cables should be short. The balanced cables can be at all infinitely long, because generally they were invented for example to work in concert halls or recording studios. As usual, these myths, due to their very definition, contain only part of the truth, as the statement that man and - coincidentally - his dog have statistically three legs. After all it is (statistically) the truth. What that mean, this perception and treatment of audio cables? Firstly, we were able to accept the fact that the cable also "play", some even had heard it. We distinguish between different types of cables, the types of materials used in them. We experiment with connecting them to our systems. Secondly, we still do not treat the cable as inseparable parts of the audio system, which as a larger whole pumps the air in our homes. Yet few people will tell you that the new device is hooked up to the cable. Thirdly, it is a pathology which established a linear relationship between the length and the price / value of the wire. After the buyer has already decided to buy some wires, no one tries to explain to him nothing more, avoiding entry into the "slippery" topics. Fourthly, it is about ordinary ignorance that breeds the need to listen "quacks" rather than simply raise the need to listen to music/sound. It was just enough to pay attention to the school lessons of physics. This phenomenon, which we describe and wont to test, has its explanation and justification just in this science. Mark will explain it to us nicely and easy, because, during the physics class, I was mainly watching dirty magazines under the bench, and when he solved a problem on the blackboard I was interested mostly in the third law of thermodynamics… Mark has a passion, which is the short-wave radio. That’s why the processes in the cable, when current flows through it, are not a stranger to him. Mark around his house has some strange network of wires with very different lengths from one meter to several tens. The net is stretched for example between the chimney and the fence. Mark is my neighbor who often organizes bonfires which are definitely not ongoing until late at night, and during which we do not drink alcohol at all. So far, we all thought that the cables are mainly to annoy revelers who stumbled had spoke loud word "s" and "f" interrupted authoritative statements that you "mf". All this to the delight of the householder. I hope that through this article you will understand what was the purpose of this "network" because from the point of view of physics (science damned) it has as much to do with amateur radio, as has the test of audio cables. MAREK MOCZKOWSKI Close Encounters of the FIRST Kind WHY HALF METER LONG WIRE SOUNDS DIFFERENTLY THAN ONE METER LONG? SILVER ONE DIFFERENTLY THAN COPPER? To explain this paradox (or at least to try to find an answer) let’s take a look at certain feature of the matter named permeability, which defines the way the matter responds to electric field. The matter does not react immediately and, what’s more, it responds differently depending on the frequency of this field. This phenomena affects amplitude and phase of the signal passing the cable, makes also that for higher frequencies the electric current flows only on the surface of the wire. The current in the cable is just the electrons which form a kind of “electron gas”. They are transmitting the charge (a current) by hitting each other, the same way as it happens in a gas. Faster changes of the current in a wire (higher frequency) – more difficult for the signal to go through (due resistance of an air it is easier to fan slowly than fast). So the signal that comes is weaker (attenuated) and delayed. Everybody has seen the rainbow. Sunlight – a mixture of different frequencies (colors of light) goes through the raindrop or prism and splits into its components (blue, red, green, …). The music is also a mixture of different frequencies. When music (as a current) flows through the interconnect then the frequencies are separated the same way as mentioned sunlight. Although the changes are tiny, our ear (especially audiophile’s one ☺) is able to notice the difference. Our brain interpreters the spaciousness of the sound and position of the source of sound based on two parameters – difference in volume and phase (delay). If the signal arrives to the left ear sooner than to the right one then the brain thinks that that source of sound is on the left side (in reality it is little more complicated and the knowledge about that is used f.e. to simulate the spaciousness of the sound, see http://en.wikipedia.org/wiki/Head-related_transfer_function). Interconnects manufactures are trying to find the optimal method of building cables. They try to select the best material and develop optimal construction of the cable core (copper, silver, carbon tubes, …), insulator (Teflon, air, …) and the shield to assure minimum distortion. However, independently of  the material selected (ultra clear and homogeneous carbon tubes,  low-loss silver, cotton or Teflon insulator) the result achieved is always affected by mentioned at the beginning feature of the matter – delays, attenuation and distortions. And the length of the cable magnifies even that effect – longer cable means usually bigger delays. Means, also completely different music perception, different music scene construction. And, how it was mentioned, these changes are tiny but for experienced ear, noticeable. Presented here considerations are not new. They are well known (e.g. see) and the purpose of these few sentences was just to explain, in few simple words, a quite complicated physical phenomena. The phenomena which is for us, audiophiles a kind of dilemma, (sometimes bringing a smile to others): what sounds better - silver or copper? Maybe it would be even possible to build an interconnect (see e.g. carbon tubes doping) with the core that compensates the negative effects of the rest of the cable component (insulator and shield). We would then have ideal cable, irrelevant to its length. Remark – we could also consider the signal reflection as the negative effect of the cable length (see) but it seems that it is negligible for the standard lengths of interconnects. Turning to the merits: we decided to check if there is a correlation between the length of the interconnect (IC) and its influence on the sound of the system. We asked various manufacturers and distributors to send us sets: two identical wires (the same type, the same confection), but different lengths. Among the tested cables were terminated RCA and XLR. We made sure that the tested interconnects were just heated or unheated at all. Seven sets have been delivered to us. The difference in sound of my system by connecting the various cables was "dramatic". To be able to focus on the differences in the "sound" of different lengths, we have adopted the principle of a little bit longer listening sessions in two different systems: ABA, or AAB. While listening, the next pair we wanted somehow to "forget" sound of the previous set. The tested cables were connected in two ways: 1. Between the Yamaha CD-S200 and preamp section of Luxman L-507s. 2. Between the RCM Sensor phono-preamp and Luxman L-507s preamp section. The rest of the wiring was a constant value. CABLES TESTED: 1. ALBEDO The Flat-One: 0,75 m i 1,5 m, RCA. 2. ALBEDO Monolith: 0,5 m i 1 m, RCA. 3. FURUTECH FA-220/FP-701M i FP-702F: 1 m i 2 m, XLR. 4. CHORD Cobra VEE-3: 1 m i 2 m, RCA. 5. KBL Hologram: 1 m i 1,4 m, RCA. 6. KBL Red Eye: 0,5m i 1m, RCA. 7. SUPRA DAC: 1 m i 2 m, XLR. MEETING PARTICIPANTS: 1. Marek Moczkowski – IT manager, electronics and short-wave radio fan. With audio equipment he has rather little to do, but he likes to listen. He takes part in my "testing" of a new equipment from the moment when I bought in the 90’s my first CD player. It means from the very beginning! Mark was always "good" in physics; hereinafter referred to as MM. 2. Witek Kamiński – architect; hereinafter referred to as WK. 3. Unspecified being called in dead language-Latin "Spirtus" (rctified spirit), located in different concentrations in beverages which man must drink in order to maintain vital functions of the body ... It hasn’t directly expressed an opinion about the sound, but had a definite effect (purely scientific) on ours ... THE SOUND SYSTEM: Amplifier: LUXMAN L-507s Digital source: SACD YAMAHA CD-S2000 Analog source: PRO-JECT RPM-5.1/ORTOFON 2M BLUE, Custom Version One Loudspeakers: VIENNA ACOUSTICS Beethoven Baby Grand Power cords: SUPRA LoRad 2.5 MkII Interconnect SUPRA EFF-I/NEUTRIK XLR Interconnect (turntable) VDH D-103 MKII Speaker cables VDH THE REVELATIONS RECORDS USED IN TESTING: SACD: Carmen McRay, Live At Birdland West, Concorde Jazz. Gustaw Mahler, Symphony no. 6, B.F. Claudio Abbado – DG. Gustaw Mahler, Symphony no. 2, W.P. Gilbert Kaplan – DG. LP: Rachmaninov, Symphonic Dances, LSO, A. Previn; EMI Angel Master Series, DMM (1975-77). The Trumpet Summit meets The Oscar Peterson big 4, Pablo Records (1980). Beethoven, Symphony nr 2 in D major, P.Ch.P.O., Wojciech Rajski, “Tube Only”; TACET 180 g, (2007). 1. ALBEDO The Flat-One: 0,75 m i 1,5 m, RCA Marek Moczkowski: For me, shorter length played a much narrower stage, while the longer one has much less lower tones and much deeper soundstage. Witek Kaminski: Shorter cable played a greater volume of sound, the band had more powerful impact, showed us less detail than longer one, but gave more musical emotions and better kept the tempo. By analogy, the longer showed a lot more of details that towered across the transmission of music, but at the expense of sound “juiciness”, it was a little dry. 2. ALBEDO Monolith: 0,5 m i 1 m, RCA MM: The shorter segment showed a much narrower soundstage. The longer one played widely it demonstrated the huge amount of detail and in a much better and more precise way than a shorter, it very precisely located the scene of individual instruments in the orchestra. WK: The sound of longer length governs the detail! You can feel the thousands of liters of air accumulated in the concert hall. You can hear every pop and slamming chairs, each element of the musical event but a little apart and one-dimensional, and in my opinion too bright. Shorter length of this cable shows less detail, but the sound is more fluid, smoother and more fulfilled. In a good sense sized and coherent. It is more musical, has better bass which is deeper and better controlled. The music scene is deeper and there is more impact force. 3. FURUTECH FA-220/FP-701M i FP-702F: 1 m i 2 m, XLR MM: The shorter wire presented a better "isolation" of instruments. They were more precisely "cut" from the sound of the orchestra. Two-meter cable showed better "stereo" and deeper soundstage. The orchestra was a little less detailed, but I think it sounded more realistic. WK: One meter exposed the mids, the sound became lighter and more detailed. The sound was more sparkling and there was more air around the instruments. Music was also more energetic and seemed to be faster. The vocals sounded more lively and the soloists stood in the first row in front of the columns. The whole sound was indeed more pushed forward. A longer cable showed much deeper soundstage and better arranged instruments in three-dimensional space. The sound seemed to be a little hazy but powerful and sounding seriously because details only complemented the whole musical message. It was like listening to music in a strongly damped concert hall which acoustics doesn’t add anything to the orchestra sound. 4. CHORD Cobra VEE-3: 1 m i 2 m, RCA MM: One meter, compared to the long section, played rough and creaking sound. I also noticed in his sound problems with the bass control. Two meter length was less detailed-but that's okay. It presented a beautiful colors, very natural bass, for me it was soft and even "Cuddly". Very relaxing, in a good meaning, sound. WK: Shorter played more dynamic sound with greater vigor and a kick. The soundstage was more transparent. With longer cable sound was markedly lower, more hazy and away from the listener. However, it didn’t mean the loss of dynamics, but rather it was associated with favoring the edges of the band. A longer cord tried to better show the three-dimensionality of the music scene. 5. KBL Hologram: 1 m i 1,4 m, RCA MM: I have not much to say about the differences in sound. Both cables showed the identical nature of the sound, but the longer one just did everything better! More depth, more dynamics, wider scene, etc.. WK: My observations are the same and basically I could end this comparison like this: long section plays better and that's all! But it’s not the point, so I elaborate the topic. After connecting a long stretch the sound became smoother, more fluid and juicy, with better arranged soundstage and better air-separated instruments from each other. This was particularly evident in loud parts of the orchestra, when we heard that the big SOUND is both coherent and consists of individual instruments, and in good meaning pasted or just simply natural, musical. The stereo effect was significantly improved, the sound became surround and deep. 6. KBL Red Eye: 0,5 m i 1 m, RCA MM: As in the previous product KBL, I liked a long stretch much more, but the differences in sounding were easier to catch. Shorter wire had a lot more of treble, it played much more " embellished", but I think flat. Showed a smaller bass control, which flooded the rest of the band. WK: With this cable, our opinions differ most ... As you can see “to each, his own”. For me the half-meter cable was much better. It had a deeper and wider soundstage and better orientation of instruments in space. Loud orchestral movements were detailed and at the same smooth and melodic. Sound was smoother and more stretched, but without loss of dynamics. As in the case of both Furutech cables, 3D image appeared! Longer played more dry. The sound was more intrusive, more detailed, but more flat. The edges of the band were underlined. 7. SUPRA DAC: 1 m i 2 m, XLR MM: Meter section showed the instruments separated from each other, even cut from a wide scene. It was a lot of air in the presentation, reverbs and details. I’ve got the impression that the longer cable couldn’t keep up with the sound, as if there was some delay in the phase of the sound of individual instruments. This cables chokes! WK: I also preferred the presentation of shorter segment. The sound was more detailed, transparent, there were more air around the instruments. The sound dynamism was better and the kick was stronger. Two-meter played lower sound, more hazy. Powerful, but more languid, with loosened the lower range. The cable revealed a tendency to favor the extreme ranges. Such a little pillow stuffed with pins. AT THE END All the time, when I was writing this article, I was wondering also what should be the ending? And none seemed to be a good one. Is the end of the test should be an abstract? I don’t think so, because then only it will be read as pulls for the lazy, so why to write all the text? The end of the test shouldn’t be any of tip or recipe, because the article is to inspire the reader to his own research. Not just to give him a prescription for medicine for flu. So I'll go back again to the topic of online media, or rather the comments that are displayed below all sorts of articles describing the world of audio. There is a typical audiophile presented as a rich idiot and a snob, who is sucked by shamans from his money like water from a sponge! In addition, the money will not go to a "respectable" purpose, such as the Vatican, but on the cable to the iron, which after the name change costs as much as the new Opel Corsa. This audiophile usually buys very expensive audio-equipment to complement his vigor and masculinity. The so-called experts speak that “things” apparently heard by the "haunted sectarians" are not confirmed by any measurements and technical parameters. These measurements often could show that the devices for hundreds of thousands of Euros or US-dollars have worse "results" than, for example, Sony from the '80s. These statements are dominated by the point of view that using your audiophile sound system the audiophiles are only trying to make up for its natural "hardware" deficiencies, there where mother nature was too short! You can not fight people who look at the world like this, the same as you can’t speak with a the dog about the colors. I only doubt the supposed value of these measurements, because what kind of laboratory these "engineers" have? I doubt also in the level of their education. Mark explained in a few words why the length of the signal cable makes audible effect on the sound. He did it in such a simple way that even a child would have understood. The Internet allows the masses to express their opinion, and the millions of flies can not be wrong! Blind test is the finale argument taking out the audiophiles the right to life in general. During them an audiophile convicted to perception of hearing is helpless (stripped of the whole product ideology). He can’t distinguish between primitive turntable and this one which costs a million. So I have for all those non-audiophiles great proposition! Gentlemen, meet in a nice Friday or Saturday night, as we do and take such a blind test. Just as we have to use only the ears, you also use only one part of your body as a tool of cognition. This, which you are very well, unlike us, endowed. Be sure to write a report from this meeting… ALBEDO cables supplied for testing by manufacturer: www.albedo-silver.com KBL cables supplied for testing by manufacturer: www.kblsound.pl FURUTECH cables supplied for testing by distributor: www.rcm.com.pl CHORD cables supplied for testing by distributor: www.q21.pl SUPRA cables supplied for testing by distributor: www.bestaudio.pl YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? JOIN US ON TWEETER: UNIQUE PHOTOS, UP-TO-DATE INFORMATION, NEWS!!! [hfgallery] [img mini="foto_testy/1501/reportaz_pss/th/05.jpg" big="foto_testy/1501/reportaz_pss/05.jpg" src="foto_testy/1501/reportaz_pss/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/reportaz_pss/th/06.jpg" big="foto_testy/1501/reportaz_pss/06.jpg" src="foto_testy/1501/reportaz_pss/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/reportaz_pss/th/07.jpg" big="foto_testy/1501/reportaz_pss/07.jpg" src="foto_testy/1501/reportaz_pss/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/reportaz_pss/th/08.jpg" big="foto_testy/1501/reportaz_pss/08.jpg" src="foto_testy/1501/reportaz_pss/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/reportaz_pss/th/09.jpg" big="foto_testy/1501/reportaz_pss/09.jpg" src="foto_testy/1501/reportaz_pss/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/reportaz_pss/th/10.jpg" big="foto_testy/1501/reportaz_pss/10.jpg" src="foto_testy/1501/reportaz_pss/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1501/reportaz_pss/th/11.jpg" big="foto_testy/1501/reportaz_pss/11.jpg" src="foto_testy/1501/reportaz_pss/11.jpg" desc="HighFidelity.pl"] [/hfgallery]

ne can wonder why so many people at certain age start using expression „I remember that...” more and more often. I can not not remember that several years ago whenever I came across such expression in a text it usually ignited at least some level of aversion towards obviously „advanced” age of its author. Why would anybody bring his memories/recollections all the time up, while what mattered was here and now?! I realized recently that more and more my own texts open today with something like: „I remember that...”, but I also realized that using this expression was not about my age, but about experience gained over time, an experience that helped me to better understand many things. So with a great pleasure and confidence I'd like to say that I remember very well the moment from several years ago (when I was working for Chorzów's „Sound & Vision”), when I saw an add of totally unknown company called Power Audio Laboratories. The design, both external and internal, of their devices was truly impressive, much nicer/better than most of other power filters/conditioners available on the audio market at the time. At this time PAL competed directly with key players on the market, some of which don't even exist anymore. In fact Power Audio Labs doesn't exist any more either. But in this particular case, luckily for us, one of PAL's founders, Adam Szubert, decided to continue the work on his own by founding another company, called GigaWatt. Some of you might not remember PAL, but GigaWatt is a renown brand name today. Using pictures of the inside of PAL's products in commercial adds was no accident. It was quite unusual approach back then and it is still today. But PAL was not afraid to show the internal design of their products as build and fisnish quality was simply amazing. Still today it sets standards for other brands to follow. Maybe not for GigaWatt, as it took all the best ideas from PAL's products and basing on them created its own solutions and a characteristic looks of its devices. It is clear that Adam's (I use his first name not because of lack of respect but because we've known each other for years) products are to be treated as as important part of any audio system, as its other components. That is why it sports a solid, beautifully finished front panel with a display delivering information on current voltage, and a solid, rigid chassis with nice anti-vibration feet. All these elements suggest, what I agree with with all my heart, that this device's importance for the system equals importance of any other component like a source, or amplifier, and thus its price might also be comparable to that of other components. Back then, in 1998, when PAL started, such a philosophy would have been treated as “crazy talk”, but today it is almost an industry standard. ADAM SZUBERT GigaWatt | Owner One of the critical issues for our company at the moment is our big investment that is about to be finalized – our new headquarters including also our workshop space. It should be ready beginning March. You can see its final appearance on the picture below. It's a newly constructed building with 230 sqm surface that includes a reception, office space, conference room, a warehouse, assembly room, kitchen, bathroom, and most importantly 40 sqm listening room (stereo and THX), that was designed by a Lodz based company Audile (Krzysztof Pajor). Project of the elevation of the new GigaWatt headquarters. We delivered for this test the latest version of our PC-4 EVO power conditioner, that includes a new feature - DCB Offset Blocker – a circuit that eliminates unwanted DC elements also (unfortunately) delivered by power grid. This device is capable of a lossless transfer of energy and it will withstands even large loads. It is an important statement as many of our clients heard about some cheap power strips with DCB circuits that went up in flames as they couldn't withstand the load. It's not the case here! Apart from additional protection our conditioner with DCB ensures, it (or a system with it) also simply sounds better. DCB is now offered as an option for all EVO conditioners, at additional cost, of course. Another new (introduced last year) product in our portfolio is our flagship power cable – LS-2. It is very successful on many foreign markets. Its development took particularly long time before we finally decided that it was ready for production, but the product itself and coherent opinions coming from our distributors and clients proved beyond any doubt that all that time and effort did not go to waste. It was a great decision to fine-tune LS-2 until we were absolutely happy with its performance. Another novelty in our offer is a circuit breaker that is manufactured for us by Carling. It complements our “installation offer”, that already included in-wall LC-Y cable. And the latter is also considered by many almost a “cult” product today. Krzysztof Pajor, who designed from grounds up our new listening room, installed once our LC-Y cable for quite wealthy customer, who had few separate power systems, some based on LC-Y and some on top Furukawa cable. Imagine Krzysztof's surprise when, after the comparison between these two cables, customer informed him that in his opinion Furukawa performed “slightly better”. To realize what that means one has to know the price of Furukawa cable, that is roughly 10 times more expensive than our LC-Y! Adam Szubert at Audio Show 2011, with his friends - Tomasz Ferszt of Sevenrods (on the left) and Michał Kęcerski of Audio Academy (on the right). For mid-February we anticipate a release of new budget power strip, PF-1e. It will be available in two versions – with and without power cable. When designing it we tried to achieve as similar performance to a “regular” PF-1 as possible. It was a difficult task, and obviously there would be some differences in performance. But we think we did our job really well! We managed to lower costs by using some alternative, less expensive components, and the version without power cable will cost only 250 EUR. This product is a proof that it is possible to make a good product for people on the budget, although we, as manufacturer, won't make much money of it. It is in fact sort of a gesture towards our clients who can't spend that much on power accessories. GIGAWATT in „High Fidelity” TEST: GigaWatt PC-3 EVO – power conditioner, see HERE TEST: GigaWatt PC-2 EVO + LS-1 + LC-2 mkII + LC-1 mkII – power conditioner + power cable; see HERE TEST: GigaWatt PF-1 (as element of a system) – power strip, see HERE YEARLY AWARD 2010: GigaWatt PC-4 – power conditioner, see HERE TEST: GigaWatt PC-4 – power conditioner, see HERE YEARLY AWARD 2008: GigaWatt PF-2 – power strip, see HERE TEST: GigaWatt PF-2 – power strip, see HERE Recordings used during test (a selection) Art Blakey Quartet, A Jazz Message, Impulse!/Universal Music Company (Japan) UCCI-9043, “Best50”, No. 43”, CD (1963/2001). Bemibem, Bemowe Frazy, Polskie Nagrania MUZA/Polskie Nagrania PNCD 1096, “Polish Jazz DeLuxe”, CD (1974/2007). Chet Baker & Art Pepper, The Route, Pacific Jazz/Capitol/Capitol-EMI Music CDP 7 92931 2, CD (1989). Jim Hall Trio, Blues On The Rocks, Gambit Records 69207, CD (2005). Karl Bartos, Off The Record, Bureau CD 974282 BB079, CD (2013). Laurie Anderson, Homeland, Nonesuch 524055-2, CD + DVD (2010); review HERE. Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); review HERE. Miles Davis, The Original Mono Recordings, Columbia Records/Sony Music Japan SICP 30521-9, Blu Spec CD2 x 9 (1957-1964/2013). Japanese CD editions are available from [REKLAMA5] Listening session with particular product, comparisons between two or more of them, deliver almost all information necessary to describe them and to assess them. Using also knowledge about their design, engineering, used solutions, considering also manufacturer's reputation (this is an important element of product's value!) one is able to precisely assess what kind, if any, of changes it introduces to the sound. In audio system every element contributes to the performance, each of them “distorts” the original sound. Some devices do a better, and some a worse job, and every user for himself has to choose those that fulfill his expectations in the best possible way. The moment of truth comes when a user is faced with a decision and needs to answer himself a question: do I want to spend next (whatever number) years with this amplifier, these speakers, accessories, and so on. Do they offer what I need to enjoy my music every day. For me personally, times when I wanted to have every second device I listened to, are long gone. Surely I still feel excitement when unpacking a new device, when turning it on for the first time, when listening to the music using them – I am a fan of audio, an audiophile after all. But it happens less and less often that I want to keep a reviewed product in my system. Yes, there are still some power amplifiers, digital an analogue sources I would love to replace my present ones with, but when it comes to my power system I am happy with what I have now. So on one hand when reviewing numerous products made by GigaWatt, I always admired Adam Szubert's work – he created world class products that were a perfect match for many advanced audio systems. On the other hand Acoustic Revive RTP-4eu Ultimate and Acrolink Mexcel 7N-PC9500 power cables did such a fantastic job in my system fulfilling exactly my expectations, that I didn't feel this need to change them for something else. New flagship products of GigaWatt managed to change that. It's not about me getting immediately rid of Japanese strip and cables and looking for a space in my room for PC-4 EVO. But for the first time I heard something that appeared to be a new reference (in the power area) which showed me exactly what Acoustic Revive and Acrolinks did with the sound of my system. Before this test everything they did was, from my point of view, unambiguously positive. But this is what progress in audio is about – anything that is the best at the moment won't be anymore when another, even better (or at the same level but different) thing comes along. I am going to mention also these elements that were not unambiguously better. But I'm going to start with things that this Polish device does very well, although it might be the case, where it offered something else rather than something better than my Japanese system. I'd like to start with these features offered by PC-4 EVO with LS-2 that will make high quality systems sound spectacular. Let me start with “few simple words”, so to say. GigaWatt's system delivers higher dynamics than the Japanese one. Sound seems even more open with it. The proportions between mid-bass and the rest of the range are more accurate. A differentiation of the soundstage is better, and so are both range extremes. I also think that Gigawatt took a selectivity of my system at least one level up. The biggest disadvantages of power conditioners is some limitation to dynamics they introduce for power amplifiers connected to them. Soulution 710 is particularly sensitive in that area as it is a particularly dynamic amp. Any change to its dynamics is always clearly audible. To my surprise there was no sign of any limitation with GigaWatt. What's more, I was under impression that this power conditioner even further improved my amplifier's dynamics. The Polish conditioner defines more precise images thus allowing listener to look deeper into the soundstage. On one hand everything that is happening in the front of the stage seems closer than usually, on the other listener can “see” deeper into the soundstage. It's like the space between the front and the back of the stage became clearer, more transparent and that's what allows to look deeper. With my AR I don't really miss that perspective, even now when GW showed me that it might be even better. It's not that something I believed for some time was very good suddenly turned out to be not good. When that happens it means that previous system wasn't really that good as I thought it was. On the other hand these element introduced by GigaWatt were something new for me, but also something I truly liked. „EVO” proved to me that AR strip slightly “thickens” sound. Not by much, and in the right area (lower midrange) but still. Images seemed richer, more subtle, but also “thicker”. It's not about artificially enlarged sounds, after all also AR strip is one of the top solutions, but about small adjustments to make recordings sound “nicer”. Sound with AR is amazingly resolving, and differentiation is fantastic, too. But at the same time it has this tendency to make sound more likable, nicer to listen to. It's like this Japanese power system and my Harbeth M40.1 speakers became best friends, who do each other some small favors. GigaWatt on the other hand put itself in the position of authority, a friendly one but less willing to compromise to “help” a friend. Its priority is what comes out of speakers, what happens between them rather than doing any favors to other system components. I am not sure whether such an elaborate description anthropomorphizing this metal box is the right thing to do here, but on the other hand sometimes such comparisons and metaphors are in fact the best way to convey certain information. Power conditioners often introduce also unwanted elements to the sound – systems connected to conditioners tend to sound “dry”, with bass loosing some “weight”. Polish device does not have this kind of influence on the sound. The Synergistic Research Tesla power conditioners and cables (see HERE) offered yet something else – they enriched the sound, made it spectacular, but at the cost of clarity and transparency. Also ISOL-8 conditioners, fantastic devices, absolutely amazing ones, tend to sweeten presentation, just like my own power system does. GigaWatt delivers a full range performance so even the lowest notes on Laurie Anderson's Homeland in Falling piece were accurately defined, had proper “weight' and energy. They were not as “warm” as with Acoustic Revive – obviously these sound features couldn't really be combined. But the differentiation (also in space) of these lowest notes was now better. I also thought that the lowest part of the bass range was clearer, more transparent and that initiated an impression of even better extension. It was just an impression but the whole perception of music is based on impressions, right? Summary GigaWatt's system modifies sound of the system to the lesser extend than any other power system I had a chance to check out in my room. But, to be honest, it was also the most expensive one. In top-high-end price is almost irrelevant, or at least much less important than in budget or mid-priced systems. What matters is how a particular product “sounds like”. Let me remind you that “sounds like” translates into what kind and what level of distortion it introduces to the audio signal, how it modifies this signal. Anyway – that's the best power system I assessed in my system ever. Listening to the music with GigaWatt in the system I couldn't find any of downsides usually associated with this type of device. With some reluctance I have to admit that the way my Japanese reference power system presents phantom images, due to richer midrange is what I truly like about it. Now I realize that it adds something from itself in this aspect making it less “honest”, less “true than Gigawatt. But still this type of presentation truly appeals to my sensitivity. To be perfectly honest I have to admit that Polish system delivers more true performance, without adding anything from itself. With it sound isn't “dry”, is rich enough, and is better differentiated. Soundstage gains some depth and is more selective. In a perfect world it would offer a bit sweeter sound. But what would be Adam Szubert's job then? GigaWatt has been on the market relatively short time. It was founded only 8 years ago. As I already mentioned though, it emerged from its predecessor, Power Audio Laboratories, and together these two companies combine 17 years of experience. Their products almost from a day one really bothered competitors with their quality, and every coming year brought new products, new ideas and solutions. These products always looked good, the engineering was impressive and sound-wise they impressed even more. GigaWatt is the first Polish company, and one of very few, that we decided to award with our GOLD Fingerprint. This is an award for aggregated achievements of this company with two current products: PC-4 EVO (DCB) power conditioner and LS-2 power cable representing a pinnacle of these achievements. It's a great pleasure for us to give this award, but a large responsible for the recipient. We strongly believe that this is not the end but still a beginning of (hopefully) very successful road ahead for GigaWatt. PC-4 EVO PC-4 EVO is the latest version of GigaWatt's flagship power conditioner. By conditioner I mean a device that filters power delivered from electric grid, and protects devices connected to it. The name doesn't really reflect that but it is actually a third version of this product, after PC-4, PC-4 EVO. In this particular case what we get is a passive conditioner with additional active circuit – from this version GigaWatt equips its flagship with additional filter - DCB Offset Blocker, that eliminates DC elements from current from power grid. We could call this version: PC-4 EVO DCB. This conditioner is a large device, that looks a lot like a serious power amplifier. Its front panel is made of a thick aluminum slab. In the center there is a black acrylic plate that covers and alphanumeric display underneath, that delivers current voltage of power grid (an effective voltage). The unit we reviewed had a blue display, but standard version sports a red one. Blue or green display will cost you additional 45 EUR if you can't live without it. And by the way – I would love to be able to turn the display off, which is not possible in this version. Chassis was made from thick, curved, metal sheets. The device sports nice anti-vibration feet made of aluminum and rubber. The back panel sports two rows of power outlets, grouped in fours: for digital sources, for analogue sources and preamplifiers and power amplifiers with a low current requirements, and finally the third group dedicated to power hungry power amplifiers. Each of these sections sports its own filters. The sockets - G-040 Schuko – are manufactured for GigaWatt, and thus a logo on them. The brass contacts of these outlets were silver-plated at the factory, without usage of intermediary metals. Later they underwent two processes, well known from renown Japanese products – cryogenic modification and demagnetizing process. Back panel sports also a selected, high quality hydraulic/magnetic circuit breaker (for all outlets) and a red LED that indicates incorrect polarity. There is also a power inlet – it's a top quality PowerConNAC3FC-HC from Neutrik, its high-current version with silver plated contacts. As I already said the inside of this device is even more impressive, at least for anybody who deals with audio devices everyday. Each section is meticulously planned. Three high current filters are placed near rear panel, each assigned to particular outlets. In the front, under shielding, there are another filtering elements. Next to power inlet you can find an active DC blocking circuit. I saw similar solution in ISOL-8 conditioners. The former are Pi type filters with chokes in the middle and polypropylene capacitors on both sides. The elements are soldered to PCBs with copper paths that are much thicker than usually. Individual stages are connected with massive power distribution bars made of polished, high purity, silver-plated cathodes copper slabs (Cu-FO). According to the manufacturer these are second generation bars, as the previous generation wasn't silver-plated. More details about this device, employed technologies and solutions one can find on manufacturer's web page HERE. LS-2 LS-2 is the most expensive power cable in GigaWatt's portfolio. All its elements were made either in-house or by selected external suppliers to Gigawatt's specification. Cable is made up of nine stranded runs of conductors, Ø 1,5 mm2 each. Conductors are made of purest, oxygen free copper, that is polished and silver-plated. Teflon is used as a dielectric. Cables sports a copper shielding and layers of damping material. The outer layer is made of polyolefin (same material if often used by Oyaide). Even the sleeving is a part of electrical project. Mid-length there is a metal cylinder. It houses a double, passive filter of nano-crystal alloys. Cylinder is made of high grade aluminum, and so are plugs covers. Plug's contacts are made of rhodium-plated brass. All metal elements (just as those of PC-4 EVO) undergo cryo treatment and demagnetization. This power cable is also available in high current version (LS-2HC), that is used to power up a conditioner. Specifications (according to manufacturer) Available socket types: EU (Shuko), US (Nema 5 – 20R), AU (AS/NZS 3112) Line voltage: 220-240 VAC, 50 Hz or 110-120 VAC, 50/60 Hz Maximum output power: 3650 W Maximum current load: 16 A Absorbed impulse current: 22 000 A Dimensions: 440 x 160 x 400 mm Weight: 20,5 kg YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? JOIN US ON TWEETER: UNIQUE PHOTOS, UP-TO-DATE INFORMATION, NEWS!!! [hfgallery] [img mini="foto_testy/1502/gigawatt/th/05.jpg" big="foto_testy/1502/gigawatt/05.jpg" src="foto_testy/1502/gigawatt/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/06.jpg" big="foto_testy/1502/gigawatt/06.jpg" src="foto_testy/1502/gigawatt/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/07.jpg" big="foto_testy/1502/gigawatt/07.jpg" src="foto_testy/1502/gigawatt/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/08.jpg" big="foto_testy/1502/gigawatt/08.jpg" src="foto_testy/1502/gigawatt/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/09.jpg" big="foto_testy/1502/gigawatt/09.jpg" src="foto_testy/1502/gigawatt/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/10.jpg" big="foto_testy/1502/gigawatt/10.jpg" src="foto_testy/1502/gigawatt/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/11.jpg" big="foto_testy/1502/gigawatt/11.jpg" src="foto_testy/1502/gigawatt/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/12.jpg" big="foto_testy/1502/gigawatt/12.jpg" src="foto_testy/1502/gigawatt/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/13.jpg" big="foto_testy/1502/gigawatt/13.jpg" src="foto_testy/1502/gigawatt/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/14.jpg" big="foto_testy/1502/gigawatt/14.jpg" src="foto_testy/1502/gigawatt/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/15.jpg" big="foto_testy/1502/gigawatt/15.jpg" src="foto_testy/1502/gigawatt/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/16.jpg" big="foto_testy/1502/gigawatt/16.jpg" src="foto_testy/1502/gigawatt/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/17.jpg" big="foto_testy/1502/gigawatt/17.jpg" src="foto_testy/1502/gigawatt/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/18.jpg" big="foto_testy/1502/gigawatt/18.jpg" src="foto_testy/1502/gigawatt/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/19.jpg" big="foto_testy/1502/gigawatt/19.jpg" src="foto_testy/1502/gigawatt/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/gigawatt/th/20.jpg" big="foto_testy/1502/gigawatt/20.jpg" src="foto_testy/1502/gigawatt/20.jpg" desc="HighFidelity.pl"] [/hfgallery]

day like any other one. But then we heard: „It's a coincident, obviously, but on the same day you contacted me, I bought myself a new audio system. Actually it's almost the same as the one I had before and was happy about it. But this one is new.” „You” means us, Bartosz Pacuła of „Music to the People” and me of „High Fidelity”. And we contacted Mr Jan Tomasz Adamus, director of Capella Cracoviensis. It was formed in 1970 thanks to stubbornness of a conductor, composer and musicologist, decorated with „Zasłużony Kulturze Gloria Artis” medal, Mr Stanisław Gałoński. For years this ensemble belonged to the most important artistic institutions in Cracow. As in case of any other institution also this one “wore off” over time. When something like that happens the best solution is to bring some new people, with new ideas in. It turned out that in such city as Cracow it is not that simple. As we mentioned on Nov 1st 2008 in HighFidelity it seemed that when Jan Tomasz Adamus became a director of Capella he was already doomed to fail (more HERE). Born in 1968, so 38 years later than Mr Gałoński, he had a PLAN, though. Anybody who had anything to do with state founded institutions knows, that the key issue there is survival. The very few who dare to do something more, stick out, but are not appreciated by others, as they break status quo. For example by showing that an instrument is just a job and not the purpose, the meaning of life. That is why anybody who thinks ahead beyond present budget year is doomed to be attacked by others. And the attack happened. Beginning of February 2015, we sit in a small room on the third floor of Cracow Philharmonic Society, where Capella Cracoviensis also holds its headquarter. Apart from a small place to make tea or coffee, there is only enough space for two armchairs and a couch. It's not a Biedermajer, but rather a colorful, soft couch, really comfortable one. There are two more people in the room, except for Mr Adamus and us. Ms Agnieszka Kopieniak – responsible for marketing and advertising and Mr Paweł Szczepanik, responsible for PR. Both significantly younger than their boss. This interview was rather sort of casual conversation about many different things and time passed really quickly. That is not the point. The point is that we had a chance to talk to the people who turned Capella Cracoviensis into one of the best Polish orchestras specializing in historical performance practice. Into ensemble that works with most interesting artists from around the world performing this type of music, and the one that records its music for the renown recording labels. After Bach. Rewrite made for Decca (photos from recording sessions no. 5-9), came Te Deum released by Alpha, with a performance of CC choir, and finally latest release Motets J.S. Bach, with conductor Fabio Bonizzoni, recorded in Lusławice also for Alpha. As you can see we talked to very successful people. CAPELLA CRACOVIENSIS in „High Fidelity” • FEUILLETON: Capella Cracoviensis, czyli „dźwięk absolutny” w: RAVEEN BAWA I VIVALDI (Data Conversion Systems). Dwaj panowie w Krakowie, see HERE • REVIEW: CHARPENITIER & LULLY, Te Deum, see HERE Wojciech Pacuła, Bartosz Pacuła: What exactly got you to take such a desperate step – to run and change an ensemble in a city, that hates changes? Jan Tomasz Adamus: Change is a natural course of life and so a conservatism could be treated as a sort of mental impairment. Any ensemble has to keep trying to get as good at what it does, as possible. Or cease to exist. Capella Cracoviensis' potential is so huge – and I mean of both – artists and team managers – that we don't even bother to worry about people complaining about us performing a classic symphony in a tram depot. Sure, there are many people who believe that opera should be performed only in an opera house, symphony in a concert hall, sacral music only in a church, and sex is allowed only in bad with lights off. But it is hardly a reason to sentence all Cracow citizens for a boring life in an inferior, less creative part of a Middle Age Europe. Whom should a director of an ensemble specializing in historical performance practice be? What qualities should he have? There is no single recipe for that. Successful management of such ensemble requires multiple qualities, skills and talents. Sometimes the best person for the job is someone who has many different qualities and they all combined allow him to success. But it also happens that a man of a single quality, that is absolutely dominant, that gives this person strength to overcome shortcomings in other areas is able to act efficiently. Capella Cracoviensis was an idea of a single man, a project of a single man. We try to continue this tradition. I believe that it is an important quality on artistic map of Cracow. In Cracow we have some traditionally, quite democratically, but also a bit conservatively managed institutions (Cracow Opera, Cracow Philharmonic Society), but also two groups that exist as original projects: choir and orchestra Capella Cracoviensis and Sinfonietta Cracovia. I believe it's a great advantage for Cracow. How did it happen that CC started to work with famous artists and ensembles? We managed to introduce few simple mechanisms into our work which allowed us to achieve a certain, high artistic level that was recognized by international community. CC is quite international by itself – artists from all over Europe perform with us on regular bases. Usually they automatically become our ambassadors. In turn people that we admired several years ago listening to their recordings, now contact us asking if they could perform with us. There is a very clever term ”reality management". We live in times of great opportunities and we try to use them. Does it really happen this way? I always thought that, at least the the beginning, one can't do anything without contacts/relations with certain people. Yes, it really works this way – it is usually somebody we don't know – one has to call, propose some sort of cooperation and that's it. That's exactly what happened with Mocci [Alessandro Moccia - violin, concertmaster]. I simply wrote an email, introduced myself and then he came. He came, looked around, listened to us playing and liked what he saw/heard. Today he performs with us on regular bases – there is this good energy between us. I can understand that what sells press are more unusual, exciting stories, but that's how it worked for us. The role of personal contacts, acquaintances is overrated. These are not necessary even in actors world. We just called Andrzej Chyra and there he is – we will perform together on March the 3rd in Galeria Sztuki Polskiej XIX wieku in Cloth Hall. It's going to be Haydn's Seven last words of Christ on Cross with already mentioned Aleksander Moccia as concertmaster and Andrzej Chyra as lector. I'd like to invite you all right now! And let me repeat – usually all it takes is to call, present what we do to get interest of these interesting people. But for that to work, to get these interesting people to come, we have to be able to propose something serious to them. Top musicians, singers, conductors prefer entrances in their schedules marked with long lines rather than with single dots. They need to know their schedule long time ahead, they need to know when and where they are going to perform. Best option is always a performance repeated in the same place for at least few days in a row. These „dot” job loose to those that last few weeks. How would you position your ensemble now, after few years under your “command”? We have become a part of international historical performance practice scene. My wife went to see a Mozart's opera in Theatre du Chatelet in Paris, recently and while there she sent me a text: “Half of the orchestra is Capella Cracoviensis". It so happened that several musicians that work with us on regular bases performed there that night. Few years ago, when CC underwent some dynamic changes, we saw some comments that we took the right path, because of 5 orchestras in the city one became unique because it used original instruments. Today we know that only few orchestras among many existing in Europe perform on regular bases using original instruments to play 19th century music. We are one of these few. So instead of being “one of five” orchestras in Cracow, we became “one of five” in the world. Classic music on high artistic level is an international phenomenon. Either you're a part of it or you don't exist. What challenges can you see ahead? What do you dream about? The most important dream that I have is related to the CC's and Cracow culture's advancement – what is needed for that is a concert hall with great acoustic, architectonic and lifestyle qualities. Concert halls, theaters, art galleries are today's temples. Temples of modern, enlightened society. Art is today's sacrum, a better one because it's free of ideology, exclusion and so on. I would really love to see Cracow as a cultural city, but not in a fancy-festivity way, but in organic, autonomous, original, visionary way. I want it to be a lively, expressive, bold, young city. There have been many insignificant museums created in Cracow, that haven't even really had their exact role specified. Too much attention still goes towards past, and the past is not that important to young people. And it is them who will create future. It is not really possible to go forward and back at the same time, to live in the 21st century and in Middle Ages simultaneously. It leads to schizophrenia. I believe that a spectacular concert hall in Cracow should be treated as sign of us belonging to enlightened Europe of open minded people. Can you find time and will to listen to the music also at home? If so, what kind of music do you like to listen to? Recently I've been listening mostly to a classic mainstream operas and symphonies, but also to romantic chamber music and 20th century music. I truly enjoy music that was created at the turn of 19th and 20th century. I realize it is not a concrete answer, but I actually listen to various music. Music is my job after all. How do you see the role of sound quality as a part of musical experience? Did you have any experience with high quality audio systems? It's a matter of good manners, ecology, or even acoustic hygiene. It is really depressing to see all those mass events using cheap audio systems that only hurt people's ears, or those screaming speakers outside churches. It's barbaric! So yes, we should be glad that more and more people find pleasure in listening to the music provided in an aesthetic way. Privately I don't really celebrate listening to the music much, although I use a system some might call audiophile: Cambridge Audio electronics and Triangle speakers. It's a coincident, obviously, but on the same day you contacted me, I bought myself a new audio system. I've been using Cambridge Audio system for many years but its time has finally come and it had to be replaced. So I bought more or less the same system, just its newer version. Nothing special – a CD Player and amplifier. I'd hardly call it “nothing special” considering that most musicians don't even realize that there are audio systems people use to listen to the music… I guess it's a matter of man's sensitivity to various things. One can know more or less about specific matters. In most countries when you take your Labrador for a walk, people you meet smile, want to pat it because they know that this is a very friendly, “benign” dog that loves children. Take such a dog for a walk here – people will tell you to take away “that beast”, “why isn't it muzzled?” and so on. Same goes for trees – some people appreciate them, some will cut them down and burn them. I remember that many years ago I owned JBL speakers and Technics CD Player and amplifier. System sounded pretty cool. But then I bought a new system, which was kind of impulse purchase – there was an audio salon in my city that I frequently visited. And some day I went in and bought a new system. It is true, that to truly appreciate sound quality system offers one needs some listening experience. Only after several sessions with different systems one might be able to assess systems properly. To put it simply – JBL speakers had more power, or in other words they played louder. But then I listened to some well known recordings using new system and I found out many details that I couldn't hear using old system! I listened, for example, some vocal cantata, where each voice was doubled by trombone. I didn't realize that as I couldn't hear it on my old system. It was a nice finding. It's a real story – people think that buying some high quality product is just eccentricity, that it won't make a difference. But there is a difference! One needs a proper attitude. One can drink wine from a beautiful glass, or from a jar. Same vine but totally different experience. Here, in Poland, people keep having problem with that. Another example is a tender law – it says that the least expensive tender wins. Such approach lead to many things being shitty. And when one goes to a restaurant one expects a lot of food for 5 zloty. There has to be A LOT. In our business it has to be LOUD – whether it concerns audio system, or concert hall. With Messiah you've inaugurated cooperation between CC and ICE. We attended this concert and were truly impressed. Tell us about your impressions – did you like playing there? What about hall's acoustics? Was there anything that surprised you? The main ICE hall – despite its weird name – offers pretty good acoustics with quite short reverberation. Its scene allows to prepare also simple opera productions. It seems that this building, despite its functionality, will be used mostly for various congresses, so neither artists will have too many opportunities to perform there, nor music fans to benefit from this good acoustical environment. Going back to the what I said about audio systems – I am not sure that a concert has to be LOUD, that acoustics has to support this particular element. In ICE it doesn't really get loud. One could wonder about tonality, but level of volume is not that high. Reverberation is very short, almost none – that's good. In Lusławice reverberation is long and everything gets loud. But I know that there are some people who prefer that. One has to remember that this is only one element of hall's acoustics, but not the only one. And what you think about Philharmonic Society Hall, where we are now. A common opinion about it isn't very good… Well, no. I can't agree with that. I think that this hall's acoustics is very good. Maybe the sport under balcony isn't a perfect one. Everybody complains also about trams passing by, and I don't even notice them. Besides for the last couple of dozens of years nobody's figured out that it would be a good idea to install double door on street's side. What I don't like, what I find humiliating is a long line in front of a toilet. That feels like a Third World country. Do you think that a new Music Center building, project that has been recently rejected by the city council, would solve these problems? That's a complex issue. Obviously artists would love to have a second concert hall at their disposal, but we have to be reasonable. Let's take an example of Cracow Philharmonic Orchestra – they don't have funds to play two concerts a week, and most weeks they play only one. Friday night with Philharmonic Orchestra was sort of tradition. In Cracow they played this concert Friday evening, and repeated it on Saturday. But for a long time they have been playing only one concert. They can't play the second one even though it wouldn't really cost that much, as the first concert. So let me ask: how would they afford performing in a new concert hall? It's like with high quality audio system – once you have it you need to feed it with high quality current, right? – There are specialized filters, cables and so on. To get them you need to spend even more money. Powerful amplifiers consume a lot of power, right? Power that also has to be paid for. When there is a new building there are also maintenance fees, utilities, electricity and many other things that have to paid for. I believe that a new concert hall could trigger some new energy – today people are happy to go to ICE, and they would be, most likely, also happy to go there. But a new concert hall makes sense only if it is occupied all the time, if there are concerts there every day. For someone who sells wine to spectators to make some profit of it, he has to do it few times a week, not just once. That's what Agnieszka tries to do now [Agnieszka Kopieniak, who was also present during our interview] for out summer enterprise called Theatrum Musicum. The idea is to create an organized concert life, to set a rhythm to it as a preparation for future common, organized usage of a new concert hall by several institutions together. If we manage to organize this concert life of our city some potential partners, like wine companies, might be interested in making some investments. Maybe in a place visited by so many music fans other firms could sell speakers, or audio/music magazines. That would be great, but today we play a concert here, and the next one there. Don't you exaggerate a bit? You did it! You're very successful! Well, yes. But we could achieve much more if we haven't had so much problems with where to perform. The office responsible for ICE schedule can't give us available dates with reasonable heads up. And even if they know about some, they make a reservation that if some company (offering enough money) wants the hall for some conference it will be a preferred customer. We can't work this way. Culture, art require order and peace of mind. If one, who doesn't know that ICE is a Congressional Center, takes a look at this building, at its concert halls and facilities, one would have to think it's and art center. And yet, a decision has been made and it is a congressional center, not an art center. We expect a simple message – during summer you can use the hall as much as you like, as nobody organizes conferences then. We simply need to be able to prepare some plans. Aren't you managed by the same office that runs ICE schedule? Well, we might say that. But the fact is that they don't really “manage” us. It's like they had two kids, gave them some money than ask them to pay for using toilet to claim that they run a profitable operation. We've been looking for locations for our performances months ahead and we had to delegate one person to this extremely difficult task. The job is horrible as usually there is no one who can answer a simple question about availability dates, nobody knows that. Unfortunately still most people think that music belongs only to concert halls and operas. Agnieszka Kopieniak: That's true. I applied for a financial support for theatrical-musical project and I proposed it would be performed in a gym. I received an answer that a gym is not a proper, prestigious place for such project ad that I should have changed it. And it wasn't just any gym, it was in the Sokół building on Piłsudski Street [Polskie Towarzystwo Gimnastyczne "Sokół", J. Piłsudskiego 27, Cracow] – fantastic example of great architecture with a lot of unused potential. Jan Tomasz Adamus: That's a beautiful building with wonderful interior, too! It could be easily turned into a fantastic space for music. I have no idea, I really don't, why such things can't be done. We need a hall of substantial height to get the sound circulating. Against appearances the tram depot that belongs to Muzeum Inżynierii Miejskiej on Wawrzyńca str. provides great acoustics and is really suitable for music concerts. But it seems that we are all quite primitive in thinking that there is space for cars and trams but not for Mozart, Mahler and Szymanowski. Everybody knows what an aircraft is so money from EU goes to Aviation Museum. Nobody knows what Brahms is so there is no money for a concert hall. Obviously we live in a lesser part of Europe. Filled with superstition and lack of ambition. You recorded Bach. Rewrite in Lusławice – what are the differences between concert hall there and ICE? The hall there has a much longer reverberation time, possibly even blurring some details. Personally I prefer halls that are a bit more “dry”. But most of the public prefers this type of acoustics. I think that the concert hall in Lutosławice is a giant leap forward. Let me repeat – today's temples are not churches but concert halls and theaters. We should invest in them. It is an urgent need. Art plays an important role of emotional education, it teaches tolerance, prevents nationalism. Any plans for future? Both private and professional? We are currently working on a large, international production of Pergolesi's Adriano in Siria opera; we prepare concert versions of such operas as: Sosarme by Haendl, Iphigénie en Aulide by Gluck, Cosi fan tutte by Mozart. We are in process of recording Lassus, Mozart, Chopin, Schubert, Karłowicz, Arvo Pärta – we should finalize 5 albums this year. I guess that's a lot. There is also another, summer project called Theatrum Musicum – together with other musical institutions we have created one of the largest classic music scenes in Europe. Not everybody believes it is possible, as the word “cooperation” doesn't exist in many people's vocabulary, but the project develops nicely and in few years it will make us all very proud. My personal agenda – to start something new. I will not tell you what will it be, that's a private plan after all, but I need to do it to keep my juices flowing. Are you happy about your life? Do you feel accomplished in your professional life? Yes, I am a happy man. I could still wish that we managed to plan something ahead, to play few days in a row, that would be a perfect situation for us. As for Capella – it is an artistic group and not an institution. And that's great! Nobody comes in to just sit for eight hours in a boring job, but to do something, to play some music. People come to rehearsal, to get ready for the performance. They don't have to stay here for certain amount of hours. Name 10 albums that our Readers should familiarize themselves with as soon as possible... That's difficult, but let me try. It's a mix of “new” and “old” music. Please consider that I'm recommending album with great music, not necessarily with great sound: 1. Mahler, 9th Symphony, Los Angeles Philharmonic/Gustavo Dudamel, Deutsche Grammophon. 2. Massenet, Werther, Rolando Villazón ROH/Antonio Pappano, Deutsche Grammophon. 3. Szymanowski, Song of the night, Wiener Philharmoniker/Pierre Boulez, Deutsche Grammophon. 4. Strauss, Songs with orchestra, Karita Mattila/Claudio Abbado. 5. Schoenberg, Violin concerto, Hilary Hahn/Swedish Radio Symphony Orchestra/Salonen, Deutsche Grammophon. 6. Schumann, Das Paradies und die Peri etc., Gardiner, Deutsche Grammophon/Archiv. 7. Schubert, Winter journey, Ian Bostridge/Leif Ove Andsnes, EMI. 8. Schubert, Songs, Bryn Terfel/Malcolm Martineau, Deutsche Grammophon. 9. Gesualdo, Tenebrae, The Hilliard Ensemble, ECM. 10. Brahms, Sonatas for viola and piano, Kim Kashkashian/Robert Levin, ECM And, of course, our own latest recordings: Te Deum, Lully & Charpentier, Capella Cracoviensis & LPH, Alpha. J.S. Bach, Motety, Capella Cracoviensis, Alpha. Bach Rewrite, Masecki/Orzechowski/Capella Cracoviensis, DECCA. I know that you saw our web page of Cracow Sonic Society – would you be willing, together with Ms Agnieszka and Mr Paweł to accept invitation to one of our meetings? With pleasure. We just need to come up with some nice “theme” for this meeting – this year we are recording five album, so we could use one of them. Great! We'll keep you to your word. Thank you very much for taking tame to meet us. Greetings for all Readers! WE ARE PROUND TO ANNOUNCE THAT „HIGH FIDELITY” AND „MUSIC TO THE PEOPLE” MAGAZINES BECAME MEDIA PATRONS OF CAPELLA CRACOVIENSIS. IT”S A GREAT HONOR AND AN OBLIGATION. YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? JOIN US ON TWEETER: UNIQUE PHOTOS, UP-TO-DATE INFORMATION, NEWS!!! [hfgallery] [img mini="foto_testy/1502/wywiad/th/05.jpg" big="foto_testy/1502/wywiad/05.jpg" src="foto_testy/1502/wywiad/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/06.jpg" big="foto_testy/1502/wywiad/06.jpg" src="foto_testy/1502/wywiad/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/07.jpg" big="foto_testy/1502/wywiad/07.jpg" src="foto_testy/1502/wywiad/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/08.jpg" big="foto_testy/1502/wywiad/08.jpg" src="foto_testy/1502/wywiad/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/09.jpg" big="foto_testy/1502/wywiad/09.jpg" src="foto_testy/1502/wywiad/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/10.jpg" big="foto_testy/1502/wywiad/10.jpg" src="foto_testy/1502/wywiad/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/11.jpg" big="foto_testy/1502/wywiad/11.jpg" src="foto_testy/1502/wywiad/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/12.jpg" big="foto_testy/1502/wywiad/12.jpg" src="foto_testy/1502/wywiad/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/13.jpg" big="foto_testy/1502/wywiad/13.jpg" src="foto_testy/1502/wywiad/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/14.jpg" big="foto_testy/1502/wywiad/14.jpg" src="foto_testy/1502/wywiad/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/15.jpg" big="foto_testy/1502/wywiad/15.jpg" src="foto_testy/1502/wywiad/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/wywiad/th/16.jpg" big="foto_testy/1502/wywiad/16.jpg" src="foto_testy/1502/wywiad/16.jpg" desc="HighFidelity.pl"] [/hfgallery]

hile tracing the development of the Accuphase company for the last several years, I underestimated its approach to designing audio equipment for a long time, which was in evident contrast with my respect for the products themselves. They have always been and undoubtedly will continue to be a model as regards the quality of workmanship, design, engineering efficiency and reliability. Looking at them and at the way they are built is a real pleasure. That is surely why second-hand devices bearing the Accuphase logo are highly priced and still in demand. Another important factor is the lifetime of these devices. They rarely break down due to high quality of construction, good workmanship and the components used. The dissonance between my impression of the way the company operates and its products was based on my distrust of those who rely on measurable parameters and place them on a pedestal. In the 1970s, almost the whole industry worked in this way. Only the renaissance of tubes with their very strong sound distortion made it necessary to revaluate the performance of audio firms. As a result, another change in sound quality was enforced, which was a significant step forward. It all related to one simple fact: the great majority of devices built only on the basis of selected measurements (arbitrarily selected and interpreted, also when it comes to their correlation), produced ‘colorless’, dead, plain and empty sound. Such equipment was contrasted with tube audio devices characterized by soft, natural, full sound in which it was possible to “feel” flesh-and-blood people. A few decades later we are somewhere else, in a significantly different situation. As far as both types of signal amplification are concerned, it is surprising in this context that one thing proved helpful in both cases: reliable, creative, productive engineering. What people had already known, but had not been able to interpret correctly, was now proved to be true: good measurable parameters really help to obtain good sound. Sometimes some part of them can be “sacrificed”, but never everything. The key was, however, to take a different approach to measurements and to correlate them with sound quality tests. Thanks to this approach, power supply, mechanical construction, as well as EMI and RF radiation protection in devices was significantly improved. The signal to noise ratio and the damping factor were also increased, whereas distortion was decreased. However, it was done in a different way than before. In the 1970s and 1980s feedback was simply increased, which ruined the sound. It is now known it is possible to make feedback systems really “helpful” – it is so in Swiss Soulution, American Boulder and Japanese Accuphase amplifiers. However, one must know how to do it and it is necessary to be careful with depth. Decreasing noise in Accuphase products, including the E-470, consists of shortening the path, eliminating unnecessary contacts and improving power supply. An important role is also performed by the improved AAVA system volume control, a complex system replacing a potentiometer or an integrated circuit, dampers used by other manufacturers. That is why, looking now at the information sent to us by the manufacturer, specifying all the changes that have been introduced since the previous model – the E-460 – was launched, I understand what the E-470 does and I can hear what the effects are. However, a lot of time must have passed for these modifications to improve the sound directly in its key aspects, among which depth, fullness, fluidity and differentiation are most important. Alongside with the integrated E-470 amplifier I also asked for another novelty – the brand new digital-to-analog converter DC-37 – the first such converter in Europe and sixth in the world. It seemed to me to be a natural partner for the E-470. Although I thought it was the first DAC launched by Accuphase for which there is no dedicated CD or SACD transport, Mr. Suzuki (see the text below) reminded me that, in fact, Accuphase once launched a standalone DAC, the DC-61, in 1996. All the remaining DACs were part of a top digital source consisting of transport and a D/A converter. This time we get a standalone DAC. Apart from classic inputs and an HS-LINK input, it also has a USB port – the most important one in our times, I suppose. It is supported by the Bravo SA9227 system and allows to send PCM signal up to 32 bit and 384 kHz (i.e. DXD signal), as well as DSD64 and DSD128 signal to the converter. Using a nice-looking display, it shows the sampling frequency and, additionally, the number of bits, which is unique. It has an adjustable output level, in the digital domain, so it can be connected directly to a power amp. However, in my system it operated as a pure DAC. I used the Siltech Golden Eagle 75 Double Crown cable to transfer signal from the CD transport and the power supply Crystal Cable Golden Dream cable. Signal was transferred from the computer using the USB Acoustic Revive USB-5.0SPS cable. However, before you start your listening sessions with any Accuphase amplifier, it is necessary to devote some time to it. Such outstanding measurable parameters as those achieved in new Accuphase devices are based on the operation of components at a stable temperature, after capacitor formation and after the connections at solder joints and the mechanical structure of the power transformer are established, etc. It means that a new amplifier will not play music as well as one which has been operating for some time already. The process, called “warming up”, is always necessary, but here particularly important. New Accuphase products should be used for two, three weeks before any listening sessions are held – and this is not everything. No matter if our heart is green or not, we must consider the fact that amplifiers, including the E-470, should be turned on for a few hours before a listening session. It is not necessary for them to play music – they just have to be connected to a power supply. Actually, they should never be switched off. Fortunately, we are talking about AB class here, without input signal, so energy consumption is reduced to a minimum. Moreover, it is really worthwhile – the effects will make us forget the world. MARK M. SUZUKI Accuphase | Executive Vice President WOJCIECH PACUŁA: Who designed the E-470 and the DC-37? MARK M. SUZUKI: The engineers from our Design Department designed them. We set up a project team for every model. The E-470 team consists of four engineers, whereas the DC-37 team comprises three engineers. What goal was set for the engineers who were working on the E-470? The goal was simple: while designing the E-470 we aimed to implement technologies which we had developed for our top products prepared on the occasion of the company’s 40th anniversary: the C-3800 preamplifier and the A-200 power amplifier. The most important technical highlights of the E-470 include “Ultra Low Noise” and the “Super High Damping-factor”. Why did you decide to launch the very first standalone DAC (without transport) in your company’s history? In fact, it is not our first product of this type, as we already launched the DC-61 processor in 1996. However, unfortunately, the DC-61 was not very successful. I thought it was our top achievement. (more information: HERE). Nowadays we can get high-resolution music (384kHz/32bit-PCM, 5.6MHz-DSD, etc.) and we simply want to listen to it. Therefore, the time has come for a standalone DAC that will make it possible for us. Moreover, the DAC section of the DC-37 has the same configuration and scale as our flagship integrated SA-CD/CD player: the DP-720. If you are using a player such as the DP-550 or an older model, you can improve its sound by connecting it to the DC-37. How can the “Damping factor” or the S/N ratio be improved further? Is it at all possible in this type of a product? Improving these parameters is very difficult, but it is not impossible. We are constantly working on new technologies. I cannot talk about them yet, but you will see them in our new products. Are you going to launch a headphone amplifier? How about a turntable? You have already launched cartridges and a phono stage… We have no idea for a standalone headphone amplifier. It is mainly because our preamplifiers and integrated amplifiers have very good in-built headphone amplifiers. When it comes to a turntable, the answer is: no! There is no such option. We specialize in electronic components and do not want to deal with the mechanical side of things at all! What are the benefits (sonically) of AB class and A class amplifiers? It is very difficult to say, because the feeling of sound depends on the individual. The photos were taken during the visit of Accuphase managers in Cracow on 16th October 2014, at a meeting of the Krakow Sonic Society ACCUPHASE in “High Fidelity” Other KRAKOW SONIC SOCIETY, meeting #95: Accuphase DG-58 | Jim S. Saito, Mark M. Suzuki, Tatsuki Tozuka, Kohei Nishigawa in Cracow, read HERE INTERVIEW: Jim S. Saito, Yasumasa Ishizuka, Tatsuki Tozuka, read HERE HYDE PARK: Accuphase – wczoraj, dziś i na zawsze (Accuphase – yesterday, today and forever), read HERE Integrated amplifiers: TEST: Accuphase E-600 – integrated amplifier, read HERE TEST: Accuphase E-250 (vs E-260) – integrated amplifier, read HERE TEST: Accuphase E-250 - integrated amplifier, read HERE TEST: Accuphase E-360 - integrated amplifier, read HERE TEST: Accuphase AC-5 – turntable cartridge, read HERE Preamplifiers TEST: Accuphase C-27 – phono stage, read HERE TEST: Accuphase C-3800 + M-6000 - preamplifier + power amplifier, read HERE TEST: Accuphase C-2810 + A-65 - preamplifier + power amplifier, read HERE TEST: Accuphase C-2110 + P-4100 – line preamplifier + power amplifier, read HERE TEST: Accuphase C-2410 - line preamplifier, read HERE Power amplifiers TEST: Accuphase A-60 – power amplifier, read HERE TEST: Accuphase P-7100 - power amplifier, read HERE CD | SACD players TEST: Accuphase DP-720 - Super Audio CD player, read HERE TEST: Accuphase CD DP-400 | Accuphase CD DP-510 | SACD Accuphase DP-700 – CD | SACD players, read HERE TEST: Accuphase DP-700 – SACD player, read HERE Recordings used during the test (a selection) Bennie Green, Walkin’&Talkin’, Blue Note/EMI Music Japan TOCJ-7194, “Blue Note Records: RVG Edition”, (1959/2009). Brainticket, Brainticket. The Vintage Antology 1971-1980, Cleoparta | Purple Pyramid Records 57594829, 4 x CD (2011). Depeche Mode, Soothe My Soul, Columbia Records 730682, SP CD (2013). Dżem, Zemsta nietoperzy, Pronit/Remaster Damian Lipiński, CD-R + DSD (1987/2015). Ed Sheeran, X, Warner Music UK/Warner Music Japan WPCR-15730, CD (2014); Hank Mobley, The Turnaround!, Blue Note/EMI Music Japan TOCJ-7140, “Blue Note Records: RVG Edition”, (1963/2008). Hank Mobley, Workout, Blue Note/EMI Music Japan TOCJ-7188, “Blue Note Records: RVG Edition”, (1962/2008). HotS, Harmony of the Spheres, V-Records 377083, CD (2015). Lennie Tristano & Joe Bushkin & Bobby Scott & Marian McPartland, Jazz keyboards of Lennie Tristano, Joe Bushkin, Bobby Scott & Marian McPartland, Savoy Records/Denon Japan COCB-50309, “50’s Pre-Modern Jazz Series”, CD, (1955/1993). Mark Hollis, Mark Hollis, Polydor 537 688-2, CD (1988). Paul Chambers Quintet, Paul Chambers Quintet, Blue Note/EMI Music Japan TOCJ-7152, “Blue Note Records: RVG Edition”, (1957/2009). Perfect, Unu, Tonpress/Remaster Damian Lipiński, CD-R + DSD (1982/2015). Royal Blood, Royal Blood, Warner Music UK/Warner Music Japan WPCR-15889, CD (2014); Tool, 10,000 Days, Volcano Entertainment 819912, CD (2006). Japanese issues available at [REKLAMA5] One of the basic axioms of the audio world is “first and foremost: not to do any harm”, or at least it is the way it can be summarized. Its fuller meaning is that audio products should interfere in the signal that they render, amplify or reproduce as little as possible. It is a beautiful ideal and, as any other ideal, it is impossible to achieve. That is why there is no single obligatory interpretation of sound, no common standard for everybody. The place in Sèvres near Paris, intended for sound reproduced by devices remains empty. Next to it there is an “external” standard, i.e. the sound of non-amplified instruments playing live. However, it is just a point of reference and not an aim in itself. Among many reasons that contribute to this situation, the main one, in my opinion, is that sound recording, then mix and mastering of the material and, finally, the release, are a separate field of art. Moreover, the recording (released in the form of a CD or a file, which is not important in this case) is something different from a live event. Even so-called “sound documents”, which is a term that, for example, Kostas Metaxas has used to describe his performances, are creations based on principles similar to those characteristic for photography and documentaries. When treated in this way, the best recordings allow us to give up our disbelief and drag us into the inside of music. They influence our emotions by giving sound out in a specific way, as well as referring to different elements of “live” music performances and integrating them into the creation of a given designer and/or producer. As a result, we “buy it” although we know we are dealing with a recording. It is exactly the same with audio products. In an ideal world (Paradise?) they would not add anything to sound, but would only let music “flow” through them. Again – the ideal is beautiful, but unrealistic, as we are limited by physics, technical possibilities, designers’ talents, companies’ objectives and money. That is why successful audio products are those that modify sound in a way which evokes emotions in us – a state in which we kind of ignore the awareness that it is just “a piece of equipment” and not something real, and we listen to music like children, without prejudice. As it is impossible to reach the ideal, it seems that any path that leads us towards it is equally good. It depends on US only which path we choose. A natural state of things is the conviction that OUR path is the right one. It is fine, because people need to hold on to their beliefs. However, let us not do it in a thoughtless way, let us not become inquisitors. The way a product “should” sound changes in time, also in the case of individual companies that manufacture these products. The case of Accuphase is specific, because here we are talking about engineers who approach sound in the way they would approach any other technical problem. For them, audio devices are “black boxes” with input and output, which must comply with technical requirements – i.e. measure as well as it is possible. However, a significant modification has been made in comparison with the 1970s. At that time, audio magazines did not publish subjective sound quality test results, but only measurements, on the basis of which it could only be implied that all amplifiers actually play music in the same way (unfortunately, that was a commonly accepted view). This is an assumption according to which some elements that have not been thoroughly examined yet, but whose behavior is reported in subjective tests, are worth using. These are, for example: a rigid chassis structure, anti-vibration feet, an “overgrown” power supply, a short signal path and avoidance of contacts. In the case of new products of this manufacturer, including the E-470, it has resulted in obtaining sound which is better than ever before. The E-470 is the Accuphase’s integrated amplifier that I like most. It correlates with the way I understand sound and harmonizes with the way I experience it. The E-600, the top integrated amplifier manufactured by Accuphase, with an A-class power amp, is even better in a few aspects. I respect and admire this design. However, if I were to choose something for myself, for my own system, I would choose the E-470. In this way, I would make use of what I wrote about at the beginning – everyone must choose their own path and it does not have to be the “objectively” best one. It is enough if it is best for us. The tested amplifier gives out thick, almost warm sound. Its tonal balance is a little moved towards the lower midrange and the mid bass has more energy than the rest of the band. The depth of sound and of the sound stage is excellent. Something is really happening here – there are no virtual movements, there is no deceit. We change the recording and instantly hear what has changed in performance. The situation is similar if we have different sessions recorded on the same album, like on The Jazz Keyboards of… which features recordings of four pianists from the pre-jazz era, that is from the years 1946, 1947 and 1953: Lennie Tristano, Joe Bushkin, Bobby Scott and Marian McPartland. The record, released in Japan by Savoy Records, is an excellent example of how good music, when carefully transferred, escapes the limitations of technology. Although the oldest recordings sounded the worst, they were full of meanings and music with Accuphase, and did mean something. Also when it came to new recordings, the sound was “meaningful”. The E-470 places its “seal” upon them all, by making them denser, richer, heavier. However, this is a structural modification – all recordings are modified in this way and it does not lead to sound standardization. A side effect of this is more pleasant perception of records in which either all the sound or particular tracks are highly compressed. An example of this might be two records: X by Ed Sheeran and the debut of Royal Blood band, reviewed last month in the editorial: „Q” & „Classic Rock”: verification. When it comes to both the albums, the vocals are well in front and are characterized by clearly overdriven sibilance (i.e. they often “hiss”). The E-470 does not withdraw the treble, but renders it in a slightly sweet way, as if making the attack a little rounded. Therefore, its energy is high and I did not miss anything in it. What is more, the weaknesses of the recordings are not clearly shown. The amplifier presents the sound stage in an excellent, vivid way and when (as in the opening track of the Royal Blood album: Out Of The Black) the guitar (or rather the guitar amplifier) is placed quite far at the back, it is shown anyway. However, it is neither reduced, nor made flatter. It is simply possible to hear that it is still there. It was similar with Ed – the vocal is presented very close to us, but without being imposed. It was good. A very good dynamics of the device proves useful. It is delivered “casually”, underneath, beneath the music and it never attracts the listener’s attention, but it simply does its job. I have just analyzed a few features of the E-470 sound. However, while listening to music produced by the Accuphase device, we are not induced to analyze sound. It is not the case. The differences in recordings, acoustics, timbre and production are immediately audible, but they are clearly something that is connected with music itself, something that constitutes part of a bigger package – the recording. However, it can also be heard, right from the beginning, that there is a lot of bass which is well-controlled and that the amplifier never lacks power. Low sounds are rather velvety than contoured, which makes the amplifier different from the E-600 which provided a definition of each sound more clearly. However, it must be said only if the room is not too big and the columns are too “difficult”. Higher power of the E-470 makes it a more universal device. In a specially selected system, the E-600 will produce bass a bit more clearly, in a more selective way. The E-470 also better shows the sequence of low based sounds, the way they are connected with one another. In both cases, however, it is hard to talk about bass as such, as it constitutes an integral part of the rest of the band. If I were to choose a device whose integration I like more, that would be the E-470. If it is necessary, I do not regret sacrificing selectivity in the name of coherence. If we want to have both, we have to use two-piece designs, perhaps even the A-70 power amplifier. Summary I would proudly place the E-470 in our editorial reference system No. 2, with the Graham Audio LS5/9 columns, Siltech cables and an analog turntable as the main source. The amplifier has many advantages, the most important of which is that it presents music in a pleasant, natural way, not forgetting about differentiation. The E-470 can become part of any system in which fluidity, musicality and density are most important. It has enough power to sound equally well in large rooms and with difficult columns, which is not so possible in the case of the E-600 – power is power. It is a beautiful example of how mechanical engineering and electronics can be combined with the sense of music. The DC-37 digital to analog converter is characterized by the same level of craftsmanship. The DAC manufactured by Accuphase works best with high-resolution files, especially transferred through the USB port. When the DC-37 is matched with a good-quality music player such as Arender X100L or Auralica Aries, they constitute an exceptionally pleasant system that can be further expanded in the future by adding Accuphase transport to play music from CDs and SACDs using the HS-LINK. Anyone who has seen Accuphase equipment at my home – either the devices described above, or any other ones in the past – sighed with respect, even if the person in question was fascinated with tube amplifiers, especially home-made ones, produced on an ironing board. It is because all the elements in the E-470 and DC-37 design are perfectly made and fitted. Both the devices have a similar mechanical construction. It is an advanced structure which consists of a few-layered chassis mounted to a rigid inner frame which divides the inside into functional “cells”. The external panels, which are trimmed in the DC-37 with wood-like veneer, are made of aluminum. E-470 The device looks like a classic example of integrated amplifiers manufactured by Accuphase, launched in the 21st century. The front panel comes in a golden champagne color and luminous header output power indicators are placed in the centre under a glass plate. In fact, these are VU-meters indicating the degree to which the power amp is controlled – the will still operate even when we disconnect speaker cables. Sound volume level is indicated with a notch on the right side of the knob, but it is also shown more transparently using an amber alphanumerical display with LED modules (it has been scaled in dB). If an optional digital-to-analog converter DAC-40 board is inserted into the device, then there will be displayed digital signal sampling frequency. Other colors have been used to display the company logo (green) and for diodes connected with different types of buttons – speaker output activation, absolute phase change, tone control activation, the monophonic mode and direct power amplifier input (marked red). There are discreet red LEDs next to the input selector knob. Under a sub panel at the bottom there are a lot of additional function buttons and controls. It is where we select the type of cartridge if we have installed the optional DA-30 phono stage, or change the tone and balance. There are really plenty of such options. It is a device characterized by exceptionally good functionality. That is why there are so many inputs and outputs in it. There are five line inputs and an additional input with a loop for recording, as well as a power amp input and a preamplifier output. All of them are unbalanced, based on RCA sockets. However, at the bottom there is a section with balanced connectors – two line inputs (HOT=3), a power amplifier input and a preamplifier output. Next to the power amplifier input there is a switch which can be used to change the absolute phase. Accuphase is representative of a constantly shrinking group of manufacturers whose XLR inputs are consistently cabled according to the “American” model which has also been adapted in Japan, where the “hot” pin is “3”, not “2”. We can now change this ourselves. It must also be added that the speaker output terminals are exceptionally large and handy. If we like bi-wiring, the thing is simple – we get two pairs of clamps per channel. The inside demonstrates the capabilities of Japanese engineers. The device has been divided into functional modules with the use of screens. Additionally, a large shielded toroidal transformer with a few secondary windings is placed at the centre, alongside two large voltage-filtering capacitors. At the back there is a panel with input connectors switched by relays, as well as an output protection circuit assembly. Right behind them there are integrated circuit input buffers operating in the MCS system, i.e. with a few parallel routes whose outputs are connected. Instead of relays, MOS-FET transistors are used in it. The Accuphase company puts a lot of emphasis on that, claiming that, as a result, noise has been reduced and the lifetime of the device has been extended. At the front, behind the front panel, there is AVAA volume control. It is a special system which converts voltage signal into current, regulated signal and the other way round: converted signal into voltage signal. This results in very low noise and almost invariable input and output impedance, independent of the current rate of damping. Power amplifiers are directly mounted to solid, cast heat sinks on both sides of the power supply. In the power amp there are three pairs of AB class Toshiba J613+K3497 MOS-FET transistors in a push-pull configuration. The whole arrangement is discreet, surface-assembled and controlled by bipolar transistors. It is characteristic for Accuphase not to use any sophisticated, rare components. Instead, the company very carefully selects the elements, so that they comply with the defined parameters. The amplifier is controlled using the remote commander RC-220 which looks as if it was made in the 1970s, but is actually very convenient and ergonomic. The buttons have distinct trip points and various shapes, and prove to be very useful. DC-37 The DAC is equally robust. There are handy input selector buttons in the front panel, as well as three displays: a sampling frequency display, a quantization bit level display and an output level display. Output level is changed using two buttons. A large, oblong diode indicates whether the device has been synchronized with the input signal. There are six inputs: 1 x USB, 2 x RCA, 2 x TOSLINK, 1 x HS-LINK. The first and the last one transfer signal to 32 bit and 384kHz, as well as DSD128, the co-axial ones to 24/192, whereas the optical ones – to 24/96. There are both balanced and unbalanced outputs. Next to the balanced ones there is an output phase selector switch. The digital section is based on the Bravo SA9227 USB receiver and a Xilinx chip. Digital filters and support chips are placed in the latter, including MDSD for DSD signal. Thanks to this, there are no filters in the path when signal of this type is reproduced. Digital-to-analog conversion is carried out by two eight-channel ESS ES9018S chips, one per channel (L and R). Their outputs are controlled by a multiplied MDS++ circuit whose outputs are connected, thanks to which distortion decreases. There are separate balanced and unbalanced sections. Integrated circuits operate in the path. At the front there is a power supply with separate transformers for the “processor” section and the DAC itself. Technical specifications (according to the manufacturer) Output power: - 260 W/4 Ω - 220 W/6 Ω - 180 W/8 Ω THD (Total Harmonic Distortion) (both channels in operation, 20 Hz – 20 kHz): - 0.05%/2 Ω Intermodulation distortion (IMD): 0.01% Frequency response: - line input: 20 Hz – 20 kHz/0, 0.5 dB - POWER IN input: 20 Hz – 20 kHz/0, 0.2 dB | 3 Hz – 150 kHz/0, -3 dB Damping factor: 500 (8 Ω/50 Hz) Input sensitivity - unbalanced line input – 190 mV/20 kΩ - balanced line input – 190 mV/40 kΩ - POWER IN input – 1.51 V/20 kΩ Gain: - RCA input – PRE OUT output: 18 dB - POWER IN input – output: 28 dB Tone control: - bass: 300 Hz/± 10 dB (50 Hz) - treble: 3 kHz/± 10 dB (20 kHz) Loudness: +6 dB (100 Hz) Damping: -20 dB S/N ratio: - RCA input: 109 dB - XLR input: 102 dB - POWER IN input: 125 dB Headphone impedance: 8 Ω and more Power consumption: - 92 W (without input signal) - 611 W (full power/8 Ω) Dimensions: 465 x 181 x 428 mm Weight: 24.5 kg DO YOU WANT TO KNOW MORE? MORE QUICKLY? 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[hfgallery] [img mini="foto_testy/1503/Accuphase/th/05.jpg" big="foto_testy/1503/Accuphase/05.jpg" src="foto_testy/1503/Accuphase/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/06.jpg" big="foto_testy/1503/Accuphase/06.jpg" src="foto_testy/1503/Accuphase/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/07.jpg" big="foto_testy/1503/Accuphase/07.jpg" src="foto_testy/1503/Accuphase/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/08.jpg" big="foto_testy/1503/Accuphase/08.jpg" src="foto_testy/1503/Accuphase/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/09.jpg" big="foto_testy/1503/Accuphase/09.jpg" src="foto_testy/1503/Accuphase/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/10.jpg" big="foto_testy/1503/Accuphase/10.jpg" src="foto_testy/1503/Accuphase/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/11.jpg" big="foto_testy/1503/Accuphase/11.jpg" src="foto_testy/1503/Accuphase/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/12.jpg" big="foto_testy/1503/Accuphase/12.jpg" src="foto_testy/1503/Accuphase/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/13.jpg" big="foto_testy/1503/Accuphase/13.jpg" src="foto_testy/1503/Accuphase/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/14.jpg" big="foto_testy/1503/Accuphase/14.jpg" src="foto_testy/1503/Accuphase/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/15.jpg" big="foto_testy/1503/Accuphase/15.jpg" src="foto_testy/1503/Accuphase/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/16.jpg" big="foto_testy/1503/Accuphase/16.jpg" src="foto_testy/1503/Accuphase/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/17.jpg" big="foto_testy/1503/Accuphase/17.jpg" src="foto_testy/1503/Accuphase/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Accuphase/th/18.jpg" big="foto_testy/1503/Accuphase/18.jpg" src="foto_testy/1503/Accuphase/18.jpg" desc="HighFidelity.pl"] [/hfgallery]

The No 585 has been created to achieve top quality sound in every detail. It is a combination of exceptional universality with a powerful AB class amplifier which supplies 200W of power at 8 Ω and 350 W at 4 Ω, as well as makes it possible to connect a wide range of digital sources of high-resolution sound, up to 32-bit and 192 kHz, as well as DSD (including DSD128) through a USB connection As we all know, a lot of high-end system owners value the comfort that is provided by compressed audio files, but at the same time do not agree to sacrifice the quality of sound to it. As the market leader, we have a solution for this challenge, i.e. the Clari-Fi technology patented by Harman. It improves the quality of sound of files in lossy formats. Todd Eichenbaum Director of Engineering at Luxury Audio Group Harman n May 2104, the “Luxury Audio Division” which is part of the Harman company, the owner of such brands as Mark Levinson, Revel, Lexicon and JBL Synthesis, announced an ambitious project to launch 17 new products in the next two years. The basis for these ambitious plans was the creation of a completely new Research and Design Department in Shelton (Connecticut, USA). The project has been overseen by Todd Eichenbaum who joined Harman after working for Krell for over twenty years. Apparently, the effect of these changes has been amazing. The №52 preamplifier that we tested was awarded a special GOLD Fingerprint award by us, as well as our Statement Product Award 2014 (more: HERE and HERE). That was one of the best audio products that I have ever tested, as regards its sound, design and quality of manufacturing. The first product that was designed by engineers in the new building and successfully launched was the integrated amplifier, the №585, the second product of this type (integrated amplifier) in over forty years of this manufacturer’s history. It has been conceived as a combination of a strong power amplifier, pre-amplifier and a digital-to-analog converter. The classic AB class amplifier provides 200 W at 8 Ω and as much as 350 W at 4 Ω. The DAC is exceptionally complex – it offers as many as six inputs. At its heart there is a 32-bit ESS Sabre chip, and a CMedia audio processor is placed next to the USB port. Thanks to this, it is possible to send PCM signal up to 32 bit and 192 kHz, as well as DSD signal through it, both at a single and double speed (DSD128). The device is very well constructed and looks equally perfect. Its functionality is exceptional – the details are given in the “Design” section of this article. When placed on a shelf at home, it will give the whole interior a luxurious look. When comparing its look to the previous Mark Levinson’s integrated amplifier, №383, it is impossible not to notice that the new design is both more modern and functional. The previous version is still excellent – good things are simply good and passing time does not change that. However, the new one makes an audiophile’s heart beat faster from the very first moment. The device has a large body and a high front panel – it is really impressive. MARK LEVINSON in “High Fidelity”: • AWARD OF THE YEAR 2014: Mark Levinson №52 - preamplifier, read HERE). • TEST: Mark Levinson №52 - preamplifier, read HERE • TEST: Mark Levinson №512 - Super Audio CD player, read HERE Recordings used during the test (a selection): 2 Plus 1, Greatest Hits Vol. 2, Sonic Son 115, CD (1997). Blood, Sweat & Tears, Child Is Father To The Man, Columbia Records/Audio Fidelity AFZ5 195, „Limited Edition No. 0115”, SACD/CD (1968/2014). Charlie Parker, Charlie Parker , Clef/UMG Recordings UCCV-9478, „David Stone Martin 10 inch Collector’s Selection”, CD (1952 | 1953/2013). Count Basie, Count Basie Live at the Sands (before Frank), Warner Bros. Records/Mobile Fidelity MOFI UDSACD 2113, “Special Limited Edition No. 0197” SACD/CD (1998/2013). David Gilmour, On An Island, EMI Records 3556952, CCD (2006). Diana Krall, Wallflower, Verve/Universal Music LLC UCCV-9577, “Deluxe Edition”, SHM-CD + DVD (2015). Ed Sheeran, X, Warner Music UK/Warner Music Japan WPCR-15730, CD (2014). Eric Clapton, Pilgrim, Warner Bros. Records Inc/Audio Fidelity AFZ 188, „Limited Edition No. 0115”, SACD/CD (1998/2014). John Coltrane, Expression, Impulse!/MCA Victor MVCZ-39, “Master of Jazz”, K2 CD (1967/1996). Kenny Barron Quintet, Kenny Barron Live at Fat Tuesdays, Enja/Warld Records VQCD-10103, “Jazz Masterpiece”, SHM-CD (1988/2006). Oscar Peterson Trio, Oscar Peterson Trio at the Concertgebouw, Verve/Universal Music Japan UCCV-9220, “Oscar Peterson Happy 80th Birthday!”, CD (1957/2005). Royal Blood, Royal Blood, Warner Music UK/Warner Music Japan WPCR-15889, CD (2014). Talk Talk, Spirit of Eden, EMI Records 8571292, CD (1988/1997). Japanese issues available at [REKLAMA5] No matter what we say, notice or miss to see, the №585 amplifier is already a classic. It has been created by one of the most recognizable high-end companies which, on the one hand, belongs to a powerful corporation (and therefore has considerable financial means and excellent facilities) but, on the other hand, is still cultivating the ethos that is indispensible in this branch of industry, i.e.: sound above anything else. Additionally, this is only the second integrated amplifier in the company history, which is exceptional. As any other audio product, this one also sounds and modifies sound in its own way – there are no and never will be any “transparent” devices. However, it performs its function in a very balanced way, which can easily (and without hesitation) be called a ‘concept’ (idea). The idea is worth looking at, as it is one of the most reliable concepts of how an integrated amplifier should work. The way sound is modified in Levinson’s new integrated amplifier is different than the sound of the №52 preamplifier (in combination with the Soulution 710) that I remember. It may not be completely different, as it is still the same company, but accents are placed differently in it. It is music in which the amplifier has total control over speakers. It is said that power gives us breath and liberates us from limitations. However, fulfilling this postulate proves to be extremely difficult. Power itself is not everything: 1000-Watt D-class amplifiers, available in almost every audio shop and quite inexpensive, do not give us the feeling of control over recorded material in the same fashion as a current-efficient, 100-Watt AB class amplifier does. In this respect, Levinson behaves as if all these D-class monsters are just scrubs. It has the bass by its short and curlies, and does not allow for any excesses. When coupled with the №585, powerful LF Harbeth M40.1 speakers behaved like newborn puppies that were trying to find their mum (or dad, in the given case) with their eyes still sealed. The control manifests itself, for example, in a precise attack and fast decay. So, subjectively, it may appear that we have less bass here than with a small amplifier which costs, say, 3000 PLN. Such Clones Audio 25i is such a little thing that a whole flock could be placed inside the Levinson’s amplifier, but it delivers low frequencies in such an energetic way that it seems we have connected the columns directly to the mains socket. However, there is no doubt that, to a large extent, this effect is achieved thanks to adequately selected distortions, their type and distribution. There is not even a shadow of this kind of nonchalance or balancing on the verge of correctness in the way the №585 sounds (although Clones is simply an excellent option in its price range). Instead, we get clarity and focus. It seems that the device is “above” everything and is looking at it from this distant perspective. While small amplifiers that produce extensive bass are extremely focused on their task, just one wrong move makes them go overboard. When it comes to the №585, it seems to be “the cause of anything that happens”. Thanks to this, the sound is incredibly “normal”, as I would put it. There is nothing in it that would require our attention, unless the sound director and/or record producer has intended to attract it by means of the recording itself. As a result, the records come to the foreground and they change the sound which comes from the columns or headphones, and not the other way round (part of the test was to connect a headphone amplifier to a low frequency output and to listen to the sound of the DAC installed inside the №585). Such presentation of bass is quite characteristic and slightly different from the №383. With the №383 there was more content. Everything was deeper and more vivid. In the case of the №585 the beat is faster and, I would even say, clearer, but shorter and it decays faster. This is, however, what we pay so much money for. High frequency, on the other hand, is very similar in both devices, which is exceptional, as the price difference is really high. In both cases, the sound is dense and pearly, with quite a lot of energy and great tone. The bass control that I have been talking about does not turn into the dryness of high tones, but quite the opposite. The new Diana’s Krall album Wallflower (which, by the way, came to me from Japan a few days before its premiere) and its fantastic production, allowed the №585 to demonstrate all its strengths. The piano had wonderful depth, it was a little “velvety” and at the same time dynamic. It is rare, because if something gets brighter, it also becomes harder. The №585 shows that reducing distortions results in exactly the opposite: making sound warmer, but in a natural way, without coloration. It was similar in the case of the orchestra which accompanied Elvis Costello’s life partner. It moved forward from the dark, dense background and in louder parts did not change its density, was not “lean”, but supported the foreground instruments with its full power. The vocalist’s voice, in turn, was very big, tangible, almost “sticky”. It was shown exactly in front of us, with the control that it needed in the first place. The amplifier retained the three-dimensional character of the vocal and its volume. Resolution is one of the most basic categories which are used to describe the operation and quality of audio products. There is a reason for that. If resolution is not associated with too much selectivity, it produces dense and warm sound. The №585 is not warm and the way it controls bass makes us adapt a perspective from which we look at the music played. The transmission is, however, characterized by very high resolution, but it is neither dry, nor harsh. It seems that in this case the discussed feature can be observed mostly in high range. The amp controls bass and the midrange as transparently as it is possible, with a lot of certainty, like huge mono power amplifiers. That is why even very old recordings, such as those of Charlie Parker from the year 1952 or the Oscar Peterson’s concert from the year 1957 were characterized by inner “harmony” and naturalness. Neither resolution itself, nor tonal “accuracy” and clarity can ensure that effect. It results from something at the intersection of these elements – something that the tested device provides very naturally and without enforcement. №585 is an amplifier which can successfully replace complex two-piece designs in many systems. However, it has its own personality, which makes it different from other, also excellent integrated amplifiers. The most expensive amplifier of this type that I know, which I once tested for “EnjoyTheMusic.com” - Soulution 530, produces much softer, silky sound (this amplifier is three times more expensive than the №585). Although its control over all bandwidths is fantastic, it is hidden from us a little under a dense, soft cover. The Accuphase E-560, in turn, emphasizes the attack of high frequency sounds more strongly and controls the attack of low frequency sounds more softly. The bass seems to be bigger and denser because of that. It certainly is the case, but it is actually the №585 that goes lower. Summary №585 is not only an amplifier, but also a DAC. The in-built converter section in the amplifier is excellent. It produces close, tangible sound characterized by nice tone. I do not think it is necessary to buy an external CD player, unless we can spend over 20,000 PLN. Also the USB port proves to be very good, as the sound was not very different from the sound from the RCA input. I think that the №585 will become a perfect duo with an audio file player having a USB output. It is an exceptionally valuable offer from a manufacturer that has been a model of reliability for other representatives of the industry for over forty years. I perfectly understand the people for whom Mark Levinson is a synonym of reliability, certainty, something that you can always rely on. The sound of the tested integrated amplifier is as good as its design and the quality of workmanship. Its sound is exceptionally steady – controlled, fast bass; soft, nice treble and the midrange, without a shadow of coloration. The soundstage is huge, also in its depth. The dynamics seems to be unlimited. On the other hand, we will find no softness or dense bass, nor a palpable lower midrange here. This is because we are talking about a slightly different aesthetics of sound. It is about rendering signal from the source as faithfully as possible – about going beyond the line at which we focus our attention on transmission and not on electronics. The artistic design of audio products is a rather “neglected” field. Although there are some exceptions, the rule is to copy old, exploited solutions and, even more often, create new projects from scraps. Nothing good can result from this, apart from another boring “black box”. However, in order to balance this somehow, it must be said that a shift towards the other extreme, i.e. towards making the artistic design dominate functionality, is equally “weak”. Harman International is one of the biggest corporations producing audio equipment worldwide and its clients are recording studios and music lovers who demand more than just some noise sequences from pseudo-speakers. Even so, separate brands that exist within Harman International have retained significant autonomy, which can also be seen in artistic designs produced by top-class designers who work at the company’s Design Centre. It is worth mentioning that there is also “our man” – Rafał Czaniecki. This young, talented designer has been cooperating with Harman for a few years in the role of AKG Lead Industrial Designer! The AKG Y headphones series owe their look to him. So, it is not surprising at all that devices manufactured by the Mark Levinson company look so well. The №585 is, in my opinion, the most beautiful and functional of them all. It is an integrated amplifier in which we will not only find analogue inputs, but also a DAC with a USB port, among others. The front panel is very functional, but still “transparent”, as there are not too many regulators. It is visually divided into two parts: a flat one which features a display and buttons, with knobs on the sides, and the main body. The “flat” section looks like a control panel of a top-class digital machine tool or of other devices used in industrial automatics. It is also equally convenient to use. The red dot-matrix display will give us the name of the selected input and volume. After entering the menu, the display will perform the function of an interface where we can change the name of the input (by selecting one of the few that have been programmed or chosen by us), input gain, the low-level output operation mode (alternating – from the preamplifier or constant for recording), activate the low-pass mode (of second order, below 80 Hz, for powering the subwoofers), the brightness level of the display and many other parameters. Using the knobs, we change the active input and volume, whereas the remaining buttons let us change signal polarization, the “mute” mode and the mode of balance change between channels. Most of these functions can also be performed using a pretty ugly remote control. It is also necessary to mention a small button with a red LED located below, which activates the device from the “standby” mode. The company takes care of the natural environment, so we can select one of three different “standby” mode options in the menu: normal, in which part of the section is active and two power-saving ones. It is also possible to select the “power off” mode of the amplifier, if there is no signal on the input for a set period of time. The back of the №585is as functional as its front. The analogue section is deployed symmetrically along a vertical axis, which is typical for dual-mono structures. There is a row of analogue inputs close to the upper panel: one balanced XLR input and three unbalanced RCA inputs. There is also one unbalanced preamplifier output/for recording. Close to the outermost sides there is a pair (per channel) of characteristic Mark Levinson “Hurricane” speaker binding posts. As it has always been the case with Levinson, they are very convenient to use. Under analogue sockets there is a digital section. There are six inputs of the following types: 1 x AES/EBU input, two S/PDIF (RCA) inputs, two S/PDIF optical TOSLINK inputs and one USB input. All of them take signals up to 32 bit, 192 kHz, whereas the asynchronous USB input additionally takes DSD – DSD64 and DSD128 signal. I have not mentioned this yet, but there are two additional modes available in the menu for the digital inputs: digital filter selection and Clari-Fi processing activation. We have already become used to the presence of digital filters in CD (SACD) players and DACs – they are a great tool for modifying sound. Levinson offers three such filters: Fast, characterized by fast descent outside the bandwidth, Slow, with slow descent, optimized for phase coherence and low oscillations before the impulse, and Mphas, with even more emphasis on phase coherence. The company claims that it is best suited for acoustic music. Clari-Fi is a digital filter designed to modify compressed signals, e.g. mp3, but also MPEG (films on DVDs). Signal is analyzed in it and, as a result of the analysis, previously fed information is “reconstructed”. The user can adjust “Intensity”, i.e. decide about the degree of the introduced “improvements”. And, finally, I want to write a few words about Internet connections. Levinson offers its clients the possibility to control its devices remotely, using the Internet. It also includes the possibility of having products diagnosed remotely by the company technicians – that is why there is an Ethernet port in the rear panel. There are a few separate electronic boards. There are power amplifiers on the sides, mounted to solid heat sinks. They are based on three pairs of AB class power transistors (per channel), operating in the push-pull mode. The power amp has been mounted using Through-Hole Technology (THT). There are many fantastic passive elements on the boards, e.g. precise resistors, and EVOX and WIMA capacitors. The preamplifier has its own, separate shielded board. It is a kingdom of Surface Mount Technology and integrated circuits. The inputs are switched by relays, whereas volume is controlled using integrated resistor ladders. You can also see nice EVOX and WIMA polypropylene capacitors there. However, there are no integrated circuits on the preamplifier output, but six pairs of quite large Sanken complementary transistors (2SA1859 + 2SC4883) per channel. It is amazing that the use of these technologies allows us to obtain sound that has so far been attributed to tube devices! Let us add that the input sockets are of excellent quality and that the amount of internal cabling has been reduced to an absolute minimum. The DAC section is located under the analogue section and, unfortunately, I was not able to reach it. It is only known that the 8-channel ESS Sabre32 chip is used in it. The channels are connected in parallel and comprise a stereophonic system. The I/O section is based on a symmetrical circuit with transistors. A very nice CMedia chip controls the asynchronous USB port, allowing for asynchronous transfer of PCM signal to 32 bit and 192 kHz, as well as of DSD signal. Close to the front panel of the device there is a power supply with a powerful shielded toroidal transformer (900 W), because of which the amplifier weighs as much as a little fridge. The transformer is resin-filled, which minimizes its vibrations. It has a few secondary windings, separate for each channel, and separate for each section within the channels. Many medium-sized capacitors are used in the power amplifier supply, instead of two large ones. The amplifier is perfectly constructed and will serve us for many years, constantly remaining the object of our desire. Technical specifications (according to the manufacturer) Output power: • 2 x 200 W/8 Ω (20 Hz – 20 kHz) • 2 x 350 W/4 Ω (20 Hz – 20 kHz) Damping factor: >400/20 Hz/8 Ω Frequency response: • 20 Hz – 20 kHz (± 0.13 dB) • 2 Hz – 250 kHz (+ 0.2 dB/–3 dB) S/N ratio: • > 98 dB (20 Hz – 20 kHz, unbalanced) • >103 dB (20 Hz – 20 kHz, balanced - A) Maximum voltage gain: 40.7 dB THD: •

eoff Merrigan, the CEO of Tellurium Q, is not very effusive when it comes to telling the secrets of his cables design. To be honest, it seems as if he wants people to know as little as possible about them. When asked about the reason, he gives an obvious answer: it does not matter how something is built; it is important how it sounds. He can say that in good conscience, as both Tellurium Q cables and its amplifier offer unique features that are hard to find elsewhere, often no matter what the price is. So, things are easier for him. However, the audio world is the domain of “seekers” who are curious about each aspect of the product that they use. So, if you are looking for interesting stories, anecdotes and technical details, this is not a test for you – there is not simply much more to talk about apart from sound itself. Of course, one can try to reconstruct a few facts. On Tellurium website we can find information that “the “Silver” (Silver and Ultra Silver) has been designed for those who love detail” and that “with the Ultra Silver the top end is extraordinarily detailed without any harshness”. We also learn that while the sound of the “Black range” series (Black, Ultra Black and Diamond) “could be categorized as neutral/ natural, the “Silver” would lean more to neutral, detail and extension” – i.e. the “Silver” series is better in each of these aspects. Actually, the only certain facts are those that we can evaluate on the basis of our sensory perception. Our senses tell us that interconnect cables are quite rigid and have a small cross-section. Little can be said about their inner structure, as the outer jacket is covered with “enigmatic” black mesh. The ends are covered with heat shrink tubing with the name of the series and the indicated connection direction. The RCA plugs look very nice, just like WBT NextGen plugs, with plastic tops (it is all about having as little metal around the conductor as possible). The tops bear the Tellurium Q logotype. The contacts look silver-plated. The speaker cables are equally mysterious. Their main feature is the separation of both runs (the negative and the positive run) with a broad band of dielectric. Such solutions are known to have been used in cables produced by other manufacturers, for example Linn (K-15) and Van den Hul (e.g. Magnum Hybrid). The aim is to minimize the cable’s capacity at the cost of (unfortunately) its inductance. Both runs have fairly large diameters. The whole cable is covered with black mesh and the tips are covered with heat shrink tubing with the name of the series. I have not found arrows on them that would indicate the connection direction. The cables may have spades (like in the test) or BFA plugs at the ends. BFA plugs resemble bananas and they are used in the same way, but they provide a much better contact. Both types are silver-plated. The speaker cable can be bought by the meter and it is then it is portioned and packaged to order in the UK. We then receive it with nice aluminum connectors mounted near the cable ends. Such cables are presented in company photographs, but we got “demo” cables without any connectors for the test. All the cables on regular sale are equipped with nice aluminum tips. Tellurium Q cables are delivered in nice cardboard boxes, packaged in special paper – just like products from Japan. Geoff Merrigan TELLURIUM Q | CEO As you probably know, Wojtek, there are three distinct sound “families” in our offer. The Silver “family” is characterized by sound normally attributed to silver cables. You should be able to perceive this as slightly different sound than with the previous cables that you had, because we have been trying to eliminate all the harshness. So, you will hopefully hear a good top end but without the harshness that you would normally expect from this type of a cable. The connectors are interesting, too, and I would love to share the experience of working on them with you. We initially prepared pure silver connectors and we compared them with connectors having various thicknesses of silver plating. We found out that connectors thickly plated with silver outperformed not only thin-plated, but also pure silver connectors. Based on our experiments, we determined the optimal silver layer thickness that guarantees the best sound. Forgive me, but I will not reveal our findings so as not to make work easier for our competitors… The cables with pure silver connectors just sounded muted and muffled, at least in comparison with the connectors that we have used in the cables that you have got for the test. It is not what experts would expect. For the test, you have cables with heat shrink tubes. All our cables on regular sale will have a solid block of CNC-machined aluminum at the end of each table. I think it looks rather nice – and that was our intention. The Ultra Silver cables have been designed to significantly outperform the cables from the Ultra Black series, while keeping a similar look, and to take over from our Graphite cables within the next 12 months. Thanks to the Ultra Silver series it is easier, I think, to see that we have wanted to develop three distinct families of sound to allow a little better system matching (and tuning) for customers. You ask me how things are going in our company. Well, it looks like we are soon going to have a new distributor in the Far East. We are in a really fortunate position to have distributors contact us, while it is usually the other way round: other cable manufacturers have to look for distributors. So, we can decide ourselves whether we want to cooperate with a given company – if it meets our requirements and if we feel that we will cooperate well together. As it seems, our growth is still mostly driven by word-of-mouth advertising and by people who recommend us to others. We are still at the stage of designing our own connectors and we are constantly checking what products our clients would be interested in. We are now working on headphone cables: we have a few prototypes and the results are really promising. We are also working on something really big, too, but at the moment we are at the stage of implementing theory in practice – we always try to develop any idea as well as possible before we move on to the production stage. There are a number of projects that we have carried out up to that point and that have made me feel a little “tied up” because they do not quite meet what we have been trying to achieve. Such approach, however, as I want to believe, helps build trust between us and our clients. We want them to trust us that whatever we offer will be really well-developed and satisfactory for us, and not think that we just want to sell them something. I think this is the best way to build a long-term relationship between us and our clients, although it may be strange for me to talk like that – in the end we have been on the market for less than seven years… And a little detail at the end, but really interesting: I do not know if it is of any use to you, but it is worth knowing that in our company most of the key positions are held by women… So, I am in the minority! TELLURIUM Q in “High Fidelity” AWARD OF THE YEAR 2014: Tellurium Q BLACK DIAMOND + BLACK DIAMOND + BLACK POWER - interconnect + speaker cable + power cable (cable system), read HERE TEST: Tellurium Q BLACK DIAMOND + BLACK DIAMOND + BLACK POWER - interconnect + speaker cable + power cable (cable system), read MicroTEST: Tellurium Q ULTRA BLACK – speaker cables, read HERE (Polish) TEST: Tellurium Q IRIDIUM 20 – power amplifier, read HERE Recordings used during the test (a selection): Dżem, Zemsta nietoperzy, Pronit/remaster Damian Lipiński, CD-R (1987/2015). John Coltrane, Expression, Impulse!/MCA Victor MVCZ-39, “Master of Jazz”, K2 CD (1967/1996). Marcy Gray, The Way, Stampede Management HMBT001CD, CD (2014). Marilyn Manson, Personal Jesus, Interscope Records 9864166, SP CD (2004). Mel Tormé, Sunday in New York, Atlantic/Warner Music 79684-3, “Jazz Best Collection 1000. No. 4”, CD (1966/2012). Perfect, Unu, Tonpress/remaster Damian Lipiński, CD-R (1982/2015). Various, For The Masses, 1500 Records | A&M, 540 919-2, HDCD (1988). Wojtek Mazolewski Quintet, Polka, Agora 6813801, CD (2014). Japanese issues available at [REKLAMA5] When we compare two products and cannot hear any difference between them, or the differences that we hear are negligibly small, then two scenarios are possible: either the two products in question “sound” the same or the system in which they operate is so non-transparent and blurs the differences so much that although in reality the differences are very clear, they mean nothing in the given system. In either case, it is not worth investing in the new product – a lack of changes is a lack of changes – and that’s it. If there is no difference, then it is all simple: we give up. Of course, we have to be sure what we do, which is more likely if we listen to a given product in a few different systems. However, if there is something wrong with our system, we are prone to derive false conclusions from our experiences and the problem is that we will not know we are wrong. We try new cables, supports and even devices, and we still cannot hear the differences. It is then easy to come to the conclusion that everybody around us is lying and trying to persuade us that this or that product is superb and changes sound. Manufacturers, retailers and the press are cheaters and we are their victims. If this is what you are going through, I would like to encourage you to experiment: to change one of the main system elements, or even two, maybe at your homes, by testing somebody else’s private equipment, or at a “friendly” audio salon (it is worth having one!). It does not hurt and the effects can change your lives. While talking about “products”, I mean anything that is connected with audio: signal sources, amplifiers, columns, cable systems, anti-vibration elements and acoustical structures. As you can see, even when I write about it, I create a specific hierarchy: cables can be found somewhere behind the “main” system elements. In fact, cables are as important as any other element in the system, which only operates as a whole – everything “sounds” well only when each component cooperates with the ones next to it and with the remaining ones. There are elements which easily become part of any system and ones that force us to make bigger changes, often even involving a change of our columns, amplifier or signal source. Tellurium Q cables, with their “soul” and “body” belong to the first of these two “camps”. Their sound almost instantly seemed to me to be an equivalent of the “BBC sound”. If you know columns produced by, e.g. Harbeth, Spendor, Rogers, Graham Audio, or other column manufacturers who were originally connected with the BBC Research Department, then you know what I mean. As far as the field of electronics is concerned, very similar philosophy is cultivated by Japanese manufacturers such as Kondo, Reimyo, SPEC and others. Each of them is a little different and the sound characteristic for each of these companies is created by a slightly different arrangement of basic features, but this very basis is their common ground and there is a shared goal: coherence. Tellurium Q cables connect everything into one whole, which functions well on all levels. They constitute some kind of “glue” for the whole system, but this honey-based “glue” rather than “Super Glue”. They give more weight to sound, by emphasizing the lower midrange and, simultaneously, distract us from its high end and the treble itself. This is the effect of rounding the attack and moving the “weight” of sound for the purpose of sustaining it. That is why, literally, each recording that I listened to with these cables sounded interesting. Thanks to the cables, the systems in which I listened to these recordings treated the signal read from CDs in a very warm and friendly way. Even tracks in which I could hear problems with sibilants (hissing sounds) in the vocals (caused by overemphasizing them at the time of recording – either because of using too much effect, due to lack of proper care during mastering, or, perhaps, too strong compression), all sounded as a whole with the rest of the track and were no longer “next to it”. It was so, for example, with the voice of Louise Post, the vocalist of the Veruca Salt band, who sings Somebody on the Depeche Mode tribute recording. The vocal is accompanied by the electric piano, which sounds like a Rhode piano. With the British cables, the piano gains more density and depth, whereas the vocal as if “concentrates” in itself and goes a little forward. When it comes to other tracks, the effect of greater depth and “front-coming” was even more noticeable. The more these two elements were emphasized on a given album, the stronger the effect was. It was very pleasant, even if it occurred at the cost of soothing the dynamics a little and making the whole recording quieter. During a listening session with the tested cables (at an audio salon or at home) it is worth paying special attention to this. It is known that sound which is played louder, even the same sound, seems to be better and more attractive. Tellurium Q cables eliminate unpleasant hardness of the attack from sound. Because of that, subjectively, it seems that they sound more quietly; by eliminating noise they bring everything to the right level. However, if we “listen” to them alongside other, more open cables (an A/B comparison, of course), we may treat Tellurium cables unfairly, while they deserve our utmost attention. After the first series of listening sessions, carried out at the same volume level, I had another series of listening sessions with the same albums (tracks), but with the cables from the UK and an increase in volume of 1 or 2 dB. The effect was amazing. After the first series of sessions already, the one with the same volume levels, I clearly realized that I was “listening to” exceptional, truly unique cables, but only after starting the second series I was ready for more. As I am saying, we (subjectively) have less treble with the tested cables. It is not true, as, for example, the sounds of percussion plates accompanying Mel Tormé in Sunday in New York were juicy and full, and the upper octave of the vocal itself was slightly lowered. Thanks to this, it became a more integral part of the whole record, there were no problems with slight overemphasis or other distortions that can from time to time be noticed in it. They do not disturb our perception of the recording, they are simply “witnesses” that give it its own, distinct character. However, with the tested cables the whole thing simply became more coherent and homogenous. The case is similar with Rysiek Riedel’s vocal in the album entitled Zemsta nietoperzy (Pronit PLP 0043, 1987). I have got its digital version, prepared using the analogue “mother” tape by Damian Lipiński in his analogue studio (the tape had been borrowed from the Polish Radio archive in Poznań where the recording sessions had taken place). As Damian says, the tape is in an excellent condition and it was recorded without using the Dolby A noise-reduction system, so it has natural, unchanged dynamics. The version that I have and that I have copied onto a CD-R is unique, because there are no Compact Disc edition plans. If everything goes well, the material will be released only on vinyl and SACD. The recording sounds excellent if, of course, one takes into consideration the limitations of time and place at which it was made. Its only problem is the slightly overexposed treble in the frontman’s voice. I talked about it with Damian for a long time and it appears that it is just the sound of the tape, probably caused by using too much effect on the vocal. It cannot be changed without changing the sound of the rest of instruments which sound perfect (we are talking about a stereophonic, not multitrack tape here). The Tellirum Q cables, however, did what cannot be done in a studio – i.e. they embedded the vocal into the rest of the recording, not allowing for the expansion of high tones in the voice. At the same time, they did not change the opening of the guitars and percussion. How did they do it? I am not a hundred per cent sure, I can only speculate. By going deeper, we reach a point at which it is impossible not to say what needs to be sacrificed to such sound. As I have already said, subjectively, the tested cables sound quieter. The reason for that is slight softening of the attack. Because of that it seems that there is less treble and that the dynamics “slumps” a little. In fact, it would be hard to say that the former observation is not true. The sound is really warmer and set even lower than with such cables as Siltech Double Crown that decrease the treble quite a lot (we are talking about comparing interconnects here). It is heard even more clearly when the Tellurium Q speaker cables are compared with the Omega Onyx Tary Labs model. This may be the reason why the cable dynamics seems to be more composed. By turning the volume up a little, we bring everything back to normal and even above normal, as the foreground is brought closer to us and the background is made slightly quieter, i.e. subjectively withdrawn. Summary Tellurium Q cables will make your system “become” a whole. They are capable of going over any divisions and fastening scattered elements together to create something bigger than the elements themselves. The cable dynamics seems to be slightly more composed, but this is a subjective feeling, not a real change. The treble is slightly withdrawn and sweet. These are side effects of the cables’ operation, which is incredible when it comes to its influence on sound and, as a result, on the listener. Just like the best BBC columns, cult electronics from Japan, or the best tubes, Tellurium Q Ultra Silver do not lose information from any part of the band, giving out very well differentiated sound and leading to a situation in which listening to music from any album is pure pleasure. Even such listener-oriented albums from iTunes as The Way by Marcy Gray will be listened to with curiosity, at the very least. This is a sign that we are dealing with something exceptional in the audio world and the cables prove to be really unique. Distribution in Poland HIFIELEMENTS Skype: hifielements e-mail: biuro@hifielements.pl www.hifielements.pl Wojtek Mazolewski Quintet POLKA Agora 268138801 Date of release: 14th November 2014 Storage device: Compact Disc Wojtek Mazolewski’s comment on the album: I am giving you an album full of passion and emotions. I am taking you on a journey. While visiting one inspiring place after another, I wonder who a Polish woman (POLKA) is in today’s world... This nostalgic, crazy and contemplative musical story is our answer to this question. For me, POLKA is a synonym of great power and life energy. It is a personification of beauty, courage and passion. The album is a tribute to the omnipresent female aura which emanates with love and warmth. This is what I associate the female element with – the element which has always been present in my life and to which I owe so much. The phrase which is most frequently used to describe the WMQ album is “a tribute to femininity” (“Jazz Forum”). When you look like David Beckham, what you say about women sounds really convincing. Wojtek Mazolewski was born in 1976. He is a musician, bass player and the founder of Pink Freud and Wojtek Mazolewski Quintet bands. He is known not only from music magazines, but also celebrity gossip blogs and magazines for women. As far as music is concerned, he is known thanks to his excellent musicianship, great compositions and cooperation with, among others, Pete Wareham, Tomasz Stańko, John Zorn, Tymon Tymański, Olo Walicki,  Andrzej Smolik, Mikołaj Trzaska, Wojtek Waglewski, Lech Janerka, Fisz, Emade, etc., whereas women know him because he is Maja Sablewska’s life partner. The album was recorded during a journey, in cooperation with Joanna Duda, Oskar Török, Marek Pospieszalski and Kuba Janicki, as well as Michał Bryndal (as a guest). Apart from compositions referring to jazz classics there are also covers – for example, a surprising, but extremely romantic version of Heart-Shaped Box by Nirvana. It might seem that these are two different worlds, but it appears that a good composition is not really limited by the arrangement and speaks with its own voice independently of the decorum. Apart from Nirvana, there are also covers of Major Lazer (Get Free) and Rage Against the Machine (Bombtrack). Get Free was the first single from this album and was in the charts of the Third Channel (Program Trzeci) of the Polish Radio. As part of the “Polka” album premiere, the band will go on a tour during which it will be possible to buy a limited edition album which is not going to be sold in stores. The album has been released by Agora, a press publisher. The company has used a clever trick – its albums are in fact published in a book form with an extra CD. In such a case, only 5% of VAT is paid. The price is therefore lower, but, at the same time, the way an album is published is better. Polka has the form of a small book in a hard cover, with text written by Mazolewski and excellent photos. SOUND One of the things that Wojtek Mazolewski is famous for is his attachment to the traditional analogue technology. It can be noticed in the way he records his albums . Polka was recorded and mixed in the analogue domain. It is great that Radio Gdańsk, where it was created, still has such equipment! It is wonderful, because there is a chance that other bands and singers will want to use it. It is a more difficult path to go, but the effects are incredible. It is not the first time Mazolewski has used magnetic tape, because his quintet recorded Smells Like Tape Spirit, an album from the year 2011, in a very similar fashion. The whole material was recorded and produced in the same studio in Gdańsk, without corrections or overlays, in its 100%. The recording was supervised by Piotr Taraszkiewicz, who was also present when Polka was recorded. Perhaps this is why the sound of the reviewed material is extremely intimate and tangible. The dynamics, including microdynamics, create a fast and natural transmission. The bass drum kick, like in the Berlin track, or the way low sounding double bass enters, like in Heart-Shaped Box, are so natural, full and mature as in the best jazz records that I know. The wind instruments, in turn, remind me of a unique recording of the Danielsson/Dell/Landgren trio – Salzau Music On The Water, recorded live for the ACT music company at 5:00 by the Lake Salzau. We have the same kind of energy here. The tone of the album is warm and dense. The density is higher than average, but it is no use looking for selectivity and clearly “cut-out” contours here. In reality, when played live, the instruments sound in the same way as on Mazolewski’s album – they function as “solids” whose edges are attached to other instruments and to the acoustics itself. Due to the fact that everything “sounds” well here, that the whole album is so coherent, it can easily be heard that the microphones were placed close to the instruments. It results in a high volume of sound and a fairly close perspective. It does not change even when echo is added. It is a fantastic album with really engaging, i.e. smooth, velvety and well-distributed sound. Now we only have to wait for an analogue version produced on the basis of the analogue “mother tape”. That would be SOMETHING! www.mazolewski.com QUALITY OF SOUND: 10/10 DO YOU WANT TO KNOW MORE? MORE QUICKLY? JOIN US ON TWITTER: UNIQUE PHOTOGRAPHS, FAST INFORMATION, NEWS NOTIFICATION!!! [hfgallery] [img mini="foto_testy/1503/Tellurium/th/05.jpg" big="foto_testy/1503/Tellurium/05.jpg" src="foto_testy/1503/Tellurium/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Tellurium/th/06.jpg" big="foto_testy/1503/Tellurium/06.jpg" src="foto_testy/1503/Tellurium/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Tellurium/th/07.jpg" big="foto_testy/1503/Tellurium/07.jpg" src="foto_testy/1503/Tellurium/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Tellurium/th/08.jpg" big="foto_testy/1503/Tellurium/08.jpg" src="foto_testy/1503/Tellurium/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Tellurium/th/09.jpg" big="foto_testy/1503/Tellurium/09.jpg" src="foto_testy/1503/Tellurium/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Tellurium/th/10.jpg" big="foto_testy/1503/Tellurium/10.jpg" src="foto_testy/1503/Tellurium/10.jpg" desc="HighFidelity.pl"] [/hfgallery]

hile big companies from various branches, who are responsible for new solutions, research and patents, constitute the driving force of the world of audio, the salt of the earth, so to speak, are small manufacturers, who refine those concepts and turn them into something that perfectionists are willing to accept as their own. It can be applied to every sphere of life, including audio. Gone are the days, when big laboratories, such as Bell Labs, worked on theoretical basis as well as ready-made products – that is how classic horn speakers were created by Western Electric ,and then by Altec and JBL. Of course exceptions from that rule still occur – for example Meridian brand, a truly small manufacture, stands behind a few major innovations. However, the above case is marginal, the mainstream is divided into separate branches: researchers, working for the popular market and specialists focusing on audiophile market. Haiku-Audio, a tiny manufacture from Krakow, with its creator Wiktor Krzak – musician and designer – is a good example of the latter. Made with passion and because of the lack of consent to the existing reality, with time it evolved into a commercial enterprise. Even though it is still fuelled by passion rather than the desire for profit (which, proportionate to the work and money involved, probably will not appear for a long time, that is how it goes), moved beyond DIY regions for good.. However not entirely – the reviewed Bright Mk3 hybrid integrated amplifier, belonging to the Haiku series, is available as a ready-made product, and in this form it is reviewed, but also as a DIY kit. You can order either printed circuit boards with a circuit diagram only and choose components according to your taste, or PCBs with all components but without chassis, or finally a complete set with chassis that has to be assembled. Chassis is a particularly important thing, because it sets professional apart from the amateur. The ability to design it, finding a reliable supplier who will make not only the first one, but all the other ones according to documentation – that is a real test for the company. The former remark is even more significant when you notice that the cost of chassis is often one half of entire product price. According to Haiku-Audio pricelist, chassis of Bright Mk3 costs almost 1400 PLN. WIKTOR KRZAK Haiku-Audio | owner, designer I am a musician, electronical engineer, PhD student at the Academy of Music in Krakow, improvising bassoonist as well as classical musician. Knowing first handedly the authentic sound of music, I aim at possibly accurate reproduction of that sound with the use of audio equipment that I design. I have designed amplifier for several years, focusing particularly on hybrid circuits. My major designing goals are: - Minimalism. Signal path should be possibly short, and the number of components small, because neither circuit nor component enhance the sound quality. The best ones only do less harm. - Rationalism. Each solution has to prove right in the calculations, then give positive effects in measurements. Only after that listening tests are done. - Aesthetics. A good amplifier looks beautiful not only on the outside, but most of all under the chassis. High quality of assembly guarantees reliability and long term stability. All my products are assembled in Poland, key components such as printed circuit boards or transformers also come from Polish manufactures, and a great majority of other components are European products. The history of Haiku amplifier began in 2003 from taking up a challenge, which was to build a valve amplifier without the use of output transformers. Unfortunately a few attempts involving classic valve OTL circuits did not give satisfying results. Only experiments with hybrid circuits produced fully desirable outcomes. The solution was simple and yet innovative. Instead of composing a hybrid amplifier by connecting a single valve to the input of a complex solid state amplifier, I combined a complete valve amplifier, triode single-ended circuit, with one solid state stage performing the task of output super-transformer, which will enable the valve to operate with low impedance load, such as a loudspeaker. This combination includes all the advantages of a valve SET stage with versatility and durability of transistors. That is how the topology of Haiku solid state power stage came into existence. I used that name later for a series of amplifiers utilizing that stage, produced by Talcomp. When establishing my own business in 2012 I used the word to name the company. A similar situation occurs in the case of the name Quad. It applies to the company, their famous amplifiers and the circuit itself, which is known and used autonomously. The name of my circuit describes its simplicity and effectiveness, harmonious combination of content and form. Additionally, it was possible to achieve specifications impossible in the case of a valve amplifier, such as considerable output power, which also increases when the load impedance drops and sufficient damping factor without the necessity of applying any negative feedback. First test versions of the amplifier constituted the beginning of Haiku Dark and Dark Mk2 series, as well as the high-end Dark-E, which all were presented under the brand name Talcomp at the Audio-Show exhibition in 2007 and 2008, where they were well received. Another step in the development of the amplifier was the model named Bright, based on two new design goals. First of all, the amplifier should present the sound quality of Dark series while becoming more accessible in terms of its price, so that every music lover could afford it. Secondly, the circuit design was supposed to be so transparent, that the above mentioned music lover was able to assemble the amplifier on his own, because Bright is also available as a DIY kit. The present Bright MK3 model differs from its predecessors in the visual aspect and minor circuit modifications. The company is proud of the fact that for 12 years of presence on the market, none of the Haiku amplifiers have encountered failure. Haiku Bright Mk3 is a hybrid integrated amplifier, with a valve input stage and solid state output. The valves used are a military version of 6H2π made in USSR, which are the equivalents of popular ECC83. Output stage operates in class AB, but providing a few initial watts in class A. It is a minimalistic design, because Wiktor (whom I know from the meetings of Krakow Sonic Society) is aiming at achieving the shortest possible signal path. The front panel is very carefully crafted by the manufacturer in Wroclaw. It has a black element in its center. Together with two aluminum knobs – volume and source selector – it forms a distinctive design, captured in the company’s logo. It is a truly puristic device – without line-level outputs, digital inputs, wireless connection, with only four line level inputs and two sets of speakers connectors. The amplifier can be customized to a great extent – it is one of the features unique for small manufactures. Bright can be ordered with a top cover made of metal or organic glass. Even though it may seem insignificant, experience shows that such changes may lead to modification of sound. Its scope depends on the system. It is enough to mention DNM, who entirely eliminated meal from their devices (even their heat sinks are ceramic), as well as Japanese Esoteric. Engineers preparing new SACD releases, have removed top covers from their equipment and placed them at a certain height above the devices (more HERE). It would be interesting to try how changing the top cover in Haiku amplifier influences its sound. In Wiktor’s device it is also possible to change the potentiometer – the blue Alps can be replaced by a DACT switch potentiometer. There might me a possibility to customize other components as well. It is stated that Bright for example can be ordered with various valves, including: ECC81/12AT7, ECC82/12AU7, ECC83/12AX7, ECC832/12DW7, ECC85/12AQ8, 6N1P-EW, 6N2P-EW and a few other ones. The same model is also available as a power amplifier. The only difference is the lack of potentiometer, input selector and knobs. Records used during the test (selection): Pole Reports From Space, Bôłt Records BR ES12, “Polish Radio Experimental Studio”, 2 x CD (2014). Western Electric 300B Vacuum Tube Sound, ABC Records HF1043, “HD Mastering”, CD (2012). Cyrus Chestnut, Midnight Melodies, Smoke Sessions Records SSR-1408, CD (2014); Ella Fitzgerald, Ella Fitzgerald sings the Rodgers and Hart Song Book, Verve 537 258-2, “Master Edition”, 2 x CD (1956/1997). Jean Michel Jarre, Oxygen 8, Disques Dreyfus/Epic 664074 19, SP CD (1997). Marcy Gray, The Way, Kobalt Label HMBT001CD, CD (2014). Mark Hollis, Mark Hollis, Polydor 537 688-2, CD (1988). Mirt, Solitaire, Bôłt Records BR ES18, “Polish Radio Experimental Studio”, CD (2014). Sławek Jaskułke, Sea, Kayax 079, CD (2014). Wojtek Mazolewski Quintet, Polka, Agora 6813801, CD (2014). Zygmunt Krauze, Spatial Music, Bôłt Records BR 1019, CD (2013). Japanese issues available at [REKLAMA5] We choose audio appliances to suit our individual taste. There is no such thing as absolute ‘neutrality’, but there are attempts to approach it. Sometimes those attempts turn into failures, other times they are not completely unsuccessful, marking a territory that covers all possible variants. One might criticize such an attitude, because the ultimate goal should be a specific point – the dead centre of neutrality. It is true that in the case of the best amplifiers I know, such as Naim Statement, the territory surrounding that central point is considerably small. What about the people who cannot afford a Statement, which means 99,999999 (9N) music lovers and audiophiles? Does it mean that they should not listen to mechanically recorded music at all? Should they limit themselves to concerts and their own music making? I assume that all the readers answered the above questions the way I expected, which is: NONSENSE! If so – you get an A plus (forgive me, I could not help myself – in my Master’s Certificate it is clearly stated: ‘specialization – teaching’). You can earn yet another high mark, if you manage to answer another question, which is a natural consequence of the former answer: what should they do then? My answer is: choose appliances and combine them into a system with characteristics and sound qualities that will suit your individual taste best and will enable most of your music to send shivers up and down your spine. Such moments of exaltation or ardent acts are possible to experience on every level, from an amplifier that costs 1000 PLN to 760 000 PLN. I assume that the same mechanism can be applied to designers, who adjust their circuits to their own concept of how recorded music should sound. In other words, by choosing and working on features that they value most, by trying to minimize the negative influence of other factors – the ones they wish did not exist, or the ones they cannot eliminate. If I am correct, what Wiktor values most are genuine tone colours and how the elements of musical expression come together. Genuineness is here an equivalent of neutrality, approaching naturalness. The tone colours in the tested amplifier are incredibly normal, simply good. Expression is dense, somewhat warm as well as outstandingly fluctuant. The sound that we get is unforced, devoid of internal tension resulting from technical imperfections. There is, however, an artistic tension or groove, a mechanism that sets the course of events in motion. Tone colour is a dominating factor, because each recording seem to present the maximum of its possibilities. Instruments are very clear, but without stiffness, without providing a distinct starting point for each sound which is removed from its context. The auditory sensation is similar to the best amplifiers. Being aware that Wiktor is an active musician who also has theoretical knowledge in the field of musicology that most of us will never acquire, the first recordings I listened to featured classical music. And it was exactly as I wrote above: dense, clear, rather warm, very natural playback. Because of power limitations, I had a better reception of chamber music recordings than those of a big symphony orchestra, but also the latter ones sounded simply all right. They just did not have an appropriate scope that can be achieved by more powerful appliances, also those within the same price range. As opposed to most of the not-so-powerful amplifiers, the sound was always clean and dense and I did not have an impression that compression is a problem. Dynamics simply calmed down and the background was moved forward. I think that this type of modification is more than justified. I was however truly hooked on this type of sound while listening to recordings which theoretically require much more power, that is electronic music. It has been a long time since I heard such good renditions of Bôłt Records labeled recordings in the Polish Radio Experimental Studio series. Solitaire performed by Mirt had air and ingenious sense of balance between all the elements of musical expression. However, also mainstream recordings, such as a single once promoting the album Oxygene 7-11 by Jean Michel Jarre, with club remixes of Oxygene 8, sounded exceptionally coherent, dense, natural, and because of that they were very convincing. I listened to them with curiosity as to what will happen next, with tension achieved by keeping the connection between us – the listeners – and the music. Taking into consideration that we are talking about a recording, not a live performance, it really is SOMETHING. Let us sum up this part: Wiktor’s amplifier sounds softly (in the sense: ‘velvet’, not: ‘mash’), warm, dense, coherent, natural. The more power you ask it to produce, the more softly and forgivingly it sounds. The above list resembles a description of a valve amplifier, doesn’t it? However there are only a few valve amplifiers that achieve it in such an unforced and unstressful manner. Bright Mk3 does not add unnecessary colour but rather, it ‘encompasses’ everything. I think that it manages to do so thanks to very good clarity, without a trace of brightening, sharpening or contour (stiffness). An additional factor is its exceptional resolution. Resolution in this case manifests itself in the ‘weight’ of instruments and voices, not in the number of details. It is a device that celebrates the recording. Musical expression is treated as an entity, where the ‘body’ of happenings is important, not the contour. In expensive amplifiers the two elements are equal, within this price range you always have to make a choice. Conclusion Haiku presents happenings in a natural way, not only as a ‘shadow’ of a happening but also its ‘heart’. It becomes obvious with high quality recordings, but the less perfect ones also sound truly pleasant. It is not the forward oriented type of playback, nor is it particularly tangible. Music is presented in an exceptionally natural manner, but located behind the speakers, not in front of them. Dynamics is not high and it seems that the amplifier focuses on tone colour and similar types of relationships between elements rather than on sound volume. In that respect differentiation is impressive and for example the way Midnight Melodies by Cyrus Chestnut and Polka by Wojtek Mazolewski Quintet are recorded, will be shown immediately, without being veiled. It is an exceptional device, which presents mature and refined sound. As always – it is not for everybody, not for every configuration and room (its size). However, if Wiktor’s concept of music is close to your expectations, it will be difficult to find equally good amplifier in the same price range RED Fingerprint. Haiku Bright Mk3 has a noble silhouette, based on an attractive front panel and two heat sinks fitted on both sides of chassis. The front panel is made of 10 mm thick aluminum, available in silver or black. Black anodized knobs are also made of aluminum. The one on the left is used to select input, the one on the right controls volume. Their indications are poorly visible – you have to come close in order to check which input is active or how far the ”Volume” knob is turned. There is an ample but almost invisible mechanical mains switch. There are no diodes or indicators behind the black panel in the centre. You cannot tell if the amplifier is turned on. In the version with top cover made of organic glass, LEDs used in current sources and valves heated filaments are visible. The back panel includes four pairs of gold plated RCA connectors insulated with teflon, as well as two pairs of speaker connectors. There are no descriptions – another feature that the company has to work on in the future. Large heat sinks placed along both sides of chassis are not just an ornament. The amplifier’s PCBs are placed on them – right and left channel separately. The printed circuit boards are very interesting. You can notice decent passive components, for example large Wima polypropylene coupling capacitors, precision resistors, as well as a number of electrolytic capacitors in the power supply section. Their plastic covers were removed and replaced by labels with descriptions. According to them, every component was measured and paired. As you can read in the manufacturer’s description, power supply filters utilize capacitors with total capacitance of 60 000 μF (it really is a lot). The power is supplied by a large mains transformer rated for 300W with a number of secondary windings. A choke is used in the H.T. section of the power supply. Inputs are selected by a mechanical switch and the blue Alps potentiometer controls volume. Signal path between the switch, potentiometer and finally PCBs consists of considerably long, shielded wires. The description seems simple, but the structure of this amplifier is much more refined and we already know it from a Canadian Tenor Audio 175S amplifier that costs over 150 000 PLN. Italian Flight Audio amplifiers used to work in a similar way. The valve stage actually constitutes a complete voltage amplifier. Solid state stage works only as a voltage follower (or source follower), which provides current gain without altering the voltage. It reproduces the voltage fed by the valve with considerably greater current. Another feature that can be found in very expensive products like Naim Statement is the way that the output stage is powered: Bright Mk3 has regulated power supply. Due to the need of keeping the price at a “friendly” level, Bright contains only one mains transformer. Dark-E had a separate transformer and voltage regulator PCB for each section and that is the reason why it used to cost almost four times as much. The amplifier looks very neatly and reliably. It contains interesting solutions and a great amount of work has been done to fine tune every element. I like it very much. Technical specification (according to manufacturer) Valves used: 2x 6H2π-EB or 2x ECC83 Rated power (8 Ω): 35 W Rated power (4 Ω): 65 W Frequency response (-1 dB): 14 Hz-45 kHz Frequency response (-3 dB): 8 Hz-85 kHz Stage class: A/AB Input sensitivity: 500 mV Number of inputs: 4 pairs of RCA Number of outputs: 1 pair Power consumption (max): 300 W Dimensions: 450 x 360 x 100 mm Weight: 12 kg Available front panel colours: Black or Silver DO YOU WANT TO KNOW MORE? MORE QUICKLY? JOIN US ON TWITTER: UNIQUE PHOTOGRAPHS, FAST INFORMATION, NEWS NOTIFICATION!!! [hfgallery] [img mini="foto_testy/1503/Haiku/th/05.jpg" big="foto_testy/1503/Haiku/05.jpg" src="foto_testy/1503/Haiku/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/06.jpg" big="foto_testy/1503/Haiku/06.jpg" src="foto_testy/1503/Haiku/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/07.jpg" big="foto_testy/1503/Haiku/07.jpg" src="foto_testy/1503/Haiku/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/08.jpg" big="foto_testy/1503/Haiku/08.jpg" src="foto_testy/1503/Haiku/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/09.jpg" big="foto_testy/1503/Haiku/09.jpg" src="foto_testy/1503/Haiku/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/10.jpg" big="foto_testy/1503/Haiku/10.jpg" src="foto_testy/1503/Haiku/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/11.jpg" big="foto_testy/1503/Haiku/11.jpg" src="foto_testy/1503/Haiku/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/12.jpg" big="foto_testy/1503/Haiku/12.jpg" src="foto_testy/1503/Haiku/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/13.jpg" big="foto_testy/1503/Haiku/13.jpg" src="foto_testy/1503/Haiku/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/14.jpg" big="foto_testy/1503/Haiku/14.jpg" src="foto_testy/1503/Haiku/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/15.jpg" big="foto_testy/1503/Haiku/15.jpg" src="foto_testy/1503/Haiku/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/16.jpg" big="foto_testy/1503/Haiku/16.jpg" src="foto_testy/1503/Haiku/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Haiku/th/17.jpg" big="foto_testy/1503/Haiku/17.jpg" src="foto_testy/1503/Haiku/17.jpg" desc="HighFidelity.pl"] [/hfgallery]

et us think: “Soundstage!” was established in the year 1995, whereas “EnjoyTheMusic.com” was set up a year later, in 1996,; “Positive-Feedback Online” moved online in 2002 (it had been printed since 1990); in the same year “Sixmoons.com” was launched , whereas “High Fidelity” has been available online since 1st May 2004. When compared to the above-mentioned magazines, the American “HiFi Pig Magazine” seems to be a novice. However, contrary to what its “birth certificate” indicates, its influence on the radio market seems to be very strong – its reviews are recommended by many audio manufacturers and a lot of music lovers rely on opinions that it publishes. What is the origin of the magazine and who is the man in charge of it? I hope that my interview with the Editor-in-Chief, Stuart Smith, will shed some light onto these issues. WOJCIECH PACUŁA: Stuart, please tell us about yourself: who you are and something about your career, your work. STUART SMITH: I am English, but 10 years ago we bought a restaurant in Brittany (France) and we moved there. There are the “headquarters” of “HiFi Pig”. When asked about my background, I often tell people that I never got a proper job until I was 28. Then I started selling advertising on the telephone for “Yorkshire Post Newspapers” where I ended up managing a large team of sales people. I loved my time at “Yorkshire Post” as I was given the freedom to create new titles and launch some pretty innovative publications – it was a stressful job, with large budgets, but hugely satisfying. Before this I had been an environmental studies student in the North Eastern town of Sunderland. During the ten years that I spent in Sunderland I had a successful radio show, a thriving career DJing in clubs and at parties (I've played all over the place), played in a dub reggae band (Roughneck Sounds), owned a vinyl only record shop (Mr Music Man) and had a 50% share in a recording studio. So, as you can see, music has always been a major part of my life. As a teen in the eighties I, like many teenage boys at that time, read the hi-fi press avidly and dreamt about the classic start up system of a Dual turntable, NAD amp and a pair of Wharfedale Diamonds (or similar). I never got this system, but I did get a Crimson Electric power amp, Musical Fidelity The Preamp and that pair of original Wharfedale Diamonds, all being fed by a Technics SLDL1 linear tracking turntable. I loved this system, but I knew its front end was a weak spot, so I spent my first term's grant on a Linn Sondek LP12 in Afromosia veneer. Unfortunately, I could never afford to buy an arm for it and, in the end, I swapped the Linn for a pair of Technics 1210 turntables and a mixer in the late eighties, just as the dance scene was burgeoning. At home, for many years, I listened to music from the same system that I used as a DJ. This was huge for a domestic environment and painted fluorescent pink to boot. Later, step by step, I got back into hi-fi with a little Cambridge Audio setup. Only about ten years ago I went out and bought a full Linn system (the LP12 even had an arm and a cartridge) and this was my dream system at that time. Since then, I have auditioned and swapped out loads of components and the original system is long gone. How did you start “Hifi Pig Magazine”? Why? The initial spark for creating “Hifi Pig” was to provide a creative outlet for myself and to allow me to start writing again on the topic I loved (I had always written music reviews for record labels and magazines in the past). A self-produced online magazine seemed the ideal platform for this. Being very much a child of the punk generation with its DIY attitude, I found the freedom that the Internet gives you liberating and, given my background in launching magazines, I could not help but develop “Hifi Pig”. Many people ask me: “Why the name: “Hifi Pig”? and the reason is simple - my sound system in the 80s and 90s was called the Big Pig Sound System (that is why it was painted fluorescent pink) and it comes from that. We have a stage in our barn where we play live music in the summer for friends and neighbors, and it is bright pink, too. What is “HiFi Pig” – a magazine, portal or something else? It is an online magazine (though, as I suppose, many would call it a blog) with an associated free monthly PDF magazine that we launched just over a year ago to compliment the online content and give readers an alternative means of accessing our product. We also upload to ISSUU which offers readers a very “magazine style” experience. What are your goals? I would like to see “Hifi Pig” continue to flourish and carry on offering our readers honest and unbiased reviews, as well as up-to-the-minute hi-fi related news. We have a few more ideas that we are working on to grow the “Hifi Pig” brand, including media-partnering the North West Audio Show (Cranage Hall on the 28th June) or partnering with SIAV in China. We generally want to be more visible at relevant shows. There are also a few other things that will be able to tell you about in the very near future. What is your methodology and policy of writing reviews? I do not get involved in the review process with the guys and girls that review for us, other than organizing the product delivery, etc. They receive the sample, listen to it in their system, send in a review and I publish it. We have a rule that if an item sent for review is below what we consider an acceptable standard, then it gets sent back without review but with a comment as to why we did not like it. The people who review for us have a wealth of experience and knowledge, and I trust their opinions implicitly. So, if they say that something should go back, it goes back. I have read a comment on one forum that they think this is a gimmick, but it seriously isn't and we have even sent back some very expensive kit, in the hope that our feedback will help the manufacturer create a better product. Of course, Linette, who is my co-editor, and I both review, too. Our modus operandi is the same as with the other reviewers. I once had a conversation with a few people in the industry that a reviewer’s job could actually be condensed into saying that a product is “better” or “worse”. However, I think readers like to get a feel for your overall thoughts on the product and over time they get to know your preferences as a reviewer. Though we do try to be objective in our review process, it is clear that our personal likes and dislikes come into the equation. It would be unfair for anyone to suggest that personal preferences do not come into play to a greater or lesser extent. How does “HFP” differ from other magazines? Stuart Smith: It has been said that “Hifi Pig” is the Sex Pistols of the hi-fi media and I quite like that comment. I really do love that quote and I think it sums us up pretty nicely, though I would like to think we are more akin to the more colorful Rubella Ballet… I missed the original punk scene in the 1970s, but got involved in the peace punk movement in my late teens. This was about having enthusiasm and a can-do attitude, and if there was something that you wanted to create, then you simply did that. We did this in the past with sound systems and the free parties we put on, but I do not think a bloke in his late forties, putting on raves in the middle of nowhere, is really appropriate... though we are currently involved in organizing a very large free party here in Brittany. We are bright, bold and very enthusiastic, and we like the difference that “Hifi Pig” brings to the table. It has a personality, and that personality is guided very much by the kind of people involved in “Hifi Pig”. Look for us at shows and you will recognize us immediately, as Linette (Mrs Hifi Pig, as she is often referred to) has bright pink/red/purple hair... When I took the step to get the site “branded” properly, I asked a good few people what they thought about the pink and the black colors on the site. Their comments were pretty much the same – negative. Personally, I like to be different and if someone says that something cannot be done in a particular way, then I am always keen to prove them wrong and do it just that way – it is that punk thing again. I am also fanatical that “Hifi Pig” should remain free to our readers. What can we learn anything from printed magazines? Can they learn anything from us? My background is in launching and selling printed media, and I love magazines and print. In my early teens I restored an ancient printing press at school and I have always been fascinated by the printing process. I suppose print has made information available to the masses to such an extent that I would suggest that the printing press is the most important invention ever. However, times move on and technologies change. I think that the advantage that “Hifi Pig” and other online magazines have over printed ones is that we can react quickly to news. Perhaps an even more important advantage is that we are free to our readers. We are not constrained by the time and expense it takes to print a traditional magazine. Are you happy with your work? I absolutely love “Hifi Pig” and the opportunities it has afforded us. We have met some really great people (and a few not so great, it has to be said) and had the chance to visit some great events and businesses. Of course, there is always room for improvement with any project and we are constantly revising and revisiting what we do to improve the “Hifi Pig” readers' experience. Please give us the titles of 10 albums that my readers should listen to right away and say why. I have an Analogue Works Turntable with an Origin Live Silver tonearm and a Cartridge Man Music Maker cartridge, as well as a Coffman Labs G1A preamplifier with the Tellurium Q Iridium power amp. The cables are a mix of Tellurium Q and Chord Cables. Most of the time I use a Windows computer running the JRiver Media Center, set up according to the Computer Audio Design instructions and using one of their USB cables.  I listen to music a lot at my desk and use the KEF x300a loudspeakers fed from the computer.  I have Audeze LCD-XC headphones running from the Coffman preamp or an Epiphany Audio prototype headphone amp (if I am in the main room), or a little Schiit amp when I am at my desk.  I also have a small Clones Audio integrated amplifier that I use sometimes when I am asked to test some more modestly priced components. The Quad kit that readers can see in the photos is an element of a future retro system in which I will also have ESL 63s... One day.  Please give us the titles of 10 albums that my readers should listen to right away and say why. 1. Hawkwind, HALL OF THE MOUNTAIN GRILL I love Hawkwind and pretty much adore everything they have put out over the years. This is psychedelic space-rock at its very best, in my opinion. 2. Fleetwood Mac, RUMOURS I have several copies of this album that vary wildly in quality. I am sure most people will already have this in their collection and I reckon it gets played more than any other album here at the “Hifi Pig” towers. It has just got a real “up” vibe to it that I love and Songbird (and its recording) is a great tune. Invariably, this is the first record to get played when a new device comes in for review. 3. Neil Young, AFTER THE GOLDRUSH To be honest, this is a pretty arbitrary choice, as I could have chosen any of the earlier Neil Young albums. We were lucky enough to see him a couple of years ago at a nearby festival. He was playing with Crazy Horse and towards the end of the concert they cleared the stage and played whatever we wanted for twenty minutes or so. When they played “No Rain” chant from Woodstock, the heavens opened. Even now I have goose bumps as I am typing this. 4. Crass, FEEDING OF THE 5000 Crass have had a big impact on me and the way I look at the world, so no shortlist would be complete without something by them. This album includes Reality Asylum which possibly is as offensive a song (to some) as it is imaginable. Linette hates Crass and the band is musically a bit “challenging”, but it has the punk attitude I have been banging on about in spades. . 5. Blondie, PARALLEL LINES Pop music done properly and with a bit of attitude. As a teen I loved Debbie Harry. 6. Gil Scott-Heron and Brian Jackson, WINTER IN AMERICA An incisive social comment and the artist laid bare. I went to see Gil Scott-Heron in the late 1980s/early 1990s and arrived at a gig in Newcastle a little worse for wear, and far too early with my friend Mingus. We went into the venue, ordered drinks and played pinball in the corner of the club. A guy appeared and asked if he could join us. We chatted, had a laugh and played pinball for an hour or so. Then the venue filled up, the lights went down and there was our newly-found pinball buddy sitting behind the piano at the front of the stage. Neither of us had the faintest idea that we had been shooting the breeze with the man himself. When he died, it was the first time I had really been touched by the death of a recording artist. 7. Jefferson Airplane, SURREALISTIC PILLOW Released a few months before I was born, this is a record that is synonymous with the “Summer Of Love” and the whole Haight-Ashbury hippie scene which has always fascinated me. Coming Back To Me is a wonderful tune and the album has the brilliant White Rabbit on there for good measure. The album is very much of its time, but still very listenable. I was lucky enough to get hold of the first pressing recently. 8. Massive Attack, BLUE LINES I never really understood the whole trip-hop thing when it first appeared, as I was firmly ensconced in the house and techno scene. I bought this album only a few years ago as it had the brilliant Unfinished Sympathy on it (which I knew, of course). It appears there is no bad tune on this album and it is always on my portable media player if we go off on a trip anywhere. Bass heavy beats and a laidback vibe are the order of the day. 9. Louis Armstrong and Duke Ellington, THE GREAT SUMMIT I bought this album a few years ago in a second-hand music shop here in France. I would never come across it before as I knew very little about Jazz music at that time. This album was a bit of a revelation for me and has opened my mind to a new music genre. 10. Lee Scratch Perry, FROM THE SECRET LABORATORY This album came out in 1990 and was produced by Adrian Sherwood. I got this record in a job lot, together with some other items that I swapped for my Korg MS10 synthesizer. For me, the album captures that time in music perfectly with its mix of reggae and house-inspired beats. Not on this record, but also by Lee Perry, is the brilliant Midnight Train To Doomsville which we used as the introduction to our long-running weekly radio show on Wear FM – “The Midnight Train To Doomsville”. “THE EDITORS” series has included:: SCOT HULL, “Part-Time Audiophile”, USA, editor-in-chief, see HERE 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 Hifi Pig is part of Big Pig Media LLP  Partnership No. OC397825 www.hifipig.com DO YOU WANT TO KNOW MORE? MORE QUICKLY? JOIN US ON TWITTER: UNIQUE PHOTOGRAPHS, FAST INFORMATION, NEWS NOTIFICATION!!!

he word ‘Statement’ could be translated in many ways but in fact it always comes down to: expressing one's opinion in an ultimate, irrevocable way. So if one calls a product using this particular word, one has to be damn sure of what's one doing. Designing a top (reference, flagship, most expensive – whatever one calls it) product is a huge thing for any (audio) manufacturer. Especially for one that for years created mid-priced products. It takes combining for one product a philosophy that says that there is a certain price limit that balances costs with sound quality and going beyond that limit won't noticeably improve sound quality while costs will keep rising exponentially, with a fact that audio product could cost as much as a luxury apartment near Wawel Castle in Cracow. Let me introduce you to Naim Audio Statement. Naim Audio was founded in 1973 and it was a part of a “new wave” of British audio manufacturers who, at the early 1970-ties, challenged contemporary market leaders. Celebrating 40th anniversary of „The Absolute Sound” magazine, Robert Harley, its present chief editor, in the issue no. 234 (July/August 2013) wrote, that he felt he had been partially responsible for a success of those challengers, as it was TAS that played a role of an “incubator” for brands like: Arcam, Cambridge Audio, Cyrus, Linn and Naim. Whether one agrees with his opinion or not, the key element here was a list of those “new wave” manufacturers. You've probably noticed that all these brands still exist today and they do quite well despite the fact that all, accept for Linn, changed ownership somewhere along the road. At some point within this group some complementary/rivalry pairs arose. One of these was a Linn - Naim pair. The former that started creating its own history with a LP12 turntable, had the latter as its partner and rival; they were like two sides of the same coin. And I think it was no coincident that these two started to expand their offer beyond mid-priced products, offering more and more expensive ones over time. Today both of them are counted among largest high-end companies. The first commercial product of Naim Audio was a power amplifier NAP 200. It was designed in 1971 and introduced to the market two years later. Already then Naim proposed a certain characteristic appearance of their devices that was used for many years to follow. Chassis was made in a specific way of black aluminum plates with silver front edges. Also a very characteristic Naim's logo (two knobs next to each either) became iconic. A year later, in 1974, another product was released – the NAC 12 linestage. It used a small chassis that repeated some motives after amplifier, adding characteristic knobs for volume control, input selector and balance. Forty years later, celebrating the anniversary, Naim presented a product that belonged to the same category: a NAC S1 preamplifier and monaural power amplifier NAP S1. The category and names given by the manufacturer were the only two common features of these products. NAC S1 together with NAP S1 constitute together a system called Statement, that with its design, power output, weight, and, above all, with its price, is beyond reach even for most top-high-end manufacturers. A development process took 10 years, and the first unit cost more than 1 million British Pounds. The set was placed on the floor in front of Finite Elemente Pagode Edition rack. It was compared to my reference linestage/amplifier set - Ayon Audio Spheris III and Soulution 710. I used following sources: Ancient Audio Lektor Air V-Edition CD Player with tube output stage and Accuphase DP900/DC901 SACD Player. Both were connected to Statement with balanced Siltech Royal Signature Series Double Crown Empress interconnect. For preamplifier I used Crystal Cable Absolute Dream power cable, and for both amplifiers Acrolink Mexcel 7N-PC9500. All three were plugged into Acoustic Revive RTP-4e power strip, which was connected with Furutech outlet using another (same model) Acrolink PC. A separate power line using Oyaide Tunami cable feeds Furutech outlet. For connection between amplifiers and speakers I used Naim Super Lumina speaker cables, and the same model was used to connect linestage with power amps. Recordings used during the test (a selection) Bach Rewrite, wyk. Orzechowski, Masecki, Adamus, Capella Cracoviensis, Universal Music Polska | Decca 375 457 5, CD (2013). Estampies & Danses Royales, Hesperion XXI, Jordi Savall, Alia Vox AV 9857, CD (2007). Filia Praeclara, Ensemble Peregrina, Divox CDX-70603, CD (2008). Ludi Musici, Hesperion XXI, Jordi Savall, Alia Vox AV 9853, CD (2007). Charlie Parker & Dizzy Gillespie,Bird & Diz, Mercury/UMG Recordings UCCV-9466, „David Stone Martin 10 inch Collector’s Selection”, SHM-CD (1952/2013). Dżem, Zemsta nietoperzy, Pronit/remaster Damian Lipiński, CD-R (1987/2015). John Coltrane, Expression, Impulse!/MCA Victor MVCZ-39, “Master of Jazz”, K2 CD (1967/1996). Marcy Gray, The Way, Stampede Management HMBT001CD, CD (2014). Maroon5, V, Interscope Records/Universal Music LLC (Japan) UICS-9146, CD + DVD (2014). Perfect, Unu, Tonpress/remaster Damian Lipiński, CD-R (1982/2015). Peter, Paul and Mary, In The Wind, Warner Bros. Records/Audio Fidelity AFZ 181, “Limited Edition No. 0115”, SACD/CD (1963/2014). Sławek Jaskułke, Sea, Kayax 079, CD (2014). Talk Talk, Spirit of Eden, Parlophone/EMI PCSDX 105, 180 g LP + DVD 24/96 (1988/2012). Tangerine Dream, Zeit, Cherry Red Records/Belle 121943-4, SHM-CD + CD (1972/2011). Tears For Fears, Songs From The Big Chair, Mercury Records/Universal Music LLC (Japan) UICY-40071, Platinum SHM-CD (1985/2014). 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). Wojtek Mazolewski Quintet, Polka, Agora 6813801, CD (2014). Yes, 90125, ATCO/Warner Music Japan WPCR-15914, „7 Inch Mini LP”, SACD/CD (1983/2014). Japanese issues available at [REKLAMA5] The biggest challenge each music fan faces when choosing a top quality audio system is: sound quality assessment. Why is it such a challenge? Because to do it right, one needs a reference one can confront potential purchase with. One can't assess amplifier's/CD Player's/loudspeakers' performance without comparing it to other products of the same kind. Otherwise one would be able to tell, whether one likes or dislikes the sound, instead of assessing its quality. And that's not a real assessment, as the next session with another product of the kind might refute previous impressions. And then another one, and another. And that's comparing, the key to sound quality assessment, for both: customers and reviewers. This is settled than. As always we make a first step only to find out that there is a second, third and so on, and we did not see them coming as they had been obscured by previous steps. We've established a fact that to assess a product we need to compare it with something else. What exactly should we use? Some, as for example British journalists writing reviews for „Hi-Fi News” believe that we should compare a device that re-products music only to a live, not amplified music – classical music being optimal reference. It's a good lead, supported by many right choices. But there is also another. It's fans say that the only way to assess an audio device is to compare it to another audio device of the same category. They explain that any and every recording is something else than live music, that recorded music is a new creation changing original material – for good and for bad. Each music fan (and reviewer) should choose his own way, and any choice will be the right one as long as it is supported by certain level of experience, from either frequent listening to live music, or to different audio systems. Whatever works for a particular person. I also have my own method of assessment. I have a lot of experience from working in recording studio (recording classic and jazz music), from being sound engineer on numerous concerts, but also from multiple listening sessions with the best audio products available on the market. All this experience tells me that the best way to assess an audio product is to compare it with another. Because the “original sound”, the one that was played into microphones is beyond reach, can't be reproduced in 1:1 scale. Whatever we get from audio system is different from original sound so the only thing we can actually compare is the sound of two devices. But I also believe that for such assessment to be as credible as possible, person responsible should also have experience with live music. It's an auxiliary element, but a necessary one. What I described above is particularly important when we deal with such ultra-top-high-end products as Naim Statement. It is not possible to transfer live music to our room. One reason is a medium carrying musical signal (disc, file). Also it's is not possible to reproduce scale of live event at home – both listening room and loudspeakers are limiting elements. I think that is clear, so there is no need to further elaborate on a subject. My point is that while Naim is one of three best amplifiers I've ever listened to, next to Soulution 725 + 701 and Kondo M1000 MkII + Kagura (both pre+amp sets), each of them sounded differently, each designer realized his vision of what was most important in the sound. Let me add that I would be completely happy with any of these three. Of these three Naim is the most “neutral” sounding one. I used quotation marks on purpose. I don't mean to diminish “strength” of this word, it is also not about winking like I don't mean that. Quite on contrary – I'd like to emphasize the meaning of this word, because there might be no better opportunity for it than the review of Naim Statement. ‘Neutrality’ as a description of sound quality has lost its true meaning, lost it value as it's been widely abused. I as understand while reading reviews from British and American audio magazines, and also translation of some Japanese reviews, this word is used to describe “lack of coloration”. Which translates to the fact that the described device does not add anything to the sound by itself. But that doesn't tell us whether this device takes something away or not. So such an understanding of “neutrality” narrows its meaning, diminishes it turning it actually into a rather negative feature. Listening to devices that are “neutral” in such a way quickly becomes fatiguing, unbearable even. Naim Statement is the most neutral sounding device I know. But I use this word meaning its original meaning. In its tonality, as neutrality is mostly about accuracy of tonality, I couldn't find anything added nor lost/deducted. At least when comparing it to other amplifiers. The frequency characteristic is flat across the whole band, it is simply good. Nobody uses this word (good) anymore as it seems to lack “weight”. So how colorful the recording is, what its emotional temperature is depends solely on the recording. Listening to, recently released in Japan in SHM-CD format, Charlie Parker from 1952, I heard a powerful, close sound with fantastic attack combined with incredible smoothness. Leader's saxophone seemed large and bit aggressive but not in an annoying way. It sounded a lot like a live saxophone listened from a short (2-3m) distance. At the other hand sound from Wojtek Mazolewski Quintet's „Polka” was extremely dense, almost sticky, due to a softer leading edge it seemed more distant. Palpability of each instrument was remarkable, but the general expression of that recording was very different from Parker's. Listening to „Sea” by Sławek Jaskułka, jazz pianist and composer from Gdańsk („Polka” was also recorded there), one would be surprised how amazing ambiance he managed to create – his piano sounds like played under water. A very rich timbre, absolute – or so it seems – lack of treble, and yet harmonics being present in the upper treble and they are so intense that sound gets overdriven by most amplifiers while one keeps pushing volume up to finally hear them clearly. Naim presented these subtle differences effortlessly, with style. Each of those recordings tells us another story and while listening to them via Naim Statement you just don't want to stop. Except for better then I've ever heard differentiation of tonal subtleties, another key element of Naim's presentation is dynamics. Knowing output power of this device (whether it's only nominal, or actually measured in laboratory) one should expect remarkable dynamics. If you've had a chance to listen to several high-power amplifiers, and some low-power ones, you've probably realized that huge output power corrupts. Most of amplifiers capable of delivering 100W and more per channel have problems with proper presentation of small signals, as they try to pump as much air into the room as possible, whether it is possible in the particular moment or not. Tube amplifiers are masters in presentation of small signals. At first I didn't know what to think of Naim Statement's dynamics. It did not crush me with its power, it didn't move furniture around. But the longer I listened to it while being able to compare it with my reference amplifier, the more impressed I was. At some point I said: oh my goodness! That's an unforgettable experience! Music is presented in the most proper (in my opinion) way for a room environment, I mean without overwhelming listener with power and dynamics, but with utmost confidence. I don't think I've ever heard such a fabulously sounding double bass, as on Mazolewski album, or such a brilliantly presented perspective as on Talk Talk's „Spirit of Eden”. I loved the way mood was set on those recordings. All elements served logic of particular piece, supported it instead of controlling it. That's still not all – size of instruments, reverberations, room's acoustics and of everything included in the particular recording was huge. Based on my experience I can tell that only above mentioned Soulution system offered equally impressive presentation of those elements. It's a dense, rich presentation that is brilliantly differentiated. And I don't mean only fantastic differentiation of dynamic range, and tonality, but also spatial relations between all elements of particular piece of music. Modifications of frequency range, phase, and other distortions often force amplifiers to change size of instruments and voices depending of the particular part of the range these operate in. Naim allowed me to realize for the first time how important part of Peter, Paul and Mary trio is the latter. Listening to the „Very Last Day” opening „In The Wind" album I heard her passionate vocal, sometimes almost screaming. Other systems either push her voice forward (while it should be in the middle, in front of us), which means there is some midrange coloration, or they withdraw the voice back – than there is a problem with attack phase of the sound. The Audio Fidelity SACD version offers rich, warm sound, so any change introduced by system is clearly audible. Statement placed three vocals on a semicircle line, giving each of them the same space and the same air, harmonizing them perfectly – it's a perfect super-group after all. Even when I played such a demanding recording as „Filia Praeclara” with material recorded by Ensemble Peregrina in a large church (vocals a Capella) clarity of each voice, a distance between them and listener, and a harmony between them gave me goose bumps. There was purity, power and energy in this music. But the most impressive feature was coherence of the sound. I could keep writing about different aspects of the sound and summarize each paragraph with sentence that would say something like: “it's the best differentiation of... I've ever heard”, or “one of the best”, or “unbelievably good”, and so on. But it is not just art for art's sake. There are many other, some also high quality amplifiers, that offer more impressive performance. Naim does not show differences just to show them. Maybe that's why at first its presentation might seem bit “boring”. But only if one hasn't experienced that level of performance before. I think that it would be easier (disregarding for a moment price difference) to sell NAIT system to a regular guy on the street than Statement. Such a person would fall for tricks that manufacturers use to force their inexpensive products sound more impressive, to deliver “more” music. Flagship doesn't have to use any tricks, it just has to do its job. Perhaps this is why it delivers music and sound as an organic whole. This is why I could easily tell that new, analogue remasters prepared by Damian Lipiński of Perfect's „Unu” and Dżem's „Zemsta nietoperzy” were remarkable. Previous, digital remasters sounded ridiculous compared to these ones. That's why on Capella Cracoviensis „Bach Rewrite”, released by Decca, Rhodes and Wurlitzer electric pianos had their own “voices”. I discussed acoustics of concert hall in Lusławice with the director of this ensemble, Jan Tomasz Adamus, and he told me that this hall had a long reverberation so microphones had to placed closely to instrument. Statement nicely presented the fact of microphones being placed close to instruments, but it also showed this slightly “wet”, long room behind them. So on one hand it delivered what sound engineer wanted to achieve, but on the other it did not hide other aspects of the recording even if these were “hidden” in the background. Unconstrained, dynamic, coherent presentation – that's the shortest description of Statement's performance. It is able to trigger amazing emotions related to the music one listens to, that make one want to absorb sound with one's whole body. Treble's character reminded me that of the best tube amplifiers – it was “gentle”. And yet treble brings amazing amount of information – yes, information as I wouldn't dare to use such a crude words as “details”. Summary On September the 4th 2014 inside iconic Abbey Road Studio 2, where a large part of The Beatles' recordings were made, a very special event took place. A lucky 100 winners of an online competition organized by „Mojo” magazine plus several journalist participated in a presentation of just released mono LPs, remastered completely in analogue domain. How would one preset such a wonderful releases? One could, for example, bring to the Studio Focal-JMLab Grande Utopia EM loudspeakers and Naim Statement amplifier. Would any other amplifier do justice to SUCH music? Today I'm pretty sure that most likely no other would. The only thing that would convince me would be a comparative session between Naim and potential contender. Steve Sells Electronics Design Director Steve Sells inside Naim's designing office, September 2014… In high-end world products are inseparably connected with particular people. Whether it is a small company employing one engineer, or a huge corporation, their flagships are created by a particular person. When it is a large company, and Naim surely belongs to that kind, the person behind this product is Chief Designer, although the actual designing is done by a whole designing team. But the person that actually bears responsibility for such project is the boss of that team. In Naim Audio this guy is Mr Steve Sells, Electronics Design Director. 47 today, he started working for Naim in 2011 as a chief engineer. First products created by a team led by him were preamplifiers: NAC 202, 282 and 252, and his next projects were NAIT, SuperLine and audio systems for Bentley cars. He built his first loudspeakers at age of 11. It's been a long road between then and the subject of our conversation - Naim Statement. WOJCIECH PACUŁA: How did Statement project start? STEVE SELLS: Being obsessed with amplifiers I proposed designing an ultra-fidelity amplifier in 2002 shortly after joining Naim. This was rejected as we had recently launched the NAP500. It was proposed again in 2005 and again in 2008. This time there were computer simulations of the circuits and pages of design notes of what we could achieve. From this point the idea started to gain traction in the company. We were also in a stronger position in R&D with more staff and more sophisticated CAD tools. In 2010 the project was given the go ahead and project plans and budgets were put in place. What are main goals you wanted to achieve? The top goal was to design a pre and power amp that sounded better than anything we’d done before and have the ability to drive the most exotic speakers in the largest rooms. Paul Stephenson said there were no budget, time or size constraints…..and he meant it. If he heard me mention a price of part he’d tell me to shhhhhh! There were smaller detailed goals such as to design a volume control that was sonically purer than a potentiometer, that had perfect channel balance, that had a constant frequency response, that had 100 steps, that had smooth transitions and was controllable over wi-fi. Please describe main technical details of the preamplifier and power amplifier. The main technical details are on the web page. Let me know if you’d like something more specific https://www.naimaudio.com/statement. I can give you details like how we made the NAP S1 the fastest ever Naim amplifier not by a small margin but by 10x. This is by splitting the amplifier into two functions. Voltage gain and current gain. Each element can now be optimized. Normally these are combined to make the design easier. Statement has no global feedback and uses positive feedback error cancellation for the output stage. This buffers or isolates the loudspeaker from the gain stage. The gain stage can now be made as pure and fast as a pre-amplifier as it does not need to drive a speaker. How Statement differs from other high-end amplifiers? For me it’s the level of detail in the design, freedom in the design process and the passion of the team. For example we don’t just match our transistors we have our transistor custom made from a single silicon wafer, each serial numbered and parameterized. So not only do they match they are also from the same silicon. This fanatical level of design continues throughout. It’s evident when you see inside the products. At the other end of the detail scale we started with a holistic approach. We questioned how do we make the best amplifier. The answers to these questions can be seen in the overall shape. It’s vertical so that it cools naturally. It’s tall to physically separate the power supply and output stage from the delicate gain stages. There is an acrylic Eddy current divide between the transformer and the signal side of the amplifier. Why not D class? For me class D does not sound as good as good as linear. Class D is like a big, inaccurate and slow 1 bit DAC. A high-end class D amplifier may sound better than a cheap linear amplifier but when you give a team of audio engineers unlimited budget and no weight constraints then they will choose linear. If my goal was to produces the worlds lightest 746W amplifier I would have chosen a derivative of class D. Did you use some exotic components? Do you believe that such details like binding post etc. can alter sound? Yes a few. They were chosen in listening tests. The goal was not to make the most expensive amplifier. Even without a budget I believe all designs must be honest and not use exotic components just because I can. Every single component had to earn its place however rare or expensive. Very often it is how you use a part that can determine its influence on the sound. Sometimes we had custom parts made of our existing favorite parts. You mention speaker binding posts, yes they certainly can influence the sound. For Statement we custom designed our own binding posts. This way we could make sure the plugs and sockets worked perfectly together. We could design details like making them from the same materials; we used silver plated phosphor bronze. By having the same materials it eliminates galvanic scale mismatch and differing coefficients of expansion. You just announced that Naim will product high-end cables - do you believe cables can alter the sound? Yes, cables influence the sound. Not just their resistance, capacitance, inductance or how well they electrically screen but also their mechanical properties change the sound. In speaker cables there is an opposing force between the parallel current carrying conductors. In small signal cables vibrations in the room can be transferred to the contacts. What next? - Statement Streaming Player? A Statement streamer? I’m really excited to design one. As we look at what can be done with digital electronics today we can take designs to the maximum expression of the art. Streaming and digital audio is inexorably improving. By dreaming big we can make significant jumps forward in sound quality. Once we are happy that we can make a demonstrably better streamer than our NDS we will make the Statement Streamer. For me Statement is about bringing to life the big ideas and seeing if they work. If they do not then we will not make one. We have some great ideas but not enough to today. We do not want to waste these unique opportunities to produce exceptional designs. Naim Statement is an amplifier like no other before. It is a set of three devices that I reviewed as such. It is composed of three devices: NAC S1 preamplifier and two monaural power amplifiers called NAC 1. It is possible to purchase separately the preamplifier or power amps, but until now 45 sets were sold, 9 more are being made upon order and all customers decided to buy a full set. The specification says that Statements is able to deliver an output power of 746 W @ 8 Ω (1 KM), 1450 W @ 4 Ω and a shocking 9 kW @ 1 Ω. Each monoblock weights 101 kg, preamplifier adds another 65 kg and together they occupy as much space as the huge, sporting two 380 mm woofers, JBL Everest DD66000 speakers. Unlike most other devices, these one don't “lie” on a longer side but rather “stand” on a narrow side. Company calls it a “vertical form”, that allowed them to plan a much better interior layout. It is not the first time in history that amplifiers have a monolithic form – iconic Mark Levinson No.33 amplifiers or Sovereign Glory Signature Series monoblocks (that entered the Guinness Book of Records) are great examples. But it is the first time, as far as I know, that a manufacturer proposed a monolithic system that includes both, power amplifiers and preamplifier. Whenever transfer is needed each device is packed in a large travel-cases. Each case has to be carried by four people and also four of them perform setup in a room. All devices sport sharp spikes underneath, so one has to be very careful when setting them up not to scratch the floor. Considering the weight of 100 kg it is a difficult task. Together these three devices constitute sort of visual unity – black monolith that reminded me the one from Stanley Kubrick's „2001: A space Odyssey”. These three devices were designed in such a way, that preamplifier should be placed in the middle with two monoblocks at its both sides. The latter sport large radiators along their sides, that are shaped as waves to create an illusion of movement. One can order Naim Statement in any color from Porsche standard color pallet, as long as it is black. And yet, despite black color and its size Statement is not really overwhelming when placed in a room. In fact it looks surprisingly graceful. It was achieved by using these profiled side panels (radiators) but also by dividing all three elements into two parts – both: design-wise and optically. More or less in 1/3 of device's height there is a white acrylic backlit element with company's logo, and at the same level also the radiators and aluminum plates of the chassis were divided into two separate parts. Lower parts host power supplies, upper parts the actual circuits. I'll get back to that later. Despite appearances white is a color of this project, just as it was for all-in-one Mu-so system. I don't know if you remember my review of that device. I emphasized an innovative looks of that device, but also innovations about its mechanical design and functionality. As it turns out these two devices were actually designed by the same team and they share some details. I already mentioned one of them – the white, acrylic backlit stripe. But even more important is a large, white, backlit circle on top of the preamplifier. One won't realize that immediately, but it is a volume control pot. It's made of aluminum and sports precise bearings. The volume control indicator is also quite atypical. It's a line of white LEDs placed near the top edge of the front panel. Once one turns volume control up or down a white LED “moves” along the line in one direction or the other. Do you remember a 2004 „Battlestar Galactica” TV series? This volume control indicator reminded me of a red light that worked as eyes of centurions in this movie. Above this volume indicator, the names of inputs are also backlit with white light. One chooses an active input pushing one of the (also backlit) push-buttons placed on top of preamplifier close to its rear edge. The white backlit can be turned off. There are eight inputs, one of them marked as “phono”. All of them are placed on the lower part of a back panel, close to the floor. The first three of them sport double input sockets – one can plug either DIN or RCA to them, the other two are balanced XLR. An active input is indicated by a small green LED. Above inputs there is a row of such LEDs that are helpful when one wants to set a gain for each input. An adjustment range is of plus or minus 7dB in 1 dB steps. Beside there is a button that switches Statement to „unity gain” mode, that allows to use it also in a home theater system. Some of you might have bridled at the suggestion of using Statement in a home theater system but you have to remember that many wealthy people, and it is them who will buy this product, have top quality HT systems in their salons, too. The device sports a high quality WBT NextGen RCA sockets. Also large, handy speaker posts come from the same manufacturer. They are placed close to the floor so connecting even heavy, thick cables shouldn't be a problem. Next to them there are the only, balanced inputs in NAP S1. It is a bit surprising as Naim has been using DIN standard for years, but there is a simple explanation to that – both linestage and amplifiers sport fully balanced design and DIN is an unbalanced connection. A power switch has a form of a quite large lever. Both, preamplifier and power amps, sport solid spikes. If you're impressed with Statement's physical appearance wait until you have a look inside. I've never seen any amplifier so well build. The 20mm thick aluminum plates are in fact only sort of a shell, that is bolted to the frame – it reminded me a construction of modern sky-scrapers, or of Magico loudspeakers. I think that this American manufacturer might have inspired the designers of this „vertical structure”. Frame is made of thick, aluminum milled bars. Circuit boards in the output stage are bolted to that frame. The whole design is extremely sturdy and not susceptible to resonances. Although there are always some resonances present. The most sensitive circuits are those processing small signals, like preamplifier section. That is why preamplifier's PCB are bolted to thick brass plates, and these are mounted to the frame but with springs in between. Signal is amplified by transistors. The ones used in output stage are particularly interesting. These elements were designed in cooperation between Naims and one of the largest manufacturers of such elements – but we don't know which one. The writings on them say: NA007 CN and NA007 CP – these work in complementary pairs, operate in AB class in a push-pull mode. The Statement NAP S1 features a new bridged dual design with zero global feedback. The outer layer is a metal element with a copper bottom side (for a better cooling properties) and thick connection pins. They were designed in 2000 for power amplifier NAP 500, and today are also used for less expensive NAP 250 and NAP 300. As I already mentioned Statement combines three “towers” - a preamplifier and two power amplifiers. But in fact there are six elements. Each tower comprises of two parts separated, as already mentioned, with backlit acrylic elements. Lower part of each “tower” holds power supply transformers. These are mighty beasts 4000 VA each with their cores submerged in some sort of resin, fixed to huge, brass poles. Large capacitors sit above. In both, preamplifier's and power amplifiers' power supply sections at the back of transformers there are Faraday cages shielding input and output modules. And now the most important power supply's feature: Naim's flagship amplifiers sport a regulated power supply. These are usually used for devices with small power requirements like preamplifiers, DAC's analogue outputs and so on, but there are extremely few power amplifiers using this type of power supply. For them to do their job and fulfill current requirements of such power hungry device, they need to much larger, and more powerful than amplifiers there are supplying. That's how it works here – the upper part of each power amplifier is occupied with another power supply sections. CABLES Although Naim is an “engineering” company, and those usually don't “believe” in cables, something must have changed in their approach. At CES 2015 they presented a set of flagship, very expensive cables called Super Lumina. This set includes speakers cables and interconnects (RCA, DIN, XLR and combinations of those). They are terminated with unusual plugs called Air-PLUG, that manufacturer presented for the first time with Hi-Line line. Large, although rather light (aluminum) plugs are designed as a decoupling device to prevent vibrations from one product being transmitted to another. It also stops airborne vibrations picked up by the cable being transmitted to the product it is connected to. The new Super Lumina Air-PLUG features multiple individual aluminum rings which form the rear of the connector. These are screwed together to form an articulating section which inhibits the passage of unwanted energy, the choice of aluminum as a material enhances this process. The connector pins on DIN terminated cables also float within their sockets, extending the decoupling effect right to the point where the signal enters the product. The fundamental cable design consists of several individually-insulated multi-strand silver-plated copper conductors of varying diameters enclosed in a tin-plated copper shield. This is all enclosed in a soft outer jacket which facilitates easy installation whilst minimizing microphonic interference. To be honest these cables don't look expensive, despite very solid design. They are not particularly thick, they sport a translucent outer jacket, on only these silver-plated plugs look really expensive. But any user of Naim Statement should try these cables out as their design is very interesting and promising good performance. Such cable has a low capacitance and high impedance. Such cable is an element of an output stage of an amplifier. Controls The controls – a knob and push-buttons are located on top of devices. Device is supplied also with an elegant, solid remote control. Another option – one could use a tablet app. To use the latter one has to connect linestage and power amps to a router. Technical specifications (according to the manufacturer) Statement S1 Mono Power Amplifier Power Output: 746 Watt @ 8 Ohms, 1450 @ 4 Ohms, 9kW burst @ 1 Ohm Input: One balanced XLR Output: Binding posts for spade and 4mm banana Weight: 222 lbs. Dimensions: 940 x 256 x 383mm (HxWxD) Price: $65,333 for each mono amplifier unit NAC S1 Preamplifier Input: Three DIN, Three unbalanced RCA and two balanced XLR Audio Outputs: One set of balanced XLR and two unbalanced RCA Weight: 135 lbs. Dimensions: 940 x 270 x 412mm (HxWxD) The review was first published in EnjoyTheMusic.com magazine, read it HERE DO YOU WANT TO KNOW MORE? MORE QUICKLY? JOIN US ON TWITTER: UNIQUE PHOTOGRAPHS, FAST INFORMATION, NEWS NOTIFICATION!!! [hfgallery] [img mini="foto_testy/1503/naim/th/05.jpg" big="foto_testy/1503/naim/05.jpg" src="foto_testy/1503/naim/05.jpg" desc="Statement combines linestage and two monaural power amplifiers. The set has a modular design – all three elements have to be place next to each other. Together they constitute a remarkable, unmistakable whole."] [img mini="foto_testy/1503/naim/th/06.jpg" big="foto_testy/1503/naim/06.jpg" src="foto_testy/1503/naim/06.jpg" desc="All controls are placed on top of linestage and power amp which guaranties easy access. "] [img mini="foto_testy/1503/naim/th/07.jpg" big="foto_testy/1503/naim/07.jpg" src="foto_testy/1503/naim/07.jpg" desc="Side radiators offer huge cooling surface. To make the appearance more attractive, lighter radiators have a “wave” form. It looks fantastic."] [img mini="foto_testy/1503/naim/th/08.jpg" big="foto_testy/1503/naim/08.jpg" src="foto_testy/1503/naim/08.jpg" desc="Inside of preamplifier section (its upper part). One can see solid, rigid structure holding boards. Elements of the frame are few centimeters thick!"] [img mini="foto_testy/1503/naim/th/09.jpg" big="foto_testy/1503/naim/09.jpg" src="foto_testy/1503/naim/09.jpg" desc="First picture shows preamplifier's voltage gain stage, the other an attenuator composed of transistors and resistors. It allows volume control performed in 100 steps."] [img mini="foto_testy/1503/naim/th/10.jpg" big="foto_testy/1503/naim/10.jpg" src="foto_testy/1503/naim/10.jpg" desc="Preamplifier's PCB are bolted to heavy, brass plates. In each corner of such plate there is a spring that decouples this plate from a frame it is fixed to."] [img mini="foto_testy/1503/naim/th/11.jpg" big="foto_testy/1503/naim/11.jpg" src="foto_testy/1503/naim/11.jpg" desc="Preamplifier without chassis, as seen from the side. One can clearly see its complex design with multiple layers of PCBs. It's a dual-mono setup with separate sections for left and right channel. PCBs are mounted back-to-back with a brass plate in between."] [img mini="foto_testy/1503/naim/th/12.jpg" big="foto_testy/1503/naim/12.jpg" src="foto_testy/1503/naim/12.jpg" desc="Wonderful design of input section of preamplifier, enclosed inside gold-plated brass elements. Each type of input is connected to a separate PCB, which allowed optimization of ground. Input selection is done via relays."] [img mini="foto_testy/1503/naim/th/13.jpg" big="foto_testy/1503/naim/13.jpg" src="foto_testy/1503/naim/13.jpg" desc="Power amplifier, its upper part, inside. One can see a solid, rigid frame with PCBs bolted to it."] [img mini="foto_testy/1503/naim/th/14.jpg" big="foto_testy/1503/naim/14.jpg" src="foto_testy/1503/naim/14.jpg" desc="A voltage gain stage in amplifiers is placed as far from power supply as possible, in the top section of amplifier. This circuit is based on paired transistors that are mechanically damped inside black “cups”."] [img mini="foto_testy/1503/naim/th/15.jpg" big="foto_testy/1503/naim/15.jpg" src="foto_testy/1503/naim/15.jpg" desc="Transformer's core are submerged in resin. As their axes point outside the electromagnetic field forces are strongest there – their influence on electronics above is minimal."] [img mini="foto_testy/1503/naim/th/16.jpg" big="foto_testy/1503/naim/16.jpg" src="foto_testy/1503/naim/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/naim/th/17.jpg" big="foto_testy/1503/naim/17.jpg" src="foto_testy/1503/naim/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/naim/th/18.jpg" big="foto_testy/1503/naim/18.jpg" src="foto_testy/1503/naim/18.jpg" desc="HighFidelity.pl"] [/hfgallery]

alking only about the price of these speakers, about how impressive product we get for the price, how well it is made – that would be a classic reductionism. Focusing on one feature would suggest its dominance or even lack of other such features that make Pylon Audio Sapphire 25 speakers truly special. And that would be far for truth. When I decided to award them with Best Sound Audio Show 2014 I referred only to the sound quality as in this pretty dark room I couldn't really see much about fit and finish of these boxes, and I learned about their price also only later. Reading now what I wrote in my AudioShow coverage about Pylons, leaving out any false modesty, I might say that I had a correct feeling, correct sense of these speakers. These are large speakers with great fit&finish factor, three-driver, two-and-half way, floorstanding. They are available in different finishes – both lacquer and veneer – for this test I received a very attractive white finish pair. This product still uses drivers from external vendors - SEAS and Visaton. But as you will find below in a “Few simple words...”, Mr Mateusz Jujka, company's director, declares that soon Pylon will release first line of speakers with their own drivers. MATEUSZ JUJKA Pylon Audio | Director The most important news about Pylon S.A. is that we'll finish all preparations for production of our own drivers this year. This project is conducted in cooperation with an external investor. As a part of this project we have implemented an advanced project an analysis tool from Loudsoft. The same software is used by most prestigious brands around the world. It helped us develop a prototype of our first own transducer, that was later decided to put into production phase. Loudsoft system also helped us to improve already existing quality control procedure for our loudspeakers.  At the same time we have focused our efforts on implementing a production of a new speaker's line – Diamond. This new line is another step that will allow us to offer not only hi fi but also high end products. These new speakers sport drivers from Norwegian SEAS and Danish Scan-Speak. Diamond Line will include two two-and-half-way speakers using 15 and 18 cm mid- lowrange drivers and soft dome tweeters. Both models will be offered with few different finish options: natural veneers and HG. Our plans for future? We plan to keep modernizing and developing our production lines and to expand further our activity beyond Polish borders. Before the end of this year we plan to release first loudspeakers that will use our own transducers. The Sapphire 25 premiered during Audio Show 2014. These are 2,5 way speakers. Tweeter comes from SEAS – its a soft dome from Prestige line with a wide, soft polymer surround and a rear chamber with optimal acoustic damping. This particular model sports no magnetic fluid which enhances a reproduction of smallest details and subtleties included in the recording. The midrange and bass are reproduced by a pair of paper cone Visaton W170S woofers. Same drivers are used also in our Topaz line. They offer classic spacial, three-dimensional and particularly dynamic sound, characteristic for this type of cones. We decided to make Sapphire 25 a 2,5-way design as this allowed for better bass extension and reproduction of unbounded dynamics. Crossover for tweeter sports polypropylene capacitors, the purpose of the whole cabinet design was to make very rigid with minimum damping. At present Sapphire line includes two models: Sapphire 31 – a 3-way design and Sapphire 25 – a 2,5-way one. We plan to add surround speakers, a central speakers and a subwoofer to complete a Home Theater systems. PYLON AUDIO in „High Fidelity” BEST SOUND Audio Show 2014: Pylon Audio SAPPHIRE 25 – loudspeakers, see HERE BEST SOUND 2014: Pylon Audio PEARL 25 – loudspeakers, see HERE TEST: Pylon Audio PEARL 25 – loudspeakers, see HERE BEST SOUND Audio Show 2013: Pylon Audio TOPAZ MONITOR – loudspeakers, see HERE BEST SOUND 2011: Pylon Audio PEARL – loudspeakers, see HERE TEST: Pylon Audio PEARL – loudspeakers, see HERE TEST: Pylon Audio PEARL MONITOR – loudspeakers, see HERE Recordings used during test (a selection) Elvis Presley, Elvis is Back!, RCA/BMG Japan BVCM-37088, “Living Stereo”, CD (1960/2002). Flairck, De Gouden Eeuw, Bonne Records BOR 96016711, CD (1996). Grover Washington Jr., Winelight, Elektra/Audio Fidelity AFZ5 203, “Limited Edition No. 0115”, SACD/CD (1980/2015). Laurie Anderson, Life on a String, Nonesuch 5979539, HDCD (2010). Roy Orbison, Lonely and Blue, Monument Records/Sony Music Japan, SICP-3113, “Roy Orbison Paper Sleeve Collection”, CD (1961/2011). SBB, Nowy Horyzont, Polskie Nagrania “Muza”/Belle Antique 142218, SHM-CD (1974/2014). Shankar, Songs For Everyone, ECM Records ECM 1286, CD (1985/2008). Soundgarden, Superunknown, A&M Records 3778183, “Deluxe Edition”, 2 x CD (1994/2014). The Handsom Family, Singing Bones, Carrot TopSAKI036, CD (2003). Thelonious Monk, Solo Monk, Columbia/Music On Vinyl MOVLP843, “Classic Album”, 180 g LP (1965/2014). Japanese issues available at [REKLAMA5] Whatever you read in this text below, there is one thing you have to know about these speakers – they can easily compete with others that cost 2-3 time more. Pylons don't offer better performance than such competitors and probably you could find some speakers within this price range that in some aspects will offer more, or at least the same level. Audio products are perceived as a sum of their feature, whether we like a particular product or not usually comes from sort of our assessment of pros and cons with our personal preference filter on top – that's what give us our “full picture” of a product. The Sapphire 25 speakers are a very special product as a sum of all pros and cons is absolutely impressive. A feature, that is hard to find even in more expensive speakers, which is a great “pro” of Pylons, is sound clarity. Large portion of other speakers from up to 10.000 PLN range will be perceived, in comparison, as either muddy or rough. Impressive attack, smoothness of sustain and its precision – all these elements turn each recording into true spectacle. Even such a difficult to reproduce instrument as a grand piano, for example from Solo Monk, sounded particularly well and amazed me with its dynamics. There was no softening of the sound, no rounding of edges – just clarity, dynamics, vibrancy. Still listening to the same album I realized how rich was the sound delivered by the reviewed speakers. Sapphire 25, despite their large size and two mid-and-low range woofers were tuned in such a way not to use bass as a dominant element of the sound. I'd say that they sounded like large monitors with some extra headroom “behind” the sound, that allowed them to deliver amazingly dynamic performance without any signs of compression, even when I played rock or classical music at high volume levels. The grand piano – let me get back to it for one more second – sounded remarkably convincing in this regard. It was conveyed with depth, in a very orderly way – just as I expected. It was obvious that these speakers were meant for people (most of potential buyers) who had to place them close to the back wall. When placed close to the wall lower midrange sounded richer, had more “weight”. When moved further away from speakers created (as most speakers would) a larger, deeper soundstage, but the range around 200Hz was not as rich as before. This a a very well thought-through design so whichever position is used they sound very good. This is a way for any user to tune Pylons a bit to his/her personal preference. When placed further into the room speakers will deliver a bit “lighter”, but not too “light” sound. Put them close to the wall and you'll get a richer, deeper sound but there will be no exaggeration either, sound won't get too “heavy”. The tonal balance of these loudspeakers is set in such a way, that the range between 600-800Hz is most resolving and offers best clarity. It's bit up the range comparing with very rich sounding Castle’s Knight speakers. Model 5 by the same manufacturer offers richer midbass and lower midrange, but it doesn't offer such an amazing clarity and speed a Pylons – there is always some tradeoff. Monitor Audio's Bronze speakers offer similar sound signature as Sapphire, but they lack their dynamics and are not equally resolving. Polish speakers offer nicely extended bass. If a particular recording, like Laurie Anderson's Life on a String, included very low sounds, these speakers will deliver them with clarity and very good definition, and sound will go as low as needed. Definition and control of the whole low range is very good. More expensive competitors like Dynaudio Excite are able to better define outlines of instruments but they also cost three time more then Polish speakers. What impressed me a lot about Sapphire 25 was an ease they played any music with. They don't offer as much (in a quantitative sense) bass as many other large speakers, but they deliver such a well defined and controlled bass, with such a great clarity that even if you place them close to the back wall to get some more richness of the sound, bass won't become boomy or muddy, it will still be very well defined. Summary Speakers from Pylon's Pearl line might be more impressive during first listening session. They seem to offer denser, deeper, more distinct sound. It takes a while to realize that it is not as clear, as dynamic and as a result, less natural, more “tuned”. And that's fine if that's how one wants to listen to one's favorite music. But if one requires something more, then Sapphire 25 is a way to go with. These speakers could easily be the least expensive element of many systems. Or is quite sophisticated systems, for example with Haiku Bright MkIII amplifier and Soul Note SA300 (in Polish HERE) CD Player. Other amplifiers that should deliver exactly what these speakers need are: Advance Acoustic X-i120 (in Polish HERE) - richer sound but lesser selectivity - and Clones Audio i25 (it will deliver amazingly rich midrange). You need to remember that these are quite sophisticated speakers so they require a proper, high quality system to fit in. Give them a chance, choose well accompanying electronics and they will deliver nicely differentiated sound with no coloration that is a curse of most competitors form this price range. One might spend more for other speakers but most likely what one would get would be a different sound signature rather than better performance. It would probably be more reasonable to spend more money to get a better amplifier and/or source. Sapphire 25 are among very few speakers fully approved by my wife („finally something different from all these black coffins”), and my son („they look cool!”). And I agree – good proportions, impressive fit&finish, probably also that damn good looking white lacquer of reviewed pair – all these element made these quite large boxes to blend into to my listening room nicely. Their cabinets, made of MDF, sport a front baffle with bevelled-edges. Many manufacturers use the same solution, so nothing new here, but in this particular case it simply looks really good. These bevelled-edges close to the floor don't influence sound in any way, but these in two top corners reduce distortion. Sapphire 25 is a three driver, 2,5-way speaker. They use a very good soft dome tweeter from SEAS - 27TDC, with no magnetic fluid, and two mid- lowrange woofers by Visaton, with one of them placed closely below tweeter. Both are exactly the same model with diameter of 170 mm, both sport paper coated cone and aluminum die-cast basket. The second woofer is placed much lower, closer to the floor level. Company Pylon uses their own markings for both drivers: Pylon Audio PST T-120.6 (tweeter) and Pylon Audio PSW 17-80.8 (woofer). This is a bass-reflex design with a single port placed on the back of the cabinet. Peaking inside I saw no damping, only some reinforcement to make cabinet more rigid. Even though Sapphire 25 seem inexpensive they are part of the top line of this manufacturer. Manufacturer chose high quality elements for its crossover – polypropylene capacitors and air coils for tweeter section and core coil for bass section. Crossover uses no PCB – all connections are made point-to-point. It's a more expensive, time consuming method but offering much better results. All cable connections are soldered – again, it's more expensive, but it yields better performance. Manufacturer decided to use OFC internal wire. Instead of cheap, plastic plate with speaker post, manufacturer used a solid, rigid plate with nicely looking posts. Solid, steel, long, adjustable spikes with metal bases protecting floor are a nice addition. Very good design, executed in amazingly solid and good looking way. Parameters (according to manufacturer) Nominal impedance: 4 Ω Frequency response: 35 Hz-20 Hz Nominal power: 120 W Max power: 180 W Sensitivity: 89 dB Dimensions [W x H x D]: 220 x 980 x 360 mm Weight: 20 kg/PC Woofer: 2 x Pylon Audio PSW 17-80.8 Tweeter: Pylon Audio PST T-120.6 (Seas 27TDC) Warranty: 3 years + 1 year (upon product registration) Available finishes: black, walnut, wenge, oak, white HG, black HG Natural veneer: wenge, black, walnut, cherry Upon order – any RAL color TANGERINE DREAM Platinum SHM-CD EDITION Phaedra, Virgin Records/Universal Music Japan UICY-40130 (1974/2015) Rubycon, Virgin Records/Universal Music Japan UICY-40131 (1975/2015) Ricochet, Virgin Records/Universal Music Japan UICY-40132 (1975/2015) Stratosfear, Virgin Records/Universal Music Japan UICY-40133 (1976/2015) + Promo Box Rubycon The Tangerine Dream is considered either a co-creator of krautrock, or of electronic music in general, and new age in particular. In fact both ascertainments are true. The first four records released between 1970 and1973, during so called “pink period” (these were released by Ohr label that had a pink logo), were recorded with drummer and composer, master of keyboard, Klaus Schulze. And these were one of the first that belong to krautrock genre. On the other hand next 4 records, released by Virgin over next 2 years (so called "Virgin Years"), gave start to a new wave in music called new age. These first four album have been re-issued by Belle in SHM-CD format. Let me remind you that Japanese Belle is currently one of the most important sources of progressive music. They released, among many other albums, also for of Polish group SBB. The next 4 Virgin albums for years were available only in one form – as CD with remaster from 1995! My own copy I bought in 2005 and this version looks exactly as the first Japanese LP releases. These collector's issue was released as a Union Disk Phaedra box, that included 7 albums – apart from Phaedra, Rubycon, Ricochet and Stratosfear, there were also Encore, Cyclone and Force Majeure included. These CDs were released by EMI Music Japan. 2015 finally brought fan a completely new remaster. It was prepared using original, analogue master tapes. Using A/D DSD converter material was converted to DSD. Producer claims that they used so called „flat transfer”, meaning that when material was transferred to digital domain no tone correction was used. Mr Junichi Yamada was the person who search Abbey Road Studios for proper tapes. The material prepared in this way was used for three versions of a new release: Platinum SHM-SACD, Platinum SHM-CD and SHM-CD. Mastering was conducted on DSD material by Manabu Matsumura in Universal Music Studios in Tokyo. In this way material for Platinum SHM-SACD (without CD layer CD!) was ready. For Platinum SHM-CD the DSD material was converted to 24/176,4 PCM. The glass matrix is cut with this signal, thus the name of patented process - HR Cutting. It is used for Platinum SHM-CD, SHM-CD (sometimes also for CD!). Conversion to PCM was conducted by Mr Yumetoki Suzuki, in Japanese branch of Universal Music Studios. Discs were made in JVCKenwood Creative Media. They can be bought separately or as a set inside Union Disk Rubycon box It's not easy to assess recordings with electronic music – there is no firm reference. It is much easier when it comes to voices or acoustic instruments as one can compare what one hears to what one knows from live concerts. But electronic music sounds differently during each and every concert. And yet… Electronic music has a certain structure, the way that it is constructed. Compering different recordings of different performers it is still possible to point out some elements that make one recording sound “better” than the other. It should be even easier when comparing to versions of the same recording. In this particular case differences are quite significant. Listening to Platinum SHM-CD I sometimes thought that it was a completely different recording. Sound was deeper, more three-dimensional, more palpable. The older version, in comparison, seemed missing most information. And it was not just about details, but about basic information and depth of sound, soundstage, tonality. The new version delivers much more depth and more openness to the sound which also seems softer. The older remaster seems to homogenize soundstage, shrinking it. Without direct comparison older version seemed acceptable, although not particularly good. Listening to Platinum SHM-CD I knew that I would never, ever go back to the older version – life's too short for boring hi-fi… Sound quality of Platinum SHM-CD is simply remarkable. Sound quality: 7-9/10 Remaster quality: REFERENCE DO YOU WANT TO KNOW MORE? MORE QUICKLY? 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[hfgallery] [img mini="foto_testy/1504/Pylon/th/05.jpg" big="foto_testy/1504/Pylon/05.jpg" src="foto_testy/1504/Pylon/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/06.jpg" big="foto_testy/1504/Pylon/06.jpg" src="foto_testy/1504/Pylon/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/07.jpg" big="foto_testy/1504/Pylon/07.jpg" src="foto_testy/1504/Pylon/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/08.jpg" big="foto_testy/1504/Pylon/08.jpg" src="foto_testy/1504/Pylon/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/09.jpg" big="foto_testy/1504/Pylon/09.jpg" src="foto_testy/1504/Pylon/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/10.jpg" big="foto_testy/1504/Pylon/10.jpg" src="foto_testy/1504/Pylon/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/11.jpg" big="foto_testy/1504/Pylon/11.jpg" src="foto_testy/1504/Pylon/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/12.jpg" big="foto_testy/1504/Pylon/12.jpg" src="foto_testy/1504/Pylon/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/13.jpg" big="foto_testy/1504/Pylon/13.jpg" src="foto_testy/1504/Pylon/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/14.jpg" big="foto_testy/1504/Pylon/14.jpg" src="foto_testy/1504/Pylon/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/15.jpg" big="foto_testy/1504/Pylon/15.jpg" src="foto_testy/1504/Pylon/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Pylon/th/16.jpg" big="foto_testy/1504/Pylon/16.jpg" src="foto_testy/1504/Pylon/16.jpg" desc="HighFidelity.pl"] [/hfgallery]

ne of the most well-known Polish constructors specializing in digital systems asked me recently what we see in the “whole DSD thing”. I frankly said that the answer is “nothing”, because DSD files always come across better in comparison with PCM files. What I said was confirmed by a listening session in which I participated with Dirk Somner and Gerhard Hirt within the Krakow Sonic Society (read more HERE). The session was then repeated in Warsaw during the Audio Show exhibition and over a hundred listeners took part in it (read more HERE). The differences that I am talking about are not subtle at all – on the contrary: when heard once, they will become a prism through which we will look at them from that moment on. To cut a long story short: PCM files seem to be colored. DSD files are characterized by much smoother frequency response and their sound is more meaningful, and less “mechanical”, whereas the bass is more natural and the treble is close to what we know from analogue master tapes. These observations have been confirmed both by Dirk, who works for the Sommelier Du Son label where he makes recordings and releases them on LP discs, while also experimenting with DSD files, and Damian Lipiński who has remastered a lot of recordings in the analogue domain, which we have been able to buy in Polish shops. Recently, he has remastered two recordings of famous Polish bands: Unu by Perfect and Zemsta nietoperzy by Dżem (although it is still not certain whether they are going to be released). Damian has clearly emphasized a few times that when we listen to a master tape on a well-calibrated Studer A80 cassette player and compare it directly with other formats, a DSD file sounds best and is closest to the master tape. However, when it comes to measurements, such devices and such type of material get worse results. It is because they are characterized by very high noise, caused by the fact that it is 1-bit signal of a high sampling frequency. The whole noise must be removed from the audio frequency with the aid of aggressive “noise-shaping” techniques. Even if this is done correctly, the noise still exists – outside 20 kHz, but it is still there. Owing to this, mathematical treble resolution is very low in this type of signal, whereas noise is very high. In comparison with DSD, PCM signal doesn’t seem to be affected by any distortions at all. Therefore, a lot of very good engineers think that DSD is a “bluff” (see HERE). However, based on peoples’ listening experiences it has been demonstrated that a well-prepared DSD file sounds fantastic (read more HERE), similar to SACDs. As regards the latter format, things are more complicated, as SACDs do not always sound as well as CDs with the same material. This may be caused by a complex process of reading and decoding, or by other factors. It seems that audio equipment can be largely blamed for that, as almost all digital-to-analogue converters used today (DAC chips, that is) are optimized for PCM signal and “compatible” with DSD. What does it mean? It is not always known exactly, but DSD signal is often converted to PCM in these devices and only then decoded. So, decoding the original (“native”) DSD signal is out of the question. However, if this is done like in the Accuphase DP-901 converter, we may obtain excellent results. I assume that Alex Peychev, an engineer who has been working for Sony Electronics’ Broadcast and Professional division, must have come to similar conclusions. He has proposed his own version of a digital-to-analogue converter optimized for DSD signal. What is more, he has also prepared a SACD transport to go with the DAC. The transport has a DSD output via the RJ-45 cable (“Ethernet”). It is what Accuphase also does. Alex runs his own company: APL Hi-Fi, Ltd. The DSD-S digital-to-analogue converter which I would like to show you has an input through which we can connect SACD transport. It also takes DSD signal (up to DSD128) via a USB port. We can send PCM signal to it via the same port, up to 32 bit and 384 kHz (DXD), whereas PCM 24/192 signal can be sent to the RCA, optical and AES/EBU inputs. However, the DAC is the kingdom of DSD. It is because all PCM signal types are converted into DSD – DSD64 or DSD128 (according to a user’s selection) before being converted to analogue signal. It is because the converter has been optimized for DSD signal, including the output (passive) filters. So, the situation is different than in the case of classic converters in which PCM signal “rules” and DSD just exists “in addition” to it. ALEX PEYCHEV APL Hi-Fi, Ltd. | owner, constructor I made my first stereo cassette tape deck from two mono ones when I was in high school. After that, I have designed at least 50 solid state, tube and hybrid amplifiers, as well as several speakers, EQs, tape decks, phono stages and other devices. In 1989 I went to former West Berlin to work as a support engineer for one of the largest home audio/video equipment stores at that time. When I returned to Bulgaria 3 years later, I was employed at one of the first Sony Electronics authorized service centers in my country. In 1994 I moved to the USA and worked for Sony Electronics Inc. in San Jose, California, from 1996 to 2003. I was the lead electronics engineer in their Business and Professional Division. I was responsible mostly for professional video systems, such as JumboTron installations, professional digital video recorders, cameras and digital effect systems. Those things make any audio equipment look like, literally, baby toys. Just imagine a $150,000 professional Sony D1 video recorder to understand what I am talking about. In 2003 I officially opened APL Hi-Fi in Dublin, California. In 2004 already, I received the “Most wanted component SACD Player” award from Stereotimes. There you will also find their review of my version of the Philips SACD1000 player. After the Philips SACD1000, I started re-designing Pioneer and Denon players, but my most well-known project is the uncompromising NWO player based on the Esoteric UX-1 player. A review of the NWO-3.0-GO version was published by the 6moons.com magazine. The latest version of the player is the NWO-M model. Working on it was very difficult and included using my proprietary clocks, D/A converters, a tube output and so on. Still, people thought it was just a “modification”. This is the reason why I've decided to design my own unique line of audio components. Instead of outsourcing production to a Chinese factory, I assumed I would do everything in my own high-end all-handmade boutique. So, I returned to Bulgaria where I was given help by people I can trust. Today, we offer a complete audio system: from source to speakers. I have been able to exhibit the entire audio system a few times and it was always rated as “the best sound of the show”. The DSD-S converter was designed with one goal in mind – to obtain sound as close to analogue sound from an all-solid-state D/A converter as possible. It is based on a modular structure which offers a client-friendly upgrade path. Like the rest of our products, the DSD-S is handmade in our manufacture. This includes manual population of the boards inside with components as small as 0.3x0.6 millimeters. Every unit is hand-built from scratch.  The sound of our digital components has been inspired by the sound of the Kuzma Stabi-M turntable with the Kuzma 4POINT arm and the Dynavector XV-1s cartridge, as well as and our reference PHS-M phono stage. The DSD-S is the product of a long design process. At this point I don’t see any possibility of improving its sound and I don't think there will be any upgrades available for it in the near future. Personally, I am very happy with it. It is possible to order an optional balanced output and Franc Audio Accessories anti-vibration feet for the device. Recordings used during the test (a selection) COMPACT DISC Tommy Dorsey, Masterpieces 15, EPM 158342, “Jazz Archives”, CD (1935-1940/1995). Miles Davis, The Complete Birth of the Cool, Capitol Jazz/EMI 4945502, CD ([1957] 1998). Nat ‘King” Cole, Penthouse Serenade, Capitoll Jazz/EMI 94504, “Super Bit Mapping” CD (1952/1998). Krzysztof Komeda, Ballet Etudes/The Music of Komeda, Metronome/Be! Jazz Records, BE! JAZZ 6087 CD, CD (1964/2014). Thelonious Monk, Solo Monk, Columbia/Music On Vinyl MOVLP843, “Classic Album”, 180 g LP (1965/2014). Grover Washington Jr., Winelight, Elektra/Audio Fidelity AFZ5 203, “Limited Edition No. 0115”, SACD/CD (1980/2015). BLU-RAY AUDIO John Coltrane, A Love Supreme, Impulse/Universal 3735663, High Fidelity Pure Audio Blu-ray, PCM 24/96 | Remaster 2008. Queen, A Night At The Opera, Island/Universal 3732771, High Fidelity Pure Audio Blu-ray, PCM 24/96 | Remaster 2011. Franz Shubert, String Quintet C major D 956, wyk. Auryn Quartet, Tacet B110, Pure Audio Blu-ray, PCM 24/96 (2014). Ellen Sejersted Bodtker, Sonar, 2L 2L51SABD, Pure Audio Blu-ray PCM 24/96 (2008). Opeth, Pale Communion, Roadrunner Records RR757375, Blu-ray Audio, PCM 24/96 (2014) Depeche Mode, Delta Machine, Blu-ray Audio 24/96 (2014) [w:] Live in Berlin, Sony Music | Columbia 5035642 (2014). + DSD, PCM, DXD FILES Japanese issues available at [REKLAMA5] While listening to the sound of Mr. Peychev’s converter, I knew right from the start that I had somewhere already heard sound of this type and that I had dealt with similar sensitivity to musical emission before. Having listened to a few recordings, I knew what it was: the DSD-S sounds similar to the Accuphase SACD DP-720 player (read more HERE). These devices were created at two places located far away from one another geographically, but they treat music in a similar way, building up structure as if their creators had been driven by the same thought. Who knows – perhaps they have a shared goal, even though they come from different countries and cultural circles, and speak different languages. It is mainly about integrating the smoothness and openness of sound. It does not matter what recording we are listening to and what material we are using – these two features will dominate, even when it comes to such old material as Tommy Dorsey’s collection of recordings from the years 1935-1944. From a technical point of view, these are very weak recordings, but have something true in them that can be heard on any reproduction device. The DAC presented the recordings very precisely, without trying to warm them up. There is a lot of upper midrange, but little bass and treble in this music, because of which it is hard to play it without covering the authenticity with tiring hullabaloo. The tested DAC does not warm anything up, it’s not the case. It precisely shows the treble, which made it possible for me to analyze recordings from different years, with different types of noise, and a different approach to the percussion plates and wind instruments. The sound was clear, but never vociferous. It was explicit, but not in excess. The changes that I am talking about resulted from excellent differentiation and were not an attempt to show everything – these are two different things. In the former case we choose what interests us most in the musical transmission, whereas in the latter case the dominant is chosen for us by the musical transmission. However, I focused my attention on music, not on elements outside it. Miles Davis’s album Birth of the Cool released five years later opens a completely new, much more complex and modern chapter in jazz history. This early Davis’s recording shares all the problems common for recordings of that time, but its sound is much more selective and distributive than the sound of Dorsey’s recordings. Chronologically, a few or several years passed between the dates of release of these two albums, but, musically and technically, that was a whole era. Davis’s iconic album (my version is a Mark Levinson’s remaster) had a smooth, dense and clear sound with the Bulgarian DAC. The definition of sounds was excellent – it was already clear in the case of the first album, but here it was even better. However, sound reaches its maturity only with Nat “King” Cole’s recordings from the year 1952 and remains mature for the whole period of the 1950s. Cole is known by everybody, especially thanks to his unique voice, but we cannot forget that he was first and foremost a great pianist. The Penthouse Serenade album that I am talking about is an instrumental album, because of which we are not distracted by the vocal. The leader’s piano was clear and distinct, and it had the right beat and reverberation. Nothing in its sound was rounded or hazy. To be honest, high treble was a little better than in the case of the reference player – the Lektor AIR V-edition. It is because it was better differentiated, there was more information in it, but given in such a way that there was not too much of it. The percussion was presented even better on Krzysztof Komeda’s album Ballet Etudes, released in 1963 by the Swedish Metronomy company, recently reissued by BE! Records. Eleven years had passed since the release of Penthouse Serenade”, so it was possible to define the sound attack and fill in the double bass better, showing the hidden power of this instrument. However, at the same time, which was nicely shown by the DAC, we are entering a period in music history when the naturalness of sound, perhaps coming from tube devices, got lost somewhere – at least in the case of some recordings. As far as the Solo Monk album (a solo piano record) from the year 1964 is concerned, it is a return to the full glory of tangible, close sound. Thanks to the fantastic resolution of the DAC, the piano had a deep sound and an excellently presented definition – from the bottom to the top end. So, we are talking about resolution, selectivity, precise top end and bottom. The range of the bottom end is a bit emphasized at about 200 Hz, which results in contoured, selective sound. There is a lot of bass in general. Despite this, the centre of gravity in the midrange is set higher than in my Lektor, but also higher than in the Totaldac d1-twelve D/A converter that I tested at the same time. As a result, the sound of the recordings from the 1970s (Shamek Farrah’s First Impression and Bill Withers’s Just As I Am) is improved a little, although these recordings usually react “nervously” to such treatment. The vocal of the latter had a brighter timbre than in the case of both devices that I mentioned above. However, it was not distorted. The DSD-S is a high-end product which, by correcting sound in its own “style” (all devices do that), simply proposes a different look at the material which is, at least when it comes to tonality, neither better, nor worse. Perhaps this is why Whithers’s voice in the only vocal track on Grover Washington Jr.’s album Winelight, which has just been released by Audio Fidelity and was originally issued in 1980, has not lost the warmth and the velvety quality that it is famous for. The 1980s are considered to be a “black hole” in the art of sound engineering, but I don’t agree with that. Well-produced recordings, carefully prepared in an analogue studio, can do miracles. It is the case with the abovementioned Grover’s album – it is very soft, almost “flowing”. The DAC lightened it up a bit, contoured it a little, but has not changed the basic structure, has not destroyed it. Summary I would like to finish with this beautiful example of smooth-jazz, because the tested device presented it in a way which well sums up what the DAC is and what it is not. It is a perfectly resolving device. It shows information that one cannot actually hear with other DACs from the same price range. Devices which are “brightened up” (both more expensive and cheaper ones) do not show this, because they only brighten up the sound. The DSD-S does not brighten anything up – its upper treble simply has more energy. It is similar with the bass – there is a lot of it, it is controlled and defined, and the attack is emphasized a little. A D/A converter which produces such sound seems to be designed for amplifiers which provide a bit warmer sound, in which the midrange is dense and full, but lacks support in the form of good top and bottom ends. Tube amplifiers are mainly coming to my mind, but the Accuphase E-470 integrated amplifier would also be “happy” to play together with the DAC. As far as playing CDs is concerned, the DAC operates very well and competently. CDs are what I’ve been writing about, but the DAC is probably even better with high-resolution signal from Blu-ray Audio discs and files. Its sound was especially good in the case of DSD files. There was an amazing amount of space – it was much broader than from the reference player – and the dynamics was also excellent. It is important to remember to match the DAC with a balanced and perhaps even a little warm audio system, and then the advantages of the DSD-S will be a blessing. Mr. Peychev’s DAC has a classic look for this type of devices. There is a thick front aluminum panel, a large blue LCD in the centre and a few buttons. Everything is placed in rigid aluminum casing made of plates and profiles. So, this is a very rigid, vibration-resistant structure which protects electronic circuits from EMI and RFI interference. There is also a detail which tells us a lot about the company’s approach to issues connected with vibration damping: instead of classic feet, the converter is equipped with four flat wooden cones which resemble the ones that I have seen in Japanese SPEC amplifiers. At a client’s request, the converter can be equipped with Franc Audio Accessories feet produced in Poland. The LCD displays volume (both on a bargraph and alphanumerically), the chosen input and the digital filter applied to it, i.e. conversion to DSD. There are five buttons: standby, a display-dimming button, input change and two volume control buttons. The sockets used in the DSD-S are of high quality. The RCA sockets were manufactured by WBT (it’s a model from the NextGen series), whereas the AES/EBU (XLR) input is a product of the Neutrik company. There are six digital inputs: a Toslink optical input, USB, DTR, 2 x RCA and AES/EBU. In the tested device, there was only an unbalanced output on the abovementioned RCA sockets. Optionally, one can order XLR outputs. The Schurter IEC socket is also very good. Next to it there are two fuse caps – of the standby and the main fuse. The latter is a high-end expensive AMR fuse with gold-plated conductive elements. The device has modular construction. As Mr. Peychev says, it future-proofs the product. If a new version of any of the modules is created, it will be possible to exchange it without the necessity of selling the whole converter. The exchange will have to be made either by the producer or by a certified service, because the boards are connected to one another using cables and solder, not pins. It improves the quality of signal transfer, but does not make it possible to exchange the boards quickly. There are six boards with: a standby chip, an amplifier, display control, digital inputs, signal processing and D/A conversion, as well as with an analogue output circuit. Next to them there is a powerful double-C transformer, described as “P-Core”. It is really enormous – I have seen transformers of exactly the same size in YBA integrated amplifiers (read in Polish HERE ). Four secondary windings come out of it, separate for each module. Rectifier diodes and resistors have enameled housings, so that one cannot identify them (and, as I assume, copy the circuit). Digital inputs are based on an XMOS (USB) and a Cirrus Logic (RCA and XLR) receiver/converter. They are coupled using matching transformers. There is a separate integrated circuit next to the DTR input. It is here where the ultra-precise clock chips are located – two, for two timing “families” (44.1 and 48 kHz) and DSD. They are a product of the Crystek company. The clock for the XMOS chip (i.e. for the USB input) is also very good. After selecting the appropriate input, signal is sent further, to the board where it is processed and converted. The first step is to change all signal types into DSD (DSD64 or DSD128), which is done using the DSP Xilinx Spartan chip. Next, signal is transferred to four (two per channel) stereophonic digital-to-analogue Cirrus Logic CS4398 converters. They operate in a circuit developed by Alex Peychev, optimized for DSD signal conversion. I will remind you that Accuphase also came up with a similar idea. For DSD signal, it uses MDSD (Multiple Double Speed DSD) technology in its SACD players and converters, which allows for most possibly direct conversion of DSD signal into analogue signal. First, signal is up-sampled from 2.8224 MHz/1 bit to 5.6448 MHz/1 bit and then delayed in a special sequence, in programmable ultra-fast FPGA (Field Programmable Gate Array) circuits. Finally, it is decoded in separate D/A converters: the first one receives signal without delay, the second one minimally later, the third one has to wait twice as long, the fourth one – three times longer, etc. As many as eight “DACs” per channel are used in the Accuphase DC-901 converter. On the whole, all the sections comprise a kind of a low-pass filter, but without a filter – it can be found in every SACD player, but it has never been constructed in such a perfect and puristic way. After decoding, analogue signal is sent to the output board. There are four integrated circuits on its input (the symbols are painted over), as well as one Lundahl transformer per channel. Apparently, the transformers couple the stages together. Next, signal is passively filtered and finally buffered in MOSFET transistors, in a circuit without feedback. According to company materials, it is a unity-gain circuit (i.e. it has a gain of 1). There is an active DC-offset circuit on the output, without capacitors. Internal connections are based on solid-core wires made of OFC copper. KRZYSZTOF KOMEDA Ballet Etudes/The Music of Komeda Metronome/Be! Jazz Records, BE! JAZZ 6087 CD, CD (1964/2014) For me, the godfather of jazz in Poland is Krzysztof Komeda. The best living musicians did their apprenticeship with Komeda, so I know that through playing with Namysłowski, Stańko or Urbaniak, I partly caught his message. Leszek Możdżer, Muzyka jest wibracją (Music is vibration), interview by Wojciech Sroczyński, “Newsweek. Kultura” March 2015, p. 4. It is not only Możdżer’s opinion. For example, in the foreword to a photo album entitled Czas Komedy (Time of Komeda) with photographs by Marek A. Karewicz, we read that “the music of Krzysztof Komeda-Trzciński has grown to become the symbol of a generation, becoming our cultural pride” (Marek A. Karewicz, Dionizy Piątkowski, Czas Komedy, Poznań 2013, p. 9). On May 3rd 1963, in the Metronome Studio in Copenhagen, Krzysztof Komeda recorded his first full-scale album with his own material, released by the Metronome company in Sweden only. In the album he presented his Ballet Etudes (known in Poland from Jazz Jamboree 1962) and two themes important for his career: Alea and Crazy Girl from the movie Nóż w wodzie (Knife in the Water). He is accompanied by a splendid ensemble of excellent musicians – the irreplaceable Jan Ptaszyn-Wróblewski on tenor saxophone and Allan Botschinsky on the trumpet, whereas the whole composition is driven by Komeda’s favorite rhythmic section: Roman “Gucio” Dyląg on the double bass and Rune Carlsson on the percussion. This is where the album subtitle comes from: A Jazz Message from Poland Presented by an International Quintet. As we read in the note, the recording took place on a rainy, gloomy day… The sound of the recordings has been very carefully renovated. It is dynamic and very clear. There is no treble cut in it, typical for many recordings from that time. The treble is in an excellent proportion with the rest of the range and the sound of percussion plates is its natural extension and not only the background. The sound can be described as very precise and attack-oriented. The attack is neither fuzzy, nor rounded at all – everything is clear and very selective. Instruments placed at the back are excellently emphasized, with the trumpet placed further away, clear percussion and quite contoured double bass. What I missed was a little warmth, some natural sound filler. I do not know whether it results from the recordings themselves or from their remastering, but it is something we simply won’t get. I also have the impression that the interference in noise reduction was too deep. I do not mind hearing tape noise at all, especially that there is a lot of micro-information on the instruments in it. In the case of Komeda’s album, effort has clearly been made to make sure there is absolute silence between notes. However, there are no ideals, so I gladly recommend this album. It is beautifully issued and it sounds great, although it is “only” a mono recording. Its vinyl version is also available, so I naturally bought it (BE! JAZZ 6087, 180 g LP, 2015). It is a limited edition (500 discs), so don’t waste your time! Quality of sound: 7/10 DO YOU WANT TO KNOW MORE? MORE QUICKLY? JOIN US ON TWITTER: UNIQUE PHOTOGRAPHS, FAST INFORMATION, NEWS NOTIFICATION!!! [hfgallery] [img mini="foto_testy/1504/apl/th/05.jpg" big="foto_testy/1504/apl/05.jpg" src="foto_testy/1504/apl/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/06.jpg" big="foto_testy/1504/apl/06.jpg" src="foto_testy/1504/apl/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/07.jpg" big="foto_testy/1504/apl/07.jpg" src="foto_testy/1504/apl/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/08.jpg" big="foto_testy/1504/apl/08.jpg" src="foto_testy/1504/apl/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/09.jpg" big="foto_testy/1504/apl/09.jpg" src="foto_testy/1504/apl/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/10.jpg" big="foto_testy/1504/apl/10.jpg" src="foto_testy/1504/apl/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/11.jpg" big="foto_testy/1504/apl/11.jpg" src="foto_testy/1504/apl/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/12.jpg" big="foto_testy/1504/apl/12.jpg" src="foto_testy/1504/apl/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/13.jpg" big="foto_testy/1504/apl/13.jpg" src="foto_testy/1504/apl/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/14.jpg" big="foto_testy/1504/apl/14.jpg" src="foto_testy/1504/apl/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/15.jpg" big="foto_testy/1504/apl/15.jpg" src="foto_testy/1504/apl/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/16.jpg" big="foto_testy/1504/apl/16.jpg" src="foto_testy/1504/apl/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/17.jpg" big="foto_testy/1504/apl/17.jpg" src="foto_testy/1504/apl/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/18.jpg" big="foto_testy/1504/apl/18.jpg" src="foto_testy/1504/apl/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/19.jpg" big="foto_testy/1504/apl/19.jpg" src="foto_testy/1504/apl/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/apl/th/20.jpg" big="foto_testy/1504/apl/20.jpg" src="foto_testy/1504/apl/20.jpg" desc="HighFidelity.pl"] [/hfgallery]

he two models I already reviewed – the Challenger Mk3 for „Audio”, and Storm for “High Fidelity” proved to be a proper showcase of Acoustic Signature's achievements. Especially their shape was quite memorable – it was obvious that manufacturer tried to minimize the size of chassis and to integrate it, visually, with platter. Platter itself was heavy, tall, and in the more expensive models it also sported additional, brass inserts („Silencer”), that increased its inertia and lowered resonances The model under review is available with three different versions of platter – made of soft aluminum block, with 8 inserts and with 24 inserts. For this test distributor delivered basic version with 50mm tall platter that weights 11 kg without any inserts. Another element that Mr Gunther Frohnhöfer considers very important, is power supply. And so this turntable sports an electronic PS with Electronic Beta DIG circuit based on a quartz oscillator that generates 50 Hz sinusoidal current for external synchronous motor. The bearing made of Tidorfolon is another key element of this deck. Tidorfolon is an alloy of vanadium, Teflon and titanium is relatively soft, but at the same time particularly resistant to abrasion. It creates a bed for a very hard tungsten ball, that is integrated with a steel axis. The mane, Triple X, did not originate from adult movies, nor from Rob Cohen's XXX movie from 2002. The name came from the design of the chassis of this deck. It looks different than other models from this manufacturer, as it gives Triple X a more classic look – a rectangular shape and either wood veneer, or lacquer finish. One can choose one of many available finishes. There are four colors of upper surface to choose from, and three colors of chassis. „Triple X” came in fact from three layers of three different materials that were used in chassis – MDF, aluminum and steel. Together these three layer constitute a 70mm thick chassis. This deck is not particularly big and it reminded me of Pro-Ject's Classic and Signature models, and larger Dr Feickert Analogue decks. The German turntable is much heavier than any Pro-Ject – it weight between 46 and 55 kg, depending on the version and it should be handled by two people. It can host tonearms of 9, 10 and 12 inches, which is possible due to a removable aluminum tonearm base somewhat similar to the ones used by Dr Feickert. The deck received for test was using a tonearm base for Rega RB303. Triple X, same as all turntables made by this manufacturer, was made in Germany. It premiered in 2013 during High End in Munich. REGA OEM Tonearm Not long ago Acoustic Signature belonged to group of deck manufacturers who didn't offer own tonearms. They didn't even modify arm from other brands for their own purposes. They simply focused on delivering best possible decks. But finally they presented their first tonearm, model TA-1000, available in three lengths: 9” (4200 PLN), 10” (4600 PLN) and 12” (5000 PLN). They also announced a top high end arm, TA-9000, that, according to the information presented by Adam Smith in his review of TA-1000, would cost around 14 000 GBP (Adam Smith, Acoustic Signature TA-1000, „Hi-Fi News & Record Review”, April 2014, Vol 60 No. 04. s. 52-53). Since the version we received for this review was the very basic one, it was equipped with an OEM version of Rega RB-303, with anti-skating taken from RB-202, a successor of Rega's the biggest sales hit - RB-300. It is a unique design. It's a one piece (tube + headshell + bearing housing) high-pressure die-cast. It's predecessor, RB300, premiered in 1983 after a long development process that allowed Rega to master a process of pressure casting of tubes with variable diameter and different wall thickness. Until today 400 000 pieces of RB300 were sold.. RB-303 is crafted in even more precise way, and it uses a three-point mounting. It was designed using 3D CAD & CAM, which allowed to design a tonearm tube of similar dimensions as the one of RB-300, that at the same time is more rigid despite even thinner walls. Despite three-point mounting there is still no VTA adjustment. To mount this arm on Triple X one has to use an additional element between arm and deck that also allows VTA adjustment. Tracking force adjustment is also performed in a different way that usually. Usually there is one balancing weight placed on the back of the arm and one adjusts tracking force by moving it along this back part of arm tube. In this case this weight is used only to achieve a “floating” status of arm and after that one uses a dial (placed at the side of the arm) to set a tracking force. The tonearm wiring continues unbroken into its own RCA, quite stiff, cable. RCA plugs are gold-plated. There is no separate grounding wire – Rega never used these. SETUP/UPGRADE Customer receives deck without tonearm, so one need to mount arm by himself, or ask one's dealer for help – that's another reason for having a “friendly” dealer, or shop. Apart from arm mounting deck is almost ready to use right out of the box. First one has to take motor out and place on the rack/platform, that one takes the whole deck and places it next to the motor in such a way, that the motor fits into to a cut-out in the plinth without touching it. Than one need to connect motor with deck, plug power supply to the electric outlet and that it, turntable is ready to play. Changing speed is carried electronically and executed by push of a button. As one can read in the manual one can level (if needed) the chassis by using screws inside large feet. Well, it is surely possible but it takes a lot of effort. Chassis is very heavy and to adjust screws one needs to get to them from below, and to do that one has to lift chassis significantly. Along the deck one receives a practical and nice looking 2 Way Buble Level. Usually an upgrade of a turntable (in my case anyway) starts with replacing standard power supply with more advanced one. In this particular case it is not necessary, as the BetaDIG offers very decent performance. Another possible upgrade is a better tonearm – in this case one would be tempted to try out the TA-1000, if possible the 12” version. To switch shorter arm with a longer one, one has do unscrew one aluminum element and the mount it again turned by 180º. I was tempted to that too, so after a few day I used this way to mount my 12” Reed 3Q. Manufacturer offers two record clamps – one can purchase separately any of them - a 280 g LOAD and Grip mk3. I used the Pathe Wings clamp. And finally one could switch a matte. The leather one delivered with turntable is quite nice. But I would suggest trying out also a cork-rubber one made by Pathe Wings, and if you can afford it the Harmonix TU-800X Improved Version. In this particular case I liked the soft Pathe Wings most. GUNTHER FROHNHÖFER  Acoustic Signature Designer, Owner Triple X was created as more and more people asked us for a classic looking turntable with rectangular shape and not round. But being a real mass turntable and able to handle 12 inch arms. All that for a reasonable price. Triple X is constructed as a sandwich. This sandwich contains Aluminum, steel and 2 layers of wood. All of them bonded together with a flexible glue. So this Sandwich has a very high mass and also a perfect damping behavior. All that combined with a thick armboard that gives the tonearm a very rigid and stable basis. The motor looks like it´s part of the table but it is not. The motor has no contact to the chassis. The latest of our digital motor electronics is built in. If you touch the motor you don t feel if its running or not. That's a unique point as our competitors are not able to deliver such a smooth running motor. ACOUSTIC SIGNATURE in „High Fidelity” • TEST: Acoustic Signature STORM – turntable, see HERE Records used during test (a selection) Cybernetic Serendipity Music, ICA Nash House/The Vinyl Factory VF129, “Limited edition of 500 copies”, 180 g LP (1968/2014). Dire Straits, Brothers in Arms, Warner Bros./Mobile Fidelity Sound Lab MFSL-2-441, “Special Limited Edition No 3000”, 2 x 180 g, 45 RPM LP (1985/2014). Jerzy Milan Trio, Bazaar, Polskie Nagrania MUZA/GAD Records GAD LP 003, “Polish Jazz vol. 17”, 180 g, „red wax” LP (1969/2014); KAT & Roman Kostrzewski, ‘Buk – akustycznie’, Mystic Production MYSTLP 019, 2 x 180 g LP (2014). Miles Davis, Nefretti, Columbia/Mobile Fidelity Sound Lab MFSL-2-436, “Special Limited Edition No 2140”, 2 x 180 g, 45 RPM LP (1968/2014). Niemen Enigmatic, Niemen Enigmatic, Polskie Nagrania MUZA XL 0710-711, 2 x LP (1971). NOVI, NOVI Sing Chopin, Polskie Nagrania MUZA SXL 0755, LP (1971). Skaldowie, Krywań Sessions 1971-1973. The Complete German Radio Recordings, Kameleon Records KAMLP 8, 180 g, “purple wax” LP (2014). Skalpel, Transit, PlugAudio PL02, 2 x 180 g LP (2014). Japanese issues available at [REKLAMA5] This test did not start as expected. I still remembered very well a very good performance of Challenger and Storm, and remarkable sound (considering the price of this model) of Wow. I simply loved the sound of the latter, and I can recommend it to anybody, not matter what cartridge you use, or what kind of music you listen to. Wow looks great, it's a very solid, good design, easy to set up and to use. More expensive models of this brand require some more effort before, especially to pick the right cartridge, one achieves satisfying results (I'm not saying it is a particularly difficult job, but only that it takes some effort). So initial failure this time was only my own fault. I conduct every turntable test in the same way, as this way it is easier for me to compare different models. I usually start using Denon DL-103 cart, Harmonix TU-800X Improved Version matte, and connecting deck to RCM Audio Sensor Prelude IC phonostage. In this particular case that resulted in a lifeless sound with very limited dynamics. In general it sounded OK, but nothing more than just OK. My biggest mistake was using Denon's cartridge. It works very well in 99% of cases, despite that fact that this cart is particularly heavy, it has low compliance, and requires rather high tracking force to be used. This „living fossil” simply does what it does in a remarkable way. I forgot that it didn't work well with Challenger Mk3 and RB303. So after a while I switched it with ZYX AIR 1000, and later for Miyajima Laboratory Madake. I also switched matte for a rubber-cork one and than it all started to work out, as a system, pretty well. Only than I could hear why there were so many fans of mass-loaders – huge scale of the sound, stability, and exceptionally accurate music reproduction. I squeezed an absolutely top performance of this deck after I switched Rega with a 12'' Reed 3Q arm. An element that builds the whole presentation delivered by Triple X is a grand scale of the sound. This element alone might attract attention of some potential buyers even if they plan to purchase more expensive analogue front-end. The space between speakers, in both dimensions, if densely packed with information. And I mean all sorts of information regarding instruments, acoustics, and finally also noise (tape noise or mic's). The latter is an intrinsic element of recordings and it influences our perception of this recording. So it is very important that these elements are combined properly with music itself, that they “happen” in the universe, that is created between speakers. I listened to many, many different records and I found none that sounded bland, dull, that didn't have its own sound character. If the recording was just mediocre, or the release was – I was made aware of the fact very quickly. But even in such case the system with Triple X turntable “respected” that, and did try to discourage me from listening to such poor record. Even with music from Cybernetic Serendipity Music, that was particularly difficult to interpret for any audio system (and for listener), Acoustic Signature dealt surprisingly well, offering sufficiently dense, rich, palpable sound, for a listener to forget about the form and to focus on music itself. Perhaps, it was possible because it was a particularly accurate system – in terms of dynamics, details and tonality. This deck was amazingly resolving, and I mean more resolving that many, even more expensive decks. Even the Challenger Mk3 seemed, in comparison, less resolving. I couldn't compare these two turntables head-to-head, but, if memory served well, Triple X seemed to better differentiate presentation. I listened to all releases of the Niemen Enigmatic Red album, easily finding all the differences between them. What's more – I had no trouble at all to assess these differences. I am going to tell you more about this comparison in a separate article (I am working on it), but I can tell you already that I found the first „clap” cover issue the best, which is interesting as this is a… mono version. It was quite surprising for me, as I always thought material on this album was perfect for stereo presentation. XXX is a non-suspended mass-loader. This type of design translates into certain sound characteristics which is sort of manifestation of its designer's believes/philosophy. Above I described the key attributes of such sound. That is, if such design is done properly which is not that difficult – when it comes to non-suspended mass-loaders any design flaw is particularly irritating, even if these are non-significant ones. That's why suspended turntables like Thorens, Linn and others have so many fans. Usually they offer acceptable sound with no irritating element even if the design is flawed. Flaws are simply “hidden”, unfortunately together with some part of information regarding the sound. To be clear – I'm not saying that such approach is wrong – I do understand it and accept it. But I also realize to pros and cons and am able to assess sound regardless. Non-suspended design translates into the sound with slightly emphasized attack phase and upper bass. Triple X was no different here and thus I decided to switch both tonearm and cartridge. Once a proper setup was found sound became accurate, precise and more information was delivered. That lead to “more music in music” type of presentation. This German design didn't focus on perfecting the design just to make it better. It was perfected to offer better performance with rich, dense, deep, colorful, emotional sound. And yet, this performance had some elements characteristic for this deck. The attack phase was particularly energetic. Interestingly enough, this energy wasn't delivered in treble, as this part of the range was rather mellow and perfectly blended with the rest of the range. Even on the new, 45 r.p.m. MoFi release of Brothers In Arms sound was amazingly coherent. And, as some of you surely realize, this recording has a very specific history, which directly translates into its sound (see HERE). Without getting into details, I can only repeat after Michael Fremer, that this album is sort of „time capsule”, that delivers a lot of information, positive and negative, about the trends in 1985, about musicians' and producers' approach to the sound at the time. It is quite bright sound lacking some richness throughout the whole range. Triple X, despite the fact that its design would suggest similar accents in ITS sound, didn't emphasize flaws of this recording. It delivered an accurate performance although adding a slightly softer touch to it. This “reluctance” to shape the presentation using sharp “edges” created and interesting correlation between music and distortions that were inherent part of mechanical character of its reproduction, like cracks & pops. Scale of amazingly rich sound was huge. Pops&crack were never overly exposed but neither were they “hidden”. They were a part of the presentation. Having said that I would still say that they are “smaller” elements of the presentation than “musical” ones. From my perspective they seemed to exist as small, separate (from the music) element, that I could “turn off” in my head, that I could pay not attention to. So music always came first and then I heard some (if any) pops&cracks. Summary I had a great time with this Acoustic Signature turntable. In its way of music presentation it reminded me deck from another German specialist - Dr Feickert Analogue. They offered similar general sound character, although they obviously differed in details. AS offered “softer” presentation with a slight emphasis on midbass which allows it to create even bigger sound scale. But both offer similar accuracy of sound reproduction. Triple X didn't sound warm, nor soft, as suspended designs usually did – it was a mass-loader after all. The lowest bass wasn't as perfectly defined as by top mass-loader performers , neither from Acoustic Signature, nor from other brands. If that is acceptable than go ahead and buy this one. This way you'll become an owner of an “X-Ray machine” that will show you precisely a quality of both: recording and pressing, but at the same time will act as a jukebox, that will always play your favorite music in a way, that will let you enjoy it, no matter how good the particular pressing/recording actually is. Two-in-one – a rare combination in audio world. Triple X is not the first Acoustic Signature turntable of a classic form (with rectangular chassis). One can find others in AS portfolio like: Wow/Wow XL, Barzetti and Manfred (now in mk2 version). But it is surely the most expensive one, and the only one that can use a 12” tonearm. The key element of this design is a sandwich chassis, that is built of three different materials. It sports a MDF frame that is supported with slates of aluminum and steel. There chassis sports an elongated cut-out that hosts an armboard. There are many different armboards available upon order for different tonearms. A size of armboard allows to use it for arms of different lengths – 9”, 10”, and even 12”. For this test we used Rega RB303 (9”) and Reed 3Q (12”). In front of tonearm, close to front edge of chassis, there are two push buttons, similar to ones used also for other Acoustic Signature models: „start/stop” and „33/45”. First of them starts/stops motor, the second one allows user to change rotation speed. It's a part of an electronic controller called Electronic Beta DIG. It controls a 50Hz, synchronous motor, that is placed inside a heavy, aluminum cast. It is placed inside a cut-out in the plinth in such a way, that there is no contact between them. There is an aluminum drive wheel on motor's axis. It uses a rubber belt of a square shape to drive platter directly. A platter is 50 mm thick and its heaviest version weights 11 kg. It is made of a solid piece of soft Aluminum to improve his resonance behavior. The platter is additionally coated on the back side with a high damping material. There are two other version available, both sporting so called „Silencers”, which are brass cylinder-shaped inserts that increase platter's inertia, and reduce resonances. One can choose between two versions – with 8 or with 24 Silencers. These influence sound significantly, which is clearly audible, but Manufacturer also presents results of his measurements, that clearly confirm the role of these elements. Silencers minimize resonances at 15 kHz by impressive 80 dB (see more HERE). Due to damping material even the platter without Silencers behaves well. The platter bearing axle is manufactured from special hardened and precisely grinded steel. The bearing housing uses perfectly matched sinter bronze inserts which are self-lubricating. This bearing design is developed to ensure a smooth run and tight fit of the axle. It is achieved by using Sinter bushes and Tidorfolon bearing ground. Ultra-tight tolerances and Tidorfolon bearing allow manufacturer to guaranty a lifetime maintenance free usage. The bearing is covered with a 10 year product warranty. It's a very good looking, solid design and its fit & finish is simply perfect – but that is to be expected from any of Mr Gunther Frohnhöfer's products. Triple X gives its user many possibilities for its performance upgrades without having it sold and buying more expensive model. Setup is relatively easy and it is surely a user-friendly turntable. ARP-LIFE Z bezpieczną szybkością Polskie Radio/GAD Records GAD LP 004 (1978/2014) Medium: Long Play Premiered: Jan 12th 2015 It is not the first time when Mr Michał Wilczyński, a manager of GAD Records label, proposes a material that seemed lost for good, that many music fans didn't even know existed. This particular music material isn't even mentioned in most book, nor even on Wikipedia [see HERE, accessed: March 19th 2015]. In 1978 Polish Radio released on audio cassette a material of Arp-Life band (Wifon MK-519). Members were: Ryszard Szumlicz, Mateusz Święcicki and Andrzej Korzyński. It was a second album of this band. Music on this album was created on synthesizers between 1975-1978. Their first album called Jumbo Jet was released in 1977. Z bezpieczną szybkością was intended as “music for the road”, primarily for professional drivers, I guess. It includes rhythmic, light, “easy-listen” music played by keyboards and rhythmical section. GAD Records offered the first ever edition on vinyl and CD. The latter includes also their first album Jumbo jet. For the review we received a limited edition (500 PCs), that initially was even more “limited”, with its 100 PCs, on a gray vinyl. First, shortly about music itself. Partially because for me it was a sentimental trip down the memory lane, and partially because of the respect I had for these talented musicians, I truly enjoyed listening to this album. It is quite a particular album as it was created for a particular function in mind – to accompany drivers. But among other similar proposals this one clearly stands out, due to exuberant, lively performance, great sound, and very nice choirs sang by Alibabki. Quality of the recording is surely not very good. Sound lacks dynamics, bass could be richer. But obviously the process of remastering was done in a meticulous way, as sound is quite clear, smooth, and simply good. It's a great reminder (souvenir if you will) of the 1970ties. If this means more for you than just another period of the past, this LP and/or CD is a must-have. Sound quality: 5-6/10 Remaster: 8/10 DO YOU WANT TO KNOW MORE? MORE QUICKLY? JOIN US ON TWITTER: UNIQUE PHOTOGRAPHS, FAST INFORMATION, NEWS NOTIFICATION!!! [hfgallery] [img mini="foto_testy/1504/Acoustic/th/05.jpg" big="foto_testy/1504/Acoustic/05.jpg" src="foto_testy/1504/Acoustic/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/06.jpg" big="foto_testy/1504/Acoustic/06.jpg" src="foto_testy/1504/Acoustic/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/07.jpg" big="foto_testy/1504/Acoustic/07.jpg" src="foto_testy/1504/Acoustic/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/08.jpg" big="foto_testy/1504/Acoustic/08.jpg" src="foto_testy/1504/Acoustic/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/09.jpg" big="foto_testy/1504/Acoustic/09.jpg" src="foto_testy/1504/Acoustic/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/10.jpg" big="foto_testy/1504/Acoustic/10.jpg" src="foto_testy/1504/Acoustic/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/11.jpg" big="foto_testy/1504/Acoustic/11.jpg" src="foto_testy/1504/Acoustic/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/12.jpg" big="foto_testy/1504/Acoustic/12.jpg" src="foto_testy/1504/Acoustic/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/13.jpg" big="foto_testy/1504/Acoustic/13.jpg" src="foto_testy/1504/Acoustic/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/14.jpg" big="foto_testy/1504/Acoustic/14.jpg" src="foto_testy/1504/Acoustic/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/15.jpg" big="foto_testy/1504/Acoustic/15.jpg" src="foto_testy/1504/Acoustic/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/16.jpg" big="foto_testy/1504/Acoustic/16.jpg" src="foto_testy/1504/Acoustic/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Acoustic/th/17.jpg" big="foto_testy/1504/Acoustic/17.jpg" src="foto_testy/1504/Acoustic/17.jpg" desc="HighFidelity.pl"] [/hfgallery]

oday phonostages purposed only for MM (Moving Magnet), high output MC (Moving Coil High Output), and MI (Moving Iron) cartridges (made mostly by Grado) are true rarity. To be honest, I do not know why. There are only two types of phonostages without MC section – very cheap ones, for people who are only entering the world of vinyl, and very expensive ones for sophisticated audiophiles. The former count every penny they need to spend, so simpler, ergo less expensive device based (usually) on a single chip is preferred. The latter are quite different – these are guys who prefer to use step up transformers for their MC carts, instead of active circuits. I think most such users can be found in Japan, where many advanced audiophiles use a step-up transformer for particular cartridge, and they connect it to their active MM phonostages. And I guess that's the case here. As you can read below, Mr Alexander Remmer, the owner and designer of Czech company Remton, wanted to build the best MM phonostage he could, assuming it would work perfectly with MM, MC HO or MI cartridges, but that would also give its user a possibility to use it with step-up transformer for MC carts. So he built the LCR model with custom made Sowter coils, and SCR and Itel capacitors. It is a tube phonostage with ECC81 double triodes in the input stage, one per channel, and one E88CC per channel in the output. And what happened? It turned out that most customers who bought a tube phonostage wanted to use it with... MC carts. Mr Alexander turned the MM version into MC one adding in the output..., yes, you guessed it – step=up transformers. And his portfolio gained a new model called MkII, that allows user to adjust input impedance and works with MC cartridges. Mr Alexander delivered for test the basic (MkI) version of this phonostage, the one for MM carts. Why? Because, according to him, it is a better solution for any vinyl fan: „I definitely prefer using MC carts with external step-up. In our opinion those who can afford to buy LCR, can also afford to purchase a step-up…” As he says, the Sowter step-up transformers he uses for MkII offer a very good performance but there are many others, even better ones, available on the market. So the basic, MM version, is, according to him, the more sophisticated one. At the first sight the device looks really good, solid, high quality sockets also create a very positive impression. Even the writings on the front wall are nicely done. Is it a pure coincident that company's logo is somehow similar to the one of Japanese manufacturer Phasemation? I don't think so – I believe it is rather sort of a tribute to one of the best specialist. And it is also not a coincident that this company offers two high quality step-up transformers: T-300 and T-500. ALEXANDER REMMER Remton | Owner, designer The company is young, and was founded is in the Prague, Czech Republic, with the idea to produce high-quality tube phonostages at an affordable price. The first exhibition we participated in was High End Praha 2013, where we presented Remton 383 and Remton 8382 models (see HERE and HERE). Remton LCR was first shown at the exhibition High End Munich 2014. LCR phonostage built on the Inductive RIAA emphasis Network, LCR filters using custom made coils from Sowter, SCR and Icel capacitors, and precision non-inductive resistors. Before assembling all components have been handpicked basing on measured parameters. All models were made with the MM input, because we consider the MC cartridges, for high quality, must be used with appropriate to it MC step-up transformer. But our customers would like input for MC, so it was decided to make Remton 383 MK2 and Remton LCR MK2 with Sowter MC step-up transformer. The Remton LCR is optimized to work together with step-up transformer. Obviously it could be used as a classic MM phonostage but considering its price one would have to use most expensive unit of this type, like, for example, Grado's MI (Moving Iron) carts. For this test I used Phasemation T-500 step-up. First, to determine its influence on sound, I used it with MM section of my RCM Audio Sensor Prelude IC, and than with Remton LCR. Records used during test (a selection) Arp-Life, Z bezpieczną szybkością, Polskie Radio/GAD Records GAD LP 004, „Limited Edition of 100 grey wax” 180 g LP (1978/2014). Diana Krall, All for You, Verve Music Group/ORG ORG 006, 2 x 180 g LP (1996/2009); Dire Straits, Brothers in Arms, Warner Bros./Mobile Fidelity Sound Lab MFSL-2-441, “Special Limited Edition No 3000”, 2 x 180 g, 45 RPM LP (1985/2014). Edward Artemiev, Solaris (Original Soundtrack), Mirumir MIR100705, 180 g LP (1972/2013); Kraftwerk, Computerwelt, EMI Electrola GmbH 1C 064-46 311, LP (1981). Maria Callas, Maria Callas Remastered, Warner Classic 624295, 180 g LP (2014). Miles Davis & Milt Jackson, Miles Davis All Star Sextet/Quintet, Prestige/Victor Musical Industries SMJ-6530, LP (1956/1976). Niemen Enigmatic, Niemen Enigmatic, Polskie Nagrania MUZA XL 0710-711, 2 x LP (1971). Skaldowie, Krywań Sessions 1971-1973. The Complete German Radio Recordings, Kameleon Records KAMLP 8, 180 g, “Purple Wax” LP (2014). Yasunao Tone + Talibam! + Sam Kulik, Double Automatism, Karlrecords, 180 g LP + Test Pressing (II) (2015). Japanese issues available at [REKLAMA5] Sound signature of phonostages with a passive element (transformer) differs from ones with active circuits. I guess it is obvious otherwise there wouldn't be two groups of users with clear preferences of one method over the other. Remton is one of the best examples of how the sound of the former is tuned, because on one hand it has its own sonic signature easily recognizable, on the other it provided some elements of the sound that I remembered from my review of Manley Steelhead v2, that are common for most phonostages with transformers in the input stage. Not to complicate this review I will describe the overall sound signature, only in particular cases pointing out whether particular feature comes from phonostage itself, or if it is characteristic for this type of device. The reviewed system delivered rich, organic sound. That's what I noticed when listening to the first record, but it stayed in the back of my head also after many days of listening. Sound, timbre seems so rich as, in photography, after editing raw picture and adding some color and enhancing contrast. There is no exaggeration here – it is a small adjustment to make sound bit more lively than in reality and thus – more attractive to listen to. Many manufacturers do the same thing using different means. But the Czech phonostage does it in a particularly charming way. There is no significant coloration of lower midrange, no bass enhancement, and yet sound seems “big” and palpable. The latter feature is particularly impressive as it is something one expects from tube device and rarely receives. Remton brings front plane of the soundstage closer to the listener, thus increasing depth of the stage, rendering wonderfully three-dimensional instrument. The space is is not particularly precisely described, not is it particularly selective – that is something to be expected from a step-up transformer (any). And yet the soundstage is huge, show sort of natural structure, and the sound seems big and warm. It is particularly impressive when mono records are played, as such recordings require a system that is able to deliver large phantom images. The phonostage under review presented Miles Davis and his quintet and sextet exactly in such a way – placed in huge space, delivering rich, palpable sound. I am an owner of a Japanese, 1976 edition of the Miles Davis All Star Sextet/Quintet record from 1956. Even though it was released on a regular vinyl (at the time „180 g Heavy Weight” was still only a distant future), not on „deep groove” (as the original issue), and the sound is amazingly coherent. It sounds almost warm, except it really isn't. Remton conveyed this music in a warm, spacial way, unlike many other phonostages that deliver this music in some formless way. Sound wasn't as fast and not so dynamic as presented by my RCM Audio Sensor Prelude IC, but it was simply different. It was smoother, warmer, more palpable, rendered closer to the listener, more organic. The last feature, I believe, is why many people decide to use step-up transformers. These make sound more vibrant but without adding any brightness to it. There is incredible intensity of midrange and treble combined with softening of the attack. That's what make the sound of this system so attractive, so lively, so intense. And yet it is quite... unobtrusive, non-aggressive. What's more – it seems like this system with phonostage and step-up is able to play any records in such an attractive way, not just some classics that sound well on 1000 PLN ProJect and 250.000 PLN TechDAS, like Dire Straits' Brothers in Arms or Diana Krall's All For You (although I started my listening sessions with such classics and only later moved to other records). I listened to the Mobile Fidelity 2 x 45 rpm 180g vinyl recent release of Dire Straits. Breaking its own principles MoFi released this recording in their „Original Master Recording” series, that is used exclusively for re-issues made of original analogue master-tapes. As all fans know, this Dire Straits recording was done in digital domain and mixed using analogue console to digital tape (DASH or DAT – not really clear on that). Whatever the source of this material, the new re-issue sounds fantastic, so I don't care what they used to prepare it. The system with Czech phonostage delivered smooth, rich sound, slightly underlining Knopfler's voice, and in Money For Nothing also Sting's. Leading guitar was prominent, rich, although not as three-dimensional, so distinct as delivered by RCM Audio. The lesser selectivity and dynamics are a price to pay for more organic, more palpable presentation (also warmer, although this feature doesn't influence perception of music that much). This phonostage is tuned in such a way that a combination of such system – transformer with tubes – would offer the best possible performance. I had no chance to compare them head to head but I think I remembered pretty well what were the differences between above mentioned Manley Steelhead and my own RCM Audio Sensor Prelude IC. Now, comparing Sensor to Remton, I was able to compare the differences I could hear now, with those from Manley test (that's why I always have to be honest in my reviews as, sometimes years later, I read them again to refresh my memory and use some previous experience in present tests). So I can now conclude that American phonostage was more resolving and offered better dynamics than the combination of Phasemation and Remton. But its sound was also more colored, especially in the lower midrange. The Japanese-Czech duet conveyed a sound that was more balanced. It was also more vibrant and more “active” in terms of timbre differentiation. Not only with Dire Straits, or Diana Krall (a wonderful release from Original Recording Group on a double 180g vinyl), but also with other records that I wouldn't call „easy listening” kind at all – like, for example, the latest release of Karlrecords with experimental, electronic music called Double Automatism Yasunao Tone + Talibam! + Sam Kulik, or with Andriej Tarkowski's (Андре́й Арсе́ньевич Тарко́вский, 1932–1986) Solaris movie soundtrack with Eduard Artemiev's (Эдуа́рд Никола́евич Арте́мьев) music. This is surely not an “easy” music. It Is dense, rich, multi-layer music that is supposed to move listener inside. Remton, together with Phasemation T-500, was capable to convey this multidimensional structure of this music. The presentation wasn't overly sterile, I mean this system didn't try to deliver maximum number of details at the cost of sound's coherence. It played records cut from digital tapes in a similar way. That's how Karlrecords prepares its releases, and that's how a material for Maria Callas Remastered was prepared too. This title was released at the same time as a special box with Maria Callas recordings that were remastered. Sound of vinyl is not that rich as original recordings. And it is obvious even knowing that Remton does “enrich” sound a bit, emphasis slightly lower midrange and upper bass. Differentiation of this system is really good despite the fact, that selectivity isn't its strongest suit. Summary I'm not a big fan of step-up transformers. It is about my personal preferences not about some sort of conviction of superiority of one solution over other – I know that both are equally good. Remton LCR and Phasemation T-500 are a great example of a system of this type offering impressive performance. Sound is not as resolving and as dynamic as offered by other active systems from the same price range, or more expensive ones (like, for example RCM Audio THERIAA and SPEC REQ-S1 EX). But it is dense, rich, palpable and vibrant. Its sound is perceived as organic – it is a great pleasure to listen to the music via this system. That's what Japanese love such systems with step-up transformers for. This phonostage is a great partner for high quality step-up transformers – it will add some richness, warmth, density, and wonderful tonality. Mono recordings will offer big sound, and stereo ones will be presented closely to the listener with amazingly palpable instruments. Powerful, nicely extended bass will be a solid foundation for presentation of any music. The device s not too big nor too small – just accurate. One might say it's a classic design from a small manufacturer with an aluminum front plate and steel enclosure. It also sports classic feet. LCR is a minimalist design – there are no adjustments available. The only switch one will find is an on/off toggle switch with accompanying green LED. It seems that there are two reason for that – designer wanted to create a device that would not be too expensive (so he had to limit costs), and after all it is a MM phonostage. No wonder also back panel is very simple – an RCA input and output, IEC socket with fuse and that's it. The RCA sockets look really well – they remind me of WBT products. Even writings on the back panel are really nice. Most manufacturers use some label with information printed on it – it rarely looks well. But it seems that Remton decided to go other, more aesthetic way – silver letters are engraved (?) which looks damn good. Inside of the device looks equally impressive. This phonostage uses passive RIAA equalization placed between two gain sections, with zero negative feedback. E88CC tube with golden pins from Slovak JJ works in the input section, and ECC81 also with golden pins from the same manufacturer works in the output. Gold plated tube sockets would be a nice addition to these tubes. When designing LCR Mr Alexander Remmer decided to close tubes inside aluminum cups to minimize noise and hum. That's a pretty effective way and yet rarely seen in phonostages. The whole circuit seems well thought-through, high quality elements were chosen to do the job like: precise resistors, polypropylene capacitors (SRC and Itel), and Sowter shielded coils. Signal to the main PCB travels with quite long, shielded cables. Power supply is separated from the circuits with a metal sheet. PS is build around quite large toroidal transformer with four secondary windings. It seems that there is separate power supply for each channel for anode and for heater. Device use a „soft-start” circuit which extends tube's life. AC voltage is filtered by two double Pi filters Pi. Designer used high quality Rubicon filtering capacitors in power supply circuit. Really well executed design, especially considering its price (but it still would be impressive even if the price were higher)! Parameters (according to manufacturer) Suitable for MM, high output MC and MI phono cartridges Passive LCR RIAA equalization Soft-start Zero negative feedback Low noise Gold plated Input/output terminals Softstart DC high voltage supply Hand picked high quality components Toroidal power transformer Frequency response RIAA: 20 Hz to 20 kHz ±0.3 dB Input impedance: 47 kOhms Input capacitance: 100pF Output impedance: 200 Ohms Gain: 38dB Tube complement matched JJ E88CC and JJ ECC81 Dimensions: 386 x 295 x 85 mm Weight: 6,5 kg 2 year parts and labor warranty Warranty for tubes: 90 days Handcrafted in Czech Republic DIRE STRAITS Brothers In Arms Warner Bros./Mobile Fidelity Sound Lab MFSL-2-441 “Special Limited Edition No 3000” 2 x 180 g, 45 RPM LP (1985/2014) I presented a history of this particular recording and its following remasters some time ago in the article Wojna światów (in Polish only, HERE). New facts and another take of this matter was recently presented by Michael Framer in his article Brothers In Arms at 45rpm From Mobile Fidelity, reviewing the latest issue of this material prepared by Mobile Fidelity (see HERE). Let me only remind that the whole material for this album was recorded on a multi-track SONY DIGITAL tape recorder (16 bits and 44,1 or 48 kHz) and then mixed via ANALOGUE console. Material mixed to stereo track was recorded on digital tape as 16/44,1. If the SPARC code would have been used it would have been a DAD record. All vinyl issues were cut from digital master-tape of CD quality. It seems that the latest BIA version from Mobile Fidelity as a part of their Original Master Recording series was done in the same way, despite the fact that this series was always based on analogue master-tapes. But it is not the first time when MoFi abandoned their own rules – they did the same with CD and LP issues of John Lennon. These were prepared not from original analogue master tapes but from new, digital tapes, that were newly remaster, which was supervised by Yoko Ono herself. The old, original master-tapes are “not available”. The new release of Dire Straits is delivered in a beautiful gatefold cover, with two 180g, 45 r.p.m. records inside. While I started to listen to this album it didn't matter anymore how it was prepared – it sounded simply remarkably. Digital recordings from 1980ties are bright, rough, coarse – that's what digital technology allowed at the time. And one can still hear that on Dire Straits album, but these features of the sound never overwhelm listener, they are there but just slightly indicated. Sound is dense, rich, powerful, saturated. I loved bass on this issue, which was always a problem on all previous editions. I compare the MoFi's release with original pressing and with a CD that is commonly recognized as the best of them all, the SHM-XRDC, and the new vinyl release sounded better, WAY better. Spacing, imaging, tonality, differentiation – all these elements of the new release are simply great. I loved listening to this new release. Sound quality: 8/10 Remaster: 10/10 DO YOU WANT TO KNOW MORE? MORE QUICKLY? JOIN US ON TWITTER: UNIQUE PHOTOGRAPHS, FAST INFORMATION, NEWS NOTIFICATION!!! [hfgallery] [img mini="foto_testy/1504/Remton/th/05.jpg" big="foto_testy/1504/Remton/05.jpg" src="foto_testy/1504/Remton/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Remton/th/06.jpg" big="foto_testy/1504/Remton/06.jpg" src="foto_testy/1504/Remton/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Remton/th/07.jpg" big="foto_testy/1504/Remton/07.jpg" src="foto_testy/1504/Remton/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Remton/th/08.jpg" big="foto_testy/1504/Remton/08.jpg" src="foto_testy/1504/Remton/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Remton/th/09.jpg" big="foto_testy/1504/Remton/09.jpg" src="foto_testy/1504/Remton/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Remton/th/10.jpg" big="foto_testy/1504/Remton/10.jpg" src="foto_testy/1504/Remton/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Remton/th/11.jpg" big="foto_testy/1504/Remton/11.jpg" src="foto_testy/1504/Remton/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Remton/th/12.jpg" big="foto_testy/1504/Remton/12.jpg" src="foto_testy/1504/Remton/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Remton/th/13.jpg" big="foto_testy/1504/Remton/13.jpg" src="foto_testy/1504/Remton/13.jpg" desc="HighFidelity.pl"] [/hfgallery]

he last page of a folder presenting the offer of the French Totaldac company reminded me of the way in which digital technology has developed in the last thirty-five years, in the context of the audio domain. It all started in the year 1980 when the fundamentals of the Red Book CD-CA standard were published. Since that moment, two things have been emphasized that were supposed to make it different from the so-far dominant standard (i.e. the LP record): convenience and the fact that that it doesn’t wear out while being played, as well as clarity of sound. The first of these claims proved to be half-true only – it is known today that aluminum used for CD production oxidizes with time, because of which more and more original information must be supplemented by interpolation circuits in the player. The claim concerning crystal clarity of the silver disc sound seems to be much more important. For many years after the year 1985, when the sales of vinyl discs were falling, the “Digital Recording” label was proudly placed on LP recordings, which was aimed at convincing consumers that although it was an old format, it was also improved. The information could most often be found on discs with classical music, but I also have it on my copy of Brothers in Arms album, which was the first band’s album recorded on a digital multi-track cassette deck. Today we know that it was exactly the opposite – the advantages of analogue recording and mixing were lost, and people failed to exploit the advantages of digital technology. The only claim which proved to be “prophetic” was the one concerning convenience and comfort. That was the first phase of the digital revolution. It was believed then that the revolution was a remedy to all aches and pains, and efforts were made to improve the sales of black discs by emphasizing how much they had in common with the new technology. As time passed, however, people came to their senses and regretted having thoughtlessly sold their vinyl disc collections. For a long time, at least in the circles of people who are interested in high-quality sound (i.e. among audiophiles), the dominant standard is the one in which the model for “digital” sound (i.e. sound obtained from this type of signal) is the Long Play disc. If somebody wants to emphasize high quality of a player or a D/A converter, they say it produces “analogue” sound. Incidentally, it is similar in the case of D-class amplifiers – if someone wants to compliment them, people say that they sound “analogue”. The term “analogue” is almost always associated with the turntable and the vinyl disc. It probably won’t change, even if the best digital systems are taking one step further and are directly bringing us closer to the analogue master-tape, without distortions characteristic for the LP format. The path which allows us to meet this aim appears to be fairly simple – at least now, when we already know what to look for. The most basic aim is maximum jitter reduction. Jitter is understood as a whole range of digital distortions caused by imprecise signal clocking – both at short intervals, i.e. within a given impulse, as well as within longer time intervals. Jitter can be caused by many different factors, e.g. a low-quality clock, insufficient power supply of the clock and digital circuits, inadequate transmission cables (digital interconnects), insufficient shielding, etc. All of these factors have recently been significantly reduced and for the first time it can be said that digital sound sounds “analogue” without blush on one’s cheeks, caused by such apparent abuse. The French Totaldac company run by Vincent Brient proposes its own method of digital signal conversion. It is one of just a few (!) audio manufacturers that have constructed their own digital-to-analogue converter – and it’s not about a device, but a converter. Almost all the remaining manufacturers use ready-made chips produced by one of the following specialist companies – ESS Technology, Burr Brown, Crystal or Wolfson. The exceptions that must be mentioned here are: dCS with their Ring-DAC and MSB Technology (read in Polish HERE. Now it is also Totaldac. In this respect, the French company resembles MSB: its converter is simply a set of ultra-precise Vishay resistors, switched in integrated circuits. It is impossible to build a more precise DAC system. However, this is not everything that can be done in this field. Vincent proposes a few levels of sophistication based on a basic “brick”, i.e. the DAC d1-single. SETUP/UPGRADE A SINGLE BOX: d1-single | d1-integral | d1-tube A Totaldac system can be built up gradually, starting with a single device with an external power supply unit, i.e. the d1-single converter (price: €6960). If we equip it with an audio file player module, it will become an integrated file player called d1-integral and will cost €8400. There is also a d1-single version with a tube output – the d1-tube (price: €6950). This DAC features most of the solutions that we can find in all Vincent’s more expensive systems. In the DAC, digital signal is loaded onto a FPGA chip, operating alongside the FIFO buffer (memory) which delays signal by about 10 ms. It is enough for signal overclocking and jitter minimization. However, it is still a single box with an external, small PSU. A SINGLE BOX: d1-dual The next step may be to double the number of resistor ladders in the appropriate D/A converter, which results in smaller quantization errors and lower noise, etc. This is how the d1-dual is created. We wrote about it HERE. It costs €9900. TWO BOXES: d1-server + d1-dual | d1-server + d1-single/d1-tube It is a variation of the company’s complete digital source. The system consists of two boxes. The first one houses file transport and a circuit which re-clocks digital signal, with digital inputs, whereas in the other one there is a converter – one of three versions (single, tube or dual). The systems cost, respectively, €10 850 and €13 790. THREE BOXES: d1- monoblock | d1-twelve Finally, there are versions consisting of three boxes, with three external PSUs. The first of these versions is a system with an external circuit which re-clocks signal and two d1-dual converters operating as monoblocks. Instead of two resistor ladders per channel there are four per channel here. It is a fully balanced system. On the very top there is a system which costs €29 500 (plus an extra charge for a file player system). It consists of a reclocker with digital inputs and two monophonic D/A converters. Instead of four, we have as many as six parallel resistor ladders per channel in them – the circuit is unbalanced. Thanks to the parallel connection, it was possible not to include any amplifying circuits and buffers on the output – signal from the DAC is immediately sent outside. A disadvantage of this solution is lower output voltage – instead of 3.1 V we have 1.4 V. If we are using an active pre-amplifier, there won’t be any problem with that. This is the system that we tested. Basic Totaldac systems offer a lot of options, such as a headphone output, a filtered subwoofer output, etc. The top d1-twelve model does not have them. All signals are supplied to the main device (“reclocker”). Signal is split in it into two channels and sent to the monophonic DACs with the use of two AES/EBU digital cables. The company supplies its own, quite good interconnects of this type, but I used Acrolink Mexcel 7N-DA6300 cables. The monoblocs are also connected using two extra connectors – a digital BNC interconnect which synchronizes the clock signal and an RCA interconnect which is used to transfer control signals. The first cable is the most important one – in my system it was the Acrolink Mexcel 7N-DA6100, whereas the Oyaide DR-510 was used to transfer control signals. The system version which I obtained for the test had an installed file player. So, Vincent also sent me a router with a linear PSU, as well as a NAS and a set of cables, including his own Ethernet cables. However, I didn’t use that option. I was interested in how the d1-twelve operates as a DAC with external signal from physical media: CDs, DVDs and Blu-ray Audio discs. Signal was sent to it from the Ancient Audio Lektor AIR V-edition player with the Philips CD-Pro2M transport, as well as from the multi-format Primare BD32 MkII player, which I used to play DVDs, DVD-Audio discs and Blu-ray Audio discs (signals up to 24/192). I also checked how the system behaves with signal sent from a computer through a USB input, including DSD signal. As regards DSD, Vincent made it possible to convert all PCM signals to DSD, which can be changed in the device menu. I did not use that option, as I think that every type of signal should be converted in its original form. Then, it sounds better to me. TOTALDAC in “High Fidelity” REVIEW: Totaldac d1-dual - digital-to-analogue converter, read HERE Recordings used during the test (a selection): CDs: Dżem, Zemsta nietoperzy, Pronit/Remaster Damian Lipiński, CD-R + DSD (1987/2015). Ed Sheeran, X, Warner Music UK/Warner Music Japan WPCR-15730, CD (2014); Lisa Gerrard, The Silver Tree, Sonic Records SON212, CD (2006). Mark Hollis, Mark Hollis, Polydor 537 688-2, CD (1988). Mel Tormé, Sunday in New York, Atlantic/Warner Music 79684-3, “Jazz Best Collection 1000. No. 4”, CD (1966/2012). Miles Davis, In A Silent Way, Columbia/Mobile Fidelity UDSACD-2088, “Special Limited Edition, No. 1311”, SACD/CD (1969/2012). Oscar Peterson, Unmistakable, Sony Music/Zenph Studios 951702, “Zenph Re-Performance”, CD (2011). Perfect, Unu, Tonpress/Remaster Damian Lipiński, CD-R + DSD (1982/2015). Piotr Anderszewski, Piotr Anderszewski at Carnegie Hall, Virgin Classic 267291 2, 2 x CD (2009); Sonny Rollins, Saxophone Colossus , Prestige/Analogue Productions CPRJ 7079 SA, SACD/CD(1956/2014). Sonny Rollins, Saxophone Colossus, Prestige/Victor VICJ-60158, XRDC (1956/1998). Blu-ray Audio discs: John Coltrane, A Love Supreme, Impulse/Universal 3735663, High Fidelity Pure Audio Blu-ray, PCM 24/96 | Remaster 2008. Queen, A Night At The Opera, Island/Universal 3732771, High Fidelity Pure Audio Blu-ray, PCM 24/96 | Remaster 2011. Franz Shubert, String Quintet C major D 956, wyk. Auryn Quartet, Tacet B110, Pure Audio Blu-ray, PCM 24/96 (2014). Ellen Sejersted Bodtker, Sonar, 2L 2L51SABD, Pure Audio Blu-ray PCM 24/96 (2008). Opeth, Pale Communion, Roadrunner Records RR757375, Blu-ray Audio, PCM 24/96 (2014) Depeche Mode, Delta Machine, Blu-ray Audio 24/96 (2014) [w:] Live in Berlin, Sony Music | Columbia 5035642 (2014). Japanese issues available at [REKLAMA5] Do you know what escape velocity is? In Stephen Hawking’s book entitled The Universe in a Nutshell, the phenomenon is illustrated with a suggestive drawing of an enormous steampunk cannon which fires a ball on one of the pages. The ball falls on the next page, apparently not having reached escape velocity. In a nutshell, it is about escaping so fast that the escape is successful. In Hawking’s words: “If […] the initial speed of a body is greater than some critical value – the so-called escape velocity or the first cosmic velocity, the pull of gravity won’t be able to hold the body which will escape into space” (Stephen Hawking, The Universe in a Nutshell, quoted from the Polish translation: Wszechświat w skorupce orzecha, Poznań 2014). Just to remind you: the value equals ca. 12 m/s on the Earth. The Totaldac d1-twelve belongs to the elite group of devices which seem to escape both the gravity of their mechanical nature and of our habits. It is a thought which came to my mind immediately after I used the tested DAC to listen to a few recordings whose sound I was mostly curious about. The follow-up listening sessions and other discs only made me confirm myself in this conviction. Two weeks earlier I had achieved a very similar effect with the Naim Statement amplifier, just like a year ago – with the TechDAS Air Force One turntable and the dCS Vivaldi digital system. The tested DAC is closest to the Naim Statement amplifier, because its sound is exceptionally pure. It is REALLY pure, not dried or contoured. It is also characterized by excellent resolution and selectivity. In fact, all other digital systems, perhaps except for the abovementioned dCS, sound a little bit colored and more dirty. I am talking about top products with which I could happily live, also including the Reimyo DAP-999EX Limited DAC with the CEC TL0 3.0 transport and the Accuphase DP-900/DC901 transport/DAC. The “dirt” that I have mentioned consists of thickening virtual sound sources a little and blurring them. I hadn’t realized that until I heard the Totaldac d1-twelve which resembles the CD Ancient Audio Lektor Grand SE player in this respect. At first sight, this is not a “Wow!” type of sound. Such sound, in my perception, is characteristic for the TechDAS turntable and the dCS player, both of which surprised me since the very first listening session. At first, the d1-twelve sounds a little lighter than both my Ancient Audio Lektor AIR V-edition player, and the Reimyo and Accuphase converters. It seems that its tonal balance is raised and that accents have been moved up. However, after a moment of accommodation, it can be heard that it is simply more natural sound that is more true in the sense that it isn’t “made up”. I am sure that almost all other converters add something from themselves in the lower midrange and upper bass, because of which their sound is fuller and perceived as “live” music. However, in reality, if a constructor is not able to render true information which builds up a more reliable musical message, he or she emphasizes a segment of the range and “voilà!” – we have dense sound, but only seemingly so. Totaldac relieves music of the act of reproduction – that is, it seems so. As in the case of anything else, this can also be improved, this is what progress is about. However, as for today, it seems that the d1-twelve operates as if it sets the musical message free. It is ostentatiously free from any dependence, not attributed to anything else apart from itself. Recordings gain depth, both within the sound of the given instrument or vocal, but also within the sound stage. Everything is more true with the DAC, more distinct and normal, through a reference to the experience connected with concerts. It is hard to define the tonality of the device, as there is everything that we expect in it. It is easier to say what makes us like other perfect digital products so much, because the d1-twelve nicely shows these actions. The first one refers to the abovementioned lower midrange which is weighed down a little, because of which the musical message is fuller and denser. At such high resolution as here it is not necessary – the act of weighing down and filling up is carried out thanks to a larger amount of information and its faster and more precise presentation. The warmth and saturation in audio products can be achieved by coloring sound or withdrawing the attack, etc. In my opinion, all these actions are justified and produce excellent effects. Warmth can also be obtained by aiming at the lowest possible distortion and noise, and mainly by minimizing jitter. It is more difficult to do, but in the last two years such a way of thinking has been more and more frequently adapted, also in the case of cheaper products. Thanks to this, new Accuphase products sound so well. The tested converter does it in a yet different way. Clarity, resolution, signal rise speed, minimum jitter – each of these elements on its own and all of them together let us get more music. It is because elements that have so far been covered become important or, if these elements have been apparent, they are also ones that do not interact with other elements. We can now hear very well that the guitar in the acoustic version of Personal Jesus was recorded directly from the line and sound from the microphone was only gently added to it, whereas Dave Gahan’s voice was recorded separately in a different room. Some echo was added to it and a track operating on two planes was created. Most systems bring the Depeche Mode vocalist to the foreground. He is taken out of the specific acoustics of a small, tiled (this is what it sounds like) room, which is later hard to forget. In the case of the best digital sources, the vocal is far away at the background, where it should be, whereas the guitar is closer. However, even in the case of these devices, the duality is not as clear as with the French converter. Thanks to this, the recording has taken on a new dimension – I have been listening to it for years, also during tests, but now it intrigued me, aroused my interest. I have recalled a not-so-audiophile recording to make it clear that we are talking about a structural change, not only about the way in which the converter “treats” individual recordings. It’s an extension of the field of view, not only an instance of cleaning one’s glasses. I think that the difference is well demonstrated in the case of the new remaster of Sonny Rollins’s Saxophone Colossus album (Prestige LP 7079, 1956). I am not for thoughtless, automatic purchasing of newer and newer recording versions. Technological progress, both on the part of the recording studio (i.e. thanks to new techniques of analogue-to-digital conversion and new remastering methods), and on the part of the physical medium (i.e. the method of its creation), does contribute to a real improvement of sound (at least in most cases). Therefore, I sometimes buy titles that are most important to me in a new version, especially in the case of a whole new series. I am interested in the music included in them and in the case of many new issues there is simply MORE of it on the discs. Such an exceptional case in which I “subscribed” to all available titles is the Analogue Productions “Prestige Done Two Ways” series. There are going to be 50 issues – 25 stereophonic and 25 monophonic ones. I already have some of them, their different issues, but this is a series which is really worth having. Saxophone… belongs to the canon of jazz and has been reissued many times. For many years, the digital model for me was the issue from the year 1998, prepared by Alan Yoshida and Akira Taguchi in the JVC Victor studio and released as an XRCD (20 bit/K2). A new version was prepared in the Cohearent Audio facility by Kevin Grey for Analogue Productions, in the form of a hybrid SACD/CD. Reading from the CD layer is therefore a bit worse due to the presence of a “half-transparent” SACD layer in front of it. In spite of this, the sound of the new version is much more communicative and has a better definition. The XRCD shows larger virtual sources, with a stronger basis. It is what people like, me being no exception. However, in the case of Mr. Brient’s DAC it is audible that this is a bit “plastic”, artificial sound. The new version is purer and the sound stage is set much deeper into the background, which is very important in the case of monophonic recordings. The dynamics is also better differentiated and, in the case of the XRCD – averaged; everything there is strong and “in-the-face”. This is what makes the Totaldac d1-twelve different from other converters, perhaps except for the Vivaldi dCS and the Lektor Grand SE that are most similar to it. It presents a musical event as something natural and normal – not as an act of creation, but interaction between the sound of an instrument and the acoustics that modifies it, and, in the recording’s broader plan, between all the sounds. Despite so much information, the sound of the tested “boxes” isn’t brightened up, neither do they emphasize the treble. I was actually surprised with how densely and warmly they present vocals that are not very well recorded, because of which they cause standard problems – Ed Sheeran’s vocal from the album X, vocals of different artists from the album For The Masses and even Mel Tormé’s vocal from the album Sunday in New York. The energy of each sub-range, also of the treble, is very high, to the point that everything “vibrates”. When Max Roach strikes the edge of a drum on Rollins’s album, it is a strong and pure strike – it is stronger and more equivocal sound than usual. If a recording is dirty and compressed, it sounds more gently than usual. Summary My world of sounds, my world of music revolves around “physical” formats, headed by the Compact Disc and Long Play. For me, the model is an analogue master-tape played on a high-end cassette deck – both CDs and LPs sound very different from it. Intuitively prepared DSD files are closest to it. They are best if they are double- or even quad-speed DSDs. To confirm what I am saying, it is worth looking at a new article of the editor-in-chief of “Positive-Feedback Online”, David W. Robinson: Impressions: The First Batch of Yarlung Records Quad DSD (DSD256) Transfers. SACDs are also coming closer and closer to this ideal. For me, however, CDs and LPs sound good enough. If I can use such an excellent tool as the Totaldac d1-twelve, it is hard to complain about anything. Would I change anything in this sound? Well, if I had the power, I would add some more “foundation” to it. I don’t know how, I don’t even know if it’s possible, but the colorings that we get with other excellent converters make sound seem lower. It is just masking, but I subjectively perceive it in this way. Perhaps one more thing – at the very bottom, somewhere at 30 Hz (I can also hear it higher in the range, but I think that the source is at that very point), the bass is a bit less differentiated than the rest of the range. However, nobody’s perfect, are they? Anyway, the range is better than anywhere else. However, it is just speculating. Here and now, the sound of the French converter appeals to the whole of me, to every corner of my musical universe. It introduces a new perspective into recordings, freeing them from a spell cast by other digital systems. Its range is extremely stretched in both directions, although we do not perceive this in such a way at all. It is because we are not talking about a magician’s tricks here, but about reliable sound, very close (generally speaking) to the sound of analogue master-tapes. It is an outstanding digital system, one of the best digital sources in the world that I have ever known, perhaps alongside the Vivaldi dCS and the Lektor Grand SE. All Totaldac devices have the same casing and the same PSU. The only difference concerns the arrangement of electronic components that are placed on the boards inside. The casings look like low trapeziums with an acrylic front panel and aluminum casing. A piece of vibration-damping material has been attached to the upper panel (on the inside). At the front there are yellow OLED displays which show the chosen input, input signal sampling frequency and volume – both on a bargraph and alphanumerically (in dB) with the level of 0.0 dB (in the case of a lack of dumping). Volume is changed in the digital domain, in a 64-bit DSP circuit. It works very well, but if you want to achieve absolutely top sound, I would encourage you to use an external active preamplifier and leave the settings in the Totaldac at 0.0 dB. The rear panel is very similar in all Totaldac devices – the only difference concern the arrangement of elements. In the reclocking circuit there are all digital inputs including the Ethernet input. If we do not use the USB input, it is worth closing it with a filter offered by the company, which I did. What is more, I placed the Acoustic Revive RLT-1 LAN Terminator filter in the unused Ethernet input and the Acoustic Revive USB filter in the other unused USB input. There are two AES/EBU inputs (110 Ω) in the first box. These are the inputs that we use in the monoblocks. There are as many as three analogue outputs – two RCA and one XLR input. The latter one is there just for the sake of convenience – signal is unbalanced on them. So, one of the RCA outputs should be used. There are two, because the first of them is classic, with a decoupling capacitor, and the second one does not have a capacitor. The second one is, as Vincent says, experimental. There is bias signal present on such an output, i.e. DC voltage which polarizes signal. If there is a transformer or a capacitor on the output of the next stage, it is worth trying it out, because in this way we get rid of one element from the signal path. In my system, the Soulution 710 amplifier equipped with very advanced security systems refused to collaborate with this type of output and the test was carried out with the output coupled using a capacitor. The inside is similar in all the devices – there are two large boards placed one above the other. On the upper board there are resistor ladders with integrated circuits that control them, as well as a large DSP chip. The whole section is coupled (using a matching transformer) with the board below on which there are power supply and output circuits. In the reclocking device, the board with the DAC is not assigned. The boards are not mounted directly to the bottom, but to a thick, copper panel. In the power supply units there are medium-sized toroidal transformers with a lot of secondary windings – the converters and the “reclockler” have a lot of separate supply lines. The PSUs are connected to the devices using quite long cables with DIN connectors. To tell you the truth, I think that this problem should be solved in a different way – there should be a fourth identical casing in the system, in which there ought to be three PSUs. That would look better, the system would be easier to set up and only one expensive AC power supply cable would be sufficient. In the existing system, I had to use two Acrolink Mexcel 7N-PC9500 cables and one Crystal Cable Absolute Dream. The devices look as if they have been designed with the thought of collaborating with the CEC TL1 transport in mind. I think that with its new version, TL0 3.0, they will constitute a reference system. This is how Vincent is going to present the d1-twelve in the future. The device is controlled using a small, plastic and ugly remote control. DO YOU WANT TO KNOW MORE? MORE QUICKLY? JOIN US ON TWITTER: UNIQUE PHOTOGRAPHS, FAST INFORMATION, NEWS NOTIFICATION!!! [hfgallery] [img mini="foto_testy/1504/Totaldac/th/05.jpg" big="foto_testy/1504/Totaldac/05.jpg" src="foto_testy/1504/Totaldac/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/06.jpg" big="foto_testy/1504/Totaldac/06.jpg" src="foto_testy/1504/Totaldac/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/07.jpg" big="foto_testy/1504/Totaldac/07.jpg" src="foto_testy/1504/Totaldac/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/08.jpg" big="foto_testy/1504/Totaldac/08.jpg" src="foto_testy/1504/Totaldac/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/09.jpg" big="foto_testy/1504/Totaldac/09.jpg" src="foto_testy/1504/Totaldac/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/10.jpg" big="foto_testy/1504/Totaldac/10.jpg" src="foto_testy/1504/Totaldac/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/11.jpg" big="foto_testy/1504/Totaldac/11.jpg" src="foto_testy/1504/Totaldac/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/12.jpg" big="foto_testy/1504/Totaldac/12.jpg" src="foto_testy/1504/Totaldac/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/13.jpg" big="foto_testy/1504/Totaldac/13.jpg" src="foto_testy/1504/Totaldac/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/14.jpg" big="foto_testy/1504/Totaldac/14.jpg" src="foto_testy/1504/Totaldac/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/15.jpg" big="foto_testy/1504/Totaldac/15.jpg" src="foto_testy/1504/Totaldac/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/16.jpg" big="foto_testy/1504/Totaldac/16.jpg" src="foto_testy/1504/Totaldac/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/17.jpg" big="foto_testy/1504/Totaldac/17.jpg" src="foto_testy/1504/Totaldac/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/18.jpg" big="foto_testy/1504/Totaldac/18.jpg" src="foto_testy/1504/Totaldac/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/19.jpg" big="foto_testy/1504/Totaldac/19.jpg" src="foto_testy/1504/Totaldac/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/20.jpg" big="foto_testy/1504/Totaldac/20.jpg" src="foto_testy/1504/Totaldac/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/21.jpg" big="foto_testy/1504/Totaldac/21.jpg" src="foto_testy/1504/Totaldac/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/Totaldac/th/22.jpg" big="foto_testy/1504/Totaldac/22.jpg" src="foto_testy/1504/Totaldac/22.jpg" desc="HighFidelity.pl"] [/hfgallery]