PRE-INTRODUCTION When I was a little kid, my mother told me that there is the "black death" hiding in the power socket. It was a simple threat, of course, intended only to protect my life. Many parents use such a "tricks" where through a magical, but very suggestive and meaningful for the children's psyche and imagination, stories, they simply try to protect theirs offspring against electrical shock, the deduction by a car or falling out of the window. This is the way the adults look at it. They manipulate child's imagination to obtain measurable benefits believing that "after some time children will mature and outgrow of this staff...!" But I think that they are wrong! These all fairy tales, good or bad fairies, monsters lurking behind the window sill, etc, etc, all of them build the inner So, is it ok to tell a fairy tale to a child? Naive stories about flying carpets, sleeping beauties, knights murdering dragons in defense of princesses virginity (!!)? Obviously yes! The child's psyche is not ready to take the world as it is. As well as the young animal learns the art of hunting through fun, what ensures its survival, the child learns through listening to stories with simple, understandable for him symbols, to absorb its moral. But only if there is the moral… Do not insert a screwdriver into the power socket! Fairy tales introduce children’s psyche, which is unformed, and therefore very sensitive, to the world of rational, adult emotions, values and life choices. Who become a young boy all day long killing the enemies, stealing the cars and making a few more things yet (…!!) in his vitual wold of computer games? I believe that the human psyche is shaped very early. That’s why the kind of a fairytales you had heard as a child is so important, as well as the kind of fairytales you will tell to your children…! It would be rather quite naive to believe, that man will overgrowth it - for example I'm afraid of electricity till now! Who’s the audiophile fearing the electrical current? Let's ask otherwise: who is the sailor who can not swim ? Or even better yet, what kind of ship sinks in the moment when it touch the water...?! The useless one, the thing, unable to function in accordance to its purpose. To fear the current it's the same as if to be afraid of the water in the tap. We live thanks to the water. We are made from it in more than ninety percent. For our musical equipment current is like the water to us, the power socket is a tap. The more it's able to draw from it, the more it will cook the soup. Even if you put the best ingredients in the pot: meat, vegetables, spices, but you don't pour water into it, the soup will be only the empty promise...! I don't know if I should further explain using these fairy-tale comparisons? I think that's enough ...! Let me tell you a tale, not about the Puss in Boots, but specifically about power cords which have been designed "only" to provide this "life-giving" elixir to your systems. And here we come (probably only a few agree) to the second meaning of the term "fairytale". What kind of stupid fairytales are you telling? Literally "fairy tale" = crap, bullshit...! Those who weren't told a fairy tales in childhood by their grandmothers, or those who were condemned to watch cartoons for hours by their (due to parents` laziness), may perceive this genre of literature and oral tradition in a such a negative way. Among them are also people who "matured" too early becoming ‘weenies’ who tends to examine teenage life from the perspective of the galactic core, as Goethe in "The Sorrows of Young Werther". They're not afraid of electricity, and nobody will tell them any fairytales about it! So, what kind of fairytales ... about the power cords are you telling me..., again?! INTRODUCTION Just as in the previous edition of Close Encounters of the FIRST Kind, where we dealt with the influence of the length of the IC on the sound system, now we decided to examine this aspect but with the power cords. And again we met with a very cordial response from cables producers and distributors. As many as six identical sets of cables of different lengths have been delivered to us! Honestly, this test scared me more, than the previous one. At the beginning I had the feeling of entering “terra incognita”, which so far, was for me the theme of power supply. Considering that the so-called public opinion doubting the cable impact on anything..., I was afraid that the study of the effect of the length of the power cord on the system sound will result in accusations of heresy, reproaches of worship and belief, voodoo and the occult! And here it is, the reality has, as usual, different plan. Further pairs plugged into my system immediately and easily to distinguish showed the difference in sound caused by changes of length. My fears proved unfounded, just as baseless are arguments not supported by any evidences, which, in our audiophile world, are our ears and our attention devoted to music. Just as in the previous test we made sure that the tested pairs of wires were basked, or not basked at all. Differences in the sound of my system after connecting various power cables were the same as in the previous test of interconnects simply "dramatic". But as I mentioned above, the difference between the lengths of one pair of wires was so large that it was much, much easier to hear, than in the previous test of interconnects. Tested power cables were connected to the SACD Yamaha player, because here the difference in sound between their lengths was the greatest. At the end of the test, only for checking, attempts were repeated, for some cables, with connecting the amplifier Luxman and turnable preamplifier RCM-Sensor. A new "member" joins our team for this test - WOMAN! According to general opinion, an ALIEN in the audiophile community consisted of middle-aged men with emotional and social problems, and what is the worst, with impaired one part of body... We'll see if this "creature" detached from "everyday domestic duties" will hear something... ;-). ADAM SCHUBERT Gigawatt-the owner Translation-Krzysztof Kalinkowski INFLUENCE OF THE LENGTH OF POWER CORDS ON SOUND Differences in sound of the different lengths of GigaWatt power cords must be explained with the fact, that there is a dependency between the length of the cable and the sum of electro-physical phenomena happening inside it. While in iterconnects and loudspeaker cables it is desirable to reduce their length, in power cords the opposite is true, and shortening of the signal path may not be favorable and have a significant effect on the quality and character of the sound. Interestingly, this influence will be comparable (or even greater) than the one coming from signal or loudspeaker cables. Why? Each power cable should have set mechanical and electrical parameters, defined during the design stage. The used isolator, conductor material, their geometry, or the amount and density of shielding are the most common parameters defining a power cord. However there are other physical parameters resulting from the construction of the cable and materials used, which will determine the final sound of a power cable. The construction of a cable is closely related to such parameters as capacitance, inductance and resistance. A combination of those results in a low-pass RLC filter, which effectiveness will be different depending on the length of the cable, and in consequence, from the three parameters interacting. The proportion, dependence and relationship of those parameters is never random, sometimes this is the most heavily guarded secret, as it is key for the success of a power cable and determines its position on the audio market. To better understand the mentioned phenomena, we can simplify them to say, that a power cable acts as a kind of anti-distortion filter, which eliminates noise. This happens not only due to the capacitance and inductance created between the leads of the cable, but also due to the existence of a shield, which has to protect the cord from negative influence of external electromagnetic fields. Shortening of a cable also diminishes the effectiveness of such shielding, what can lead to worsening of the performance of the cable and in result have a negative impact on its "sound". On the other hand, the resistance of a cable should be as low as possible. With shortening of a cord its resistance also gets lower, but the final result is also influenced by parameters like the material of the conductor, its density and cross-section. Silver has the lowest resistance. This means, that it is a metal, that has the lowest drag against electrical current - it is the best conductor. Copper has second place. Although the value of the resistance diminishes with the increase of the cross-section of the leads, it is worth mentioning, that during the many years of our research and experiments with different conductors we discovered, that the purity of the conductor is absolutely not a key parameter defining the sound. The armaments race to get the copper as pure as possible is nothing else than a marketing hype, trying to catch clients using a "dead parameter". Our company searched a long time for a supplier of copper, or copper leads, with the highest possible purity at a reasonable price. A 5N purity can be achieved only in very demanding conditions, and what is most important, it is very difficult to prove such purity. This is the reason, that often clients become victims of dishonest manufacturers, who groundlessly overuse that parameter. A declared 6N and higher purity can be regarded as fairytale, unless the copper works can have cleanness parameters comparable to those from Intel laboratories. This is also the reason, that GigaWatt uses the best copper, from Polish copper works, with a real purity of 99,99% in two flavors: highly conductive cathode copper Cu-ETP and silver plated oxygen-free copper Cu-OF.  Summarizing (and giving away the results of the experiment): there is a reason, that a longer, 2 meter cable "sounded" better than the shorter, 1 meter length. This is also the reason, that we offer as standard 1.5 meter lengths of our cords. This is a "golden" compromise between the price and the final sonic result. Of course, a 2 meter piece of cable will be better, but will also be more expensive. However the relationships we described have also their limits. Cables with 5 or 10 meter lengths will not necessarily sound better, because in their case, the sum of the electrical phenomena may work at their disadvantage - mostly due to losses coming from their increased resistance. This is the reason, that for longer distances we use a completely different cable, a dedicated in-wall cable GigaWatt LC-Y. CABLES TESTED: 1. ENERR Delight Anima 1,8 m i 1,5 m 2. FURUTECH FP-314 Ag Fi-11G i Fi-E-11G 1,5 m i 2 m 3. GIGAWATT LC-2 MK3 1,5 m i 2m 4. GIGAWATT LC-3 MK3 1,5 m i 2m 5. P.S.C. (Pure Silver Connection) POWER Pristine Signal Transfer MKII 0,9 m i 1,8 m 6. SUPRA LoRad 3x2,5 MkII 1 m i 2 m MEETING PARTICIPANTS: Alexandra Sumorok – Ph.D technical sciences, art historian and specialist in the field of Stalinist Architecture and Art of Socialist Realism period. Like most women, she is not interested in musical equipment. With the greatest pleasure she likes to hear ... silence, which is very rare in our house... ;-). Hereinafter referred to as AS. 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. Witek Kamiński – architect; hereinafter referred to as WK. 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. ENERR Delight Anima 1,8 m i 1,5 m AS: Both wires played a homogenous, natural, smooth and coherent sound. The longer section presented a wider soundstage and a more spacious sound… MM: I do not like the sound of a shorter one, at all. I have this impression that I can hear the sound of half instrument. I like one and eight meter , it is more precise, but seems to me that it's a little cheating in the arrangement of instruments on the stage. WK: Longer Enerr tried to show greater and deeper soundstage, tried to better stretch the sound, tried to create the 3D effect. He did it all, at the expense of sound clarity and loss of detail. The shorter cable doesn't have this ambition! He decided to be honest. This resulted in a simpler, but more natural transmission, and so in my opinion much better. I like much more the shorter one! 2. FURUTECH FP-314 Ag Fi-11G i Fi-E-11G 1,5 m i 2 m AS: The shorter cable didn't leave behind a good impression ...! In a sense, it can not be compared to a longer one, because it "plays" just like a completely different cable! The longer showed a better and wider sound, which more precise and better heard instruments . The sound become shiny and full of energy. MM: For me, one and a half meters played "unsaid" sound ... Longer did everything better. Better was the space and the instruments were better arranged on the stage. WK: The two-meters did all better, a lot better. The instruments have become more sharply drawn (more precisely). The sound became more transparent. In the sound were much more high tones, which were better. Music became livelier, more energetic, lively sound took a shine. 3. GIGAWATT LC-2 MK3 1,5 m i 2 m AS: I didn't heard big differences between the wires. The shorter one was more dry and dull. The longer one played cool, but it was a little unreal sound. MM: Shorter played "philharmonic" sound, with less separation of instruments. Two meters showed more detail and the air around the instruments, but I had the impression that it is a little "cheating" us... WK: For me the longer cord played quieter, but deeper and more extended sound. 3D effect has appeared ! The instruments were better embedded in the scene. The sound was a little more thin and round, but with no loss of dynamics. 4. GIGAWATT LC-3 MK3 1,5 m i 2 m AS: In this case, a gulf divides both the lengths of the cables! The longer one is the master of dynamics-music has a "breath", a huge space, the music scene is like on the hand, although I do not know if this effect is fully natural. The sound is literally torn away from the speakers. Shorter plays quieter, flatter and tighter. There was no space and 3D. MM: I can not hear the special differences in sound, if I've to say something, it seems to me that a longer wire causes strange and not natural placement of instruments on the stage. WK: I also think, that both lengths sound very different . Longer cable plays louder, with more dynamism, which is less compressed, more freely. The sound is better stretched, and on the other hand more detailed and precise. The presentation is very realistic and very three-dimensional. There are more treble and they are much better. In comparison with it, the shorter wire sounds flat. 5. P.S.C. (Pure Silver Connection) POWER Pristine Signal Transfer MKII 0,9 m i 1,8 m AS: Shorter played very wide sound. The instruments sounded very precisely. The sound was soft and ductile and at the same time very detailed and coherent. The longer one presented incredible depth and created almost holographic effect. Instruments literally surrounded me-very interesting impression, but a little bit, not true;-). MM: I do not want to analyze the differences because I like the incredible sound of both and I think that is practically identical. Incredibly realistic message. Present but not intrusive detail, reverbs, space! WK: 0.9 sounded clearer, better drew instruments. It showed a better micro dynamics and the definition of instruments. He showed more detail. 1.8 meters showed a different approach to musical presentation. Here, more important was the message of the whole musical event, rather than individual instruments, or relishes in the form of creaking, knocking, etc .. It's not that there were no details, but they just played second fiddle! In addition, the sound was lower, smoother and more spacious. It was excellent 3D effect! 6. SUPRA LoRad 3x2,5 MkII 1 m i 1 m AS: Longer wire is clearly better! The instruments sound better, There is larger soundstage and a more extended sound. The cable also showed a larger space. MM: Longer has a better bass, more noticeable. It sounds more spacious. Shorter sounds dull. WK: Two meters mean a better stretched, more defined, more fluid and surround sound. Better is the dynamics, the instruments are clearer and have more shine. In comparison with it, one the meter sounds dry and flat. AT THE END So, what is the moral of today's tale about wizards who are stealing the life-giving elixir for elves living in our audio equipment, from the Black Death in the power socket? Was their mission, despite the fact that difficult and dangerous, successful? Will the elves, almost doomed to extermination by an evil witch is called public opinion, survive and will continue to laboriously spin their cranks so that we can hear lovingly played music? And finally, was the evil spirit of the iron cable, which had signed an exclusive contract with the Black Death in the power socket, finally was banished from Middle-earth? They are not questions for me... Good fairytale, as I wrote at the beginning, just ends, and the children themselves already know what to do next. So listen to a fairy tales. Who listens to ... not errs! Fairy tale (Wikipedia, The Free Encyclopedia) - A short work of fiction containing moral (instruction) can be rhymed, sometimes humorous. The moral may be at the beginning or end of the story or it may be the result of its content. An important feature of the fairy tale is allegory. The characters of fairy tales may be people as well as animals, objects and phenomena that embody human types, traits or opposing views and positions. Legend (myth) (Wikipedia, The Free Encyclopedia) - One of the fantastic epic genres, usually small in size, usually referring to folklore. It is dominated by elements of fantasy. He tells the story of the supernatural, miraculous events, characters and supernatural phenomena. One of the most important features of a legend is undetermined time and place of action. It includes folk wisdom, presents magical and folk beliefs. Story can be based on the tales. Analysis of Bruno Bettelheim (Wikipedia, The Free Encyclopedia) - According to Bruno Bettelheim, a fairy tale reveals the existential problems in a compact and simple form, that is understandable for the child. Its specific features (such as lack of details in the story, the characters who represent a certain type, not a unique individual) make the story useful to your child in providing explanations concerning its own psyche and supporting the development of children's personality, the maturation. Bruno Bettelheim points to the constant themes in fairy tales, allowing child overcome fears of adolescence and emancipation, detachment from parents and fears associated with the opposite sex. Fairy tales, according to Bettelheim perform a therapeutic function, as well as communicate a basic understanding of the culture in which a child grows up. Bruno Bettelheim wskazuje na stałe motywy w baśniach, pozwalające dziecku pokonać lęki przed dorastaniem i usamodzielnieniem, oderwaniem od rodziców oraz lęki związane z płcią przeciwną. Baśnie zdaniem Bettelheima pełnią funkcję terapeutyczną, a także przekazują podstawową wiedzę na temat kultury, w której dziecko dorasta. ENERR cables supplied for testing by distributor: www.arspoaudio.pl FURUTECH cables supplied for testing by distributor: www.rcm.com.pl GIGAWATT cables supplied for testing by manufacturer: www.gigawatt.pl P.S.C. cables supplied for testing by distributor: www.bestaudio.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/1504/pss/th/05.jpg" big="foto_testy/1504/pss/05.jpg" src="foto_testy/1504/pss/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/pss/th/06.jpg" big="foto_testy/1504/pss/06.jpg" src="foto_testy/1504/pss/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/pss/th/07.jpg" big="foto_testy/1504/pss/07.jpg" src="foto_testy/1504/pss/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/pss/th/08.jpg" big="foto_testy/1504/pss/08.jpg" src="foto_testy/1504/pss/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/pss/th/09.jpg" big="foto_testy/1504/pss/09.jpg" src="foto_testy/1504/pss/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1504/pss/th/10.jpg" big="foto_testy/1504/pss/10.jpg" src="foto_testy/1504/pss/10.jpg" desc="HighFidelity.pl"] [/hfgallery]

n 2011, on the occasion of the 30th anniversary of the High End exhibition, I asked a few producers what the dominant trend would be in the next few years. Almost all of them said that everything that is connected with transfer and reproduction of audio files (i.e. streaming, conversion and reproduction) would be most important. Even Heinz Rohrer, the CEO of Thorens Services AG, said: I’ll be a little evasive again, but for a purpose: although digital media mean everything now, vinyl pressings have never been so good and there have never been so many turntables, cartridges, etc. By saying this, he confirmed the opinions of my other interlocutors (more HERE). Apparently, they were right – we can see that the position of file players on the market is becoming stronger and stronger, whereas the market share of physical formats (with the exception of vinyl) is decreasing. Last year, during the High End 2014 exhibition I talked to a lot of exhibitors and what they were saying was a little different. All of them are aware of the revolution that has actually already taken place, i.e. of the presence of files and streaming as the mainstream sound source. However, many of them are now starting to use Compact Discs and Super Audio CDs with relief again (while they have never forgotten about vinyl). In this way, they are suggesting that we are losing something important when we stop using these formats. Nevertheless, they think that for NOW the most important challenge facing the audio industry is to take control of the acoustics of listening rooms. The problem is as old as the audio industry itself and, despite the fact that so many years have passed, acoustics still remains the least explored part of the audiophile universe. However, as digital signal transfer became widely used and a lot of money was invested in digital processing, new possibilities emerged. They were mainly used by manufacturers of sophisticated home theater systems – auto-calibration is now one of the basic sound improvement tools used in AV processors and AV receivers (and also subwoofers). Similar systems, often more advanced ones, are offered by a few high-end stereo equipment manufacturers, including Accuphase. An account of a meeting connected with the Accuphase DG-58 Digital Voicing Equalizer was published in the November issue of “High Fidelity” (No. 127, November 2014, read HERE), whereas “Gazeta Wyborcza” (a Polish newspaper) published its own article related to the event (more HERE). The product performance was unambiguously effective and was accepted as a step forward by all the participants. Not that there were no “personal losses” – it is simply impossible, but the opinions were unanimously positive. The correction of room influence on sound quality is one of a few ways of using the incredible computing power of DSP circuits that have never been so cheap before. Another possibility is processing signal in a way which makes it possible to minimize errors contributed by individual elements of the audio system, most often by converters and speakers. Thanks to proper processing of digital signal (“post-processing”) devices such as the all-in-one Naim Mu-so system sound so incredibly well. Its constructors tried to correct the imperfections of converters and their arrangement, as well as of amplifiers and files themselves by using digital signal processing. Such a correction can also be made in the analogue domain. However, if it is to be really effective, it has to be dedicated to a specific product and it will have a limited range. It can have excellent effects, like in the case of the Studio Oslo and Master Oslo speakers. These tiny speakers sound simply fantastic, contrary to almost every component – the size, power and number of converters. “P” PROJECT However, active columns from the Oslo series were something more – they became the starting point for a project which was called “P” by Jarek Waszczyszyn, the owner of Ancient Audio. It is all about a digital processor, the function of which is to correct the imperfections of converters and speakers in the digital domain. Its third version, called the P-3, was presented during the Audio Show 2014 exhibition and it had just been a matter of time until we decided to have a look at it within the Krakow Sonic Society. The meeting that we devoted to the P-3 was very interesting in the sense that it was held at exactly the same place at which we earlier tested the Accuphase DG-58. We also used the same system for testing. The device was also placed in an analogue path, between an Ayon Audio converter and preamplifier, exactly in the same way as the DG-58 before. Initially, I planned to insert the P-3 into a digital path, between the drive and converter, but the constructor had not anticipated such a possibility. At the moment, the processor has a few digital inputs, including USB, balanced and unbalanced analogue inputs, as well as balanced and unbalanced analogue outputs. It also has an adjustable output level, so it can function as a classic DAC. Actually, its arrangement is exactly the same as the one in my Lektor AIR, except for the fact that transistors are used here instead of tubes. However, the output coupling capacitors are the same fantastic V-Cap capacitors. We have to remember that it is not the first product of this type. At the High End 2014 exhibition in Munich, the French company Devialet presented a new line of hybrid, analogue-digital amplifiers. One of their most important properties were the SAM Processing (Speaker Active Matching) algorithms that correct the imperfections of speakers. Initially, data on a few dozen speaker models was stored in the device memory. Now there is probably data on a few hundred models and the number is still growing (more information on the technology is available HERE). In the case of the P-3, general data is pre-programmed in the device memory, whereas final settings are adjusted in the client’s system. Jarek Waszczyszyn does it himself and calls the whole process “seasoning”. So, he is the best person to tell us what the P-3 is and what it is not, as well as to talk about the ideas behind it. JAREK WASZCZYSZYN Ancient Audio | owner Jarek Waszczyszyn with the DSP P-3 in a box resembling a jewelry or a watch box. Later we had some fun and Justyna, the mistress of the house, presented it in a similar way. Both audiophiles-beginners and those who have listened to music from numerous (tube) devices all agree that a speaker is something that determines the sound of the whole audio system. It is the speaker (or the speaker set, to be more precise) where the most complex phenomena occur. A vast majority of speakers operate dynamically, based on the movement of a conductor in an electric field. The electrical aspect of their operation, i.e. the conversion of electric current into mechanical force has already been mastered and physical models are successfully used in the process of electric engines design. The second stage, i.e. the conversion of the conductor movement into a sound wave is definitely much more complicated. For low frequencies (when the dimensions are smaller than the length of the sound wave) it is fairly simple. The classic Thiele-Small (T-S) model is sufficient and it is successfully used by all speaker manufacturers and constructors. It all becomes more difficult at higher frequencies, when the size of the speaker’s membrane and its casing are similar or larger than the sound wave length. In this case, unwanted mechanical phenomena occur, both in the speaker itself and in its casing. Even the most rigid membranes (ceramics, diamond) bend and the most robust casings resonate. As a result, artificial resonances, delays and sound wave distortions occur. The processor is called the P-3 because it is its third version. The previous versions are shown in the photo. Constructors have been trying to overcome these phenomena for many years. Those who design speakers, apply sophisticated mechanics – exotic materials and elaborate geometry. Speaker constructors use electrical correction with the use of complex crossovers. A good example of that are classic Thiel speakers: their first-order crossovers consisted of even a few dozen elements. These techniques only made it possible to partly solve the problem, causing new problems. Digital technology has proved to be the solution to these problems. The correction of mechanics through digital signal processing has had excellent effects in industrial processes, motorization and aviation. It is so effective that a user most often does not realize it is being applied. Pressing the accelerator pedal used to open the throttle in a car’s carburetor. Today, air intake is controlled by a stepper motor, whereas fuel is supplied by computer-controlled injectors. The accelerator pedal only supplies information to the computer, while the user can enjoy the full comfort of driving. The basis is an appropriate engine model and the algorithm which controls it. The beginnings of digital speaker correction date back to the 1980s and are connected with the emergence of DSP (Digital Signal Processor) circuits. Most of these devices, e.g. the Accuphase DG-58, operate on the basis of speaker characteristics measurement and then create reverse characteristics. This method is quite safe, but at the same time limited – it does not address the real sources of problems. The inside of the P-3 has been prepared in such a way that it is possible to admire it without the upper panel, just like a tube device. My device attempts to solve the problem differently. It all starts when a theoretical model of a speaker is created. It takes a lot of parameters into account, including the size of the speakers’ membranes, the material they are made of, dumping, the reflection of sound wave from the casing panels and casing resonances. These phenomena are modeled using a unique algorithm, which is performed in real time by the speaker processor. Everything is packed in a neat silicon dice – the digital P-3 MK I sound processor. Developing my own circuit was essential, as all available signal processors did not have all the necessary functions. An important issue are the settings (parameters) of the algorithm. They have to be different for every speaker model. In the case of simple constructions, it is enough to conduct a series of measurements and take some simple steps according to the tuning procedure to set them. However, the best speakers require a “final cut” based on musical material. The base of ready-made settings is growing systematically: at the moment it includes Sonus Faber, Avantgarde Acoustic, JBL, Spendor, Raidho and Wilson Audio speakers. The processor resembles a C/A converter a little. On the one hand, it is a tiny silicon plate which needs to be surrounded with a power supply, an analogue stage, an interface, clocks, etc. It is similar with the P-3. The processor itself operates on the basis of digital data only – that is why it is easiest to install it in a CD player between the transport and converter – all Lektor player owners can do that. However, it is not a universal solution. The external universal device which operates as a typical preamplifier, requires an A/C and a C/A converter, a power supply, a casing, control, etc. That comprised the whole system from which we listened to music during our meeting – preamplifier/the P-3 speaker processor. I will also add that a P-3 D version is being prepared. It will be equipped with digital USB and S/PDIF inputs. However, such a product will largely limit functionality to S/PDIF – at the moment the processor operates in PCM only and does not accept DSD. Similarly, while working with digital signal only, it will not be possible to connect a cassette deck, a turntable or a tuner to it... The P-3 can also be installed directly in Lektor players. The price of such a change is 8000 PLN. A Lektor player can also be equipped with a processor and an A/C converter – such an upgrade costs 10 000 PLN. In such a case, it is also possible to connect analogue sources (a cassette deck, a turntable, a tuner, etc.) to the player. The P-3 can also be installed in other players (e.g. Ayon). The P-3 circuit installed in the Lektor Prime player. It can be installed in all Lektor and Ayon Audio players. SOUND, part 1 To have a realistic picture of what the device brings into a system, it was installed in the system in a balanced path between the Ayon Audio Stratos DAC/preamplifier and the Accuphase A-70 power amplifier. The Ayon device has balanced and non-balanced outputs that are changed using a switch, and the Accuphase power amplifier has inputs of both the types, also changed using a switch. So, the system was as follows: we connected the Ayon output to the power amplifier using a single balanced interconnect (that was our point of reference – this is how the system normally works) and we set up a parallel connection between the unbalanced Ayon output and the P-3 input (using the same interconnect as in the case of a direct connection, but in the RCA version). We sent signal from the P-3 to the unbalanced Accuphase input using an additional interconnect. When making a comparison, it was enough to simultaneously switch the Ayon output and the power amplifier input. Levels were equalized thanks to analogue control in the P-3. The listening session consisted of a few stages. During the first stage we compared the system with the P-3 switched on and without the P-3, using an A/B/A comparison, with unknown A and B (i.e. we did not know in which position the processor was in the path and in which it was not), using 2-minute long samples of musical works. After this stage participants voted for A or B, depending on which sound version they liked better, and I collected their opinions. During the second stage we listened to whole musical works (knowing A and B). Finally, we listened to many musical pieces, without any discipline, just as we wanted. The influence of the processor on sound is dramatic – it is hard to find another word. However, it was also not unambiguously positive. What is more, opinions changed with time, i.e. the more we got used to the sound of the system with the processor, the more willingly we would give it the first prize. However, since it was not a sound test of the “everything is fantastic” type, I will begin with the last stage, i.e. with participants’ opinions collected a few days after the meeting. Marcin It is true that good devices seem average at first and only later, after we have been using them for a longer time, allow us to discover something that lies deeper in them. Is it the same in the case of the P-3? Time will show. The changes that I heard with the processor were undeniable – there was a change of tone, purification, smoothing, but at the cost of dynamics, focus and the so-called “claw”. That is why in the case of rock recordings in which the electric guitar was dominant, the processor had an overall negative effect on the whole. In my opinion, it literally shattered (destroyed) the piece. It was so both in the case of Queen and Perfekt. However, when we listened to classical music or to calm California Dreamin’, things became more complicated. For me, the verdict was not so obvious anymore. Dynamics was not the most important thing here, so I spent a lot of time thinking whether the sound given by the processor was better for me or not. I was not sure about my verdict and perhaps the way I voted at the beginning of the listening session was influenced too much by what I heard when we listened to Queen? Anyway, the fact is that when I listened to a few other musical pieces with the processor, its sound was becoming more and more pleasant. However, from my point of view, the processor is not suitable for every music genre. At the present stage, the processor has (quoting a classic author) positive and negative pluses. In my opinion, there are more of these negative ones. Perhaps Mr. Jarek Waszczyszyn has “overdone” the processor, “told it to correct” too many things and “seasoned” (this is the term that he actually uses) everything too much? I am not an electronic engineer and I do not know whether it is technically possible, but I missed an additional potentiometer that would make it possible to adjust the degree of the processor’s influence on signal. While listening to Diana Krall, I would set it on 100%, whereas in the case of Perfekt – on about 20-30%. The processor has potential, but it just has to be “polished”. Bartosz I had been looking forward to the new top Ancient Audio product. After a short introduction (which was not short at all) prepared by Mr. Waszczyszyn, I was ready to buy the P-3 sight unseen – the theoretical background was fantastic and well showed what does not work in any audio system already at the very beginning. A “face-to-face” meeting with the P-3 was not so rose-colored anymore. There is no doubt that the processor does a good job. It eliminates annoying resonances and lets us play our favorite music really loud in such a way that it does not become tiring at any moment. However, this is done at the cost of sound quality itself. The sound of rock/metal/electronic music is greatly deprived of what is best in it. It lacks power, drive and might characteristic for these genres. It is different in the case of music in which the main role is played by instruments that do not require any amplification. When it comes to jazz and (mainly!) classical music, the processor does a very good job – sound is much more natural with it. Although even here the P-3 reduces the dynamics and the “kick” a little, it is, paradoxically, beneficial in this case. Natural sound is beautiful sound – it is dynamic enough in itself, full of energy and exciting, and the P-3 definitely helps to show it. At home I mainly listen to rock and metal. These are “my” genres that I know better than other music types. That is why, at the moment, here and now, I would not buy the P-3 processor. In cases when instruments, by definition, cannot sound “natural”, the P-3 will not prove useful – in rock music, for example, where “unnatural” fire and power are simply necessary. However, I also often listen to classical music, for which the P-3 would prove ideal. I believe that the processor will bring Mr. Waszczyszyn many more successes. It is already not bad, but if the latest Ancient Audio product was as beneficial for guitar music as it is for acoustic music, it would be a complete product. Rysiek B. I came to the meeting with great curiosity, having had my experiences with the Accuphase processor and the implementation of the AA processor in the system owned by Janusz, the host of the majority of our meetings. During the 96th meeting of the Krakow Sonic Society I heard what influence Jarek’s program had on Tomek’s equipment. 1. For me, the AA processor introduces live concert elements, mainly thickening of the soundstage, combined with partial masking of the sound of instruments. Only good studio recordings almost completely eliminate this phenomenon. So, I changed my mind, as presentation of “live-like” music with the processor in the system did not impress me. 2. I listened to vinyl and the tube radio all weekend. Their noble warmth and physiological calmness detached from the nervousness of a CD source made me realize that this type and these features of sound are brought to a system by the AA processor. 3. I know that the processor is programmable and I was brought to my knees by its operation in Janusz’s system. So, to recap: the processor’s weakness is the software and it should be improved, but I see “a great potential” of the device. Today I would also add that in Tomek’s system the processor did not (sonically) help the best CD recordings, e.g. Platinum SHM-CDs, similarly to the Accuphase processor (a disadvantage). As regards poorly made CDs, I felt an improvement in musicality and reduced sharpness (an advantage). Since we all differ when it comes to our personal sensitivity and we have our own calques, the processor must be programmed adequately to a given room, system and the owner’s taste, which was demonstrated by Accuphase engineers. Finally, I will tell you that I look forward to repeating the listening session at a different place. Wiciu In my opinion, it would be necessary to carry out extensive research to determine to what extent this device helps the listener. For many years I have been dissatisfied (less and less with time) with how recordings reproduce real sound, especially sound from a concert hall, which is simply natural. It is produced using acoustic instruments, without any amplification and constitutes an excellent point of reference. The participants in the meeting tried to avoid classical music like the devil avoids holy water, but it is exactly where we need to look for quality. On the way there is a whole group of other “record cutters” or technicians, etc. who create sound. In my opinion, classical music is the very domain in which it is easiest to determine if something resembles the original or not. Jarek’s device “kills” what today’s sound engineers are working on, i.e. some kind of charm and articulation which is often not heard in nature, but attracts us like a mermaid’s song in a recording. When it comes to pop music, the P-3 does not prove useful. It is different in the case of classical music, but, apart from the organ, we did not have too many occasions to check how this works. I am now sitting in front of my mediocre audio equipment and listening to Scheherazade with pleasure. In comparison to Tomek’s system, here the sound “takes off” the speakers much better. In the end, it is about the illusion which is supposed to give us a substitute of being where music is being played. Tomek I must admit that, at the beginning, my attitude to the P-3 Ancient Audio processor was skeptical. I had already come into contact with it during the previous edition of the Audio Show exhibition and I remember that I judged its presentation there as a speculation. Here is why: sound with equalization was really much better than sound without equalization, but the latter was, in my opinion, played too loud. Therefore, it was so importunate that turning equalization on could only bring some relief. When Jarek came to me two days before the listening session to set equalization parameters for the Dynaudio C-4 Signature and my room, we skillfully set up all the “physical” connections and then the constructor started the procedure of, as he beautifully puts it, “seasoning” the preinstalled program in order to adjust it to my surroundings. As I had been warned that it could even take 4 hours, I only asked for permission to have some German wheat beer and listened to fragments of musical pieces (several seconds each) played one after another. During the procedure it was hard to notice any evident progress until, after about two hours, Jarek said that it was almost ready. Then I immediately decided to use the opportunity to play Daft Punk’s Random Access Memories on my turntable, and turned the volume up to the levels at which enormous floor speakers feel best. That was my a-ha moment – I discovered that we could play really loud! The Accuphase A-70 display showed higher values of instantaneous power output (of about 150 W) than ever before in my system, and I still wanted to turn the volume up! For the first time I felt that it would be nice to have the A-200, the largest Accuphase monoblocks. I did not hear any (even slight) resonances of membranes, speaker casings, or of the room. The possibility to look into the structure of individual sounds in acoustic recordings was absolutely amazing. I do not think I have to add that switching equalization off caused immediate pain and the necessity to turn volume down. However, to make a completely fair comparison of the sound of my system with and without the processor, I decided to borrow a few pairs of interconnects before the meeting of the KSS, to make it possible to listen to music directly from the Ayon Stratos DAC/preamplifier with a power amplifier and through the P-3 processor inserted between these devices using analogue interconnects. I felt that unnecessary analogue-digital and digital-analogue conversion, which is carried out by the P-3 even in the case of the “no equalization” option, may put my system at a disadvantage. Since, as the host, I was responsible for changing the recordings and options (with/without the processor), I only observed listeners’ reactions when we first listened to five musical pieces, for two minutes to each, using an A/B/A comparison (A and B unknown). I did not want to spoil anybody’s fun, so I put on a stony face. I must admit that I was very surprised when it appeared that all the five participants said that my “raw” system was undoubtedly better. It was also worth noticing how consistently and correctly my guests (especially Rysiek) kept on recognizing sound with and without the processor later in the evening. It showed how much influence the P-3 has on sound. As far as I am concerned, the phenomena observed two days before had not changed, i.e. equalization still made it possible to play very loud music with no special limitations. On the other hand, it was audible that equalization also “cuts out” a little too much from sound. In many musical works this resulted in flattening the depth of the stage and dynamics. For example, it was impossible to listen to Slaughter of the Soul by At The Gates through the processor, because it sounded as if it was played in a tunnel. By the way, I am glad that the time has come when we can listen to any kind of music during our KSS meetings. 10 years ago, when our meetings consisted of playing the first minute of The Girl from Ipanema a few dozen times, listening to death-metal was absolutely unthinkable… Summing up, I think that the latest Ancient Audio product has a great potential, but it still requires some work on improving the equalization algorithms. Most probably, the processor would immediately prove effective in many systems that are less complicated than mine, faultlessly meeting all the purchaser’s requirements. I use as many as four signal sources and all of them are digitally connected. Right now, there are no plans to create a version of the P-3 that would be capable of operating in such a system. What I feel is that by supplying digital signal to the P-3 and using a digital output in it, it is possible to achieve excellent results (it is impossible for unnecessary A/C and C/A conversion not to influence quality). SOUND, part 2 We started the listening session with the A/B/A comparison, in which we did not know which configuration we were listening to – with the processor in the path or without it. Jarek and Tomek (the host) took care of changing the configurations. We listened to five pieces of music in this way. After this part of the listening session, I ordered everyone to vote and all the participants, except for the two of our friends who were engaged in switching, voted for A version. It appeared it was the system WITHOUT the P-3, with signal sent directly from the converter to the power amplifier. Complete consternation! Rysiek pointed out that in A version the tone, depth, clarity and separation of sounds were better. At the same time, however, he emphasized that in the case of B version vocals sounded more natural. As he said: “the better the recording, the lower rating I gave to B version, and vice versa: the worse the recording – the higher the rating”. To make things clear: A = direct connection, B = connection with the P-3 processor in the path. Not only Rysiek, but also Wiciu had such an opinion. Wiciu mainly listens to classical music, but not only – his latest purchase is a complete discography of The Beatles released on a Platinum SHM-CD. However, his impressions concerning individual musical pieces were different, i.e. the longer he listened, the less he liked B version. When asked whether he liked anything about this version at all, he enigmatically answered: “Nothing”. Marcin, in turn, did not have such clear-cut opinions. He joined Rysiek to praise the way in which vocals were presented in B version, especially Diana Krall’s vocal from the Wallflower album released on a SHM-CD (we had a pre-release version!). Marcin highlighted slight withdrawal of vocals towards the back of the stage, which was evidently beneficial, as it was more natural. However, as he said, the disk with the new remaster of Unu – an album recorded by a Polish band called Perfect (an analogue Damiana Lipiński’s remaster), as well as Queen from a Platinum SHM-CD were clearly less convincing with the P-3 in the path: “guitars played the worst, they were calmed down too much”. These observations were confirmed by Bartek for whom the sound and dynamics were also calmed down too much with the P-3. The sound without the processor was stronger, it had a better beat and scale. At the same time, however, as Bartek says: “the system without the P-3 distorts the sound a little, it is more swanky”. It is mostly because it “pushes everything to the front”. It was like this in the case of Queen, for example, where Freddie Mercury was moved to “stand” in front of the band, which should not happen. The P-3 calmed down the musical message, but also led to its better integration and moved everything behind the speakers, because of which the stage was much better – deeper and more coherent. What Tomek talked about in the first part is important: the influence of the P-3 is very strong and it changes sound in all its aspects. It is like changing the whole audio system, not just one component. The changes, as I have already mentioned, became the more important, the longer we listened to music characterized by them. After some time, returning to the listening session was, in many cases, a step back. As Bartek says, the processor “purifies the musical message, which makes a lot of sense in the case of acoustic music, vocals, etc.” However, both he and other participants in the meeting pointed out that talking about “fidelity” in the case of rock music is very doubtful, as rock is about power, kick, beat, dynamics and energy. With the P-3, all these elements were missing. The processor equally “calmed” everything down. With acoustic instruments, the musical message was much more interesting and detailed, while in the case of rock it was flattened to a degree which was unacceptable. Rysiek said that in the version with the P-3 jazz comes close to what we hear live and without the processor it is as if the instruments are listened to through microphones. The strengths of the processor were most audible in the case of classical music. It was possible to listen to it really loud without discomfort, in peace, like at a concert hall. Without the P-3, sound became tiring much faster. SUMMARY It is rare for us to be so unanimous with reference to a product (like at the beginning of this listening session) and have such different opinions afterwards. The Ancient Audio P-3 processor changes sound more than any other component that we have dealt with within the KSS. Looking at what is happening at the moment in the audio industry all over the world and listening to what the P-3 offers here and now, we can take the risk and say that this may be the most important product in Ancient Audio history, as well as in the Polish audio industry. However, not yet, as it is just the beginning. I understand the P-3 as something that is constantly being improved and is now half way through. Fortunately, it is a fully programmable product. So, if we buy it, we can improve its sound by simply changing the software. It gives us security that we usually cannot enjoy in the case of audio products. The only thing that should absolutely be available in the end product are digital INPUTS and OUTPUTS that would make it possible to omit conversion. The whole converter section is then unnecessary. Perhaps it could be a separate product. P.S. During the meeting, two new “certified” members – Marcin and Bartek – joined the Krakow Sonic Society. Welcome to the KSS! We promise a lot of music, as well as a lot of good fun and equally good wine :) SYSTEM USED DURING THE LISTENING SESSION Compact Disc Transport: Ayon Audio CD-T Audio files transport: Aurender X100L, test HERE Preamplifier/DAC: Ayon Audio STRATOS Power amplifier: Accuphase A-70 Speakers: Dynaudio C4 Signature Speaker cables: Acrolink 7N-S8000 ANNIVERSARIO Interconnects: Acrolink 7N-DA2090 SPECIALE, test HERE Power distribution strip: Oyaide MTS-4e, test HERE Wine served during our meeting was supplied by LocusVini.pl ul. Kobierzyńska 139a | Kraków 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/1503/KTS_96/th/05.jpg" big="foto_testy/1503/KTS_96/05.jpg" src="foto_testy/1503/KTS_96/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/KTS_96/th/06.jpg" big="foto_testy/1503/KTS_96/06.jpg" src="foto_testy/1503/KTS_96/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/KTS_96/th/07.jpg" big="foto_testy/1503/KTS_96/07.jpg" src="foto_testy/1503/KTS_96/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/KTS_96/th/08.jpg" big="foto_testy/1503/KTS_96/08.jpg" src="foto_testy/1503/KTS_96/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/KTS_96/th/09.jpg" big="foto_testy/1503/KTS_96/09.jpg" src="foto_testy/1503/KTS_96/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/KTS_96/th/10.jpg" big="foto_testy/1503/KTS_96/10.jpg" src="foto_testy/1503/KTS_96/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/KTS_96/th/11.jpg" big="foto_testy/1503/KTS_96/11.jpg" src="foto_testy/1503/KTS_96/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/KTS_96/th/12.jpg" big="foto_testy/1503/KTS_96/12.jpg" src="foto_testy/1503/KTS_96/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/KTS_96/th/13.jpg" big="foto_testy/1503/KTS_96/13.jpg" src="foto_testy/1503/KTS_96/13.jpg" desc="HighFidelity.pl"] [/hfgallery]

e have already written about the work of Mr. Kazuo Kiuchi many times (see: HARMONIX in “High Fidelity”). He has been committed both to music (he professionally deals with state-of-the-art stringed instruments and his wife is an opera singer) and CD production (he is a co-owner of the XRCD patent), as well as to the consumer/hi-fi side of things (he is a manufacturer of audio devices, speakers, cables and accessories). Within its mother company, the Combak Corporation offers complex system solutions. Under its Reimyo brand, it offers a CD transport and a DAC (K2), a pre-amplifier and two power amplifiers (a tube and a transistor one). There is also a mains filter – it’s electronics. Speakers are produced under the Encore! brand (this used to be the Bravo! model/brand), The Enacom brand encompasses a series of mains, speaker and signal line filters, whereas Harmonix comprises a few series of cables, as well as a whole range of tuning products, including the TU-666M „Million” Maestro tuning feet. The feet were made to celebrate the 20th company anniversary. Initially, their production was to be limited to 200 sets (four feet in each). Having sold out the series quickly, Mr. Kiuchi-san decided to make another one, until he ran out of the materials. Owing to this, music lovers outside Japan have been able to obtain products from the high-end “Millennium” Maestro series. Mr. Kiuchi-san does not devote too much attention to materials in a direct conversation or on his website. However, this does not mean that he does not care what his products are made of! The key thing for him is the combination of appropriate materials, in appropriate proportions and shapes. It is something that can only be achieved when you laboriously compare different prototypes at home, in your own audio systems. The thing is that the owner of Harmonix, like any other artist, thinks that the technology behind a work of art (a product in this case) is not important for the audience. What should matter is the effect. He told me once directly that product technical details blur the picture for many people and distract them from what is most important – music. And music is all that matters to him. I have an impression that, if it was possible, Mr. Kiuchi would give up using all sound-reproducing products and move on directly to the layer of music. Unfortunately, our world does not make it possible. It is good for me, though. It is part of my hobby and my way of living – an integral element of perfectionist audio. So, everything that can be said about these very expensive feet is only based on our sensory perception. The feet are sold in sets of four. They are packed in a nice wooden box decorated with a golden ribbon. People in Japan pack gifts for their friends in a similar way. Each foot weighs 37.9 g, so it is quite heavy. Its length is 33 mm and the diameter (ø) is 50 mm – when measured at the point of the foot’s maximum thickness. The maximum load that can be placed on the feet is 80 kg. The bottom part unscrews, thanks to which the foot’s height can be adjusted. Although it is impossible to determine this for sure, it seems that the feet are made of some type of chrome-plated brass with wooden elements – a flat piece at the bottom and a thicker layer on the top. So, both the feet and the product which is placed on them rest on wood. Each foot has its own metal plate with its name, the company logo and the information that it was made in Japan. In a broader context, the feet are part of a whole Harmonix tuning system, in which we also have the RSB-1 tuning platform and a whole anti-vibration audio stand that can be constructed using a few such platforms. Such a system may cost €20,000 or more, so the feet are a ‘rightful’ system component, just like the sound source, amplifier and speakers. Since I have the Finite Elemente Pagode Edition platform, I tested the feet only, but using four different products as a load. The Harmonix feet replaced the Franc Audio Accessories Ceramic Disc Classic feet under my Ancient Audio Lektor AIR V-edition CD player. As regards the Accuphase A70 power amplifier, the feet were used instead of the standard amplifier feet (with a high iron content). In the case of the Chord pre+power combination, the Harmonix feet were placed under the device’s feet which are a basic component of the mechanical structure of the device (read HERE). As far as using the feet with a player and an amplifier is concerned, they were placed directly under the bottom panels, without using the original feet. KAZUO KIUCHI Combak Corporation | owner Wojciech Pacuła: When did the process of the Tuning Feet design start? What was the inspiration behind it? Kazuo Kiuchi: The response to this question lies in the philosophy of my company – it started with thousands of thousands of listening sessions and attempts. Work is my life. Wojciech Pacuła: How do you select proper materials for designing such a product? Kazuo Kiuchi: I have spent more than 30 years studying research on resonance and related problems in musical instruments. So, I know what materials I need for any Harmonix product that I design. Wojciech Pacuła: Do you use the Tuning Feet in JVC XRCD studio? Kazuo Kiuchi: Absolutely! It is very important for us to have tuned equipment for XRCD mastering, including feet, signal cables and power cord X-DC30M2R, ALS-777. Wojciech Pacuła: I have an impression that the TU-666 Million is an extraordinary item in the Harmonix range. Where and in what configuration do music lovers most often use the product? Kazuo Kiuchi: The TU-666M was designed for very sophisticated music listeners and lovers who also know quality sound. It is true not only in the case of the TU-666M. I always suggest that Harmonix users should first use feet in loudspeakers and power amplifiers, since these devices produce unwanted vibration. Wojciech Pacuła: When did the idea of presenting such as uncompromising cable as the X-DC Studio Master Million come to your mind? Kazuo Kiuchi: It was my mission to present a Harmonix product that serious music lovers have dreamt about for a long time, but it was not simple to make it materialize for many reasons. About 8 years ago, the wire material that I needed became available for production only once. Wojciech Pacuła: Music is definitely a very important part of your life. Do you derive inspiration from it to design new products? Kazuo Kiuchi: I love music very much because music is Art for me. No matter if it is a CD or LP, a piece of music contains many stories that include human dramas and life of the given time. Artists, players and the Conductor devote themselves to describing stories of these dramas and life of the time. More often than not, designers and mastering engineers are superior in one area, but do not take meticulous care of Art. HARMONIX in „High Fidelity” REVIEW: Harmonix X-DC350M2R Improved-Version – AC power cable, read HERE REVIEW: Harmonix RS15-ANV – tuning platform, read HERE KRAKOW SONIC SOCIETY, meeting #72: KAZUO KIUCHI (Combak Corporation) in Krakow, read HERE REVIEW: Harmonix HARMONIC-STRINGS HS101-EXQ EXQUISITE + α1 speaker cable + speaker cable supports, read HERE REVIEW: Harmonix HS-101-GP + HS-101-SLC – RCA interconnect + speaker cable, read HERE REVIEW: Reimyo + Harmonix + Bravo! – a Combak Corporation system, read HERE Recordings used during the test (a selection): Now the Green Blade Riseth, The Stockholm Cathedral Choir, Proprius/JVC, XRCD 9093, XRCD2 (1981, 1993/2001). Paganini For Two, Gil Shaham, Göran Söllscher, Deutsche Grammophon/Universal Music Ltd, Taiwan 480 246-5, XRCD24 (1993/2009). Bill Evans, Conversation With Myself, Verve 521 409-2, „Verve Master Edition”, CD (1963/1997). Duke Ellington, Concert In The Virgin Islands, Reprise/Warner Bros. Japan 8122-79598-0, “Jazz Best Collection 1000, No. 4”, CD (1965/2013). Ed Sheeran, X, Warner Music UK/Warner Music Japan WPCR-15730, CD (2014); Patty McGovern & Thomas Talbert, Wednesday’s Child, Atlantic/Sinatra Society of Japan XQAM-1047, CD (1956/2010). Japanese issues available at [REKLAMA5] The TU-666M “BeauTone” Million Maestro is a very expensive product developed by a man that I have known for years and that I respect and value a lot. I believe in what he says about his new products, because his words match my own observations. I do not instantly accept everything, but it is due to the fact that we have different priorities and musical tastes, not because of a lack of reliable information. So, I immediately compared the tested feet to my reference products and to standard device feet. That is why I did not carry out any sophisticated comparisons with other brands, as it does not make sense (at least today). We are talking about a mature product developed by a mature person and music lover. Seen from this perspective, the feet deserve our respect. It is even more evident due to the fact that the feet bring about clear, significant and repeatable changes in the sound of the products that are placed on them. Thanks to the feet, sound obtained in a system focuses on instruments, vocals, reverberations and acoustics, etc. – to a greater extent than without the feet. It is as if we got a pair of stronger glasses. Contrary to the first association, the picture becomes slightly smaller then, because of the fact that it is less fuzzy. It becomes focused and therefore its body and contours are better visible. There are, of course, more details, but they do not constitute a basis for evaluation, because they are hidden behind bigger events. That is why the sound of the recordings seems to be smaller at first. However, it is not. We get this impression because of the fact that the Harmonix feet define sounds better. Without the feet, sounds are a little more undefined in space, because of which they seem bigger. When we use the feet, sounds are slightly moved away from us and gain more depth. In this case, reverberation which accompanies sounds is better integrated with the basic sound. Everything is clearer. However, it is neither brighter, nor more analytical at all in the sense that we are attacked by more details. It was excellently shown by Bill Evans’s album Conversations With Myself. It was recorded by the artist himself, using the method of overdubbing three different tracks for each song. That means Evans performs like in a classic trio, but with himself only (the left side, right side and the centre). Overdubbing all the tracks has made the recording very noisy. The Harmonix feet changed the expression of the album, giving the pianos more glamour and showing the nature of noise in more detail. However, the most important thing was that sound was more natural, authentic and, most importantly, more “modern” with the feet. Without the feet, the sound of Evans’s album was a bit similar to the sound of an old tube radio – it was very nice, but covered with “patina”. The Harmonix feet removed most of it. The sound was clearer and the noise was stronger. However, just like in the case of other high-end audio products, the sound was neither brighter, nor more detailed. I would even say that details were not as important as they had been before and the sound was smoother. The sound of Ed Sheeran’s album was similar. In the case of this recording, everything became deeper and the slight brightening of the upper midrange was gone; the tonal balance of the whole recording was lowered. Owing to this, the vocal was easier to understand and better situated in space with respect to the instruments. I had an impression that everything was clearer and better-defined. Summary “Clear” and “well-defined” are often used as synonyms to talk about brightening in an indirect way. However, I never use them in this way. In my articles, the word “clear” means “clear”, whereas “well-defined” is “well-defined”. The Harmonix feet lower the sound and make it focused. The last thing that can be said about them is that they “brighten” anything up. They will excellently perform both under standard feet of devices and directly under the devices themselves, although I am inclined to say that they prove more effective in the latter case. They influence a system in such a way that they open it, improve its focus and define it better. At the same time, everything is smoother. The feet are a really expensive accessory, but has anyone ever said that art (including high-end audio) is a cheap passion to have? Technical specifications Set: 4 pieces Height: min. 33 mm – max. 36 mm (adjustable) Diameter (ø): 50 mm Weight: 39.7 g Load: up to 80 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/1505/harmonix_tu/th/05.jpg" big="foto_testy/1505/harmonix_tu/05.jpg" src="foto_testy/1505/harmonix_tu/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_tu/th/06.jpg" big="foto_testy/1505/harmonix_tu/06.jpg" src="foto_testy/1505/harmonix_tu/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_tu/th/07.jpg" big="foto_testy/1505/harmonix_tu/07.jpg" src="foto_testy/1505/harmonix_tu/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_tu/th/08.jpg" big="foto_testy/1505/harmonix_tu/08.jpg" src="foto_testy/1505/harmonix_tu/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_tu/th/09.jpg" big="foto_testy/1505/harmonix_tu/09.jpg" src="foto_testy/1505/harmonix_tu/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_tu/th/10.jpg" big="foto_testy/1505/harmonix_tu/10.jpg" src="foto_testy/1505/harmonix_tu/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_tu/th/11.jpg" big="foto_testy/1505/harmonix_tu/11.jpg" src="foto_testy/1505/harmonix_tu/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_tu/th/12.jpg" big="foto_testy/1505/harmonix_tu/12.jpg" src="foto_testy/1505/harmonix_tu/12.jpg" desc="HighFidelity.pl"] [/hfgallery]

e have already explained where the name of this Japanese company with over 30 years of experience comes from when we tested the R-1000 Airy3 X/TB model, so we do not have to repeat the story to attentive “High Fidelity” readers. We also know the story of the artist who designs the cartridges, Mr. Hisayoshi Nakatsuka. Telling it again would simply be rude. The tested cartridge costs almost 50,000 PLN and the phonostage preamplifier which is dedicated to it costs just a little less, so I assume that anyone who starts reading this article knows what he or she is reading about. What we are talking about here is the absolute high-end of the analogue world’s price range. In the case of the cartridge, it is visible at first sight. The cartridge weighs 6.7 g and belongs to the top Premium series. It is available in three versions which differ as regards the material of the coil wire: there is the 6N Crystal Copper φ 0.035mm version (with the X symbol in its name), the 5N Silver φ 0.035 mm version (with the S symbol) and the 5N Gold φ 0.035 mm version (with the G symbol). They all undergo cryogenic treatment, i.e. are quickly frozen until the temperature of -193ºC is reached and then slowly heated until they reach room temperature. This results in a perfectly arranged metal crystal structure. Each of the metals produces different sound – Mr. Hisayoshi-san says that it is most neutral with the copper wire. It is an MC (Moving Coil) cartridge with an innovative “REAL STEREO” generator system. The company claims that the way it is made makes it the first “High-speed” system in the world, which is a reference, as it can be assumed, to a fast response. The parameter can be improved using the “balanced type eddy current elimination mechanism” which eliminates eddy currents generated in both magnet poles (N and S). It is also important that instead of a rigid cantilever suspension wire made of steel we here have a much softer metal (unfortunately, we do not know what metal it is). However, all of these are things that we read or hear about – things that are not instantly visible. The cartridge has an open design, with the generator on the outside and a frame which holds everything together. However, what can immediately be seen is a small blue spherical object hanged on a little support over the stylus. Its function is to minimize the vibrations of the cartridge and determine its centre of gravity. It weighs 1.2 g, its diameter is φ 8 mm and it is made of lapis lazuli (a heterogeneous mineral mainly composed of lazurite). Pins made of 18 carat gold are placed on a sapphire plate. A diamond Micro-Ridge stylus is fixed on a diamond support having a square cross-section. The load on the cartridge should equal 100 Ω. The company claims that it can be 100 Ω and more, but its top preamplifiers, the Premium Artisan preamplifier tested with the Ω Premium DIAmond cartridge, as well as the active, battery-powered CPP-1 v2 step-up which I have also used have a constant load of 100 Ω. The company highlights the extremely important function of the load resistor and therefore manufactures its own components of this type (!). So, we can safely assume that the load on the tested cartridge should equal exactly 100 Ω. I have checked it myself. ZYX cartridges, including the tested one, are placed in little wooden boxes and the boxes are put in silk bags. The manufacturer’s top products include not only the tested cartridge, but also the equally expensive phonostage preamplifier dedicated to the cartridge – the Premium Artisan model. It seems that it is already difficult to sell such an expensive cartridge itself. When it comes to these two products, I think that the Artisan seems to be at a disadvantage. It is a tiny, wooden box with a cheap external wall plug power supply, without the possibility of changing the load on the cartridge, with two inputs (it is the only functional extension). However, after some listening sessions with a few different preamplifiers in different combinations, I have to say that I cannot imagine that the Ω Premium DIAmond cartridge could be used with any other preamplifier. OK – I can – as it is an almost perfect cartridge (no cartridge is ideal, no matter how much we pay for it), but with the dedicated preamplifier it “feels best” and the intention of the artist – Mr. Nakatsuka-san is fulfilled to the greatest extent. So, if we want to hear what he hears in a way in which we are supposed to do, we buy the cartridge and the preamplifier TOGETHER. This is also how I carried out the main test. ZYX in „High Fidelity” TEST: ZYX R-1000 Airy3 X/TB – cartridge, read HERE Recordings used during the test (a selection) Adam Makowicz, The Name Is Makowicz (ma-kó-vitch), Sheffield Lab LAB21, “Direct Disc Recording Limited Edition”, LP (1983). Budka Suflera, Giganci tańczą, Polskie Nagrania MUZA SX 2293, LP (1986). Charlie Haden, The Private Collection, Naim Label LP110, 3 x 180 g LP (2007/2008). Duke Ellington, Masterpieces by Ellington, Columbia/Analogue Productions ML 4418, 200 g LP (1951/2014). Elvis Presley, Recorded Live On Stage In Memphis. 40th Anniversary Edition, RCA Records/Music On Vinyl MOVLP1052, 4 x 180 g LP (2014). Frank Sinatra, This is Sinatra!, Capitol Records T768, LP (1956). Helmut Nadolski, Meditation, VeriTon SXV-786, LP (1976). John Foxx and the Belbury Circle, Empty Aveniues, Ghost Box GBX019EP, 10” LP (2013). Kraftwerk, Autobahn, Philips 6305 231, LP (1974). Krzysztof Komeda, Dance of The Vampires, Seriés Aphōnos SA04, 180 g LP (2013). Maria Peszek, Jezus Maria Peszek, Mystic Production MYSTLP 014, 180 g LP (2013). Mark Knopfler, Tracker, British Groove Records 4716983, “Deluxe Limited Edition”, 2 x CD + DVD + 2 x 180 g LP (2015). Nat ‘King’ Cole Trio, After Midnight, Columbia/Analogue Productions 28180, 3 x 180 g 45 rpm LP (1957/2010). Niemen, Niemen, Polskie Nagrania MUZA XL 0710-0711, „MONO”, 2 x LP (1971). Skaldowie, Rezerwat miłości, Polskie Nagrania MUZA SX 1796, LP (1979). Japanese issues available at [REKLAMA5] I have never heard a cartridge that would play so smoothly. I really did try to start the test in a cultural manner, with a feeling… Another time, perhaps – now it is simply impossible. The thing that I am talking about is so self-evident that even people who do not fully identify themselves with such a presentation (since it IS a specific presentation) have not been able to deny it. And those who look for exactly such experiences in music were shocked. Everything about this sound was as it should be. As one of my friends who owns Linn and Lenco turntables said, while listening to his own recordings at my home: “It’s been beautiful”. The beauty of this musical message is unquestionable. It is mature, well-balanced sound with a drive, but also with flow and brilliant vividness. When we play a monophonic version of Niemen (the so-called “red” album), the frontman’s voice comes to the surface from under the guitars, whereas behind it, much further away, there are choir voices. When we listen to Coltrane’s Blue Train reedition, released in 2008 by Analogue Productions on two LP 180-gram 45 RPM discs, it is hard to comprehend why other cartridges rush so much with it, and so strongly emphasize the attack of the drums and percussion plates, forgetting that the saxophone is the leader here, and that what we can hear here are: aspiration, raptures of sounds, up to the point of sustaining them at the very bottom, as if murmuring. These phenomena should attract our attention through the performance technique, phrasing, music. When we play the debut album of Marek Komasa with its long phrases and soft background with Omega, nothing merges or sinks in itself. The sound is soft and velvety. Before we move on to sound, I would like to add two words about elements outside music that are very important for vinyl discs. Omega hides crackling and the surface noise under the sound. It does not extinguish them, but hides them. While I was listening very loud (through my headphones) to a limited version of the BBC Sessions album by Led Zeppelin released on blue vinyl by Classic Records and bought during the Record Store Day, both crackling and noise were audible (more about RSD 2015 HERE). However, they were not irritating and they did not disturb me. I had the impression that, even between tracks, the dominant sensation was the “suspension” of sound, not noise, which is a phenomenon known only from high-end systems. My HiFiMAN HE-6 headphones are not too merciful, especially if they are well-adjusted, but even they gave up when faced with something that is so surprisingly pleasant. I devoted a significant number of listening sessions to old Polish vinyl discs, usually in a bad condition. While I travelled back in time and the quality of the discs worsened, the number of cracklings rose, just like the level of surface noise, which is obviously clear. It was the worst in the case of vinyl discs pressed in Poland in the 1980s, with “banana-colored” endpaper. However, with the ZYX cartridge and preamplifier I listened to them with pleasure and I accepted sound anomalies as “color” and “testimony” of the time, and not an error. It is amazing how it is possible to interpret an error in such a good, forgiving way! The system will give advantage to better-quality discs (as regards the pressing), by giving them greater dynamics; they will have more colored tonality, but even the worst rubbish (in terms of technical, not musical quality) will have its five minutes. When compared to the Miyajima Labs Madake, my reference cartridge, we get a more softened, more fine-tuned musical message in the sense that it is more focused on what is happening between sounds, interaction, and not only on their outside “image”. Everything in it “sits” deeper, thanks to which those who prefer strong “to-the-front” sound may feel disappointed. It is not a cartridge which “x-rays” recordings, or makes us analyze them. This is, of course, possible, but on a different level than a simple “this is such or such tonality”, “the guitar is clear/hazy” or “the stage is broad/narrow”. We have reached a point where such statements do not make sense, because it is not certain what they mean, they do not have a designation. Stratospheric high-end, to which belong both the Premium DIAmond X cartridge and the Premium Artisan preamplifier, may seem to have no features. It is a false image, so please make me happy and try to forget about it. At every price level, even as unbelievably high as in this case, the audio product modifies sound in its own characteristic way. The best products do it in such a way that we do not treat it as a modification, but as an interpretation. A modification would be a more or less authorized deviation from the original, whereas interpretation is its creative development or transformation, but having the value of a new original. Since we do not know the master-tape and we were not present when the recording, mixing and mastering of the recordings that we listen to took place, all we can do is compare them using a few devices and systems, and only then refer to our experiences with instruments played live. The top ZYX system sees the world in a colorful, good way. Neither the Dynavector DV XV-1t, nor the Air Tight PC-1 Supreme, and not even the Madake which is silky and soft inside, are so completely, absolutely soft and at the same time substantial. Cartridges usually either emphasize the attack or the sustain, even if these are such outstanding examples of devices as the ones mentioned above. They do it in a subtle way, as well as are elegant and refined in how they behave, but they still do it. However, Mr. Hisayoshi Nakatsuka is able to combine fire with water – his cartridge sounds soft, unlike any other, but is not silty or softened – it shows the beat and the power, as if we are playing discs using an “idler drive” turntable. However, the first and very important impression will stay with us for a long time and it should determine our attitude to this kind of musical message. Resolution, selectivity and, generally, all features that we describe to talk about the nature of sound are out of any discussion here. They are out of discussion in the case of all the cartridges that I have mentioned. ZYX adds to this something that cannot be “done” anywhere else, in any element of the system – if it is not sent from the source, we can only emulate it, try to forge it somehow. I am talking about distributive sweetness. I have never and nowhere heard anything like this before and I enter this with my whole self. Let this be the summary – another one is not necessary in this case. Ω Premium DIAmond The Ω Premium DIAmond is an MC cartridge with a “Micro Ridge” stylus measuring 3 μm×60 μm. Its guaranteed lifetime is 2000 hours (at a tracking force of 2 g). When it comes to the tracking force, the manufacturer has determined an exceptionally wide range of acceptable VTF: from 1.7 to 2.5 g. The lifetime is determined with reference to 2 g and this value is recommended in the product technical specifications. I have tried out a few different values and, in my opinion, the cartridge best traces the fragments with high dynamics and strong bass, without losing subtleness, within the range of 2 – 2.15 g. I listened to the recordings at the tracking force of 2.1 g. The cartridge has an open construction, without any casing that would enclose its motor – this is supposed to free it from distortions and vibrations. It is placed in a rigid frame cast from aluminum, magnesium and other metals. At the front, a lapis lazuli spherical weight is hanged – the letter “X” is placed on the little arm that supports the weight, to provide information on the coil material – copper of 6 N purity. The board in which golden (!) pins have been placed is made of precious stone – it is sapphire. Thanks to parallel side panels, it is easy to set the cartridge. ZN bolts have been permanently fixed to the cartridge. Output voltage: 0.24 mV (3.54 cm/s, 1 kHz) Frequency response: • 10 Hz - 100 kHz • 20 Hz - 20 kHz (±1 dB) Channel separation: > 30 dB (1 kHz) Channel balance: < 0.5 dB (1 kHz) Recommended tracking force: 2 g (20ºC – 25ºC) Tracking force range: 1.7-2.5 g Trackability: > 60 μm EQ compliance: • horizontal: 15×10-6cm/dyne • vertical: 12×10-6cm/dyne Internal impedance: 4.0 Ω Load impedance: > 100 Ω Coil wire: X type – 6N Crystal Copper φ 0.035 mm/CRYO Cantilever: natural diamond (square cross-section of 0.22 mm) Stylus: Micro-Ridge Solid Diamond 0.07 mm Contact radius/lifetime: 3 μm×60 μm, 2000 h/2 g Pins: φ 1.25 mm, 18 carat gold Ball: Lapis lazuli φ 8 mm, 1.2 g Weight: 6.7 g Premium Artisan The Premium Artisan preamplifier is a small, lightweight device with a wooden casing. It can be painted any color we want – the preamplifier that I used in the test was golden, but I have also seen a blue, a carmine and a silver one, as well as one in the natural wood color. At the front there is only a power switch with a blue diode and an input switch – we can simultaneously connect two cartridges (two tonearms) to the Artisan. The corresponding inputs are located on the rear panel and there is also an unbalanced RCA output and a port for connecting the DR-1210S (12 V DC), which is a very small wall plug power supply. The equalizing circuit was selected after years of listening sessions – it is a simple CR circuit, without feedback. The 100 Ω cartridge load resistor is solely manufactured by ZYX. The company claims that no resistor or capacitor has been used in a standard way and that their properties are corrected. It is not known what type of correction it is and the method is protected by a patent. Transistors are used in the equalizing and the amplifying circuit. When we look at the inside of the device, we can solve the riddle of the simple power supply. The circuit is actually battery-powered: 9 NiMH batteries are used in it – separately for the amplifying and for the equalizing section. It has resulted in an extremely high signal-to-noise-ratio – the company claims it is 95 dB. Input impedance: 100 Ω Gain: 62 dB/MC1, MC2 (1 kHz) Signal-to-noise ratio: 95 dB THD: 100 dB (1 kHz) Input: 2×RCA (MC1, MC2) Output: 1×RCA Power consumption: 1.2 W Battery: 9 x NiMH180AAH (1.2 V/1800 mAh) Dimensions (W×H×D): 154×66×192 mm Weight: 675 g 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/1505/ZYX/th/05.jpg" big="foto_testy/1505/ZYX/05.jpg" src="foto_testy/1505/ZYX/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/06.jpg" big="foto_testy/1505/ZYX/06.jpg" src="foto_testy/1505/ZYX/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/07.jpg" big="foto_testy/1505/ZYX/07.jpg" src="foto_testy/1505/ZYX/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/08.jpg" big="foto_testy/1505/ZYX/08.jpg" src="foto_testy/1505/ZYX/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/09.jpg" big="foto_testy/1505/ZYX/09.jpg" src="foto_testy/1505/ZYX/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/10.jpg" big="foto_testy/1505/ZYX/10.jpg" src="foto_testy/1505/ZYX/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/11.jpg" big="foto_testy/1505/ZYX/11.jpg" src="foto_testy/1505/ZYX/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/12.jpg" big="foto_testy/1505/ZYX/12.jpg" src="foto_testy/1505/ZYX/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/13.jpg" big="foto_testy/1505/ZYX/13.jpg" src="foto_testy/1505/ZYX/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/14.jpg" big="foto_testy/1505/ZYX/14.jpg" src="foto_testy/1505/ZYX/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/ZYX/th/15.jpg" big="foto_testy/1505/ZYX/15.jpg" src="foto_testy/1505/ZYX/15.jpg" desc="HighFidelity.pl"] [/hfgallery]

------------------------------------------------------------------------ washimizu Hachiman-gu Shrine (jap. 石清水八幡宮) is one of the three most important Hachiman-gu Shintō shrines in Japan. It was founded in 859 by the monk Gyokyo on the instructions of the Emperor Seiwa in Yawata. Iwashimizu Hachiman-gu enshrines Hachiman, the God of War, associated with the mythical Emperor Ojin. Iwashimizu Hachiman-gu was built for the protection of the Emperor in Kyoto and grew to be one of the most powerful shrines in the country. Shrine's main festival is held on September 15th. During elaborate rituals fish are released into the shrine pond and the nearby Hojo River and young children perform a "butterfly dance" on the Angobashi Bridge. So it is a place that's been a religious center for almost 12 centuries, that was founded before Polish state was even created (which happened only hundred years later). Exactly 110 years later (in 966) our country became a Christian state. Iwashimizu Hachiman-gu is interesting for us not only because what I already described, but because of connections with Thomas Alva Edison (1847 - 1931), one of the most important, most brilliant scientist and inventors of modern times. Have you noticed that Miyajima Laboratory brand belongs to a company called Otono-Edison Labs? The company was founded by Mr Noriyuki Miyajima, and the name was sort of a tribute to the inventor he admired most. As it turns out, connections between Edison and Japan were much closer than the ones implicated by a simple admiration for his achievements. As you might know, the founder of Edison Lab. used a carbonized bamboo filament for his first, long working bulb (in 1880). Together with his assistants he experimented with 1200 types of a bamboo to finally select the one called Madake. Using this material allowed his bulb to work for over 1000 hours. This particular kind of bamboo was brought to US by Edison's assistant, Mr William H. Moore, who brought it from Japan, from Iwashimizu to be exact. The inventor of the electrical bulb visited this place himself in 1922. Yet another interesting fact – two of Edison's assistants in his Californian laboratory were Japanese, who later became known as founders of two gigantic corporations - NEC (Mr Iwadare Kunihiko, 1886) and Toshiba (Mr Ichisuke Fujioka, 1884). A stone memorial is dedicated to Edison in the grounds of the Iwashimizu Hachiman-gu Shrine. Visitors can also buy a lot of souvenirs Edison related there. Every year, on May the 4th, a „Festival of Light” is held and 1000s of bamboo lanterns are lit in Edison's honor. The “King of inventions” seems to be a particularly important figure for Mr Miyajima. Mr Edison seems to be “connected” to Japan, to Iwashimizu Shrine in particular. The Madake bamboo, that comes from this place, creates a stronger bond between these two worlds than one could expect even from such a strong, durable material. So using a small portion of this material for the latest Miyajima Labs' cartridge seems to be symbolic, as is its name - Madake. Portion of this material might be tiny, but it is used in the very heart of the place, where sound is born – it is a part of a cantilever. Stylus is glued to an aluminum element which is fixed together with a very thin piece of Madake bamboo. Despite the fact, that only a very tiny piece of bamboo is used for each unit, only a limited number of this cartridge will be manufactured, as this material can not be bought. Some small quantity was given to Mr Miyajima. This particular type of bamboo exhibits some very particular attributes like stiffness and durability. In grows in the mountains on a very particular soil rich with minerals and iron. Mr Miyajima claims that its particular mechanical properties make it an ideal material for cartridge cantilever. NORIYUKI MIYAJIMA Miyajima-Lab [Otono-Edison] The owner, designer A stone memorial dedicated to Edison in Iwashimizu Hachiman-gu. I think that what I regard as important about the development of the cartridge most is to pick up a feeble signal. It needs complete right working structure. It is not important that a cartridge picks up a meaningless excessive signal. Currently most cartridge engineers do an effort not to cause the distortion with the excessive signal eagerly. However, an engineer does not notice that the effort extinguishes an impression of the music. I think that the most of the audio product have not been yet completed. The most important development is structure development. Precision and materials have a meaning on complete structure. Noriyuki-san's system, used in his shop: a tube preamplifier EC 5 + OTL MODEL2010 power amp, both made by himself. He uses them with horn speakers. A musician playing the splendid musical instrument, the vocalist of the splendid voice use various kinds of sounds properly. And a feeble signal is the most important to the expression of feelings in particular. I think that I am greatly influenced by the reproduction power of the feeble signal how much value is got by one piece of LP. When I was impressed by the performance of my favorite LP again, I judge that my cartridge evolved. Modern machines used to wind coils for Miyajima-Lab's cartridges. MIYAJIMA-LAB in “High Fidelity” AWARD OF THE YEAR 2013: BEST PRODUCT 2013 | Miyajima Laboratory ZERO, see HERE REVIEW: Miyajima Laboratory ZERO, see HERE AWARD OF THE YEAR 2011: STATEMENT AWARD | Miyajima Laboratory KANSUI, see HERE REVIEW: Miyajima Laboratory KANSUI, see HERE REVIEW: Miyajima Laboratory SHILABE, see HERE REVIEW: Miyajima Laboratory WAZA + PREMIUM BE, see HERE. The world of Miyajima-Lab's sound is a separate one. It's orbit might be close to ones of companies like Koetsu or Ikeda Sound Labs., but the distance between these orbits are still big enough to consider it too small to be taken into account. I think that if I really wanted to name other product that sounds, to some extent, similar, it would be the Ortofon SPU. There is no such thing as a “Japanese” sound. On one hand one can get a very precise, well defined sound from Dynavector, Shelter and TechDAS carts, on the other there is warm sound of Ikeda and Miyajima Laboratory pickups. But they all have something in common – they all try to deliver a coherent, logical presentation. One can achieve that using one or another set of features but ultimately they should lead to the same result (I mean general result). And yet there are sonic differences even between cartridges coming from the same manufacturer and sometimes these differences can be quite significant. In particular case of Mr Noriyuki Miyajima's pickups the differences focus mostly on whether it is the attack or the decay phase that hold more energy. It is also clear to me that some of them are more and other bit less selective. But I think that in fact it is rather my interpretation of the accents related to accumulation of energy in one of these two phases of the sound. First of expensive products of this company I had a chance to listen to was Shilabe. Wonderful tonality, dense background, palpable foreground – long story short, a classic example of a rich Japanese sound. I also realized quickly that it wasn't a “perfect sound” as the top Dynavector model, DRT-XV1t, delivered a better performance proving that there was much more information written in album's grooves, it delivered more distinct, more “live-like” sound. And yet Shilabe was (and still is) a remarkable proposal for those, who value a rich, warm sound. The next model I reviewed, Kansui was sort of an answer to my previous comparison, as it offered more open, faster, more “forward' sound. Yet, it was still a “modification” of a “Miyajima-Lab's sound”. I keep using it on regular bases, as it delivers a very good combination of a resolving and yet very rich sound. Considering the above comparison, the latest, most expensive model offered by Noriyuki-san, seems to be rather related to Shilabe. But only in one regard – in a way that it “shapes” tonality, timbre of the sound. When it comes to dynamics it is surely the best pickup this company has ever made. Also treble extension and bass definition – an element that some users (although not me) of Shilabe and Kansui complained about – are improved. Also spacing is simply extraordinary. This is definitely the best cartridge of Miyajima, and one of the best I've ever listened to. The sound delivered by it is at the same time very coherent, homogeneous and multidimensional. Density and warmth of the sound appeal to us, music fans, allow us to enjoy the music, to relax while listening. But in most cases it will ultimately lead to a one-dimensional experience, that is focus exclusively on pleasure and relaxation. And that's OK as long as that's what one expects. Madake offers that but also so much more. It allows us to immerse deeply in the music, to “walk among” sounds. I don't mean a brutal cut through the fabric of music to see what's inside but rather smooth “sneaking in” and enjoying it from within. The remarkable density of the sound is beyond discussion. That's what I love about Miyajima's cartridges. But the point is that this particular model is also amazingly resolving. The musical picture painted in front of a listener becomes a true breathtaking spectacle, I mean that kind that keeps you on your toes while waiting for what will happen next, how the recordings you know very well will sound when played by Madake. The key elements here are: spectacular soundstage and remarkable extension of both range extremes, especially of the lower one. Bass is powerful, rich but presented also with great definition throughout the whole range, to the very lowest notes. Bartek, the longtime graphic designer of „High Fidelity”, is a great fan of a band called Skalpel. He brought me the latest album, that he bought and got signed during recent concert he attended in Cracow's club Fabryka. Surely an autographed cover doesn't really make the album sound better, but it's nice to keep it in your hand while listening :) But in fact this album needed no “enhancements” as it sounded really good. It surprised me with a great timbre differentiation and a very low, powerful, well defined bass. Samples had a common denominator, but differences in timbre and resolution of different tracks were quite easy to spot. Such a well extended and defined low range came also handy when I played an acoustic (!) album Buk – akustycznie by KAT. I remember perfectly the atmosphere of the concert in Rotunda that promoted this album. I remember it so well as it seemed then that the guys responsible for the sound and light were not there. Despite that the sound was quite good, especially the sound of guitars. And it was the energy, the directness of guitars that impressed me when I listened to the album with Madake. I also loved how this pickup conveyed the remarkable out-of-phase effects included in the recording. With 9” tonearm, like Schroeder CB for example, sound seemed more energetic, more live-like, on the other hand with 12” (like Reed 3P) it was more multidimensional and sounded more like a material recorded in studio. Both presentations were brilliant, but it was the longer arm combined with Miyajima that impressed me most as it was able to better differentiate a “temperature” of music. The flagship Miyajima Laboratory cartridge allows its user to enjoy any record. It exceeds in sound differentiation, but at the same time offers amazing smoothness and liquidity. And yet, while listening to the latest release of Skaldowie with material that was never released before, that I got from Kameleon Records (limited series on color vinyl) I had no doubt that they were pressed using a material of a CD quality, which resulted in not that good sound quality. But it didn't really matter. I mean it didn't matter for me as with this pickup I simply disregarded sound quality and focused completely on fantastic music, wishing that fans would have had a chance to discover this, much more progressive, rock “face” of this band sooner. Strictly analogue recordings, like a mono version of Niemen's “red” album (official name of the album is, of course, Niemen, but nobody really uses it) sounded amazingly expressive. It's a powerful, progressive music after all, so it is supposed to sound like that! That should be achieved not by emphasis of a leading edge, not by cranking up dynamics, but by an immediate release of a full range information, with quick hand-over between attack and decay phase of the sound. And what's important is that also this decay phase is truly taken care of here, it is, which is quite rare, remarkably accurate. A reverb added to Niemen's voice in an opening piece, Człowiek jam niewdzięczny (with Niemen's text) was very rich, deep and the decay was very long. Summary The best cartridge so far from this legendary brand. It offers everything that Shilabe and Kansui do and than some more. It is perfect. I am not sure why I've decided only now to award Miyajima cartridge, and not before, to Zero for example, but I guess it was meant to be so. Madake is one of these cartridges that define “high-end” term, that bring us closer to the music, closer than many, some even more expensive, pickups. A proprietary mechanical design, very unusual material used for cantilever – one will find these elements only in this brand's particular product. Mr Noriyuki Miyajima is a true master, true artist. I've had Madake for quite some time now. Mine carries a serial number 0026 and it is the first unit that came to Europe. But I needed to make sure over a longer time, that my initial impressions were actually true. So I used it with several decks and arms, expensive and inexpensive ones, as well as with many different phonostages. The actual review was conducted using two turntables and three tonearms: Acoustic Signature Triple X combined with Rega RB-303 (9”) and Reed 3Q (12”), and then with TechDAS Air Force Two with Schroeder CB (9”) arm. The latter was set up by Wojtek from RCM – he's really good at it! Madake is a Moving Coil cartridge with a Shibata stylus. It delivers relatively low output signal of 0,23 mV, which is the same level as Kansui. Cart is quite heavy, as its body was made of African Blackwood. Recommended tracking force, 2,5g, is lower than the ones for Waza and Shilabe (3 g each), but slightly higher than for Kansui (2,3 g). The key change comparing to previous models is replacing aluminum cantilever with a one made of Madake bamboo. Other elements are very similar to those used for Kansui. One of Mr Miyajima's proprietary solutions, that was patented for mono carts in 2002 and for stereo ones in 2005, is so called cross ring method. In both cases it improves precision of tracking and contact with records groove. In this method the cantilever is supported on a pin coming from the back magnet and tightened to the front yoke. Here the absorber is placed between the coil and the front yoke. The clear advantage of this solution is the support point for the cantilever. It's exactly in the coil’s axis. This allows for more effective transformation of movement to electric current. This type of suspension does not introduce additional resistance. It also has much lower inertia. The core of the coil is made from resin, which does not interfere with the magnetic flux. This solution allows to avoid additional distortion. Specifications (according to manufacturer) Weight: 9,7 g Material: African Blackwood Recommended tracking force: 2,5 g Internal impedance: around 16 Ω Output signal: around 0,23 mV Compliance (10 Hz): around 9×10-6 cm/dyne Recommended working temperature: 20-30º C (perfect temp.: - 25º C) Stylus: Shibata Frequency response: 20 Hz – 32 kHz YASUNAO TONE + TALIBAM! + SAM KULIK Double Automatism Label: Karlrecords KR022 Premiered: March 13th 2015 As we've already mentioned in our News section, the audiophile label Karlrecords released recently the Double Automatism album – a result of cooperation between Talibam! Duo, playing experimental music, an avantgarde artist Yasunao Tone and Sam Kulik. As you one can read on label's official website, an idea that lead to creation of this album was born already in 2012, when a New York duo Talibam! and Sam Kulik were invited to interpret works of Yasunao Tone for a great exhibition of 1955-1970 Japanese avantgarde art in Museum Of Modern Art in New York. Six months later Tone invited all three musicians to participate in a common project. This project resulted in an original album, multidimensional, difficult to perceive, where rough, electronic experiments were supported with a live sound of a trumpet. It is very original, unique, interesting, it is a rare opportunity for fans of modern electronic music in its avantgarde form. The album was released on March 13th in three formats: CD, LP and as music files. If you're interested in LP you should know that its edition is limited to 500 pcs only. It is not the first release of electronic music, that would rather never appear on radio, for Karlrecords label. Company is run by Mr Thomas Herbst, whom I had a chance to interview when gathering material for my article about Karlrecords (see HERE). I am not so sure, whether I should recommend this album to all fans. Its perception requires a sort of preparation. It is a difficult music, immensely dense, you won't find there any of the elements usually associated with musical piece. The closest music to this album I can come up with is Cybernetic Serendipity Music, early electronic music experiments of, among others, John Cage, that covers a period of 1957-1968. For me the material on Double Automatism was very convincing and involving. Even though it is a very difficult musical material, it was recorded in a very well-balanced way, without any roughness or dryness. The trumpet that plays in the background sounds wonderful, and the combination of aggressive, rough electronic sound with a live instrument is simply extraordinary! I had a chance to compare a commercial release with a test pressing (no II) and I had to say they were pretty close. W very fine release indeed! SOUND QUALITY: 9/10 karlrecords.bandcamp.com www.karlrecords.net 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/1505/Miyajima/th/05.jpg" big="foto_testy/1505/Miyajima/05.jpg" src="foto_testy/1505/Miyajima/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/06.jpg" big="foto_testy/1505/Miyajima/06.jpg" src="foto_testy/1505/Miyajima/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/07.jpg" big="foto_testy/1505/Miyajima/07.jpg" src="foto_testy/1505/Miyajima/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/08.jpg" big="foto_testy/1505/Miyajima/08.jpg" src="foto_testy/1505/Miyajima/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/09.jpg" big="foto_testy/1505/Miyajima/09.jpg" src="foto_testy/1505/Miyajima/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/10.jpg" big="foto_testy/1505/Miyajima/10.jpg" src="foto_testy/1505/Miyajima/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/11.jpg" big="foto_testy/1505/Miyajima/11.jpg" src="foto_testy/1505/Miyajima/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/12.jpg" big="foto_testy/1505/Miyajima/12.jpg" src="foto_testy/1505/Miyajima/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/13.jpg" big="foto_testy/1505/Miyajima/13.jpg" src="foto_testy/1505/Miyajima/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/14.jpg" big="foto_testy/1505/Miyajima/14.jpg" src="foto_testy/1505/Miyajima/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/15.jpg" big="foto_testy/1505/Miyajima/15.jpg" src="foto_testy/1505/Miyajima/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/16.jpg" big="foto_testy/1505/Miyajima/16.jpg" src="foto_testy/1505/Miyajima/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Miyajima/th/17.jpg" big="foto_testy/1505/Miyajima/17.jpg" src="foto_testy/1505/Miyajima/17.jpg" desc="HighFidelity.pl"] [/hfgallery]

here will always be those who doubt ability to assess and differentiate audio devices by listening to them in controlled environment and comparing them with others. That's human nature – many people won't believe something until they have touched it themselves. But comparing different audio devices is a very good way to assess them. One should listen, compare and draw one's own conclusions – that's what our hobby is about, that's the best way to go about it. So one might think that it should be a natural approach for sound and audio engineers, too. After all all of them create products (music or devices to reproduce it) to be used by people in their homes. But as it turns out it is mostly a wishful thinking, that has almost nothing to do with a real world. I've been receiving many emails from either engineers or future engineers that prove beyond doubt that these experiments (listening and comparing) are never performed by them, even talking about it makes some of them anxious. Basing on a knowledge from their books they negate a precision of such comparisons, and claim that the only way to assess audio device is to measure several parameters. The whole history of science, also its electric and electronic branches shows, that very often it was an experiment that lead to formulating some theory and later adjusting it if needed. Such experiments were repeated many times and if the results were not consistent with theory, it was either rejected or modified. This method always drove progress. It happens that some engineers who write us at „High Fidelity” are able to accept my point of view and allow experimenting, but they believe that results of these experiments are pre-determined as they must confirm their knowledge and their experience. The assumption that man's hearing is a very special tool that can be used to access sound is, for them, unacceptable. Hopefully one or two of them might be convinced by the results of recent research described in „Scientific American” by Robert Cowen. A Polish version was printed in article called Dane do słuchania published in April's edition of „Świat Nauki” (s. 51-53). This article started with a bolded text in a frame that said: Ears are such terrific pattern finders that scientists are using audio data to detect cancer cells and particles from space. As it turns out hearing is one of the most precise human senses because, according to Bechara Saab, a neurologist from Zentrum für Neurowissenschaften Zürich, when it comes to mammals signals from ears reach brain faster than perceived by any other sense, and our hearing is supported by, so called, Calyx of Held which is a particularly large synapse in the mammalian auditory central nervous system. This confirms what many audiophiles already knew very well – listening session might deliver very precise data, that, if correctly interpreted, allow a very accurate assessment. If it could be done by taking measurements it would be perfect obviously. It would allow to eliminate a “human factor”, or, above mentioned, interpretation, or personal predilection. Unfortunately there are still many issues in audio that are still not properly explained nor understood, many things can not be measured, and even if they are measured we don't really know how to correlate results and how to interpret them. Thus many audio products are still assessed using listening sessions. There is no better example of the conflict between common knowledge and what audiophiles learned through experience, than assessment of power cables. A common consensus that power cable is the most important one in the system, because it delivers current for speakers (signal from a source is just a “pattern” that modulates current and voltage from power outlet) does not really translate into appreciation of its role. And my experience proves that power cables can change sound of the whole system in the most incredible way. Recent years brought a fast evolution of this branch of audio industry. More and more companies realize how important are power cables in shaping the performance of their products, so companies that design and manufacture such cables offer more and more refined models. Even such hardliner engineers working for companies manufacturing interconnects and speaker cables (like Chord for example) started to appreciate the role of power cords and today they are even convinced that PCs are key to the top performance of audio systems/elements. As a result of this shift of attitude more and more money are spent for development of more refined power cords. I've been using Japanese Acrolink cables for years. This company makes cables for hospitals, army and even NASA. Each time new top model is released it replaces the one I've been using so far. Today I use 3 Mexcel 7N-PC9500, that replaced previous model called Mexcel 7N-PC9300. For the past 6 months I've been using also very expensive, top model from Crystal Cable, called Absolute Dream. It is made of silver and gold. These four are not the only power cables in my system. I use also a few Oyaide products from the new Triple-C FM (more about this technology HERE) line, and for quite some time I've been using also another cable from Japan, made by Mr Kazuo Kiuchi's company Harmonix – X-DC350M2R Improved-Version. It looks like a cord for some household appliance, but it is a very special product. I bet you know about Mr Kiuchi, but in case you don't have a look at the review of his another product, a D/A converter DAP-999EX Limited released by his another brand, Reimyo. In this text you will find some basing information about this man and his idea for an accurate sound. You will learn that Mr Kazuo, who is one of the greatest masters of Kendo, a Japanese martial art, is also a co-owner of XRCD patent – a breakthrough technology that allowed Compact Disc, for the first time in history, to offer sound quality similar to the one of vinyl record. Kiuchi-san is also a producer of many XRCD24, including the whole series of Hi-Q Records. The whole process of creating XRCDs is divided into few steps, from A/D conversion, signal digital filtering (K2, and nowadays K2HD), and pressing of the discs. All the devices used in every of these steps uses Harmonix cables. Celebrating company's 20th anniversary Mr Kazuo Kiuchi prepared a limited edition of cables called „Million”. HARMONIX in „High Fidelity” • REVIEW: Harmonix X-DC350M2R Improved-Version – AC power cable, read HERE • REVIEW: Harmonix RS15-ANV – tuning platform, read HERE • KRAKOW SONIC SOCIETY, meeting #72: KAZUO KIUCHI (Combak Corporation) in Krakow, read HERE • REVIEW: Harmonix HARMONIC-STRINGS HS101-EXQ EXQUISITE + α1 speaker cable + speaker cable supports, read HERE • REVIEW: Harmonix HS-101-GP + HS-101-SLC – RCA interconnect + speaker cable, read HERE • REVIEW: Reimyo + Harmonix + Bravo! – a Combak Corporation system, read HERE Recordings used during test (a selection): Art Tatum, Piano Starts Here, Columbia/Sony Classical 97 22218 2, “Zenph Re-Performance”, SACD/CD (2008). Diana Krall, All for You, Impulse!/JVC 532 360-9, XRCD24 (1996/2010). Grateful Dead, The Best of Grateful Dead, Rhino 2795598, 2 x HDCD (2015). Jack de Johnette & Foday Musa Suso, Music From The Hearts Of The Masters, Golden Beam Productions GBP1112, CD (2005). John Foxx, The Virgin Years 1980-1985, Metamatic Records META52BX, 5x CD (2014). Krzysztof Komeda, Ballet Etudes/The Music of Komeda, Metronome/Be! Jazz Records, BE! JAZZ 6087 CD, CD (1964/2014). Nat ‘King’ Cole, Penthouse Serenade, Capitoll Jazz/EMI 94504, “Super Bit Mapping” CD (1952/1998). Ornette Coleman, The Shape of Jazz to Come, Atlantic Records/ORG Music ORGM-1081, SACD/CD (1959/2013). The Montgomery Brothers, Groove Yard, Riverside/JVC, JVCXR-0018-2, XRCD (1961/1994). Japanese issues available at [REKLAMA5] The X-DC SP Million Maestro cable belongs to the top line of Mr Kiuchi's products. A year ago it seemed that it would never come to Poland – that's one of the most expensive cables in the world, a limited, handcrafted edition. Polish market must have been developing and “maturing” really quickly recently as more and more most expensive audio product are now available here, some of them even premiered in our country. That's what happened with many Acrolink products, that's also a story with Siltech Triple Crown interconnect (currently under review), also Ayon's S-5 network player working in DSD-direct mode premiered in Poland (see HERE). The most compelling example was priced at 135 000 GPB British amplifier, Naim Statement (review for „EnjoyTheMusic.com” HERE, and „High Fidelity” HERE) as we conducted the very first review, way before any other audio magazine in the world. Mr Kiuchi's cable finds itself in a particularly noble company. What is really important is a broader context. As I already mentioned, I am a great fan of Acrolink products, I also have a high regard for Crystal Cable brand. I know, like and use their top models in my reference system. What's more, each time I have to replace one of these elements that I feel so connected to, I feel frustrated and irritated. These cables play a double role: they are tools that I used in my everyday work, but they are also an important element of my life that revolves around music. So when comparing other cables to them I need to take into consideration how used I am to particular properties of my favorite cords (I mean both – their pros and cons). When I started to listen to the new Harmonix I soon found out that in this particular case the above mentioned reservation wasn't needed. It offered clearly different sound than any Acrolink or Crystal Cable I compared it to. The key difference was the richness of the sound. It took me quite a while to conclude that the difference was most significant in the lower midrange that sounded much richer. The improvement was significant in both, qualitative and quantitative sense. For me the scale of improvement was quite shocking, although I think that those less experienced with top-high-end products might not appreciate this improvement fully. I don't mean to discriminate anybody, but in every perfectionist area democracy and equality lead to nowhere. Anybody an express an opinion, but it doesn't mean that each opinion will have the same value. When it comes to high-end the key to understanding it is learning through experience. For those who know what is really good, Harmonix performance will come as a shock. Anyway, with Mr Kiuchi's cable in the system music seems to sound more serious, more natural. System seems more resolving, but it is not achieved via more distinctive presentation of details but rather by delivering more information on these details than I heard before with Acrolink cable. Another element is particularly energetic upper bass. Same compositions played with Crystal and Acrolink, when later played with Harmonix seems to be reborn, the sound starts to energize the whole room. Switching to Harmonix does not increase volume. If anything I would say that with „Million” sound level seemed even bit lower. Why? Because of increased dynamics, with it one can play louder without a feeling of going too far. I guess each of us have such a volume level that when crossed causes irritation. It will differ for every system, every room, even every recording and every listener. With Harmonix it will surely move up the scale. It's like one opens to the whole new range of sounds previously masked, causing noise. Now the same sound will be presented in an orderly way, well differentiated and thus there will be more music in music. Since the effect I described, i.e. richness of the lower midrange (tonal richness), change of its energy level (dynamics and power) is so significant one might think it would cause system to sound darker than with Acrolink, or even with Crystal, that is remarkably smooth power cord. But one might think that only for a few seconds as the treble is more open, density of cymbals' tones is increased, one gets much information in this part of the range. In direct comparison 7N-PC9500 seemed more dull! And it is still a remarkable cord – nothing could change its class, but head-to-head comparison is everything in audio, it will always clearly prove that no matter how good particular product is a better performance is always possible. One has to pay triple the price for that, but it is achievable. Everything about Harmonix performance seems well thought through, refined, neat. With it sound become more dynamic, more immediate and yet it also seems richer and bigger in scale. The latter causes a perspective that listener observes music from to change a bit. A direct head-to-head comparison between Mexcel 7N-PC9300 and Mexcel 7N-PC9500, that took place during the 90th Cracow Sonic Society meeting lead to replacement of all older cables with newer model in Janusz (the host of the meeting) system, and later also in mine (see HERE). The older model seemed, in comparison, brighter, harsher, and lacking incredible depth of its successor. Harmonix „Million” bring similar changes as „9500” brought then, but without lowering overall tonal balance. All acoustic recording and vocals sounded incredibly well. But this is not a perfect all-rounder. I could understand fans of rock, or powerful electronic music who would rather choose one of Acrolinks (most likely the Mexcel 7N-PC9300), or one of top Furutech models for their systems. Harmonix is capable of extracting lots of information from mids and upper bass range that other cables rather mask. I believe that these are mostly issues that were not removed from the recording because sound and mastering engineers did not realize were there. Sometimes it is about prolonging certain sounds, about more chaotic presentation, or vagueness of the sound. Other cables filter these elements out, but Harmonix will show them all. I don't mind it at all, as the music still sound better then ever, but less experienced listeners might find such presentation controversial. Summary Absolutely amazingly wonderful sound. I have no idea why or how power cables are able to cause such a dramatic changes in system's performance. But I hear what I hear, so yes, they do. Harmonix delivered even more beautiful music to my ears. And music is exactly what this audio hobby is about, isn't it? It is one of the most expensive, or maybe even the most expensive power cables in the world. But I have no doubt – it is also the best one. GOLD Fingerprint is awarded by „High Fidelity” to the most remarkable audio products. It is our way of recognizing a product and its creator – in this way we pay tribute to the his work, sometimes to his lifetime achievements. Kiuchi-san deserves this award like no one else. He could have, as well, received it for his D/A converter with K2 processor, anti-vibration elements from „Million” line, or his XRCDs. Power cable Harmonix X-DC20SM “Million” Maestro might be his top achievement, a great summary of this great artist's life's work. It simply performs better than any other power cable we've listened to so far, it allows music to live, and makes us crave for more and more. That is exactly what out hobby is about. The cable under review was compared to the reference cables in a series of A/B/A comparison, with reference cables as “B”. I used three different cables for comparisons: Acrolink Mexcel 7N-PC9500 (2 m), Crystal Cable Absolute Dream (1,5 m) and Harmonix X-DC350M2R Improved-Version (2 m). All were plugged into the same power strip, Acoustic Revive RTP-4eu Ultimate, and the power strip was connected with Furutech outlet using 2,5m long Acrolink Mexcel 7N-PC9500. My system is powered from a separate power line using Oyaide Tunami cable. I divided listening sessions into two main part. During one I used Harmonix with my Ancient Audio Lektor AIR V-edition CD Player and with RCM Audio Sensor Prelude IC phonostage (combined with TechDAS Air Force Two and Miyajima Laboratory Madake). During second part Million powered my Soulution 710 power amplifier. I also spent a lot of time with a minimalist system with Ancient Audio CD Player (with Harmonix) delivering signal via RCA Siltech Triple Crown interconnect to Bakoon Products International HPA-21 headphone amp that drove HiFiMAN HE-6 cans. Million power cable is made by hand upon order. It's looks are impressive and quite characteristic too – once you've seen it with its yellow, red and black stripes intertwining along the whole length you'd never confused with with any other cord. To be honest when I first saw it it reminded me a power cord of my iron. It is much thicker though and it uses massive, Rhodium-plated Wattgate 390i-RH Rhodium and 350i-RH Rhodium plugs. To improve their mechanical characteristics they were elongated with wooden elements. Mid-length of the cable one finds another element made of the same type of wood – Mr Kiuchi uses this solution for all his cables. This cord is available in two lengths: 1,5 and 2 m, using slightly different symbols (respectively): X-DC15SM and X-DC20SM. The wire material is the purest, directional PCCOC. The oxygen-free Pure Copper by Ohno Continuous Casting is a very special kind of copper. It is a single-crystal copper cable that is continuously cast (not cold-extruded) and then slow-cooled over time to give it an optimal dense conductive structure in process called after its inventor, professor Ohno-san. Then this cable goes to Mr Kiuchi's company Combak, where it is handcrafted to ensure that the density of a crystal core is not subjected to the enormous stress that is characteristic for machine processing. Mr Kiuchi claims that it takes up to 80 hours for one technician before 1 piece of power cable is ready. This type of material and a handcraft are both extremely costly in Japan. 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/1505/harmonix_x/th/05.jpg" big="foto_testy/1505/harmonix_x/05.jpg" src="foto_testy/1505/harmonix_x/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/06.jpg" big="foto_testy/1505/harmonix_x/06.jpg" src="foto_testy/1505/harmonix_x/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/07.jpg" big="foto_testy/1505/harmonix_x/07.jpg" src="foto_testy/1505/harmonix_x/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/08.jpg" big="foto_testy/1505/harmonix_x/08.jpg" src="foto_testy/1505/harmonix_x/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/09.jpg" big="foto_testy/1505/harmonix_x/09.jpg" src="foto_testy/1505/harmonix_x/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/10.jpg" big="foto_testy/1505/harmonix_x/10.jpg" src="foto_testy/1505/harmonix_x/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/11.jpg" big="foto_testy/1505/harmonix_x/11.jpg" src="foto_testy/1505/harmonix_x/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/12.jpg" big="foto_testy/1505/harmonix_x/12.jpg" src="foto_testy/1505/harmonix_x/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/13.jpg" big="foto_testy/1505/harmonix_x/13.jpg" src="foto_testy/1505/harmonix_x/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/14.jpg" big="foto_testy/1505/harmonix_x/14.jpg" src="foto_testy/1505/harmonix_x/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/15.jpg" big="foto_testy/1505/harmonix_x/15.jpg" src="foto_testy/1505/harmonix_x/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/16.jpg" big="foto_testy/1505/harmonix_x/16.jpg" src="foto_testy/1505/harmonix_x/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/17.jpg" big="foto_testy/1505/harmonix_x/17.jpg" src="foto_testy/1505/harmonix_x/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/harmonix_x/th/18.jpg" big="foto_testy/1505/harmonix_x/18.jpg" src="foto_testy/1505/harmonix_x/18.jpg" desc="HighFidelity.pl"] [/hfgallery]

ost likely by a pure coincident, if you believe such thing exists, a few things analogue related happened within one week period, important things I must add. First, on Tuesday, I received the latest issue of „Hi-Fi News & Record Reviews” magazine, with TechDAS Air Force Two on its cover, and with a review of this turntable inside. Later same day I read in „The Absolute Sound” a “personal remembrance” of the late great sound and mastering engineer Doug Sax who passed on April 2nd (see HERE). He played a huge role in the world of music mastering numerous albums. As Robert Harley mentioned he started with The Doors debut album in 1967, and his last work was Bob Dylan's Shadows in the Night released in 2015. Doug Sax is the father of the modern direct-to-disc recording, and also of stereo direct-to-disc recording. His most important works were done for Sheffield Lab. To honor this remarkable character I visited Ebay with intention of purchasing one of the album of his doing. I can't say that I am able to fully enjoy all releases of such small, specialized labels, but this was a particular occasion and I was ready to compromise. It turned out I didn't have to. By pure luck I came across a very special album, mentioned by TAS chief editor: The Name is Makowicz by Adam Makowicz. It took me a while to realize it was the album mentioned by Robert Harley as he got the name (and thus also album's title) of this Polish musician wrong: The Name is Macowicz by pianist Adam Macowicz. I found it, brand new, still unopened. I contacted Piotr from Audiofast and we found also a copy for him, this time a special, pre-release version, that was prepared for CES, and this copy was also in near-mint shape. Just a day later the TechDAS Air Force Two landed on my Finite Elemente Pagode Edition rack for a review. Some of you probably read my review of Air Force One, some didn't. If you're interested go ahead and read it. The first product of TechDAS threw me to my knees – never before and never after that test have I heard this level of performance in my room, nor anywhere else. I fell in love with this device like for ever. And please don't tell me that long distance relationships don't work – for me nothing has changed, I still want to have it and spend my life with it! Mr Hideaki Nishikawa, the designer of this deck, was very understanding when I told him about how I felt during High End show in 2014 (you might find a coverage of the show HERE, and you will also find Hideaki-san on a photo there). His good manners and truly Japanese reserve didn't allow him to express this understanding in a more passionate fashion, but I guess he wasn't really surprised either. He expected to people to react like I did to his achievement. He told me then also about his future plans. The first step he planned, was to release another deck, at half the price of Air Force One, that would be called Air Force Two. The second step would be a release of Air Force Three that again, would cost half the price of Air Force Two. And finally I planned to present another model, double the price of Air Force One, to be called Air Force ZERO. The one I already had reviewed and loved so much was, as it turned out, only the first step on company's road-map. From pictures I thought Air Force Two was a smaller design than it's older brother, but I was wrong – it occupies as much space on the rack as the “One”. The impression of being smaller was created by a different looks and mechanical design. Previous model sports a chassis cut from a single aluminum block, this time it is cast and combined of two decoupled parts, still with the same hammer paint finish. Anybody who had a chance to deal with industrial machines like lathe or miller surely knows what I'm talking about. Nishikawa-san pointed out that this is a true tool, that should work just fine, without any need of repairs in 10, 20 and even 50 years, and thus the industrial design. This deck weight 47 kg, while the „One” weights 79 kg. One of the elements take is responsible for lower mass is platter. It is a single, 10 kg piece, that lacks this additional part, that in One was put on the top. Also turntables feet have less complex design. Previous model sports air suspension, the newer model uses a hybrid suspension. A new suspension system with four-legged (as opposed to three-legged of One) structure accommodates upper chamber sealed with air and lower rubberoid diaphragm with built-in springs, sealed with oil internally. That diaphragm is connected to the upper chamber via a tiny hole of the orifice plate and damps the spring movements mutually by internally sealed oil and air from the chamber and as a result, produces a high vibration insulation effect by means of reducing Q-factor of resonance. Despite those differences the core design remained unchanged. It is still a mass-loader with platter floating on an air-cushion. An external, medical-grade, pump, pumps compressed air under platter, that floats instantly to the height of 0,03 mm. The second pump, working in the same chassis, sucks the air from under the record which attracts the disc to the platter. Both pumps are noiseless. One needs to put an ear directly against the pump to hear that it is actually working. And yet, since pump itself has to generate some resonance, I placed it on a pneumatic platform, Acoustic Revive RAF-48H. Turntable operation is similar to the one of the „One”. There are large, backlit button that allow user to choose speed, stop motor and turn the sucking pump off. There is a small display placed between them, that allows user to read current speed and check if final speed is achieved. Turntable sports an advanced system of motor control. When started it spins platter to the larger speed then required and later stabilizes at the proper speed. At this moment „Locked” sign lights up and than user may finally lower the stylus to the groove. Measurements conducted by HFN proved that this system worked perfectly. Air Force One was provided for my review with SME Series V arm with MCS150 cabling (16 900 PLN) and Dynavector DV XV-1t (29 900 PLN) cartridge. This time I wanted to listen to “Two” with my own cart, Miyajima Labs Madake, and I did. Turntable was delivered with a tonearm, I'd never seen before, Frank Schröder, model CB. It was a 9” version with carbon fiber tonearm's tube. A previous version of this arm was custom made for Artemis Labs. This new version is available either with carbon fiber or wooden tube. During review this turntable was paired with the same phonostage, RCM Audio Sensor Prelude IC, but I also tried it out with a Mk II version of this great preamp. After the review of „One” I've been asked many times, why did I used such an inexpensive phonostage in such an expensive system. The answer has always been the same: it sounded unbelievably well and I liked it a lot. Also, I've been using it for 5,6 years with all reviewed decks, arms and cartridges, so it is the best tool for any comparison for me. To get a better perspective I decided to conduct part of my tests also with quite expensive ZYX Premium Artisan phonostage and ZYX Ω Premium DIAmond X cartridge. Additionally, with Sensor (MkI) I used also an active step-up with battery power supply, a costly ZYX CPP-1 v2. Signal between ZYX module and Sensor was delivered with Crystal Cable Absolute Dream. Expensive enough? I think so. But still the key part of the test, for me I mean, was the one with Sensor. During this test I used the same speakers, Harbeth M40.1, and power amplifier – Soulution 710. The only difference was a preamplifier – instead of Ayon's Polaris III now I used the top model from the same brand - Spheris III. Cabling remained the same as used for “One” test. SETUP Top class turntable should be set up in buyer's/reviewer's place by a specialist representing distributor. Surely user/reviewer can later play a bit with setup, but it is very important that the initial setup is done by someone well trained, someone who knows the particular turntable by heart. We are lucky here, in Poland, as it is RCM (a company who made also my phonostage) who represents TechDAS on our market, as this is a company of true analogue fans and specialists. They came with turntable, they put it on the rack and leveled it. Next they placed a platter in place – they used special handles that make moving this heavy platter much easier. Then they had to screw in main axis, that also fixed platter to the main bearing. Next step was connecting deck with a pump, that sat in a very nice, aluminum chassis, so it could be placed “in plane view”. Motor setup is more complicated job. It sat in a heavy, cast chassis itself, that used three feet. It had to be placed in a precisely determined distance. The drive is transmitted via a flat belt made of non-stretchable polyurethane. Later one has to start an auto-calibration procedure – the tension of the belt is measured and chassis moved closer, or further away until a desired tension is achieved. Next step is tonearm mounting. AF2 as a standard is able to accommodate 9 and 10'' arms. Upon order a second armboard can be added that is able to accommodate 9, 10 or 12'' arm. Other optional accessories include a clamp, and an anti-vibration platform. Platform for AR1 was made by American company HRS – it differed slightly form a standard model to accommodate turntable's feet and motor. Today TechDAS offers its own acrylic platforms. Unfortunately these are quite expensive – one must pay for a platform for AF2 24 000 PLN… Distributor delivered for this test just a turntable without clamp and platform. Although – in some cases I used few Pathe Wings clamps (see frame 7”/10”). TechDAS in „High Fidelity” STATEMENT AWARD 2014: TechDAS AIR FORCE TWO – turntable, see HERE TEST: TechDAS AIR FORCE TWO – turntable, see HERE Records used for the test: Adam Makowicz, The Name Is Makowicz (ma-kó-vitch), Sheffield Lab LAB21, “Direct Disc Recording Limited Edition”, LP (1983). Budka Suflera, Giganci tańczą, Polskie Nagrania MUZA SX 2293, LP (1986). Charlie Haden, The Private Collection, Naim Label LP110, 3 x 180 g LP (2007/2008). Chico Hamilton Quintet, Chico Hamilton Quintet, Pacific Jazz PJ-1209, LP (1955). Duke Ellington, Masterpieces by Ellington, Columbia/Analogue Productions ML 4418, 200 g LP (1951/2014). Frank Sinatra, This is Sinatra!, Capitol Records T768, LP (1956). Helmut Nadolski, Meditation, VeriTon SXV-786, LP (1976). John Foxx and the Belbury Circle, Empty Aveniues, Ghost Box GBX019EP, 10” LP (2013). Julie London, By Myself, Liberty Records MCR-1, “Columbia House Record Club”, LP (1965). Kraftwerk, Autobahn, King Klang Produkt/EMI, STUMM 303, Digital Master, 180 g LP (1974/2009); Kraftwerk, Autobahn, Philips 6305 231, LP (1974). Krzysztof Komeda, Dance of The Vampires, Seriés Aphōnos SA04, 180 g LP (2013). Maria Peszek, Jezus Maria Peszek, Mystic Production MYSTLP 014, 180 g LP (2013). Mark Knopfler, Tracker, British Groove Records 4716983, “Deluxe Limited Edition”, 2 x CD + DVD + 2 x 180 g LP (2015). Nat ‘King’ Cole Trio, After Midnight, Columbia/Analogue Productions 28180, 3 x 180 g 45 rpm LP (1957/2010). Niemen, Niemen, Polskie Nagrania MUZA XL 0710-0711, „MONO”, 2 x LP (1971). Skaldowie, Rezerwat miłości, Polskie Nagrania MUZA SX 1796, LP (1979). Japanese issues available at [REKLAMA5] When reading Ken Kessler's review I noticed that he used a certain phrase a lot: “in comparison to Air Force One” (an interview with Ken see HERE). It has to be clear, even for those who can't fully understand the text, that the author can't shake a lively memory of his meeting with the TechDAS' flagship. For me the AF1 is an absolute reference and all other turntables may only try to get on par with it. This review gives readers a clear message: Air Force Two is a remarkable turntable with but one, key downside – it's not the Air Force One. It's, in my opinion, non-substantiated generalization. AF2 wasn't created to compete with AF1, not even to compare these two designs. Someone who can afford a Japanese flagship should buy it and don't even bother checking its smaller brother out. The latter was created as an opportunity for those, who are not able, for any numbers of reasons, to accept the price of AF1, or can't afford it. What's more – I believe that this turntable offers quite a different sound than Air Force One and difference is significant enough to consider it a totally different product. Ladies and Gentleman, let me introduce: THE AIR FORCE TWO. Sonic signature of Mr Hideaki Ashikaga's turntable places it in the same family as: Kuzma Reference, Kuzma XL2, Thales TTT-Compact with Simplicity Mk2 arm (see HERE) and SME 30 (a review of 20/3A see HERE). This sonic character differs significantly from what is offered by such turntables as: Linn Sondek LP12 or Avid Acutus Reference. It's significantly different also to what vintage decks, like PTP Audio Solid9 offer. Mostly because sound precision is simply remarkable. There is no exaggeration in this affirmation – listening to well known records using AF2 one will hear things one's never heard before. Despite this remarkable precision the Japanese turntable does not overwhelm listener with huge number of distinctly presented details. It is surely not about trying to create a believable presentation throwing large number of details at listener. That's what some manufacturers, especially on lower prices levels, sometime do. AR2 does not require listener to put together all these details into a bigger whole, it is done automatically, beyond listener's consciousness. This deck offers remarkably selective and detailed sound, but it's not what attracts attention, at least not at first. What strikes listener from the very first moment is how resolving and precise AR2's performance is, how detailed and selective it also is one realizes bit later, when one realizes what builds this incredibly good performance. As it befits a true “tool”, and that's what this deck should be considered to be, it does not matter what music genre one prefers, when a record was recorded, how good is a pressing, what label does it come from, what's the shape of particular record. Each and every time what we get is a believable presentation of the particular record represents in both, technical and artistic terms. The Japanese turntable presents musical event in both, analytical and synthetic way. The analytical side of presentation is the more important one but it does not dominate the performance. The performance delivered by this turntable is highly nuanced, regular terms used to describe less refined decks are hardly applicable here. On one hand, when used, they do describe some small part of particular aspect, but on the other they deepen certain stereotypes, which in this case is road to nowhere. This is an absolute high-end and nothing is unambiguous, at least not for someone who uses a top class system on everyday basis. Let's talk, for example, about tonality. It is so difficult to qualify, as it seems remarkably neutral. Avid, Linn and other suspended decks seems to offer richer, warmer sound, but they in fact, enhance these features themselves, which means that they deviate from neutrality towards something, that many call naturalness. Well, in fact suspended designs are not the only ones that can sound this way – similar sound is offered by non-suspended designs like Scheu Analog Premier Mk 2 or DPS 2, to name few. There are some turntables that seems to offer even more neutral presentation, like already mentioned Kuzma Reference, like some top models from Transrotor, Artus FMD for example – they seem more resolving, more selective, and yet, in direct comparison, it is TechDAS that seems more natural, organic sounding. Frequency range is nicely extended on both extremes, it is the medium (vinyl) that puts a limit to it. The best reel-to-reel tape recorders are able to deliver even more energy at both extremes, sound seems even more open and less restricted by mechanical natural of its reproduction. Vinyl is, after all, only an interpretation of what was recorded on a tape. And yet, AF2 comes really, really close to the original. Some, especially those who never heard any of TechDAS decks, nor a true master-tape, might call me a “heretic” after what I'm about to write. I believe that: Air Force Two delivers a performance that in terms of tonality is closer to analogue master-tapes than Air Force One. The latter might convey the magic, the spirit of such tapes in a better way, but the deck under review delivering more distinct, more open presentation, not as “soft” as AF1, comes closer, shows more fidelity to original tapes than more expensive brother. Because it is a tool. An incredible, musical tool. Like many other high quality, Japanese tools, it also seems to work much better than any other one used before. AIR FORCE TWO AND DIFFERENT CARTRIDGES This Japanese turntable is one of the most neutral sounding machines I know. So I was a bit surprised by what my son, equally bewitched by AF1 and appreciating AF2, pointed out. Namely both Japanese deck “enforce” their system of values over whole system. They both act as alpha males. Supposedly they are part of the crowd (system) but actually they run it. Unlike in most cases where a strong sonic character of particular device is shown by other, more resolving ones, in this case both Japanese turntables are the most refined, most neutral elements in the system. So how come, that they seem to “run” or “rule” the whole system? To be honest, I'm not sure. But the Madake cartridge, that used with other turntables seemed rather “soft”, warm and forgiving, with AF2 showed a different face delivering quite powerful performance, with a brilliantly controlled bass (I didn't realize that it was capable of such performance) and amazingly precise treble. Even more surprising was a perfect control of the whole range when ZYX Ω Premium Diamond X played with TechDAS. It is a remarkable, warm sounding pickup, but with AF2 it delivered more powerful performance, with sharper leading edge, and it was more resolving than with any other turntable I had a chance to listen with it on. Air Force Two conveys exactly what has been written on the record, the good and the bad elements equally. It so happened that during this test I received two records I bought on Allegro.pl in mint condition: the 1976 Meditation by Helmut Nadolski and 1986 Giganci tańczą by Budka Suflera. As you can see a decade sets these two records apart and difference in sound quality is even bigger. The material for Nadolski record, who was supported by Czesław Niemen, was recorded in 1973 in St. George church in Sopot. The records sounds great with stunning dynamics and a very deep sound. The music on Budka Suflera record is very good, but the recording, in contrast to Nadolski's, is quite poor, with a dull, noisy sound. AF2 proved to be a perfect tool to distinguish differences in recording/producing techniques between these two recordings, but also how much worse the technique of record pressing became over the 10 years that set this two albums apart. Using this turntable was very useful when I tried to come u with a theory explaining difference between first pressings and some very good re-issues. The originals offer very open, fast sound, a lot like analogue tapes – I mean as similar as it is possible. The mono version of Julie London's By Myself, Chico Hamillton Quintet album from 1955 and some others – they all had this “true” element in them, which didn't always make listening comfortable, as they sometimes sounded too bright, or too rough. On the other hand Duke Ellington's Masterpieces by Ellington, or Nat King Cole's After Midnight damn good reissues prepared by Analogue Productions, offered cleaner, nicer, richer sound. Leading edge wasn't so precise, but maybe that's what made those recordings sound more palpable, warmer. It is one of the paradoxes of audio, something that makes it unpredictable and thus fascinating. Summary Air Force Two should be used in all National Libraries, in each recording an d mastering studio, and it surely should be used in all pressing plants – in most of such places people don't know exactly what they're doing. When they do something right it's almost a miracle, it is possible due to their genius and dedication similar to those of sound engineers from 1950ties. Listening to music using AF2 is sort of intellectual challenge. It brings a lot of surprises no matter if one listens to well known, or totally unknown recordings. It is also an emotional challenge – the great abundance of information provided by this turntable come together and result in a very true presentation. The turntable is no more an element of the equation – listener is left eye-to-eye, or ear-to-ear with music. This is not the single best turntable in the world, there are two, three that offer even more, and yet it is one that delivers one of the most competent, uncompromising performances I've ever heard. AIR FORCE ONE vs AIR FORCE TWO I said I wouldn't compare models One and Two, and I kept my promise. But for this review to be complete I need to give you a chance to know exactly what you need to spend twice as money when you decide to buy AF1 instead of AF2. A quantitative approach would reveal only very small differences between the two. The “Two” offers slightly smaller scale of the sound, particular instruments are not presented with such a fabulous depth as by AF1. The “One” is more refined when it come to presenting bodies of each sound source and their tonality, but again, the difference is not that significant. The emotional aspect of the presentation is much more important, and more difficult to access and quantify. The more expensive model charms listener with everything it does while the less expensive one tries to be more honest. One needs to spend some time with the “Two” to get fixated on it, all one needs with the “One” is a few minutes. The AF2 measures 685 (W) × 460 (D) × 200mm (H) and it weights 47 kg. It is quite large machine that occupied 1,5 shelves on my two-shelf Finite Elemente Pagode Edition rack. Three main elements combine to build up this deck: a chassis with platter, motor and air-pump, and power supply. The chassis supported by large-size four-legs is of a double-layered structure consisting of an upper layer with complex configurations and a flat but thick lower layer. To secure sufficient strength, not only the thickness but also ribs are employed according to the need. As a result, the total weight reached 32.6Kg. The 10 kg platter is made of special A5056 aluminum. This system is configured with no conventional bearings and a platter simply installed on the glass plate with a polished flat surface to be aligned with the center shaft for positioning. Once the ancillary electric air pump starts forcing air into the turntable the platter will start floating instantly to the height of 0.03mm (30μ) above the base. Additionally platter sports a vacuum disc suction system that attracts vinyl records to the surface of the platter making record flat – eliminating any warpage and thus unwanted resonance. Turntable sits on four feet decoupling it from the ground and additionally decoupling chassis from subchassis. This solution is called a Hybrid Spring Suspension. Each foot accommodates upper chamber sealed with air and lower rubberoid diaphragm with built-in springs, sealed with oil internally. Motor stored in free-standing rugged aluminum housing sports a solid steel drive wheel that by fabric belt drives rotation of a platter. This is quite powerful, synchronous AC motor and the rotation is supervisory-controlled through a non-contact sensor and a microcomputer, that is placed in the same housing as both pumps („Rotation Control System”). Motor's housing sits on three feet. Inside there is a mechanism that allows small movement of the motor which allows control and adjustment of belt's tension used to achieve a perfect speed. Pumps and electronics were placed in a nice looking, aluminum housing („Air pump & Power supply Unit”). There is a green LED on the front. Two pipes go out from its back – these go to the turntable, power cable that supplies motor, terminated with multi-pin RS232 plug. It is important to place this housing on a different shelf than turntable itself, or at least use some platform to decouple it. Working pumps, despite the fact that they work really quietly (it is amazing that such quiet pumps even exist), still produce some micro-resonances. Fir&finish is absolutely top-class. Many other audio products, when compared with TechDAS, seem like prototypes waiting for their final versions to still happen. Having such a device in your room helps you to separate valuable products from all the rest, it lets you re-evaluate your perception of audio products. After a while you won't tolerate any half-measures. So you need to be careful – after AirForce 2 enters your life nothing will be the same again, you will become much more picky. 7”/10” The platter with vacuum disc suction system is built in such a way that supports 12'' records. The whole system includes: two (inner and outer) seals with tiny slots, vents used to suck the air out and, obviously, pump. So it would seem that one can't use 10 and 7'' records on this deck. But as long as one has a proper clamp one can play also such records, although the vacuum disc suction system can not be used in such cases. Discs smaller than 12” rest on the inner seal. When a properly heavy clamp is used they “sit” on the platter very nicely. To use singles with a large hole in the middle (the ones made for jukeboxes) one needs a triangle with a small hole – a classic disc will be to tall. Specifications (according to manufacturer) Chassis and motor Weight of chassis: 32,6 kg (cast aluminum) Weight of platter: 10 kg (A5056 aluminum) Total weight: 47 kg Motor: AC synchronous Speed: 33,3 rpm/45 rpm Wow&Flutter: less than 0,03% (W.R.M.S.) Dimensions: 685 (W)×460 (D) mm Air-pump and power supply unit Power consumption: 50 W Dimensions: 430 (W)×160 (H)×240 (D) mm Weight: 10 kg Accessories Tonearm base wood x 1 (drilled for specified tonearm) Platter cover “The Platter Top” x 1 AC power cable x 1 (180cm length) Optional accessories: Special Damping Table Second Tonearm Base Tonearm base wood for supplement (for 1st and/or 2nd tonearms) TechDAS Disc Stabilizer (highly recommended to use with Air Force Two) TechDAS TDC01 MC cartridge & TDC01 Ti MC cartridge YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? 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[hfgallery] [img mini="foto_testy/1505/TechDAS/th/05.jpg" big="foto_testy/1505/TechDAS/05.jpg" src="foto_testy/1505/TechDAS/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/06.jpg" big="foto_testy/1505/TechDAS/06.jpg" src="foto_testy/1505/TechDAS/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/07.jpg" big="foto_testy/1505/TechDAS/07.jpg" src="foto_testy/1505/TechDAS/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/08.jpg" big="foto_testy/1505/TechDAS/08.jpg" src="foto_testy/1505/TechDAS/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/09.jpg" big="foto_testy/1505/TechDAS/09.jpg" src="foto_testy/1505/TechDAS/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/10.jpg" big="foto_testy/1505/TechDAS/10.jpg" src="foto_testy/1505/TechDAS/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/11.jpg" big="foto_testy/1505/TechDAS/11.jpg" src="foto_testy/1505/TechDAS/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/12.jpg" big="foto_testy/1505/TechDAS/12.jpg" src="foto_testy/1505/TechDAS/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/13.jpg" big="foto_testy/1505/TechDAS/13.jpg" src="foto_testy/1505/TechDAS/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/14.jpg" big="foto_testy/1505/TechDAS/14.jpg" src="foto_testy/1505/TechDAS/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/15.jpg" big="foto_testy/1505/TechDAS/15.jpg" src="foto_testy/1505/TechDAS/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/16.jpg" big="foto_testy/1505/TechDAS/16.jpg" src="foto_testy/1505/TechDAS/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/17.jpg" big="foto_testy/1505/TechDAS/17.jpg" src="foto_testy/1505/TechDAS/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/18.jpg" big="foto_testy/1505/TechDAS/18.jpg" src="foto_testy/1505/TechDAS/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/19.jpg" big="foto_testy/1505/TechDAS/19.jpg" src="foto_testy/1505/TechDAS/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/20.jpg" big="foto_testy/1505/TechDAS/20.jpg" src="foto_testy/1505/TechDAS/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/21.jpg" big="foto_testy/1505/TechDAS/21.jpg" src="foto_testy/1505/TechDAS/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/22.jpg" big="foto_testy/1505/TechDAS/22.jpg" src="foto_testy/1505/TechDAS/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/23.jpg" big="foto_testy/1505/TechDAS/23.jpg" src="foto_testy/1505/TechDAS/23.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/TechDAS/th/24.jpg" big="foto_testy/1505/TechDAS/24.jpg" src="foto_testy/1505/TechDAS/24.jpg" desc="HighFidelity.pl"] [/hfgallery]

------------------------------------------------------------------------ ome devices are able to fit into particular audio system seamlessly, like they have always been a part of it, as if they've always belonged. They fulfill sonic character of this system, allowing its user to elevate his level of music perception by adding some elements he hasn't even known existed. That sound serious, right, especially because it suggests that I mean top high end systems. The beauty of this job, of my job, is that I'm having such moments of “enlightenment” again and again, because there are always new devices that sound better than others. And each time one discovers such a better performing device, one discovers even more new elements in system's presentation, in “more music in music”. These device that “fit” into particular system best compliment it, make it perform in a better, more interesting way. And it does not matter how much such a device costs. In my case many times it so happened that when I discovered such devices I treated them as a natural part of my system, I used them while reviewing other product, often forgetting to review these very special ones, as they'd become just another “natural” element of my reference system. I'd like to change that. Already for some time now I've been trying to share such discoveries immediately with Readers all magazine I write reviews for, which mean of „High Fidelity”, „EnjoyTheMusic.com”, „Positive Feedback Online” and „hifistatement.net”. I try to inform them/you how good these devices are, how much they mean for me. Sometimes though, some products slip through – like Soulution 710 amplifier (an element of my reference system) few years ago, and like Accuphase A-70 now, another power amplifier, that we have been using for quite some time already in Tomek's system during our Cracow Sonic Society meeting. My own amplifier already has a successor, Soulution 711, and I hope to check it out really soon, but the Accuphase hasn't been on the market that long. In 2012, celebrating its 40th anniversary, Accuphase presented A-200 monoblocks, operating in Class A. At the time I reviewed them for „Audio” magazine and I found out that it was the first class A Accuphase amplifier I could live with. It offered amazingly deep, tuneful, well differentiated sound and it wasn't overly selective. Japanese manufacturer decided to use many solutions that were developed for A-200 also for the new A-70. Despite the similar looks with previous stereo flagship, A-70 is a completely new device, not just an “upgraded” version of the predecessor. Manufacturer declares that: „In short: A-70 is a stereophonic version of A-200 monoblocks delivering less output power.” Manufacturer managed to improve all measurable parameters, including these, that are usually not even considered, that are an effect a a better mechanical design. A-70 sports a discreet ultra-low-noise „instrumentation amplifier” in the input stage, that results in -127 dB (gain = -12 dB) S/N ratio. Output stage uses MOSFET transistors – each channels sports 10 of such transistors working in push-pull configuration in a pure A class. In the output circuitry, ultra-heavy-gauge edgewise coils with a surface area more than three times larger than conventional units, combined with MOS-FET switches are used in place of relays, to eliminate mechanical contacts and improve long-term reliability. Top-grade materials, sophisticated circuit pattern technology, and various other measures result in low impedance and enable the realization of a damping factor of 800, which represents a two-fold improvement over the A-65. 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 test (a selection) CD | SACD Doris Drew, Rarities, Sinatra Society of Japan XQAM-1054, CD (2012). Miles Davis Quintet, Cookin’, Prestige/Analogue Productions CPRJ 7094 SA, SACD/CD (1956/2014). Charlie Parker, Charlie Parker , Clef/UMG Recordings UCCV-9478, „David Stone Martin 10 inch Collector’s Selection”, CD (1952 | 1953/2013). Cyrus Chestnut, Midnight Melodies, Smoke Sessions Records SSR-1408, CD (2014); NEU!, NEU!75, Brain Records/P-Vine Records PCD-93529, “NEU! Story 3”, CD (1975/2001). Vangelis, Spiral, RCA/BMG Japan 176 63561, K2 SHM-CD (1977/2008). LP Duke Ellington, Masterpieces by Ellington, Columbia/Analogue Productions ML 4418, 200 g LP (1951/2014). Budka Suflera, Giganci tańczą, Polskie Nagrania MUZA SX 2293, LP (1986). Helmut Nadolski, Meditation, VeriTon SXV-786, LP (1976). Skaldowie, Rezerwat miłości, Polskie Nagrania MUZA SX 1796, LP (1979). Elvis Presley, Recorded Live On Stage In Memphis. 40th Anniversary edition, RCA Records/Music On Vinyl MOVLP1052, 4 x 180 g LP (2014). Charlie Haden, The Private Collection, Naim Label LP110, 3 x 180 g LP (2007/2008). Nat ‘King’ Cole and the Trio, After Midnight, Columbia/Analogue Productions 28180, 3 x 180 g 45 rpm LP (1957/2010). Japanese CD editions are available from [REKLAMA5] Do we even need CD and vinyl in XXI century? Today, they might seem obsolete – many people buy files, instead of physical medium, lots of them buy single pieces of music, not whole albums anymore, and finally there are more and more streaming services that allow not to download music to HDD at all. One might say that history made a full circle, as it all started with listening to the music on the radio. The only difference is that today one might “listen to the radio” one created a playlist to be played for. And yet I'm pretty sure that physical for of music album will survive, just as novels survived despite the fact that already 10 years ago some claimed that these would vanish completely. I guess a lot of credit for that fact has to go to the vinyl renaissance and its beautiful, large covers. Vinyl record forces user to listen to, at least, full side of each record, without choosing particular pieces of music, going forward and backward. It's a good tradition, we should not give it up. Going back to the initial question – do we even need CDs and vinyl records today? Or why do we need them? I thing one of the best answers is very simple: for emotions. Music as such is able to involve listening emotionally in such a way no other form of art can. It “induces” emotions in connection with particular events, people, places, experiences, but also totally new, fresh ones. We all have our favorite tunes, melodies, songs, albums that remind us some particular events or experiences from our past. Music allows us to relive them preventing a loss of these memories. Accuphase A-70 seems to help listener to achieve just that. It delivers music in such a way that it makes one WANT to listen to the music, that one NEEDS to listen. All I needed to know, that Tomek made a great choice buying this amp, was just one pieces of music. A-70 has no problems driving quite difficult Dynaudio Confidence C4 Signature speakers in a large room also with large distance between speakers and listener. A-70 delivered amazingly effortless, seamless performance. Y listening room isn't exactly what you might call: “by the book” - it is quite large but its shape is irregular, my speakers are relatively easy to drive and I sit quite close to them. That is why even when I wanted to crank up volume when listening to bass-rich music, like Vangelis' Spiral for example, I never used more that 10W of output power of my amp, and the average power used during my listening sessions was around 5-6W. 3W were more than enough when it came to listening to live, hardly compressed, jazz music of Cyrus Chestnut from his album Midnight Melodies recorded in Smoke club. Let me use this opportunity to share the news of new Smoke Sessions release called Night And Day by Vincent Herring that shall be released on May 12th (more HERE). I've already order a copy and I encourage you to do the same. Output power is a relative term, no matter what engineers tell you. Relative means that... it depends on each and every particular case. I had a chance to test in my setup some 5 to 15 W tube amplifiers, some of them were remarkable. To name just the most important ones: Reimyo PAT-777, Ancient Audio Silver Grand Mono, Triode TRX-M300 Reference Edition. Each of them offered something special, something that none other amp with high output power, tube or solid-state, was able to re-create. But all of them showed some downsides of a low output power too. Only such powerful beasts like Soulution 710, Accuphase A-200, and now A-70 proved that when wanted to use such a large speakers like mine, and wanted to achieve a realistic “picture” of a grand orchestra, or play rock and electronic music in a convincing way (meaning in a similar way to what one remembered from concerts) these speakers had to be driver by amplifiers with high output power. In fact it was not even about actual output power used (in case of Accuphase displayed on the front) but about how much headroom such an amp offered. One would get very different results when combining an amplifier using 90% of its power to drive particular speakers, and another that would use only 9% of its potential while delivering the same amount of power. The same output power would be used but the result, the performance would be very different. That's what this Japanese amplifier will provide its user with, I can't even imagine that any user could “lack” more power from this device. Sure – A-200 will deliver large phantom images, they will do it with even greater ease. Their performance will be more sophisticated, more subtleties will be conveyed, greater spacing, more air between instruments. But A-70 doesn't fall far behind in any of this sound features, one couldn't just call it a “cheaper” solution. So the output power is not that important per se. In this particular case it serves the purpose of creating large, palpable phantom images. It helps to easily reproduce a wonderful tonality. Someone who has no experience with this type of sound might, for a long time during first session, think, that Accuphase is focused solely on midrange presentation. Sound is very rich, dense with a very palpable rendition of the foreground of the stage. It is how a sound of many 300B SETs is perceived. Not because it is actually so, but because usually it is the midrange that is the richest part of the range, and both extremes are perceived as slightly rolled-off because they not that rich as the midrange is. Or, in other words, we one perceives midrange presentation as better than the one of range extremes. We, humans, are “shaped” this way by evolution, we are more sensitive to this part of the range, that covers human voice, that allows us to differentiate subtleties in somebody's voice tone. That is why it is easier to tell, whether there is some coloration to vocal, than it is to cymbals (for example). So once one hears such a refined presentation of midrange, as A-70 offers, one one get fixated on this element, it “sets” the whole perception. But the fact is that Accuphase does not emphasize midrange – it offers very coherent sound throughout the whole range, from the very bottom to the upper treble. It delivers rich, open, dynamic performance with a lot of drive. It is slightly warm, but accurate. There is no emphasis on an attack phase, there is no exaggeration is sounds definition. Maybe that is why for the most time listener might be under impression that he listens to a low-power tube amplifier. When I heard Niemen sing, either from the first pressing LP, or the latest, digital one remastered by Ms Atalay, he sounded very natural, he never “screamed”. I had similar impressions when listening to Doris Drew Rarities, and even to the last Cohen's album, Popular Problems. Such recordings, made many years ago when recording technique was that perfect, when performers and sound engineers had a different kind of “artistic” vision, might sound bit bright, or harsh, they often lack richness. To enjoy them to the full extent one needs an amplifier, that offers such a richness, density of the midrange, as the reviewed Accuphase does. Midrange has to be very natural, rich, but without coloration. Obviously there always are some limitations to what any audio device can do with such recordings, but some, within these limitations, are able to deliver all the information about music and recording in a way that allows listener to enjoy listening to it. I found it fascinating, that with this Accuphase I could choose any recording knowing, that it would sound good. Summary I didn't want this review of A-70 to be a list of pros and cons and features. Surely you will find all of them in this text. Sound is rather warm, and a definition of both range extremes delivered by twice as expensive A-200 was better. My idea was to convey to you how remarkable, how beautifully, organic sounding amplifier this Accuphase was. It allowed me to enjoy any music, listening was a pure pleasure. It sports enough power to fill a large room with sound, and in smaller rooms one will enjoy large power headroom. Such a headroom is a truly wanted feature in audio world. Fit and finish are, as always in case of Accuphase, perfect. User will surely appreciate an advanced protection circuitry, and features that allow to “adjust” this amplifier to a particular system and to particular sonic preferences. This is a true high-end, with a human face. Truly wonderful sound! RED Fingerprint. A-70 was compared head-to-head with twice as expensive, reference power amplifier, Soulution 710. I placed it not on Finite Elemente Pagode Edition, but on Acoustic Revive RST-38H platform. The Harmonix TU-666M Million anti-vibration feet allowed me to achieve a more precise sound. Amplifier worked in almost identical system as the one I used some time ago when reviewing A-200 monoblocks for “Audio” magazine. I had a chance to listen to A-70 also in Tomek's system, where it works with reel-to-reel Nagra tape recorder (and master-tapes) and a prototype of Ayon Audio's S5 player, that allowed us to listen to “Master” quality DSD files. For this test I used as a source not only my reference Ancient Audio Lektor AIR V-edition CD Player, but also the TechDAS Air Force Two turntable with ZYX Ω Premium Diamond cartridge and ZYX Premium Artisan phonostage. Ayon Audio Spheris III preamplifier was connected with Accuphase using Acoustic Revive XLR-1.8PA II interconnect. To power the device I used Acrolink Mexcel 7N-PC9500 cable. I used A-70 also for a test of Harmonix X-DC SM Million power cable, that was compared to Crystal Cable Absolute Dream. Changes that all these cables introduced were very clear to me and I could easily determine a sonic character of each of them. I listened to all version of Niemen album using this setup and it allowed me to assess differences between them. TOMEK An Owner of A-70 I bought Accuphase A-70 without even checking it out first. As an owner of A-46 model I always dreamed about having it's “older brother”, A-65, that I saw each time on a shelf when I visited showroom. Some day, beginning of 2014, I saw on Twitter a picture of to be released new model, A-70. I knew already then that it was a perfect moment for an upgrade of my system. Obviously I realized that buying and amplifier without checking it first out in my own system wasn't optimal, but I also knew that the general direction Accuphase showed by its other recent products like: A-200 or E-600, minimized the risk to almost 0. Without much hesitation I visited distributor, paid some advance and later, middle April I became one of the first owners of A-70 in the world. All I needed was just a few first seconds to realize how wrong I was believing that A-46 was enough to drive my large Dynaudio Confidence C4 Signature speakers in a quite large room. Even though my new A-70 was brand new I immediately heard lowest notes that I hadn't heard before. Impressive damping factor of guaranteed value of 800 (in reality it is most likely even higher) allows a full control over speakers, it ensures enough headroom for any music piece, even the most demanding ones. This feature plus some other like: coherency, wonderful timbral expression, large, deep, multi-plane soundstage, naturalness of midrange make A-70 almost a perfect amplifier. Its appearance is another attitude – it is not a monster, like many other high-end amplifiers available on the market but it is big, it is solid, heavy, offers great finish, handles fixed to the front, and wonderful displays. It is an amplifier I've always dreamed about. In my humble opinion, and let me assure you that my motivation is not a justification of a significant expense, A-70 represents the same level of performance and appearance as products of such renown brands as: Soulution, Vitus, DarTZeel or Dan D'Agostino (and yes, I had a chance to listen to all of them). I think that this review of Accuphase A-70 is a great opportunity to share quite an unusual story with you. A friend of my from Stargard Gdański came to visit me one Friday in December 2014. He came to Cracow planning to purchase A-70, that he'd never had a chance to listen to before. Up to this day the only common element of our systems were Dynaudio Confidence C4 speakers. He used with them an integrated amplifier and CD Player, both by Accuphase. He thought (and it as a great idea) that it would be more convincing, more reliable to listen to this amplifier with exactly the same speakers he used and to do it rather at friend home than in distributor's showroom. We listened to the music for several hours, despite the fact that my friend knew he wanted to buy this amp already after first hour, so it was very late when I finally went to bad. Roughly after 3 hours of sleep I was woken up by music coming from my listening room. I wasn't particularly happy about it, I went down to the room and found my friend totally immersed in music. After few more albums he finally concluded: “I take it all, whole system”. We ate breakfast and then went to Nautilus showroom where he bought A-70, Ayon CD-T CD transport and Ayon Stratos preamplifier/DAC. That is a story of another “twin” system that is still used in Northern Poland. Let's be honest – I don't think many would buy this exact setup. I built it and I am very proud of it as well as the fact that other audiophile voted for it with his own money. Despite the fact, that it happened half a year ago, Łukasz keeps calling me twice a week to praise his remarkable system and to tell me how many audiophiles from his region already visited him to listen to this setup. Obviously a lot of credit for a success of this system has to go to Accuphase A-70. Downsides? For the first few days the „Eco Mode” really got on my nerves. This function turns amplifier off after two hours on inactivity. It took one phone call to distributor to learn how to turn it off, but on the other hand I'm not particularly happy that I had to pay for a function that I do not want to use. I do realize that Accuphase did what they had to do due to regulations created in Brussels to make our lives more difficult (the first of such a “great” regulations I remember they introduced in the late 90ties was a ban for speaker posts that accepted banana plugs). This function that switches Class A amplifier off is, in my opinion, as absurd as bi-turbo, 1,2 L engines for class D and E limousines. A solid body of A-70 will stand out in every room. The appearance is a “classic” Accuphase with golden anodized aluminum front, with LED indicators of an input signal level (in dB), and a LED display placed above, that shows information about power output (in W) and finally with huge radiators on both side walls. The front panel holds also an on/off switch and a few LED indicators, that indicate a selected input (XLR/RCA), and a mode amplifier works in (when it works as a monoblock an indicator „Bridge” is on. It seems that this all there is, at least until one won't lover a flap and finds a lot of buttons and switches underneath. Accuphase has been using this solution for some time for their integrated amplifiers. This way front panel looks very neat but the device still offers an abundant functionality. Using one of the switches user might choose which indicators should work, or even turn them off. After some time I decided to turn them off as these blinking LEDs distracted me when I listened to music. There are three other switches that allow user to choose a “sensitivity” of indicators. One can select active input and input sensitivity. When using the latter, manufacturer recommends to put it is such position that to listen at “normal” volume level one would put a volume knob midway of the scale. This way the noise of the whole system should be at optimal level. An internal design looks, as always when it comes to Accuphase products, fantastic. A precise, solid make, it looks like it is supposed to last not 10 but 100 years. In the middle there is a huge, shielded power transformer. The shielding “cup”, reinforced additionally with aluminum fins acts also as a radiator. There are two large, 82 000 μF filtering capacitors in power supply. These are connected with two thick, gold plated jumpers (rather than cables). Also ground bars and most of contact elements are gold plated. Capacitors were made for Accuphase by Nichicon. The input section sits on a separate board. There is a buffer based on transistors, as well as as a balancing circuit (for RCA inputs) – A-70 is a balanced design. Also current section consists of transistors. It sports 10 pairs of transistors working in push-pull configuration in Class A, per channel (complementary pairs of Toshiba J618 + K3497, so called „Junction FET”). Accuphase’s original MCS (Multiple Circuit Summing) principle uses a number of identical circuits connected in parallel. Accuphase calls this solution: MCS+ (Multiple Circuit Summing) and it has used it, not only for amplifiers, for many years now. It allows to minimize noise and harmonic distortion. The A-70 uses the output signal current rather than voltage for feedback. The newly adopted ultra low-noise instrumentation amplifier principle is realized with discrete components, allowing optimization of the redesigned signal input stage and power amplification stage, and resulting in a 6 dB improvement in signal-to-noise over the A-65. Manufacturer changed a configuration of gain stages compared to previous model, Before the input stage's gain was x 4 and the next stage was x 6,3, which in result offered (max) 25 dB gain. This time the input stage offers x12,6 (22 dB), and the second stage only x 2 (6 dB). The chassis is made of metal profiles and radiators bolted together. Feet are made of steel with a significant percentage of iron. Accuphase claims that this set of materials improves resonance damping. Pure perfection. Specifications (according to manufacturer) Output power (continuous): 60 W/8 Ω | 120 W/4 Ω | 240 W/2 Ω | 480 W/1 Ω Output power (peak): 131 W/8 Ω | 232 W/4 Ω | 370 W/2 Ω | 547 W/1 Ω S/N: -121 dB (guaranteed) -124 dB (typical) Damping factor: 800 (guaranteed) 1000 (typical) Dimensions: 465 x 238 x 514 mm Weight: 44,3 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/1505/Accuphase/th/05.jpg" big="foto_testy/1505/Accuphase/05.jpg" src="foto_testy/1505/Accuphase/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/06.jpg" big="foto_testy/1505/Accuphase/06.jpg" src="foto_testy/1505/Accuphase/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/07.jpg" big="foto_testy/1505/Accuphase/07.jpg" src="foto_testy/1505/Accuphase/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/08.jpg" big="foto_testy/1505/Accuphase/08.jpg" src="foto_testy/1505/Accuphase/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/09.jpg" big="foto_testy/1505/Accuphase/09.jpg" src="foto_testy/1505/Accuphase/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/10.jpg" big="foto_testy/1505/Accuphase/10.jpg" src="foto_testy/1505/Accuphase/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/11.jpg" big="foto_testy/1505/Accuphase/11.jpg" src="foto_testy/1505/Accuphase/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/12.jpg" big="foto_testy/1505/Accuphase/12.jpg" src="foto_testy/1505/Accuphase/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/13.jpg" big="foto_testy/1505/Accuphase/13.jpg" src="foto_testy/1505/Accuphase/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/14.jpg" big="foto_testy/1505/Accuphase/14.jpg" src="foto_testy/1505/Accuphase/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/15.jpg" big="foto_testy/1505/Accuphase/15.jpg" src="foto_testy/1505/Accuphase/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/16.jpg" big="foto_testy/1505/Accuphase/16.jpg" src="foto_testy/1505/Accuphase/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/17.jpg" big="foto_testy/1505/Accuphase/17.jpg" src="foto_testy/1505/Accuphase/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Accuphase/th/18.jpg" big="foto_testy/1505/Accuphase/18.jpg" src="foto_testy/1505/Accuphase/18.jpg" desc="HighFidelity.pl"] [/hfgallery]

or whatever reason, despite my best intentions, until now I've never had a chance to listen to any product of Austrian company Trenner&Friedl in my room. Sure, I listened to few models during shows, also in friend's system, but never at home, never in my system. Each time I listened though, I was truly impressed. I was simply amazed with the performance of ISIS, a model that, in my humble opinion, could be the one for a lifetime, as from my perspective it has tones of virtues only one „weakness” - it can't be driven by a low-power SET amplifier. All models I had a chance to listen to delivered not only damn good performance but they made a fantastic aesthetic impression as well – their fit&finish is simply something else, something others could learn from. Despite the fact that, when you look at them, they seem quite plain, simple designs, they all have this SOMETHING in them, which makes them look so incredibly attractive. Each model is smaller or larger piece of art that one puts in the room to enjoy not only music reproduction, but to make one's room look better and it's owner to feel better in this room. I know, it is hard to believe when looking at pictures, as, except for the top model, called Duke, all others look quite ordinarily, at the first sight at least. And yet, high quality materials, beautiful finish, and most likely also “proper” proportions is what makes these Austrian speakers real, irresistible beauties... The whole line today includes 5 models of loudspeakers. The smallest one, Art, is named after famous, brilliant saxophone player, Art Pepper. The largest, which is the first one company ever created, is called Duke (after the one and only Duke Ellington). The latter, as described on company's web page, was actually planned to be used as an acoustic "electron-scan" microscope for Trenner&Friedl's our own music productions. Take a little time to go to manufacturer's web site to have a look at those, it seems, studio monitors, 1,5 m tall, 85 cm deep, and 50 cm wide... :) The other three middle models seem to represent an “Egyptian” line as they are name: Pharoah, Ra and Isis. For this review and my first own Trenner&Friedl experience I received the smallest model, Art. These are truly tiny speakers measuring only 27x18x30 cm. Fit&finish is at the same, perfect level, as the one of more expensive models. The designers, Mr Trenner and Friedl, claim that they put as much heart and soul into this project as they had in any other before. The goal remained the same as always – the most involving music reproduction. To achieve that they created a stiff, multi-layered body with the sandwich front with it's rigid, hand polished Corian©, they used Cardas internal wire, and the fine crossover parts built and mounted in Germany (by Mundorf). For this test, together with speakers, I received also stands that were designed and built in consultation with T&F by well known Polish company run by Mr Janusz Rogoż. As always with products by Rogoż Audio stands were very solid, rigid and did a great job in combination with Art speakers. Recordings used for the test (a selection): Blues masters, Master Music MMSXR015, XRCD24. Alan Silvestri, Predator, Intrada MAF 7118, CD/FLAC. Arne Domnerus, Antiphone blues, Proprius PRCD 7744, CD/FLAC. George Michael, Unplugged, ABS 002KXVA3G, CD/FLAC. Isao Suzuki, Blow up, Three Blind Mice B000682FAE, CD FLAC. John McLaughlin Trio, Que alegria, Verve B00000478E, CD. Keith Jarret, The Koeln Concert, ECM 1064/65 ST, LP. Leszek Możdżer, Kaczmarek by Możdżer, Universal Music 273 643-7, CD/FLAC. Louis Armstrong & Duke Ellington, The Complete Session. Deluxe Edition, Roulette Jazz 7243 5 24547 2 2 (i 3), CD/FLAC. Mahler, Symphony no. 1, EMI Classical/Hi-Q Records HIQSXR35, Supercuts XRCD24. Mccoy Tyner, Solo: Live from San Francisco, Half Note Records B002F3BPSQ, CD/FLAC. Michał Wróblewski Trio, City album, Ellite Records, CD/FLAC. Mozart, Le nozze di Figaro, dyr. Teodor Currentzis, MusicAeterna Orchestra, Sony Classical B00GK8P1EG, CD/FLAC. Pavarotti, The 50 greatest tracks, Decca 478 5944, CD/FLAC Renaud Garcia-Fons, Oriental bass, Enja B000005CD8, CD/FLAC. Rodrigo y Gabriela, 11:11, EMI Music Poland 5651702, CD/FLAC. The Ray Brown Trio, Summer Wind, Concord Jazz CCD-4426, CD/FLAC. Japanese issues available at [REKLAMA5] Such small speakers like Arts work best in rooms smaller than mine. A rear-ported bass-reflex suggest placing them relatively closely to the wall, which should support bass reproduction. I have to resign from this option as the distance between speakers and listening position would be to big. So, like in some other cases of recently reviewed small stand speakers, I moved Arts towards the middle of the room. That turned listening session almost to a near-field experience. Also, while stand-mounted speakers usually create a large, immersive soundstage, when placed further into the room, far away from all walls and any obstacles, this element of a presentation gets even better. And huge, deep soundstage, speakers disappearing from a room – that's exactly what I love. OK, so I got these tiny speakers. Some limitations in bass extension and punch are obvious. What should I start listening session with? How about... *Predator** OST – yes, THE film with Arnold Schwarzenegger – he's from Austria, right? So it's fitting. Yes, I know that he had nothing to do with music itself, it was composed by Alan Silvestri, but it was the music that built the whole “everybody's going to die but you don't know when” atmosphere of the movie. This music is not so monumental as, for example, Hans Zimmer's for *Inception**, or *Dark Knight Rising* so should be more fitting for the Arts. Here the whole atmosphere is built with sudden changes of pace, with spacial effects, sounds coming from different directions that are supposed to raise adrenaline level. Is it a right job for these little speakers? I quickly found out, that it is! Speed is one of their strongest attitudes, they deal perfectly with sudden changes of pace and large dynamics shifts. They are able to create an immense space while disappearing totally from the room – in this way different sounds appearing in different places around the room are able to raise adrenaline level really quickly (if you don't know what I'm talking here about you've most likely never seen this movie). Many bigger loudspeakers, despite the better bass extension, were not able to recreate this atmosphere of the movie in such a convincing way. This time I could really feel shivers traveling down my spine. Well, prejudice concerning size of speakers doesn't make that much sense after all as most people think it does, does it? So it looks like Arts like the challenge. OK, they don't want to act as they should (as small, tiny speakers they are) lets see if they can keep up the pace. Next album to deal with - *Que alegria** by John McLaughlin Trio. For me this album is mostly about a conversation, that sometimes turns into a fight, between John's guitar and Trilok Gurtu's drums. Sometimes they converse politely, sometimes they start to throw strong arguments on each other. John's guitar, played by Arts, sounds very lively, energetic, his own style of playing guitar is amazingly well presented by these Austrian (pieces of) Art. But I'm even more impressed with the way Trilok Gurtu's play is delivered. Why? Because I wasn't expecting it, cause it seemed impossible, that drums might sound so well while played by these speakers. Sure, that's not a very powerful rock/heavy-metal percussion with hard kicking kick-drum, and sticks hitting hard everything within musician's arms range. It is rather a fantastic, fast, creative play with a significant presence of cymbals. And these, played by Arts shine with all colors of the rainbow, vibrate in the most amazing way. Fast sticks' strikes provoke equally fast response and then a wonderful, long, so colorful decay that seems to be suspended in the air for a really long time. And while cymbals sound absolutely amazing they still are not the most impressive part of the performance, drums themselves are. I can't believe how nicely each strike and drum's response are differentiated, how fast each interaction is, how much energy it carries – these are the elements that impress me most considering dimensions of Arts. How it is even possible that they are able to deliver such a performance? – I asked myself again and again. A very reasonable question, an important one, but I don't want to waste time looking for an answer – I prefer to enjoy this remarkable performance and listen to more and more albums. As I enjoy what I heard a lot, I tend to increase volume level, at least during day sessions (not at night, of course) and play some pieces really loud. And it is a real fun as Arts aren't impressed at all – they play just louder without any negative effects of doing so – no distortion, no compression – same transparent, clean presentation as before. OK, I do not try to “tear down the wall” with them, but in my book these volume levels are really high and yet Arts remain unimpressed and unaffected. Looking for another album to play (with the same assumption as before, that it should be something I have not listened to for a long time) I come across George Michael's *Unplugged**. I do not listen to pop music to often, but ever since the famous concert, tribute to Freddie Mercury, where many stars performed Queen's songs and most of them horribly failed to do, what had been so easy for Freddie, I truly appreciated George Michael for his remarkable vocal skills. He was one of very few who did not fail in this repertoire. That's why I have this album and go back to it on occasion, despite the fact that sound quality is surely not perfect – there is too much emphasis on bass, there are some sibilants, not necessarily natural sounding ones, and the soundstage is bit “condensed” in a smaller space than it should be (to my taste at least). And yet, considering Michael's vocal talent, it is worth listening to. Arts are not the type that tries to improve the recording, or to hide its weaknesses. So bass is a bit boomy and slightly out of proportion comparing to other instruments and vocal, and the latter sometimes exhibits too many sibilants. But when there are no sibilants it sounds really good with rich timbre, texture and palpability that add up to a very lively, realistic presentation. And yet, these Austrian speakers, gently toed in towards my listening position seem to look at me sadly, begging for some higher quality material, so that they could perform at their best. I can't stand that sad look, so I move to fantastic recordings like XRCD24 *Blues Masters**, that I received from Mr Kazuo Kiuchi in Munich during High End Show. I am a fan of blues, so such a gift was truly appreciated as I also knew this would be an outstanding recording, which is not always true for blues albums. Arts seem to appreciate this quality, too – no more sad looks, and they play the blues with true feeling. Exceptional pace&rhythm, and outstanding voice presentation contribute to a remarkable performance. It is deep, palpable, with a lot of texture, tones of emotions, and with wonderful expression – I simply love the way Arts play the blues. Also, finally playing such a good material they prove how clean, transparent, resolving and detailed performance they are capable of delivering, given, let me repeat again, signal of the highest quality. I can't resist and have to play another album received from Mr Kiuchi representing a totally different music genre – this time it is Mahler's 1st Symphony conducted by Giulini, this time on Supercuts XRCD24. That's probably unnecessary but I will mention it anyway – Mr Kiuchi was involved in mastering process of both of these albums. Is Mahler the best choice for such small speaker? - some of you surely asks right now. Well, yes, as it turns out, it is. Arts present their interpretation of Mahler's pretty monumental music (although not as monumental as some other symphonies he wrote) in a way that could easily, or even has to be liked and enjoyed. Surely there is no this mighty bass foundation to the whole music, that would be delivered by bigger speakers. But a great separation, impressive resolution, clarity of the presentation, and perfect presentation of the (scaled down obviously) soundstage do the trick and I don't have a choice but to love this Mahler interpretation. In terms of coherence, timbral fidelity and liquidity of the presentation many bigger speakers I know could not really compete with Trenner&Friedls. Each music reproduction is some sort of compromise and each of us chooses which compromises he can live with and which are unacceptable. Possibly Arts would not be my first choice for Mahler's music, but I would love to have them in my second system to enjoy their version of Mahler at least from time to time, as it is also very interesting, enjoyable, different but simply very good. I could keep writing about my impression from many other albums I listened to via these wonderful speakers. Instead let me just write that I whatever music I played Austrian speakers did not fail me, not even once. When I played recordings of questionable quality Arts looked at me with their silver cones sadly just to show me that they were displeased with such input, and yet they tried to do their job as well, as it was only possible. When I played high quality material, they seemed to enjoy it a lot and spread their wings. Apart from some limitations related to their size, Arts were able to present most recording in an absolutely spectacular way. I had a chance to use them with a few different amplifiers and they clearly showed differences between these amps. They offered fantastic performance combined with Crayon integrated amplifier, offered a different, bit warmer one with my Modwright set, and again different with a class D prototype amplifier from Audiomatus combined with Tektron tube preamplifier (a review of this pre combined with two monoblocks coming soon). The latter set, although combined by a pure coincident and despite the fact that it was only a prototype of Audiomatus amplifier, was really interesting. Class D power amplifier delivered very powerful, energetic bass (compared to other amplifiers used with these speakers) and a very clean, resolving treble. Tektron added some sweetness to the top of the range, and richness, smoothness, but also great resolution and amazing palpability of the midrange. A fantastic combination! I think that, especially if you can't spend too much money for proper partners for Art speakers, class D amp with a classy tube amplifier might suit many users more than fine – most will love it. In case of many recordings this amplification allowed me to forget about any limitations of the speakers. Fast, energetic, punchy bass produced by w woofer driven by class D amp was impressive and tube preamplifier took care of rich, sweet and colorful midrange and treble. That sounded great! Summary Quite recently I enjoyed a lot reviewing relatively inexpensive, amazingly dynamic shelf-speakers by Canadian Bryston. I didn't think then that so soon after I would have chance to listen to another, even smaller speakers, offering even more impressive performance. In this case it is not about dynamics and *fun** that make performance so enjoyable, but, as one would expect from much more expensive speakers, about sophistication and coherence of the presentation. Arts deliver each recording with a high fidelity, but they also simply play the music in a very immersive way. They are analytical, but without exaggeration – analytical approach is not a goal but a mean to delivering a very realistic performance. These tiny beauties disappear from the room completely, leaving listener alone with music. They deliver coherent, rich, detailed, nuanced performance. Sound is really fast and with proper amplifier (as they are not particularly easy to drive despite their dimensions) pace&rhythm is simply impressive. They create huge, nicely layered soundstage, with large, palpable phantom images. Many will be surprised how clean, how transparent sound can be, even at high volume levels. But there is no lowest bass?! Yes, that's true. How often was it a problem during my many listening sessions? I can't really remember. OK, not 100% true. When I played *Inception** OST I missed the mighty, lowest notes. But number of attributes, of advantages these speakers hold over many (larger) competitors is so big, that bass extension limitation doesn't really matter so much. I can easily imagine a truly high-end system in a small room with Arts accompanied by much more expensive, sophisticated electronics, and perhaps, for lowest bass fans, a high quality subwoofer. Some 2.1 systems presented this year in Munich proved, that such setup can be achieve amazing sonic results. In my opinion, for most music fans, just Arts will be enough in most (not too big, meaning up to maybe 20 sqm) rooms. I often saw questions on audio forums from people looking for small high end speakers intended to play in their small rooms – if that's what you are looking for Trenner&Friedl Arts should be on your short “audition” list. Maybe even (if it is still doable) their anniversary version called Stone, that was recently released as a highly limited series. Either way you should check these truly high-end designs, I bet you'll enjoy them as much as I did! Art is the smallest model in Austrian manufacturer's Trenner&Friedl line. Its name s a tribute to a fantastic saxophonist Art Pepper. These are tiny, stand-mounted two-way speakers in a rear-ported enclosures. I received them together with solid stands that, after consultation with Austrian manufacturer, were designed and built by a Polish company Rogoż Audio. Their cabinets follow golden-rate proportions. The largest size is depth reaching 30 cm, and the whole cabinet's shape is a regular cuboid. They surprised me during unpacking with their significant (for the size) weight and excellent fit&finish – these are small pieces of Art, despite their deceivingly simple design. They sport extremely rigid, solid, multi-layer MDF bodies, and equally rigid front baffle that is, in fact, a Corian/MDF sandwich, polished by hand. Manufacturer doesn't share too much information about drivers they used. For treble they used a 1'' ring radiator (Scanspeak?) with neodymium magnet drive encapsulated in a rear chamber. Low- midrange 5'' woofer sports an aluminum cone and a phase plug. Interestingly, manufacturer decide to place tweeter below woofer. For internal wiring company used Cardas wire, crossover is made in Germany by Mundorf. Speakers posts are delivered also by Cardas. Cabinets are finished with 7 layers of lacquer. Parameters (according to the manufacturer): Design: two-way, vented system Drivers: low- midrange 5'' aluminum cone, phase plug, tweeter – 1'' ring radiator, neodymium magnet system Frequency response: 44 Hz (-6 dB) – 40 kHz (-3 dB) Sensitivity: 85 dB Impedance: 8 Ω (minimum: 4,2 Ω) Dimensions: 270 (W) x 180 (S) x 300 (G) mm Weight: 7,4 kg Finishes body: walnut nature, walnut amaranth, walnut mocca, others on request Finishes front: Corian volcano black; others on request Polish distributor: MOJE AUDIO ul. Sudecka 152 53-129 Wrocław | Polska www.mojeaudio.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/1506/trenner/th/05.jpg" big="foto_testy/1506/trenner/05.jpg" src="foto_testy/1506/trenner/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/06.jpg" big="foto_testy/1506/trenner/06.jpg" src="foto_testy/1506/trenner/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/07.jpg" big="foto_testy/1506/trenner/07.jpg" src="foto_testy/1506/trenner/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/08.jpg" big="foto_testy/1506/trenner/08.jpg" src="foto_testy/1506/trenner/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/09.jpg" big="foto_testy/1506/trenner/09.jpg" src="foto_testy/1506/trenner/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/10.jpg" big="foto_testy/1506/trenner/10.jpg" src="foto_testy/1506/trenner/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/11.jpg" big="foto_testy/1506/trenner/11.jpg" src="foto_testy/1506/trenner/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/12.jpg" big="foto_testy/1506/trenner/12.jpg" src="foto_testy/1506/trenner/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/13.jpg" big="foto_testy/1506/trenner/13.jpg" src="foto_testy/1506/trenner/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/14.jpg" big="foto_testy/1506/trenner/14.jpg" src="foto_testy/1506/trenner/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/15.jpg" big="foto_testy/1506/trenner/15.jpg" src="foto_testy/1506/trenner/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/16.jpg" big="foto_testy/1506/trenner/16.jpg" src="foto_testy/1506/trenner/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/17.jpg" big="foto_testy/1506/trenner/17.jpg" src="foto_testy/1506/trenner/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/18.jpg" big="foto_testy/1506/trenner/18.jpg" src="foto_testy/1506/trenner/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/trenner/th/19.jpg" big="foto_testy/1506/trenner/19.jpg" src="foto_testy/1506/trenner/19.jpg" desc="HighFidelity.pl"] [/hfgallery]

istory of a company Mogami Densen, that in English goes by: Mogami Cable, is closely related to the Japanese history after the Second World War. It was full of ups and downs, sudden turns of direction, and it was a good example of how this, today, one of the biggest, modern economies, was built from ground up with enthusiasm and pertinacity of people creating it. Mogami's history turned out to be as successful, as Japanese economy's, and today they are one of the biggest cable manufacturers in the world, delivering cables mostly for both audio and video recording and post-processing studios. Everything started with a small shop situated in a private house of Mr Tetsu Sato in Ohokayama (Meguro-ku, Tokyo), that offered cabling services. He named his firm after Mogami river, running through area where he was born, called Yamagata-ken. The business wasn't that successful at the beginning so Mr Sato had to ask for help. In 1957 he convinced two men to support his company - Mr Naoichi Hirabayashi and Shin'e Tanaka became co-owners of the company. Due to Mr Hirabayashi's support a whole factory was built and equipped with proper machinery. This investment paid back quite quickly, though – company started to earn money already after 2 years. But soon after that it turned out that three owners had different visions for company's future. Mr Hirabayashi and Tanaka bought Mr Sato's shares and build another factory in Shiojiri City. At the same time Kouichi Hirabayashi, the oldest son of Mr Hirabayashi, graduated from university and asked for a job in the new factory. He was given this opportunity and became a director of said factory. After two years the new building with machinery transferred from the old factory was ready. Company faced new challenges, though. Until then Mogami worked as subcontractor manufacturing cables for other companies from Tokyo and surrounding area. Shiojiri City was a day-long trip away form Tokyo, so transport of both, raw materials and final products was too expensive. Facing this challenge Mr Kouichi Hirabayashi decided to design his own cables. He received an order for inexpensive microphone cables from Mr Shinohara, a director of Foster Electric Co., Ltd. (today: Fostex). Based on requirements of this order he designed and manufactured prototypes of special machines. He used research results for bending plastic fatigue of electrical conductor for this purpose, that in fact was one of the leading edge research fields in the mechanical engineering at that time. During just two years, starting from 1965, number of employees grew from 2 to 50, which reflected also a fast growth of whole Japanese economy. It was a beginning of a new era in Mogami Cable history. The rest is history, as they say. In 1970, company's name was changed from Chinese letter MOGAMI to Katakana MOGAMI, some of international inventions by Koichi Hirabayashi were commercially successful such as "Q-Matching Antenna", which allowed Mogami to pay off all the debt lasted from Naoichi Hirabayashi dates. Interconnection cables for home audios, car audios, etc. were started to be produced as well as headphone cables applying bending plastic fatigue research as the market developed. While Naoichi Hirabayashi and Shin'e Tanaka stayed in Tokyo had nothing to do, then thereafter Naoichi Hirabayashi started plastic molding for connectors, and Shin'e Tanaka started lead wire cut and lead wire end treatment work establishing a new company "Mogami Lead Wire Co., Ltd." joint invested by Mogami Wire & Cable Corp. and Naoichi Hirabayashi. This company existed until 1993. The next step in company's history was a production of video camera cables for JVC. During this time two more sons of Mr Naoichi Hirabayashi joined the company as heads of two departments. From our perspective the important date in company's history was 1977, when Mogami released their first cables designed for a transfer of audio signal in hi-fi systems. Two observations attributed to the idea of creating these cables. One made by audio journalist, Mr Akehiko Kaneda from Akita University, who, in April 1974 published his observations in technical magazine called “Musen To Jikken" („Wireless & Experimentation”). The other was published in a music magazine „Record Geijyutsu” („Record Art”) by Mr Saburo Egawa in December 1975. Both gentlemen basing on their own research concluded that “sound transferred by cables is changed by them”. These two articles are considered in Japan as a beginning of a research concerning audio cables. Today Mogami manufacture cables mostly for pro market, including studios, concert halls, and so on. Their cables are delivered to distributors all over the world in long runs on reels, and they terminated lengths order by customers (like German Synthax GmbH, American Marshall Electronics or British HHB). It works in the same way also in Poland – Polish distributor, company Mogami.pl, puts cables in black sleeves, terminates them with required plugs and puts them in boxes they have produced here in Poland. Distributor also gives cables their own names. WHAT AND HOW We have received cables from NI line for a review – its name comes from the Neglex I line. Line includes: NI 2497 interconnect and NI 2477 double coax design speaker cable. The NI-2497 interconnect is terminated with remarkable ETI Bullet Plug TeCu (tellurium copper) plugs – these plugs inspired WBT to create their key line NextGen. The owner of Mogami.pl, Mr Krzysztof Białobrzewski, told me that they chose TeCu plugs after series of listening tests as with NI and NII cables they worked better than more advanced silver model Bullet Plug Pure 4N Silver. The speaker cable NI Neglex I 2477 is offered in three standard versions: without termination (bulk), with ETI Bayonet TeCu banana plugs and with ETI Spades OFHC. For these review distributor had to prepare a fourth version with ETI Bayonet at one end and spades at the other. The NI Neglex line includes also a balanced analogue (XLR) interconnect made of 2549 cables, and digital AES/EBU cables made of 3080 cable. Cables delivered for this test were terminated in Poland with plugs chosen by Polish distributor. Also boxes were made in Poland – these are simple and practical. Cables look nice, although this black sleeve makes them look like hundreds of other cables available on the market. Oyaide sell their cables without sleeves which is OK. What makes these cables to stand out are plugs. Bullet Plugs were originally sold by an Australian company Eichmann, and today they are branded by ETI (company that replaced Eichmann). Developed and patented by professor Keith Eichmann were designed to minimize an influence metal had on a signal transferred. Professor decided not to use heavy, metal covers for plugs, but plastic (special type of polymer) ones instead and minimized surface of contact. In RCA plug ground is a thin gold or silver plated wire, in speaker plug same role plays a tiny, thin sheet of metal. It is made of alloy of copper and tellurium. Most cables manufactured by this company were not shielded. Mogami's cables are shielded – both NI-2497 IC and NI-2477 SC. The design of these cables is based on a patented Double-Cylindrical structure: the “plus” run is winded around dielectric core, than another layer of dielectric is put on and than a shield is put over the whole structure (minus/return/ground/minus). Mogami manufactures cables mostly for pro sector so they do not disclose too many information about their products – we know that cables are made of OFC, but we do not know of what purity. We do not know what dielectric is used either, except for the external sleeve which is PVC. We do know that IC's impedance is 75 Ω, just like digital or antenna cables. There other companies that also offer cables with 75 or 110 Ω impedance (depending on design) like Acrolink and Oyaide. It rarely happens that pro cables are also offered on hi-fi market. It is not the first company that did so though, as there were others before like American Belden and Canare or German Klotz – the latter being used in Rega's top models turntables. But such pro manufactures are certainly a very small minority in hi-fi sector. Recordings used for this test (a selection): Art Pepper, Winter Moon, Galaxy Records/Original Jazz Classics OJCCD 677-2, CD (1981/1991). Billie Holiday, Billie Holiday, Clef Records/UMG Recordings UCCV-9470, „David Stone Martin 10 inch Collector’s Selection”, SHM-CD (1954/2013). Diana Krall, Wallflower, Verve/Universal Music LLC UCCV-9577, “Deluxe Edition”, SHM-CD + DVD (2015); John Foxx and the Belbury Circle, Empty Avenues, Ghost Box GBX019CD, CD (2013). Mark Hollis, Mark Hollis, Polydor 537 688-2, CD (1988). Mark Knopfler, Tracker, British Groove Records 4716983, “Deluxe Limited Edition”, 2 x CD + DVD + 2 x 180 g LP (2015). Suzanne Vega, Songs In Red And Gray, A&M Records 4931112, CD (2001). Japanese issues available at [REKLAMA5] Ever since I remember cables were considered to be sort of a “filter” used to “tune” audio systems. In most cases the idea was (and still is) to make some corrections in frequency domain, meaning either emphasis or rolling off of some particular frequency range – sometimes it was about treble, sometimes mids, or bass. From technical perspective using cables as filters is OK – cable might be considered to be a system of resistance, induction and capacitance elements (to makes thing easier I'm mentioning only some elements characteristic for DC current). But if we take another approach, purely logical one, correcting one problem with another one is not the best thing to do. If we are aware of that and thread carefully it might be acceptable. I believe that not everybody realizes that the better way is to enhance strengths of particular system instead of fighting its weaknesses. The above mentioned role works differently for inexpensive products, and differently for high-end ones. With the former using cables to compensate for some weaknesses might be justifiable, as sometimes it is the only way to improve performance, or correct issues with room's acoustics, or loudspeakers placement without replacing some components of the system with more expensive ones. That's why I know whom to recommend cables from Swedish Supra (those who seek warmer sound – slight roll off of treble and upper midrange), and whom of British Chord (those who seek more open, detailed, more dynamic sound). Mogami is different though. These are very well balanced cables that modify tonality only to a very small extend, at least compared to my reference cables Siltech Empress Double Crown IC and Tara Labs Omega Onyx speaker cable. They deliver a well balanced across the whole range, rich sound, where none element dominates others, and sound is delivered as a whole. Not in such a very selective way as by Chord, nor with such a warm bass as Supra, but surely in a more natural way. Treble was this element that particularly attracted my attention. There was no emphasis here, just a hint of a warmth, which most Japanese cables have, but also a lot of information about cymbals, their weight, their placement in space, and nice long decay. These elements, usually simplified, or omitted by inexpensive cables, Mogami delivered in a very nice way. And they did it when I played puristic recordings like Tracker by Mark Knopfler (ex-Dire Straits) or Mark Hollis' solo album (ex-Talk Talk), but also when I played home-made Empty Avenues album by John Foxx (ex-Ultravox) and Belbury Circle. These cables differentiate recordings according to the way they were made, but they do not emphasize these differences. Next element that, apart from a very good tonal balance, impressive treble and sound's clarity, both Mogami cables impress with is the way they present the attack phase of instrument's sound. This not just a “blunt force”/”stiff” attack, but something more – it is about a dynamics first phase and nice, soft second one (decay). That's how usually only more expensive sound like. It concerns, for example, treble. The (I’ll Never Be) Your Maggie May song from Suzanne Vega's Songs In Red And Gray album starts with a power dulcimer opening. With Mogami set this instrument has proper weight, was very vibrant – as dulcimer should have been – but there was no emphasis on any element at all, no brightness in the sound. It was an element of a larger whole; an important one, but only one of many. I heard the same thing with a kick drum on Hollis' album. Yes, that is the other end of the range, but it worked in the same way: a powerful, “physical” kick and than a soft sustain. Taking it account all I wrote above we have to also remember what Mr Koichi Hirabayashi, the company's chief wrote, when he mentioned „Kaneda-Egawa” effect (named after first experts who pointed out changes in audio cables), which is a fact, that each cable changes sound. Which means also Mogami cables do. Even more so considering that these are entry level, inexpensive cables for people entering the world of hi-fi. The changes I mean don't really modify frequency range. Both range extremes are gently rolled off but not significantly enough to call that a modification of range. Also the area in lower midrange, around 400Hz is slightly emphasized, which makes male vocals sound deeper, more “serious”, but also female ones like Billie Holiday's from her recordings from 1952. The fact is that these are just small details that compared to changes introduced by other inexpensive cables, are almost non existent. What more expensive cables have to offer, the good ones I mean, including above mentioned ones from Supra and Chord, but also from Oyaide – is that they are more resolving and capable of delivering larger volume of sound. Mogami hide some details, like noise accompanying John Foxx vocal, like small differences in instruments placements in studio, where Mark Hollis recorded his album, and so on. Less information means also that older recordings, like the ones of above mentioned Holiday, sound even „older”, elements are not so well differentiated, not so three-dimensional. The scale of the whole presentation is smaller and more focused around the middle of the stage. Summary Every element of the system impacts its performance, including cables. But importance of different changes differs – some are more and some less important. Also when assessing them we have to consider their price. When it comes to Mogami cables it is easy to say that they won't help correct sound of the system. They might help in further enrichment of such sound's features as vibrancy, palpability, dynamics and richness. I think they will work very well with systems sporting elements from a price range between 2000 and 6000 PLN – they should be a valued addition to such systems. If one connects them to one's system and there is to much/to little bass/treble, sound it too bright or too dark – that would only mean that it is time to make some changes in the system. Cables are not to be blamed as these “weakness” are not introduced by them. Polish distributor: MOGAMI.PL PAteam Krzysztof Białobrzewski ul. Franciszka Nulla 18/4 51-677 Wrocław mogami.pl Mark Knopfler TRACKER Deluxe Limited Edition British Groove Records 4716983 2 x CD + DVD + 2 x 180 g LP (2015) Mark Knopfler's, ex-Dire Straits vocalist and guitarist, 8th solo album was released on March 16th 2015 with the exception of American market where it was released a day later. Sources, including Wikipedia, say that it was released by Mercury label (Polish versions names „Virgin EMI/Verve”), but all these labels actually licensed this album from British Groove Records who's logo one will find on the album. The album was recorded in British Groove Studios, unlike most music recorded nowadays, purely in analogue domain. Studio used a 48-track API Legacy console form Tennessee's Big Javelin studio, and mastering was performed by a multiple Grammy Award winner, Bob Ludwig in Gateway Mastering in USA. Even Mark Knopfler himself claims that it was important to him that they used analogue recording technology. When explaining record's title: „[Tracker] he said that it came to him from inside as a result of him looking for his own tracks in life in past decades. From tracking time – watching people and places, things from his past and tracking recording process of a new music in a recording studio. When I talked to Piotr Metz, journalist of Radio III („Trójka”) and artistic director of Radio Kraków, he proudly described his meeting with Knopfler in studio when Mark recorded this album (more HERE). Piotr said that he had not seen that many cable in a studio for a long time, not since most of them turned digital. Sound engineer, Guy Fletcher, not only used analogue console, but also Decca's analogue tube limiters, compressors, reverbs and tube microphones – for Knopfler it was a Neumann U47. He also used a tube preamplifier, Telefunken V76, for microphones. It was a carefully planned operation to go back to analogue sound, but with the knowledge that Knopfler has today. Guy stated that this old technology was combined with a new one – for example Studer A800 tape recorders were controlled digitally (more about recordings HERE http://www.guyfletcher.co.uk/index.php/diary/Recording_Tracker_Studio_diary_2014 ). Probably due to this determination, experience and some other ingredients this is a very good album. It is hard to forget how boring was the previous 2012 album, Privatering for me. I did not buy it and I don't regret it. At first music on Tracker seems similar – slow, „boring” pieces, with no solo performances, obviously one can't find here any material for a hit either. And yet, listening to it is very enjoyable, even to a longer version with additional CD. The recording is amazingly natural, rich. That's how music is supposed to be recorded! Sound is remarkably resolving and palpable. It's a very natural, essential sound, where each element matters, and that gives listener an impression of a close presence of an artist and his band. The Deluxe Limited Edition version includes a primary CD with the same “jewel-case” box as a regular edition, a bonus CD with 6 additional pieces (very good ones – these are not just some leftovers from recording sessions!) in a carton sleeve, a DVD with a short film directed by Henrik Hansen and with an interview with Mark Knopfler, and a double LP. LP includes only the playlist from a primary CD. It would be great if they offered these 6 additional pieces also on vinyl, maybe 45 r.p.m., maybe a color version! Also placing a primary CD in a jewel-case box and bonus CD and DVD in plain carton sleeves was not the best idea. A nice additions are numbered art print and 6 photographic prints. None of them have any description. Box looks very nice. Music is great and the realization too. The content of Deluxe Limited Edition is bit disappointing though – apart from already described doubts I have another question – where is a pen drive with hi-res material, or at least a special code that would allow downloading it? In my opinion album is a must buy, but not necessarily a Delux version. The whole material was recorded on a 1'' stereo tape on an Ampex recorder, then it was sent to Bob Ludwig for mastering. What is important for vinyl fans – the matrix was cut DIRECTLY from 1” analogue tape in Los Angeles by Bernie Grundman. That is why LP version of this album is a real MUST-HAVE. Box grade: 6/10 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/1505/Mogami/th/05.jpg" big="foto_testy/1505/Mogami/05.jpg" src="foto_testy/1505/Mogami/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Mogami/th/06.jpg" big="foto_testy/1505/Mogami/06.jpg" src="foto_testy/1505/Mogami/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Mogami/th/07.jpg" big="foto_testy/1505/Mogami/07.jpg" src="foto_testy/1505/Mogami/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Mogami/th/08.jpg" big="foto_testy/1505/Mogami/08.jpg" src="foto_testy/1505/Mogami/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Mogami/th/09.jpg" big="foto_testy/1505/Mogami/09.jpg" src="foto_testy/1505/Mogami/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Mogami/th/10.jpg" big="foto_testy/1505/Mogami/10.jpg" src="foto_testy/1505/Mogami/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/Mogami/th/11.jpg" big="foto_testy/1505/Mogami/11.jpg" src="foto_testy/1505/Mogami/11.jpg" desc="HighFidelity.pl"] [/hfgallery]

t so, coincidentally, happened, that me and Wojtek, both love Japanese audio products. I, admittedly, prefer devices with tubes on board, but am also capable of appreciating also solid-state devices manufactured in this country. It seems to me that almost every Japanese product apart from certain technologies, solutions and so on, carries one more element that sets it apart from most made in other countries. I call this element: a “soul of the device”. Wait! That wasn't precisely what I meant. It is the music reproduced by Japanese audio devices that has a soul. That's what makes the presentation so live-like, so natural sounding, that it's easy to forget that what I listen to is just a reproduction, not live performance. And to my surprise not only my favorite tube devices are capable of delivering such a stunning performance. I don't claim that only products Made in Japan can sound like that, but the percentage of such capable Japanese device is much, much higher than of ones coming from any other part of the world. In my humble opinion, of course. I believe that Wojtek also found something very special about Japanese audio products which was the reason for establishing May, as the Japanese month in HighFidelity – a tradition that's been kept in HighFidelity magazine for years now. It is not easy to find enough of Japanese product from various price ranges to fill both May issues of our magazine, and yet we somehow manage. Two years ago I had a rare pleasure to review an outstanding and very expensive tube amplifier from a legendary Japanese company, Kondo, called Souga, and last year a relatively inexpensive, solid-state SoulNote integrated amp (today there is already a Polish distributor of this brand), and excellent Final Audio Design headphones. As you can see Japan is a homeland not only to very expensive audio, but to a reasonably priced, too. This year I am about to review two sets also from very different worlds. This is a review of entry level amplifier and phonostage of a Japanese company, with each device priced at... 20.000 EUR. Target group of customers for the second set I'll also review is surely very, very different, as the whole system costs just bit more than 2.000 EUR. Let's focus on the first of these two. Every year during Audio Show in Warsaw there are dozens (in the last year even over a hundred) of presentations and the fact is, that only a few of them we can really remember after some some time. The one that was widely discussed already during the Show in 2013 and afterwards was a Slovenian distributor, Natural Sound debut with their presentation of Japanese brand, Audio Tekne, system. It took place in a small hotel Room in Sobieski and the setup included low power tube amplifiers and quite original, high sensitivity speakers, Despite such an “old-school” flavor room was packed with z crowd almost all the time. It was quite difficult to get to a proper listening position, which allowed the lucky ones to fully appreciate what this system had to offer. But even those, who weren't patient enough to wait a long time for such a sweet spot to be available, easily recognized the highest class of this presentation. This was, most likely, the first presentation of Audio Tekne products in Poland despite the fact that this is one of the highly appreciated Japanese audio brands. Looking at their devices most people think about the golden age of tube devices – simple, though elegant designs, without any fancy elements, where form serves purpose and not the other way around. All Audio Tekne devices are finished with the same, hard to describe, color (kind of green -ish? - remember that most men are colorblind :-)). Anyway – it might not look very fancy (although in reality it does look better than on images) but it serves its main purpose very well – dust is almost invisible on this surface. I also always thought that these very fancy devices offered by some manufacturers distracted me from the music – Audio Tekne surely doesn't do that. A side note – I don't know if you heard, but this year AudioShow will start already on Friday afternoon and last, as always, till Sunday evening! Also one of the hotels will be replaced by... our National Stadium. Hopefully both changes will make it even easier for a crowd of visiting audiophiles, to see all presentations they plan even if some of them won't be able to come already on Friday. In 2014 Natural Sound prepared a different presentation of Audio Tekne system. They rented a separate apartment in Brystol Hotel, Mr Kiyoaki Imai, the owner/designer of Audio Tekne was present, and Japanese electronics was accompanied by American dc10Audio speakers – an adequate presentation for a truly high end brand. Also this time it wasn't to get into the room for a presentation, as there were so many people who wanted to get there. Fortunately (for me) there was also a closed presentation for press, so I had a chance to enjoy this presentation, including Mr Imai's speech, in comfortable conditions. And just as a year ago I left this presentation being convinced that Audio Tekne belongs to a very small group of the most remarkable Japanese audio brands, like: Kondo, AirTight, Wavac, or Robert Koda (yes, I do know the latter are not tube devices). As I am a bit lazy guy let me quote myself covering Audio Tekne's presentation: Audio Tekne system comprised of power amplifier TM-9801, TFA-8695 preamplifier and TEA-8695 phonostage, that were supported by dc10audio loudspeakers and SME 20 turntable. The presentation was conducted by owner of this Japanese brand, Mr Kiyoaki Imai. Story presented by Mr Imai reminded me some others like, for example, the story of Kondo-san I read about. Indeed the foundation of Audio Tekne was a result of a fascination, or even love for music, especially a classical one played live. They were created to recreate in listener's room this exulted emotional state man experiences while listening to a live concert. Whatever audio system we use at home what it delivers is usually far from what we remember from concerts we attended, but what Mr Imai achieved with his creations, as far as I can ascertain after two Audio Show presentations, brings listener closer, much closer to this live-like experience, delivering a lot of very real emotions. I would love to compare Audio Tekne's performance with the one I already experienced with Kondo amplifiers. Please notice the last sentence from a quote above. Why should you? Well, because some time after this Show coverage was published Mr Hari Strukejl from Natural Sound contacted me asking if I'd be interested in reviewing an AT integrated amplifier. As you might imaging I could give but one answer. Some time later we met in Warsaw when Hari was visiting our capitol to meet his partner with whom he was planning to open a showroom for Audio Tekne and FM Acoustics systems. According to the latest information I received a grand opening of this showroom should happen still later this year. As it turned out when we actually met, Hari prepared a surprise for me – he brought me not only the “entry level” integrated amplifier, TFM 2000, but also an “entry level” phonostage, TEA 2000. I placed “entry level” inside quote marks as, despite each of them being the least expensive product in Audio Tekne line, each costs 20.000 EUR. That is not a level one would think of when hearing this sort of price. Anyway, given the opportunity I gladly accepted a new proposal of reviewing both devices together. INITIAL FINDINGS Before I even start to describe sound of this impressive set, let me shortly mention about Mr Imai's philosophy. On his web page Mr Imai explained that according to him audio system/device should not sound god or bad, it should sound right, accurate. Meaning how? Long story short - natural. Obviously to know natural sound of (acoustic) instruments one has to play them or go to live concerts, the more times the better. Even a person who does not attend live concerts regularly is able to tell the difference between natural and “unnatural” sound. How? Natural sound is never fatiguing, there is nothing that bothers listener, that distracts him from music itself, nothing that forces itself on to him, and at the same time music listener hears must involve him emotionally – these are “hard” proofs of sounds “naturalness”. Simple, right? Just to be clear – that's not a direct quote from Audio Tekne's web site, that's rather how I understand what I read there. In one of the quite few reviews of Audio Tekne's equipment I came across I found also a description of company's sales philosophy, or what is required from company's dealers (see HERE). The main job of a distributor is not to maximize sales/turnover/profit, not to sale to anybody who can afford these products. Audio Tekne should be purchased by few customers (among those who can afford it, of course) who understand Mr Imai's philosophy of a natural sound and who concur with it. According to this article Mr Imai himself invites potential Japanese buyer to his home to present sound of his system and to explain his sound philosophy, to make sure they understand it and agree with it before they actually make a purchase. When it come to sales performed by dealers all over the world that should do the explaining part themselves and explain to the potential customer what: “Audio equipment is civilization and music is culture” means. One can not exist without the other, one complements the other. Today, when the single, most popular goal of audio manufacturers is to maximize gain, such an approach to sales is very unique. Somehow I am not surprised that this sales philosophy comes from a Japanese company. OK, lets get to the point. As I already mentioned I received two devices for this review. The first one is TFM 2000, an integrated amplifier opening company's line of products. It is, of course, a tube amplifier, a push-pull to be exact, with a rarely seen double triodes 6AS7G that deliver 6 Wpc output. Mr Imai explained during his Audio Show presentation that the key elements of his devices were highest quality transformers winded with a copper wire, with Permalloy cores. Also the internal wiring is done with a copper wire. Another important element of Audio Tekne devices are elements made of carbon, used for vibration damping. This material is used for device's feet (so one should be careful as these might leave some black marks Obviously a Japanese tube high end brand can not escape comparisons to a famous Kondo brand. Some differences are obvious – Kondo makes (mostly) SET amplifiers, Audio Tekne prefers push-pulls, Kondo for most products uses silver wire, AT uses only copper, Kondo uses copper elements in their chassises as vibration damping material, AT uses carbon for the same purpose. As you can see there are significant differences between designing philosophy of these two high end brands. Front panel of the TFM 2000 amplifier is pretty minimalist – one will find there, on the left an old-style on-off switch with a single, red LED that lights up when device is on, a small knob in the middle operating as an input selector (there are 5 RCA inputs) and a larger knob on the right that allows user to control volume. On the back panel, apart from already mentioned 5 pairs of gold-plated RCA inputs, there are speakers posts, grounding post and power inlet. All tubes are closed in metal cages. The amplifier, despite its deceivingly small size put on a significant weight of over 24 kg. The TEA 2000 phonostage is another least expensive device in Audio Tekne's range. It is designed to work with MC (Moving Coil) cartridges. It sports separate inputs for low (10 Ω) and high (100 Ω) impedance pickups and also separate, corresponding outputs. It is also a push-pull design. It is based on three pairs of tubes: one 6072A (12AY7), and two E180CC. On the back panel there are already mentioned two pairs of RCA inputs and outputs plus a grounding pin and power inlet. That's it. There are no user selectable settings (apart from two inputs and outputs for low and high impedance carts). As Hari told me, this phonostage, or at least its low impedance input/output was meant to work with Mr Imai's own cartridge, the MC-6310. This one should be called a very low signal one, as it delivers a 0,1 mV signal, and its 2 Ω impedance is also very low. I didn't have any cartridge with comparably low impedance, nor my idea to borrow some worked, so I had to use what I had at hand – my own Koetsu Black Goldline, and a Kiseki cartridge that I got for a review (that should be ready for July's issue of HighFidelity). I divided my listening sessions into three groups. For the first one I used only the amplifier, for the second only the phonostage, and finally I listened to both devices together. I won't give you three separate descriptions though, as I concluded that there was no doubt, that both devices were created by the same man, with his very distinct sound philosophy. Also the best results were obtained when I listened to both devices together. I should mention that both devices need some time to warm up before they start to perform to the full extend of their abilities. I'd say one needs to give them an hour t get the best possible sonic results, which, even for tube devices, is quite a long time. Surely one can start listening before that time but sound will keep opening up, will get richer and, to some extend, also smoother. Recordings used for the test (a selection): Natural jazz recordings, fonejazz, DSD64. Arne Domnerus, Jazz at the Pawnshop, Proprius ATR 003, LP. Cannonball Adderley, Somethin' else, Classic Records BST 1595-45, LP. Dead Can Dance, Spiritchaser, 4AD/Mobile Fidelity MOFI 2-002, LP. Isao Suzuki, Blow up, Three Blind Mice B000682FAE, CD/FLAC. Keith Jarret, The Koeln Concert, ECM 1064/65 ST, LP. Leszek Możdżer, Kaczmarek by Możdżer, Universal Music 273 643-7, CD/FLAC. Lou Donaldson, LD+3, Blue Note MMBST-84012, LP. McCoy Tyner, Solo: Live from San Francisco, Half Note Records B002F3BPSQ, CD/FLAC. Miles Davis, Sketches of Spain, Columbia PC8271, LP. Muddy Waters & The Rolling Stones, Live At The Checkerboard Lounge. Chicago 1981, Eagle Rock Entertainment B0085KGHI6, CD/FLAC/LP. Patricia Barber, Companion, Premonition/Mobile Fidelity MFSL 2-45003, 180 g LP. Pink Floyd, The Endless River, Parlophone Records 825646215478, LP. Rachmaninow, Symphonic dances, Etudes-tableaux, Reference Recordings HRx, 24/176, WAV. Renaud Garcia-Fons, Oriental bass, Enja B000005CD8, CD/FLAC. Rodrigo y Gabriela, 11:11, EMI Music Poland 5651702, CD/FLAC. The Ray Brown Trio, Summer Wind, Concord Jazz CCD-4426, CD/FLAC. Vivaldi, Le Quatro Stagioni, Divox/Cisco CLP7057, LP. Japanese issues available at [REKLAMA5] My first impression perceived when listening to this system (especially before first hour needed for warm-up passed by, but also to some extend after that) was that it sounded darker than what I was used to. And yet, not even for a second I thought that it was any sort of a flaw of this set. Other thing is that before I truly started to assess Audio Tekne gear a lot of time passed. Why? Because I was, from the very first played note, totally immersed in musical experience! OK., it wasn't exactly the same kind of experience as the one from live concerts – that's not possible no matter what audio system is used as listening to any of them we always know, at least in the back of our heads, that this is just a reproduction of a live event, not the event itself. The question is how real, how close to the live experience given presentation is. The better performance, to more realistic, more natural, the more immersive,involving it gets. Despite my memory of such a good experience with Audio Tekne systems during Audio Shows, despite brand's reputation, I was a bit skeptic before first listening session in my room – after all it was “only” a push-pull system, and not so renown, so admired, even worshiped by me SET. And yet... listening, especially to both reviewed devices combined together, was as exciting, as immersive, as emotional experience as the one I remembered from my sessions with Kondo amplifiers. Some accents were placed differently in the presentation by it was as fantastic as I remembered from my encounters with Souga and Kagura. Each time stylus landed in the groove of a record the whole world around me ceased to exist. There was only the music presented in a very convincing way that helped me to ignore mu subconsciousness that remember it wasn't a live music, but only a playback performed by audio system. One of the ways one could describe a job that audio system faces is to say that it is supposed to full listener into believing that he listens to live music, to make him forget that he's not sitting in a concert hall or in a club. Some elements that tell us we participate in a live event can not be reproduced by an audio system – there are no visual effects, no smells, no feeling of other people presence, room's acoustics can be reproduced fairly well, but never perfectly, and so on. But the better, the more natural, accurate reproduction not only of each instrument's sound, timbre, but of interactions between them, of their 3D image and size, of the space surrounding them, of the emotional layer of the music, the more involved listener gets, the more realistic feeling of participation. And after crossing some line marking some level of realism, we tend to start really experiencing what we hear, just like we do when we actually are listening to a live concert. We don't think anymore whether sound of percussion comes from behind vocalist and guitarist, or whether distance between bass player and trombone guy is as it should be, of exactly 1,5 meters. All such details don't matter any more. What matters is only how realistic, how colorful is the picture painted in front of us by our system, whether there is this live-like abundance of tonal and dynamic shades, how many of those tiny details and subtleties combine together to create the big, convincing, immersive picture that keeps us on our toes until the very last note decays in a distance. All above exactly describes the way I perceived performance of a system combined of TFM-2000 amplifier and TEA-2000 phonostage, as it created a remarkable, musical spectacle of the most immersive kind. Let me get back to the very first impression that Audio Tekne system offered me, that “it sounded darker than what I was used to”. The longer I listened to this system the more clear it was to me, that what contributed to such a perception of the sound was actually an immensely dense, rich, deep sound combined with a slight emphasis on lower midrange/upper bass. The longer I listened to it the more I appreciated how detailed, vibrant and airy treble actually was. And while so vibrant and detailed it was also very smooth, devoid of all annoying elements, any brightness or harshness and yet fully capable of reproducing aggressive elements of the sound if required. Upper midrange and treble were surprisingly rich and saturated. Percussion's cymbals never were just thin, ringing, metal pieces but always seemed to have their proprietary weight, attack phase was fast and decay really long, never cut short. I could clearly hear a fast, powerful strike of a stick and then the Newton's third motion law (the one about action and re-action) enforced in practice. Another great example of purity and vibrancy of upper range was presented with a triangle that sounded very rich and clean surrounded with the whole, powerful symphonic orchestra, and again the decay phase of its sound was properly long. One of the albums I often used during my tests is Patricia Barber's Companion. One of the elements of this recording that is a great indicators of audio system's abilities, are dozens of small percussion instruments, some of them made of wood, some of metal, that are not that easy to play properly, as it might seem. This time, with Audio Tekne system, these sounded absolutely naturally, beautifully presenting both, the fast leading edge and a nice decay, but also spacial effects, as these small instrument occupy quite some piece of a soundstage. Obviously these tiny instruments aren't most important elements of this recording, but the point is that most audio devices present the key instruments of this (or any other) recording in a very nice manner, but some (quite many actually) fail when it come to presentation of these tiny, background elements, and without them music doesn't sound so real, isn't so involving. Audio Tekne set did proportional, fair job with them, made sure the presentation of every detail was accurate. The vocalist in the front, properly “taken care of” in order to deliver stunning performance with her powerful, deep, properly pitched voice. As one always expects midrange, that covers also human voices, is a strong suit also of these tube devices. It is amazingly rich, smooth, colorful, and detailed. But it is also delivered in a very energetic, lively, dynamic fashion. It was very clean, transparent but also warm (not warmed up!), sweet but never syrupy! Bass performance will always be a sum of electronics' and loudspeakers' features – 6 Wpc is not too much power, so definitely some high sensitivity, friendly impedance speakers are recommended for Audio Tekne amplifier. Like my own Matterhorns for example. The large, 15 inch, paper cone woofer driven by TFM-2000 proved their value. One of the instruments that truly benefited from this combination was a double bass – powerful, with a lot of wood, wonderful decay and immensely tuneful. Dynamics was very accurate and so was the speed. The overwhelming feeling of this bass actually playing in my room was another feature of this presentation, that brought me to my knees. This level of performance encouraged me to play them all, bass players I mean, Ray Brown, Garcia Renaud-Fons, Isao Suzuki and many more. Outstanding performance even though mu speakers surely don't represent the same level of performance as Audio Tekne gear does. Summary The short version of the summary could go like that: this is a system for a music lover, for someone who expects a performance rich with emotions, who appreciates firstly substance of the performance, and less its form. There are no perfect devices/systems for music reproduction – that's what probably any experienced audiophile knows. The best systems/devices bring us closer to live music than others. And yet, it doesn't mean that all high-end systems sound alike. Each designer has his own sound philosophy, his opinion about how music should sound like, so he focuses his efforts on some, important to him, aspects of the sound, compromising when it come to those (in his opinion) less important ones. Mr Imai's approach seems very reasonable – sound must be natural. Naturalness of the sound each of us has encoded in our brains due to live contacts with human voices and with sound of instruments. Obviously different copies of the same instrument might sound differently, but their sound always has enough common features so that we can recognized whether what we hear sound natural or not. Each time I listen to a live music, not necessarily performed by some famous musicians, always feel excited about this feeling of direct, intimate contact with music, and its emotional layer. It doesn't have to be world's best virtuoso, all it takes is a man with certain level of skills and commitment. The same feeling is exactly what I look for when I can't attend a live performance. I sit on my couch press start/drop stylus into a groove (although my expectations towards vinyl replay, since I don't posses a good reel-to-reel, are always higher, than towards digital sources) and I expect to... feel the music, the excitement, the emotions. Audio Tekne fulfilled this expectation in a very convincing, beautiful way. It delivers a beautiful, coherent, liquid performance, with a focus on a very accurate tonality reproduction for each instrument and voice. Sound is amazingly rich and organic. As one would expect from a high quality tube amplifier it creates large, multi-layer soundstage with big three-dimensional images on it. The illusion of witnessing live performance, of feeling musicians presence in the room is truly captivating. And whole what Audio Tekne offers I described as a beautiful performance, these devices don't really try to make things nicer, more beautiful than they are. Having said that I will admit that the less perfect recordings, or records in less then perfect condition do sound better than when played on many other systems. It is not achieved by hiding recording's/record's flaws but rather by not emphasizing them. The very basic goal of Mr Imai – sound accuracy and tonal naturalness combined with low output power of this amplifier delivers fabulous performance of acoustic instruments. So if you, like me, listen to rock music only occasionally and also prefer acoustic music, you should not have any problem with trading of thumping bass for the amazing accuracy, tonal richness and palpability of the rest of the frequency range. Given a chance Audio Tekne will take you for amazingly emotional, wonderful trip into the world of music. Mr Imai's philosophy of sound obviously works really well in practice! Both, TFM-2000 integrated amplifier and TEA-2000 phonostage might be called Audio Tekne's entry level products as they are least expensive ones. The former uses not so popular (which makes them also relatively inexpensive) 6AS7G double triodes. Two of them work in each channel in push-pull configuration delivering 6Wpc. Four of these tubes sit in the front of the amplifier under a metal, removable grid (although removing it isn't so simple). Near the side edge, also under a removable grid, sit a pair of input/driver tubes - E180CC/5965. On top of these tubes, but under metal grid, there is a small carbon block to damp vibrations. Considering prices of these devices I didn't even try to get “under the hood”, so all I know about how they are build I took from Mr Imai's presentation on Audio Show. The key element of his amplifiers a Permalloy core transformers winded with copper wire. These are supposed to be a key to the natural, accurate performance of These Japanese devices. Internal wiring is also a copper one. Additionally, as already mentioned, carbon elements are widely used in Audio Tekne devices as a damping material. All devices sport carbon feet, also smaller and larger carbon blocks are used in different parts of amplifiers and phonostages to damp unwanted vibrations. All Audio Tekne products look a lot alike – same simple, some would say, classic, style. The very characteristic color might not be particularly fancy but it is used in order to “hide” dust particles – it is a practical solution unlike most shiny finishes so popular today. Also, for whatever reason, this devices look better in real life, than they do on pictures. A nice front panel holds a on/off switch accompanied with a red LED indicator, small knob that works as an input selector, and a bigger one for a stepped volume control. On the back there are 5 pairs of gold-plated RCA sockets, speaker binding posts, grounding post and power inlet. All sockets look very solid but none of them come from any of renown brands. The amplifier, although not very big, weights impressive 24 kg. TEA-2000 phonostage is half the size of the amplifier – while width is the same, depth is half of that of the amp. It is designed to work with MC (Moving Coil) cartridges and it sports a separate inputs and outputs for low impedance (10 Ω) and high impedance (100 Ω) pickups. The former is dedicated mostly for Audio Tekne's own very low impedance cartridge (2 Ω) that delivers a very low output signal (0,1 mV). TEA-2000 is a push-pull design, based on three pairs of tubes: 1 pair of 6072A (12AY7), and two pairs of E180CC. Each pair of tubes, under metal grid, sits between two carbon blocks that are responsible for damping of vibrations. On the front there is exactly the same on/off switch with a red LED indicator. On the back there are four pairs of gold-plated RCA sockets – two of them work as inputs, two as outputs. There is obviously also a ground post and power inlet. No user selectable settings, nor adjustments are available. Phonostage also uses a Permalloy core transformer. Parameters (according to the manufacturer): TFM-2000 Vacuum Tube Stereo Pre-main amplifier Inputs (RCA): CD, TUNER, TAPE, AV, AUX Power: 2x 6W Harmonic distortion: less than 5%/6 W/1 kHz Frequency response: 20 Hz – 20 kHz, +/- 3 dB Residual noise < 1 mV/8 Ω Winding Ratio Type ATT Power consumption: 180 VA Dimensions: 445 x 225 x 250 mm Weight: 24,5 kg TEA-2000 Vacuum Tube Stereo Phono amplifier Inputs: Phono: Only MC Low & High Max input level: Phono: Low 25mVrms, High 85mVrms Output level: EQ Out 1.6Vrms(std);11Vrms (max) RIAA Accuracy: + / - 1.5dB (30Hz...15KHz) Power consumption: 50 VA Dimensions: 445 x 170 x 155 mm Weight: 12 kg YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? 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[hfgallery] [img mini="foto_testy/1505/audio_tekane/th/05.jpg" big="foto_testy/1505/audio_tekane/05.jpg" src="foto_testy/1505/audio_tekane/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/06.jpg" big="foto_testy/1505/audio_tekane/06.jpg" src="foto_testy/1505/audio_tekane/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/07.jpg" big="foto_testy/1505/audio_tekane/07.jpg" src="foto_testy/1505/audio_tekane/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/08.jpg" big="foto_testy/1505/audio_tekane/08.jpg" src="foto_testy/1505/audio_tekane/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/09.jpg" big="foto_testy/1505/audio_tekane/09.jpg" src="foto_testy/1505/audio_tekane/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/10.jpg" big="foto_testy/1505/audio_tekane/10.jpg" src="foto_testy/1505/audio_tekane/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/11.jpg" big="foto_testy/1505/audio_tekane/11.jpg" src="foto_testy/1505/audio_tekane/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/12.jpg" big="foto_testy/1505/audio_tekane/12.jpg" src="foto_testy/1505/audio_tekane/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/13.jpg" big="foto_testy/1505/audio_tekane/13.jpg" src="foto_testy/1505/audio_tekane/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/14.jpg" big="foto_testy/1505/audio_tekane/14.jpg" src="foto_testy/1505/audio_tekane/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/15.jpg" big="foto_testy/1505/audio_tekane/15.jpg" src="foto_testy/1505/audio_tekane/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/16.jpg" big="foto_testy/1505/audio_tekane/16.jpg" src="foto_testy/1505/audio_tekane/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/17.jpg" big="foto_testy/1505/audio_tekane/17.jpg" src="foto_testy/1505/audio_tekane/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1505/audio_tekane/th/18.jpg" big="foto_testy/1505/audio_tekane/18.jpg" src="foto_testy/1505/audio_tekane/18.jpg" desc="HighFidelity.pl"] [/hfgallery]

erictum is a brand owned by Commercial Technology Group Sp. z o.o. The name combines two Latin words: VERI + ICTUM, that mean ‘real influence’. – That's how the description of this brand and its product officially starts, as I learned during my meeting with Mr Marek Stajndor, development director, and Mr Paweł Czubryt, who's responsible for R&D department of this company. These gentlemen brought me something that makes non-audiophiles go crazy (actually it's not about product itself but the idea of it might doing what manufacturer claims it does), and which is a standard product for us – a ground filter/conditioner. Such products have been known for years now and offered by few manufacturers like: Japanese Acoustic Revive, with their RGC-24 (more HERE) and Swedish Entreq with their whole line of such products (more HERE). Ground filters are supposed to decrease RFI and EMI that are present in signal's ground, usually due to connections with devices' grounds. Such additional grounds are often used in medical and military industry, although in different forms. Such filters offered by audio manufacturers usually are external devices that are placed next to or under system's element and connected with it with a short cable. One should connect it to the chassis, or to the ground post if a particular device does have it like most Japanese products do, as they, in Japan, realized ground problem years ago. Another option is to plug the cable connecting ground filter and device under one w chassis' screws, or finally to use an unused RCA input or output for this purpose. Verictum delivers its products with cables terminated with spades, but, upon order, they are able to deliver it with any termination. PAWEŁ CZUBRYT A few words about CTG The main scientific, technical and research infrastructure of Cieszyn based CTG company called: Zamiejscowy Ośrodek Badawczo – Rozwojowy, has its headquarters in Wrocław Technology Park. As a part of our research activities we developed and implemented a production of intelligent street light controllers with dedicated sources of light that allow full control and two-way communication that includes transfer of information back from the light concerning, for example, surface state for each particular light. These controllers allow two-way exchange of information via light's power line, which, among other things, is made possible due to our proprietary active interference filters. It is a unique solution on a global scale. Marek Stajndor – director of development (on the left) and Paweł Czubryt – R&D director. The Verictum brand bases its activity on an experience, experiments, and research programs conducted by CTG  Sp. z o.o. (Commercial Technology Group) in such areas as: signal transfer, energy transfer, distortion elimination, waves control and propagation, that were done by us for particular projects realized for energy and telecommunication industry. A marketing name for solutions used in Verictum products is: Technology X. Technology X Technology X, is the latest technology for fighting EMI/RFI degrading effects, that includes several different materials and processes, that were created during many years of proprietary research conducted by our firm. Its composition and technological process is modified constantly depending on the required synergy effect for a particular application. Products developed by Verictum are intended to eliminate a negative influence these types of interference have on audio systems. Most of our products are made manually because some of the production techniques simply can not be performed by machines. We use mostly natural materials, including exotic woods like merbau, that are handcrafted. We send all our products, including fuses, to people interested in trying them out in their systems (upon down payment) and within 18 days they have to decide whether they want to keep them or they send them back with money-back guarantee. Our present offer includes few products like: X Bulk, X Block and X Band. Our another project – development of audiophile fuses – is also almost finished. X Bulk to work needs to be connected with device's ground, to transfer interference via a pure silver cable to its filtering a X Block should be placed on top of the device, or on top of its power supply section to be exact, but since each case is different we recommend moving it around a bit to find optimal placement. X Block works as antenna collecting interference emitted by the device it is used with. X Block, same as X Bulk, effectively transforms EMI/RFI into heat. Third element of this puzzle is X Band, that “cleans” a signal for speaker's crossover. It should be plugged into speaker's “minus” binding post. One can place X Bulk anywhere – it sports a very aesthetic chassis so it can be placed in a plane sight. But as it turned out these filters worked better when placed on anti-vibration platforms. The better they were decoupled the better job they did. I received three filters for this review – two with cables terminated with spades and one terminated with a single RCA plug. The latter I used connected to the digital output of my Ancient Audio Lektor AIR V-edition CD Player, one with spade I connected to power supply for my Ayon Audio Spheris III preamplifier, and another with spade to Acoustic Revive RST-4e Ultimate power supply box. The best placement for spades would be under some screw in device's chassis, but in fact these spades were pretty large so they couldn't fit under any screw I tried them with. Also screwing them in and out would be problematic for the purpose of this test as it would have taken some time. So finally I decided to remove a screw in both, power supply and power supply box, fix an universal plug on each spade and put these plugs in the holes I took screws from. Test was conducted as A/B/A and B/A/B comparison, with A and B known, where A was a system without filters and B was working with them. I listened to a single filter working with my CD Player as well as to all three of them connected to the system. Recordings used for this test (a selection)) Carol Sloane, Hush-A-Bye, Sinatra Society of Japan/Muzak, XQAM-1031, CD (2008). Depeche Mode, Ultra, Mute/Sony Music Labels, Blu-spec CD2, (2007/2014). Ed Sheeran, X, Warner Music UK/Warner Music Japan WPCR-15730, CD (2014); Novi Singers, Fife, Four, Three, Polskie Nagrania “Muza”/GAD Records GAD CD 025, CD (1977/2015). Peter, Paul and Mary, In The Wind, Warner Bros. Records/Audio Fidelity AFZ 181, “Limited Edition No. 0115”, SACD/CD (1963/2014). Rival Sons, Great Western Valkyrie, Erache Records/Hydrant Music QIHC-10059, CD (2014); Royal Blood, Royal Blood, Warner Music UK/Warner Music Japan WPCR-15889, CD (2014); Thelonious Monk, Solo 1954-1961, Le Chant du Monde CMJ 874 2376.77, 2 x CD (2015). Thelonious Monk, Solo Monk, Columbia/Sony Music JapanSICP-30247, Blu-spec CD2 (1965/2013). Japanese issues available at [REKLAMA5] When the people from Verictum told me that I would immediately recognize an impact brought by their products on my system's performance I knew they were really, really sure of that. Obviously most beginners among manufacturers/designers would tell you the same thing about their products – if they'd only known how hard, how difficult was the road ahead of them to be, most of them would have never taken it. On the other hand a self confidence in a necessary element when you're running any business. Questioning experts, focusing efforts on beating them, proving that out knowledge, skills are greater than theirs are the very foundation of every new enterprise. Nothing would have happened without it, there would be no progress, in our, audio industry, that would hurt all music fans. Verictum has something though, that most “rookie” audio manufacturers don't have – a product that really works, one that actually fulfills a promise. These filters plugged into my system changed its sound significantly. That's the first important information. They work whether one uses only one of them or a whole bunch, when they complement each other. But even one of them introduces changes to system's performance that I've been pursuing for years enhancing my system step by step towards imaginary perfect sound. The direction of these changes is the only one that I recognize as a correct one – yup, that's also self confidence... After experiencing amazing performance of some top-high-end products I often feel “hangover” when I have to listen to the same music using my own system. Although it is damn good, with each element chosen after careful consideration as a way to the final goal – sound that I try to achieve, there are still better products and systems. Last time it happened was after my review of Naim Statement (see HERE and HERE). The opening piece of Peter Paul and Mary trio's album In The Wind, the Very Last Day, gives me chills each time I listen to it. But it was only with Naim in the mix that I realized exactly how Mary Travers phrased her voice, when doing backing choirs and how loud she screamed in the second part of that piece. Before I experienced this song on Naim system I couldn't really hear any of these elements. Naim reproduced this recording in a very immersive way and these, above mentioned elements were just a “natural” part of the music effortlessly delivered by Naim. I am not going to state, that Verictum filters turned my system into Naim – every such story claiming that some “auxiliary/supporting” element completely changed system's performance is just rubbish. What I do claim is that they changed a performance of my system in a way that made it sound more like Naim Statement. And also that changes introduced by them were significant and valuable. And by saying that I am not exaggerating, just reporting the way things were (according to my ears). Connecting one, two and three X Bulk filters to, respectively, a CD Player, preamplifier and power box increased volume of the presentation. Long story short – everything seemed bigger, closer and richer. Since similar effects could be achieved in many ways, including also introduction of some coloration to the sound, I spent quite some time trying to establish beyond doubt how this change of performance was achieved. It seemed that what really caused this improvement was based on a better sound resolution. What filters did with music I could compare to switching from listening to mp3 files to listening to CDs. Sound became richer, deeper, more saturated, denser. The first impression of one who hasn't heard such products before, or hasn't yet figured out which way he wanted his system to take, might be different, though. What characterizes more advanced, more expensive devices and systems is that sound gets darker and darker. But also deeper. In my case version without filters seemed darker. But only for a few seconds after which I realized that filters made sound deeper but also more open. This aspect could be responsible for an impression of a brighter presentation. It might have also seemed that way because there was much more information in this presentation. I said also, that presentation seemed closer to the listener, but also here it wasn't exactly what it seemed to be at the beginning. When I listened to Monk playing solo either on his older recordings released recently by French label Le Chant du Monde, or to his album Solo Monk, recorded for Columbia, it seemed that his piano was bigger and placed closer to me, but the reason for that was not that it was actually enlarged. As Carol Sloan's Hush-A-Bye album confirmed, filters “open” recording's acoustics, that seemed bit smeared before I used filters. When the background of the recording is clearer the main sound is more distinct and that's what creates an impression of a larger and closer presentation. I guess similar mechanism is behind an impression of a louder presentation with these filters. Without them sound seems dull and thus presented further away from listener. One plugs Verictum “cups” in and sound seems immediately richer, deeper and thus more “serious”. All these elements indicated that these filters make sound more resolving. More resolving sound means better differentiation, recording's acoustics, more lively tonality, more 3D presentation. Summary An assessment of X Bulk filters influence on system's performance should be pretty easy for each user. Introduced changes are significant and distinct and will happen in every system regardless of its price. Suffice to say that 2 units of X Bulk remarkably enhanced performance of a small Denon system, comprising of PMA-50 amplifier and DCD-50 CD Player that together cost less than one filter (less than 4000 PLN). These filters do something that is difficult to achieve with basic elements of the system, as to achieve such improvements we would have to pay a few times more for each of them. And yet, I can't stress that enough, X Bulk won't make a lousy amplifier or poor CD Player sounding great – don't ever think, that any accessory could do that. You need good quality elements in your system and these filters can enhance their performance to the extent beyond expectations. X Bulk utilizes modules designed by Verictum that absorb EMI and RFI. These modules are subject of bath in a liquid nitrogen – a specially developed process similar to a cryogenic one. X Bulk does not use transformers, capacitors, digital circuits and so on. It is a 100% passive design. Cryo-treated 4N silver is used as a conductor. Chassis is precisely machined and later treated multiple times with a natural oil, which allows it to maintain natural, wooden structure. One can not examine modules inside of the X Bulk as they are permanently encased and damped. Manufacturer does not disclose any information about what actually is there inside these wooden cylinders – this way they protect their products from copying. But knowing designs of Acoustic Revive and Entreq products we can assume that there is some sort of a container filed with damping material that also absorbs EMI and RFI. Filters sport a small cylindrical enclosure. The make and finish is quite good although it can not compare to the highest class offered by many Japanese manufacturers, like SPEC, for example. I would say that this is the same, good level of handcraft quality as offered by Entreq. There is a tablet on a front panel with company's logo and with the name of the product, on the back there is another with a serial number and information that this product was made in Poland. Cable that connects filter with a device also comes from the back of X Bulk. Cable is very flexible which makes connection easy and it is terminated with a high quality Furutech spade. On order manufacturer can terminate cable with RCA plug, that might be connected to unused RCA input or output of user's CD Player or amplifier (preamplifier). One can place filters anywhere, although they are susceptible to vibration – no surprise here, since they are supposed to dampen vibration inside them they should not be subjected to external vibrations. So it might be a good idea to place them either on a dedicated anti-vibration platform, or at least on a anti-vibration rack. Dimensions: • diameter: 140 mm • height: 100 mm Weight: 1 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/1506/verictum/th/05.jpg" big="foto_testy/1506/verictum/05.jpg" src="foto_testy/1506/verictum/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/verictum/th/06.jpg" big="foto_testy/1506/verictum/06.jpg" src="foto_testy/1506/verictum/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/verictum/th/07.jpg" big="foto_testy/1506/verictum/07.jpg" src="foto_testy/1506/verictum/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/verictum/th/08.jpg" big="foto_testy/1506/verictum/08.jpg" src="foto_testy/1506/verictum/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/verictum/th/09.jpg" big="foto_testy/1506/verictum/09.jpg" src="foto_testy/1506/verictum/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/verictum/th/10.jpg" big="foto_testy/1506/verictum/10.jpg" src="foto_testy/1506/verictum/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/verictum/th/11.jpg" big="foto_testy/1506/verictum/11.jpg" src="foto_testy/1506/verictum/11.jpg" desc="HighFidelity.pl"] [/hfgallery]

he latest Compact Disc player manufactured by the Japanese company C.E.C. (which I am going to simplify to CEC in this article), which was launched at the end of the last year, is officially called “CEC Belt Drive CD Player CD 5” (with the note: “USB Sound System - 32bit/384kHz PCM and DSD128/5.6MHz”). So, everything is clear. As far as I know, it is the first time that a manufacturer associated with the Compact Disc format (that is, a company that has achieved the highest artistry when it comes to reading CDs) has entered the world of DSD (Direct Stream Digital) signal. Although this has nothing to do with Super Audio CDs on which information is recorded using this format, it is still a big change. We are living in times when “physical” formats are landing on the scrap heap. I think that specialized audio manufacturers, surely offering expensive products and aimed at a market driven by sentiment, will still offer music on discs. However, files are the mainstream now, giving us signal without the “packaging”. These days, launching a CD transport such as the incredible TL0 3.0, or a new Compact Disc player may seem to be an idiocy and, at best, may reflect somebody’s lack of market knowledge. However, I think that reality is different and that Japanese engineers know what they are doing (alongside CEC, we are talking about such companies as Esoteric, Accuphase, Luxman, Reimyo, Sakura Systems and many others). They are not stupid – more and more people are using digital sources in the role of digital-to-analogue converters, with a computer as the source. That is why such an important element of the new CEC strategy is the note that I have already mentioned: “32bit/384kHz PCM and DSD128/5.6MHz”. It informs us that we can send PCM signal up to 32 bit and 384 kHz sampling frequency (DXD specification) to a device through the USB input. We can also send DSD signal, both single speed DSD64 (2.8224 MHz) and double speed, i.e. DSD128 (5.6448 MHz), in the same way. To highlight the marriage of the old and new, both a Compact Disc and a DSD logo have been placed on the front panel of the CD5. However, the heart of this device is still a CD drive, a patent of the CEC company – i.e. the “Belt Drive” which is driven with a belt, like in turntables. The first device of this type was the CD TL1 transport launched in 1991. Since then, no one has repeated this achievement. Parasound, Burmester and BMC belt drives are just derivatives of the Japanese concept. JULIEN STEGNER CEC Europe | Managing Director Juergen Stegner (on the left) and Julien Stegner (on the right) from the European branch office of the CEC company, standing in front of the CD5 player – the first one outside Japan. I was able to meet them thanks to Mr. Roger Adamek who invited them to the opening of the new seat of the RCM company, a CEC distributor. In 1954, when the CEC company was founded, the audio industry was still in its infancy. For example, turntable motors were still an unexplored field. CEC was the first company in Japan to produce turntables and its products were highly valued by music lovers. In the following years, CEC was the leading turntable and CD player supplier on the consumer market as an OEM factory, and its products were sold with the logos of such firms as Grundig, Marantz, Teac, Sony, Sanyo, Toshiba, Mitsubishi, Alpine, Kenwood, Sharp and others. For CEC, the aim was clear: in order to prepare a top-class high-end audio product, you need to be focused on quality. That proved beneficial for both the company and its clients, regardless of changes taking place on the market. In order to meet this objective, we built a new factory in Japan in 2011. Earlier, however, in the year 1991, CEC started a new chapter in music reproduction, preparing the first CD transport with a belt drive in the world, the famous TL 1model. Engineers who started working on it thought it was necessary to use technical knowledge of turntable design in the process. They assumed that the basic operating principles of analogue turntables and digital CD players are generally the same. Although rotational speed in CD players changes depending on the position of the laser, these changes occur very slowly. In other words, rotational speed in an assumed time period may be regarded as a constant value. Based on these assumptions, CEC prepared a completely new CD drive system, free from acoustic feedback, with a much higher signal to noise ratio and lower jitter. The company obtained an international patent for this invention. The latest CD5 player is based on the same concept. A heavier stabilizer which is used in it enables much more stable disc rotation, whereas the Belt Drive has eliminated vibration and electromagnetic noise caused by the motor rotation. For the first time in history, a digital input and a headphone terminal have been used in a Belt-Drive player. In this way, the most advanced DAC technology developed by the ESS company has been implemented and listening to music without the necessity of using speakers has been made possible. Signal sent from the computer to the USB input may have the following parameters: PCM signal up to 32bit/384kHz and also DSD to DSD128/5.6 MHz. In this way, the CD5 may operate as a high-resolution system – an independent DAC. The player was tested with Furutech NanoFlux-18E and Crystal Cable Absolute Dream power cables. It did not stand on its own, but on Franz Audio Accessories Ceramic Disc Classic feet. Signal from the computer was sent using the Acoustic Revive USB-5.0PL cable. The device offers two digital filters – I liked the “Pulse” filter more and I used it in the listening test, as sound is fuller and deeper with it. The “Flat” filter offers more “literal” and precise sound. C.E.C. in „High Fidelity” AWARD OF THE YEAR 2014: C.E.C. TL0 3.0 – Compact Disc transport, read HERE TEST: C.E.C. TL0 3.0 – Compact Disc transport, read HERE TEST: C.E.C. ASB3545WF Wellfloat – anti-vibration platform, read HERE TEST: C.E.C. DA 3N + TL 3N – digital-to-analogue converter + CD transport, read HERE TEST: C.E.C. CD 3800 + AMP 3800 – CD player + integrated amplifier, read HERE TEST: C.E.C. DA53N – digital-to-analogue converter, read HERE TEST: C.E.C. TL53Z + AMP53 – CD player + integrated amplifier, read HERE TEST: C.E.C. TL51XR – CD player, read HERE TEST: C.E.C. TL1N/DX1N – CD transport + D/A converter (world premiere), read HERE TEST: C.E.C. AMP3300R – integrated amplifier, read HERE TEST: C.E.C. AMP6300 – integrated amplifier, read HERE Recordings used in the test (a selection) A Day at Jazz Spot 'Basie'. Selected by Shoji "Swifty" Sugawara, Stereo Sound Reference Record SSRR6-7, 2 x SACD/CD (2011). Bach Rewrite, wyk. Orzechowski, Masecki, Adamus, Capella Cracoviensis, Universal Music Polska | Decca 375 457 5, CD (2013). Sonda2. Muzyka z programu telewizyjnego, GAD Records GAD CD 023, CD (2014); Ed Sheeran, X, Asylum | Atlantic/Warner Music Japan WPCR-15730, CD (2014). John Coltrane Quartet, Ballads, Impulse!/Universal Music LLC (Japan) UCCU-40001, Platinum SHM-CD (1962/2013). Ksawery Wójciński, The Soul, ForTune 0041, “029”, CD (2014). Leonard Cohen, Popular Problems, Sony Music Labels SICP-4329, CD (2014); Royal Blood, Royal Blood, Warner Music UK/Warner Music Japan WPCR-15889, CD (2014). Tears For Fears, Songs From The Big Chair, Mercury Records/Universal Music LLC (Japan) UICY-40071, Platinum SHM-CD (1985/2014). Władysław Komendarek, Władysław Komendarek, Poskie Nagrania MUZA/GAD Records GAD CD 021, CD (1985/2014). Yes, The Yes Album, Atlantic/Warner Music Japan WPCR-15903, “7 inch mini LP”, SACD/CD (1971/2014) Japanese issues available at [REKLAMA5] The player makes an excellent impression on the listener from the very first moment. The features of its sound are fairly easy to extinguish, especially if we are well-acquainted with the sound of a turntable. What I will say might be trivial, but it needs to be said: it is (internally) exceptionally calm and refined, “analogue” sound. It is “analogue” mainly because it is not characterized by sharpness or the effect of “brightening up” associated with digital technology. What I have just said is a stereotype, of course, but it is grounded in the 1980s and a considerable part of the 1990s when CD players often performed in this way. I remember well that many producers, journalists, and, consequently, music lovers imagined that the more efficient a high-end system is, the brighter and more detailed the sound must be. I am sure that such an attitude has effectively discouraged many listeners from using digital technologies and, in a broader context, from the whole audio industry. However, these “dark days” are gone now. Right now the balance has shifted. Most devices and recordings produce warm sound with withdrawn treble. If I am to choose, then I opt for the present state of things without any hesitation – such sound does much less harm, it “does not hurt”. It is often associated with “analogue” sound, even though there is only one thing that is true about this comparison: a lack of inner instability and irritating hardening effects. I can accept this, although analogue sound is something much more complex. CD5 is, however, more than just a substitute of a turntable (as some people might see it). Its sound is characterized by what I have already mentioned, i.e. slight withdrawal of the upper midrange, but this does not have much in common with “closing” the sound. It is “full swing” sound with full deep bass, but also with very well-defined dense treble. It cannot be said that the treble is “sweet” because I do not hear the head of attack that would cause withdrawal. As regards jazz discs from the 1950s, the cymbals were characterized by very nice “looseness” and weight. They were not as three-dimensional as in the case of the reference player using the TL0 3.0 transport, not to mention the Accuphase DC-901 converter. That was not the smoothness of the top-end dCS Vivaldi system either. However, the difference between the prices of these systems and the CD5 is simply incredible. The CEC Belt-Drive player, which costs almost five times less than the Ancient Audio player which I use every day, proves to be a device whose advantages are so significant for the perception of music that the weaknesses of the device become less important. We are going to discuss the disadvantages, but not yet. Now it is time (again) to talk about the fantastic bass reaching as far as the lower midrange. I think that the way the range is presented gives us a basis for a comparison with a turntable. Here we have both power and fullness, but also density and definition. The sound does not have a hard attack, but the differentiation is still excellent. The player shows the differences in the amount and energy of bass more clearly than in its textures, like in the case of The Yes Album (the difference between a 24/192 file and the CD layer of the hybrid SACD 7” mini-LP which has recently been released in Japan). The file version was shallower and more focused on the midrange, whereas the CD version had more energy and density. It seemed to me for some time that the CD5 emphasizes the upper treble a little more than the midrange. As regards Ed Sheeran’s X album (the song from the third part of The Hobbit), sibilants in the vocal are stronger than they should be. Players deal with this problem in different ways. The ones that succeed (although each does it in its own way) do not block the treble, because it is a departure from neutrality, but at the same time do not allow brightening up or “hissing”. What is more important in the musical message occurs somewhere else. While listening to the sound of the CD5 through the HE-6 HiFiMAN headphones and the Bakoon HPA-21 amplifier, I turned the volume up and there was a little too much “hissing” in Sheeran’s voice. However, when I returned to the normal position of the volume control knob, everything disappeared. When I listened to the same recording through speakers, the effect was stronger – i.e. the treble was not so bright, but here again everything became balanced when I reduced the volume. The sound of this player is not one-dimensional. We get added value with each recording. The tonality of the player is wonderfully set – it is low, dense, but with open treble. I have not found a recording that would sound weak with the CD5. It is because the sound is deep, saturated and interesting. Our attention is not attracted by details but rather by the way they interact with one another. The interaction is deep, resulting in dense “tissue” and involves more than just elements on the outside. So, the sound is very mature and characterized by inner harmony. I could also hear it very clearly in the way the sound stage is constructed. It is large, spacious and “full”. The foreground is most important here and is characterized by the highest resolution, but what is behind it is neither suppressed, nor depreciated at all. Of course, at such a price, it is possible to model sound in a different way. The CD5 produces very smooth sound. As I have said, it is hard to talk about softening the head of attack – it is not the case here. However, there are no clear textures in the sound which is treated rather as a whole. It is part of the “analogue” signature, but also a specific direction. Perhaps this is why some of the recordings sound as if they do not have problems with the upper midrange, while some of them clearly have a “guilty conscience”. It is a step towards civilizing sound, which is good, but also a deviation from full neutrality. Summary The USB input with the possibility of playing DSD files is, as it seems, important for the designers. The sound of Nat “King” Cole’s, Nina Simone’s and Ella Fitzgerald’s albums was more than competent – it was smooth, full and incredibly saturated. I was surprised with how good the sound of Perfect’s Unu album was. I got its analogue remaster converted to DSD from Damian Lipiński, for testing purposes. The remaster was prepared in Damian’s studio using the master tape. The dynamics was incredible – I did not know that people could actually make records in such a way at that time! The sound of PCM 24/192 and 24/96 recordings was also very nice, although it lacked the fullness and balance of the sound of DSD files. However, I kept on returning to CDs with pleasure. Perhaps I am biased, but the so-called “high resolution” of files is still doubtful to me. It is, of course, confirmed by data presented on the player’s display, but it is different when it comes to sound itself. The sound of the CDs was rich, deep and sophisticated. Its inner calmness and coherence were outstanding. The selectivity and energy of the midrange, especially upper midrange, is not very exceptional, but simply constitutes an element of this sound and I “buy” it without any problems. It is an excellent and fairly inexpensive player which can normally be regarded as a high-end device. FURUTECH NanoFlux-18E Power cable | Price (in Poland): 15 050 PLN/1.8 m Power connectors, power inlets, power distributors and power cables are probably the most well-known products of the Japanese company Furutech. Actually, the company manufactures a broad range of cables and offers excellent RCA and XLR connectors, as well as speaker terminals. Under the ADL brand, it also sells electronic accessories connected with headphones and computers. However, the above-mentioned power accessories are its leading products. The company presented its new products, including the latest power cable NanoFlux-18E in January, during the CEC 2015 exhibition in Las Vegas. The cable is equipped with FI-50 (R)/FI-E50 (R) Furutech-engineered, state-of-the-art, rhodium-plated connectors. The connectors are carbon fiber finished and the diameter of the cable is 18.8 mm. The cable is made of α (Alpha) Nano OCC Conductor copper. A cylinder made of the same non-magnetic material as the connectors and having the same carbon fiber braid is placed in the middle of the cable. This is the Formula GC-303 EMI filter. The material has been used by Furutech for many years, e.g. in the e-TP60 and e-TP80 power distributors. All the metal elements were subjected to the Alpha process, i.e. a type of cryogenic (heat) treatment in order to eliminate mechanical stress. The Japanese cable delivers quite low-set but open sound. It is characterized by subtle upper treble and illuminated, clear upper midrange which is not emphasized, i.e. its level is adequate, but the information that is contained there, e.g. the ‘picture’ of phantom images, is higher than in the case of the Acrolink cable, and much higher than in the case of the Crystal Cable. The Furutech cable builds large and tangible 3-D images of instruments. The sound is close, but it is not thrown in the face. This is a fleshy message. The background is slightly pulled up, resulting in a vivid foreground – truly, incredibly vivid. Thanks to using this cable, we will obtain highly dynamic sound. I think that this is part of the “tangibility” that I have mentioned. The sound is dense and set low, and that is why the kick drum beats have almost tangible weight. The tested cable is characterized by better selectivity that the Acrolink cable and the Crystal Cable, while the resolution of the midrange and the treble seems to be a bit better in the case of the Acrolink cable. This is a cable which produces universal sound. It will prove useful when we want to maintain the dynamics of a system and bass extension, without closing the midrange. It will also come in handy when we want to lower the sound a little, but not at the cost of rounding of what is higher – Furutech does not round anything. The design of the player is determined by the basic CEC patent, i.e. the Belt-Drive transport. So, this is a top-loader device in which you insert a disc from the top and then close the chamber manually. I usually write that we place a disc on the motor shaft, but not in this case. Here, the shaft which rotates alongside the disc is not the motor shaft. The solution is identical with what we have in turntables. The shaft is a part of a heavy cylinder fixed on precise bearings. The torque is transferred onto the shaft from the motor which is placed next to it, with the use of a rubber belt. The company is very proud of this solution and has exposed the belt so much that we can see it before we insert a disc. High inertia of the disc has been increased further because of a massive brass stabilizer of 70 mm diameter (ø), weighing 330 g. There is a large acrylic plate on the front aluminum panel and there are displays of different type under the plate. Information on which digital filter (Flat/Pulse) is active is displayed in blue. A liquid crystal display which shows disc information is also blue. Unfortunately, the digits are small (this could have been done better), especially when compared with a completely different greenish LED-based alphanumerical display which shows the input signal sampling frequency (for digital inputs). On the same panel there are also four disc control buttons. At the front there is also a mechanical power switch, a ‘source’ button and a headphone output, alongside a small volume control knob. The analogue outputs are both balanced (XLR) and unbalanced (RCA). There are also three digital inputs: USB, RCA and TOSLINK. We can send PCM signal up to 32 bit and 384 kHz (DXD) through the USB input, as well as DSD signal (DSD128; 5.6 MHz) thanks to DoP protocol. The RCA and optical inputs take signal up to 24 bit and 192 kHz. It would probably be difficult to question the fact that the most important element of a CD player is transport. The Belt Drive in CEC devices used to be based on Sanyo mechanics. Now, its only remaining element is the optics. It is placed in a plastic casing which is fixed to a metal plate underneath. The plate is placed on rubber absorbers bolted through to solid brass pins. The pins are fixed to the housing. The drive system looks brilliant in its simplicity. A small motor is fixed to a U bar which, in turn, is placed on rubber pads. There is a little brass ring on the motor shaft. The ring is encompassed with a rubber belt of a square cross-section, which also encompasses a larger ring on the other side. The larger ring is a part of a larger brass cylinder. The shaft on which a disc is placed is fixed to the top of the cylinder. That is the mechanics. In order to make all the elements interact, it is necessary to have appropriate software which has significant influence on sound. The microprocessor circuit is placed on a large plate at the back of the device together with power and sound circuits. A small toroidal transformer with four secondary windings operates in the power supply unit – each of the sections is fed from a separate power supply unit. The Bravo SA9227 SaviAudio receiver is located next to the USB input. This is the latest system. What is interesting, it was written on the company website that it does not work with DSD signal – this is possible only in the case of the SA9228. Apparently, however, the software has been changed. Signal is decoded in a small chip of the ESS ES9018K2M digital-to-analogue converter. The chip is the heart of the whole system. Classic integrated circuits operate in the analogue section. Amplification and buffering is carried out in JRC2068 circuits. Signal is sent separately to balanced and unbalanced outputs. The whole arrangement is surface-mounted, except for nice polypropylene capacitors. All the sockets are gold-plated. The headphone amplifier is fixed on a small plate next to the front panel. Its basis is the JRC2043 integrated circuit and a small Alpsa potentiometer. The RU-217 remote control is not too beautiful. It is made of plastic and quite large. However, it is quite convenient to use. We use it to change the digital filter, as well as turn on the illumination and displays. Technical specifications (according to the manufacturer) Spindle Drive System Belt Drive (CEC Patent) Playable Discs Audio CDs & Finalized CD-R/RW CD Stabilizer Diameter 70mm, weight 330g (brass) Digital Output • Coaxial x 1 0.5Vp-p/75Ω • TOS x 1(optical): -21~-15dBm EIAJ Digital Input • COAXIAL x 1: SPDIF 24bit/32 to 192kHz • TOSLINK x 1: SPDIF 24bit/32 to 192kHz • USB 2.0 x 1: PCM 32bit/32 to 384kHz, DSD2.8224 to 5.6448MHz Analog Output • Balanced XLR (pin2=hot) x 1 / 4Vrms • Unbalanced RCA x 1 / 2Vrm • Headphones - 6.3mm x 1 Digital Filter FLAT / PULSE (switchable) (for DSD playback FLAT only) Sampling Frequency 20Hz to 20kHz, ±0.1dB (CD playback) S/N Ratio 105dB, 1kHz/0dB Cross Talk 105dB, 1kHz/0dB THD 0.016%, 1kHz/0dB Power Consumption 17W Dimensions 435(W) x 335(D) x 109(H)mm Weight approx. 9 kg Color Silver Distribution in Poland RCM S.C. tel.: 32/206 40 16  40-077 Katowice | Polska e-mail: rcm@rcm.com.pl www.rcm.com.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/1502/cec/th/05.jpg" big="foto_testy/1502/cec/05.jpg" src="foto_testy/1502/cec/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/06.jpg" big="foto_testy/1502/cec/06.jpg" src="foto_testy/1502/cec/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/07.jpg" big="foto_testy/1502/cec/07.jpg" src="foto_testy/1502/cec/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/08.jpg" big="foto_testy/1502/cec/08.jpg" src="foto_testy/1502/cec/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/09.jpg" big="foto_testy/1502/cec/09.jpg" src="foto_testy/1502/cec/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/10.jpg" big="foto_testy/1502/cec/10.jpg" src="foto_testy/1502/cec/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/11.jpg" big="foto_testy/1502/cec/11.jpg" src="foto_testy/1502/cec/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/12.jpg" big="foto_testy/1502/cec/12.jpg" src="foto_testy/1502/cec/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/13.jpg" big="foto_testy/1502/cec/13.jpg" src="foto_testy/1502/cec/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/14.jpg" big="foto_testy/1502/cec/14.jpg" src="foto_testy/1502/cec/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/15.jpg" big="foto_testy/1502/cec/15.jpg" src="foto_testy/1502/cec/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/16.jpg" big="foto_testy/1502/cec/16.jpg" src="foto_testy/1502/cec/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/17.jpg" big="foto_testy/1502/cec/17.jpg" src="foto_testy/1502/cec/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/18.jpg" big="foto_testy/1502/cec/18.jpg" src="foto_testy/1502/cec/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1502/cec/th/19.jpg" big="foto_testy/1502/cec/19.jpg" src="foto_testy/1502/cec/19.jpg" desc="HighFidelity.pl"] [/hfgallery]

ore and more interesting devices come to us from countries that, not that long ago, seemed to have nothing to offer for audiophiles, and today, to many people's of the West surprise, these countries deliver some widely appreciated products. Fortunately, as Heraklitus said, panta rhei. Many companies from behind Iron Curtain today are recognized an appreciated all over the world, and their products find more and more happy owners and fans. One of such companies is a Bulgarian high-end manufacturer of electronics, but also loudspeakers, Thrax Audio. Company lead by Rumen Atarski, apart from their own products, works also as an OEM manufacturer of fantastic, aluminum chassises for several high-end brands. Compared to them RT Audio Design is a small, just starting their own, hopefully great, history company, founded by two audio enthusiasts, Tsvetan Tsencov (an electronic engineer) and Ivaelo Ratzov (industrial designer). There is nothing really visionary in company's materials that say, that: „our goal was to achieve improved sound quality and to propose own own solutions for audio designs”. But that's exactly how most well known audio designers started their carriers like. Mr Tsvetan as the elements of company's philosophy names: high quality separate power supply for all products, battery power supply for DACs and RIAA preamplifiers, output transformers as filter and I/V converter for DAC, passive preamplifiers with TVC (Sowter) or high quality potentiometers (ALPS), no signal capacitors in signal path. Tsvetan Tsenkov RT Audio Design | designer The newest DAC from RT audio design Ultra USB DAC Orpheus is result of the continuous desire to improve the sound. The Ultra USB DAC Orpheus is realized on the base of audiophile chip AD1852 with differential analog outputs. Using our philosophy for output stage, we don’t use active I/V conversion and only isolation transformers. The most audio engineers know that transformers are ideal low-pass filter and impedance buffer (reduces dependence on quality interconnectors).The phase shift in the transformer used by us is less than 2 degrees and THD is zero , because don’t use op-amps or valves buffers. We choose output transformers from Sowter model 3232 for best music sound. The DAC consists two main sections: USB to I2S converter SPDIF receiver with DAC part. The USB section is realized with XMOS 500 MIPS processor in asynchronous mode, separate clock. The USB to I2S is especially designed for asynchronous audio transfer. It can transmits PCM and DSD (DoP) audio data. This board provides bit-perfect playback at sampling rates from 44.1 kHz up to 384 kHz with up to 32 bit resolution. The DAC section is mounted on the separate PCB with five independent low drop stabilizers LT1086 Linear technology .All components are manually soldered for best quality. We don’t use signal capacitors in signal path because they diphase music. All filter capacitors are high grade Nichicon True gold. The power supply is very important and therefore we use 12v/2,2 Ah battery, mounted inside the DAC. No noises and hums from mains, making sound clean and smooth. You can listen the DAC 12 hours without charging. The battery charger is a specially designed low noise SPMS power supply which works with 100kHz frequency. All products are handmade and tested personally for defects. RT Audio Design use carefully selected components from leading manufacturers(Nichicon, LCR, Yshy, Panasonic, Mundorff, Elma). In 2013 RT Audio Design took the first place in the Best sound category on HIFI SHOW SOFIA 2013. Recordings used for this test (a selection) Coleman Hawkins, The Hawk Flies High, Riverside/Mobile Fidelity UDSACD 2030, SACD/CD (1957/2006). Ed Sheeran, X, Warner Music UK/Warner Music Japan WPCR-15730, CD (2014); Grace Jones, Disco, Island/Universal International Publishing 53546482, BOX: Portfolio, Fame, Muse, 3 x CD (2014). Harold Mabern, Afro Blue, Smoke Sessions Records SSR-1503, CD (2015). Laurence Hobgood, Left To My Own Devices…, Naim naimcd049, CD (2000). Maroon 5, Songs About Jane. 10th Anniversary Edition, A&M/Octone Records/Universal Music LLC UICY-10029/30, 2 x SHM-CD (2002/2012). Patty McGovern & Thomas Talbert, Wednesday’s Child, Atlantic/Sinatra Society of Japan XQAM-1047, CD (1956/2010). Royal Blood, Royal Blood, Warner Music UK/Warner Music Japan WPCR-15889, CD (2014); Stanisław Soyka & Roger Berg Big Band, Swing Revisited, Universal Music Polska 472 844 1, CD (2015). The Quartet, The Quartet, Poljazz/Anex AN 302, CD (1978/2014?). Tori Amos, Under The Pink, Atlantic/Rhino 2795618, “Deluxe 2 CD Set”, 2 x CD (1994/2015). Japanese issues available at [REKLAMA5] If we lived in a “linear” world each invention improving the way its predecessor worked, would be simply better. Period. It would do exactly what its predecessor did, only better in every possible way. The “linear” world is a fantasy though, an imperfect model that have only some things to do with a real world. But there are some it does. After all each new solution/invention is to replace a previous one, to make some aspects of it better, to offer something new/more, by using some more advanced, better elements. We all know, that the world is not that simple – that's a fact. Which means that is real world there are always compromises – to gain something, we loose something, at least partially. Audio industry is no different in this respect. Moving from mechanical way of recording sounds on a cylinder and later on a record with no electricity involved, to recording using active amplifier circuits we involved many variables into recording process that change the sound thus averting us from an authenticity of a live performance. But at the same time we gained so much in terms of sound quality (in a high-fidelity meaning), that we abandoned the old way of recording without any regrets. Same story repeated itself with other following steps – tubes, transistors, analogue and digital, physical music mediums and music files. Designing and building Orpheus converter people from RT Audio Design realized their vision of the sound. I am pretty sure that what they wanted to achieve was not the overall better performance but rather a better performance in some aspects of the sound, the ones they considered most important. And it is not difficult to realize and point out which aspects these were. Mr Tsvetan Tsencov's and Ivaelo Ratzov's priorities are clear, that's why I do not use expressions like: “I think”, “I believed” or “it seems” as I am sure of what I hear. What they cared about most was the authenticity of the presentation. Me mentioning a mechanical way of recording before was no accident as it involved the shortest and simplest possible path of a signal. The result was the most natural sound possible, and I mean a level of naturalness that is hard to achieve even today. Performance of this Bulgarian DAC includes many elements, that were possible to achieve only recently and only by a multi-thousand USD designs using latest developments in sound processing. Sound is very “realistic” and phantom images seem very palpable which, despite quite reasonable price of this device, makes it suitable even for high-end systems. There is nothing in its performance that bothers listener, nothing that disturbs enjoying music fully. And while this is not an absolutely all-round performer (I'll explain that in a moment), while there are some elements in this performance that are results of some, accepted by designers, compromises, yet it is truly enjoyable and if its limitations are acceptable there will be no reason to pay more for another product. The most general description of its sound could be similar to what a high quality tube preamplifier has to offer. Wonderful, colorful tonality, richness of the sound, great soundstage, and amazing palpability of the sound that makes the performance enchanting, whether it is a puristic recording of Laurence Hobgood, or Ed Sheeran's X, or finally a remastered version of Under The Pink by Tori Amos. It doesn't really matter what recording we play, what we get is a very realistic, very convincing performance. As I already said it is quite a tube-like sound. By that I mean that both attack and decay phases of the sounds are slightly rounded, without distinct definition. When it came to treble and midrange I didn't really care, as this created presentation with high level of euphony, which in turn fitted into the sound signature of this device, as if this imperfection of the presentation only confirmed its class. The aspect that one has to accepted if Orpheus is to be a part of one's system, or that will exclude it from potential purchases will be most likely that way that bass is presented. The upper part is slightly emphasized which makes vocal larger and more palpable. This creates an impression of a more “serious”, richer, more palpable presentation. But it also means adding something extra to the mix, additional information that is not present in the same recording when played with better balanced digital sources. And not that good definition of a lower bass add up to this aspect too. Bass in nicely extended but the lowest part of the range, say below 100Hz, is not well differentiated, is rather monotonous. And slightly colored, too. The way it is done differs from how many solid-state transformers do it by 'hardening” part of the bass range which makes it boomy. This DAC offers colorful sound but with rounded leading edge. So it never really sounds unpleasant. You need to know though, that when listening to not so well recorded, loud, powerful music, will result in a bit chaotic presentation. I heard it when listening to Royal Blood's album, and even with more powerful fragments of above mentioned Tori Amos' album. That's why with Orpheus I listened mostly to jazz and vocal recordings. I have no idea what music do the people from RT Audio Design listen to mostly, but I would bet that they listen to something similar. Probably also some electronic music. In this type of music the results of eliminating active conversion stage and coupling capacitors are usually remarkable, and changes introduced to the signal (as always, there is also a cost of this solution), as transformer also has its sonic signature, don't effect listening pleasure. Most of the time I used this D/A Converter with my headphone system. That's how I listen to the music in the evenings. I like headphone listening, I am a real fan, so I spend a lot of time with some cans on my head. Surely this is not a perfect way to reproduce music, because it involves a non-linear frequency range, some problems with impedance and so on. But on the other hand there is something particularly authentic in headphones' presentation that I miss when music is reproduced by loudspeakers. One of the systems that I often used comprises of battery powered Bakoon HPA-21 amplifier and planar-magnetic HiFiMAN HE-6 headphones. Signal is usually delivered from Lektor AIR V-Edition CD Player with tube output stage, via 1m Siltech Triple Crown interconnect. Adding battery powered Orpheus into the mix resulted in absolutely brilliant performance – organic, rich, natural. The problems I mentioned above did not really matter anymore, what truly mattered was what this DAC did really well. Summary The Bulgarian converter is a result of passion and love for music. One can hear that with every recording, in every system. As any love also this one has its preferences, it is not universal. What is preferred is: naturalness, tangibility, richness, while definition, selectivity and differentiation of a lower range is not a priority. If one is OK with that, if one listens to the music that is not “hurt” by such a set of features, then, using reasonably priced Orpheus one will join a true high-end sound club. RT Audio Design attracts attention as it looks really nice. It reminded me (I mean its style) the logo of the Super Audio CD, which I consider one of the best in the audio industry. Front panel with logo and some inscriptions is made of aluminum. It sports a very good, widely used for high-end devices power switch and two LEDs, that indicate an active input. Both: power switch and LEDs are blue - rigueur of late XX and beginning of XXI century. Unfortunately there is no way of checking sampling frequency of input signal, not to mention bit count. User is also not informed whether input is in sync with source. This is not a problem when using a CD transport, but when it comes to communication with a computer, where something might always go wrong, without such indicator user doesn't know where to look for a problem. It seems that for latest D/A Converters such an indicator is a must. The rest of the chassis is also made of aluminum. There is a larger logo on the upper panel, which seems a nice touch further improving aesthetics of this device. They used high quality input sockets – USB comes from Neutrik. There is a small flip switch between inputs that acts as an input selector. There is also an analogue, unbalanced output with gold-plated RCA sockets. Next to it there is this also gold-plated, multi-pin power inlet. The device sports solid, good looking multi-layer feet made of aluminum and rubber. Inside the whole circuit sits on two PCBs. The smaller hosts USB receiver and a converter to S/PDIF. It is based on a XMOS chip. It accepts PCM signal up to 32/384 and DSD (DoP) signal. Signal runs through a short USB cable from input. I wonder whether it would be possible to eliminate this cable. This circuit sport a separate oscillator, and an input signal is re-clocked with another high quality two separately for 44,1 and 48 kHz (with multiplayer) signals. Signal is than transferred to the next PCB with thin wires and buffered by matching transformer. Exactly the same transformer is used for S/PDIF input and placed on the main PCB. It is clear that USB signal's path is much longer. PCM signal from RCA input lands in Cirrus Logic CS8416 (24/192) receiver, that is no longer produced. Finally signal goes to a DAC chip - Analog Devices AD1852. It is capable of receiving 24 bit/ 192 kHz signal. So it seems that any signal with higher resolution has to be converted somewhere along the signal's path. DAC chip converts all signals into 24bit ones. All that one will find in most currently manufactured DAC. What is different about Orpheus is that where in other DACs one would find lots of integrated circuits, transistors, tubes, capacitors, resistors, here one finds nothing of the kind. Nothing apart from Sowter, model 3232 output transformers working as low-pass filters, I/V converters and output buffers. This type of design is well known thanks to Audio Note's products. The device is powered via a 12V medium size rechargeable, that is charged using an external switching power supply. Even though is is already quite “clean” power supply 5 additional voltage regulators are used that are placed on the the main PCB. Only high quality elements are used. There is a small inconvenience regarding power supply system here. Solution used for above mentioned Bakoon, disconnects charger after one turns the device on so the power comes exclusively from a rechargeable battery. Here the charger works all the time so when one wants to play exclusively from a rechargeable battery one has to unplug the power supply. Another inconvenience is lack of any charge level indicator. Specifications (according to manufacturer) Frequency response: +/- 0.25 dB 10 Hz to 60 kHz Distortion at 50 Hz (Source 40 ohms): 0.05% at +20 dBu Output level: 2,1V Digital format: I2S 24bit/192kHz (PCM) Analog outputs: 1RCA Digital input: 1 RCA SPDIF;1 USB B asynchronous 32bit /384kHz Phase shift: under 2 degrees Dimensions; 230mmx280mmx80mm Warranty: 5years 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/1506/testRT/th/05.jpg" big="foto_testy/1506/testRT/05.jpg" src="foto_testy/1506/testRT/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/06.jpg" big="foto_testy/1506/testRT/06.jpg" src="foto_testy/1506/testRT/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/07.jpg" big="foto_testy/1506/testRT/07.jpg" src="foto_testy/1506/testRT/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/08.jpg" big="foto_testy/1506/testRT/08.jpg" src="foto_testy/1506/testRT/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/09.jpg" big="foto_testy/1506/testRT/09.jpg" src="foto_testy/1506/testRT/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/10.jpg" big="foto_testy/1506/testRT/10.jpg" src="foto_testy/1506/testRT/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/11.jpg" big="foto_testy/1506/testRT/11.jpg" src="foto_testy/1506/testRT/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/12.jpg" big="foto_testy/1506/testRT/12.jpg" src="foto_testy/1506/testRT/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/13.jpg" big="foto_testy/1506/testRT/13.jpg" src="foto_testy/1506/testRT/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/14.jpg" big="foto_testy/1506/testRT/14.jpg" src="foto_testy/1506/testRT/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/15.jpg" big="foto_testy/1506/testRT/15.jpg" src="foto_testy/1506/testRT/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/16.jpg" big="foto_testy/1506/testRT/16.jpg" src="foto_testy/1506/testRT/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1506/testRT/th/17.jpg" big="foto_testy/1506/testRT/17.jpg" src="foto_testy/1506/testRT/17.jpg" desc="HighFidelity.pl"] [/hfgallery]

Japan and Audio apan is the perfect country to live in if you're into audio. The opportunities I have here to satisfy my quest for the highest possible sound quality seem endless. Tokyo is absolutely saturated (in both the horizontal and vertical planes) with electronic products of all types, and it is quite mind boggling how many choices there are. In electronics department stores, you will literally see endless rows of TVs, cameras or air conditioning units, with hundreds of models to choose from. Tokyo is made up of various boroughs, all having something unique to offer. Shinjuku is mainly a business district, but has some great department stores. It has the busiest train station in the world, and is one of the coolest places to meet. Shibuya and Harajuku are the fashion capital of Tokyo, where some people have such wacky styles that they could be time travellers. Akihabara is an electronics and manga mecca, with all kinds of entertainment for otaku (nerds to you and me) and Ginza is a high-class district, home to luxury brands like Tiffany & Co and Dior. In terms of music and audio, places of interest can be dotted around the city, separated by a train ride or two, so a little organisation will be needed if you want to visit several in one day. But whether you are interested in CDs and records, hifi components, pro audio, vintage synthesisers, musical instruments or electronic gadgets, Tokyo is ready and waiting. Headphones My thing is headphone audio. I think the first pair of good headphones I got was when I was 15 - a pair of Sennheiser earphones (before they were called IEMs) in about 1990. I thought they were pretty good with my Aiwa 'Walkman'. I then got the fairly-good-even-today Sennheiser HD-445, realised the potential of headphones for high-fidelity sound, and have since evolved to a reference Stax system that I use for all types of audio work - recording, production, analysis and mastering. It is so balanced and refined that I use it for music listening too - and by this I mean full-concentration, lights-off, authentic-loudness, music-listening awesomeness! I like headphone systems because they take up little room (space is a premium here), don't involve the problems associated with room modes, nodes, or nulls, and have a very intricate, complex sound, with the drivers being so close to the ear. They are also extremely accurate in terms of transient reproduction. My Stax system, on paper, might not be up there with the most top-of-the-line headphones, but with the correct calibration, this system is on par with, and even surpasses, uncalibrated reference systems like the Stax SR-009, and balanced HD-800. I know, because I have auditioned these systems at various times, and although they sounded amazing, there was always some anomaly that stopped the sound reproduction from being completely 'reference' level - perfectly balanced and presented. In headphones, these anomalies are usually unflat low or high frequencies (sometimes even the best models have wild, 10dB spikes), lack of clarity in the bass, distortion and phase problems, and insufficiently fast transient response, thus rendering drum hits, and anything with well-recorded transients, incorrectly. Over the years and many customizations, I have smoothed the frequency response to correct for my system's (very few) anomalies, and also to compensate for the natural imbalance of my ears. This is very important because even a small volume difference in the left or right channel, at a given frequency, will make an instrument at that frequency appear to come more from the left or right in the stereo image. If you correct for this imbalance, the result is incredibly accurate imaging, with instruments and other sound events appearing perfectly in their location. It also gives amazing (read: the correct) sense of depth and fidelity to reverbs and delay effects, as they are properly rendered over their location in the stereo image. In addition to EQ, I use an HRTF crossfeed plugin that compensates for the ears' size and dimensions, and renders the audio more as we would hear it coming from in front of us, thus eliminating the common problem of inaccurate headphone presentation (note that this is NOT the same as emulating a pair of speakers). Especially well-recorded live musical performances can sound eerily real on a top-level, well-calibrated system. Voices will sound as natural as they do coming from a real person singing in front of you. They will have that kind of tangible quality. And contrary to popular belief, realistic presentation should be fairly 'dark'. We almost never hear harsh and wildly bright high frequencies in real life, like many headphones would have us believe. One final point about headphones is that many people misunderstand headphone soundstage (stereo image). They say it is wide, large, spacious, or narrow and flat.  The truth is that, to all intents and purposes, headphones aren't trying to present musical soundstage correctly, because they can't. We can never do this if we completely separate what the left and right ear hear. We can only simulate proper soundstage in headphones with HRTF software. So when people say soundstage is wide, it seems that what they hear is just more 'correct', more accurately presented. I have actually heard people say the soundstage is really wide when using HRTF software, which proves the misinterpretation. The image in this case is actually less wide, but more accurate and realistic. And they seem to interpret the extreme left and right channel separation of headphones as being 'narrow'. Another proof of this misunderstanding is that many people refer to the HD800 as having the 'widest' soundstage of all. The HD800 are both open and very angled, and obviously this design goes some way to presenting the soundstage slightly more realistically, like speakers would. So, instead of having a very 'wide' soundstage, the HD800 actually have a narrower, albeit much more realistic one! Auditioning In Japan, you can go into the headphone section of an electrical department store and there will be literally hundreds of models to try. A fair number of them will be the consumer type that I tend to walk straight past, but there will usually be a high-end section with models like the Sennheiser HD800/650, Grado GS1000, Beyerdynamic T1, and a range of other good choices from Sony, HiFiMan, AKG, Audeze and Fostex. Regarding Stax, I have actually only seen a couple of places - Dynamic Audio in Akihabara and Yamada Denki LABI, opposite the east exit of the Ikebukuro station - that let you audition Stax headphones and amps. But Tokyo rolls on forever with its concrete metal landscape and I'm sure I've only touched the surface of this potential in the time I've lived here. In these headphone-auditioning areas, you can plug in your player and check out any model, even the IEMs, with your own music. I always make sure I have high resolution reference tracks on my device, as I periodically like to see what the new models are like compared to my studio-based system. A few times, I have taken a full mobile system consisting of an Olympus LS11 audio player (24bit/96kHz), a Scherzo Audio Andante headphone amp (an amazing little battery-powered amp) and headphones, including my JVC FXZ200 carbon nanotube-driver IEMs, with a real subwoofer (I sometimes use IEMs with a pair of workmen’s ear defenders to block out background noise, for anechoic chamber-like black backgrounds - very cool), and modified AKG K701. The better stores have dedicated little sit-down booths where you can spend time trying different headphone options, with no pressure to purchase. It's a really nice experience and very considerate of staff to be allowed to actually take time to make your own comparisons, using your own music, and not be looked on as if you are outstaying your welcome (even though you probably are). This is the kind of respect for customers that runs through the whole of Japanese society and it is one of the most impressive things about it. Akihabara - Electric Town Most people interested in audio (or those who are geeks like me) will have heard of Akihabara. It is the area of Tokyo that developed in the 1960s as a place for people interested in amateur electronics to buy components. Today, it has a more consumer, entertainment feel to it, but if you know where to look, there are still original vendors selling all sorts of interesting electronics such as vintage valves (vacuum tubes), esoteric capacitors, transformers, PSUs, audio connectors, quality wire and cable, and some of the stalls look like they haven't changed for 50 years. These are my favourite! Whenever I buy vintage gear that needs a component replacing, being able to simply take a train a few stops in my lunch break and pick up the exact piece I need is unbelievably satisfying. Most people in Japan simply don't care about old equipment, and would rather buy a whole new unit than replace a fuse or a simple component. This is not a bad thing though, it's just the way Japanese society has developed. People in general here are just not used to fixing and maintaining things like we tend to be in other countries. Take, for example, cars. No-one here seems to have a car that is more than 3-5 years old. Or DIY. Japanese people usually employ a professional to do even basic things like painting a room or rewiring a fuse. But this is cool, because it allows people like me, who know a little about this stuff, to take advantage and find extremely cheap, used-to-be-very-expensive equipment that only needs a touch of love to be in perfect working order! Akihabara is a huge place with a central, six-lane road that is pretty exposed, with networks of small streets and alleyways off it. Places of interest will frequently be on a random floor of a multi-floored building, meaning it can be tricky to find a particular shop that you are looking for. I recommend a network of stalls to the left as you come out of the station, selling all sorts of electrical gear, like audio and mains power connectors, adapters and wiring. Then there is the Radio Department store, one of the originals just across the main road, the Oyaide store opposite which has some good off-cuts of high-end cable, plus some specialised tools and parts - but I would be wary of their high-priced silver connectors. Having made cables with them, they are not as good quality as they look. Then there is an area further down the main road which has Dynamic Audio (Stax models to audition including SR-009), Audio Union (good for hifi brands like Accuphase or Luxman), and quite a good Hard Off - a second-hand goods/thrift store that usually has some pretty nice gear; B&W 800 series speakers, Nakamichi Dragon cassette decks, McIntosh and Sansui amps. Hard Off is actually one of the best used goods stores in Japan, but because this particular store is in central Tokyo, the prices tend to be higher than the branches further out.. There are also a couple of good specialised tool shops in this area where I've found tools useful for calibrating gear; ceramic screwdrivers for non-magnetic azimuth adjustment on cassette decks, very fine tweezers for cable-making work, materials for damping (Sorbothane), silver solder, thick copper sheets, etc. Finally, on the opposite side of the station there is a huge, six-storey electronics store called Yodobashi Akiba, which has an overwhelming number of products, but is well worth a visit. OCHANOMIZU Musicians who visit Tokyo will love Ochanomizu. There is one street where basically all of the shops sell guitars; really nice vintage Gibsons, Japanese-made Grecos, Tokais, and Guyatones (pronounced goo-ya-tonn). These are expensive, but really well maintained, and it's amazing to have such a large choice. In one shop, I counted over two hundred acoustic guitars (just acoustic) in one room of one floor, and there were probably five floors in that building. I have to say that these guitars are for the musician who simply wants to buy a very nicely presented, well set-up instrument with nothing much else to worry about, as the prices are inflated to reflect this. I personally wouldn't buy a guitar from here unless I saw a particularly good deal, because the bargains for me are buying guitars that need a bit of work, buying parts for them, and giving them a good set up and polish (probably just as the shops here do). YAMAHA BUILDING, GINZA Ginza is a really nice place. It was the Shibuya of the 1960s, the place for hip kids to hang out, but has turned into an affluent area, with the major companies having their flagship stores there. Apple has a very cool store where the sales staff don't use a cash register, but wander around with a handheld device that scans your product, swipes your credit card, prints you a receipt, and you're done. Nice! Ginza has the flagship Yamaha store, which has several floors housing orchestral instruments like violins, clarinets and trumpets. As you might have guessed by now, there are a very large number of models to choose from. Imagine rows of sparkling trombones... awesome!! 5G, HARAJUKU This shop is legendary now and sees a lot of visitors from overseas. It is based more around professional studio gear than hifi, but is an amazing place if you like vintage analogue synthesisers, as well as compressors, EQs and effects. I have seen some serious synths here, from companies like Sequential Circuits, Moog, Arp and Roland. Some of the pro gear could be used in hifi as it will have the fidelity of sound comparable to, or better than, the best hifi gear, but be careful of cheaper 'pro' gear - it is not really pro. Like most places in Tokyo, 5G is a little challenging to find, but there are good instructions online. ECHIGOYA, SHIBUYA Slightly claustrophobic and on the 9th floor, but packed with vintage synths, drum machines and studio effects. A rival to 5G, with sometimes even better gems hiding in the corners. I have seen some especially nice Rhodes electric pianos here. Quite near to this is the huge Tower Records in Shibuya, which has nine floors, and is well worth a visit. TOKYU HANDS This is a great place to visit if you're into materials for building and customising equipment. I like to maximise the sound potential of my system by upgrading parts and materials, and I have found all kinds of useful things at Tokyu Hands, for example ebony to make a replacement bridge pin for a very special guitar, teflon tape as a dielectric material, a fine sable brush for cleaning mic capsules, and special material to damp chips (they can produce micro resonances and vibrations that hinder the optimal performance of the chip). Tokyu Hands is also full of entertainment; gadgets, games and other souvenir-type products for those holidaying in Japan. It has several stores around Tokyo, all spread over several floors, and you can enjoy a good few hours there. MADE IN JAPAN If there is one thing I like in audio gear, it is good build quality and workmanship. I love expensive materials and over-engineering. This kind of attention to detail usually reflects in sound quality. When Marty McFly told Doc “all the best stuff is made in Japan”, he wasn't wrong. In my experience, the build and engineering of 80s and 90s 'MIJ' gear is about as good as it gets. This was the time of the Japanese economic boom, and I have heard stories of money being thrown around (you couldn't get a taxi unless you offered a hundred dollars). This money-no-object attitude is evident in a lot of audio gear made during the time, that fortunately we can now buy for very deflated prices. High-end, fully discrete dual-mono designs using exotic materials, massive, expensive transformers, solid copper chassis and military-grade construction with properly calculated wiring are just some of the things that helped make this gear sound amazing. Build Quality I have a collection of vintage Sony microphones (C-48s, C-350s) and reverb units (Sony DPS-R7, Ibanez (built by Sony) SDR-1000), all from the mid 1980s, and the ruggedness, fit and finish are brilliant. Some other equipment from brands like Sansui is, almost literally, built like tanks. It is like military hardware, with heavy, solid switches, control knobs that take a good twist to turn and clunk satisfyingly into place, and volume knobs (potentiometers) that glide beautifully, not too stiff, not too loose, just right. They are built like industrial machinery that demands years of high reliability. It is definitely the habit of an unabashed geek, but checking the quality of an unknown piece of hardware via knob-turning has, for me, become an essential art! The weight of these items can also be an indicator of quality and robustness. One Sony amp I saw weighed 27kg! Inside, it had a solid copper chassis and two absolutely huge output transformers. No wonder these things have lasted! The point of this, I guess, is not to underestimate some of the technology from Japan made around this period. It may be old now, but it is by far better than a lot of audio equipment that is produced today, unless you are buying the very highest-end products. This is particularly evident in the case of Sony, which seemed to have a golden age during that time, that has not been seen since. It is well worth trying to find some of these pieces on eBay or Amazon JP. They can be found in great condition, or even brought back to former glory by replacing capacitors and other parts where needed. Beware of some vendors pushing up prices though. Do your homework and pay the right price. Records A final point on the 'made in Japan' paradigm is that this must be the finest place on earth to buy used records. Vinyl is a delicate medium and used vinyl records are far too often scratched, and in generally bad condition (even the 'good' ones tend to have very fine scratches). Japanese people obviously baby their records, because a large number of the ones I have seen have been in an immaculate condition, and I mean immaculate - they literally look like they have been played twice, and must be officially classed as 'near mint' (NM) or 'mint' (M). If only I could have brought my Bang & Olufsen turntable to Japan, I would certainly be enjoying the benefits of this right now (e.g. listening to the original JP issue of Dark Side Of The Moon!). Reference One thing I am continually conscious of is sound quality and that includes the sound around me. I frequently focus on the incredible natural fidelity of the sounds of daily life and use this as a reference for comparisons with audio gear. It is worth doing this regularly in order to keep a grasp of what good sound actually is. For example, when you hear a professional four-piece acoustic jazz band out in the open, they will sound perfect, with incredibly balanced presentation, punchy, clear bass, and extremely smooth mids and highs. There will be no hint of harshness or distortion and, except for the occasional loud rasp on the sax (which will still sound good), hardly anything about the sound will be fatiguing to the ear. I have seen quite a few bands on the streets of Tokyo, both amplified and acoustic. One performance created a wonderful reverb from the snare and bass drum bouncing off the buildings, 20 metres behind. It sounded fantastic. This is how the ideal audio system should reproduce sound. Many people will not believe this is possible, but I know from experience that with the right attention to detail you can get very close and I have managed to calibrate my own system to reproduce this level of fidelity quite well. Too Loud A problem with being obsessed with sound is that you can be easily agitated by bad sound reproduction. When I went to a Paul McCartney concert at the Tokyo Dome last year (Out There Tour), the performances were outstanding, but unfortunately the sound system was just too loud, harsh and distorted. In a society where few people complain, I was not really surprised, but we were at the back of a baseball stadium that has a capacity of 55,000 and I actually had to put my fingers half in my ears for part of the concert (the main reason being that I don't want to damage my hearing). This was a little embarrassing and I felt sorry for Paul, but, to be honest, it sounded much better like this! I could hear individual instruments and the frequency balance was much better (the same principle as with calibrating my headphone system, I believe). Audience Size There is an interesting phenomenon here where audiences at live performances can be absolutely gigantic. Concerts of popular bands that are unheard of outside Japan and even things like kids shows are always packed with people. This is a reflection of the consumer-oriented society. Almost everyone works long hours (15 hours a day is not an exaggeration) and has disposable income, and it is no wonder Japan has the third largest economy in the world. Environmental Factors One thing I have noticed in Japan is that exposed metal parts (nickel) on electrical equipment tend to tarnish quite easily, leaving a powdery white coating. I'm not sure if it's because of the very humid summers and dry winters here, but I've seen this quite a lot, for example on the RCA sockets of unloved gear, as well as on XLR, TRS and phono cables. Metal parts inside the case are unaffected, as are some metals like stainless steel and aluminum. It's not really a problem for me, as I always clean audio connectors with 100% isopropyl alcohol (isopropanol), a 3000 grit sponge and a microfibre cloth to produce a mirror finish - the perfect condition for good electrical signal transfer and thus the best sound quality. If you're buying used gear on a trip to Japan, this is something to be aware of, but should not necessarily put you off buying. The Summers and Winters Perhaps related to this effect of humidity is something I've noticed about guitars over here. I am almost certain the humidity extremes of the summer (80-90% humidity is common), and the very dry winters (as low as 10-20%), over time, have a positive effect on the tone of guitars. The wood absorbs water and thus expands during high humidity, and shrinks again as it loses water in dry conditions. It is well known that the tone of a guitar generally improves as it is played, as the wood relaxes and is 'conditioned' by the resonances of the sound waves running through it. But I think humidity plays a part, too. Imagine the process sped up, so that we could see the effect of the summers and winters over 10 or 20 years. The guitar would 'breathe' in and out ever so slightly, conditioning and settling the wood in. Greco and Tokai electric guitars are well-known for being fine copies of Gibsons that in some cases even surpass the build quality of the originals. (I can confirm this - my Greco Firebird, with a neck-through mahogany neck, has unbelievable sustain and tonality. It is from 1978, so has experienced a good number of years of these humidity changes, but is essentially an awesome instrument anyway.) But more significantly than this, particularly cheap and cheerful classical guitars from Yamaha (G- series) and Suzuki Violin (C- series) have a much more wonderful tone than they have any right to, with blooming bass tones, rich and yet clear mids, and brilliant transient response on string plucks. They are hidden gems and I wonder if these guitars, when new, costing on average only £50 ($75/¥9000), sounded anywhere near as good as they do today. FADE OUT Japan, and Tokyo in particular, is a really absorbing place to be, full of surprises and packed with places to visit and interesting things to see and do. Whether you'd be taking home a vintage Greco/Gibson, an armful of immaculate records, or just soaking up the genuine home-brewed manga, it is definitely worth coming for a holiday here. With current exchange rates, it's quite affordable, and I've noticed many more people from the UK, Europe and the US holidaying here in the last year or so, so now is a really good time to come. Reference Audio System Stax SR-202/SRM-1/MK-2 KingRex Unanimous uArt + custom silver/Teflon USB cable Mac Pro/Surface Pro Software: Magix Samplitude, Reaper, Fidelia, iZotope RX Plugins: DDMF LP10 True Stereo EQ, DMAX DEQ Type A EQ, Isone Pro HRTF/crossfeed, Voxengo MSED Reference Albums/Tracks Radiohead, OK Computer, LP Depeche Mode, Violator Chesky Records, The Ultimate Demonstration Disc (UD95) Prodigy, Fat Of The Land Gorn Levin Marotta, From the Caves of the Iron Mountain (binaural) Norah Jones, Come Away With Me (oryginalny remaster CD/Sterling Sound) Twin Peaks. Fire Walk With Me, OST Björk, Debut The Beatles – 24-bit remasters Sara K, If I Could Sing Your Blues Elvis Presley, Devil In Disguise Johan Sebastian Bach, Brandenburg Concerto No.6 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/1505/felieton/th/07.jpg" big="foto_testy/1505/felieton/07.jpg" src="foto_testy/1505/felieton/07.jpg" desc="Shiodome City, near Ginza"] [img mini="foto_testy/1505/felieton/th/08.jpg" big="foto_testy/1505/felieton/08.jpg" src="foto_testy/1505/felieton/08.jpg" desc="Yamaha store, 4th Floor, Wind and String Instruments"] [img mini="foto_testy/1505/felieton/th/09.jpg" big="foto_testy/1505/felieton/09.jpg" src="foto_testy/1505/felieton/09.jpg" desc="Yamaha store, euphoniums, trumpets and trombones"] [img mini="foto_testy/1505/felieton/th/10.jpg" big="foto_testy/1505/felieton/10.jpg" src="foto_testy/1505/felieton/10.jpg" desc="Flutes, clarinets and recorders on the 4th floor of the Yamaha store, Ginza"] [img mini="foto_testy/1505/felieton/th/11.jpg" big="foto_testy/1505/felieton/11.jpg" src="foto_testy/1505/felieton/11.jpg" desc="Violins at the Yamaha store"] [img mini="foto_testy/1505/felieton/th/12.jpg" big="foto_testy/1505/felieton/12.jpg" src="foto_testy/1505/felieton/12.jpg" desc="Violins at the Yamaha store - the one on the far right is about £28,000/$40,000"] [img mini="foto_testy/1505/felieton/th/13.jpg" big="foto_testy/1505/felieton/13.jpg" src="foto_testy/1505/felieton/13.jpg" desc="Ginza district - every weekend the whole of the main street is pedestrianized"] [img mini="foto_testy/1505/felieton/th/14.jpg" big="foto_testy/1505/felieton/14.jpg" src="foto_testy/1505/felieton/14.jpg" desc="Radio Department Store, Akihabara - Vintage radios from National and RCA"] [img mini="foto_testy/1505/felieton/th/15.jpg" big="foto_testy/1505/felieton/15.jpg" src="foto_testy/1505/felieton/15.jpg" desc="Vintage RCA radio"] [img mini="foto_testy/1505/felieton/th/16.jpg" big="foto_testy/1505/felieton/16.jpg" src="foto_testy/1505/felieton/16.jpg" desc="Valve amps, batteries, cameras"] [img mini="foto_testy/1505/felieton/th/17.jpg" big="foto_testy/1505/felieton/17.jpg" src="foto_testy/1505/felieton/17.jpg" desc="Sony WM-10 Walkman, 1982"] [img mini="foto_testy/1505/felieton/th/18.jpg" big="foto_testy/1505/felieton/18.jpg" src="foto_testy/1505/felieton/18.jpg" desc="Vintage Sony Walkmans. The Sony TPS-L2 is the first Walkman ever! From 1979."] [img mini="foto_testy/1505/felieton/th/19.jpg" big="foto_testy/1505/felieton/19.jpg" src="foto_testy/1505/felieton/19.jpg" desc="Vintage valves/tubes from Toshiba, NEC, Philips and Mazda (マツダ, pronounced Matsuda in Japanese)"] [img mini="foto_testy/1505/felieton/th/20.jpg" big="foto_testy/1505/felieton/20.jpg" src="foto_testy/1505/felieton/20.jpg" desc="Multimeter and calibration/test equipment"] [img mini="foto_testy/1505/felieton/th/21.jpg" big="foto_testy/1505/felieton/21.jpg" src="foto_testy/1505/felieton/21.jpg" desc="Sony and Hitachi transistor radios"] [img mini="foto_testy/1505/felieton/th/22.jpg" big="foto_testy/1505/felieton/22.jpg" src="foto_testy/1505/felieton/22.jpg" desc="Copper sheets for RFI screening, and copper PCBs"] [img mini="foto_testy/1505/felieton/th/23.jpg" big="foto_testy/1505/felieton/23.jpg" src="foto_testy/1505/felieton/23.jpg" desc="Akihabara crossing - you can see the Radio Department Store (Radio Departo ラジオデパート) just next to the SEGA building"] [img mini="foto_testy/1505/felieton/th/24.jpg" big="foto_testy/1505/felieton/24.jpg" src="foto_testy/1505/felieton/24.jpg" desc="Akihabara"] [img mini="foto_testy/1505/felieton/th/25.jpg" big="foto_testy/1505/felieton/25.jpg" src="foto_testy/1505/felieton/25.jpg" desc="Oyaide store, opposite the Radio Department Store"] [img mini="foto_testy/1505/felieton/th/26.jpg" big="foto_testy/1505/felieton/26.jpg" src="foto_testy/1505/felieton/26.jpg" desc="A store selling all kinds of valves/tubes, Radio Department Store, Akihabara"] [img mini="foto_testy/1505/felieton/th/27.jpg" big="foto_testy/1505/felieton/27.jpg" src="foto_testy/1505/felieton/27.jpg" desc="Valves/tubes from Siemens, Mullard, General Electric, Raytheon, Toshiba, RCA, and Victor (JVC)"] [img mini="foto_testy/1505/felieton/th/28.jpg" big="foto_testy/1505/felieton/28.jpg" src="foto_testy/1505/felieton/28.jpg" desc="Studio equipment - Sony DPS-R7 and Ibanez SDR-1000 reverbs, dbx 160XT compressors, Allen and Heath mixer"] [img mini="foto_testy/1505/felieton/th/29.jpg" big="foto_testy/1505/felieton/29.jpg" src="foto_testy/1505/felieton/29.jpg" desc="Voxengo MSED (mid/side) software"] [img mini="foto_testy/1505/felieton/th/30.jpg" big="foto_testy/1505/felieton/30.jpg" src="foto_testy/1505/felieton/30.jpg" desc="DDMF LP10 True Stereo EQ correction software (note the 10dB scale)"] [img mini="foto_testy/1505/felieton/th/31.jpg" big="foto_testy/1505/felieton/31.jpg" src="foto_testy/1505/felieton/31.jpg" desc="Mastering a cassette tape transfer, using Sony TC-KA3ES deck, in Reaper/Samplitude"] [img mini="foto_testy/1505/felieton/th/32.jpg" big="foto_testy/1505/felieton/32.jpg" src="foto_testy/1505/felieton/32.jpg" desc="Industrial machinery I worked on with amazing build quality, made in Japan in the 1980s"] [img mini="foto_testy/1505/felieton/th/33.jpg" big="foto_testy/1505/felieton/33.jpg" src="foto_testy/1505/felieton/33.jpg" desc="High quality workmanship and materials"] [img mini="foto_testy/1505/felieton/th/34.jpg" big="foto_testy/1505/felieton/34.jpg" src="foto_testy/1505/felieton/34.jpg" desc="A high quality transformer"] [img mini="foto_testy/1505/felieton/th/35.jpg" big="foto_testy/1505/felieton/35.jpg" src="foto_testy/1505/felieton/35.jpg" desc="The best ramen (Japanese noodles)"] [img mini="foto_testy/1505/felieton/th/36.jpg" big="foto_testy/1505/felieton/36.jpg" src="foto_testy/1505/felieton/36.jpg" desc="Guyatone VB-28 violin bass"] [/hfgallery]

he sound of a fast-moving train is already audible in the room where Dirk Somner has set up his mastering system. You have already seen it in a photo in the interview which Dirk gave for “High Fidelity” in August 2013 (read HERE). I cannot believe so much time has passed! Since then, we have already met the editor-in-chief of hifistatement.net a few times. Together with his wife, he is also in charge of Sommelier Du Son record label (more about Dirk and Birgit HERE). Similarly to all previous meetings, the last one also turned into a long session. It all started with excellent beer served at the lovely Haderecker pub. I am talking about Märzen – beer brewed by Thomas Bräu at a local brewery, owing its “nickname” to Ludwig Thom, a poet and writer who wrote in the Bavarian variety of the German language. We cannot forget that the High End exhibition, which was a pretext for our, i.e. my and my son’s (Bartek) visit in Munich, is located at the heart of Bavaria. Anyway, after another round of “Thom”, we all moved to the Somners’ flat. It was hard to stand up, as both the food and the beer were excellent, and the company was extraordinary. Apart from the hosts, other guests at the table were Wolfgang Kemper, a journalist for hifistatement.net, and Peter Banholzer with his wife. Peter was the only one to know the Bavarian dialect and he translated the names of dishes for everyone. Haderecker is a place visited by locals, situated outside Munich. Apart from the fact that local dishes are served there, its official language is Bavarian, just like the outfit. Fortunately, we did not have to wear it – it is good to be “strangers” sometimes :) Two representatives of producers also raised the glass (or rather beer mugs) with us: Volker Bohlmeier with Annette Heiss (his wife) and Karl Schuemann. Volker, who is going to visit Poland in some time, is the owner of Einstein company which manufactures high-end tube devices, but mainly OTL amplifiers. Dirk uses them in his mastering system, although his acquaintance with Volker dates back many years, when they were young and played together in a band – Dirk on the bass guitar and Volker on the guitar. They say it would be hard to estimate the amount of wine that was drunk at that time. The last guest we met was Karl Schuemann, the owner and designer of AudioMachina speakers. We used speakers manufactured by this company, the semi-active Maestro S model driven by Einstein amplifiers, to listen to music played from master tapes on a Studer cassette-deck (one of two that Dirk has in his room), with the recurrent accompaniment of humming trains, rushing towards their destinations behind the window. It was simply a wonderful time. AGORA The exhibition in Munich is, first and foremost, a place to meet – the only place in the world where you come across almost everyone seriously involved in the perfectionist audio industry, in each of its aspects. Although audio exhibitions are normally regarded as places where you can LISTEN to audio devices and formulate your opinions about them on this basis, reality is completely different. Exhibitions are an opportunity to MEET and are a place where you can SEE audio devices and talk to their manufacturers. However, playback as the basic assessment tool and listening to music (conceived as the reason for the whole fuss and as the aim of the audio industry existence) are deeply encoded in us – in those who do care whether the guitar sounds like the guitar and the violin like the violin, or whether it is just inharmonious noise with a melody line in the foreground and mechanical rhythm. So, I am aware of the dissonance between experience and knowledge, and the atavistic urge which forces us to sit on chairs and armchairs and listen to what exhibitors have managed to set up in their rooms. To feed, or even tame that primeval part of my nature, I will try to describe a few systems that seemed especially interesting to me. As usual, it is a very subjective selection. It is because the sound in rooms often changed hour by hour, not to mention the following days. It was often the case that music was the deciding factor when it came to perception. So, what I liked is a combination of many factors. However, there must have been something good in those systems, as otherwise they would have been as mediocre or bad as the significant majority of the remaining presentations. I will write more about that later on. Here and now, what seems more important to me is what I was able to gain with regards to the whole exhibition, by distilling what was most important from it. I am talking about trends – the direction that the audio industry is heading towards and is going to follow in the next few years. TRENDS A.D. 2015 Files A few things are clear. First of all, files have permanently settled in in the high-end audio world (including its extreme corners), almost always in the hi-res form. However, there is still no single main method of reproducing them – some companies use computers and external digital-to-analogue converters, and some use specialized file players for this purpose. Among the former, it was worth seeing the presentation of Devialet company which powered the icon of our industry, the original Nautilus Bowers&Wilkins speakers, with eight bridged amplifiers. It is known that these constructions do not have in-built switches, so they require external filtering. It is provided in different ways – the French company has chosen active filtering, using a correction circuit applied in its amplifiers. Signal was sent through a USB cable from a laptop. Other companies opt for integrated file players – both very expensive and surprisingly cheap ones. As for the former ones, I stopped for a longer while to look at a new device produced by the Swiss company Orpheus Labs – the Absolute Mediaserver player. It has been constructed with as much attention to detail as other products of the Swiss manufacturer and it looked great. Let us admit that it looked as well as The Beast, which is very popular, looks like a small tank and constitutes the main source in the Vitus Audio system. At the other end of the price range there are devices which are many times worse on an absolute scale, but subjectively seem to give us as much joy. A system with the new Paradigm Concept 4F speakers (semi-active ones, with the Anthem room correction system) delivered exceptionally good sound. Even more emotion was connected with listening to the Pioneer budget system which consisted of the A-70 integrated amplifier (which powers the Dynaudio speakers) and the N-70A file player, with Dynaudio speakers. That was really good fun, especially because most visitors despised this inexpensive system, which was a mistake! It seems that almost all manufacturers nowadays, both small and large ones, offering their products to both high-end users and beginners, want to have a file player in their offer, or at least a DAC with a USB input. Some manufacturers have been more successful in this field (for example, Cambridge Audio with the new CX series) and some – less successful (let us not elaborate on that…). Here we can mostly rely on proven manufacturers, such as Aurender. The company has prepared its smallest player so far – the N100X, which is a step towards the medium price range. An excellently fine-tuned user interface (i.e. a tablet application) is also a strength of this manufacturer. However, the way musical material is delivered to a player is becoming more and more polarized. Until recently, the most popular method was to download files onto a device and play them at any moment. As statistics show, the situation is changing rapidly – the number of files that people are buying is decreasing quickly, while streaming, i.e. playing files as if from the radio, has become very popular. So, what does the future hold for us? It seems that, as the name would suggest, streaming signal from external music services such as Tidal, also in hi-res quality, will become the mainstream, but “professionals” will hold on to “their” files. Companies such as Fidelio are dedicated to these professionals. 2xXD, a new brand of the company’s founder, Mr. René Laflamme, is a good example. While Fidelio deals with releasing new material recorded by the company itself, 2xHD aims to publish material from other companies, starting with Naxos. The record label offers musical material on the web only, instead of characteristic USB flash drives of the size of a credit card (Masterflash) that are avl. with Fidelito music. René and I have known each other for years, but only via email. However, he accosted us in the corridor, apparently recognizing the High Fidelity logo, and asked us if we were interested in listening to the sound of a new sampler and then, perhaps, other recordings. We were, of course. We will soon try to prepare a separate article on the new undertaking of the friendly Canadian. The analogue domain Analogue sources: the turntable and the reel-to-reel tape recorder have gained equal importance. The number of available tapes is still not impressive, but recently some fantastic tapes have been released by such record labels as Deutsche Grammophone, Parlophone and Decca. I have also seen Diana Krall and many, many more tapes, with both classical music and jazz. This is perhaps the next step that companies will have to take – obtain catalogues that are really valuable. So, there were a lot of tape recorders at the exhibition: from enormous Studer devices, through their smaller “cousins”, up to tiny Nagra and Stellavox recorders. Believe me – the sound of such a machine is completely different from what we have got used to while listening to vinyl records. You have to get used to it. Perhaps this is the reason why some record publishers, critics and music lovers are so enchanted by DSD files. A direct comparison with a master tape shows that DSD best reflects its specific character, especially in 2xDSD, and even better in Quad DSD quality. If we look at the matter without emotion, it will quickly appear that this is fun for rich people and for those who are ready to accept problems related to this format. Tapes need to be rewound to the end before being put on a shelf, so that there is no print-through. Before listening, you have to rewind tapes back to the beginning. However, at the same time, a top high-end system without a reel-to-reel tape recorder (especially a big studio recorder) seems incomplete nowadays. The trend had already been visible earlier, but nobody knew that it would have so much impact on the audio industry. It looked like a fad that would pass quickly, but it became a top trend – perhaps an unattainable one, but still present. When it comes to our imagination, it is mostly influenced not by what we can touch, but by what we can dream of, isn’t it? Vinyl, in turn, is now an “almost mainstream” source. I have seen turntables with amplifiers on eBay that cost 60 American dollars. They are made of plastic and devoid of sense, but this shows that music lovers are very interested in the ‘black disc’. Vinyl discs are present everywhere nowadays. So, the number of turntables shown in Munich was incredibly big. You will see some of them in the photo gallery, but let us say something more about a few of them. Mark Doehmann is the man who was responsible for the iconic design of the Continuum Audio Labs turntable. Having completed that project (the company does not exist anymore), he came with a completely new turntable in which he has used a unique suspension mechanism. He put the device on a flimsy Ikea-type table, but without proper assembly. I moved the table and the turntable base stood still – a miracle! It was possible thanks to a special construction which decoupled the whole device from the surface on which it stood, like an anti-vibration platform. Another novelty was a new arm created by Mr. Doehmann, which was mounted next to the Schroeder arm that you had an occasion to see in the test of the TechDAS Air Force Two last month. The Lumen White turntable also looked amazing. The company is known for its speakers which took German audio magazines by the storm twenty years ago. The speakers were regarded as the absolute top by all the (five) magazines and they have almost constantly remained “number one” ever since. The company is now returning with their new version, the 15th Anniversary, but I will say more about that in a moment. Now it is time to talk about Reed company from Lithuania. I had tested arms manufactured by this company before, but that was the first time I could actually see the Muse 3C – the design which was awarded the Red Dot, a prestigious award for artistic design. It looks really impressive, but it is also unique when it comes to the technical side of things – it can work with a belt drive or with an idle wheel. However, if I were to give awards for the most heart-moving turntables, then I would also place the latest TechDAS turntable, the Air Force Three and the Polish JR Audio next to the Muse 3C. The AF3 is tiny and lovely, but it still has four arms. Although it does not include the most important technologies that we can find in the previous versions, it still looks great, just like the turntable made by Mr. Józef Radzimski. Mr. Radzimski attended the exhibition and explained how both the turntable itself and the original arm that he had invented work. The Polish turntable played music in the “Polish” room, with horn Autotech speakers, a Zontek phonostage and My Sound amplifiers. I think that was one of the best looking rooms – the products looked as if they had been made by the best craftsmen from Japan and Scandinavia. Compact Disc Redux The influence of modern high-resolution digital signal reproduction systems, as well as the triumphant comeback of analogue sound sources in the role of the ultimate standard are things that we have known for years. This year we have simply witnessed the confirmation of their status and the formation of status quo. Renewed interest in CDs and CD players could be a complete surprise for some people. I was quietly satisfied after manufacturers had told several times how good sound obtained from a well-prepared CD can be and how good it is to have a CD around, as it is the quickest way of obtaining sound from a device which neither requires any special preparation, nor holds any unpleasant surprises. Compact Disc has proved to be a kind of a solid basis and relief after dancing around files, vinyl discs and tapes. Looking at what is happening, I think I can say that a little renaissance of the format is going to take place. It will naturally be limited, as it will never be the dominant format again. However, it will have a similar status to turntables and reel-to-reel tape recorders. The rest Of course, signal sources were not the dominant topic of the exhibition, because its most visible element were new speaker models. However, it seems that the most intensive processes are taking place at the very beginning of the audio chain and this is where I would look for the most interesting phenomena. When it comes to amplifiers, things have stabilized – we can choose between tubes and transistors, class A, AB and D devices, linear and switch-mode power supplies, in any combination. The absolute high-end is still dominated by tube devices, and there are some transistors in A and AB class with linear power supplies, but switch-mode devices can also be more and more often found there, and this trend will continue. It is similar in the case of speakers. Paper, plastic, metal, ceramic and even diamond converters can be found in most price ranges. I would pay attention to how popular Dr Heil’s AMT converters have become – they are being used by more and more companies, with good results. However, there is a direction that speaker manufacturers seem to be heading towards: using active room acoustic correction systems and speaker correction systems. Devialet company which equips its amplifiers with programs that correct specific speaker models has had clear influence on that. I have already talked about Paradigm speakers with the Anthem correction system, but most companies offered something similar. The importance of this issue was even easier to notice in the room with enormous Audiograde Calora speakers powered by the Esoteric Grandioso M-1 power amplifiers (in a quad-amp system). Behind a wall which consisted of speakers and amplifiers, there was a tiny device on a Copulare table: the Fouraudio HD2, meaningfully called the “Loudspeaker and Room Processor”. Digital correctors seem to have become a thing of the past, both in the case of budget and top high-end systems. Not tomorrow, not the day after tomorrow, but already today. BEST SOUND HIGH END 2015 Remembering what I said at the beginning, i.e. how the nature of such exhibitions suits me (as a place for meetings), I also have to write about a few places where the sound was simply perfect – exactly as it should be. PIONEER A-70 | N-70A | DYNAUDIO FOCUS 260 Amplifier + file player + speakers Me and Bartek (who is in charge of the news section in HF) entered the Pioneer room located at the Atrium level without any special expectations. We asked the company representatives to play some music in the system which they had set up in the corner and they asked us what we wanted to listen to. That was a huge plus that became even larger when we answered: “AC/DC” and were asked which song we wanted – of course, we chose Back in Black! The system that I have already mentioned before provided incredibly good sound – that was real fun. There was no nonsense, pomposity, pseudo-intellectual reasoning – just pure energy. That was a budget system and I still knew that, but I would recommend it to anyone who is looking for something within this price range. LUMEN WHITE | AYON AUDIO Speakers, turntable, electronics The fact that there is something special about Gerhard Hirt’s hands and that he knows who to choose to work with, is known to anyone who has had the opportunity to get acquainted with his amplifiers or digital devices. There are some examples of really outstanding engineering craft among them. However, we have not forgotten that Gerhard used to be involved in another project – the Lumen White company. Its offer only included a few speaker models based on ceramic speakers, operating in a special housing. It had a characteristic shape which resembled an ocean ship and it was open, with a long slot in the “keel”, i.e. at the back of the speaker. The Ayon owner told me: “It was a good time to come back when we decided to design the new White Light version to honor the 15th anniversary of the original creation.” He was talking about Eton converters with the “honeycomb” diaphragm that were introduced for sale some time ago. I do not know whether it was because of these converters or whether that was a stroke of genius, but the speakers, powered by the new Ayon Audio Crossfire Evo monoblocks and headed by the Lumen White turntable, delivered fantastic, dense, saturated, muscular and memorable sound. That was neither hi-fi, nor high-end, but just music. So, it is not strange that the speakers which Dirk Somner has been using for years in his mastering and testing system are Lumen White speakers. HiFiMAN HE-1000 Headphones As regards the latest HiFiMAN headphones, one might say they are a small thing, but give a lot of joy, except for the fact that they are much bigger than all the earlier company designs. However, they are also much nicer, more elegant and simply have a much better look than all the previous versions. They also deliver exceptionally good sound. What struck me in the sound which I heard after putting on the headphones (I have been using different headphones of this manufacturer for years) was its richness and simultaneous purity. I liked the sound very, very much and I cannot wait to hear it at my home. The headphones were powered by the latest company amplifier – the EF-1000. AMG | AESTHETIX | VERITY AUDIO | HARMONIX Turntable, electronics, speakers, cables A system with an AMG turntable has probably been awarded by us every year. This year we listened to a new cheaper Giro model with Aesthetix electronics. I listened to music from Harmonix speakers for the first time in such a combination and I liked what I heard. A part of the system were Harmonix cables. YPSILON | PERFECT8 | BERGMANN Electronics, speakers, turntable As I have written in the photo description, that was one of the better-sounding rooms of the exhibition. It was prepared by the Greek company Ypsilon. Either the company’s CD player or the Bergmann turntable that I once tested played music at its front. However, its most interesting component were the glass Perfect8 The Point Mk III speakers with a ribbon tweeter. The people in this room knew what they were doing. WOLF VON LANGA | THOMAS MAYER | PRIMARYCONTROL speakers, electronics, turntable It is all about the incredible Wolf von Lang Swing speakers with electromagnets instead of magnets, with Thomas Mayer electronics and a PrimaryControl direct-drive turntable. Huge packages in a small room are a recipe for a failure – but not in this case. There was no chance factor here, but a consciously finalized vision of soft, dynamic and tangible sound. TRILOGY | BOENICKE AUDIO | ISOL-8 | CAD Amplifier | speakers Mains filters | file player Although it was hard to expect anything of the exhibition for sure, I could be sure that one system would deliver excellent sound. It was a system whose heart was the Trilogy 925 amplifier combined with Boenicke Audio speakers (the W8 model). The amplifier had been created by Nic Poulson – I had known his products for some time, whereas the speakers had been my favorites since they got our award at the Audio Show 2014. Anyone who knows Mr. Poulson, is aware that he is an incredibly modest and warm person. His designs are like him, too – they have a beating heart that we can hear in the music that they reproduce. However, I am unable to explain how such little speakers can provide such full-range sound so well and completely. The source was a CAD file player. TOTEM | ATOLL Speakers, electronics That was a surprise (and a very nice one). It happens very rarely that something reproduces music so well that I am able to hear it in the corridor and then feel like looking for the sound source. It was Pink Floyd from The Wall, something that is known and liked, but here it was all about the sound! The drive, density and energy were coming from Totem speakers powered by Atoll electronics – wonderful, wonderful! CRYSTAL CABLE Speakers, electronics The room prepared by Gabi van der Kleij-Rynveld assisted by her husband Edwin wins my recognition every year. This year we listened to a complete Crystal Cable system in which (apart from the company cables, which is rather obvious) we had the Cube amplification system and a DAC, as well as the Minissimo Diamond Edition speakers with Absolute Dream cables inside, assisted by a prototype – the Crystal Cable Deep Bass – a bass module. We met Michael Fremer (“Stereophile”, “analogplanet.com”) in the room. He told me that his “fan base” includes many HF readers. Nice :) A moment later I was able to invite Gabi and Edvin to a Krakow Sonic Society meeting in Cracow, and my invitation was accepted. So, it might seem that one of the factors which influenced my choice was the good atmosphere. However, listening for a while is enough for an audiophile to learn that we are talking about a very serious system here. These tiny speakers assisted by the subwoofer delivered crystal-clear sound of a “honey” tone color – a combination which is hard to beat. AUDIO PHYSIC | PRIMARE COCKTAIL AUDIO | ACOUSTIC SIGNATURE | FURMAN Speakers | amplifier File player | turntable | mains filter It is an example of how to combine devices from the medium price range in order to, simply, obtain nice sound. The system that I am talking about was very nicely set up using, as it might seem, very different elements. The main source and the amplifier was the Coctail Audio X30 file/ CD player. It controlled a Primare power amplifier, which, in turn, controlled the Audio Physic Avanti speakers. An alternative signal source was the Acoustic Signature Wow XL turntable. KEF | ARCAM Speakers, electronics A few years ago I witnessed the first public presentation of speakers in a carbon fiber housing, with an external crossover. When their production started, they were called “Blade”. The solutions that were used in their design turned into the new excellent Reference series, and now into their smaller version – Blade 2. Oh, how beautifully they played music with Arcam electronics, the C49 preamplifier and the A49 power amplifiers! That was full-blown sound characterized by outstanding dynamics and subtlety. I also liked the Reference series very much, but the Blade 2 speakers were simply the best. A FEW FINAL REMARKS I partly have to give up my opinion about the dominance of what is happening in the domain of sound sources over anything else. In the end, something else proved to be more important to me – new speakers. Harbeth presented a new version of monitors that I have been using for years – the M40.2. As Trevor Butler, the company’s PR and marketing specialist told me, the difference between the new and the previous version lies in the crossover – so, it is both a small change (in just one component) and a big change (in the outcome). The prototype of these speakers, the BBC LS5/8, was designed to monitor recorded broadcasts. To compensate for track deficiencies, part of the speakers’ bass range was a little :) boosted :). Now, as Mr. Butler says, it is not necessary. Therefore, the crossover has been redesigned and the “peak” has been eliminated, while the effectiveness has been increased and impedance has been linearized. I am not sure whether I should be happy or worry – I will have to check it personally. When someone becomes so attached to an audio product, any change of its sound may appear unacceptable. Time will show. The same question emerges in the case of the new version (the LS5/9) of the iconic LS5/8 monitor, prepared by Graham Audio: will it be better than the original? When the new speakers were placed in a system with Tim de Pavaracini’s DPS Ear Yoshino electronics, the Ear Master Disk turntable and a Denon reel-to-reel tape recorder, they were impressive when it comes to their tone color. However, exhibition conditions are not favorable for the speakers and it is necessary to listen to them in proven conditions. See you next year! 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/1506/HE2015/th/4.jpg" big="foto_testy/1506/HE2015/4.jpg" src="foto_testy/1506/HE2015/4.jpg" desc="A new Thales turntable, the TTT-Slim model with the Easy arm, still battery-powered."] [img mini="foto_testy/1506/HE2015/th/9.jpg" big="foto_testy/1506/HE2015/9.jpg" src="foto_testy/1506/HE2015/9.jpg" desc="Knowing the offer of the Swiss EMT company, as well as its history, which is almost synonymous with the history of vinyl, it is hard to believe that it also used to offer digital devices, such as this studio CD and file player EMT 986 – so ugly that it seems beautiful."] [img mini="foto_testy/1506/HE2015/th/22.jpg" big="foto_testy/1506/HE2015/22.jpg" src="foto_testy/1506/HE2015/22.jpg" desc="The retro formula at its best. However, one needs to know how to combine modernity with the past to create something unique. Apparently, Thorens can do that – the photo shows new turntables from the Reference series: the TD 903, TD 905 and TD 907 models. They looked amazing."] [img mini="foto_testy/1506/HE2015/th/27.jpg" big="foto_testy/1506/HE2015/27.jpg" src="foto_testy/1506/HE2015/27.jpg" desc="As always, the sound of music in the Avantgarde Acoustic room was dynamic and full-blown. The system was later replaced with another one. Here we can see the Duo model with the XA-Pre preamplifier and the X-Power power amplifiers."] [img mini="foto_testy/1506/HE2015/th/28.jpg" big="foto_testy/1506/HE2015/28.jpg" src="foto_testy/1506/HE2015/28.jpg" desc="In the Avantgarde room there was also a list of the most important awards, including the High Fidelity Special Award 2013 for the Zero model."] [img mini="foto_testy/1506/HE2015/th/29.jpg" big="foto_testy/1506/HE2015/29.jpg" src="foto_testy/1506/HE2015/29.jpg" desc="Something for those who value good looks and good prices – the Advance Acoustic brand. The picture shows a novelty – the X-Cd3 player, i.e. a comeback of a good, proven CD player. The X-i60 amplifier is situated below."] [img mini="foto_testy/1506/HE2015/th/35.jpg" big="foto_testy/1506/HE2015/35.jpg" src="foto_testy/1506/HE2015/35.jpg" desc="Mads Klifoth, a representative of the Audiovector company (the owner’s son) standing next to the SR3 Avantgarde speaker, with Dr Heil’s AMT speaker."] [img mini="foto_testy/1506/HE2015/th/45.jpg" big="foto_testy/1506/HE2015/45.jpg" src="foto_testy/1506/HE2015/45.jpg" desc="Another example of how to prepare good-looking and functional products that deliver good quality sound for a little money – the “mini” Denon system with the PMA-50 amplifier and the DCD-50 CD (!) player. What is interesting, all the components (including the CD player) can be placed vertically."] [img mini="foto_testy/1506/HE2015/th/48.jpg" big="foto_testy/1506/HE2015/48.jpg" src="foto_testy/1506/HE2015/48.jpg" desc="Another very interesting Denon’s novelty – the portable DA-10 DAC/headphone amplifier which costs 1450 PLN."] [img mini="foto_testy/1506/HE2015/th/49.jpg" big="foto_testy/1506/HE2015/49.jpg" src="foto_testy/1506/HE2015/49.jpg" desc="Tour the force of modern technology: Phantom – an integrated sound system manufactured by Devialet. So many new solutions have been applied under its beautifully designed cover that I would need to write another article to describe them. What is interesting, it played music like a god audio set consisting of separate components."] [img mini="foto_testy/1506/HE2015/th/52.jpg" big="foto_testy/1506/HE2015/52.jpg" src="foto_testy/1506/HE2015/52.jpg" desc="The photo shows what a complicated product Phantom is – woofers on the sides and Devialet amplifiers in the centre with a digital sound correction system."] [img mini="foto_testy/1506/HE2015/th/58.jpg" big="foto_testy/1506/HE2015/58.jpg" src="foto_testy/1506/HE2015/58.jpg" desc="KEF’s company wall of fame: (from the left) Muon, Blade, Blade 2 and Reference 5."] [img mini="foto_testy/1506/HE2015/th/61.jpg" big="foto_testy/1506/HE2015/61.jpg" src="foto_testy/1506/HE2015/61.jpg" desc="We awarded this presentation of the KEF Blade 2 in an attractive blue metallic color, with Arcam electronics – the C49 preamplifier and the P49 power amplifiers. The source was the CDS27 SACD/file player with the D/A D33 converter. An excellent combination!"] [img mini="foto_testy/1506/HE2015/th/65.jpg" big="foto_testy/1506/HE2015/65.jpg" src="foto_testy/1506/HE2015/65.jpg" desc="Bartek with enormous Mudra Akustik power distributors/filters – the largest one belongs to the EX series."] [img mini="foto_testy/1506/HE2015/th/66.jpg" big="foto_testy/1506/HE2015/66.jpg" src="foto_testy/1506/HE2015/66.jpg" desc="Chord electronics with the CD Red Reference MkIII player as the main source and enormous Fischer & Fischer SN 770 AMT speakers. This is a version with the AMT tweeter manufactured by Mundorf. It delivers good, mature sound. It is also worth paying attention to the top-end pre-amplifier and Chord power amplifiers – it is a powerful combination!"] [img mini="foto_testy/1506/HE2015/th/70.jpg" big="foto_testy/1506/HE2015/70.jpg" src="foto_testy/1506/HE2015/70.jpg" desc="The Western Electric TA 4165 A speakers of the year 1933 have the size of a big wardrobe and similar depth. They were originally designed for cinemas in the USA and now cost an incredible lot. These unique products are brought to Munich by representatives of Silbatone company – wealthy vintage sound enthusiasts from Korea."] [img mini="foto_testy/1506/HE2015/th/77.jpg" big="foto_testy/1506/HE2015/77.jpg" src="foto_testy/1506/HE2015/77.jpg" desc="The subwoofer in the Western Electric TA 4165 A speakers is not powered by a permanent magnet, but by an electromagnet powered by the Western Electric 274A tube."] [img mini="foto_testy/1506/HE2015/th/79.jpg" big="foto_testy/1506/HE2015/79.jpg" src="foto_testy/1506/HE2015/79.jpg" desc="The Duo Avantgarde Acoustic speakers in another interesting set, with the XA-Power power amplifiers manufactured by the same company and the brand new two-piece Hermes pre-amplifier/file player – both manufactured by the Wadax company. The preamplifier may operate with linear and turntable sources, and it is also an acoustic corrector. The beautiful Muse 3C turntable manufactured by the Lithuanian company Reed was the source and Fono Acustica cables were used."] [img mini="foto_testy/1506/HE2015/th/82.jpg" big="foto_testy/1506/HE2015/82.jpg" src="foto_testy/1506/HE2015/82.jpg" desc="And this is the Reed Muse 3C itself – a beautiful device which can operate as a “belt drive” or an “idle drive” – we choose the mode that we want."] [img mini="foto_testy/1506/HE2015/th/94.jpg" big="foto_testy/1506/HE2015/94.jpg" src="foto_testy/1506/HE2015/94.jpg" desc="And this is the new, cheaper Giro turntable manufactured by the German AMG (Analog Manufactur Germany) company. Its platter is made of POM and the base is made of aluminum."] [img mini="foto_testy/1506/HE2015/th/95.jpg" big="foto_testy/1506/HE2015/95.jpg" src="foto_testy/1506/HE2015/95.jpg" desc="A system which delivered really good sound, with the AMG Giro at the front, Aesthetix electronics, Verity Audio speakers and Harmonix cables."] [img mini="foto_testy/1506/HE2015/th/98.jpg" big="foto_testy/1506/HE2015/98.jpg" src="foto_testy/1506/HE2015/98.jpg" desc="A system that we awarded, consisting of the Audio Physic Avanti speakers, the Acoustic Signature Wow XL turntable, the Coctail Audio X30 CD/file player and a Primare power amplifier, with a Furman mains filter underneath."] [img mini="foto_testy/1506/HE2015/th/100.jpg" big="foto_testy/1506/HE2015/100.jpg" src="foto_testy/1506/HE2015/100.jpg" desc="2.1 systems used to be very common – it is enough to mention the first Sonus Faber design. In a studio, such a division is a norm, so it is simply obvious for PMC: the photo shows the standmount Twenty•21 speakers and a new subwoofer, the Twenty•Sub."] [img mini="foto_testy/1506/HE2015/th/102.jpg" big="foto_testy/1506/HE2015/102.jpg" src="foto_testy/1506/HE2015/102.jpg" desc="The Twenty•21 speakers may be small, but their design is not simple – PMC is a company whose trademark is a transmission line which is used in all its products. "] [img mini="foto_testy/1506/HE2015/th/104.jpg" big="foto_testy/1506/HE2015/104.jpg" src="foto_testy/1506/HE2015/104.jpg" desc="Touraj Moghaddam is known as the founder of Roksan company. However, he sold it some time ago and started dealing with what he loves most – turntables. His products, manufactured under the Vertere brand, look fairly simple but in reality are not simple at all, which is reflected by their prices. The photo shows the Record Player turntable with the SG-1 TPA arm."] [img mini="foto_testy/1506/HE2015/th/106.jpg" big="foto_testy/1506/HE2015/106.jpg" src="foto_testy/1506/HE2015/106.jpg" desc="You probably remember Bravo! and the only speakers manufactured under this brand, made by Mr. Kiuchi. The series has recently been changed into Encore! – the photo shows the ENC-5 model. However, it is still equipped with a coaxial converter and custom-tuned housing."] [img mini="foto_testy/1506/HE2015/th/107.jpg" big="foto_testy/1506/HE2015/107.jpg" src="foto_testy/1506/HE2015/107.jpg" desc="As always, also this year it was possible to spend time pleasantly in Harman room. It is where I saw the white-lacquered Everest DD67000 speakers for the first time. Now they are available in a few different colors."] [img mini="foto_testy/1506/HE2015/th/110.jpg" big="foto_testy/1506/HE2015/110.jpg" src="foto_testy/1506/HE2015/110.jpg" desc="It was a good opportunity to see and listen to new Magico speakers, the S7 model, prepared on the occasion of the 10th company anniversary. The system that powered them was outstanding – models from the second highest Constellation Audio series, Performance; Centaur Mono power amplifiers, the Virgo II preamplifier and a Cygnus file player. The monoblocks that weigh 150 kg deliver 500 W to 8 Ω, 800 W to 4 Ω and 1000 W to 2 Ω."] [img mini="foto_testy/1506/HE2015/th/115.jpg" big="foto_testy/1506/HE2015/115.jpg" src="foto_testy/1506/HE2015/115.jpg" desc="The photo shows the Paradigm Concept 4F speakers standing in a corner. However, they had also been included in the main system. As we read in the press, they are the outcome of 30 years of active work in the field of speaker technology. The F4 are semi-active speakers with the Anthem room correction system. A 1” beryllium dome operates on the top, below there is a 7” midrange driver which is also made of beryllium, and at the bottom there are four 8.5” woofers with a 700-Watt amplifier. They were officially premiered in Munich. "] [img mini="foto_testy/1506/HE2015/th/117.jpg" big="foto_testy/1506/HE2015/117.jpg" src="foto_testy/1506/HE2015/117.jpg" desc="That was something I had not expected: eight conceptual Bowers & Wilkins Nautilus speakers powered by ultra-modern Devialet electronics (an amplifier/DAC), but also with the DSP 2 turntable. Each amplifier powered a separate converter that was filtered in a digital process which is part of the company’s concept of frequency correction."] [img mini="foto_testy/1506/HE2015/th/118.jpg" big="foto_testy/1506/HE2015/118.jpg" src="foto_testy/1506/HE2015/118.jpg" desc="A turntable was standing next to Devialet amplifiers on a small shelf. However, for most of the time, music was played from a computer. You can see an elaborately designed remote control of the amplifiers on the laptop. "] [img mini="foto_testy/1506/HE2015/th/123.jpg" big="foto_testy/1506/HE2015/123.jpg" src="foto_testy/1506/HE2015/123.jpg" desc="These excellent Epoque speakers manufactured by the German Goebel High End company are based on the enormous Carbon Excellence converter which has a lot in common with NXT converters. It is the outcome of fifteen years of work of specialists from the company. "] [img mini="foto_testy/1506/HE2015/th/124.jpg" big="foto_testy/1506/HE2015/124.jpg" src="foto_testy/1506/HE2015/124.jpg" desc="Munich is a meeting place, so I was finally able to meet the wizard who can extract so much music from black boxes – Vincent Brient. Behind Vincent there is his most high-end system – the totaldac d-Twelve which we have tested, with a server. However, signal was also supplied by the Jadis Calliope CD transport. Well-done!"] [img mini="foto_testy/1506/HE2015/th/129.jpg" big="foto_testy/1506/HE2015/129.jpg" src="foto_testy/1506/HE2015/129.jpg" desc="This is a room which is mostly devoted to amplifiers manufactured by Audio Exclusiv, a company from Switzerland. As regards their shape, they resemble Polish Delta Studio amplifiers and break up with a “yesterday” look. "] [img mini="foto_testy/1506/HE2015/th/130.jpg" big="foto_testy/1506/HE2015/130.jpg" src="foto_testy/1506/HE2015/130.jpg" desc="Older Audio Exclusiv models have a characteristic front panel made of marble (they are visible in the background). In the foreground there is, among others, the ET2 integrated amplifier with the 300B EML tubes, and below there is the PA1 preamplifier."] [img mini="foto_testy/1506/HE2015/th/134.jpg" big="foto_testy/1506/HE2015/134.jpg" src="foto_testy/1506/HE2015/134.jpg" desc="That was one of the most interesting presentations in Munich, given in Nordost room where visitors could test the new top-end Odin 2 cables and compare them with older models. The presenters are specialists in their field, as the differences were very clear. This is how you should convince others that “the cable is important”!"] [img mini="foto_testy/1506/HE2015/th/135.jpg" big="foto_testy/1506/HE2015/135.jpg" src="foto_testy/1506/HE2015/135.jpg" desc="In the Nordost system, apart from the Audio Physic Cardeas plus speakers and a Moon CD player, there was also the latest Jeff Rowland’s product – the Daemon. It is an amplifier which the company calls the “Super Integrated Amplifier”. It has 1500 W per channel and a whole range of digital inputs. Information is displayed on a touch display here. It looks cool."] [img mini="foto_testy/1506/HE2015/th/139.jpg" big="foto_testy/1506/HE2015/139.jpg" src="foto_testy/1506/HE2015/139.jpg" desc="A very interesting system with very expensive Lansche Audio Cubus Mk II speakers and Danish Mola Mola amplifiers operating in D class. Just like last year, the source was a two-piece EMM Labs SACD player. The element that Lansche company is particularly proud of can be found in the speakers – it is a plasma tweeter which does not have a classic diaphragm – the air is moved by a plasma film. "] [img mini="foto_testy/1506/HE2015/th/142.jpg" big="foto_testy/1506/HE2015/142.jpg" src="foto_testy/1506/HE2015/142.jpg" desc="That was one of the better-sounding rooms of the exhibition, prepared by the Greek company Ypsilon. The most interesting element were the incredibly looking Perfect8 The Point Mk III speakers that are made of glass and have a ribbon tweeter. The mysterious cubes covered with material are crossovers."] [img mini="foto_testy/1506/HE2015/th/144.jpg" big="foto_testy/1506/HE2015/144.jpg" src="foto_testy/1506/HE2015/144.jpg" desc="The Perfect8 speakers once again – their design is better visible here – the open midrange section and the closed woofer section."] [img mini="foto_testy/1506/HE2015/th/147.jpg" big="foto_testy/1506/HE2015/147.jpg" src="foto_testy/1506/HE2015/147.jpg" desc="This is the room where I found a few products that I have been dreaming about. First of all, there were the Soulution 701 monoblocks, the 755 phonostage and the 760 DAC. There was also the 746 SACD player with a new amplifier and the wonderfully-looking Magico Q7 Mk II speakers."] [img mini="foto_testy/1506/HE2015/th/149.jpg" big="foto_testy/1506/HE2015/149.jpg" src="foto_testy/1506/HE2015/149.jpg" desc="Cyril Hammer, the CEO of Soulution, standing guard."] [img mini="foto_testy/1506/HE2015/th/154.jpg" big="foto_testy/1506/HE2015/154.jpg" src="foto_testy/1506/HE2015/154.jpg" desc="I had not heard anything about D. Klimo company for a long time. In Munich, I was able to listen to and see its Kent Gold amplifiers."] [img mini="foto_testy/1506/HE2015/th/157.jpg" big="foto_testy/1506/HE2015/157.jpg" src="foto_testy/1506/HE2015/157.jpg" desc="In D. Klimo system the source was the very interestingly looking Tafelrunde K.Labor turntable with the very long K.Labor Lancellotto arm. The system was set up by the Italian company Suono e Comunicazione."] [img mini="foto_testy/1506/HE2015/th/161.jpg" big="foto_testy/1506/HE2015/161.jpg" src="foto_testy/1506/HE2015/161.jpg" desc="These are the incredible Wolf von Lang Swing speakers with electromagnets instead of magnets, with Thomas Mayer electronics and the direct-drive Primarycontrol turntable."] [img mini="foto_testy/1506/HE2015/th/166.jpg" big="foto_testy/1506/HE2015/166.jpg" src="foto_testy/1506/HE2015/166.jpg" desc="The photo shows an almost all-Polish room with Autotech horn speakers, My Sound tube amplifiers, a Zontek phonostage and a JR Audio turntable. The system made a great impression on the visitors. The only foreign element was an Ayon CD player. It is a pity that Polish manufacturers seem to be giving up this format. "] [img mini="foto_testy/1506/HE2015/th/171.jpg" big="foto_testy/1506/HE2015/171.jpg" src="foto_testy/1506/HE2015/171.jpg" desc="Mr Józef Radzimski with his JR Audio turntable and the unique Impossible arm which emulates the operation of a tangential arm – see: Thales."] [img mini="foto_testy/1506/HE2015/th/172.jpg" big="foto_testy/1506/HE2015/172.jpg" src="foto_testy/1506/HE2015/172.jpg" desc="The jewelry-resembling device is the incredibly sophisticated MSB Technology Select DAC. It looks amazing in its new finish! The new reference company converter is a combination of a design, user interface and modular structure known from the Analog DAC (with a possibility of upgrading) and with sound from the DAC V."] [img mini="foto_testy/1506/HE2015/th/176.jpg" big="foto_testy/1506/HE2015/176.jpg" src="foto_testy/1506/HE2015/176.jpg" desc="A very nice show with live music. Lyn Stanley sang through the Classic Audio Loudspeakers."] [img mini="foto_testy/1506/HE2015/th/180.jpg" big="foto_testy/1506/HE2015/180.jpg" src="foto_testy/1506/HE2015/180.jpg" desc="That was one of the better-looking rooms, housing the electronics of the German Einstein company and Blumenhofer speakers. The source was my dreamt-of turntable – the TechDAS Air Force One. As it is known, it was Munich where Albert Einstein started his school adventure around the year 1886."] [img mini="foto_testy/1506/HE2015/th/183.jpg" big="foto_testy/1506/HE2015/183.jpg" src="foto_testy/1506/HE2015/183.jpg" desc="Einstein electronics stood on wooden boxes in which it is transported, while guests sat in armchairs resembling Gerrit Rietveld’s Red and Blue Chairs of the year 1917. These chairs can be found in the Museum of Modern Art (MoMA) in New York."] [img mini="foto_testy/1506/HE2015/th/184.jpg" big="foto_testy/1506/HE2015/184.jpg" src="foto_testy/1506/HE2015/184.jpg" desc="The top-end Albedo Axcentio Mk II speakers with Audia Flight electronics from the Strumento series."] [img mini="foto_testy/1506/HE2015/th/187.jpg" big="foto_testy/1506/HE2015/187.jpg" src="foto_testy/1506/HE2015/187.jpg" desc="Metronome Technologie are French specialists in digital technology. At the exhibition it was possible to listen to music from the Music Center file player and the DAC8 S. These huge speakers (Master 2 model) are a product of Canadian Focus Audio and they are powered by the company’s new Liszt Concerto amplifiers."] [img mini="foto_testy/1506/HE2015/th/189.jpg" big="foto_testy/1506/HE2015/189.jpg" src="foto_testy/1506/HE2015/189.jpg" desc="The Metronome Technologie Music Center – a file player offering the possibility of CD ripping."] [img mini="foto_testy/1506/HE2015/th/190.jpg" big="foto_testy/1506/HE2015/190.jpg" src="foto_testy/1506/HE2015/190.jpg" desc="If I were to call someone a “guru” that would be Mr. Hideaki Nishikawa who used to work for Microseiki and now represents TechDAS. In Munich he presented his latest and cheapest Air Force Three turntable with four arms which costs exactly a half of what the Air Force Two costs."] [img mini="foto_testy/1506/HE2015/th/192.jpg" big="foto_testy/1506/HE2015/192.jpg" src="foto_testy/1506/HE2015/192.jpg" desc="Joint forces of Vivid, Ch Precision, TechDAS and Artesania Audio – speakers, electronics, a turntable and racks from the Republic of South Africa, Switzerland, Japan and Spain."] [img mini="foto_testy/1506/HE2015/th/195.jpg" big="foto_testy/1506/HE2015/195.jpg" src="foto_testy/1506/HE2015/195.jpg" desc="Kavero! has always impressed me with an uncompromising approach to details – the photo shows its top-end speakers with powerful crossovers. There were also other elements in the system: a Kronos turntable, a Totaldac digital-to-analogue converter and Engstrom & Engstrom amplifiers."] [img mini="foto_testy/1506/HE2015/th/199.jpg" big="foto_testy/1506/HE2015/199.jpg" src="foto_testy/1506/HE2015/199.jpg" desc="Avid HiFi, a company known for its turntables, surprised me with the reference monoblocks of power amplifiers and with a preamplifier. "] [img mini="foto_testy/1506/HE2015/th/201.jpg" big="foto_testy/1506/HE2015/201.jpg" src="foto_testy/1506/HE2015/201.jpg" desc="And this is the Avid HiFi Reference Mono Amplifier itself – an enormous black cube."] [img mini="foto_testy/1506/HE2015/th/204.jpg" big="foto_testy/1506/HE2015/204.jpg" src="foto_testy/1506/HE2015/204.jpg" desc="That was one of the better-sounding rooms, with Trilogy electronics powered from Isol-8 filters and cables, a CAD file player and Boenicke speakers. In the background there is Srajan Ebaen from 6moons with a tripod."] [img mini="foto_testy/1506/HE2015/th/210.jpg" big="foto_testy/1506/HE2015/210.jpg" src="foto_testy/1506/HE2015/210.jpg" desc="Manger speakers are now available in different colors – the Z1, S1 and P1 models (from the left)."] [img mini="foto_testy/1506/HE2015/th/211.jpg" big="foto_testy/1506/HE2015/211.jpg" src="foto_testy/1506/HE2015/211.jpg" desc="Colors from a car paint colors palette were one of the most popular ways of refreshing the offer for many manufacturers – even for German Physiks which is a very conservative and technically-oriented company. The photo presents the Unlimited Mk II model."] [img mini="foto_testy/1506/HE2015/th/212.jpg" big="foto_testy/1506/HE2015/212.jpg" src="foto_testy/1506/HE2015/212.jpg" desc="And this is Nic Poulson, the owner of Trilogy Audio Systems and Isol-8 – a super-friendly person."] [img mini="foto_testy/1506/HE2015/th/215.jpg" big="foto_testy/1506/HE2015/215.jpg" src="foto_testy/1506/HE2015/215.jpg" desc="My dream (I have a lot of dreams, as you can see) – the complete dCS Vivaldi system. It was combined with VTL monoblocks and Wilson Audio Alexia speakers."] [img mini="foto_testy/1506/HE2015/th/216.jpg" big="foto_testy/1506/HE2015/216.jpg" src="foto_testy/1506/HE2015/216.jpg" desc="Although they may not give such an impression, the Zellation Reference Mk II speakers were among the most expensive columns at the exhibition – they have reference Duelund components inside. It is worth paying attention to their Schnerzinger bases."] [img mini="foto_testy/1506/HE2015/th/220.jpg" big="foto_testy/1506/HE2015/220.jpg" src="foto_testy/1506/HE2015/220.jpg" desc="Mr. René Laflamme – the CEO of the Canadian Fidelio company. Within the 2xXD company, he has recently started offering high-resolution files (including DSD) of other companies."] [img mini="foto_testy/1506/HE2015/th/222.jpg" big="foto_testy/1506/HE2015/222.jpg" src="foto_testy/1506/HE2015/222.jpg" desc="A system with Van den Hul electronics – the photo shows The Excalibur cables. A Van den Hul preamplifier and cartridge are placed outside the frame. New VHD discs (Beets Brothers - Lils Mackintosh - Hans Dulfer: “A Tribute to Analogue”) are leaning against the speakers. "] [img mini="foto_testy/1506/HE2015/th/224.jpg" big="foto_testy/1506/HE2015/224.jpg" src="foto_testy/1506/HE2015/224.jpg" desc="And this is Mr. Van den Hul himself."] [img mini="foto_testy/1506/HE2015/th/231.jpg" big="foto_testy/1506/HE2015/231.jpg" src="foto_testy/1506/HE2015/231.jpg" desc="Davis Acoustics speakers – the smaller ones are the Cezzane HD model. The bigger ones are prototypes."] [img mini="foto_testy/1506/HE2015/th/233.jpg" big="foto_testy/1506/HE2015/233.jpg" src="foto_testy/1506/HE2015/233.jpg" desc="The wonderful all-in-one Aura Note V2 system produced by the Korean April Music company. The transparent disc cover moves to the side."] [img mini="foto_testy/1506/HE2015/th/241.jpg" big="foto_testy/1506/HE2015/241.jpg" src="foto_testy/1506/HE2015/241.jpg" desc="One of the most interesting listening sessions – the Crystal Cable room. The Cube system is placed on a bass module, with the top-end Absolute Dream cables. The tiny Arabesque Minissimo speakers produced excellent sound!"] [img mini="foto_testy/1506/HE2015/th/245.jpg" big="foto_testy/1506/HE2015/245.jpg" src="foto_testy/1506/HE2015/245.jpg" desc="A unique photo – Michael Fremer from “Stereophile” in the foreground, Edwin van der Kleij (the owner of Siltech) on the left, and Gabi van der Kleij-Rynveld (the owner of Crystal Cable) in the background on the right. "] [img mini="foto_testy/1506/HE2015/th/246.jpg" big="foto_testy/1506/HE2015/246.jpg" src="foto_testy/1506/HE2015/246.jpg" desc="There is so much sophisticated metallurgy and technology in the new top-end Siltech Triple Crown cables that the company had prepared an interactive video in which everything is described step by step."] [img mini="foto_testy/1506/HE2015/th/257.jpg" big="foto_testy/1506/HE2015/257.jpg" src="foto_testy/1506/HE2015/257.jpg" desc="Eight Esoteric Grandioso M1 monoblocks with AudioGrade Calora speakers."] [img mini="foto_testy/1506/HE2015/th/259.jpg" big="foto_testy/1506/HE2015/259.jpg" src="foto_testy/1506/HE2015/259.jpg" desc="This beautiful turntable was prepared by Sperling company."] [img mini="foto_testy/1506/HE2015/th/267.jpg" big="foto_testy/1506/HE2015/267.jpg" src="foto_testy/1506/HE2015/267.jpg" desc="Another interesting person – Mr. Paul McGowan, the owner of PS Audio company."] [img mini="foto_testy/1506/HE2015/th/268.jpg" big="foto_testy/1506/HE2015/268.jpg" src="foto_testy/1506/HE2015/268.jpg" desc="The PS Audio system with Magnepan speakers – yummy!"] [img mini="foto_testy/1506/HE2015/th/275.jpg" big="foto_testy/1506/HE2015/275.jpg" src="foto_testy/1506/HE2015/275.jpg" desc="Nagra lastest products are the Classic Amp amplifiers (bottom, in the middle) and the HD Amp – on the sides."] [img mini="foto_testy/1506/HE2015/th/277.jpg" big="foto_testy/1506/HE2015/277.jpg" src="foto_testy/1506/HE2015/277.jpg" desc="The Kodó turntable manufactured by the Turkish company Absolare is all leather, metal and fantastic workmanship."] [img mini="foto_testy/1506/HE2015/th/279.jpg" big="foto_testy/1506/HE2015/279.jpg" src="foto_testy/1506/HE2015/279.jpg" desc="The Tune Audio Anima speakers with ModWright electronics, Skogrand Cables and the VPI turntable."] [img mini="foto_testy/1506/HE2015/th/280.jpg" big="foto_testy/1506/HE2015/280.jpg" src="foto_testy/1506/HE2015/280.jpg" desc="New models of Skogrand Cables – the Beethoven in the photo."] [img mini="foto_testy/1506/HE2015/th/282.jpg" big="foto_testy/1506/HE2015/282.jpg" src="foto_testy/1506/HE2015/282.jpg" desc="A real Viking! The CEO of Skogrand Cables, Mr. Knut Skogrand, who was taller than anyone else."] [img mini="foto_testy/1506/HE2015/th/289.jpg" big="foto_testy/1506/HE2015/289.jpg" src="foto_testy/1506/HE2015/289.jpg" desc="The Vermeer Audio Two amplifier – the company calls it the “Universal Control Center”."] [img mini="foto_testy/1506/HE2015/th/288.jpg" big="foto_testy/1506/HE2015/288.jpg" src="foto_testy/1506/HE2015/288.jpg" desc="A minimalistic Auralic room with Kavero speakers and a Kavero rack! Stein Audio cubes behind."] [img mini="foto_testy/1506/HE2015/th/289.jpg" big="foto_testy/1506/HE2015/289.jpg" src="foto_testy/1506/HE2015/289.jpg" desc="The new Auralic Aries Mini streamer. The music that we listened to came from the Tidal streaming service, playing music in CD and hi-res quality."] [img mini="foto_testy/1506/HE2015/th/297.jpg" big="foto_testy/1506/HE2015/297.jpg" src="foto_testy/1506/HE2015/297.jpg" desc="Vitus Audio with the Gauder Akustik Berlina RC 9 speakers. Vitus presented its new SS-025 integrated amplifier with the SCD-025 player as the source. Alternatively, visitors could listen to music from the Transrotor Turbilion turntable with a Vitus phonostage."] [img mini="foto_testy/1506/HE2015/th/301.jpg" big="foto_testy/1506/HE2015/301.jpg" src="foto_testy/1506/HE2015/301.jpg" desc="Oh, it looked so great! The new Acoustic Signature Invictus turntable with four arms and an integrated base in which LEDs have been installed."] [img mini="foto_testy/1506/HE2015/th/303.jpg" big="foto_testy/1506/HE2015/303.jpg" src="foto_testy/1506/HE2015/303.jpg" desc="Peter Ledermann from the Soundsmith company which offers unique Strain Gauge cartridges."] [img mini="foto_testy/1506/HE2015/th/308.jpg" big="foto_testy/1506/HE2015/308.jpg" src="foto_testy/1506/HE2015/308.jpg" desc="The Stabi S turtable manufactured by the Slovenian company Kuzma may be tiny. However, as you can see, it can be ordered in any combination – with one or two arms of different lengths. The photo presents the very characteristic turntable base, which looks like an element of the hydraulic system of a state-of-the-art kitchen. "] [img mini="foto_testy/1506/HE2015/th/310.jpg" big="foto_testy/1506/HE2015/310.jpg" src="foto_testy/1506/HE2015/310.jpg" desc="We have already written about this turntable, but we also saw the Reed Muse C3 in the main hall – the turntable was opened. Here we can see a version with two idler wheels."] [img mini="foto_testy/1506/HE2015/th/315.jpg" big="foto_testy/1506/HE2015/315.jpg" src="foto_testy/1506/HE2015/315.jpg" desc="Munich exhibitions focus on “serious” systems. However, Dared brought in something that was absolutely the opposite – a Bluetooth receiver with a little speaker. The whole device is smaller than a CD box."] [img mini="foto_testy/1506/HE2015/th/317.jpg" big="foto_testy/1506/HE2015/317.jpg" src="foto_testy/1506/HE2015/317.jpg" desc="Design plays the leading role here, but there are also interesting sound solutions – coaxially arranged converters and a horn for the bass-midrange speaker. Manufacturer: Once Custom Sound."] [img mini="foto_testy/1506/HE2015/th/318.jpg" big="foto_testy/1506/HE2015/318.jpg" src="foto_testy/1506/HE2015/318.jpg" desc="Beautiful products from Italy: Trinaudio electronics and a turntable."] [img mini="foto_testy/1506/HE2015/th/324.jpg" big="foto_testy/1506/HE2015/324.jpg" src="foto_testy/1506/HE2015/324.jpg" desc="Three gentlemen – our friend Yoshi Hontai in the middle, his son Elia Hontai on his right and my son, Bartosz Pacuła, on his left. Family businesses :)"] [img mini="foto_testy/1506/HE2015/th/325.jpg" big="foto_testy/1506/HE2015/325.jpg" src="foto_testy/1506/HE2015/325.jpg" desc="Omnipresent reel-to-reel tape recorders need tapes and a wide range of music was offered at the exhibition – plenty of options to choose from!"] [img mini="foto_testy/1506/HE2015/th/333.jpg" big="foto_testy/1506/HE2015/333.jpg" src="foto_testy/1506/HE2015/333.jpg" desc="They look familiar, don’t they? They are just like my Harbeth M40.1 speakers, but it is a new version which was presented in Munich: the 40.2 model with a redesigned crossover."] [img mini="foto_testy/1506/HE2015/th/339.jpg" big="foto_testy/1506/HE2015/339.jpg" src="foto_testy/1506/HE2015/339.jpg" desc="Diapason Dynamis – enormous speakers from Italy, the most ambitious of all the company designs."] [img mini="foto_testy/1506/HE2015/th/344.jpg" big="foto_testy/1506/HE2015/344.jpg" src="foto_testy/1506/HE2015/344.jpg" desc="The photo shows Atacama hifi racks that I had not seen for a longer time. The ECO version, i.e. racks made of fast-growing bamboo, have been made available recently. This is the Evoque Eco 60-40 Special Edition model."] [img mini="foto_testy/1506/HE2015/th/347.jpg" big="foto_testy/1506/HE2015/347.jpg" src="foto_testy/1506/HE2015/347.jpg" desc="The enormous Well Tempered Lab Royale 400 turntable with a 16-inch (!) arm."] [img mini="foto_testy/1506/HE2015/th/348.jpg" big="foto_testy/1506/HE2015/348.jpg" src="foto_testy/1506/HE2015/348.jpg" desc="The Air Tight room with WolfVonLang speakers and a Transrotor turntable."] [img mini="foto_testy/1506/HE2015/th/350.jpg" big="foto_testy/1506/HE2015/350.jpg" src="foto_testy/1506/HE2015/350.jpg" desc="Friends: Mr. Miura, the owner of the Air Tight brand (on the left) and Mr. Jean-Claude Kei Tago. Mr. Tago has been Mr. Miura’s friend since the Luxman company was founded, where Mr. Tago was the chief manager dealing with sales outside Japan. As regards Air Tight, he has been involved in the brand promotion since the very beginning."] [img mini="foto_testy/1506/HE2015/th/352.jpg" big="foto_testy/1506/HE2015/352.jpg" src="foto_testy/1506/HE2015/352.jpg" desc="Another amazing example of passion and genius – Yamamura Crawley Limited products. "] [img mini="foto_testy/1506/HE2015/th/354.jpg" big="foto_testy/1506/HE2015/354.jpg" src="foto_testy/1506/HE2015/354.jpg" desc="The latest Soundkaos SK16 (skiny) speakers, with a single broadband speaker and an additional dome."] [img mini="foto_testy/1506/HE2015/th/355.jpg" big="foto_testy/1506/HE2015/355.jpg" src="foto_testy/1506/HE2015/355.jpg" desc="My private top of the top of the exhibition – an Ayon Audio system with two accessories: a turntable and the Lumen White speakers. A divine thing!"] [img mini="foto_testy/1506/HE2015/th/357.jpg" big="foto_testy/1506/HE2015/357.jpg" src="foto_testy/1506/HE2015/357.jpg" desc="Very nice sound in Onda Ligera room and our award from three years ago, as well as a High End award on the wall."] [img mini="foto_testy/1506/HE2015/th/358.jpg" big="foto_testy/1506/HE2015/358.jpg" src="foto_testy/1506/HE2015/358.jpg" desc="A Soundkaos system again, with two subwoofer-aided systems – organic and coherent sound."] [img mini="foto_testy/1506/HE2015/th/365.jpg" big="foto_testy/1506/HE2015/365.jpg" src="foto_testy/1506/HE2015/365.jpg" desc="“Boys will be boys” – Mr. Suchy, CEO of the Clearaudio company, with his motorbike."] [img mini="foto_testy/1506/HE2015/th/366.jpg" big="foto_testy/1506/HE2015/366.jpg" src="foto_testy/1506/HE2015/366.jpg" desc="The Italian Tektron company and the handmade TK211S-I-REF integrated amplifier with the Emission Labs 211 tubes at the end, and a tube rectifier."] [img mini="foto_testy/1506/HE2015/th/370.jpg" big="foto_testy/1506/HE2015/370.jpg" src="foto_testy/1506/HE2015/370.jpg" desc="In the description of the reference system under each test there is a note at the end: Tivoli Model One. It is my greatest pleasure:) Little radios in a variety of colors were shown in Munich, also with Bluetooth modules, with names including the “BT” abbreviation."] [img mini="foto_testy/1506/HE2015/th/375.jpg" big="foto_testy/1506/HE2015/375.jpg" src="foto_testy/1506/HE2015/375.jpg" desc="The radio that I listen to every day – the Tivoli Audio Model One.] [img mini="foto_testy/1506/HE2015/th/376.jpg" big="foto_testy/1506/HE2015/376.jpg" src="foto_testy/1506/HE2015/376.jpg" desc="Cambridge Audio has changed its logo and prepared a whole range of new devices in the CX series. It is one of the most effective audio companies that I have ever known."] [img mini="foto_testy/1506/HE2015/th/379.jpg" big="foto_testy/1506/HE2015/379.jpg" src="foto_testy/1506/HE2015/379.jpg" desc="GMO? Not really, although it also emits light… The acrylic base of the Pro-Ject turntable with a characteristic glow."] [img mini="foto_testy/1506/HE2015/th/382.jpg" big="foto_testy/1506/HE2015/382.jpg" src="foto_testy/1506/HE2015/382.jpg" desc="Dr Goetz Martin von Laffert, sales manager, with the wonderfully-looking, fantastically equipped and excellently playing all-in-one Lyravox system which is hung on the wall. "] [img mini="foto_testy/1506/HE2015/th/384.jpg" big="foto_testy/1506/HE2015/384.jpg" src="foto_testy/1506/HE2015/384.jpg" desc="The stand of the Polish Sounddeco company with the beautifully-looking Alpha F3 speakers. “High Fidelity” and “6moons.com” awards on the wall."] [img mini="foto_testy/1506/HE2015/th/385.jpg" big="foto_testy/1506/HE2015/385.jpg" src="foto_testy/1506/HE2015/385.jpg" desc="These little things are the wonderful Sigma 2 Sounddeco speakers."] [img mini="foto_testy/1506/HE2015/th/386.jpg" big="foto_testy/1506/HE2015/386.jpg" src="foto_testy/1506/HE2015/386.jpg" desc="Who said that a record cleaning system must be ugly and boring? – Pristine Vinyl proves it does not have to be like that. The photo shows the Vivac model."] [img mini="foto_testy/1506/HE2015/th/388.jpg" big="foto_testy/1506/HE2015/388.jpg" src="foto_testy/1506/HE2015/388.jpg" desc="Analogueworks is a British turntable-producing manufacture. "] [img mini="foto_testy/1506/HE2015/th/394.jpg" big="foto_testy/1506/HE2015/394.jpg" src="foto_testy/1506/HE2015/394.jpg" desc="Very friendly Norwegians caught us in the beer garden :) Marius (or Lasse – I am not sure, for which I am sorry!) is showing us the Little Fwend – The Automatic Tonearm Lifter. This little device lifts the turntable arm after a record has been played – it is a simple and really good-looking solution."] [img mini="foto_testy/1506/HE2015/th/395.jpg" big="foto_testy/1506/HE2015/395.jpg" src="foto_testy/1506/HE2015/395.jpg" desc="Little Fwend – The Automatic Tonearm Lifter came to Munich straight from Oslo."] [img mini="foto_testy/1506/HE2015/th/400.jpg" big="foto_testy/1506/HE2015/400.jpg" src="foto_testy/1506/HE2015/400.jpg" desc="We will soon be able to test the new product of the Cracovian company Abyssound – an integrated amplifier with the DAC board in a special finishing element of the front panel."] [img mini="foto_testy/1506/HE2015/th/406.jpg" big="foto_testy/1506/HE2015/406.jpg" src="foto_testy/1506/HE2015/406.jpg" desc="A very “tasty” room with Audiopax tube amplifiers from Brazil, Tellurium Q cables from the UK and the Lampizator file player from Poland. There was also an Antelope Audio DAC from the USA."] [img mini="foto_testy/1506/HE2015/th/411.jpg" big="foto_testy/1506/HE2015/411.jpg" src="foto_testy/1506/HE2015/411.jpg" desc="Ms. Eunice Kron who rules the KR Audio company with an iron hand, with one of her company distributors."] [img mini="foto_testy/1506/HE2015/th/412.jpg" big="foto_testy/1506/HE2015/412.jpg" src="foto_testy/1506/HE2015/412.jpg" desc="A whole range of KR Audio tubes, with the most famous enormous T-1610."] [img mini="foto_testy/1506/HE2015/th/421.jpg" big="foto_testy/1506/HE2015/421.jpg" src="foto_testy/1506/HE2015/421.jpg" desc="The Klarischnättra clarinet sextet under the enormous Realhorns speaker horn."] [img mini="foto_testy/1506/HE2015/th/426.jpg" big="foto_testy/1506/HE2015/426.jpg" src="foto_testy/1506/HE2015/426.jpg" desc="Mr. Andreas Hoffmann with his latest amplifier – the Octave V 80 SE. Two prototypes were brought to the exhibition from Karlsbad."] [img mini="foto_testy/1506/HE2015/th/430.jpg" big="foto_testy/1506/HE2015/430.jpg" src="foto_testy/1506/HE2015/430.jpg" desc="The same Octave V 80 SE, but now placed in a system, with a Black Box amplifier."] [img mini="foto_testy/1506/HE2015/th/434.jpg" big="foto_testy/1506/HE2015/434.jpg" src="foto_testy/1506/HE2015/434.jpg" desc="Here, in Pioneer room we had the best time – the A-70 amplifier, the NA-70A file player and the Dynaudio Focus 260 speakers proved to be an excellent combination."] [img mini="foto_testy/1506/HE2015/th/437.jpg" big="foto_testy/1506/HE2015/437.jpg" src="foto_testy/1506/HE2015/437.jpg" desc="Mrs. Jozefina Krahulcova, the CEO of EAT company (Mr. Lichtenegger’s, the Pro-Ject owner’s wife) attracted the attention of all men – and not only. She has incredible knowledge of her products – turntables and tubes."] [img mini="foto_testy/1506/HE2015/th/442.jpg" big="foto_testy/1506/HE2015/442.jpg" src="foto_testy/1506/HE2015/442.jpg" desc="The colorful Sonus faber Chameleon speakers."] [img mini="foto_testy/1506/HE2015/th/445.jpg" big="foto_testy/1506/HE2015/445.jpg" src="foto_testy/1506/HE2015/445.jpg" desc="A high-end file player, an amplifier and a DAC in one – Dan D’Agostino MLife."] [img mini="foto_testy/1506/HE2015/th/447.jpg" big="foto_testy/1506/HE2015/447.jpg" src="foto_testy/1506/HE2015/447.jpg" desc="The new Dan D’Agostino Momentum phonostage – in its prototype form and not yet illuminated, but already impressive. The settings will be illuminated."] [img mini="foto_testy/1506/HE2015/th/455.jpg" big="foto_testy/1506/HE2015/455.jpg" src="foto_testy/1506/HE2015/455.jpg" desc="The latest Micromega product – the M-One 100 integrated amplifier, DAC and streamer in one, with the digital M.A.R.S. acoustic correction system in the package. "] [img mini="foto_testy/1506/HE2015/th/457.jpg" big="foto_testy/1506/HE2015/457.jpg" src="foto_testy/1506/HE2015/457.jpg" desc="Ansi Hyvonen, the CEO of Amphion, is showing new bass modules for monitors. A short demonstration was enough to confirm what every mastering specialist knows: it is impossible to live without bass in the long run…"] [img mini="foto_testy/1506/HE2015/th/459.jpg" big="foto_testy/1506/HE2015/459.jpg" src="foto_testy/1506/HE2015/459.jpg" desc="A special edition of Dali speakers with photographs of Metallica band members."] [img mini="foto_testy/1506/HE2015/th/460.jpg" big="foto_testy/1506/HE2015/460.jpg" src="foto_testy/1506/HE2015/460.jpg" desc="It is one of the best-looking systems of all – a Burmester stereo system which looks as if it was made in the 1960s. "] [img mini="foto_testy/1506/HE2015/th/469.jpg" big="foto_testy/1506/HE2015/469.jpg" src="foto_testy/1506/HE2015/469.jpg" desc="Sitting in this room was very pleasant for me, because of the vintage-like devices: the Sperling L-2 turntable and Thöress electronics. Paralyse Audio racks and AMS Jäger furniture also looked great."] [img mini="foto_testy/1506/HE2015/th/474.jpg" big="foto_testy/1506/HE2015/474.jpg" src="foto_testy/1506/HE2015/474.jpg" desc=" Lars & Ivan is a great combination of design and electronics. The THA-21 headphone amplifier is tube-based and operates in class A."] [img mini="foto_testy/1506/HE2015/th/482.jpg" big="foto_testy/1506/HE2015/482.jpg" src="foto_testy/1506/HE2015/482.jpg" desc="Another “first time” – a meeting with the editor-in-chief of “The Part-Time Audiophile” who I also interviewed some time ago in “The Editors” series. His colleagues are standing behind…"] [img mini="foto_testy/1506/HE2015/th/500.jpg" big="foto_testy/1506/HE2015/500.jpg" src="foto_testy/1506/HE2015/500.jpg" desc="Colorful shirts are the trademark of my friend, Dirk Somner, the editor-in-chief of hifistatement.net – one of the most important audio magazines in Germany. Behind Dirk there is the owner of Chord Electronics company, Mr. John Franks."] [img mini="foto_testy/1506/HE2015/th/501.jpg" big="foto_testy/1506/HE2015/501.jpg" src="foto_testy/1506/HE2015/501.jpg" desc="A system in which there could only be one king: an American one, but with Polish roots and connections: the Mytek Manhattan DAC produced by Mr. Michał Jurewicz."] [img mini="foto_testy/1506/HE2015/th/505.jpg" big="foto_testy/1506/HE2015/505.jpg" src="foto_testy/1506/HE2015/505.jpg" desc="One more look at the Sounddeco stand – it is a really serious company which knows what it is doing."] [img mini="foto_testy/1506/HE2015/th/511.jpg" big="foto_testy/1506/HE2015/511.jpg" src="foto_testy/1506/HE2015/511.jpg" desc="The Super Deck Grande manufactured by Funk. It is nice and has two arms. It needs to be listened to."] [img mini="foto_testy/1506/HE2015/th/513.jpg" big="foto_testy/1506/HE2015/513.jpg" src="foto_testy/1506/HE2015/513.jpg" desc="Furutech had prepared something that should become a standard in most heavy power cables: a rotating angle plug."] [img mini="foto_testy/1506/HE2015/th/521.jpg" big="foto_testy/1506/HE2015/521.jpg" src="foto_testy/1506/HE2015/521.jpg" desc="Another successful Polish company – the cable manufacturer Albedo."] [img mini="foto_testy/1506/HE2015/th/524.jpg" big="foto_testy/1506/HE2015/524.jpg" src="foto_testy/1506/HE2015/524.jpg" desc="The stand of the legendary British company Talk Electronics. However, at the exhibition there were only devices sold under the Edwards Audio brand, which were presented by Mr. Kevin Edwards. Talk products will go on sale soon."] [img mini="foto_testy/1506/HE2015/th/527.jpg" big="foto_testy/1506/HE2015/527.jpg" src="foto_testy/1506/HE2015/527.jpg" desc="Edwards Audio TT2SE – a turntable which costs 700 pounds and looks really interesting."] [img mini="foto_testy/1506/HE2015/th/529.jpg" big="foto_testy/1506/HE2015/529.jpg" src="foto_testy/1506/HE2015/529.jpg" desc="The Ikon Akustik o-m-p turntable in white lacquer."] [img mini="foto_testy/1506/HE2015/th/538.jpg" big="foto_testy/1506/HE2015/538.jpg" src="foto_testy/1506/HE2015/538.jpg" desc="The Gauder Akustik Berlina RC 9 speakers once again, this time with AVM electronics."] [img mini="foto_testy/1506/HE2015/th/540.jpg" big="foto_testy/1506/HE2015/540.jpg" src="foto_testy/1506/HE2015/540.jpg" desc="The KEF Blade 2 speakers in a hugely impressive Audioneta system."] [img mini="foto_testy/1506/HE2015/th/556.jpg" big="foto_testy/1506/HE2015/556.jpg" src="foto_testy/1506/HE2015/556.jpg" desc="Ypsilon electronics and a Bergmann turntable were placed on a completely new series of the Finite Elemente Pagode APS furniture – Advanced Positioning System."] [img mini="foto_testy/1506/HE2015/th/559.jpg" big="foto_testy/1506/HE2015/559.jpg" src="foto_testy/1506/HE2015/559.jpg" desc="Bryston with three-way Mini-T monitors and Vicoustic acoustic panels."] [img mini="foto_testy/1506/HE2015/th/561.jpg" big="foto_testy/1506/HE2015/561.jpg" src="foto_testy/1506/HE2015/561.jpg" desc="Wonderful cappuccino in Bryston’s room."] [img mini="foto_testy/1506/HE2015/th/562.jpg" big="foto_testy/1506/HE2015/562.jpg" src="foto_testy/1506/HE2015/562.jpg" desc="An absolute novelty – a premiere presentation of the Focal-JMlab Sopra speakers."] [img mini="foto_testy/1506/HE2015/th/563.jpg" big="foto_testy/1506/HE2015/563.jpg" src="foto_testy/1506/HE2015/563.jpg" desc="One of the most important components of the Sopra speakers is the tweeter."] [img mini="foto_testy/1506/HE2015/th/567.jpg" big="foto_testy/1506/HE2015/567.jpg" src="foto_testy/1506/HE2015/567.jpg" desc="There is only one statement: Naim. My review of this amplifier in “EnjoyTheMusic.com” moved the readers considerably :)"] [img mini="foto_testy/1506/HE2015/th/569.jpg" big="foto_testy/1506/HE2015/569.jpg" src="foto_testy/1506/HE2015/569.jpg" desc="Mr Ishiwata’s presentation was perfect, as always. The photo shows Definitive Technology speakers, impossibly bolted from the inside."] [img mini="foto_testy/1506/HE2015/th/577.jpg" big="foto_testy/1506/HE2015/577.jpg" src="foto_testy/1506/HE2015/577.jpg" desc="I returned to the room with Western Electric speakers a few times – as it can be seen, other people did, too."] [img mini="foto_testy/1506/HE2015/th/578.jpg" big="foto_testy/1506/HE2015/578.jpg" src="foto_testy/1506/HE2015/578.jpg" desc="Aavik U-300 is an amplifier manufactured by specialists from Raidho. The D-class amplifier of 300 W of power was designed by the Pascal company. A phonostage and a DAC are also placed “on board”."] [img mini="foto_testy/1506/HE2015/th/582.jpg" big="foto_testy/1506/HE2015/582.jpg" src="foto_testy/1506/HE2015/582.jpg" desc="The presentation of Silberstatic panels made a great impression on me. The speakers (much taller than an adult person) created an incredible amount of space independently of where you were standing or sitting."] [img mini="foto_testy/1506/HE2015/th/583.jpg" big="foto_testy/1506/HE2015/583.jpg" src="foto_testy/1506/HE2015/583.jpg" desc="Alluxity has prepared a premiere this year – the INT-ONE integrated amplifier of 200 W of power at 8 Ω."] [img mini="foto_testy/1506/HE2015/th/584.jpg" big="foto_testy/1506/HE2015/584.jpg" src="foto_testy/1506/HE2015/584.jpg" desc="Swissonor offers phonostages that look as if they were made in the 1950s. The photo shows the Historic 8910 model."] [img mini="foto_testy/1506/HE2015/th/585.jpg" big="foto_testy/1506/HE2015/585.jpg" src="foto_testy/1506/HE2015/585.jpg" desc="It is an absolute novelty and great news – Graham Audio has produced a new speaker – the LS5/9, which has similar dimensions to the Harbeth M40.1. The difference is that here we are talking about a two-way construction."] [img mini="foto_testy/1506/HE2015/th/586.jpg" big="foto_testy/1506/HE2015/586.jpg" src="foto_testy/1506/HE2015/586.jpg" desc="Graham Audio LS5/9."] [img mini="foto_testy/1506/HE2015/th/596.jpg" big="foto_testy/1506/HE2015/596.jpg" src="foto_testy/1506/HE2015/596.jpg" desc="New Mark Doehmann’s arm mounted in his new turntable. Mr. Doehmann is known for the design of the Continuum Audio Lab."] [img mini="foto_testy/1506/HE2015/th/599.jpg" big="foto_testy/1506/HE2015/599.jpg" src="foto_testy/1506/HE2015/599.jpg" desc="This is Mark Doehmann’s turntable."] [img mini="foto_testy/1506/HE2015/th/600.jpg" big="foto_testy/1506/HE2015/600.jpg" src="foto_testy/1506/HE2015/600.jpg" desc="And Mark Doehmann himself."] [img mini="foto_testy/1506/HE2015/th/601.jpg" big="foto_testy/1506/HE2015/601.jpg" src="foto_testy/1506/HE2015/601.jpg" desc="Proud, but for a reason – Rumen Artarski, the CEO of Thrax Audio, next to Lyra speakers."] [img mini="foto_testy/1506/HE2015/th/611.jpg" big="foto_testy/1506/HE2015/611.jpg" src="foto_testy/1506/HE2015/611.jpg" desc="That was a really interesting experience – the Kharma Exquiste Classique speakers were powered by unique Auris amplifiers from the Titan series."] [img mini="foto_testy/1506/HE2015/th/613.jpg" big="foto_testy/1506/HE2015/613.jpg" src="foto_testy/1506/HE2015/613.jpg" desc="Unexpected joy in Atoll’s and Totem Acoustic’s room – top-quality Pink Floyd sound."] [img mini="foto_testy/1506/HE2015/th/615.jpg" big="foto_testy/1506/HE2015/615.jpg" src="foto_testy/1506/HE2015/615.jpg" desc="A plan of one of the Atriums."] [img mini="foto_testy/1506/HE2015/th/616.jpg" big="foto_testy/1506/HE2015/616.jpg" src="foto_testy/1506/HE2015/616.jpg" desc="The front of Marek Dyba."] [img mini="foto_testy/1506/HE2015/th/619.jpg" big="foto_testy/1506/HE2015/619.jpg" src="foto_testy/1506/HE2015/619.jpg" desc="Tilmann Schneider Terzett."] [img mini="foto_testy/1506/HE2015/th/621.jpg" big="foto_testy/1506/HE2015/621.jpg" src="foto_testy/1506/HE2015/621.jpg" desc="We have already seen Mr. Hontai, but here we can see him again with Mr. Satoru Murayama, the CEO of Oyaide (on the right)."] [img mini="foto_testy/1506/HE2015/th/624.jpg" big="foto_testy/1506/HE2015/624.jpg" src="foto_testy/1506/HE2015/624.jpg" desc="Aurender N100X – the smallest file player of this manufacturer, but still with a 2 TB hard disk."] [img mini="foto_testy/1506/HE2015/th/627.jpg" big="foto_testy/1506/HE2015/627.jpg" src="foto_testy/1506/HE2015/627.jpg" desc="Sine offers very good-looking filters and power distributors. It is a company from Hong Kong."] [img mini="foto_testy/1506/HE2015/th/636.jpg" big="foto_testy/1506/HE2015/636.jpg" src="foto_testy/1506/HE2015/636.jpg" desc="A brilliant design of the new HiFiMAN HE-1000 headphones."] [img mini="foto_testy/1506/HE2015/th/637.jpg" big="foto_testy/1506/HE2015/637.jpg" src="foto_testy/1506/HE2015/637.jpg" desc="A phonostage manufactured by the German company Gruensch. An external amplifier and the change of cartridge loading are a standard here. "] [img mini="foto_testy/1506/HE2015/th/656.jpg" big="foto_testy/1506/HE2015/656.jpg" src="foto_testy/1506/HE2015/656.jpg" desc="Jico styluses. The company was set up in 1959 and its manufactory is located in Hamasaka city."] [img mini="foto_testy/1506/HE2015/th/658.jpg" big="foto_testy/1506/HE2015/658.jpg" src="foto_testy/1506/HE2015/658.jpg" desc="High-end Jico styluses from the Urushi Series."] [img mini="foto_testy/1506/HE2015/th/665.jpg" big="foto_testy/1506/HE2015/665.jpg" src="foto_testy/1506/HE2015/665.jpg" desc="Lyrus Audio Model Nine planar magnetic headphones. The conductive traces on the membranes are made of gold."] [img mini="foto_testy/1506/HE2015/th/671.jpg" big="foto_testy/1506/HE2015/671.jpg" src="foto_testy/1506/HE2015/671.jpg" desc="Audio-Technica cartridges still represent the best quality-to-price ratio. The photo presents new models (from top to bottom): the AT33Sa, AT440MLb, AT120Eb and ATF2."] [img mini="foto_testy/1506/HE2015/th/675.jpg" big="foto_testy/1506/HE2015/675.jpg" src="foto_testy/1506/HE2015/675.jpg" desc="HiFiMAN once again – this time the EF-1000 Reference Headphone Amplifier, here still in its prototype form."] [/hfgallery]

mare Musica is one of our own, Polish brands with an almost classic story behind it. It was founded by two guys who for years played in DIY area, participating also in life of Polish biggest audio forum - Audiostereo.pl – Mr Maciej Lenar and Mr Marcin Sołowiow. This is a classic story, as many world's renown designers started their adventure in audio world just in this way - they started to build their own components for themselves, later usually also for their family and/or friends. They start building their own devices either because they can't find on market anything that would satisfy their needs, or they find it but costing small fortune, or there is a third option – these are guys who like the challenge – they believe they are able to create some competitive products, maybe even better ones than those available on the market. I believe there is one more reason for building one's own audio components – satisfaction of enjoying performance of something built with one's own hands will always taste so much better than anything money can buy! Those who visit AudioShow in Warsaw on regular bases might remember Marcin and Maciej from a few years ago, when they presented some of their products in the DIY room, with other enthusiast. At some point they realized that what they designed and built was so good that it was time to share with others. So they started a company – Amare Musica – and, if I remember correctly, they presented their first commercial products during AudioShow 2012. It was a tube preamplifier called De Forest and tube mono amplifiers Trinity (based on double EML 300B-XLS per channel). Not only the sound of this system (with Polish speakers Clockwork) performed really well, but it also looked hot! From their very first products these guys decided to offer only products looking (and made) as million bucks. They paid attention to every detail, used high quality elements including one of the best and most expensive tubes from current production (EML), and hand-made silver transformers. Soon after their premiere I reviewed them for Polish „HiFi Choice” magazine and was able to confirm, that these components not only looked great but performed at equal if not even higher level. These two were the first products Amare Musica released and yet, they already offered high-end performance. Additionally it looked batter than most high-end devices, were better made using higher quality components, and it cost... less. Later gentlemen created and integrated amplifier - Entropy, that I reviewed for „High Fidelity” (see HERE). This also tube device and also I SET configuration, that aesthetically was as pleasing (and similar) as the previous products. This time designers used another EML triode - EML 1605. It is a less expensive, less advanced product and yet it still wowed me with its stylish chassis, highest make&finish quality and most of all with its remarkable sound. More or less at the same time Amare Musica added another product to their line-up – a power strip, that looked also as million bucks. Some time later I visited one of these two gentlemen – Marcin, at his place. In fact we conducted a comparison of a few USB converters in his system. An interesting (for me) thing was a prototype of a D/A Converter that received signal from all USB converters. Obviously it wasn't a system I was truly familiar with (although I knew pretty well De Forest and Trinity), and we were comparing USB converters, but I couldn't help but notice, that this prototype of a DAC did hell of a job, too. It seemed that this would be Amare's next release. And yet, at the moment I am writing these words (so like more than a year later), DAC has been already announced but still not released (unofficially I know this should happen soon). In the meantime, during last (2014) AudioShow, Marcin and Maciej presented their brand new music server, called Diamond. As with any previous products they released, also Diamond wowed lots of people who visited this room. As always during shows, it was hard to assess the performance but it surely looked fantastic! Have a look at this solid, rigid, but also eye-catching aluminum chassis (with walls 10 mm thick!), anti-vibration feet manufactured by another Polish company - Franc Audio Accessories, brilliant OLED displays, abundance of digital outputs and equally solid and well made aluminum remote control. Also feature-wise Diamond, at least on paper, looked damn impressive. It played hi-res PCM and DSD (64 and 128) ones, too. And there was one more thing that caught my attention immediately – Diamond was supposed to be compatible with lots of different control software, for iOS, Android and Windows – that was what set it apart from almost all competitors who, like for example Aurender that offered an app only for iOS, Lumin that offered it own app also only for iOS (although allowed user to use other apps to play music, also for Android and Windows). So buying Diamond does not mean one has to buy iPod (like most audio servers manufacturers force their clients to), nor any other particular device to control the server. I know not all feel the same way, but I personally hate to be forced (mostly by Asian manufacturers) to buy some fancy device I have no use for other than control my audio device. As already mentioned Aurender gives user no option at all – one has to have or buy iPad to user this brand's products, Lumin offers its own app that allows access to device's setup also only for iOS devices (although one might use for example Linn's Kinsky to play music) and Auralic only just released beta version of the application that allows user to control Aries using an Android device. I hate to be forced to do anything, especially if it involves me spending my hard earned money on something I don't really want to have. Amare left the choice of controlling device and app o the user (they informed me they worked on their own app that should be available by the end of this year but it will be just another option for the user and not the only one). From my perspective that's a huge advantage of this music server, the one that made me even more eager to give it a try in my system. So already during AudioShow I asked for a review sample to be delivered to me as soon as it would be possible. They honestly told me that they already had so many orders from their distributors that would have to be satisfied first, so that review would have to wait a bit. I surely understood that sales came first and waited patiently. Finally they called me with the news – we have a sample unit available that we might deliver to you for a review. I tried not to be too enthusiastic confirming an appointment... :) MARCIN SOŁOWIOW Amare Musica | co-owner, designer Amare Musica Diamond Music Server is the first so advanced product made in Poland if not in the whole Europe. Shortly about the design. It is made in Poland. Starting from all elements of chassis that is precisely machined on CNC of 10mm thick aluminum, up to a remote control made of 30mm solid aluminum block. Inside the electronics is divided into few sections. Ultra-low noise power supply section is based on discrete elements, the controller with the best OLED displays available on the market with high contrast and wide angles, a main board custom made for our server, a separate printed board with AES/EBU and S/PDIF inputs, AUDIO transformer made by Toroidy.pl and USB and LAN inputs/outputs. Ceramic Disc Tablette – top quality anti-vibration feet from Franc Audio Accessories effectively separate device from external vibrations. The S/PDIF and AES/EBU use XMOS@500 MIPS processor with two ultra-low phase noise Japanese oscillators (NDK). Server allows to play all audio formats: WAV, FLAC, AAC, ALAC and also DSD. DSD is played via USB and S/PDIF and AES/EBU (DoP, DSD over PCM) 2,8 MHz, 1 bit. Server might be controlled via our remote or iPad, Android devices or PC. Server plays music via USB input from external drives, or from a LAN resources using Samba, UPnP or OH Media protocols. Recordings used in test (a selection): Natural jazz recordings, fonejazz, DSD64. Thirty years in clasical music, fonejazz, DSD64. AC/DC, Back in black, SONY B000089RV6, CD/FLAC. Arne Domnerus, Antiphone blues, Proprius PRCD 7744, CD/FLAC. Hans Zimmer, Inception, WaterTower Music B003ODL004, CD/FLAC. Hans Zimmer, The Dark Knight Rises, WaterTower Music B008645YEE, CD/FLAC. Isao Suzuki, Blow up, Three Blind Mice B000682FAE, CD FLAC. Kate Bush, The Whole Story, EMI/Toshiba-EMI TOCP-67822, CD/FLAC. Keith Jarret, The Koeln Concert, ECM 1064/65 ST, LP. Leszek Możdżer, Kaczmarek by Możdżer, Universal Music 273 643-7, CD/FLAC. Louis Armstrong & Duke Ellington, The Complete Session, “Deluxe Edition”, Roulette Jazz 7243 5 24547 2 2 (i 3), CD/FLAC. McCoy Tyner, Solo: Live from San Francisco, Half Note Records B002F3BPSQ, CD/FLAC. Michael Jackson, Dangerous, Epic/Legacy XSON90686F96, FLAC 24/96. Michał Wróblewski Trio, City album, Ellite Records CD/FLAC. Mozart, Le nozze di Figaro, dyr. Teodor Currentzis, MusicAeterna Orchestra, Sony Classical B00GK8P1EG, CD/FLAC. Mozart, Piano concertos, Eugene Istomin, Reference Recordings HRx. Pavarotti, The 50 greatest tracks, Decca 478 5944 CD/FLAC Rachmaninow, Symphonic dances, Etudes-tableaux, Reference Recordings HRx, 24/176, WAV. Renaud Garcia-Fons, Oriental bass, Enja B000005CD8, CD/FLAC. Rodrigo y Gabriela, 11:11, EMI Music Poland 5651702, CD/FLAC. The Ray Brown Trio, Summer Wind, Concord Jazz CCD-4426, CD/FLAC. Tri Continental, Live, T&M 020, CD/FLAC. Japanese issues available at [REKLAMA5] To be precise Diamond Server visited me not just once but twice. During its first visit it played paired with (I mean except for my own system) recently reviewed system (DAC + mono amplifiers) from Lampizator. Second listening session (that lasted another two weeks or so) was performed using a Taiwanese D/A Converter COS D1 (9000$) and with another Lampizator, but this time Big 7 instead of Level 7. Server is delivered in a very solid case with Amare Musica logo on it. It again shows an approach of Amare to everything they do – they offer top quality product and customer is supposed to know that from the very first moment, very first contact with the product – an the first thing he lays his eyes on is... the packaging. Looking at this case, no matter if it was brought personally by manufacturer to a customer leaving in the same city, or traveled to the far end of the world, new user will feel assured that nothing could have happened to his new purchase while in transfer. Inside the case one will find, apart from the server itself, a power cord, a remote control, and a manual. I almost forgot – there are, obviously, also these beautiful anti-vibration feet, that user has to screw on the bottom side of the device. I've been using Paweł Franc Skulimowski's Ceramic Discs for some years now, and I truly appreciate how effective they are, so I also fully understand and support Amare's choice for their product. I also like it very much, that two Polish companies, offering great products, work together. As I already mentioned (probably more than once) Diamond looks fantastic. Solid, perfectly made chassis, these two (placed next to each other) beautiful, so easy to read OLED displays, and this whole bunch of high quality connectors on the back build trust from the very first moment one lays eyes on Diamond and suggest that this is a top-class device (although the final judgment on that can be passed only after assessment based on listening session). There are no manipulators on the front panel – Diamond is controlled exclusively via remote control, either with its own remote, or using one of many apps installed on a device (tablet, smartphone, computer) of user's choice. Rear panel sports power inlet with main ON/OFF switch, 1 GB LAN port, 4 USB ports (two upper ones should be used as audio outputs for USB DAC, two lower ones to connect external music storage, like HDD or USB pen), plus one of: AES/EBU, COAX and BNC outputs. The latter three provide PCM signal up to 24 bit / 192 kHz, and DSD64 (DoP – to play such files one need a DAC that accepts DoP DSD signal). USB might transmit PCM signal up to 32 bit / 384 kHz, and DSD64/DSD128. User has to spent few minutes on a setup of the device before playing music. If and external USB disc is to be a source of data (presently it has to be a FAT drive, although Amare plans to release an update to the device's firmware that will allow users to use also NTFS formatted drives) one has to connect it to one of the USB ports marked as DATA USB, than within menu point it out as the source of data and finally update Diamonds database. The latter might take some minutes, depending on the number of music files but after it is finished, one might start to play the music. Those who plan to use some device connected to their LAN (NAS) as a source of music need to connect Diamond to this LAN, than choose this device as a source of date in server's menu, input necessary data (IP, login, password), and finally update server's database. One more thing – those who use USB DACs that do not require 5V might turn it off in Diamond's setup. After that USB will deliver to DAC only data and no power. This often results in a better, purer sound, but it is always worth trying in a particular system. I, as a source of music files, used my NAS (working as Samba server). As my primary control device I used an Android tablet with app called Mupeace (app for iPads is called MPaD, and for iPhone - MPoD). Diamond works also with UPnP clients, which allowed me to use also Kinsky (from Linn), and according to Amare one can also use other apps from Lumin or Auralic but also a Jremote (if one uses a computer with Jriver as the source of signal). This is a huge advantage of Diamond – user might easily find an app that will suit one best, instead of being forced to use one particular application prepared or suggested by server's manufacturer. The one and only option (offered by most competitors) is fine as long as one finds the particular app suiting, if one doesn't... Well, I at least, love to have a choice. Obviously Diamond does not have its own sound – it reads data from music files and translates them into digital signal understood by DAC. To make things simpler though, I will surely write about how it “sounds”, which translates into “how this particular DAC sounded like when received signal from Diamond”. The best way to assess how good Amare Musica is would be a head-to-head comparison with top Aurender (for example) server. Diamond's creators boldly claim, that their device can compete with top competitors available on the market. I would love to do it that way, but I simply didn't have Aurender at my disposal. So I did the next best thing – I compared it to my dedicated passive, audio PC with Jcat USB card with Bakoon battery power supply (and latest Jplay). In fact this computer is my main (I mean apart from a turntable) source, so I know exactly how it “sounds”. With most DACs it sounded best when I used Berkeley Alpha USB Converter, but both, COS D-1 and Lampizator Big 7 sport really great USB inputs so Bada Alpha was left out of the equation this time. I wrote down my first impressions when I replaced my PC with Diamond: even more black background, clearer, more distinct sound, more intense colors, even more expressive sound. I noticed these differences immediately and they were pretty obvious. I switch sources back and forth just to make sure, but result never changed. These improvements usually are result of a better, “cleaner” power – so my guess was that Diamond's power supply section was one of its strengths. After those first impressions, next followed. The “inner-coherence” of the sound got surely better, all elements seemed to fit better with others, worked better together. Presentation seemed “calmer” but still very dynamic and expressive. The easiest way to describe the difference between the same material played from my PC via Bada Alpha and the one played from Diamond Server would be to say that the latter was even more... accurate. It was not about some dramatic changes/improvements of particular sound features, but rather about small, sometimes even subtle improvements of almost all of them. None of them was particularly important, worth much attention, but all of them together introduced a significant improvement of the performance, I could even say – they introduced a new level of sound quality. That is probably the best way to describe what switching my PC to Diamond Server really did to my system. It was obvious that Amare Musica product was a significantly better source then my, quite good actually, computer. It was clear already when I played a “regular” 16/44 PCM file with fantastic, solo concert of McCoy Tyner. His piano was, with Amare, more vibrant, sound, for a lack of a better word, was... deeper, also cleaner, with more air around instrument, with room's acoustic presented in a clearer way. None of this improvements was significant on its own, none alone offered a jaw-dropping experience. But each of them played its small role and together they created more natural, more palpable picture. Going back to my PC really hurt... Difference was not that significant when it came to Jackson's Dangerous, despite the fact that this time I used 24/96 files. It was another proof that it is not just the resolution of the file that ensures higher quality sound. As for a pop album, which Dangerous surely was, it offered really nice sound quality, in our audiophile terms – let's say it wasn't bad. The improvements I observed this time included better transparency and I also thought that the presentation became more orderly. But there was something else, that I thought improved more significantly – dynamics and speed of the sound, especially when it came to these faster tracks based on a fast, powerful bass – these ones sounded really good. Having learned how dynamic and how fast this presentation can be I decided to play an album of my favorites - Rodrigo y Gabriela. „Two acoustic guitars, really?” – some of you just asked… Well, I can't really shake off the memory of a fantastic concert these two gave in Stodoła in Warsaw. Each time I listen to one of their albums I look for this explosive dynamics and expression they presented during live performance using... yes, just two, acoustic (although amplified) guitars. Nothing matched live performance yet, that's obvious, and the best reproduction one might get comes from vinyl records, but it was obvious that Diamond paired with Lampizator offered the best “digital” version I heard so far. There was a lot of this amazing energy I experienced live, surely enough to not let me sit still in my chair and just listen, I had to react, participate, actively enjoy this intense, vivid performance. I particularly liked the way Gabriela's guitar used a percussion instrument, sounded like, being fast, powerful, just as I remembered it from the concert. One of the best sounding files I have, the HRx from Reference Recordings, proved again their very special quality. It is true that they sound at least good on any system, but in this particular case this amazingly black background exposed, or emphasized how tuneful these recordings were, how much more expressive (comparing to playing them from my PC) they sounded. These features combined with this almost overwhelming dynamics I mentioned already a few times, allowed Mozart and Rachmaninow to sound so powerful, so vigorously as I never heard them before. Yes, I realize that such description might sound a bit exaggerated. And in fact described differences were not that big, but big/significant enough for me that after I switched back to my PC (that I'd enjoyed so much until this test) I thought something broke in a system, as it sounded flat, lifeless and so much less real. Last but not least, DSD files – the ones that make Lampizator DACs so unique and so good sounding. Having tested both, Level 7 and Big 7 DACs I can tell, that even with PCM material converted into DSD they both sounded damn good, and when it came to original DSD files it got even better. Interestingly with DSD files the difference between playing them from my PC and from Diamond was smaller than in case of PCM files. I was under impression that there was a bit more air in the sound (at least in acoustic recordings), timing seemed to improve a bit too, but these were much less significant differences than before with PCM format. Why? I do not know. Maybe the separate circuit for DSD playback in Lampizator is less sensitive to the quality of input signal? Or maybe there was some other reason – it didn't really matter that much. It was important that also with DSD files there was some improvement in sound quality when Diamond replaced PC as a source of signal – in high-end audio every, even smallest improvement is important, right? I guess that your library, same as mine, consists mostly of PCM files and with them Diamond offers the bigger improvement. That lesser, but noticeable improvement offered for DSD files one should treat as additional bonus (and it might be bigger with other than Lampizator DAC). Summary This is not the first time I am mentioning this – we live in such times, when a music fan might buy almost complete audio system made in Poland, and not just any system, but a truly high end one. We have to wait bit more for top-high-end products but that day will also come. Today one can but all Polish components of a high end system except for a cartridge and headphones. Everything else is available. Amare Musica Diamond Server is another element of this puzzle. With brilliant fit&finish, multiple control options it delivers highest quality signal to the D/A Converter of its user's choice. This product is surely addressed first of all to the users of high quality USB DACs that accept both, PCM and DSD signal. They will be able to use the full potential of this server. Nevertheless it is not a But having a USB DAC is not a must for Diamond user, as this devices offers a full range of digital outputs that will deliver a PCM signal up to 24bit/192kHz to any DAC, although again, the higher quality DAC the more it will benefit from quality signal from this server. Regardless of the choice of digital output what we get is a high quality digital signal and it is up to the D/A Converter to make the best use of it. It is truly user-friendly device regardless of what app one uses and on which operating system. Server's software is under continuous development so it is and will be getting even better. During my time with Diamond I pointed out to designers a few thing I would change so the operation is even more intuitive – gentlemen wrote down my remarks and promised to introduce at least some of them. They told me also about their next idea – a state-of-the-art version with a separate, battery power supply for the most demanding customers. Another future model will probably sport hard drive(s) for music storage. It is obvious that these two guys have their heads filled with ideas and I'll keep my fingers crossed for the successful implementation of as many of them as possible/reasonable. We still don't have that many Polish audio manufacturers who's products are appreciated abroad. Diamond Server is another product of Amare Musica that surely will be noticed and appreciated not only in our country. Amare Musica Diamond is a so called music server. Unlike, for example, Aurender, it sports no build-in hard drives for music storage (only a single SSD drive that stores device's operating system and logs of all events that might help in case of any troubles needing solving). It is designed to play music from external storage – data might be delivered directly from external drive connected to device's USB port or via Ethernet. The device is made in Poland. The chassis is precision-machined of 10mm thick aluminum slates. This product is also a great example of a cooperation of two Polish brands, as Amare uses Franc Audio Accessories anti-vibration feet for their server. There are no knobs or buttons on the front of the device – just two, center placed OLED displays. The control of the device is carried out via (also precisely machined from aluminum) remote control, or via one of many apps available for Android, Windows, or iOS devices (tablets, smartphones, computers). I found these two OLED displays first of all really nice looking, and secondly easy to read even from some distance. User might change the graphic form of the information displayed (I mean choose for those available). Basic setup uses the left display to provide user with information on tracks title and artist, time of the presently played track and the whole album. The right one displays album's title, information about file's format and its parameters (sampling frequency). User may choose between three pre-defined ways the information is displayed, both displays can also be dimmed completely. Rear panel offers an abundance of connectors. Next to power inlet with integrated ON/OFF switch and main fuse, there is a Ethernet (1 GB) port, four USB ports (two of them should be use to connect external hard drives and other two as outputs for a DAC – they are clearly marked so user won't confuse them), and one of coaxial SPDIF, BNC and AES/EBU outputs. Creators of this device decided to use Linux as an operating system for the server, which means (among other things) that there is no need for USB drivers for D/A Converters. I tried it out with few different DACs and had no problem with any of them. You can read as much information as designers want to disclose in the “A few simple words...” section. Let me add that obviously the external design of the server seems to be very successful as some customers asked Amare Musica to prepare the same kind of chassis also for their preamplifier and amplifiers. Also the next products that will soon join the line up – DAC and phonostage – will sport a Diamond-like chassis. Parameters (according to the manufacturer): Inputs: Ethernet (RJ-45) 1GB, 2xUSB 2.0 Digital outputs: - BNC SPDIF, RCA SPDIF, AES/EBU – delivering PCM signal up to 44,1 kHz-192 kHz, 16-24 bits, and1-bit, 2,8 MHz (DSD64) (assuming DAC accepts DoP signal) - 2xUSB Audio Class 2.0: DSD/PCM (Ultra Low Noise Power Supply 2000 mA), deliver signal of: 16-32 bits/ 44,1 kHz / 48 kHz / 88,2 kHz / 96 kHz / 176,4 kHz / 192 kHz / 352,8 kHz / 384 kHz, and DSD×64/2,8224 MHz/ DSD128/5,6448 MHz The main board is custom made for Amare Musica Two OLED displays XMOS processor working at 500 MIPS Ultra-precise oscillators on a four-layer, gold-plated circuit board Chassis made of 10 mm thick aluminum Anti-vibration feet Dimensions: 430 x 350 x 110 mm (with feet) Weight: 14 kg (with case - 21 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/1503/Amare/th/05.jpg" big="foto_testy/1503/Amare/05.jpg" src="foto_testy/1503/Amare/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/06.jpg" big="foto_testy/1503/Amare/06.jpg" src="foto_testy/1503/Amare/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/07.jpg" big="foto_testy/1503/Amare/07.jpg" src="foto_testy/1503/Amare/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/08.jpg" big="foto_testy/1503/Amare/08.jpg" src="foto_testy/1503/Amare/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/09.jpg" big="foto_testy/1503/Amare/09.jpg" src="foto_testy/1503/Amare/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/10.jpg" big="foto_testy/1503/Amare/10.jpg" src="foto_testy/1503/Amare/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/11.jpg" big="foto_testy/1503/Amare/11.jpg" src="foto_testy/1503/Amare/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/12.jpg" big="foto_testy/1503/Amare/12.jpg" src="foto_testy/1503/Amare/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/13.jpg" big="foto_testy/1503/Amare/13.jpg" src="foto_testy/1503/Amare/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/14.jpg" big="foto_testy/1503/Amare/14.jpg" src="foto_testy/1503/Amare/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/15.jpg" big="foto_testy/1503/Amare/15.jpg" src="foto_testy/1503/Amare/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/16.jpg" big="foto_testy/1503/Amare/16.jpg" src="foto_testy/1503/Amare/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/17.jpg" big="foto_testy/1503/Amare/17.jpg" src="foto_testy/1503/Amare/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1503/Amare/th/18.jpg" big="foto_testy/1503/Amare/18.jpg" src="foto_testy/1503/Amare/18.jpg" desc="HighFidelity.pl"] [/hfgallery]

here is not too many people like Mr Shirokazu Yazaki. I was tempted to write something like: are extremely rare, but I managed to hold myself back. He is an engineer with impressive education and immense practical experience with both, analogue and digital devices. He created such a remarkable devices like TEAC A-7300 reel-to-reel, high quality cassette recorders including Pioneer CT-95, he is also behind the best multi-format DVD-Audio/SACD Player, Pioneer V-AX10. What's more, he's also a brilliant manager who lead large teams and large companies for years as he did for 17 years for Pioneer Corporation where he was in charge as a group leader or a manager in the engineering department of mainly cassette tape recorder, and later as the general manager of DVD engineering department. He shared the story of his life with „High Fidelity” Readers in the article My private history of audio. And on top of all that Mr Yazaki is a music “addict”. Want more? - No problem: in his private life Shirokazu-san is a great fan of tubes, SET amplifiers and horn speakers. To share his experience about the wonderful sound of extremely rare tubes with a wider group of music lovers he decided to build, together with his friend Honda-san, class D amplifiers that would sound like the best tube ones. Let me remind you that both gentlemen worked together for Pioneer, but beginning 20th century Honda-san left with his family for USA, where he took up the job in International Rectifier, a manufacturer of semi-conductors. He developed a class D amplifier for this company. Soon after a third engineer joined these two - Banno-san, today a chief engineer of SPEC Corporation, they found proper oil coupling capacitors and finally designed and manufactured the class D Real-Sound Amplifier. I was lucky to reviewed the first unit that came to Europe and ever since I couldn't shake the memory of this immensely dense, rich sound and how wonderful music sounded when played via this amp. It was the first time when I saw something more in the “switching-mode ” amplifier – its sonic signature truly offered a resemblance to very expensive tube amplifiers, thus realizing the main goal formulated by its designers. Today company offers three integrated amplifiers: RSA-F33EX, RSA-M3EX, RSA-V1EX and the latest, RSA-717EX, phonostage RSQ-S1EX, and a fascinating turntable GMP-8000. So one could build almost a complete system with SPEC devices. SPEC does not offer their own loudspeakers. They use (I dare to take some credit here) Kaiser Acoustics http://www.kaiser-acoustics.com and Amphion ones. The line-up is completed with oil and mica capacitors of the MC-DA line which is quite unusual for a manufacturer of very modern components. But once we realize that Shirokazu-san loves tube amplifiers all become clear. As he told me finding right capacitors was a key to realizing his concept of Class D amplifiers sounding like best tube ones. He chose oil caps, once produced by WEST-CAP, and presently offered by Arizona Capacitors. These capacitors became sort of a central element of the whole design of a new product, I haven't even mentioned yet - Real-Sound Processor. I was the first non-Japanese who had a chance to try this product out in his own system and it took me quite some time to realize what this small box did for the sound. Falling in love with it was in fact only a matter of time. RSP-101 http://www.highfidelity.pl/@numer--40&lang= is a small, wonderfully made wooden box with a pair of speakers posts. And that's it. One connects it with loudspeakers posts in parallel with speaker cables. Once I did it, what I heard took me by surprise and forced me to give it a serious thought. I repeated this experiment again some time later, when I received a newer version, model RSP-501EX. I was truly honored by a fact that I received the first pair ever produced, with serial numbers 0001/0002. And again – impact on sound was even greater. Mr Shirokazu Yazaki describes Real-Sound Processor as „Impedance Compensator” that works in a similar way as loudspeaker's crossover. But unlike them it is a more versatile product, as it might work well with many different speakers and amplifiers. In theory it should do a good job for all solid-state amplifiers, including those in Class D and loudspeakers with “difficult” impedance curve. But experience shows that it always works. As my reference power amplifier I use Soulution 710 that offers uniquely high damping factor and a very fast signal risetime. M40.1 loudspeakers, my personal favorite, offer relatively (at least in theory) friendly impedance curve. And yet the RSP-501EX, that I've been using for quite some time now, turned out to be a fantastic, natural partner for this duo. More about this “magical box” in its latest incarnation called RSP-901EX directly from Mr Shirokazu Yazaki. Shirokazu Yazaki SPEC CORPORATION | Director/Engineering In the photo: Mr Shirokazu Yazaki (second from the left), Mr Banno (in the back) and people from International Rectifier, listening to SPEC amplifier. I’m so happy to have the chance for talking about the latest Real-Sound Processor, RSP-901EX, because that it is not only our new product but also might be the ultimate improved model I have ever developed and I hope it would be a good news for all of music lovers live in overseas. The operating principle of “Real-Sound Processor” had been made in public on the Japanese specialized magazine named MJ, “AUDIO TECCHNOLOGY” by Mr Yasui throughout 1971. He just drought out this concept as “ Impedance Correction” for speaker. Yasui-san was a senior amateur researcher and a person of authority of semiconductor linear amplifier. At that time he got into the conclusion that only the pursuit of improving the static characteristic of power amplifier could never bring the superior sound. And also he set up the importance of amplifier’s dynamic characteristic including the actual movement of speaker to get musical sound. But still right now, after more than 40 years passed I regard his view point as an excellent insight and much further a relevant challenge for the present “audio-technology”. Sorry to say, I should recognize we only know the improving the dynamic characteristic of the system consisted of amplifier and speaker might be an extremely important factor for getting superior sound quality. For that matter, we are not able to reach at an effective measuring method to be fixed the dynamic behaviors and also expose the real relations between the characteristic and our hearing. I suppose, so many reasons might exist. But one of the major difficulties of analysis of the dynamic characteristic would be speaker itself. Needless to say, speaker is the transducer which converts some electric energy to kinetic motion. But if I were to say frankly, this transducer would be a collective of imperfect characteristic for being driven by amplifier. How fluctuant the impedance frequency characteristic is, you know. Yes it might be quite simply the hard load of amplifier. But also you should remind one more thing, “Counter-electromotive Force” of speaker. The motion of speaker is started in the magnetic circuit or voice-coil of the unit by the current be flowed from amplifier on Fleming's left-hand rule and at the same time this motion raises up counter-electromotive force in the voice-coil by Fleming's right-hand rule. It is true that amplifier drives speaker, but would be the fact that speaker affects amplifier by this counter-electromotive force. And this counter-electromotive current returns to the amp via the speaker cord, making it difficult to drive speaker in accordance with the input signal. And this current causes negative effect especially on the traditional semiconductor linear amplifier. . Since the transfer function of semiconductor is poor in linearity compared to tube, this type of amplifier inevitably needs correct the static characteristic by performing negative feedback circuitry. But this negative feedback makes the amplifier stage vulnerable to the counteraction, counter-electromotive current from speaker, causing complicated phase delays inside of amplifying stage. Needless to say, this physical phenomenon hurts the sound quality of the audio system including amplifier and speaker. Because again, our “Real-Sound Processor” has two major functions, one is making an improvement to reduce the fluctuations of speaker’s impedance frequency characteristic. The other is absorbing that counter-electromotive current from speaker including network composed of some inductors. Accordingly, the processor makes amplifier possible to drive the speaker more faithfully for sound source, improving the sound resolution and the start-up, also reproduces natural resonances. Above all you could find out the deep, rich and fascinating tonal characters you have never experienced before and also agree how amplifier could drive speaker easily!! I had tried so long time to seek out improving the sound quality of “Real-Sound Processor” and learned that only the tonal or the sound quality of the parts, resistor and capacitor decide the sound itself. You should recognize that the perfect characteristic resistor and capacitor has never existed at all ages and countries. For example, capacitor is consisted of mainly capacitance, small quantity of resistance and inductance. Also we should remind the matter of material’s physicality. Sometimes when I make hearing tests for capacitor, I feel the unique tonal character of dielectric material or electrode itself. But fortunately early 2014, I met up with the outstanding quality parts. It was the highest quality and state-of-art hermetic seal oil-filled capacitor, named “Green Cactus” series made in USA, by Arizona Capacitors, Inc. This type of capacitor could make it possible to get the live and natural sound of new “Real-Sound Processor”. And in this summer we released RSP-701 for our domestic market. And now thankfully, 701 is the successful product in the field of audio-accessories. By the way, language above all Japanese is far away from European language. They say that Japanese is vowel sound but compared to this Japanese, major European language is made of consonant. And this consonant is surely consisted of high frequency spectrum. So I supposed that European might have more sensitive hearing for high range than ordinary Japanese and determined to change to another “Green Cactus”, it reproduces much finer mid-to-high range. And also I converted the resistor adopted in 701 to another one which has the smoother and more open air character. As well, please pay attention to the appearance of RSP-901EX. It’s like a jewelry box made of real spruce from north America with string instrument’s color. And 901EX’s box is produced by famous “Shirakawa Co., Ltd” at Hida-Takayama, beautiful historic town. You will see also woodworking is the Japanese traditional handicrafts. I believe firmly that RSP-901EX could bring out the full potential of your system and you could fully enjoy the “Real-Musicality” through “Real-Sound” of 901EX!! SPEC in „High Fidelity” • EDITORIAL: My private history of audio | Shirokazu Yazaki, see HERE • TEST: SPEC Designer Audio REQ-S1 EX - phonostage, see HERE • TEST: SPEC RSA-V1 – integrated amplifier, see HERE • TEST: SPEC RSP-101 - Real-Sound Processor, see HERE Test was performed as an A/B/A comparison, with A and B known. There were few stages of this test. First I compared RSP-901EX with two previous versions: RSP-101 (No 0029/0030) and RSP-501EX (No 0001/0002). Then I listened to my system with and without RSP-901EX. The boxes were connected with speakers using short (around 60cm) runs of Oyaide Tunami speaker cable and were placed on Harbeth M40.1 bases. To even better decouple them from the ground I placed them on small Acoustic Revive TB-38H platforms; I use one of these under my power strip – it really works! For the test I used following power amplifiers: Soulution 710, Accuphase E-470, Accuphase A-70, SoulNote SA730, Chord SPM 1200 MkII and Audio Research Galileo GS150. Recording used for this test (a selection) Depeche Mode, Delta Machine, Columbia/Sony Music Japan, SICP-3783-4, 2 x CD (2013). Emerson, Like & Palmer, Emerson, Like & Palmer, Island/Victor VICP-78001, “7-inch mini LP”, Platinum SHM-CD (1970/2014). HotS, Harmony of the Spheres, V-Records 377083, CD (2015); Milt Jackson Quartet, Statements, Impulse!/Universal Music (Japan) UCCI-9088, “More Best 50”, No 38”, CD (1961/2001). Shota Osabe Piano Trio, Happy Coat, Lasting Impression Music LIM K2HD 031, K2HD CD (2002). 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). Thelonious Monk, Solo Monk, Columbia/Sony Music Japan SICP-30247, Blu-spec CD2 (1965/2013). Wes Montgomery, California Dreaming, Verve/Universal Music LLC UCCU-9245, “Jazz The Best 1500. Part II, No. 45”, (1966/2006). Yonin Bayashi, Golden Picnics, CBS/Sony Group CSCL-1245, CD (1979/2015). Japanese issues available at [REKLAMA5] No matter how “crazy” or “snake-oil-like” such products might look like to skeptics, they are usually based on a solid scientific knowledge and measurements. Especially when it come to Japanese products. Over the years I learned that Japanese manage to combine solid facts, modern technologies with things that, at least at the first sight, seem to belong to the world of magic. An example? How about Mr Ken Ishiguro, chief of Acoustic Revive, who made a quartz crystal one of key elements of his products. And as one can easily check, all his products are supported with serious scientific research and measurement's results. Despite the facts lots of hardheaded engineers treat such products as snake-oil that won't help, nor harm any audio system(more HERE). But they are simply wrong! Knowledge gained through experiments plays a great role in audio. Which is obvious once one starts to use such a fantastic product as RSP-901EX. Product created by such an unusual person as Mr Shirokazu Yazaki. No matter what one thinks about such product one has no ground to doubt competency of Mr Yazaki as a skilled, experienced engineer. „Real-Sound Processor” introduced to the sound depth and serenity. Smoothness and richness. These changes I mentioned are not limited only to tonality, or dynamics, or resolution of the presentation (although how much more resolving presentation becomes might be easiest to recognize). In fact it introduces deep, structural changes to the sound, reconstructing its very fabric from inside. All these superficial differences, I mentioned, very easy to notice. But I think that these changes are different from what other amplifier, source or loudspeakers introduce to the system. It reminded me of what a complex approach to the problem of vibration in the system, by using high quality anti-vibration rack, placing each component on a platform and so on, can give user in terms of system's performance. The impact on sound of the first version of RSP, model „101”, I perceived as the sound getting darker. Each time a newer model replaced older, so when I changed „101” to „501”, and now „501” to „901”, this effect was getting stronger. I noted this aspect in particular because it shows how complex system our hearing is, and how insufficient, how simple is our vocabulary when it comes to describing it. Why would I say that? Because the easiest way to describe Mr Shirokazu's “correctors” would be to say that they change frequency range by limiting the top extreme, the treble. That's what subjectively listener feels like at the beginning. But the more experienced one, given it some time, would realize soon that there is in fact more information in the top end, not less. With „901” much more!. It is an extraordinary experience – comparing sound of my system with and without „101” I could easily recognize that the level of background noise was lower and thus there was more information in the sound. „501” worked in the same way and the results were even better. „901” is another step in the same direction, or maybe even a huge leap which makes it sound like a totally different product and not just an enhanced version. It results in a much better differentiation of events on the soundstage. Everything happening deeper into the stage becomes more clear, more distinct. Drum sticks hitting drums echoed somewhere in the back of the hall on Milt Jackson's album, which became much clearer with “901” in the system. Thelonious Monk's piano seemed even bigger, more three-dimensional than usually because of a more audible response of the surrounding environment. The Solo Monk album seems to be recorded in a very direct way, with microphones placed almost inside piano's body. And maybe that's how it actually was recorded, but with „901” presentation included also more information from outside the body. In the Welcome To My World opening Depeche Mode's album Delta Machine there is some short reverb added to Dave Gahan's voice. One can hear it even without Japanese boxes but when one lets them do their job one finally realizes why this reverb was added – it was done to create sort of a “buffer” around the voice – this way voice didn't have to be loud to be well heard. Without SPEC device vocal was placed deeper in the mix and it wasn't so well defined. The latest version of RSP enriches the sound, makes it deeper. Listener has an impression of much, much more controlled presentation. But, to be fair, sound without RSP seems more direct, with more powerful attack phase. Once we connect RSP-901EX to our speakers we quickly realize that without it presentation is “simplified”, not to use the term “ordinary”. I'd like to point out that I truly like the sound of my system. I think it performs really well even without these “processors”. But any improvement in our system becomes obvious when we compare it with something else – that's the best way to find ways to improve what we think is already great. So please, remember that everything I described is a result of comparison “WITH” and “WITHOUT”, and not description of sound itself. In this particular case good systems with be still good both “WITH” and “WITHOUT”, but do not count on these processors to turn a not so good system into a fabulous one. This product's job is not to compensate for flows of a system, but rather to let it sound even better. Summary Exactly on the day when I took photos for this text and wrote the summary we had a partial (3/4) Sun eclipse in Poland. In Cracow it started at 9.44 A.M., the maximum eclipse was at 10.53, and it ended at 12.04. Photos I took are time-stamped at 11.00 and there is my daughter on one of them looking at the Sun through an X-ray photo. There is something mystical about how drown we all are to the star that gives us life. Already the Ancients knew that and today we know it even better as we know much more about how it all works. If today such an ordinary (in a cosmic scale) event initiates such a huge, almost primal emotions, how powerful these had to be for our ancestors?! It works in a similar way with accessories like RSP-901EX: we know how they work, what's the scientific background, and yet hearing them work still comes as a surprise. It's even more so because they change an already good performance into even better, more refined, more dynamic, smoother and yet offering even more information in the top end and lower bass. Each version of a Real-Sound Processor works very well, but each one delivers even better performance then its predecessor. Now I don't have a problem with selling „101” and „501” and let them serve other music fans. I am going to keep „901” for myself because it is simply the best one in what it does. MICRO-REVIEW Microphone cable BELDEN 8402 Speaker cable AMERICAN INSULATED WIRE CORPORATION WE16GA Tubes, turntables, loudspeakers – it is fascinating how some ideas existing in audio world for many years, come back to us, re-thought, build using newer, more advanced materials and tool, and often even better sounding than ever before. The „vintage audio” trend is today one of the strongest, most vivid ones in a world of a perfectionist audio. It offers something lasting, timeless. Today when buying the latest D/A Converter we may be sure that it is already outdated, because companies already work on higher sampling frequencies, new, more sophisticated filters and so on. It is different when it comes to „vintage audio” - whatever presented high value and good performance 20, 30 or even 40 years ago, today should offer similar value and performance. Mr Shirokazu Yazaki is a flesh&blood engineer who is not afraid of the newest inventions, solutions and technologies, who even participates in creating them. He does it though, in his own way using what he knows to be good. Only by being aware of the past we might build the future, so to speak. His choice of cables for his own, private audio system with tube amplifier with unique tubes and horn speakers complements this particular setup. He uses Belden 8402 IC and NOS Western Electric WE16GA speaker cable (more HERE). I received both as a gift from Mr Yazaki, who asked me to share my impressions with him on these products. I compared them to my reference cables: Siltech Royal Signature Series Double Crown Empress IC and Tara Labs Omega Onyx speaker cable. It didn't take me much time to realize that my cables offered significantly better performance. Belden and WE could not compete in terms of resolution, selectivity and they also limited frequency range on both ends (treble and bass). There is a slight emphasis on a mid-bass, and it is not equally well defined. What I found interesting about these cables was that they both acted the same way, like they came from the same manufacturer. So it is not a universal rule that every „vintage” product sound better than those from current production. If I understood Mr Yazaki correctly he did not claim that these were the best cables he knew, but rather that with these two he found sound features he was after. So apart from comparing their sound with the sound of cables from current production, I wanted to find out what it was exactly they offered, that made them one of the kind for Mr Yazaki. And again – when I asked the right question it didn't take me long to find an answer. Both cables offered amazingly rich, “mature” midrange – so incredibly good that the only comparison I could think of were the best amplifiers with Western Electric 300B triodes on board. Please notice – it is not about THE BEST SOUND in general, but THE BEST SOUND OF THAT KIND. The one that many of us could live with happily ever after. Sound is remarkably palpable, it is presented close to the listener, it is immersively rich. It's been a while since I heard such an incredibly rich sound here. Mr Yazaki wrote about how „organic” his system sounded like with these cables and now I knew what he meant – it was absolutely remarkable. These cables offer a wonderfully coherent presentation with properly balanced proportion between basic sound and harmonics. They are also phase coherent which results in fantastic spacing effects. Both IC and speaker cable are remarkable, not the best ones there are, but the only ones of their kind. YONIN BAYASHI ISSHOKU-SOKUHATSU Toho Records/Hagajure UPCH-20015, CD (1974/2002) GOLDEN PICNICKS CBS/Sony Records CSCL 1245, CD (1976/2015) We live immersed in music. Due to the second wave of digital revolution in audio that happened initially thanks to mp3 files and later was carried forward by portable Apple players, the access to the music is so much more common then ever. The third stage of this revolution is streaming – official reports state that sales of music on physical medium decreases, but, which is surely surprising, also incomes from selling music over Internet systematically decreases. The sector that is growing rapidly though, is streaming of music. An easy, common access to information, and that's what music is after all, has it's “Dark” side – it eliminated “central” sources of information on music – specialized magazines played hat role once. Today there are thousands of different websites about music to be found on the web, most of them really useless, some with interesting information, but it makes it difficult to find reliable info on music that interests us. There is a bright side of things – a “bigger”, more differentiated views spectrum, on the other hand – that means a lower “average” level of available information. I think that we might be facing another “age” of „gurus” and specialists. People left in a vast space sooner or later, after initial euphoria, realize that they actually are left alone. So a natural reaction is to look for some sources of knowledge. My sources are paper magazines, radio, concerts and friends. Most information about music comes from radio and my friends. Without a friend in Japan I would probably never get to know the music of Japanese progressive group called Yonin Bayashi. I received two albums of this group from Mr Mark M. Suzuki, the chief engineer of Accuphase. It all started with him noticing a photo of Accuphase E-470 amplifier (in my review), with the Kameleon Records release of Skaldowie on top of it. As already mentioned, Yonin Bayashi play progressive music. "Yonin" actually means „four people”, "Bayashi" are musicians playing traditional Japanese music. Their first album, Isshoku-Sokuhatsu, was released in 1974, which means something like: “a scary crisis”. Text is sang in Japanese and music reminded me a bit of Emerson, Lake & Palmer. Golden Picnicks is their second album, released in 1976. Suzuki-san told me that his wife loved the last piece of this album, a beautiful, instrumental A song for lady Violetta. Also on this album all texts are in Japanese. Music on this album seems to foretell what only three years later (in 1979) Pink Floyd proposed on their famous album, The Wall. Interestingly on the cover of Golden Picnicks one might find a date: 1979… Sound quality of both albums is really good, I would say that quality of Isshoku-Sokuhatsu is very good, and of Golden Picnicks extremely good. I also truly enjoyed this purely progressive music. At the beginning the Japanese language got me bit confused but later it became inextricable part of this music. I'd recommend these albums to any true music fan who appreciates good music. These digital re-issues were created for Japanese market but I'm sure that one might find a way to acquire them. And if you do – please remember that credit for the discovery of this music goes to Mr! I thank him by sending him new remasters of progressive albums of Niemen and Skaldowie from 1969, recently released by Kameleon Records. I hope he will like them… Sound quality: Isshoku-Sokuhatsu - 7-8/10 Golden Picnicks - 8-9/10 YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? JOIN US ON TWEETER: UNIQUE PHOTOS, UP-TO-DATE INFORMATION, NEWS!!! 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dwin van der Kleij, the owner of Siltech, is a great fan of speakers designed by Franco Serblin. Over the years he bought all his designs with Sonus faber logo, and later with Franco Serblin one, too (see HERE and HERE). As he told us during Cracow Sonic Society meeting in Cracow, death of Mr Serblin was a huge shock for him and a great loss for audio industry. Edvin appreciates Franco's speakers for the same set of features he also loves dCS products (Vivaldi and Puccini) for - make&finish is very solid which gives a user certainty that they will work very well for years, they are based on solid engineering, and there is one more element – this little spark of talent of their creators that makes them so special. Despite his love for all Serblin's creations Edwin has his own favorites with the brightest star of them all – the Electa Amator II. As you probably know, Janusz, one of the hosts of CSS meetings, owns these speakers despite the fact that they cost less than cables in his system. What makes this model so unique? A combination of a perfect cabinet with high quality drivers and refined crossover. And while the latter is often modified to make these speakers sound even better, even the basic version makes these speakers sound remarkable – one can use them with system that is several times more expensive and still they don't have to be the weakest link in such system. One of the elements that made Franco Serblin's products to stand out among other speakers, was a unique cabinet made of wooden planks. Such a cabinet was build for the top model Guarnieri Homage, but also for relatively inexpensive models like Minima Vintage. One could call it “Italian style”, because it is Italians who are capable of turning such a design into art. There are a lot of speakers with wooden cabinets – most of them don't look particularly attractive, and even less among them perform well. Italian speakers being an exception here. As it turns out it is not really about where such speakers are made but rather about who makes them. Just take a look at Xavian Perla loudspeakers and you will immediately recognize similarities between these speakers and creations of Franco Serblin, that result also in similarities of their performances confirmed during listening sessions. Man behind Xavian is Italian, Roberto Barletta, who lives in Prague in Czech Republic. This explains why a very nice, well made manual starts with an Italian version. These are small, two-way monitors, sporting wonderful, wooden cabinets made up of perfectly fitting planks of solid Italian walnut (that are actually imported from Italy). Low- and midrange is delivered via 150 mm driver with polypropylene cone and solid, moulded basket. Tweeter is a 26 mm soft, silk dome. Both are custom drivers made in Italy. It is a front-vented cabinet, but not with a classic, round b-r port but rather with a slot-type placed below woofer. Roberto decided to use magnetic grills for an aesthetic factor. Dimensions of these speakers are similar to those of above mentioned Minima Vintage Sf. Perla represents a new line of Xavian products, called Natura. Another product from this line is a high-end monitor called Orfeo, and the next model to be released will be a floor-stander. Perla premiered in Poland on May 29/30 in Gdańsk in Premium Sound showroom. Roberto Barletta was present and he described his new design as follows: Perla is a compact two-way speaker with front bass-reflex. The cabinet is made of solid Italian walnut with a structure that we call "mosaic". The magic of Perla catches you at glance: just admire and touch her. Fascination becomes euphoria when she starts playing music. Sophisticated crossover in series, selected components, simple installation and an exclusive appearance create a recipe that you can not resist. Equally amazingly looking stands are available as option with their “legs” made up of the same wooden planks as speaker's cabinet. ROBERTO BARLETTA Xavian | CEO Long time we have been trying to find the right solution to produce cabinets in solid wood. After more than 2 years of prototyping we are now able to offer world-class enclosures made ONLY of solid walnut. No MDF, no sintetic materials or metals and others... The solid wood is much more hard and stiff on the other side incredibly expensive and sensitive to the quality of production and selection of the original trees. Since we receive the walnut from Italy we need about 4 weeks to end a series of about 25 pairs of Perlas. The cabinet has to "relax" for about 3 weeks to be stiff and for us to be able to shape and brush it definitively. The drivers used in Perla are made in Italy by companies with almost 40 years of history. They have been modified in several parameters to meet our specification. They show high consistence, low distortion and a special suspension to play music in a musical way. We are going to introduce still 2 new models in the NATURA family of models. One of them will be called "Madre Perla". We will have a medium-size standmount speaker with front reflex port and a magic 3-ways floorstanding. The incredible sympathy that Perla is gaining among the audiophiles has given us a lot of energy to push us ahead with these new totally new projects. You have to know it is a great satisfaction to see the face of the people looking and hearing to Perlas and knowing you bring them happiness. Times will change: I do not like "to sell" our job and experience/tradition to Asia. I have my philosophical and economical reasons. It is too long to explain. Briefly: the ones who moves production to China believe to be still the owner of their projects. The contrary is true. You loose company identity and you end in a cauldron where the most of the speakers are made by just a few enormous factories. I do my job the best way I can and I love what I do. As well as one should make of his own life a masterpiece, I try to achieve the same in my job. XAVIAN and AudioBarletta brands will become a "classic" in audio field. It is a question of time only. We are working on a very special, almost exotic project called Golden Retro using 15 inches bass drivers but it is too early to say more since we are still working on custom made drivers. It will still take time as all good things. Each good thing is made slowly, asking for its own time to grow out. It is not possible to make "fast" projects. We already have fast foods and fast communication and everything else is today very fast. Music needs time. Prague is a wonderful town: I have already been here in the past life’s: I am sure. I have to complete my mission here and know myself here as ancient Delphi oracle suggests. I do not believe to the case. I spend a lot of time in my beloved south Italy in the places where Archimede, Pitagora and Parmenide lived. My family comes from the place where Gesualdo da Venosa spent his life. I have grown up with Esopo fables: there is still ancient Greek blood in us, thanks to all the gods. XAVIAN in „High Fidelity” TEST: Xavian XN250 EVO - loudspeakers, see HERE TEST: Xavian PRIMISSIMA - loudspeakers, see HERE TEST: Xavian XN 125 EVOLUZIONE - loudspeakers, see HERE TEST: Xavian XC SERIES DUETTO - loudspeakers, see HERE TEST: Xavian XN 125 + XN 185 Mk II - loudspeakers, see HERE TEST: Xavian MIA - loudspeakers, see HERE TEST: Xavian GIULIA - loudspeakers, see HERE Recordings used for this test (a selection): Sing with the Voice of Melody, wyk. Stile Antico, Harmonia Mundi USA HMU 807650, SACD/CD (2015). Byrd, McLean, Coltrane, Taylor’s Wailers, Prestige/Analogue Productions CPRJ 7117 SA, SACD/CD (1957/2013). Eddie Vedder, Into The Wild, soundtrack, Sony Music 88698-18240 2, CD (2007). J.S. Bach, Goldberg Variations BWV 988. 1981 Digital Recording, wyk. Glen Gould, Sony Classical/Sony Music Entertainment Hong Kong 88765440092, “No. 0197”, gold-CD (1982/2013). Kazumi Watanabe, Jazz Impressions, Ewe Records EWSA 0163, SACD/CD (2009). Mark Hollis, Mark Hollis, Polydor 537 688-2, CD (1988). Ornette Coleman, The Shape of Jazz to Come, Atlantic Records/ORG Music ORGM-1081, SACD/CD (1959/2013). Pink Floyd, The Endless River, Parlophone Records 4621333, CD + Blu-ray (2014). Tangerine Dream, Phaedra, Virgin Records/Universal Music LLC UICY-40130, Platinum SHM-CD (1974/2015); Vangelis, Spiral, RCA/BMG Japan 176 63561, K2 SHM-CD (1977/2008). Japanese issues available at [REKLAMA5] Compact, stand-mount speakers are made to fit small rooms, being placed close to the listener and avoid problems with room's acoustics. They were never supposed to replace big floor-standers – wherever conditions allow larger speakers will always perform better. Some situations require such specialized, compact speakers, though. And then they might cost a much, or even more than large floor-standers What is important is that they do their job in the best possible way. These “sweet Latvians” – that's what everybody who visited me during this test said – are such goal oriented tools. They offer rich, deep sound, rather warm than bright. Acoustic instruments and voices in natural spaces sound absolutely amazing. It is not the first time when I encountered such a dense, natural sound. Before though, I experienced it when using large floor-standers or monitors, but much more expensive ones. The last speakers that sounded like that in my room were... Sonus faber Vintage Minima. Perla in some aspects even outperform Sf speakers. The last album of Talk Talk, Laughing Stock was for its leader, Mark Hollins, a shot in his own foot. AT least from commercial point of view. Producer also had his doubts so instead of releasing this album with EMI (like previous ones), released it with Polydor. And, as it turned out, he was right to be skeptic about this music. Sales results of this album were a disaster. Despite the fact that it was actually a fantastic piece of music. When Mark Hollis created his own solo album its artistic character was as similar to this album as possible. The solo debut of Talk Talk vocalist is a collection of live acoustic improvisations recorded in a studio. This translates into fantastic quality of these recordings. Perla responded to such quality in a very positive way. It turned out they didn't sound dark at all, although warm and they conveyed a lot of micro-information, also those concerning dynamics. With “heavier” material they tend to “close” presentation a bit and deliver it in slightly rounded way, though. These loudspeakers made me curious about how this or that album will sound like when played via Perla. Speakers Mr Barletta created tend to drag listener into their specific, but very attractive world. They try to show you the better side of the world, without hiding its shortcomings, but focusing on its advantages. If there are bright sides of particular recording, Perla will let them really shine, if there are none, Perla will serve you a nice performance but there will be no excitement you've experienced with those better quality recordings. Tonal balance seems pretty even. Both range extremes are rolled-off – one should count on very deep bass, nor on highest treble – these speakers won't offer that. I think Mr Barletta did make an informed decision – instead of trying to make Perla sound bigger than they really are, he accepted their limitations and within this perimeter he tried to realize his vision of sound. And this vision focuses on timbral accuracy, coherency and spacing. All these three elements are linked together and the result is something more than just timbre, coherency and spacing. It's a vivid presentation. Texture of instruments seems really dense, but when it comes for example to acoustic guitar it is vibrant and presented with quite firm leading edge. When it comes to recordings with a lot of microphone-related noise – like on Hollis' album – or a noise coming from a lot of “air” in a large space – like in Stilo Antico recordings – these speakers present it immediately. They brighten the sound, don't emphasize these elements, but create a large image completely filling the space between speakers. This type of presentation, I mean delivering music as a 3D image between speakers, instead of delivering several smaller, separate images, is very difficult to achieve for any speakers, as it required a very good integration between drivers of loudspeakers, and they also need to be particularly resolving. These speakers are impressively resolving. Although this feature does not present itself with abundance of details. But when Glen Gould murmurs and sings, when Hollis gently phrases his singing, and finally when singers of Stilo Antico pass the baton between themselves, we can hear that as a natural element of the music, as its integral part and not just another “detail”. This works also with recordings that are not that perfect like with electronic music of Tangerine Dream, or the last album of Pink Floyd, The Endless River. Both these recordings sound quite nice even on small systems, but the dynamics seems limited. Presentation of dynamics depends on how resolving particular system is and how well it deals with details shading. With Perla both recordings sounded in a very beautiful way as they offered momentum, when needed, or a very good focus, when required. Summary These compact, wonderfully looking speakers perform, in my honest opinion, remarkably. They don't... impose their presence on a listener, they don't try to wow him. What they can do very well is to convey the natural sound of instruments, to create a huge, three-dimensional, essential soundstage. They lack solid bass foundation so the volume of instruments is not that big like from larger loudspeakers, but that's exactly what one should expect, that's the “cost” of making compact speakers. It's a resonant, rich, mature sound that will work very well whenever one expects a natural sound of high quality in a small room. They are very good at differentiating recordings so a listener may fully enjoy differences between recordings and performances, like, for example, between mono version of Taylor’s Wailers from 1957 with totally different, much better version on the 1959 Ornette Coleman's The Shape of Jazz to Come and 2009 Kazumi Watanabe's Jazz Impressions. This is this sort of presentation that never forces you to analyze what you hear – music always comes first and all the rest is given only if you're interested in hearing it. The dimensions of Sonus faber Minima Vintage loudspeakers, that I reviewed some time ago, were very similar to those of Perla. Their woofer was smaller though, and the front of their tweeter bigger. What is similar between Xavian and Sonus faber speakers is that both are two-way, vented stand-mount speakers. Perla sport a silk dome, Ø 26 mm, tweeter with a plastic front that looks like a short horn. It is supposed to improve sound dispersion and has little to do with sensitivity increase. Low and midrange are reproduced by a 150 mm driver with a polypropylene cone. It sports a rigid basket and a soft dust cup made of the same material as the cone. Crossover point is set quite high up the range, at 3 kHz, so most of the midrange is played by this woofer. Woofer is loaded with a front bass-reflex with a slot-type port placed close to the lower edge of the front baffle. The speaker post are quite particular. Xavian for years had them custom made. And thus all of them carried Latvians logo, and so do the ones used for Perla. These time those particular speakers post do not accept a naked wire – only bananas and spades. It is quite surprising by the way, that even the top speakers post manufactured today still accept naked wire although I do not know even a single person, who uses this solution, nor have I heard about anyone who does that anymore! So in fact what Xavian did is very logical (although obviously not for everybody) – they designed posts that accept only what audiophiles use today – spade and banana plugs. This decision allowed them to design smaller posts, that look nicer, and, which is also very important, less metal was used to build them, which is a good thing sonic-wise. Looking at the crossover one would appreciate both, high quality components and the whole, orderly design. It is mounted on a small PCB with 3 air coils, 3 polypropylene capacitors and two resistors (carbon and wire one). I saw pictures of prototype and than Roberto used lesser elements. Coils are placed at an angle of 90 degree to each other (bot horizontally and vertically) which minimizes an interference of magnetic fields. Capacitors are branded with Xavian logo, which means they are custom made. Assembly of each unit of Natura speaker is supervised by Roberto Barletta himself, which is indicated on the crossover plaque. Cabinet is made of solid Italian walnut that is actually imported from Italy. Material is stored for at least three weeks before processing. It is cut to planks and these are glued together - Mr Barletta calls it a “Mosaic”. Manual suggests that user should listen to Perla with grills off – this should improve both, sonic and aesthetic aspects of these speakers. Leaving grills on might result in a bit darker color of the front (hidden from sun-light) than the rest of the cabinet exposed to the light. So manufacturer suggests that for the first three month user leaves grills off. Manufacturer also suggests a 200 hours break-in period for Perla. We received speakers for the review after initial break-in period. Stands delivered with Perla reminded me those that Sonus faber delivered for their Minima Vintage speakers – black upper and lower plates with w wooden “leg” between them. Xavian decided to use lighter and less expensive plates of MDF (instead of steel ones that Sonus faber used). Stands sport adjustable spikes but nothing to put under them, so I'd suggest using something really effective like, for example, Franc Audio Accessories feet. Upper plate is smaller than lower one, and it sports rubber washers for cabinets safety. The “wooden leg” is made of the same looking planks as the speakers' cabinets. It is hollow so one might put a speaker cable inside the leg, provided that one uses flat enough to fit the opening between upper plate and speaker itself. Specifications (according to the manufacturer):) Low- midrange driver: Ø 150 mm  Tweeter: Ø 26 mm System: bass-reflex Frequency response: 55 – 20 000 Hz (-3 dB on reference axis) Nominal impedance: 8 Ω Crossover frequency: 3000 Hz Sensitivity: 88 dB (2,83 V/1 m) Recommended amplifier power: 30 - 120 W Dimensions: 315 x 190 x 236 mm (HxWxD) Weight: 6,9 kg/pc. 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/1507/xavian/th/05.jpg" big="foto_testy/1507/xavian/05.jpg" src="foto_testy/1507/xavian/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/06.jpg" big="foto_testy/1507/xavian/06.jpg" src="foto_testy/1507/xavian/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/07.jpg" big="foto_testy/1507/xavian/07.jpg" src="foto_testy/1507/xavian/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/08.jpg" big="foto_testy/1507/xavian/08.jpg" src="foto_testy/1507/xavian/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/09.jpg" big="foto_testy/1507/xavian/09.jpg" src="foto_testy/1507/xavian/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/10.jpg" big="foto_testy/1507/xavian/10.jpg" src="foto_testy/1507/xavian/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/11.jpg" big="foto_testy/1507/xavian/11.jpg" src="foto_testy/1507/xavian/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/12.jpg" big="foto_testy/1507/xavian/12.jpg" src="foto_testy/1507/xavian/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/13.jpg" big="foto_testy/1507/xavian/13.jpg" src="foto_testy/1507/xavian/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/14.jpg" big="foto_testy/1507/xavian/14.jpg" src="foto_testy/1507/xavian/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/15.jpg" big="foto_testy/1507/xavian/15.jpg" src="foto_testy/1507/xavian/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/16.jpg" big="foto_testy/1507/xavian/16.jpg" src="foto_testy/1507/xavian/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/17.jpg" big="foto_testy/1507/xavian/17.jpg" src="foto_testy/1507/xavian/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/18.jpg" big="foto_testy/1507/xavian/18.jpg" src="foto_testy/1507/xavian/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/19.jpg" big="foto_testy/1507/xavian/19.jpg" src="foto_testy/1507/xavian/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/20.jpg" big="foto_testy/1507/xavian/20.jpg" src="foto_testy/1507/xavian/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/21.jpg" big="foto_testy/1507/xavian/21.jpg" src="foto_testy/1507/xavian/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1507/xavian/th/22.jpg" big="foto_testy/1507/xavian/22.jpg" src="foto_testy/1507/xavian/22.jpg" desc="HighFidelity.pl"] [/hfgallery]

ndia, the second most populated country in the world, is not associated with audio in Europe. It is hard to say why, as people listen to music everywhere in the world. Even if we assume that the richer a society is, the easier it is for people to buy luxurious products, it will not be really meaningful – statistically, in such a large group of people there MUST be a lot of audio enthusiasts. So, when one of “High Fidelity” readers from India offered to help me contact an audio journalist from this country, I immediately took that opportunity. My interlocutor was Sridhar Vootla who works for the internet magazine “Hifitoday.com”. WOJCIECH PACUŁA: Sridhar, please tell us about yourself. SRIDHAR VOOTLA: By education I am an Industrial Engineer and have a Master’s Degree in Industrial/Manufacturing Engineering, which I obtained at a university in the USA. I worked in the US automotive industry for about 18 years. I was based in Troy, a suburb of Detroit, Michigan. I moved back to India in 2009 and currently live in the city of Hyderabad in the south of the country. Now I am involved in the pharmaceutical industry. I delved deeply into audio when I was still in the US. I was then a reviewer for Soundstage.com and I have been contributing reviews to them since 2004. Hifitoday.com is a “brand new” magazine – what is its purpose? What kind of a magazine is it to be? When I moved back to India 6 years ago, there were only 2 magazines (both printed) relating to audio and video. One of them folded up around a year ago and the other one is really a UK-based magazine, with a lot of reviews reprinted from the UK edition. So, there have been no true India-based audio magazines catering for the Indian audio enthusiast. This gap prompted us to start our own online magazine, Hifitoday.com.  Anil Chugani, the founder of Hifivision.com (India's largest audio and video online discussion forum with about 50,000 active members), is the owner of Hifitoday.com. Currently, we have a team of 5 reviewers, all long-time members of Hifivision.com. The goal of Hifitoday.com is to provide honest, but subjective reviews of mid-priced audio/video products (150,000 to 175,000 rupees or approximately  2500 – 3000 US dollars). It is important that they should be available in India from Indian dealers/distributors. We launched the magazine in January of 2015, so we are quite a young magazine.  Why an online magazine? How does an online magazine differ from a printed one, apart from the obvious difference of the medium? In the case of Hifitoday.com, online publication made the most sense due to two reasons.  First of all, we wanted to have reviewers from the whole of India as opposed to a central location, who would use their own equipment in their own listening rooms. Secondly, we wanted to pick reviewers from among the members of Hifivision.com. Beyond that, there are some obvious advantages of publishing a magazine online, such as reduced overhead costs, faster speed of reaction and publication, etc. Why an online magazine? How does an online magazine differ from a printed one, apart from the obvious difference of the medium? In the case of Hifitoday.com, online publication made the most sense due to two reasons.  First of all, we wanted to have reviewers from the whole of India as opposed to a central location, who would use their own equipment in their own listening rooms. Secondly, we wanted to pick reviewers from among the members of Hifivision.com. Beyond that, there are some obvious advantages of publishing a magazine online, such as reduced overhead costs, faster speed of reaction and publication, etc. What do you think about vinyl revival – is it permanent or just a hype? I do not believe that the current vinyl revival is a flash in the pan. Evidently, there are reasons for the popularity of this medium, sound quality being paramount. A well set-up turntable can indeed sound excellent and that is why I think vinyl is here to stay for a while. However, I must add that I do not have a turntable, preferring the convenience of computer audio to any physical medium, but a few of our reviewers have nice turntable setups. I still have about 70 or 80 treasured LPs which I am not going to get rid of. What is the reference sound in the audio world? An interesting question. There are differing views and one enduring goal for many is to try and get the sound of a live event at home. I believe that this is very hard to achieve, because one of the most important components of sound is the acoustics of the venue where the recording was made. If one wants their small listening room to sound like a large concert hall with an orchestra playing live, they can forget about it. Naturally, there are digital signal processing methods but these are essentially sound manipulation techniques that try to bend the laws of physics to obtain a reasonable facsimile of the real thing. And then there are also physical methods of room acoustics modification that might be helpful.  With these methods we can get somewhat close to obtaining the sound of a live event, but we can never truly attain it. Rather than doing this, I feel that one should try to set up a system that can get the timbre and tone of instruments right, as well as provide good reproduction of the human voice. THIS is the point of reference that everyone can easily relate to. How does the Indian audio market differ from other markets – the English one, for example? The Indian audio market is very different from mature markets of developed countries, mainly in its size and volume. Just like in the West, there is both a mass market and a more specialized higher end segment, but both of these are minuscule. The mass market mainly offers dual purpose systems that can handle both video and audio. The basic product for this market segment is the classic A/V receiver, as popular as HtiB (home theatre in a box) systems.  The stereophonic segment has demand for integrated amplifiers, entry to mid DACs and mid-range floor standing speakers. The demand for stereo separates and higher end speakers/electronics is quite low. One main reason for low sales is the high price of the devices. Foreign high-end equipment in India costs between 30 and as much as 100% more than in the West, due to various customs duties and taxes. Equipment manufactured in India costs significantly less but there are only a handful of audio equipment manufacturers based in our country.    What are the most popular magazines in India and why? Currently, the only printed audio magazine in India is “What Hi-Fi? Sound and Vision”.  This magazine is relatively popular but many readers get their information and reviews from online-based magazines and forums. Unfortunately, most of these sources do not cater specifically for the Indian market, owing perhaps to its small size. However, readers are becoming more and more interested in information, reviews, technical specifications, etc. related to audio equipment available specifically in India. What is your opinion about the future of high-end? I think that high-end as it stands today is under threat for various reasons. The first reason is that the current generation of music listeners have very little interest in the fidelity of sound. They are absolutely content with low-resolution mp3 playback. Secondly, there are so many attractive activities available apart from music – social media, for example.  Thirdly, there is a slow shift of purchasing power from developed nations to developing nations (India being an example) and unless manufacturers start addressing these markets with appropriately priced products, global high end sales will diminish, especially when developed markets have become saturated with products.  Lastly, high-end audio, like most luxury markets, is very sensitive to changes in global economy.  It will continue to rise and fall with the vagaries of economic cycles. The unfortunate aspect of this is that only the strongest and best audio manufacturers will survive, while the rest will fold. How about hi-res files? Do you think they are high-end or not yet? How about CD players? I believe that true high resolution files like 24bit/192khz AIFF/Wav/FLAC sound significantly better than16/44.1 files. Unfortunately, finding true high resolution files is not very easy. The same is true about DSD files. I personally have been looking to jump into the DSD bandwagon but the paucity of releases, especially in the genre I prefer, has held me back thus far. Regarding CD players, I think they will last for a little longer, as a lot of listeners have large CD collections.  Eventually, they may get around to ripping them into files and at that point perhaps the role of classic CD players will start declining. Of course, multi format disc players, such as Blu-ray and the upcoming 4k players, will still be around.  Personally, I have totally moved towards computer-based sources and ripped most of my CDs. I also regularly download from HD Tracks and other sources, and have given up buying CDs altogether. What do you look for in good audio? As I stated earlier, the truth of timbre is high on my list. The immediacy and presence of human voice is also critical, so I focus on mid range and its richness.  I also like smooth extended treble that is not harsh and allows lengthy and pleasant listening sessions. I prefer taut and textured bass with adequate extension. Quality rather than quantity is important for me. Lastly, I like a well-extended sound stage with focused imaging. Please tell us what10 albums High Fidelity readers should listen to right away. These are some of my favorite albums in no particular order of preference: Tsuyoshi Yamamoto Trio, Midnight Sugar, Three Blind Mice, 1996 Freddie Hubbard, Red Clay, CTI, 1970 Ry Cooder and Vishwa Mohan Bhatt, A Meeting by the River, Water Lily Acoustics, 1993 Shelby Lynne, Just a Little Lovin’, Lost Highway Records, 2008 Dave Matthews Band, The Lillywhite Sessions, (unofficial release) 2001 Tomasz Stanko Qunitet, Dark Eyes, ECM, 2009 Kenny Wheeler, The Widow in the Window, ECM, 1990 The National, High Violet, 4AD, 2010 Donald Byrd, Royal Flush, Blue Note, 1962 Joshua Redman Quartet, Moodswing, Warner Bros., 1994 At the end, tell us please about your audio system. My main system includes: a computer source M2tech Evo – a clock + a power supply unit + a USB/SPDIF converter Ayon Skylla II DAC Lamm Industries ll2.1 Deluxe preamplifier Symphonic Line Kraft 250 power amplifier Ascendo C8 Renaissance speakers Kimber Select 1011 interconnects and Select 3033 speaker cables Sine30a power conditioner Shunyata Diamond Back, Venom and Audio Art Power 1se AC cables a Soundfoundations equipment stand My secondary system comprises: a computer source Line Magnetic 502 CA DAC Parasound JC2 preamplifier Belles Soloist 5 power amplifier ATC SCM7 speakers Signal Cable Silver Reference – interconnects and speaker cables Audio Art AC cables Sorice Equipment Stand “THE EDITORS” series has included: STUART SMITH, “HIFI PIG”, France, editor-in-chief, read HERE SCOT HULL, “Part-Time Audiophile”, USA, editor-in-chief/publisher, read HERE JOHN MARKS, “Stereophile”, USA, senior contributing editor and columnist, read HERE ART DUDLEY, “Stereophile”, USA, editor-at-large, read HERE HELMUT HACK, “Image Hi-Fi”, Germany, managing editor, read HERE CHRIS CONNAKER, “Computer Audiophile”, USA, editor-in-chief /founder, read HERE DIRK SOMMER, “HiFiStatement.net”, Germany, editor-in-chief, read HERE MARJA & HENK, “6moons.com”, Switzerland, journalists, read HERE MATEJ ISAK, “Mono & Stereo”, Slovenia/Austria, editor-in-chief /owner, read HERE DR. DAVID W. ROBINSON, “Positive Feedback Online”, USA, editor-in-chief /co-owner, read HERE JEFF DORGAY, “TONEAudio”, USA, publisher, read HERE CAI BROCKMANN, “FIDELITY”, Germany, editor-in-chief, read HERE STEVEN R. ROCHLIN, “EnjoyTheMusic.com”, USA, editor-in-chief, read HERE STEPHEN MEJIAS, “Stereophile”, USA, assistant editor, read HERE MARTIN COLLOMS, “HIFICRITIC”, UK, publisher, editor, read HERE KEN KESSLER, “Hi-Fi News & Record Review”, UK, senior contributing editor, read HERE MICHAEL FREMER, “Stereophile”, USA, senior contributing editor, read HERE SRAJAN EBAEN, “6moons.com”, Switzerland, editor-in-chief /owner, read HERE YOU WANT TO KNOW MORE, WANT TO BE THE FIRST TO KNOW? JOIN US ON TWEETER: UNIQUE PHOTOS, UP-TO-DATE INFORMATION, NEWS!!!