Published: 1. January 2013, No. 104 Audio products are total abstraction for the majority of people. I don’t even necessarily mean audio cables but simply high quality, refined audio components. Refined as in more sophisticated than an alarm clock radio. For a good deal of music listeners, and so a “narrower” group than the “whole,” an amplifier costing 350 USD sounds absurd; bad value for money bordering daylight robbery. Hardly anyone associates audio equipment with so called luxury goods such as yachts, designer watches, good wine, jewelry, expensive cars and other exclusive products. Seemingly, it’s for historical reasons. From the moment of its inception, audio equipment has been very much egalitarian in nature; everybody could afford an LP or an SP record, a cassette tape, or – in the USA – 8-track cassette. Listening to music has been (and I think still is) regarded as a commonly available activity, close at hand to every single person who wants to enjoy it. And yet, from the very beginning of Hi-Fi, around the end of World War II, in parallel to this “common” trend another one was emerging, in which designers and manufacturers were striving to correct the flaws, constantly improve their products and recordings – shortly speaking, to reach true MUSIC. And such endeavor has always been expensive. Why is it then that the same kind of mechanism that worked in case of, let’s say, cars didn’t work here? Cars are also egalitarian products; everybody can have one – or two, or even three. Nobody thinks it’s something special; it’s simply something everyone has. Some people keep their expensive models in air conditioned garages, others park theirs more modest cars at the curb by their blocks of flats; yet all of them belong to the same “class” of utilitarian articles. And yet every single person knows there are luxury cars. Ferrari, Jaguar, Lamborghini, Bugatti and many other exotic brands I don’t even know as I’m not especially an automobile fan. Still, I know that such category exists and I’m not upset by that fact. When I see a beautiful car, my heart melts but my yearning for it is as for an object of applied art, as “noble aesthetic experience,” not as something I would like to be driving every day. And yet there are marked differences between “auto” and “audio” (and other fields as well). Similarly to the owners of four wheels who aspire to something more than they have now, audiophiles too strive after perfection in what they care about most – music reproduction. However, while buying expensive cars is socially accepted and is considered to be an indication of one’s high material status (it may stirred up envy but the imprimatur is there), expensive audio equipment or specialist audio equipment in general is regarded as deviation. Where specialist audio and mainstream home electronics parted their ways – I don’t know. Clearly, however, it was a mistake that cost our industry losing its position and importance. These have been further undermined by a shift of priorities among the young generation, where it is no longer “stereo” that is “cool” and “fun” as it used to be for their parents, but computer games, tablets, smartphones and portable music players. I am not complaining, though, nor do I blame them for it – these are fantastic devices giving lots of joy to their users. And maybe they will also be the ones to show the way back to our “separated brothers.” For audio such as we talk about here evokes deep emotions and is a wonderful, incomparable and amazing experience; a state of being “immersed” in the art and artistry – both of music performers as well as of audio equipment manufacturers. Besides, these two elements sometimes happen to merge into each other; the musician himself or herself becomes a manufacturer. It’s rather rare and it is well known that most musicians do not much care about the quality of sound reproduction, having it all “in their head.” From time to time, however, such connection does happen. Just as in the case of VR Workshop cables that came to me from Singapore. First, however, I received an mail – not from the manufacturer but his representative: Dear Mr Wojciech Pacula, Recently we discovered a new manufacturer of high performance audio cables and shared the information with Mr Srajan Ebaen the Publisher of 6moons.com. He suggested that I should make contact with you as you may be interested in undertaking a review of the cables which seem to be very high standard at reasonable prices. The manufacturer: Based in Singapore, (Violinist Reference) V R Workshop, is run by a professional musician Yeo Wee Soon who seems to have an excellent ear, which shows up in the sound reproduction which the VRW cables enhance. We would like to send you a set of RCA, Balance, Power and Speaker cables for you to review. I believe the results will be most interesting for the audio community. Please confirm your interest in reviewing the cables and advise details of where to send them. Kind regards Rodger Kimpton Director Abtec Electronica, Singapore What else there was to say than “sure, please send them.” I haven’t had much experience with audio products from Singapore apart from one but fantastic manufacturer LOIT and its Passeri CD player I once reviewed (see HERE). My appreciation for the designer of this extraordinary device grew even higher when I met him personally during High End 2012 in Munich (see my report of the show HERE). If other people from this city-country are at least a little like him – I’m in! The cables I receive for a review almost always arrive in rather bland cardboard boxes (even the Siltech Double Crown where, for example, the interconnect alone costs 20,000 USD!), and often in bags looking like plastic lunch bags. Mr. Yeo Wee Soon didn’t go over the top and didn’t shove them into wooden boxes but instead came up with something fun and sensible - a sort of plastic, reinforced zipped “folders.” I received three cables for a review: RCA interconnects (1 m), speaker cables (2 x 3 m, single-wiring/banana plugs) and a power cord (1.5 m). The latter was not reviewed, despite my good intentions. As it turned out, it came with the U.S. type mains plug, not the European Schuko. Mr. Rodger Kimpton who arranged for the shipment suggested that I use an adapter but I could not do that. With my power line being as sleek as it is, its each component well thought out, placing in the power path a component from a different league, i.e. with substandard contacts, poor housing, etc. would constitute a clear malpractice. Hence, I limited the scope of this review to the interconnect coupling the CD player and the preamp, and to the speaker cable. SOUND A selection of recordings used during auditions: Chet Baker, Big Band, Pacific Jazz Records/Toshiba-EMI Limited, TOCJ-9442, "Super Bit Jazz Classics", CD (1957/2002). Claudio Monteverdi, Ottavo Libro De' Madrigali, wyk. Concerto Italiano. dir. Rinaldo Alessandrini, Opus111, OPS 30-187, CD (1997). David Sylvian, Brilliant Trees, Virgin/EMI Music Japan, VJCP-68876, CD (1984/2008). David Sylvian, Sleepwalkers, P-Vine Records, PVCP-8790, CD (2010). Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, "Special Edition Hardbound Box Set", CD+USB drive 24/44,1 WAV (2012); Elgar Delius, Cello Concertos, wyk. Jacqueline Du Pré, EMI Classic, 9559052, 2 x SACD/CD (1965/2012). Eva & Manu, Eva & Manu, Warner Music Finland, 5389629, CD (2012). Gerry Mulligan & Scott Hamilton, Soft Lights & Sweet Music, Concord Jazz/Mobile Fidelity, UDSACD 2017, SACD/CD (1986/2006). Hilary Hann, Hilary Hann Plays Bach, Sony Classical, SK 62793, Super Bit Mapping, 2 x CD (1997). Laurie Anderson, Homeland, Nonesuch, 524055-2, CD + DVD (2010). Miles Davis, Milestones, Columbia/Mobile Fidelity, UDSACD 2084, SACD/CD (1958/2012). Portishead, Third, Go! Disc/Universal Music K.K. (Japan), UICI-1069, CD (2008). The Beatles, Yellow Submarine, Parlophone/Apple/Toshiba-EMI, TOCP-51121, CD (1969/1998). This Mortal Coil, HD-CD Box SET: It’ll End In Tears, Filigree & Shadow, Blood, Dust & Guitars, 4AD [Japan], TMCBOX1, 4 x HDCD, (2011). Wes Montgomery, Echoes of Indiana Avenue, Resonance Records, 195562, CD (2012). Japanese editions available from Comparing anything against reference components, i.e. those one knows inside and out and has heard confronted against dozens of other products, is a challenge for each manufacturer. After all, such reference is something carefully selected after many auditions, matching both the particular system as well as reviewer’s preferences; in a word, a deliberate, informed choice. In comparison, each other product, no matter how good, has to come off a bit short, at least in some aspects. It is only clearly superior products that can make us, reviewers, kick it in and start counting the money. It happens very rarely, though. Consequently, when the reviewed product is significantly worse than the reference, it is important for it to have something that catches our attention, allowing us to appreciate it. If such a product is thought out through and through, well-made and demonstrates an interesting design idea, any differences in quality are then pushed into the background. And it can even be, say, a 300 USD amplifier compared to a 10k or more two-box reference amplifier, as it happened in case of the tiny Italian wonder, the Lym Audio LYM 1.0T Phono! Something so well done gives so much joy and energy that the price gap between the compared components seems to disappear. Just as it does with the cables from Singapore. RCA Interconnect The cable set I was sent came as a real surprise to me firstly because of the fact that I couldn’t find any info about them on the Internet. Secondly, because they presented music in an interesting way – so much so that I enjoyed listening to it (i.e. to music through it), and even analyzing its sonics I wasn’t breaking it into details but rather taking it as a whole. The interconnect presentation is fairly direct. It displays clear shapes in the foreground, slightly emphasizing sound attack and attack energy. The difference against the Acrolink 7N-DA9300 Mexcel to which it was compared was obvious and only grew deeper with each next album. Against such background, the Japanese cable sounded more distant, showed the performers a bit further and in a more pronounced acoustic environment. The interconnect from Mr. Yeo Wee Soon is therefore much more conspicuous. I can easily see it in systems with tube amps or where additional energy is needed, something to “help up” the system from its knees. The presentation is very energetic, with “oomph,” and treble slightly stronger than with the Acrolink. That gives it just such “fresh” glow without exposing sibilance or bringing anything into the open. Also, mid-bass is stronger. It is the latter that makes us play a well-known album and unconsciously say something like “ouch,” as in Japanese anime. That is, of course, due to some modification of sound but I can’t pretend that Acrolink doesn’t modify it in their own way, either. The sound color is a critical characteristic for me, even though music doesn’t exist without the rhythm. And in this department the reviewed interconnect shines brightly. I’m sure that was what the designer most cared about and that is key for this cable. Such powerful sound attack gives a sort of “forward timing,” i.e. the presentation goes forward, pushing and quickly building events. Speaker cable The fact that both cables came from a single source is reflected by a similar set of their characteristic sonic attributes. It is a slightly raised, fresh sound with bold attack and very clean, nice treble. The speaker cable has actually even more refined treble than the interconnect (or I picked it up as better) although not by a large margin. What I mean is that while showing the highs stronger than the reference cable, here the Tara Labs Omega Onyx, it does it with flair, not mechanically. The cymbals on the Chet Baker’s album had slightly creamy color, although they had a good “beat” and attack. The speaker cable shows a slight hardening of midbass, more pronounced than with the interconnect. I did not pay attention to it before, taking it simply for an extra emphasis in the case of the interconnect. Now it was audible that it’s also some hardening of attack. The low end is not deeply extended because the listener’s attention stops in the above mentioned frequency band. It's a pretty obvious deviation from neutrality, in my case defined by the Tara Labs cable and also proven by the Siltech from the Royal Signature Double Crown Series. There is nothing to discuss here. At the same time I know that this kind of sonic modification is actually often sought out for the systems that are a bit sluggish or without character. And the cables from Singapore certainly cannot be accused of the lack of the latter! I was also curious how the reviewed cable shows the volume of sound. The Tara Labs acting in the role of the reference point is outstanding in this regard and it’s no wonder that the speaker cable from Singapore was not better or even similar. But it didn’t significantly diminish anything, i.e. vocals occupied a large space between the speakers and their size was well differentiated. Accordingly, they were presented differently on David Sylvian’s Sleepwalkers where the artist’s voice is very large and shown powerfully, than on his much earlier album Brilliant Trees where it blends with the background. Even in the latter case, however, it wasn’t a marked reduction of perspective or vocals’ withdrawal and it was only a direct comparison to the reference cable that helped me to see it. Conclusion What’s interesting in all this was that against the reference the reviewed cables weren’t offending or upsetting in any way. I think it’s because their sound is so smooth and so – after all – refined. Color modifications are obvious as is the fact that the resolution is only good. The cables make up for it with above-average selectivity and “presence” of instruments. The presentation is energetic with a feel of “drive.” Hook them up to a tube system and they will give it a second chance, as if someone “pumped it up” with vitality. Open treble isn’t exaggerated and doesn’t lead to unpleasant consequences, all the more so as it’s really refined. Low bass is only indicated but not realized. On the other hand, midbass is strong and slightly favored at the expense of lower midrange. Dynamics is high and allows even small groups, such as Concerto Italiano on the Monteverdi’s album Ottavo Libro de 'Madrigali, to sound with panache. They are sensibly made, equally sensible reasonable sounding cables with a character many an audio system needs. Without lightening of sound they will bring in freshness, “drive” and tangibility. An additional asset of Mr. Yeo Wee Soon’s cables is that they are very flexible and easy for hookup. Fantastic connectors allow hooking up both the interconnect and the speaker cable in a safe, reliable way without any need to worry that something comes loose over time. It is an artist’s cable made for other artists, audio artists that is. Testing methodology The cables were tested separately and then as a set in multiple A/B/A/B/A comparisons. Music samples were 1 minute long. During auditions I used not only the reference Ancient Audio (CD player), but also the Mark Levinson No.512 SACD. In addition to the Harbeth M40.1 speakers I also used the Acoustic Zen Crescendo driven by the Bakoon Products AMP-11R amplifier. DESIGN V R Workshop is a tiny, one-man manufacturing company being a side occupation of the cellist, Mr. Yeo Wee Soon. Hence, the cables from V R Workshop are unique works rather than mass production. Each one of them bears a sort of “blessing” of its creator. They look inconspicuous because they are thin and loosely covered with black mesh characteristic of 99% of other cables. It is the faultless, beautiful looking plugs resembling the Furutech that indicate we are dealing with something more than yet another counterfeit. Their pins are made of pure copper coated with rhodium and the screw caps that fix them in the sockets are made of carbon fiber. Their metallic “body” is made of multi-layered, non-magnetic stainless steel with acetyl copolymer. As it turns out, these particular plugs can be bought from the Chinese manufacturer Sonarquest. It seems that the company manufactures connectors for many companies worldwide that actually claim they manufacture them in house. On the other hand, some Japanese companies, like Acrolink and Oyaide, maintain that Chinese manufacturers such as Sonarquest forge their products. I talked about it with Mr. Satoru Murayama, CEO at Oyaide Elec. Co., when he was in Warsaw at Audio Show 2012 and according to him they’re a cheap imitation, manufactured with much less precision of different metal alloys and incomparably worse components, etc., than their own. Be that as it may, the plugs used in the VR Workshop power cord cost 160 USD a piece from the manufacturer! I don’t know much about these cables design. After opening up the plugs we can see, however, that they are made of solid core copper, a few wires per cable. The interconnects sport four wires, each in its own transparent sleeve. The negative run is soldered to the side and also seems to be made of wires not braided screen. The cables are directional, marked accordingly on the connectors. Each cable comes with a hand-signed certificate of authenticity, with our name and serial cable. The website HERE offers a bit more information on the cables design. It follows that the copper used for manufacturing is of a very pure UPOCC grade in a dielectric applied manually on each single wire. The series name comes from the name of the violinist Nathan Milstein. Important note – the manufacturer says that all its cables ought to be broken-in for 400 hours to perform at their best!

Published: 1. January 2013, No. 104 It is said that extraordinary people have several “lives.” Unlike computer games characters, they don’t die to be reborn but simply move on from one “stage” to another. They have so many ideas and energy to carry them out that they are usually not satisfied with tight constrictions of a single activity. They face underwater shoals and reefs but for those who are able to steer past them achieve immortality – they will be remembered by what they have left behind. This principle applies to every area of human activity – to scientists, musicians, engineers, doctors, teachers, and all activities where creativity is their to be or not to be. One of such people is Mark Levinson. If we were to ask people on the street, who is this man, we might be surprised by their answers, especially if the poll was conducted in the United States. I think that many answers – actually a lot of answering women – would point to him as the husband of Kim Cattrall with whom he co-authored the book-tutorial titled The Art Of The Female Orgasm (Fig. Fritz Drury, Thorsons, 2002). Kim Cattrall in turn is well known to every person who has ever seen her portraying Samantha Jones in the TV series Sex and the City, broadcast by HBO between 1998 and 2004. Already after this short introduction we can see that Levinson, described on the occasion of the book promotion as an “audio designer” is a remarkable man. Sex apart, the jewel in Levinson’s crown is his company Mark Levinson. Founded in 1972, in a short time it became synonymous with high-end. Before it happened, born in 1946 in Oakland, California, the son of Daniel J. Levinson and Maria Hertz Levinson, Mark Levinson grew up in the Boston area and then in New Haven. His father, a professor of psychology at Yale and Harvard (for 40 years!) was the author of a fundamental book for one of the strands of psychology titled Seasons of a Man's Life. His son from childhood had musical inclinations. Before he turned 20 he played double bass and trumpet with the great figures of jazz: John Coltrane, Sonny Rollins, Sonny Stitt, Johnny Griffin, Chick Corea and Keith Jarrett. It was possible because of his stubbornness but also his father’s professional contacts. At the age of 21 he built something that changed his life – a PA console for Woodstock Music Festival (1969). Four years later he founded his first company, Mark Levinson Audio Systems. His first product was the LNP-2 preamplifier in which he used the experience gained during designing the console. Ten years later, in 1982, the company bearing his name was taken over by Madrigal that subsequently launched many new products; Mark Levinson, the designer, however, no longer had anything in common with any of them. Not only did he – the Madrigal board also fired his closest associate, Tom Colangelo, as well as other key employees. Levinson could not sit still in place so the same year, 1982, he founded another company, Cello Technologies, which for many people is a "cult" brand through such products as, among others, the extremely sophisticated Palette analog equalizer. Again, in 1999 he left the company, sold the rights to its name and founded another – Red Rose Music. Under that brand he released several incredibly recorded SACD albums and designed amplifiers and loudspeakers. Some of his products found their way on the set of Sex and the City TV series and can be seen them in a few episodes. In 2000, Levinson designed a luxury sound system for Lexus cars. At the same time, the company bearing his name was purchased from Madrigal by Harman International Group, where it has remained until today. After his split up with Kim Cattrall, Sam Levinson moved to Switzerland, the home country of his mother. There, in 2007 he founded his new company, Daniel Hertz S.A., thus honoring her maiden name (Hertz). The company offers complete, very expensive systems, very popular for example in Japan. We need to add that Mark Levinson is still an active music producer, known for his participation in a number of award-winning projects of such musicians as Jacky Terrason, Joe Lovano and Carnegie Hall Jazz Band. An interesting trivia is that a system with the Daniel Hertz M1 speakers, the M5 amplifier and the M6 preamplifier, costing 200,000 dollars is owned by the former prime minister and current President of the Russian Federation, Dmitry Medvedev. The reviewed No.512Super Audio CD player was designed long after Mark Levinson had left the company, and even after he had moved to the Old Continent. Nevertheless, it still bears his name. Perhaps paradoxically, but this way the device designed in 2008, the most important of Levinson’s companies pays him a tribute. For the fact is that when Philips and Sony launched the DSD format and SACD disc based on it, they asked Levinson for cooperation. They equipped him with a DSD recorder that was used to its maximum potential – Levinson recorded many hours of music material, which he subsequently released (without any further production) on SACD discs under Red Rose Music. These recordings have become a reference for many music producers. The No.512 is the best, so far, digital source from the company and a Super Audio CD player at the same time. SOURCES Barry Willis, Biography of Mark Levinson, Petrof, see HERE Jason Stein, Lexus Flaunts his name, but who is Mark Levnson?, "DriveTime", November 14th, 2004. Matej Isak, Interview with Mark Levinson (Daniel Hertz), "Mono and Stereo", see HERE Website www.marklev.com. SOUND A selection of recordings used during auditions: Istanbul, wyk. Hespèrion XXI, Jordi Savall, Alia Vox, AVSA 9870, "Raices & Memoria, vol. IX", SACD/CD (2009). Ashra, Belle Aliance Plus, MGART/Belle, 121914-5, 2 x SHM-CD (1979/2012). Bill Evans, Everybody Digs Bill Evans, Riverside/JVC, JVCXR-0020-2, XRCD (1958/2007). Chet Baker, Big Band, Pacific Jazz Records/Toshiba-EMI Limited, TOCJ-9442, "Super Bit Jazz Classics", CD (1957/2002). Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, "Special Edition Hardbound Box Set", CD+USB drive 24/44,1 WAV (2012); Depeche Mode, Black Celebration, Mute, DMCD5, Collectors Edition, SACD/CD + DVD (1986/2007). Dominic Miller & Neil Stancey, New Dawn, Naim, naimcd066, CD (2002). Elgar Delius, Cello Concertos, wyk. Jacqueline Du Pré, EMI Classic, 9559052, 2 x SACD/CD (1965/2012). Frank Sinatra, Sinatra Sings Gershwin, Columbia/Legacy/Sony Music Entertainment, 507878 2, CD (2003). Genesis, Abacab, Virgin/EMI, 851832, SACD/CD + DVD (1981/2007). Hilary Hann, Hilary Hann Plays Bach, Sony Classical, SK 62793, Super Bit Mapping, 2 x CD (1997). Kraftwerk, Minimum-Maximum, Kling-Klang Produkt/EMI, 3349962, 2 x SACD/CD (2005). Manuel Göttsching, E2-E4. 30th Anniversary, MGART, 404, CD (1981/2012). Miles Davis, Milestones, Columbia/Mobile Fidelity, UDSACD 2084, SACD/CD (1958/2012). Portishead, Third, Go! Disc/Universal Music K.K. (Japan), UICI-1069, CD (2008). Schubert, Lieder, wyk. Dietrich Fischer-Dieskau, dyr. Gerald Moore, "Signature Collection", EMI, 55962 2, 4 x SACD/CD. Sting, Sacred Love, A&M Records, 9860618, Limited Edition, SACD/CD (2003). Tangerine Dream, Zeit, Cherry Red Records/Belle, 121943-4, SHM-CD + CD (1972/2011). The Dave Brubeck Quartet, Time Out, Columbia Records/Sony Music Entertainment Hong Kong, 883532, "K2HD Mastering CD", No. 0055, CD (1959/2011). This Mortal Coil, HD-CD Box SET: It’ll End In Tears, Filigree & Shadow, Blood, Dust & Guitars, 4AD [Japan], TMCBOX1, 4 x HDCD, (2011). Japanese editions available from Many, if not most traditionally trained engineers, i.e. without their experience extended in the area of designing digital players featuring a physical transport, believe that “bit is bit” and if anyone thinks otherwise he/she must be an idiot or a liar (depending on attributed intentions) . For them, an optical disc (including CDs) transport is nothing more than a component that allows perfect reading of the data on the disc. A perfect reading system provides necessary correction mechanisms being part of a standard, such as the Red Book, and the following PCM and D/A conversion circuits should only maintain that perfect form of the signal. But if they took some trouble to conduct a laboratory test using various transport drives and the same system for converting a zero-one data stream to an analog waveform, measured the results and listened to what each transport drive introduced into the signal, they would have a tough nut to crack. The measurements they are used to almost certainly would not indicate any significant differences. The obvious ones would include different levels and types of jitter but, at least in theory, signal re-clocking in the DAC before the actual conversion should eliminate that kind of distortion. The whole thing, however, is much more complicated. For on the other hand there are practitioners, most often also engineers including those with degrees, who know that even minor changes such as separating the lens pickup (yes!), motor drive and conversion circuit power supplies bring surprisingly large sonic corrections. That brings us closer to understanding the emergence of those few manufacturers that turned the transport drive into a real work of art. I think I am not mistaken to list them as: Philips and the CD-Pro2, CEC and its belt drive, Accuphase and its version of the SACD drive, and TEAC (Esoteric) and its subsequent versions of the Vibration-free Rigid Disc-clamping System (VRDS) drive; currently its VRDS-NEO version adapted to read SACD discs. Transport drives from the latter manufacturer are used by a few companies, such as dCS, emmLabs or Soulution. The latter two, however, do not use the two most expensive VRDS-NEO versions (1 Series and 3 Series), available only in top Esoteric players, but rather its twin variant called VOSP: Vertically-aligned Optical Stability Platform. It doesn’t have the turntable mechanism or the rigid “bridge” component, but it incorporates the sled assembly and optical pickup of the 3 Series, the motor drive and other components of the VRDS-NEO, including a cast, extremely stable tray. For the record, let’s note that there is also a new, lower cost version of VRDS-NEO called VRDS-VMK-5 (see HERE http://www.6moons.com/audioreviews/esoteric18/transports.pdf ). If we are ready to accept what we hear, i.e. the fact that there are audible sonic differences between transport drives of various designs, it’ll be easier for us to digest the following information: Esoteric drives are usually associated with a precise, selective, somewhat cool sound. At least the VRDS-NEO is. However, if listened to the above mentioned Soulution players (the 745 reviewed HERE and the 540 HERE), or the emmLabs XDS1 Signature Edition (HERE), it would be difficult for us to believe that. The sound of these players is actually entirely different from the cited stereotype. Just as is, for that matter, the sound of the reviewed Mark Levinson. EMI Signature Collection - Super Audio CD in full its glory >The Japanese market is amazing in each and every way. Almost obsessive attention to detail and a commitment to tradition superimposed on the mind open to the wildest futuristic ideas form a combination no one seems able to “stand up to.” A manifestation of that perfection in audio world are CD and SACD discs. The Japanese are known for their ability to use the same material that released everywhere else in the world looks and sounds any lousy and came up with little wonders called “mini-LP” editions (or “cardboard sleeve” – the term used by the online shop CD Japan) boasting the kind of sound, which embarrasses not only their Western counterparts but even high-resolution audio files. The quality of printing, transfer, pressing – everything is just perfect. Our brothers from the Japanese Islands are also well known for their commitment to classic composers of European and American music, both jazz and rock. But most of all they have fallen in love with classical music that they release in incredible quantity. One of the major sources of these remasters are rich EMI archives. Meticulously catalogued and kept in very good condition, they include both 78 rpm, 33 1/3 rpm and 45 rpm vinyl records, master tapes and more recently also hard drives with digital recordings. For years, most important works from this source have been reissued, collected in Japan in the “Best 100” series. However… Apparently, it is not only them who can do something but rather it is us who all too often give up on the same thing. It appeared on the market in two groups, starting from April 9th, 2012. What did? Well, one of the most important classical music series in recent years, the Signature Collection, Audiophile Edition – Hybrid SACD series. It includes the most important works from the 50s and 60s issued on SACD/CD discs; two, three or even four discs in one album! The albums are usually linked by one artist. Especially for this project at Abbey Road Studios prepared new remasters, using analog master tapes transferred to hard drive and processed in 24-bit and 96 kHz in the SADiE Series 5 PCM 8 system. The signal has been re-mastered as PCM in the digital domain and transferred to DSD files. Among the producers responsible for the remastering were Simon Gibson, Ian Jones and Andrew Walter. The material has been issued in the same form it has been stored on the master tapes, i.e. mono or stereo. An interesting interview with Simon Gibson who describes in details the process of creating the new A.D. 2012 masters titled High Resolution Resurrection can be found in this year’s October issue of “Stereophile” (Robert Baird, High Resolution Resurrection, “Stereophile,” Vol.35 No.10, October 2012, pp. 133-137). The quality of these recordings is flawless – historically and artistically. And they simply sound insane! I would strongly urge you to buy all ten titles that have appeared so far, because they are collector's edition full of incredible, fantastically performed music. The albums are not cheap but please remember that usually contain a few CDs for the price of one title from Japan. If I mostly listened to vocal recordings I would already be negotiating credit with my bank. The way Dietrich Fischer-Dieskau sounded in Schubert repertoire was insane. The recordings from 1955, recently remastered and released by EMI on hybrid SACD discs (Signature Collection Series) are simply incredible. The first of the four discs comprising Lieder album box I listened to deep into the night, gave me musical shrills. The vocal was full, large, three-dimensional despite it being a mono recording. The piano was just an addition but even that instrument, in its imperfect presentation (in terms of sound quality), had a proper volume. It was a presentation rendering a live event, with a little hint of warmness, an intimate tête-à-tête with the performer. What brought me to my knees (figuratively speaking – I was lying on the couch with my eyes closed) was the presentation. Not the characteristics we usually mention in the first place, i.e. the quality of treble or bass or dynamic range, but something taken as a whole. It was an incredibly natural presentation. The first time I heard such old recordings with such a small amount of noise. Even the so far unbeatable recording of Sinatra I've Got a Crush on You from his album Sinatra Sings Gershwin couldn’t touch it. Denoising of old recordings is a heroic job, a real art (wish it weren’t still a secret for many), where it’s very easy to mess up something. Simon Gibson, the person responsible for the EMI remasters, did something amazing on this occasion! These were real vocals. I referred to Sinatra and Fischer-Dieskau because they are the most spectacular examples of what the No.512 does to vocals. It did the same, however, to just about any repertoire, no matter how produced; CDs or SACDs, analog recordings or digital PCM and DSD. In each of these cases the Mark Levinson player made the presentation appear very “normal” in the best sense of the word. One had a feeling of being “in there” with the performers. To achieve that it was necessary to slightly remodel the sound, give it some direction, but more on that later. First, a word to those who listen to small jazz bands or chamber music, where vocal does not necessarily have to be number one or exist at all: if I only listened to that kind of music I would already be selling my family silver, stocks and shares, or whatever I inherited from my grandfather in Australia (if only I had him, that is). There is no much benefit from either of these “goods” being nothing but “deposit” money; the money should be spent on what we need and what we love. You will instantly fall in love with jazz listened to on this player. Such as Bill Evans recordings from his Everybody Digs Bill Evans album, the guitar duo of Dominic Miller and Neil Stacey (New Dawn), or Time Out by the Dave Brubeck Quartet. And all the others. The American player shows real i.e. true face of these recordings. Large volume, beautifully shown low midrange and bass (at least down to several dozens of Hz, which is where the low descending double bass is most heard), everything was spectacular in how it had effect on the audience, that is me. It was almost a subliminal message, something like being attracted to the recordings. Everything was full, firm, almost fat but with beautifully open treble, with a breath of air behind the instruments, i.e. with boldly displayed, without any inhibition, acoustics. A window to another dimension opened between the speakers; it was like teleporting that chunk of space a few decades back. I used to read about it (passionately!) in sci-fi novels but hadn’t yet heard anything like that at home. What was truly spectacular was not only the size of the instruments and the acoustics but also the way it was all laid out in the window opened between the speakers for the time of audition. Without any pressure, naturally, with unforced breath. That correlation between color, acoustics and dynamics was truly remarkable. I’d heard something like that before only twice on digital players – the Ancient Audio Lektor Grand SE and the Jadis JD1 MkII/JS1 MkIII, and a few times on turntables, including the Transrotor Argos. If I were to generalize this description, I'd say that both vocals and small bands were shown by the Levinson player in such a way as if it were a high-end turntable. Mea culpa! On the other hand, if I only listened to rock and electronic music, but also large orchestral music, I would need to consider the pros and cons. It is not a neutral presentation in the sense we mean it in the context of, say, Marantz, dCS, Linn, or even Accuphase. The No.512 tone was expressly formed so that all the elements I mentioned had a leading role. In these designers choices I can hear an idea that is close to me as well. Now, home reproduction has no chance of being identical to real, live sound. What hinders the realization of this ideal is physical limitations of the listening room and speakers, as well as the lack of visual stimulation. After all, taking part in a music concert our sense of sight accounts for about 80% (if not more) of the total experience. It helps e.g. with the spatial location of performing musicians. When it’s missing, we can come to terms with this and not try to correct it. We then get somewhat blurred, poorly differentiated image. In fact, it is difficult in this case to talk about depth or 3D. Each presentation implementing the postulate to make the experience of music real, authentic (i.e., a presentation that will evoke emotions and feelings similar to those experienced during a live concert) and not just fully compliant with the original, must be manipulated in some way. This can be done e.g. by accenting the sound attack or its brightening resulting in very distinct phantom images, fantastic selectivity and transparency. Or differently, through fine-tuning the resolution, slightly accenting lower midrange and midbass and filling everything with harmonics (easy to say; implementing it is exceedingly difficult). What we get in result is the sound like the No.512, or at least belonging to the same class. The reviewed player’s presentation focused on treble and soundstage foreground gives just such a picture – beautifully saturated, “analog” in the sense of being absolutely consistent and dynamic. But if we play something like Depeche Mode Black Celebration, Kraftwerk Minimum-Maximum, Genesis Abacab or Sting’s Sacred Love we will face a dilemma that can only be solved volitionally, i.e. by our conscious decision. At the same time, while the two previous cases were based on emotions, this one must be carefully analyzed using our head. In carrying out the scenario we are discussing, the designers faced the problem that could not be fully solved, at least not for now, and which has been to some extent overcome only by a few manufacturers in devices costing two to three times more than the No.512. And not all of them at that. What it involves is adding some differentiated, controlled bass and better differentiated treble. The Levinson sounds in just such “complete” way, i.e. it is difficult to point out any particular frequency range. But when we play any of the aforementioned albums, to which I might add Cello Concertos by Edgar and Delius performed by Jacqueline Du Pré, we hear that the low end that previously was so incredibly exciting, building the mood and largely determining the volume of sound, is not fully controlled at the bottom end. Or at least not as much as in the best players I mentioned. It is closer to the Ayon CD-5s SE, with its tube output stage than to solid stage output of the McIntosh and the Soulution. It is not particularly differentiated or selective. On the plus side, it’s not boomy or dragging and has quite short decay – it constitutes a part of a larger whole, not a separate entity. I had more trouble with identifying the high end. For all that, it’s a very open sound. We do not deal with its rounding off as in both Soulution players and the emmLabs player or its warming as in the Ayon or – even – the Jadis. It’s clearly closer in its resolution, openness and differentiation to the top Ancient Audio from which it’s a little warmer. Differentiation I refer to is not as incredible as that which happens in midrange (and maybe that's why it draws our attention). I’m not sure if you’ve noticed that all album titles I mentioned in the previous paragraph are SACD discs. That is not a coincidence. I would venture to say it is one of the very few Super Audio CD players that fully deserves this name. In 90% of cases, at least in my opinion, the added ability to read the “dense” disc layer does not translate into a particularly marked sound improvement. We can hear that something is better but it's really hard to appreciate the efforts of music engineers and producers. One of the few designs that was absolutely and undeniably a high definition player was the 65,000 USD Accuphase DP-900/DC-901 combo I’d reviewed for “Audio.” The Mark Levinson No.512 is the second machine I could call that. With its additional sonic characteristics I would even say that my personal preferences would point to it as the player I would have gladly kept. An important feature of the reviewed device is that it will not be embarrassed by any album, regardless of how it’s been recorded. Including those SACDs where the “thick” layer has been converted from dubious quality PCM material. Something like the mentioned albums by Sting or Genesis. I keep the former only as a sort of reference point, the Charybdis of world records. Of course, provided we agree to assign a value to the Scylla and the Charybdis – respectively – positive and negative. I don’t have another so poorly produced album with such disastrous transfer to SACD. And yet played on the Levinson it sounded tolerably, which in this case means “sensationally.” Poor resolution and other problems I can’t exactly pinpoint were indicated by a flattening of dynamics but not by brightening, which is widespread with "precision" players. Similarly, the far from ideal edition of Abacab by Genesis (a double SACD + DVD edition from 2007) clearly benefitted from it, showing depth and color. Conclusion Auditioning and evaluating quality audio equipment is a real pleasure and it is for those moments that reviewers toss around tons of steel, copper and wood, not to mention rare earth metals and their alloys. Although I don’t usually review audio components I openly don’t like or don’t feel like listening to, even among the ones I choose to describe are those that don’t fully correspond with what’s most important to me. I respect them; I know that in other systems, for other music lovers they will be right on in there, but not for me. I prefer the kind of sound offered by the Mark Levinson No.512. It is not perfect, just to be clear. My reference player can do some things better, for example it shows a bigger soundstage and is more accurate on both edges of the frequency band. Still, in quite a long time it is the first player I would actually like to have, if only to play SACDs which get from it some kind of imprimatur. Let’s note that the build in preamp proved to be excellent and makes it a full package. The No.512 coupled directly via Siltech Royal Signature Empress Double Crown balanced interconnects to my Soulution 710 power amp was captivating. I was fully aware of what could be further improved yet ended up loading again and again discs that should be, taking everything I wrote literally, rejected (“by the listeners” to quote the classic). Ignoring that, I actually spent most time in their company, with the headphones on, reading first Kochanie, zabiłem koty (“Honey, I killed the cats”) by Masłowska, whose autograph my wife got for me at the last XVI Krakow Book Fair, and then Reamde by Neil Stephenson (unfortunately without his autograph), listening to albums that, again, in theory, would not necessarily be associated with the Levinson – be that Zeit by Tangerine Dream from the latest double-disc SHM-CD edition (interestingly, the second disc is an ordinary CD), Belle Alliance Plus by Ashra, or E2-E4 by Manuel Göttsching. The depth of tone, its multidimensionality, absolutely stunning midrange and slightly emphasized bass made me immerse in these sounds, not caring if they sound “natural,” or if they are “neutral,” or perhaps shown “with precision” and just as they “should be.” Listen for yourself and you will understand what I mean. Who is this player for? Is there anyone out there today who still needs an expensive audio disc player? It's probably the two most important questions that call for our attention and, in case of those who like what I wrote and would like to get a closer look at the No.512, for some answers. Free will is a sacred thing, given by God (if we are believers) or granted and protected constitutionally (if we opt for the other option) and no one can tell us what to do in this situation. But let me exercise my right to the freedom of speech and tell you what I think. It seems to me that the compact disc, CD in particular but also – surprise! – SACD will stay with us for a long time. And that – paradoxically – is due to computers and the extraordinary popularity of audio files. Anyone who has tried to tame the damn thing knows that there is always something to ruin our listening and often will not even allow it. After all it's just a computer. A music lover can’t usually be bothered by nor is fond of fiddling with it and doesn’t give a s..t about the what and how; he or she just wants to listen to music. Therefore, his/her only sensible option is a physical medium such as the CD that can be launched by the index finger and two buttons. And the album will always play exactly the same. Hence the inevitable return to physical media. From this point of view, the more expensive the player, the more it makes sense. The kids use audio files anyway and will most likely continue to do so; maybe they'll be able to catch up with the analog counter-revolution. For serious people, with money – only digital disc player. And the Levinson is the perfect device that will stay with us “forever.” That is, until it falls apart in years. That should not happen too soon because its component most susceptible to wear is excellent – after all it’s a transport drive from Esoteric! So, why the Levinson No.512? Please, read again the “Sound” section of this review. It's an extremely addictive, engaging sound that may have some weaker moments but we don’t care for them because everything else is so damn good. Besides, if someone can show me a device without any flaws, I will lick his or her boots. Here and now the ML No.512 may be our last CD player. Testing methodology The American player was compared against the Ancient Audio AIR V-edition CD player and the Human Audio Libretto HD. The testing had a character of an A-B comparison with known A and B. Music samples were 2 minutes long; whole albums were also auditioned. The No.512 sat on the Acoustic Revive RAF-48H platform that seems designed especially for it – both in terms of its size as well as the effect on the player’s sound. I used the Acrolink Mexcel 7N-PC9300 power cord plugged into the Acoustic Revive RTP-4U power distributor. I also used the Royal Signature Ruby Double Crown power cord and the Octopus power strip from Siltech. The No.512 was coupled to the reference system with the Ayon Audio Polaris III [Custom Version] preamplifier via the unbalanced Acrolink Mexcel 7N-DA6300 interconnects. A separate listening session was dedicated to audition the American player plugged directly to XLR balanced inputs of the Soulution 710 power amplifier via the Siltech Royal Signature Empress Double Crown interconnects. Before auditioning the player had been for 48 hours in the “repeat” mode. DESIGN The American manufacturer is faithful to its own design line, developed over the years. Mark Levinson devices are large and solid, with a characteristic black front panel featuring round silver buttons. They are traditional “hard buttons" having a hard surface and definite tactile feel. There are no less than twelve buttons, including a black one. They are used to operate the CD transport, to dim and switch off the display, choose between the SACD and CD disc layer and select the stereo or multi-channel section. They are also doubled on a large and heavy metal remote control sporting – for a change – “soft buttons.” The remote control has additional buttons: volume control, direct access to tracks, mute, and line-out selector- unregulated or regulated. As matter of fact, the No.512 is a SACD player with an integrated preamplifier. The last statement is true if we define the primary feature of the preamplifier to be volume control. The player has no inputs and nowadays the lack of USB or even S/PDIF 24/192 input is a serious shortcoming. Volume control in the reviewed device is carried out in the analog domain in the range of 0 (silence) to 73.2 (max). The level of 2 V on the RCA outputs and 4 V on the XLR corresponds to the level of 61.2. At the maximum gain setting it is, respectively, 8 V and 16 V. With the output impedance of 10 Ω that should be enough to drive any power amplifier. The slender disc tray is made of cast aluminum. Right above on the front panel is the large, easy to read dot-matrix red display. All audio devices should be so communicative! Unfortunately, we will not see on the display such information as CD-text or SACD-text. It also lacks – which is a real pity – the beautiful SACD logo. Loading such disc is indicated by a dull-looking, ordinary red LED. The rear panel looks evokes the classic CC high-end players from the 90s. There are analog XLR and RCA outputs as well as digital, electric RCA (S/PDIF) and XLR (AES/EBU which is a balanced S/PDIF signal used in recording studios). We also have a series port and remote control port, an IEC socket and the only port showing the age we live in – an Ethernet port that allows us to control the device, check its status and the like via the Internet. There is no trace of digital INPUTS. The unit is housed in a solid enclosure made of bent aluminum plates and a thick aluminum front panel. It sits on specially prepared, conical, very low (to lower the center of gravity?) aluminum feet lined with soft material. The player interior is divided into sections corresponding to particular tasks. In the center is the VOSP Esoteric transport drive, the same as in emmLabs and Soulution players. Its chassis is plastic and the mechanical assembly originates in a universal (SACD / CD) drive from Sony. The chassis frame is fastened on the top with a rigid aluminum cover sporting a solid, heavy stainless steel stabilizer disc. Beneath is a classic magnetic disc clamper. The cast tray is very solid. The chassis support frame is mounted to aluminum based plate that in turn is bolted to the enclosure “floor.” The fact that the whole design is based on the Sony drive is evidenced by Sony ICs in the decoding circuit. It is mounted to a larger control system PCB, and the whole is housed in a stainless steel shield. The digital signal is then sent to another steel “box” hiding the DAC circuit. Quite literally – the PCB was originally designed for a D/A converter marked “No.512 DAC” (from 2008). It sports golden traces, surface mount components and high-quality board substrate. Levinson previously used very expensive PCB substrate called Arlon (also found in devices from Enlightened Audio Design). Now, however, we find even more expensive material called Nelco N4000-13. Knowing how this player sounds I would never have guessed that the gain stage is built on ICs! The output features Xilinx DSP. At first I thought it is used to upsample the CD signal to 24/192. It seems, however, that something else is implemented. The company takes pride in a special Direct Digital Synthesis (DDS) circuit which minimizes jitter. What it apparently does is it to load the signal from CD and SACD into memory, overclock it and in that form transfer it to the DACs. Of course that does not exclude upsampling as one of the features of asynchronous upsampling is that the signal is first buffered and then overclocked, but I'm not sure about it here – the manufacturer makes no mention of upsampling. And so we come to two DACs, one per each channel, based on the Analog Devices AD1955. According to its manufacturer, unique features of this chip are a separate DSD bit-stream (i.e. without conversion to PCM) and external digital filter interface. Both are used here. The balanced current-output is built on AD ICs, and others. The output circuit features Burr Brown OPA2134 chips. There are also four relay switches – presumably the output mode selector (regulated or unregulated). The outputs utilize a DC Servo circuit. Output connectors are solid, soldered, with gold pins. On the XLRs pin 2 is the “hot” conductor. The remaining part of the interior is occupied by an extensive power supply. I counted eight separate, discrete rectifiers with diodes bypassed with capacitors. There are many voltage controllers with heat sinks and digital outputs are coupled by impedance matching transformers. Power is provided by two toroid transformers, manufactured in Canada by Plitron. Beautiful work all in all. Technical Specification (according to the manufacturer): Playback formats: CD and SACD Frequency Range: +0.0 dB / -0.2 dB PCM/CD; +0.0 dB / -0.5 dB DSD/SACD Signal to noise ratio: 108 dB Dynamic range: 108 dB Total Harmonic Distortion (THD): 92 dB PCM/CD, 99 dB DSD/SACD Output voltage (fixed): 4 V (XLR), 2 V (RCA) Maximum output voltage (variable): 16 V (XLR), 8 V (RCA) Output Impedance: 10 Ω Power consumption: 100 W Dimensions (HxWxD): 116 x 442 x 448 mm Weight: 15 kg

Published: 1. January 2013, No. 104 For about a year now, reading e-mails from various manufacturers or distributors with information about their new products, I can be almost certain to come across the “PC” abbreviation in one of the paragraphs. Personal Computer, for that is what it stands for, is a sign of our times. Without it gone is the Internet, as there would be nothing to connect and without the Internet gone is "High Fidelity". And that would hurt me dearly. Computer is but a calculating machine with a memory, executing instructions embedded in software. As it soon turned out, a very versatile machine. Is there anyone today who can imagine typesetting newspapers, magazines or books without a computer? Or sound recording and processing, for that matter? Great majority of contemporary musical recordings employs computer workstations and hard drives. Same is with remastering – the best remastering systems, usually connected with CEDAR, use its audio plugins. Since recently, the computer is also becoming an important audio source, sort of a “player.” There are those who believe that this is the only way to high-end or to replacing vinyl with the new generation media that preserves all the advantages of the analogue with all the additional advantages of the digital. Japan with its approach, merging the ultra-conservative with the ultra-modern or downright futuristic, is a perfect example. In most of their systems we will come across a turntable or two with multiple cartridges, next to an audio file player, which is nothing else but a highly specialized computer, or a laptop. They have their own fantastic magazine "Net Audio" dedicated exclusively to audio files and methods of their reproduction. Keeping that in mind, one should not be surprised by an overrepresentation of devices broadly defined as "PC Audio" in audio magazines. It’s a sign of our times and we can do nothing about it, even if we associate the computer with something hardly manageable and far from relaxing, which is the feeling that should be associated with listening to music at home. Solid number of experienced audio companies that have made their name in classical audio is trying to find themselves in this new reality. Some with better success than others, each one desperately trying to include in their product something related to PC, a USB port in most cases. Not that that does it any good, usually. That does not appeal to a traditional audiophile, as it is just an extra DAC in an amplifier or preamplifier, or money spent needlessly on such a port in a DAC. Neither does it appeal to modern techno-maniacs or simply people in the know, because the only thing that makes them tick is the most technologically advanced products and they do not tolerate any compromises on their way to Nirvana. For them the leaders are the companies on the very edge of “technological shock,” the companies that bring the changes about. Italian M2TECH is one of them. Run by a woman, Nadia Marino, the company is fairly young and was founded with one goal in mind: to improve transfer of a USB signal and its conversion to the classic S/PDIF "understood" by older DACs. hiFace was a tiny plug connected to the computer and to an RCA socket on the other side. A typical digital to digital converter, it was one of the first, though, able to process 24 bit and 192 kHz signal. One cannot find the word "asynchronous" in its description but it does appear in the manual. M2TECH was not the first to implement that; the medal goes to Gordon Rankin who is the author of the first D/A USB converter, the Crimson from Wavelenght Audio. Introduced in 2004, it featured something equally exciting as a USB input, namely asynchronous transmission from the computer to the converter. The software, written by Gordon and stored in Texas Instruments TAS1020 controller, has been available under the name Streamlenght and implemented by a great number of audio manufacturers. To a good effect. Gordon is still just half a digital man, so to speak. His first love were vacuum tubes and his beloved children SET amplifiers. M2TECH is nothing of the kind. The company is one of the most active advocates of computer as an audio source, high-end source at that. All digital to analogue converters, because after the hiFace it is now their turn, have been designed with USB signal conversion in mind. There are of naturally other digital inputs; the reviewed model sports two optical ST, two TosLink, two RCA and two AES/EBU. All are 24 bit and 192 kHz capable, including 88.2 kHz. All current D/A converters are capable of that I believe. However, on the first page of manual of the DAC introduced in May 2012 and presented for the first time during High End exhibition in Munich, we read something much more interesting: 384kHz/32BIT Digital-To-Analog Converter. The above has been made possible due to technological novelties, some of which we learned while reviewing the Young converter, others being totally new. Indeed, the device accepts 32-bit 384 kHz signal but only via two inputs: I2S on Ethernet RJ45 port and USB. That is not all, though. All double connectors can be configured in such a way that each connector receives one channel signal. This solution allows to bypass the limitation of digital receivers and has been used for years by such manufacturers as dCS or Chord Electronics. Using such dual channel link we can send 24 bit signal with maximum sampling frequency of 384 kHz. The Vaughan does not accept DSD signal, though. M2TECH products featured so far in „HF” AWARD: Best Sound Audio Show 2012 - Vaughan, D/A converter; see HERE REVIEW: M2TECH YOUNG – D/A converter; see HERE REVIEW: M2TECH hiFace EVO + EVO Supply + EVO Clock - D/D converter + power supply + master clock; see HERE SOUND A selection of recordings used during auditions: Audio Accesory - T-TOC Records High Quality Data Master Comparison, TDVD-0002, DVD-R (2011), ripy 16/44,1, 24/96, 24/192 FLAC. Random Trip, Nowe Nagrania, 005, CD (2012). T-TOC Data Collection Vol. 1, T-TOC Records, DATA-0001, 24/96+24/192, WAV, ripy z DVD-R. Al Di Meola, Flesh on Flesh, Telarc, 24/96, Ľródło: HDTracks, FLAC. Ash Ra Tempel, Ash Ra Tempel, MGART/Belle, 101780, SHM-CD (1971/2010). Ashra, Belle Aliance Plus, MGART/Belle, 121914-5, 2 x SHM-CD (1979/2012). Brenda Lee, Let Me Sing, Decca/Universal Music Japan, UCCC-9111, "Decca 70th Anniversary, No. 30", (1963/2004). Charlie Haden & Antonio Forcione, Heartplay, Naim Label, 24/96 FLAC. Chris Connor, Chris Connor, Atlantic/Warner Music Japan, WPCR-25163, "Atlantic 60th", CD (1956/2007). David Sylvian, Sleepwalkers, P-Vine Records, PVCP-8790, CD (2011). Frank Sinatra & Count Basie, Might As Well Be Swing, Universal Music Japan, UICY-94601, "Sinatra Society of Japan, No. 17", SHM-CD (1964/2010). Jim Hall Trio, Blues On The Rocks, Gambit Records, 69207, CD (2005). Judy Garland, Judy in Love, Capitol/Toshiba-EMI, TOCJ9656, CD (1958/2005). Lars Danielsson & Leszek Możdżer, Pasodoble, ACT Music, ACT 9458-2, CD; rip FLAC. Metallica, Metallica , Warner Brothers Records, FLAC 24/96. Miles Davis, Tutu, Warner Brothers Records, FLAC 24/96. Portishead. Dummy, Go! Disc Limited/Universal Music [Japan], UICY-20164, SHM-CD (1994/2011). Radiohead, The King Of Limbs, Ticker Tape Ltd, TICK001CDJ, Blu-spec CD. SATRI Reference Recordings Vol. 2, Bakoon Products, FLAC 24/192. SATRI Reference Recordings Vol. 1, Bakoon Products, FLAC 24/96. Schubert, Lieder, wyk. Dietrich Fischer-Dieskau, dyr. Gerald Moore, "Signature Collection", EMI, 55962 2, 4 x SACD/CD. Sonny Rollins, Tenor Madness, WAV 24/96, HDTracks. The Montgomery Brothers, Groove Yard, Riverside/JVC, JVCXR-0018-2, XRCD (1961/1994). This Mortal Coil, HD-CD Box SET: It’ll End In Tears, Filigree & Shadow, Blood, Dust & Guitars, 4AD [Japan], TMCBOX1, 4 x HDCD, (2011). Vangelis, Spiral, RCA/BMG Japan, 176 63561, K2, SHM-CD (1977/2008). Yo-Yo Ma & Bobby McFerrin, Hush, Sony Music/Sony Music Hong Kong Ltd., 543282, No. 0441, K2HD Mastering, CD (1992/2012). Japanese editions available from The press feeds on differences, dichotomous preferably. They can be emphasized, turned inside out, vivisected and finally, after everybody is bored, can be negated. The press, audiophile press as well, needs “fuel” that would carry the message, primary one based on opposition of left-right, down-up, or cold-hot. It may sound cynical, because such actions rely on the needs and habits of readers, not always pure and noble. That is the world and reality, though. So if it provides a good way to bring across something more, something that would leave better impression or even leave any impression at all - I am all for it. Source: Compact Disc transport, PCM 44.1/16, RCA input The opposition that springs to mind after connecting the Vaughan to that system is cold-warm. If we consider Mark Levinson No.512 warm then the DAC under review must be cold. Its tonal balance is, compared to the Levinson, clearly shifted up. This opposition will probably survive every audition and each change of opinion cause it remained in place to the end of this "High Fidelity" review. The only problem is that does not say much about the device itself, obscuring the truth, in the same way as calling the Levinson "warm" also distorts the perceived image. Because if we call something "cold" it is often associated with other more pejorative characteristics such as "clinical", "devoid of emotions" and others, thus dismissing the device from the start. That is why I must start with an explanation that the Vaughan does not sound "cold" per se. It is not cold at all for f..k sake! That is how the common terminology fails, the language itself. Listening to Frank Sinatra and Count Basie album Might As Well Be Sing, listening to albums of great singers like Chris Connor, Judy Garland, Brenda Lee or even playing the latest album issued by Nowe Nagrania Random Trip i.e. club and trans music, I could not point to any aspect that was overemphasized. Vocals were incredibly precise, well placed in space and musical continuum. I will even say more: all the mentioned vocals had very nice color and were exquisitely differentiated. The emotions associated with singing, playing an important part of musical performance of all the above vocalists, were easy to read and pleasant to listen to. Precision is what plays the most important role in the presentation. That is indeed the key to this sound. It may also lurk behind the description "cold". There is nothing here that is artificially warmed, withdrawn, smoothed out. But that is exactly the way to "create" pleasant, nice sound. I do not mind that. One should be aware, however, that there will always be something missing, that it will always be some sort of interpreting of the presentation, where in order to achieve peaceful and relaxing mood some part of music is lost. If this is what we are after, the Vaughan immediately drops out of our shopping list, why bother? The Italian converter has its own place and does not need any labels. To assimilate it in one’s audio system one should find other compromises, no doubt about it. The phrase "no-compromise audio" is an empty expression, with no referent in reality but only existing in the creative minds of PR people working for manufacturers and distributors or in some dark corners of the mind of moronic (sadly) audio journalists. The M2TECH DAC sounds incredibly fast and clear. Its dynamics is far above par – on the level of far pricier CD players, not even all at that. Differentiation and all shades of dynamics is top shelf. The Levinson, for instance, an absolutely brilliant player presents recordings in a similar manner; outstanding but always similar none of the less. The reviewed device does not play the same twice, unless we play the same album again... The compromise, mentioned above, will require taking a stand on our requirements concerning sketching the shapes of instruments and their tangibility. The Vaughan’s sound is rather distanced. It is impossible to show that kind of dynamics and draw the phantom images towards the listener; it would require low volume levels. If, then, we push everything behind the line of speakers, we slightly reduce lower midrange saturation and the result is what we get here. And that is the main reason one could use the "warm-cold" opposition. The DAC seems to pull the music from the listener rather than push it forward. The minimal lifting of tone, i.e. withdrawing the lowest bass (its mid and upper range are fantastically controlled), as well as slight distancing of midrange, all adds up to create a sound which, lacking imagination, one might call "cold". Or even "bright". If you have, however, been with me for some time till now, you realize that its crap. How potent, though... Source: audio file player, WAV/FLAC 44.1/16 - 192/24, RCA input To be honest, there is not much to write about. The sound is better than the one from the CD while having a very similar signature. Changing resolution improves the sound depth and the size of phantom images. Dynamics becomes much more justified - it was far above par with the CD, yet only in comparison with hi-res material one finally knows the reason for it. I am not going to rabbit on, because the sole reason of pride for people from M2TECH relates to USB input. Source: laptop, WAV/FLAC 44.1/16 - 192/24, USB input Are you sometimes tired of all the ado around computer audio? I am and frequently so. There are so many problems with playing an album you need to overcome and still so much can go wrong that picking up a CD, powering up a CD player and pressing the "play" button seems to be a real bliss. And that is not all. I am under impression that a great number of D/A converters with an USB input trying to catch up with the top audio world does not show even a shadow of what the computer – theoretically – could provide as a source of digital signal, especially the hi-res signal. As if the mere presence of said input justified names like USB DAC or other mindless actions. The Vaughan mercilessly shows the truth. It is one of the very few DACs with USB input that fully deserves the name. Moreover, I had no shadow of a doubt as to positioning of RCA and USB inputs based on the sound from CDs (WAV/FLAC 44.1/16). The clear and outright winner is USB. Based on the descriptions of CDs played on high quality separate CD transports it easy to come to the conclusion that such a transport is a worthy device. It is only after we plug in the laptop and play something with a decent software player (JPlay for me, invariably) that we will be able to fully appreciate efforts of the engineers who called the Vaughan to life. No doubt about it! The USB input is the sole reason for this device! The sound played this way is accented lower and better saturated. Phantom images are bigger and more tangible. The latter is due to a better saturated lower midrange. The low bass is still rather withdrawn and not as well controlled as in the reference player. As there is not much of it – we are talking below 60 Hz range – it should not bother us too much. All that is above is another story. Not trying to split the hair, which is quite useful usually, it has to be said that the sound is "alive". And I swear, listening to subsequent songs and then whole records, including those in hi-res, I often had goose bumps and received a similar message to that when listening to vinyl. No, it is not the same, but the depth, saturation and dynamics gave the impression that the CD played from a CD player from the same price range seemed to be shallow, boring and dead. It is not the whole truth; CDs played on a good device can really rock, the Vaughan, however, showed something more, particularly with high resolution material. It is possible because it superbly differentiates the recordings, presenting their mood, production, details – no vivisection though. I would venture as far as to say that the sound from USB seems warm! Obviously, it only seems so; upper treble is pushed forward but calmness and control of midrange produce exactly that effect. Yes, the top end is clearly shown, which was evident earlier on. Because it does not involve the particularly irritating range, i.e. sibilants, it does not affect the listening experience. Only with the most demanding material such as the voice of David Sylvian or Dietrich Fisher-Dieskau this effect was audible indirectly through a hardening of "t" consonant. With all other material this will add to an effect of stronger aura around instruments and more evident background noise (air, interior). But it is not what is important. The most important message of this review is that the sound played from the computer can be fantastic. Starting the review from a CD transport I could not quite find myself. Not because there was something wrong but because I remembered slightly different sound from the Audio Show 2012. Now I know what made an impression on me and that the music was played from a computer, slightly hidden on the right, behind a loudspeaker. How can you reconcile the view of beautiful emphatically old school broad band Bodnar Audio speakers with a computer? The only common denominator is the sound, involving, filling the space between the speakers. Its character lets you forget the mechanics of reproduction and allows you to focus on music. Headphone amplifier All commercial materials on the Vaughan describe it as a 384 kHz/32 bit digital-to-analog converter. There is no mention of something that is an essential functional component – headphone amplifier. Disassembling the unit I learned that it is not a secondary addition but rather a full-fledged circuit, based on the output transistors, assembled on a separate, large PCB. The only component that couples it directly to the system is a digital volume control. That is why I approached this review section with interest. One can hear it's a decent device with very clean and dynamic sound. But I missed the saturation of bass and midrange. So my search focused on the AKG K701 and the HiFiMAN HE-300 headphones. Although it was the Sennheisers HD800 that emphasized the advantages I heard elsewhere as well as flat frequency response, they also quickly revealed the weakness of the system – the lack of a short, muscular bass and some thinning out of midrange. The system is not an equivalent to the Vaughan’s perfect DAC. Similarly, the preamp whose role is simply volume control; I would treat it as a useful – but still – option. Conclusion Designing a product to become the flagship, manufacturers try to infuse it with all their knowledge and experience. That way they put all their reputation on the line. If it happens that something is not quite like the customers had imagined, if the sound does not meet their expectations, then making excuses that "they specialize in mainstream electronics and high-end is just a side project, something for fun" just won’t do. It is something that may ruin the company's image. I've seen a few times how it ends – dropping out of the market altogether. After auditioning the Vaughan DAC, knowing its technical objectives and how they have been implemented I can’t help but write the following conclusion: these people know what a high-resolution audio file is and are fully capable to control a USB input. For while I haven’t heard this device in its top form, i.e. with 32-bit and 384 kHz files (I have no equipment at home to provide such signal, although I have some DXD recordings), yet even what one can hear with the files ripped from CDs is exceptional. It is significantly better than what can be heard from the RCA line out, from the CD transport or from an average quality audio file player. No matter if we play 44.1/16 rips or 192/24. I've heard something like that only a few times in my life, e.g. with the Musica Ibuki Series Sekigahara Japan DAC (see HERE), but maybe that's why such experience is so moving. The Vaughan shows what computer audio is capable of if it is done right. It can be a completely new experience. It is no coincidence that the Japanese go crazy about turntables, Super Audio CD players and, as a matter of fact, computer audio, including stationary audio files players. Over the years of experience with the products of their hands I've learned I can’t ignore even their most bizarre ideas, because sooner or later I mature enough to understand what is going on. People from M2TECH realized it probably much earlier than others – USB is the gateway to a whole new world and they just opened it wide. DESIGN The Vaughan is a digital-to-analog converter from Italian company M2TECH. Its integral part is digital volume control, making it a potential preamplifier or a headphone amp. The unit is very large, even larger than the Mark Levinson No.512 SACD player, which it replaced on the Acoustic Revive RAF-48H anti-vibration platform. The enclosure is made of thick aluminum plates. The front panel is shaped in a characteristic way for the manufacturer, i.e. features a very large (bravo!) red dot-matrix display covered behind, curved, perforated metal sheet. On the right side is a large, chrome volume knob and a 6.35 mm headphone jack, and on the other side are two buttons. One activates the menu and the knob then is used to move around, and the other is used to exit the menu or go into standby mode. If we want to completely disconnect the unit from the mains we can use a mechanical switch, located next to the IEC socket on the rear panel. The display can be dimmed in six steps or set to an automatic mode. The indications appear only if we change some setting, for example move the volume knob. I think it should be lit for a bit longer. The display indicates the selected input and the sampling frequency of the input signal. Turning the volume control knob we can read the current level – in dB or relative. The menu also displays the battery charge level, channel balance, and the absolute phase. The only thing that’s missing is displaying the word size (or bit depth: 16- or 24-bit). The rear is packed with digital inputs – after all we have 12 inputs to our disposal: 1 x USB B, 1 x I2S RJ45, 2 x S/PDIF RCA, 2 x S/PDIF 75 Ω BNC, 2 x AES/EBU XLR, 2 x Toslink , 2 x ST. Apart from Toslinik (24/96 kHz), all others accept signal up to 192 kHz and 24 bit. They can also be used in dual-cable setup – a solution used for example by dCS and Chord. We can then send a signal up to 384 kHz (Toslink - 192 kHz). I2S and USB inputs are different. Both accept the 32-bit 384 kHz signal via a single cable. If need arises, an external reference clock can be used, via a BNC input. I2S connector is galvanically isolated from the circuit. Besides, other inputs also sport matching transformers. Analog outputs are balanced XLRs (hot pin = 2) and RCM sockets. All connections appear to be very solid. The Vaughan is actually several M2TECH devices in one box. However, it is not an assembled "kit" - all circuits and systems have been custom designed and built for this project. In the center, not surrounded by electronics (good!) is a switching power supply housed in a perforated metal cage. Its integral part is mains filter, preventing high frequency noise from being transmitted back to the mains. That could have an adverse effect on power supply systems for other circuits in the system. This power supply is not connected to the audio circuit – it does not "communicate" with anything. It is just a charger for the LiPo battery located in the neighboring compartment. Everything here is battery-operated. The main circuit is mounted on one large PCB. Lower inputs are soldered directly to it and the upper to an auxiliary PCB. I would use the former, just to be sure… The signal path is as follows: from buffered inputs the signal goes to Burr Brown digital receiver circuits DIX 41921. Next, it is sent to the powerful Xilinx Spartan-6 DSP which implements coded in-house upsampling unit and digital filters. It seems that this is also where digital volume control is. As we read in the company materials, the input signal is processed with 64-bit precision, so there is no concern about any resolution reduction. Next step is the actual D/A conversion. This stage features as many as eight Burr-Brown PCM1975 stereo DACs; four ICs, and so eight converters per channel. This solution is used successfully by many companies, such as Accuphase and T+A. It helps to minimize quantization errors and drastically reduce noise and distortion. Interestingly, this arrangement has been used to the maximum. The ICs are simply not connected with each other. Each one of them is a complete stereo system, with own analog section, i.e. IU conversion. In the output stage, in gain and buffering we find IT OPA2211 systems. The whole audio circuit is surface mount, featuring quality passive elements (e.g. Wima polypropylene capacitors), and resembles what we already know from the Young. Here it's just in multiple form. The headphone amplifier is mounted on a separate board, attached to the rear panel. In the input there is a quad chip Analog Devices AD8674, and the output is based on a pair of transistors in push-pull mode. The transistors are mounted onto an aluminum plate, which in turn is bolted to the rear panel. It is worth mentioning the beautifully designed clock circuits, one for each of family 44.1 and 48 kHz), and the DSP chip system at the USB input, which implements asynchronous receiver 32/384. Technical specifications (according to manufacturer): Inputs and outputs: Digital: 1 x USB B, 1 x I2S RJ45, 2 x S / PDIF RCA, 2 x S / PDIF 75 Ω BNC, 2 x AES / EBU XLR, 2 x Toslink, 2 x ST, 1 x external clock 75 Ω BNC Analog: 2 x RCA, 2 x XLR, 1 x 6.35 mm (headphones) Sampling frequencies: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz, 352.8 kHz, 384 kHz

Published: 1. January 2013, No. 104 The Polish Distributor took his time to introduce Eximus DP1 D/A converter to a Polish market. In case you wonder – it's a product of a already well know on our market, Korean Manufacturer, April Music. Polish customers already know and highly appreciate some other products from this company sold under Stello brand name. I could start naming them with commonly liked DA100 Signature DAC, really good USB-to-coax converter called U3, or the integrated and CD Player from 500 line. April Audio offers its devices under three different brands – Stello is one of them, Eximus is the other, and there is also Aura. DP1 belong obviously to an Eximus line. Many fans of Stello DAC was looking forward to Eximus coming to Polish market, assuming that it will be another reasonable priced product with great price/value ratio, bringing them closer to their own audio nirvana. Well, here it is – the DP1 D/A converter, so positively perceived by audiophiles around the world, presumed as a reference converter in its (still quite reasonable) price range by Srajan Ebaen from 6moons.com. So let's check what it can do. Before we start I should clear out one thing – I called this device D/A converter as it is its main functionality, and it's easier to call it that. Rather than: D/A converter/preamplifier/headphone amplifier. It is easier for me to write this way but I guess it is also easier for you to read it – so lets accept this convention but keeping in mind that it is more than just a DAC. Many people are already aware that the Koreans already cought up with Europe Japan and US on many fields, delivering at least as good products, and some even better. It looks like its time to start seriously noticing their participation in audio industry, maybe not at top-high-end level yet, but lets give them maybe 10 more years... . Just have a look at the picture of Eximus. It so happened that during this test the designers of Amare Musica (guys who put a lot of afford into their monoblocks and preamp presented during last Audioshow, to make them sound but also look as good as they do). They took a very close look of Eximus and simply commented that from their experience it would not be possible to outsource such a casing in our country, no matter how much someone would be ready to pay for it. There is simply no manufacturer who would be willing/capable to do something like that even if someone was to order large amount. If you want a confirmation of their words just ask Mr Roger Adamek of RCM about casing for his new reference phonostage THERIAA, about where did he order it. It cost A LOT and was made abroad. Coming back to April Music – they outsourced designing of this casing to Alex Rasmussen's company - A-Rex/Neal Feay, that was known for their earlier designs made for companies like Constellation Audio or Ayre. The word „April” in the name of the Korean company is (in English) the first month of a spring. What is one of the wonders of spring that we all wait for the whole winter? Fresh green leafs. I guess that might have been Mr Rasmussen's thinking and that's why leafs are the main theme of the Eximus casing. Not only the design is intriguing but also make and finish are really good. The side „mesh” walls surely serve their purpose to (which I guess is improvements in ventilation of the device) but they also match the whole design nicely. The buttons and knob on the front panel are of the same color as the whole casing. The top and bottom edges are nicely milled. The only thing that „bother” my sense of aesthetics was a on/off flip switch that on one hand seemed like it didn't belong there but on the other it was placed in leaf-like shaped recess and I guess no other kind of switch would fit in. SOUND Recordings used during the test (a selection): Arne Domnerus, Antiphone blues, Proprius, PRCD 7744, CD/FLAC. Keith Jarrett, The Köln Concert, ECM/Universal Music Japan, UCCE-9011, CD/FLAC. Cassandra Wilson, New moon daughter, Blue Note; CDP 7243 8 37183 2 0, CD/FLAC. Whitesnake, Starkers in Tokyo, EMI Music Distribution, B00000IGV9, CD/FLAC. Arne Domnerus, Jazz at the Pawnshop, FIM XRCD 012-013, CD/FLAC. Carlos Santana, Shaman, Arista, 74321959382, CD/FLAC. Marek Dyjak, Publicznie, UBFC Cd0111, CD/FLAC. Blade Runner, soundtrack, muz. Vangelis, Universal, UICY-1401/3, Special Edition 3 x CD (1982/1991/2007). Louis Armstrong & Duke Ellington, Louis Armstrong & Duke Ellington. The Complete Session, Deluxe Edition, Roulette Jazz 7243 5 24547 2 2 (i 3), CD/FLAC. Patricia Barber, Companion, Blue Note/Premonition, 7243 5 22963 2 3, CD/FLAC. Muddy Waters & The Rolling Stones, Live At The Checkerboard Lounge, Chicago 1981, Eagle Rock Entertainment, B0085KGHI6, DVD/CD/FLAC. Hans Zimmer & Lisa Gerrard, Gladiator, soundtrack, Decca U.S., B00004STPT, CD/FLAC. As I already mentioned DP-1 is 3-in-1 kind of a device. It is probably save though, to assume that its primary function is a D/A conversion. There are six digital inputs: 2xS/PDIF coaxial, TOSLINK, AES/EBU, I2S, and asynchronous USB input. All inputs accept signal up to 192kHz. This DAC allows user to upsample each signal, regardless the input it is delivered through – using a push button on the front you can either bypass upsampling or set one of two upsampling options: 88/96kHz, or 176/192kHz (this device uses two separate precise oscillators for 44,1 and 48 kHz, and upsamples the signal respectively). DP-1 sports also a headphone amplifier section, totally independent from DAC or preamplifier stage. According to the manufacturer this amp can handle most headphones with an impedance between 8 and 600Ω. The third functionality of that device is a preamplifier stage, that sports an analogue volume control (but there is no remote control). On the back panel there is one pair of RCA analogue inputs, but on the front you will find one more analogue input – that's a mini-jack (3,5mm), that might be use to connect some portable device. The manufacturer strongly recommends using DP1 to drive power amps directly and I must admit that it handled my Modwright KWA100SE pretty well, without falling too much behind the performance of LS100 tube preamplifier. If you consider just the price of 10.000 PLN without checking exactly what this device has to offer, you might find it pretty high. But considering that this is a 3-in-1 device and that combined just with a computer as a source and headphones and/or amplifier + speakers it offers a high performance audio system, 10 grands doesn't seem so much anymore. At the beginning of my listening sessions I used DP-1 as a D/A converter only with my PC (WIN8 64 bit, Jriver and JPlay) plugged in with USB cable, and my disc spinner with a very good AudioMica Flint Consequence coaxial cable. There were no problems with driver installation in Windows (which is quite unusual as I had many problems in Win 8 64-bit with other drivers). The result, quite like recently with Bricasti M1, were quite similar regardless of which input I used. That wasn't much of a surprise as the Stello U3 offers a very good performance so why shouldn't other April Music's product perform the same. I started listening to Eximus right after I finished the review of Bricasti which „forced” me to compare these two devices regardless of significant price difference. As you might have already read in M1 review, the first impressions of it were: transparency, clarity of the sound and quite large, especially front to back soundstage When it came to DP-1 the first impressions I wrote down were: smooth, coherent, rich sound and great communication of emotions. To some extend the Korean converter reminded me the outstanding Reimyo DAC, as it focused less on details and more on the essence of music, on how all elements come together, combine to create a great musical experience. Just a short notice for those who didn't read the review of Bricasti – I don't think that M1 is too analytical, or uninvolving. But the music is presented in a bit different way – there is more focus on quite a distinct presentation of even small details, making it much easier to follow any of them. When it comes to Eximus (and Reimyo that we compared directly to Bricasti) there is plenty of details but they are relayed in a bit... softer, less distinct way. So the DP-1 is not such a great tool to analyze the sound but it's a great tool to listen to the music and to enjoy it. Of course it is not the level of Reimyo performance, but there are some similarities in the sound. Music flows to listener's ears in an unforced, relaxed way, surrounding him, creating pretty convincing illusion of him taking part is a beautiful musical spectacle. On Arne Domnerus Antiphone blues I could clearly hear him inhaling the air and than blowing it into his saxophone – details like these are there, in the presentation, but they don't attract attention, they are a part of a very natural saxophone sound. Comparing with Bricasti I couldn't hear much difference in the deep, powerful presentation of organs, but the saxophone sounded bit darker with Eximus, which also made it more similar to Reimyo rather than to American DAC. To confirm these observations I listened to the same recordings of Patricia Barber and Cassandra Wilson as I had before, when testing Bricasti. Deep, low voices of both ladies sounded rich, with proper texture, and slightly darker than with M1, which made them sound even more real in my opinion of course, or at least more as I was used to hear them with my own system (like with my own TeddyDac, or from my turntable). The presentation was also focus rather around emotions, voices timbre, on relaying the close, intimate even relationship between artist and listener, and less on details. I'm not going to judge which way of presentation is better as each and every one of us has his own preferences, ways he likes his music served. My heart speaks for Eximus/Reimyo presentation, or Lampizator for example, but the mind says that Bricasti is more of high-fidelity type, delivering what is there in the recording without trying to make it sound better/nicer. It plays the music without interpreting it, if you know what I mean, which by audiophile standards makes it a better device. And it surely is a better D/A converter than DP-1 and those who seek highly revealing, detailed, transparent sound without any colorations will chose it over DP-1 for sure. But DP-1 has something in it, something that makes you want to listen to all your favorite recordings, even those you know already by heart – well, in fact it's not just listening, not just enjoying them, but also, most of all experiencing them. What is most interesting is that this presentation doesn't have to be perfect for you to enjoy it fully. I already mentioned that couple of time – when we attend a live concert, unless sound engineers or musicians screw things totally up, we like what we hear much more than even the best recording played by a top-high-end system, because live music will always sound more natural. To some extent that what also DP-1 does – it's not perfect – Bricasti did show in the same recordings more taut bass, or even more vibrant, more transparent treble. But for me it was easier to forget that what I listened to was only a reproduction and not live music, when I used Eximus. Is there really anything I could held against Korean device? Bass is powerful, nicely extended, well differentiated, maybe not so taut as with M1, but as dynamic and energetic. Midrange – there is so no such a neutral tonality, but it's still smooth, colorful, and rich which seems to be achieved via slight warm up – but from my point of view it's more of a pro than con... . Treble – open, airy, detailed, nicely extended, rich. OK, Bricasti can deliver bit more – for example when a bell is hit you can feel the vibrating air, and the decay is longer, but these are not some fundamental, although noticeable, differences between those converters. I found Eximus extremely capable in all sorts of live music. Examples? Here we go. The already mentioned Arne Domnerus Antiphone blues. The space of a huge church was beautifully relayed, it was easy to identify organs playing from up high and a saxophone placed bit lower and closer to the listener. Jazz at the Pawnshop again with Mr Domnerus – that's one of the best live jazz recordings, taken in a small club with all its ambiance, vibes coming from people not only enjoying the music, but also their meals and talks... which didn't stop musicians from having a great time, which is simply obvious when you listen to it. Totally different kind of, still live, music - Live by AC/DC – guitar craziness, volcanic eruptions of energy and dynamics and a major crowd clearly enjoying it like hell. I played this one with DP-1 on a lousy day and it was irresistible, it was like a shot of pure energy, the huge crowd around me was going crazy enjoying this simple but involving music and before I knew it I was having a great time too. Again something totally different – a beautiful, acoustic session of Whitesnake on Starkers in Tokyo simply sucked me in, the amazing voice of David Coverdale hypnotized me, and the sound of the guitar was very realistic too. Also the recently (finally officially!) released concert of Muddy Waters with The Rolling Stones, that I've been playing ever since from all mediums (CD, files, vinyl and DVD) sounded very convincingly. Fantastic blues band with THE Master, Muddy Waters, and than firstly bit shy Mick Jagger, who gained his confidence by the minute and later also Keith Richards and Ronnie Wood on guitars – all those fantastic performers proved that all it takes to play the blues is to feel it. And I was just sitting in that crowded place, sipping my Bud, and enjoying one of the best blues concerts of all times. There was damn good feeling of pace&rhythm, there was drive, power, feeling – it was all there together creating amazing musical experience. As I mentioned before – it did not really matter what kind of live music I played, whether it was acoustic or electric session, whether played in a small club or on a stadium – the involving, joyful, somehow very positive way of DP-1's presentation allowed me to enjoy each recording, to have an almost take-part-experience. /p> Also when it came to famous Koeln Concert by Keith Jarret, Eximus proved to be very capable of delivering performance of even such a “difficult” instrument as piano. One might think that it doesn't get easier than reproducing a single instrument but in fact not that many DACs can really play piano well, and even fewer of them can do it very, very well on a level comparable with what good turntable setup can offer from ECM vinyl. Eximus got quite close to being classified in the latter group, really, really close. It covered the scale of the sound, both in volume and tonality, timbre, ambiance. What some D/A converter can do better are attack and decay phase – especially the latter was seemed sometimes to be cut bit short. But the illusion of a grand piano, of exclusive participation in an amazing musical performance, feeling of the chemistry between musician and listener – it was all there, beautifully relayed. Yes, I did play a lot of live recordings during this test, because there was something special abut the way Eximus presented them, and it simply did it better than most DACs I'm familiar with. But it doesn't mean that it can't play studio recordings. Of course it can. DP-1 dealt nicely with each good recording trying to focus on an essence of a music. It was real fun to listen to all those multicultural influences on Tri Continental recording – it was pretty clear, that members of that trio actually come from 3 different continents. I also enjoyed a lot my favorite soundtracks. Like Gladiator, where during The battle I could feel the immense tension and great dynamics of the events. Like the fabulous Blade Runner with its dense, beautiful ambiance, or the very dark and powerful OST from the last Batman, just to name a few. Each of them was played in a very emotional, involving way that brought scenes from the movies in front of my eyes. When it came to „loudness war” victims, like some recent recordings of Carlos Santana for example, or to flat, lifeless recordings of my still favorite band U2, Eximus proved that it couldn't work any magic – as they say sh.t in sh.t out – nothing to be done here. So it's definitely better to feed DP-1 with high quality recordings as it will reward you with beautiful, involving, non-fatiguing sound. The short test of DP-1 driving my KWA100SE power amp did not reveal any problems, although, the same as with Bricasti, I like my system with LS100 preamplifier in, better. But still Korean device performed really well, lacking probably mostly two things – a delicate but important „touch” of tubes and a remote control – both delivered by LS100. I did not really have a chance to test Eximus as a headphone amplifier as the only cans at my disposal were Audeze LCD3, that simply required high quality, stand-alone amp to show their full capability. DP-1 dealt with them pretty well though – the sound was lively, involving, colorful, and the most obvious limitations were audible in both extremes. That's what happens usually if the headphone amplifier doesn't have enough juice to drive planar magnetic cans. So as I said, I couldn't really assess Eximus head amp, but it looks like it has a potential that might be explored with easier to drive, dynamic headphones. SUMMARY While few years back we had a huge vinyl related boom on the market, now so called PC Audio is on top of many audiophile’s list. To use a computer or files player as a source in most cases requires also a stand-alone D/A converter, preferably with USB input (if not an additional USB/coax converter is a must) and as an answer to such huge demand there is a huge supply of DACs of all sorts from around the world. In theory the bigger supply the bigger choice customers have and the better for them. But is it really better? Well, yes, but is it easier? Surely not. Today it is really difficult to make a right choice – most guys can't spend weeks auditioning dozens of devices to chose the best one for their particular needs. What's more, if you listen to many such devices you might find out that many of them sound alike. Many manufacturers have also already realized that if they want their products to be bought by often confused customers, these products have to stand out somehow among others. April Music came up with few elements that make Eximus DP-1 stand out, easy to remember by. It starts with impressive and original external design – I can't imagine anybody who would not be at least impressed if not delighted. The second advantage is surely multifunctionality – D/A converter being the main one for sure, but this device can also act as preamplifier driving successfully a power amplifier, and it will suffice to drive many headphones too. That means that your system might be really simple – computer+Eximus+headphones, or computer+Eximus+power amp+speakers – that might be all you need to get high performance system. And last but not least DP-1 offers also damn good sound. Surely not all will be thrilled – if what you seek is most of all clarity, transparency, perfectly neutral tonal balance than most likely you'll prefer the sound of Bricasti, or dCs. But many audiophiles I know, including myself, look for devices that offer involving, unfatiguing presentation, that lets them forget about system, and just experience music in a very pleasant, touching way – that's what Eximus can get you. Just sit comfortably in you chair and let DP-1 take you to a concert or to a studio. And while some other devices can do some things even better, you want miss them at all, because Eximus, while not perfect, offers you a great musical experience that makes you forget, or not even notice any imperfections of the presentation. All you care about is music, right here, right now. DESIGN Eximus DP-1 is a device by already well know on Polish market Korean company, April Music. In fact that's a three-in-one device: preamplifier, headphone amplifier and digital-to-analogue converter. It sports a very attractive aluminum casing perfectly made and finished with its top cover using a leaf motive. Front panel sport and on/off flip switch, also placed inside a leaf-shaped recess, a button that allows you to circle around all digital input to chose the one you want to use, and a row of LED that show you which input is actually chosen. Than there is a „filter” button that allows to turn on a „low frequency boost” for headphone listening, and right below it there is a headphone socket (6,3mm – when plugged in the XLR and RCA outputs are cut off). There is also button that allows you to chose an upsampling rate - 88/96 kHz, or 176/192 kHz, or to bypass upsampling, and next to it there is a LED that with its color signals which option was chosen. Front sports also a small jack analogue input that allows to plug in some mobile device, and there is a volume control knob – is it me, or it is a leaf-shape again? Let's go to the rear panel – analogue outputs, both balanced and unbalanced (XLR and RCA). Since DP-1 is a balanced device manufacturer recommends using balanced outputs if only possible. There is also a pair of analogue RCA inputs allowing to connect one external device if you use Eximus as a preamplifier. There is of course also a huge lot of digital inputs: 1x AES/EBU, 2xcoax RCA, 1x optical TOSLINK, 1x I2S, and 1xUSB (asynchronous). Plus a power inlet, of course. I couldn’t really take a look inside – after unscrewing bottom panel I could only see a bottom side of main PCB and a transformer – there is surely a way to take this device apart but I wasn't persistent enough and let it go. The manufacturer doesn't share too many information about the design . According to information I found Eximus sports a PCM 1974A D/A converter chip, and the solution for USB input is taken from Stello U3, which means that he used a 32-bit XS1-L1 processor from XMOS. The fully balanced, discrete output mode works in class A.

Published: 1. January 2013, No. 104 "The design goal of the AMP-11R is to be a world best high-end compact amplifier." A bold statement, but ultimately, you have to play to win… The above sentence begins the description of the AMP-11R integrated amplifier, available on Bakoon International website. This amplifier is different than almost all others I have dealt with so far. Its enclosure is made of a single aluminum block with milled in chambers housing various sections circuits. Obviously, we know this kind of design employed e.g. in the top R series from Ayre or – from my Polish backyard – in the unique nowe audio mono 3.5 monoblocks. Maybe it’s a coincidence, but both the amplifier and the RCK-11 dedicated platform are equipped with metal cones yet during the review they ended up instead sitting on the Ceraball feet from German manufacturer finite elemente. But then, on the other hand, there are no coincidences. Even this short introduction shows that we are dealing with a very special product. Coming from Korea, which grows to become a strong player in high-end audio field, it features an outboard power supply and can be placed on a specially designed dedicated anti-vibration platform. The latter consists of two beautifully anodized aluminum panels separated by ceramic balls, used in the aerospace industry. Extending this idea to include the feet (Ceraballs also sport a ceramic ball between two surfaces) seems like a logical step. However, that is not all. The most important feature of this device is a special electronic circuit called SATRI (SATRI-IC). It’s a current amplifier circuit, developed since the 80s. It’s main idea is to process the input and the amplified signal in the current, not voltage, form. Such a system is best fed with current signal and special BNC inputs are used for that. Other “big names” of audio also used and still use similar solutions. Just to mention CAST (Current Audio Signal Transmission) from Krell, or Zell from darTZell (also on BNC connectors although the input has a different nominal impedance). Here, it’s not only about the inputs and the method of transmission but also a specially designed, surface-mount circuit currently in the new SATRI-IC-EX version. The unit received for this review also sports output modules different from the previous version. Power output of the new amp is 15 watts (into 8 Ω). It did not immediately dawn on me (which only shows my temporary obtuseness) but it turns out that Bakoon Products International having its registered office in Korea is affiliated with its parent company, Bakoon Products Co. Ltd., a strictly Japanese company. All design solutions found in the AMP-11R, including SATRI, has already been ‘rehearsed” in the parent company. Ms. Chae Soo In, a company representative, just before the publication of this reviews let us know that the Korean branch would soon have new products, previously only available in Japan. From an interview available on the BPI website we learn that the owner and designer of Bakoon Products is Mr. Akira Nagai. It was he who 25 years ago developed the SATRI system. He was also one of the first designers of a D/A converter in which special attention was given to reducing distortion due to uneven timing, currently known as jitter. That DAC was the first to employ the SATRI system designed to use no negative feedback without adverse consequences such as distortion, narrow frequency response, noise, etc. Where did the name come from? It is not an acronym, as usual, but rather a slightly transformed Japanese word ‘satori’, meaning ‘enlightenment.’ It is worth noting that Mr. Nagai began his audio adventure from tubes of which he was a devotee. His collection consisted of over 2000 items. For the review I received not only the AMP-11R amplifier with the dedicated RCK-11 anti-vibration platform, but also the EQA-11R phono stage with SATRI output and the battery operated BPS-02 power supply, designed for the Arcam rDAC. Initially, I intended to review all the components from the ‘1’ series together, and separately the power supply (it's a series ‘0’). During the review, however, it turned out that each of these components deserves enough attention to go beyond the scope of a single review. I ended up writing about the amplifier in this first review and planning two separate articles on the preamplifier and the power supply accordingly. Nonetheless, I took a few photos of all the three devices from the ‘1’ series in order to show how they look together, sitting on their anti-vibration platforms. SOUND A selection of recordings used during auditions: The TBM Sounds!, Lasting Impression Music, LIM UHD 048LE, "Limited Edition", CD (2010). Bob Dylan, The Freewheelin', Columbia/Mobile Fidelity, UDSACD 2081, Special Limited Edition No. 3085, SACD/CD (1963/2012). Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, Special Edition Hardbound Box Set, CD+USB drive 24/44,1 WAV (2012). Depeche Mode, Enjoy The Music....04, Mute, XLCDBONG34, maxi-SP (2004). Diary of Dreams, The Anatomy of Silence, Accession Records, A 132, CD (2012). Elgar Delius, Cello Concertos, wyk. Jacqueline Du Pré, EMI Classic, 9559052, 2 x SACD/CD (1965/2012). Eva & Manu, Eva & Manu, Warner Music Finland, 5389629, CD (2012). Manuel Göttsching, E2-E4. 30th Anniversary, MGART, 404, CD (1981/2012). Max Roach & Clifford Brown, The Best of Max Roach & Clifford Brown in Concert! - Full version, GNP Crescendo/King Records (Japan), KICJ 246, CD (1956/1995). Pieter Nooten, Here is why, Rocket Girl, rgirl71, CD (2010). This Mortal Coil, HD-CD Box SET: It’ll End In Tears, Filigree & Shadow, Blood, Dust & Guitars, 4AD [Japan], TMCBOX1, 4 x HDCD, (2011). Japanese editions available from “You see one thing and you hear another” is a common theme in all kinds of audio-visual arts. The element of surprise, catching the viewer/listener off guard, pushing him/her out of their comfort zone is the basic tactics of contemporary performers and stand-up comedians. It is no different in the case of designers, including those in industrial design. For them, surprise is nothing but a way out of the shadow, of a dead end, so to speak. In audio, however, that does not seem to work. When we think of speakers or amplifiers “bigger” seems to be “better.” The reason for that is that the speaker needs a large woofer (or two) to reproduce low frequency bass and the amplifier needs a powerful power supply, which (except for switching power supplies) means a large mains transformer. Therefore, when we see such a small amplifier as the one reviewed here, we subconsciously expect suitably “tiny” sound. And, despite my best effort not to sound like a cheesy advertisement I must say that the AMP-11R amplifier is an example of how appearances can be deceptive. When I first saw Bakoon products at home, I could hardly believe how well finished they were, how well thought out their every detail was. I know how incredible are the challenges that must be faced by an audio manufacturer striving for perfection and how many years it takes to develop a “pattern” of activities, mainly related to working with sub-contractors and components manufacturers. I got down to auditioning with all the more respect. However, it soon became apparent that my initial “awe” was not necessary and that the device stood up perfectly well on its own and even if it had been packed in a shoe box, its designers would deserve a bow down. The question, of course, is whether it would have sounded equally well housed in a shoe box (no, not really), but it is a discussion for another article. AMR-11R + speakers The amplifier connected to matching speakers, more on which later, spreads out in front of us a large, intense sound stage with substantial, almost life-size, phantom images. It is particularly important with mono recordings that usually suffer the most on low-powered amps, with thinned out midrange or soundstage compressed to the size of a keyhole. And that happens all too often, for even the best products, if focused only on accuracy, attack or punch do not sound satisfactory, showing but a general framework rather than the song itself. The Korean baby, or actually twins as it's a two-box amplifier, sounds remarkably big. It will catch by surprise not only the skeptics but also those who have already heard a lot of amps. Even with the powerful Harbeths M40.1 that require loads of power and get down very low. With the M30.1 that impression was even more intense. It struck me hard right at the first album I listened to, Love is the Thing by Nat “King” Cole, but was nearly floored – despite sitting on the couch – by the mono, not particularly well recorded album Max Roach and Clifford Brown in Concert! from 1954 (by the way, I look forward to the day when I’ll put in front of my audio system a dedicated chair such as the Ballerina Sweetspot from Klutz Design, see HERE). Everything was simply spacious, extensive – it can’t be called anything else. For a while I worried if it wasn’t the effect of “pumping-up” the sound as the spell soon breaks and we are left with exaggerated, monotonous sound. But no – the differentiation of the Korean amplifier is sensational on many levels. There is no question of boredom, of being “overburdened” with sound. It is relaxing yet alert; kind of relaxation in readiness… Despite it sounding like a far-fetched oxymoron, music played on the reviewed amplifier gives a real “kick.” This is due to a few characteristics, rare in themselves and almost unique when combined. I’ve already mentioned one of them – large phantom images. The other two are incredible purity of all frequency sub-ranges and surprising, even when we are already accustomed to the volume, bass. All this has its consequences in general sound shaping as there is nothing for free. But let me take the liberty of saying right now that this is what I’m looking for in the reproduced sound; that’s what “gets me.” First of all, PURITY. This characteristic is usually described as freedom from coloration or distortion. For me it's something more complex. Lack of distortion and coloration is also characteristic of a device sounding “clinically clean”, i.e. devoid of emotion, internally dead. It is not enough not to add anything (or add as little as possible); what’s equally important is not to take anything away. Purity of which I speak in the context of this amplifier means a more direct experience, than with other even most “phat” devices, of different sounds, different instruments being real (genuine). It is the kind of purity not resulting from thinning out the sound and emphasizing its attack, because that's just hogwash, but reducing distortion to such level where the advantages of that kind of sound processing fully cover its flaws, mostly a result of an overlap with other problems. Let me repeat – it is a full and deep sound, with powerful, saturated bass and large phantom images; pure, vibrant and accurate, nevertheless. The bass I'm talking about is an integral part of other frequency sub-bands. If I mention it separately, it’s because it’s perhaps the most surprising element of this sound. Its lower part is not very strong and is rather emphasized by higher harmonics than a real presence. You can hear it especially on tracks where all other instruments build on it, such as the bass in Michael Jackson’s Billie Jean, the rocking on the Depeche Mode maxi-singles, or the powerful drum on Anabasis by Dead Can Dance. No wonder – 15 watts per channel, probably not doubled into 4 ohms, is but a shadow of what the Accuphase A-200 and the Soulution 710, to which the AMP-11R was compared, are capable of. Nevertheless, listening to music with it, also that rich in low sounds like trance music where the climate is built on the low bass foundation, was surprisingly, even refreshingly honest; it was simply a great sound. It seems that what’s behind is intentional sound shaping. We get sound that is exciting and compelling rather than boring, even when it’s “boredom of correctness.” It is not entirely accurate, even though its clarity is brilliant and its tone and response, apart from the obvious low bass roll off, very balanced. One can hear that something is added in midrange and treble, making the sound very energetic, active. It's just that it happens every time and with all recordings. After careful audition it’s impossible to think of this presentation as something “well-behaved.” Each sound aspect of the reviewed amplifier ideally matches the surroundings, blends in and does not draw attention. Even though treble, very extensive, rich and active will show more music information than the vast majority of other amplifiers, except perhaps the already mentioned units as well as the best SET tube amps (based on the 2A3 or the 300B). For some time then we will follow everything that's going on, not just because it’s absorbing in itself but because for most listeners it will be, I'm sure, something new, something they have never experienced before. After getting used to the fact that our earlier listening to music was crippled, devoid of treble, we will let go and everything will be restored to balance. Such accurate, fast and dynamic sound can be easily ruined by not saturating it with something “beyond” detail, something “behind” the sound of basic instruments. The AMP-11R is not an unrealistic amplifier, however, and it doesn’t do some things – it reduces reverb and focuses the sound between the speakers without clearly expanding it beyond. Punch, low bass extension and a sense of absolute fullness of sound are out of question, unlike the aforementioned amplifiers. Nevertheless, it is an absolute surprise and makes listening to music a most joyful experience – not “in spite of” something but “thanks to” that. AMP-11R + headphones This is not the first time I deal with a situation where very good, or in some aspects truly spectacular, sonic characteristics of an integrated amplifier carry over into the realm traditionally belonging to headphone amplifiers. Previously it happened with the Leben CS-300 X [Custom Version] amplifier and two amplifiers from Cary Audio, the CAD-300-SEI and the SLI 80. Every now and then, I would also get very good results with other devices, preamplifiers and digital players, but when it comes to absolute top sound such “transfer” has been rare. All the more surprising was then what I heard after connecting the headphones to the AMP-11R. I could not believe the sound quality with the HiFiMAN HE-300 and the HE-500, but most of all the HE-6, top designs from this manufacturer which so far only suggested their potential. I listened to them paired with dozens of amps and only in a few cases got somewhat of a full response. Still, always limited by something, somehow conditioned. The AMP11R and the HE-6 is a unique combination, without the need to justify anything, without having to extrapolate what I hear and relating it to my previous experience. Sitting comfortably with our headphones from Mr. Fang Bian on our ears we hear sound that is on the one hand energetic and beautifully ordered, and on the other calm. The combination of these two marks only the best designs. In others their designers usually try to polish one of these elements. Here we have both. The system, in addition to the above mentioned amplifier and headphones consisting of a the Human Audio Libretto HD CD player and the Klutz Design CanCan headphone stand, which I take to be an integral part of my auditioning system, was almost as perfect, and in some areas even better, than my current reference – the Leben CS-300 X [Custom Version] amplifier paired with the Sennheiser HD- 800headphones. The Leben with the Sennheisers shows more saturated bass and low midrange, the sound is however a little bit more “moist”, not as clean as that derived from a combination of the Korean amp and the American-Chinese headphones. The speed of the magnetostats combined with extremely wide bandwidth and precision of the amplifier’s SATRI circuit resulted in something that goes beyond the usual discussion of “treble,” “bass” and “midrange.” It brings another dimension of sound. I missed something of the calmness of the Leben and the Sennheisers but I had no problem moving from one system to the other. Over time, I noticed I spend more and more time with the HiFiMANs on my ears. And it is only a narrower and more focused in the middle soundstage of the HiFiMANs and the Bakoon that markedly differentiates these two sets, in favor of the Japanese-Austrian system. Because auditioning the HE-6 made an immediate impression on me, I had much less time left to listen to the other headphones in my collection. However, I’ve done my homework and found some combinations I can recommend with a clear conscience – those I would also be happy to use myself every day. HiFiMAN HE-500: Very fast sound, powerful, low bass, high transparency. The sound, however, focused in the center of the soundstage and the band around several kHz clearly emphasized. Generally, everything seemed much more compressed than with the HE-6. HiFiMAN HE-300: A much better synergy than with the HE-500. The sound saturated and full, with slightly contoured edges of the frequency band, but without exaggeration. Powerful, low bass and rich, detailed cymbals. The latter without brightening and even with a slight withdrawal at the edge. Midrange somewhat “paper-like” and not fully saturated but overall a very satisfying combination. Beyerdynamic DT-770 Pro Limited Edition 32 Ohm: The whole less saturated than with the HE-300 and more distant, not so tangible. Low end, however, smoother and better differentiated, and similarly treble. The latter more open, although not as much as with the HE-6. A slight emphasis on upper midrange gives it freshness and panache. No sharpening or brightening. The combination can be interesting but I’m out. Beyerdynamic DT-990 Pro (600 Ω): Oh baby! – How great these headphones are doing, despite being about fifteen years old! Their earpad cushions have been replaced a few times, the diaphragm, however, and all other components are original. The most tonally balanced sound throughout. Not as selective and defined as the Sennheiser HD800 and the HiFiMAN HE-6; it can’t stand up to them. But the most balanced nevertheless, simply the coolest. Slightly lacking saturation as a whole, not as direct as the HiFiMANs. Regardless, it can be enjoyed without any fatigue for hours. AKG K70: A surprisingly successful combination. Not the most detailed and differentiated sound but excellent dynamics (yes!) and vibrance. Both top and bottom (extreme edges) rather withdrawn. Treble and upper bass firm and fleshy. Phantom images shown close up, tangible and solid. A real surprise. AKG K271 Studio: A clear withdrawal of treble, a lack of low bass and a stronger emphasis on midrange attack. Overall, however, the sound is pretty good and balanced. It’s a bit “plastic.” i.e. lacking saturation and tangibility, but on the other hand there are no problems with treble, which many other headphones had. A classic still holds its own. Sennheiser HD800: The sound that I could put almost on par with the HE-6. This combination didn’t have so good resolution and selectivity as with the planar headphones, but bass seemed to be better accomplished, full-bodied. The tonal balance was set higher than paired with the Leben, with a slight emphasis around several kHz, but without serious consequences. A really great system – I recommend it to anyone! Conclusion Journalists reviewing audio products are tired of them, often bored. Everything happens over and over again, in a very similar way (if we are care about listening sessions repeatability), year after year, often for decades. While it may not always be apparent, a sheer repeatability of the process of auditioning, describing the sound and product design, placing that in a broader context, telling manufacturer’s history, introducing the owner or designer, taking and processing the pictures, sooner or later lead to some kind of cynicism – nothing more can surprise us. Even something as unique as – for example – the Siltech cable system I had at home for a few days, costing (trifle!) 200,000 USD! Maintaining a fresh mind is really difficult in this situation. The kind of excitement every beginner feels, the excitement associated with getting to know increasingly better product is somehow gone over time and what remains is a routine each journalist worked out personally. One of the best ways to rekindle what we do is listening to live music – during concerts, recitals, in the recording studio and on all other occasions. In my case, it means going out two or three times a month. More often during “hotter” periods of time. But it all makes sense only when music, audiophilism and everything associated with it are placed in a broader context. When we have a loving family, eat well, read, drink good alcohol (I will tell you some time a history associated with beer) or have tea, etc. When we simply live a good life. Then we find out that music is more than just organized sounds and audiophilism more than only striving for better sound. We come to realize that it is a way of life, which can be exciting even after many, many years after our first steps in this profession. Provided we meet on our way the right people, right manufacturers and right products. The amplifier I’ve told you about this time is one of those devices that appeal to all our senses in a consistent, coherent way, reflecting a corresponding idea of its designers. Its sound is exquisite, its design stunning, and we actually get two devices in one: an integrated amplifier and a headphone amplifier. The Bakoon breaks out of the testing routine and is beneficial in a broader sense, not just offering a nice presentation but also bringing a kind of balance to our life. I rarely get similar feelings about the reviewed audio components; when I do it is mostly with Japanese products. It’s worth, however, turning attention to the context in which the AMP-11R should be found. Be sure to pair it with speakers with even impedance response, preferably rather high and reasonable sensitivity (although the first condition is more important). The Harbeths (perhaps except the smallest model, which sensitivity is quite low) are the obvious choice. Both the M40.1 as well as the M30.1 will sound fantastic, especially the latter, smaller model. Similarly, less expensive speakers like Sonus faber Minima Vintage will make a good choice. Another manufacturer that can be recommended en block is Spendor. Lastly, of course, speakers designed specifically for low power amplifiers, e.g. the J.A.F. Bombard should be a natural target. When it comes to headphones, obviously I haven’t heard everything and I'd be curious to hear the Bakoon paired with top models from Grado and Beyerdynamic. What I do know is that the HE-6, the most expensive HiFiMAN planar headphones are a worthy partner. That’s the first time I heard them sound so well. This pair is for me an equivalent system for the Leben CS-300 X [Custom Version] and Sennheiser HD800. Granted, they are different but it’s the same league. Simply saying, RED Fingerprint!!! The system receives RED FINGERPRINT award. The award has previously been given to: Dynaudio Focus 260 floorstanding speakers; reviewed HERE Musica Ibuki Digital USB DAC; reviewed HERE JPLAY audio file software player; reviewed HERE Pro Audio Bono Acrylic AP anti-vibration platform; reviewed HERE Hegel H70 integrated amplifier; reviewed HERE Leben CS-1000P integrated amplifier; reviewed HERE ModWright LS 36.5 linear amplifier; reviewed HERE Octave Jubilee linear amplifier, reviewed HERE Lym Audio LYM 1.0T PHONO integrated amplifier + DAC + turntable; reviewed HERE Testing methodology The amplifier was tested in an A / B comparison, with known A and B. In addition to the reference Soulution 710 amplifier and the Ayon Audio Polaris III [Custom Version preamp], I also used the Accuphase A-200 power amplifier and the Leben CS-300 X [Custom Version] integrated amplifier. The reviewed amplifier was sitting on the RCK-11dedicated stands, and those in turn not on the accompanying set of cones, but the finite elemente Ceraball feet. The whole was placed on the Acoustic Revive RAF-48H anti-vibration platform. For components coupling I used the top Royal Signature Cables Double Crown cables from Siltech - a power cord, a power strip with its own cable, an interconnect and speaker cables. Apart from the reference CD player, I also used the Human Audio Libretto HD battery powered CD player. I made several tests with the Bakoon Products EQA-11R phono preamp connected via the SATRI current input. The turntable used – Dr. Feickert Analogue Blackbird. The amplifier sounds best when it is fully warm – give him an hour to stabilize temperature before sitting down to listen. DESIGN The AMP-11R is an integrated amplifier with an outboard power supply. Both units are the same size, and their enclosures are made in exactly the same technique. The enclosure is made of a solid aluminum block with milled out chambers for electronic components. This aluminum block is secured from the bottom by a bolted-on aluminum plate, protruding slightly at the rear of the unit. The protruding section sports orange colored descriptions of inputs and outputs. Incidentally, orange is manufacturer’s color of choice – the very nice logo on the front panel has the same color. The faceplate is small – it’s a tiny unit – and the only visible elements apart from the logo are an orange LED seen through the gap between the main unit body and the bottom plate and a volume knob outline. The knob, if we can call it that, is completely unusual as far as knobs go – a horizontally positioned flat aluminum disc, flush with the rounded unit corner. It sports a slight indentation indicating volume level; however, it would be better to mark it in a more visible way. It might be worth knurling its edge to make turning it easier. However, apart from that minor complain the unit looks simply stunning! There are two basic finish versions, silver and black. But I have also seen a chrome version, maybe custom made on request. The device is powered up and down using a small toggle switch located on the left side, just below the 6.3 mm headphone jack. Signal to this connector is supplied via a pair of resistors straight from speaker terminals. The gain can be set in three steps with a small jumper inside the amplifier. On the rear panel we have solid, gold-plated Canary speaker connectors (actually, all connectors come from this Japanese manufacturer) and two pairs of inputs – SATRI link on BNC sockets and a conventional voltage input on RCAs. We select between them with another toggle switch. The external power supply is connected to the amplifier via a short umbilical power cord. The power supply unit looks almost identical to the amplifier, except that there is no volume knob, headphone jack and the power switch. It has, however, an identical orange (amber) LED located in the same place as in the amplifier. It only goes out when we pull out the plug from the mains socket. The whole audio circuit is mounted on one large PCB with plugged in smaller PCBs accommodating the SATRI circuit (that component is manufactured in Japan). The output stage is based on EXICON 10P25R+1-N20R transistors with visible next to them Linear Technology LT1963A ultra-fast, high-current voltage stabilizers. All are mounted to the enclosure. The circuit sports the best passive components one can imagine – Dale, Mills and Caddock resistors, Sanyo OC-CON capacitors, Wima polypropylene capacitors, an Alps potentiometer and many more top quality, expensive parts. The power supply is built on a large toroid transformer and four sizeable chokes. The filtering system consists of 22 modest sized, high-quality capacitors – 6 in the power supply and 16 on the main PCB right next to the gain transistors. The amplifier comes with the visually and mechanically matching RCK-11 anti-vibration platforms. They are as charming and just as solid as the amplifier. Each unit has its own platform, which consists of two thick aluminum plates. The upper, smaller plate on which the unit sits is decoupled with a few ceramic balls from the bottom one. Four bolts extending from the bottom plate hold the upper plate in place. Both plates move relative to each other but not enough for the whole platform to come apart. The bottom plate sits on four screwed-on metal cones, which I replaced with the Ceraball feet from finite elemente. It is possible to join two such platforms, one above the other, to form a rack (e.g. for the two-box AMP-11R). For that we get two very rigid side braces up and down. Marvelous job – both in terms of mechanical design of the enclosure and the platforms as well as the electronic circuit. Very rarely do I see products so refined in every detail. Technical specification (according to the manufacturer) Maximum output power: 15 W (8 Ω, 1 kHz) Gain: 20 dB (max) Frequency response: 10 Hz - 1 MHz (gain at + 10 dB) Inputs: 1 x SATRI -LINK (BNC, current input) + 1 x RCA (voltage input) Input Impedance: 3.68 Ω (SATRI -LINK) | 100 k (RCA) Outputs: speaker connectors from Cardas | 6.35 mm headphone socket Signal to noise ratio (S/N): < 50 microvolts (gain at + 0 dB) DC offset: < 1 mV Power Consumption: 20 W (no input signal) | 50 W (max) Dimensions: 195 mm (W) x 195 mm (D) x 40.5 mm (H) Weight: 6.4 kg

Published: 1. January 2013, No. 104 WA mutual syndication arrangement with “6moons.com” online magazine is something really substantial and important for “High Fidelity.” Using the platform of one of the largest audio magazines in the world, both in terms of print and online market reach, we can present our reviews to an audience nearly an order of magnitude bigger than “High Fidelity” alone (250,000 “6moons.com” readers vs. 35,000 readers of “High Fidelity”). I know that our Swiss partner, as that’s where the magazine is currently registered, is also happy with the state of things.I also see that inspirations go further than just reviews presentation – in my case I always look for new or simply interesting audio products from all over the world in Srajan Ebaens’s, the chief editor of “6moons.com,” reviews. That’s how I became aware of AudioSolutions – Srajan reviewed its most expensive top model, the Rhapsody 200 (see HERE). I liked the way of thinking of Mr. Gediminas Gaidelis, the company’s owner, not to mention the fact that the company is based in Lithuania. That is important for me, as a Pole, as our countries have been connected both historically and geographically. And despite our current relations being far from what they should be, I’m all in for co-operation reaching as far as possible on a basic, purely personal level. First audio products from behind our north-eastern border reviewed in “High Fidelity” were the Black Stork turntable and the breathtaking Reed 3Q tonearm (reviewed HERE). Not much longer after the review both partners parted their ways and now we deal with two separate companies - turntables.lt manufacturing turntables and Reed specializing in tonearms. I’ve already arranged with the latter a review of one of its newest products. I had a more or less vague knowledge about AudioSolution from the review in “6moons.com”, as for instance the fact that it was founded in the summer of 2011 and its motto is “The Art and Science of Speakers Engineering.” However, nothing gives a better “insight” into a given product than a conversation with its designer. Thankfully, Mr. Gediminas Gaidelis is not a man of few words and was happy to give a short lecture on the particular model I received for the review. Technical philosophy behind the Rhapsody 60… Well, my philosophy is that speakers sound must be as uniform as possible. That means when listening, no particular frequencies should come forward or be left behind. For example some speaker manufacturers prefer sound where midrange is a little bit “deeper” compared to the rest of frequency band, which creates “intimate” sound. AudioSolutions aims at speaker character which is as neutral as possible. This doesn't create any type of sound, and the speaker plays what is written in the recording. We seek this because it is unpleasant when sound is for example intimate in every style of music. It may be good for easy jazz but is not suitable for classical music where sound should be clear, fast and with high dynamics. So, our sound conception is to reproduce what is in the recording. If the recording is intimate, sweetened or dark etc., the speakers will let you hear this, and I think this is the only true way to listen and understand what creator of music meant to "say" with his music. To achieve this, we tune our speaker ports (including the Rhapsody 60) a little bit lower. We get slightly less bass but the bass itself is more natural, deeper and better integrated with the rest of frequency range. The same goes for the cabinet volume. When calculating the volume, we try to avoid smaller volumes than drivers really need. We usually go for an exact or a little bit bigger volume. In one word, we calculate speaker cabinets and phase inverters with lower Q. Now, a few words about the cabinets. We don’t agree with engineers saying that the box should be dead quiet. They try to use aluminum, marble and other hard materials to dampen the box as much as possible. This is not a bad way to start but even DIY-ers know this is impossible, because lower frequencies travel through the walls with no losses (depending on wave length and wall thickness). This affects power response which is actually more important than on-axis response and may result in dull and “dead” sound. To avoid this, we endeavor to achieve something else - that our cabinets radiate all frequencies in all directions as linear as possible. In result, power response becomes more linear as of course does the whole sound. But do not mix this with internal wall resonances. We are fighting them too; they are equally unwanted in the cabinet as standing waves. To lower the resonances we use several layers of material with different resonance properties. Such “sandwich” is less resonant than a one-layer board of the same thickness; curved side walls helps here too. We all know why we use cabinets for drivers - to eliminate back waves from driver rear. But, unfortunately, it can’t be eliminated completely in classical type boxes, as some part of it is reflected from the rear wall of the cabinet and travels back thru the thin driver cone. This causes acoustic lobeing effects, phase irregularities and distorted sound. The best way to fight these reflected waves is to lower back wall surface area. The lower surface area, the less sound that is reflected. That's why we use narrow back walls (only 7.8cm for the Rhapsody 60). And this is working flawlessly. Our measurements show less distortion, better phase characteristics and real, clear and much more pleasant sound. Why our speakers are tilted back? This way we line up speaker drivers so their acoustical centers are in one line and there is no time delay. Some manufacturers use stepped front baffle to line up drivers. But this creates more problems than it solves because of the rise of early reflections, phase irregularities, response problems and many more. And by the way, to lower early reflections, we disperse sound by covering the front baffle with leather. The leather surface is not flat and it works very well for breaking sound waves in all directions. Others manufacturers use foam or felt; we use leather because we have found it to be the best. When designing crossovers we avoid high inductance ferrite core coils. In fact all our coils are Jantzen audio air coils wound with wire of 1mm minimum diameter. Yes, they are pricy, but this is another aspect of our philosophy - we do not try to save money on cheap bipolar caps or ferrite coils as this means instant death for sound. Why use good speaker drivers, cabinets and dampening materials only to create a bottleneck in poor quality crossovers? Personally, I think that crossover is like a speaker’s soul. You can have good drivers with huge potential but if you use bad crossover components you won't get any good results. Actually speaker driver is like clay. No matter how good your clay is, you won't create anything outstanding without the know-how and using bad tools. So, good crossover is a must for good sound. Today we have possibility to manufacture 15 pairs a month (the Rhapsody series). We are not a big company making tons of speakers each month. But due to our lower output we can build speakers of highest quality and be sure that we make the best products we can. We are planning to move to bigger place after some time and production volume will increase to ~30 pairs a month. We do not necessarily aim for highest quantity but our objective is to maintain best quality. Having a degree in electronic engineering, I design all our filter networks myself. My philosophy is to use the least number of parts but no fewer than necessary. The Rhapsody 130 crossovers are of the 3rd-order with a custom Q that’s neither exactly Butterworth nor Linkwitz. On the other hand, in the 60 model we use a 1st order, really simple crossover. Many designers are reluctant to use third-order crossovers because of their phase shift is highest. Its power response, however, is the best compared to most popular designs. Its on-axis response has the lowest ripple and its phase shift right before and after the crossover point is actually the lowest. That’s why I don't much care that it sums up to a 270 degree phase shift ( so does the 1st order where we have a 90 degree shift), but it sounds live and natural which is my goal. Furthermore, vertical acoustic polar response only shifts down 15° from horizontal. The speaker leans back 7° so there's merely an 8° axial shift. Taking into account many strengths of the 3rd-order crossover, I can live with that. Many people promote 24dB/octave Linkwitz filters because their on-axis response sums flat. But what use is a flat on-axis response when the room influences the power response? Everything needs to be factored into the calculations, not only on-axis measurements. And here the Linkwitz filter exposes its weaknesses of poor power response, high group delay and high phase shift above and below the filter frequency. From my perspective a 4th-order Linkwitz is good for DIY beginners. That's how I started 9 years ago. The Rhapsody series speakers sound best paired with tube or high-power class A solid state amps like Pass Labs. Rhapsody speakers need good amplifier control to avoid bass resonance. We manufacture everything “in house.” Only the CNC machining of front panels is carried out by an outside company. Front panels need to be made with extremely tight tolerance. Crossover parts and speaker drivers are naturally ordered from the specialists – Jantzen Audio, SB Acoustics and SEAS. The tweeter in the Rhapsody 60 is the same as in all other series – top SEAS silk dome with low Fs. The bass driver is from SB Acoustics like in the Rhapsody 200. They are very well built and perform much like the Scan-Speak Revelator. They have reduced mechanical dampening (higher Qms) to perform more natural and "live", but they need an amp with high dampening factor to show all their beauty. Their definite advantages are very good response, low inductance and soft suspension. They only need simpler crossover yet the sound is warmer and more natural, which as I mentioned before is our goal. SOUND A selection of recordings used during auditions: Jesteś Bogiem, soundtrack, Magic Records, 3719533, CD (2012). Blue Mitchell Sextet, Blue Soul, Riverside/JVC, VICJ-41559, 20bit K2, CD (1959/2006). Bob Dylan, The Freewheelin', Columbia/Mobile Fidelity, UDSACD 2081, Special Limited Edition No. 3085, SACD/CD (1963/2012). Charlie Haden & John Taylor, Nightfall, The Naim Label, naimcd077, CD (2004). Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, Special Edition Hardbound Box Set, CD+USB drive 24/44,1 WAV (2012). Diary of Dreams, The Anatomy of Silence, Accession Records, A 132, CD (2012). Elgar Delius, Cello Concertos, wyk. Jacqueline Du Pré, EMI Classic, 9559052, 2 x SACD/CD (1965/2012). Lisa Gerrard, The Silver Tree, Sonic Records, SON212, CD (2006). Manuel Göttsching, E2-E4. 30th Anniversary, MGART, 404, CD (1981/2011). Radiohead, Kid A, EMI, 27753 2, CD (2000). This Mortal Coil, HD-CD Box SET: It’ll End In Tears, Filigree & Shadow, Blood, Dust & Guitars, 4AD [Japan], TMCBOX1, 4 x HDCD, (2011). Japanese editions available from Memory is a strange thing. It follows its own rules, is capricious and unpredictable. We tend to remember things not as they were but rather as how we “kept them in mind.” And these two are not the same. Hence, comparing audio components or generally audio products not directly against each other but through the lens of our memory we are left to HOW they became embedded in our memory. There is no way we can make up for that, at least not 100 per cent. What we can try to do, however, is to minimize that “time gap”, to somehow bridge its two sides. In such case, we may find useful to have certain reference points, fixed sonic standards. Knowing how a given product compared to them, let's say, a year ago and comparing against them a currently reviewed component, we will find it much easier to relate these two distant auditions to each other. In case of the reviewed speakers from Lithuania it was important in that I had to reach to my memories and my review (one of the reasons I write in my reviews exactly what I think…) of the Minima Vintage speakers from Sonus faber (reviewed HERE). The connection is obvious due to the characteristic artistic design of the Italian speakers. Equally important, however, are the links concerning their way of building sound. No, it's not the same sound but one belonging to the same “family.” It's pretty warm – no doubt. Frequency response is quite clearly limited both from below and from above. One doesn’t need to reach for the Harbeths M40.1 to notice that because even the Dynaudio Confidence C1 Signature speakers reviewed in parallel, housed in even smaller cabinets, sound much more open with stronger, more powerful bass. The reviewed speakers, similarly to the Sonus faber before, are not designed, however, to provide the most “accurate” sound, at least not in all respects. Mr. Gediminas Gaidelis clearly modeled the sound of the Rhapsody 60, focusing on its few, selected characteristics and honing them to as near perfection as possible. Coherence is the one that plays the primary role. Equally important although subordinate to it is time consistency. And finally, the third one, resulting from the other two – beautiful midrange. There is no point proving that the speakers measure down to the “so and so dozens Hz” and that the tweeter’s upper-end response is as high as Esotar2 in Dynaudio speakers because it makes no sense. Even a short audition should be sufficient to formulate the following conclusion: these are speakers that mostly play midrange. When we “learn” their sound we can go further and add that it makes sense. Because most beautiful, as in truly beautiful, in absolute terms irrespective the price level, the Rhapsody 60 will play those albums where the leading instrument is the piano and the main role falls to vocals followed by saxophone, cello, violin and even double bass. This predilection for stringed instruments (vocal after all is also “stringed”…) is very interesting because it is reproducible. I had the same thing with the RLS Callisto III speakers from Sonus Faber and others sounding rather warm smooth and perfectly structured. It is based on the saturation of lower midrange and such integrating it with treble that the latter does not attract attention per se but is its unobtrusive extension. That particular effort is clearly audible. Playing Bob Dylan’s album, with the acoustic guitar in the lead role I heard a slightly tempered and warmed sound of the strings, with an emphasis on the body. It was the same with Charlie Haden and John Taylor’s Nightfall where the piano was shown closer and fuller than I’m used to, listening on the Harbeths M40.1 which are not particularly bright after all. After such an introduction one might expect an exposition devoted to describing how this could be improved or remedied. It will not happen. As it seems it's just a consistent vision, a firm plan. Granted, it is not particularly selective or defined sound. Its value lies in the tangibility of phantom images, in their large volume and – finally – in excellent soundstage. The latter, in the context of what I wrote about treble, may seem strange or even far-fetched. After all, it is the high notes that mostly define soundstage imaging and are the basis for successful holography. To a large extent this is true; everyone who was into room acoustics and its effects on soundstage reproduction knows that. On the other hand, an equally important prerequisite is phase coherence and midrange, or even low end, saturation. The latter two define how large the images are, the first one determines their accuracy. Except that in case of the Lithuanian speakers “accuracy” doesn’t mean clear separation of sounds from each other, “cutting them out” from background, but rather their excellent differentiation – in each plane. And if a recording features strong and saturated main instruments, it will be particularly evident on those speakers. It largely concerns acoustic instruments, not just on the perfectly recorded Naim discs or Mobile Fidelity remasters but also on far from perfect recordings from record companies not knowing anything about audiophilism. Let’s take as an example Accession Records with The Anatomy of Silence by Diary of Dreams. On the album we have acoustic versions of 10 songs from the band, featuring the piano, double bass, classical guitar, etc. The speakers from Mr. Gediminas showed this material the way it should probably be presented, i.e. with large vocal in the center, slightly in front of the speakers line, and with full, powerful midrange. Spatial relations are really great, first due to fleshy phantom images, strongly anchored, then by clear and warm elements shown in counter-phase. When an instrument was recorded and mixed as mono, without supporting it by reverb, one can hear it different than an instrument using a spatial imaging effect. Something seemingly normal that most speakers lack. They either cut out instruments from the background and it no more matters whether there's any space, any information about it, or not as everything is hyper-clear, or everything is blurred and as a result takes equal space between the speakers. Our reviewed speakers are different – they offer full sound but at the same time very well indicate the type of space and its attributes. Conclusion Lithuanian products rarely grace the pages of audio magazines, both in Poland and all over the world. In fact, little is known about Lithuanian local audio scene. The few reviews of products from companies such as Reed or LossLess s do not change much. That’s why the reviews of AudioSolutions products that first appeared in Srajan’s “6moons.com” and now here, in “High Fidelity” is hopefully a little bit of a catch up. And worth it, because the reviewed speakers are really “cool” – it's the best word I can think of. Clearly inspired stylistically by Italian products, primarily Sonus faber, they have their own “voice.” Their very warm, vivid and “gutty” sound will be perfect for recordings with a clear lead instrument (which can also be a vocal), especially a stringed one. Those who may be worried by my description of treble should rest assured as both the piano and the harpsichord are shown in an intense, vibrant way. Bass is not very deep, and even smaller speakers such as the RLS reach lower. However, bass extension is only a part of the story and is usually paid for by something else. Since the Rhapsody 60 is not overexploited and its bass-reflex port is not worked especially hard, its sound is really free. And since low midrange is thick it is not perceived as a weakness. The vividness of the Rhapsody 60 is delightful. It's a very "colorful" sound in the sense that it is not one-dimensional or gray. It is not as fast as say the Dynaudio speakers but we won’t overcome that. Nicely finished, well thought-out speakers with the kind of sound one needs to confront with one’s own expectations. Well worth it! Testing methodology Auditioning had a character of an A / B comparison, with known A and B and a relatively long time between samples A and B – swapping the speakers around is a challenge for everyone. Music samples were 2 min. long but after “official” testing were whole albums were also auditioned. The speakers were tested on Sonus faber stands - simple, 60 cm high units. However, AudioSolutions offers its own tilted back stands that the speakers can be screwed onto. The same solution was employed by Chario in its Academy Sonnet speakers (reviewed HERE). I couldn’t do anything with the height of the stands but I was able to safely and securely tilt back the speakers with small spacers from Acoustic Revive. In addition to the reference amplifier I also used the Accuphase A-200 class A power amplifier (reviewed for "Audio"). The stands did not sit on the floor but on the Acoustic Revive RST-38 platforms. The speakers were compared directly against the Dynaudio Confidence C1 Signature and the Harbeth 30.1 and M40.1. Speakers’ axes crossed were slightly behind me. DESIGN Rhapsody 60 from Lithuanian manufacturer AudioSolutions are medium-sized, two-way standmount speakers. Midbass woofer from SB Acoustics is loaded into front-vented enclosure. The port outlet is not ordinary extruded plastic but metal, screw-on ring as featured in Wilson Audio speakers. The 150 mm woofer has an impregnated paper cone. It also has a powerful magnet and stiff, solid basket of aluminum magnesium alloy cast. The tweeter is a beautiful, 25 mm silk dome from SEAS top line. It has a rigid metal front and a large damping chamber. Both speakers are mounted not directly to the enclosure but onto artificial leather that covers most of the front baffle. The sides are strongly rounded and covered with very nice natural veneer. The top, bottom and back are made of thick MDF, stiffening the whole cabinet. The back has a very small surface area with its upper and lower sections markedly protruding to the rear. Placed between the two is a metal badge with the speaker ratings and a bolted on single pair of very nice speaker terminals (Chinese-made). The crossover is not bolted to the terminals – it’s mounted inside and potted in epoxy resin with added quartz for vibration damping. Mr. Gediminas gives two reasons for that – to reduce the impact of the midbass driver and to protect it against copying. It features (based on manufacturer data) large air coils from Jantzen and polypropylene capacitors. The cabinet is made of several layers. The outer layer is 10 mm MDF; the two internal are 5 mm plywood. All layers are separated by vibration damping material. The top and bottom reinforcing walls (and the back) have a thickness of 44 mm; the sides are 20 mm thick. Please note that this information is also “bona fide” only (sorry!) as I didn’t manage to disassemble the speakers. Technical specifications (according to the manufacturer) Dimensions (HxWxD): 480 x 212 x 377 mm Weight: 16 kg (each) Sensitivity: 86 dB Maximum power: 60 W RMS Impedance: minimum 7 Ω/240 Hz; maximum 27 Ω/75 Hz Frequency response (in a listening room): 50-25,000 Hz

Published: 1. February 2013, No. 105 You might already remember company Schiit Audio as I review their D/A converter Bifrost some time ago (see HERE). The brand has been on the market only for couple of years, but it had been created by two veterans of audio industry - Jason Stoddard (who used to work at Sumo), and Mike Moffat (former Theta Digital engineer). You have to admit that their idea of company's name is quite original – it surely attract attention. The second thing that's quite special about them is that they had a plan from the very beginning and they keep consistently realizing it. They started the company more or less at the time of a new boom on headphones market. Lots of people turned their attention to headphones probably because usually such system is significantly less expensive than the one with speakers. As someone said – you can have a high-end headphones system for 10 kUSD, try to match it with any amplifier and speakers. So above mentioned gentlemen decided that they would design and manufacture headphone amps and D/A converters – add a digital source and headphones and a system is ready and it doesn't cost a fortune. They made also another very important decision – their devices would be made in USA, and by that they meant physically manufactured in US, not in China. Obviously if you keep looking you will find some elements inside made in Asia, but chosen only if there was no domestic alternative. Bur even though products are made in US their prices are very reasonable. One more thing that is special about this company – from the very beginning they had a clear path ahead of them – first, the basic line – 3 headphone amps and a DAC, than more advanced line – an amplifier and D/A converter. Plus, still in development, a „reference” line. And this path was public from the very beginning – everybody knew what was to come. Well, OK – I guess most customers were recently surprised with new entry level amp and DAC (both with price tags of 99 (!) $ only but that's the only exception from the plan. One has to respect the way this company built up its reputation – everything started with headamp Asgard, costing just 250$, than there were two more each costing another 100$ more (Valhalla 350 and LYR 450). When the latest headphone „boom” happened many companies in USA started to manufacture headphone amps, some new companies were founded and the prices of their devices often reached not hundreds but thousands of dollars. See the difference? I was never a fan of headphone listening – it never felt right for me. But over 1,5 years ago I received Schiit LYR and HiFiMan's planar magnetic HE-4 and HE-5L headphones for a review. This set convinced me finally that experiencing music via headphones might also be a great thing. And the credit went to both – amazing headphones and fantastic amp. Apart from great sound LYR offered also high output power (6W at 32Ω) which allows it to drive even truly difficult planar magnetic headphones with ease. The other thing I loved about it was its hybrid design – tubes on deck and a possibility to roll them (not only different brands but also different types) and in this way change/adjust the sound. No doubts LYR is a very impressive amplifier with an unparalleled price/performance ratio. That's why, after the test, I decided to buy it for my personal use, even though I did not have any planar magnetic headphones then (although I was sure it was only a matter of time). The next product launched by Schiit Audio was the first D/A converter - Bifrost, the one I reviewed for you. Well build, good sounding, reasonable priced unit. The important thing is also a modular build – you can order a basic version (with coaxial and optical inputs), or with additional USB module. The latter cost addition 100$ but due to modular design you don't need to pay for it, if you don't need it, or you can buy it later and install the USB card yourself. Also, it might happen that manufacturer will develop some new, better solution and than all you have to do is buy a new card – that's a future-prove design. Already last year Schiit made, long awaited, move and introduced two new 'mid-class' (assuming that all previous devices were in basic line) devices. I've been following some threads mostly on HeadFi.org and witnessed how big the expectations were especially towards the new headamp. Finally pre-ordering was opened for the new amp called Mjolnir, and a new D/A converter, Gungir. Than everybody was waiting for their orders to be delivered, and than finally first comments appeared. Schiit Audio is still a small manufacturer run in a very reasonable way, so it happens, especially when the new product is launched, that they have some problems with product availability. Surely the other factor is pricing – their products are still way less expensive than most competitors, and price/performance ratio is really hard to beat and that's what makes them so attractive for potential customers. On the other hand one can assume that such reasonable prices combined with the idea of manufacturing in US mean smaller margins, thus smaller profit, thus slower, but probably more steady, development of the company. I guess many customers, especially American ones, really appreciate the „made in USA” factor. So finally many people got their Mjolnirs and Gungirs and started to share their impressions and it was clear that Jason and Mike did it again, delivering great products at very reasonable prices. There was only one thing I could do – I contacted the Polish distributor and ask for review samples as soon as these would be available. I have to admit that from side there was more to it than just curiosity – after the Audeze LCD3 review it was clear that LYR, although a great amp, simply wasn't enough to let these fantastic headphones shine. Many comments on HeadFi suggested that Mjolnir + Audize was a very satisfactory connection. For now I received Mjolnir, which, as explained above, was even more interesting for me than Gungir. There are many comments claiming that it is a great partner even for the best cans on market, especially for planar magnetic ones. Well, let's see... SOUND Recordings used during test (a selection): Joseph Haydn, Les sept dernieres paroles de notre Rédempteur sur la Croix, Le Concert des Nations, Jordi Savall, Astree, B00004R7PQ, CD/FLAC. Arne Domnerus, Antiphone blues, Proprius, PRCD 7744, CD/FLAC. Rodrigo y Gabriela, 11:11, EMI Music Poland, 5651702, CD/FLAC. Marcus Miller, A night in Monte Carlo, Concord Records, B004DURSBC, CD/FLAC. The Ray Brown Trio, Summer Wind, Concord Jazz, CCD-4426, CD/FLAC. Luis Armstrong & Duke Ellington, The Complete Session, "Deluxe Edition", Roulette Jazz 7243 5 24547 2 2 (i 3), CD/FLAC. Al di Meola, John McLaughlin, Paco de Lucia, Friday night in San Francisco, Philips 800 047-2, CD/FLAC. The Oscar Peterson Trio, We Get Request, Verve/Lasting Impression Music, LIM K2HD 032, CD/FLAC. Renaud Garcia-Fons, Oriental bass, Enja, B000005CD8, CD/FLAC. Buddy Guy, Blues singer, Silvertone 01241-41843-2, CD/FLAC. Etta James, Eddie 'Cleanhead' Vinson, Blues in the Night, Vol.1: The Early Show, Fantasy, B000000XDW, CD/FLAC. AC/DC, Back in black, SONY, B000089RV6, CD/FLAC. Beethoven, Symphonie No. 9, Deutsche Grammophon, DG 445 503-2, CD/FLAC. Isao Suzuki, Blow up, Three Blind Mice, B000682FAE, CD/FLAC. I saw Mjolnir on pictures before I got it, but I was still surprised how big it was comparing with its predecessors. Without a proper scale it is hard to tell, that this one is twice as big as LYR (or Asgard or Valhalla for that matter, that all had the same enclosure). Mjolnir on the other hand is quite a large device – the width of 40 cm would suggest a regular power amp rather than headamp. The look of the device hasn't changed that much – this one looks like two Asgard enclosures coupled side by side. Another clearly visible difference is in headphones inputs – there is no big jack socket, only 3 balanced XLRs – a 4-pin single balanced XLR, and two 3-pin ones for headphones with each channel connected separately. It is a fully balance device, from the input (even though there is a non-balanced, RCA input) to the output. Manufacturer claims that there is absolutely no balanced/unbalanced signal conversion at any point. As a consequence you can't use unbalanced headphones with this amplifier, not even if you use a jack/xlr adapter – it will not work. The device is base on cyrclotron-like topology (cyrclotron sports tubes) – with high-voltage JFET inputs and MOSFET outputs. Mjolnir is able to deliver up to 8W (!) for 32Ω load (5W for 50Ω) – that's what make it a perfect partner for planar-magnetic cans, and probably that's why it was name after Thor's hammer. Luckily for me during this test I had some fantastic sources to feed Mjolnir, like Hegel HD25, Calyx Femto, or Bricasti M1 D/A converters. I realize that I should leave that for the summary but I simply can't – the better source I used, the better sound I got from LCD3. The most expensive DACs mentioned before were as much as 10 times more expensive than Mjolnir but not even for a second I felt that this amp was the weakest link in this setup. I realize that it's not that easy to pinpoint the weakest link in the system unless you know it by heart, but I base my opinion also on listening session with these DACs playing in my main system, and also in Reymio system, that I know pretty well. So yes, I dare to claim that Mjolnir was not limiting the performance of any of these devices. So yes, that is another brilliant head amplifier for Schiit Audio, and yes, it complements Audeze LCD3 damn well. Some people claim that Audeze are bit dark sounding cans. As I tried to explain in my review this opinion comes from the perception of super-rich, saturated sound, that is still fabulously transparent and detailed but comparing to other cans, that can't offer so rich sound, Audeze sound bit darker. That's what make these headphone so special, so brilliant. Mjolnir delivers truly transparent, detailed sound which combine with LCD3 very well, and as result listener receives pure, unlimited music. So if you think that Audeze sound too dark – use Mjolnir, and while keeping all advantages of these cans you will get a sound that few would call too dark anymore. Using a photographic comparison I'd say that Mjolnir doesn't make the picture brighter but adds more light to it allowing us see more, and more clearly. I just check what I've written so far and that's surely a bit chaotic – I guess an excitement played its role here. I was simply truly impressed from the very first moment and my respect for this device even grew with each recording I listened to. During 3-4 months before this test I used headphones only occasionally. First of all I enjoyed my Bastanis Matterhorn so much, that I wasn't attracted to cans, secondly I was painfully aware that LYR wasn't a good enough match for Audeze – it sounded quite well, but I knew LCD3 could perform still better, much better. So having the choice between this setup and wonderful Matterhorn..., well that was a no-brainer. I had to wait for quite some time but finally Mjolnir arrived. I received a brand new device, let it break in for maybe 100 hours, started to listen, and... got enchanted. Surely having more high quality cans would make this test more reliable but I should do my best with the ones I have at hand. The American amplifier offers truly transparent sound with tons and tons of details. As I already mentioned Mjolnir adds some „light” to the picture Audeze create which might create impression that now the sound is less „dark”. But in fact it is still a very rich, dense sound with fast, taut bass with a very good grip – that gives perfect rhythm that is also supported by a very good bass differentiation. I'd say that both frequency range extremes benefit most from Mjolnir or any other good enough amplifier. A capable amp will deliver powerful bass with perfect grip – there will be spectacular slam when needed, fast attack and equally decay (if required). One of the differences between HiFiMan HE-6 and Audeze LCD3 is the way they present bass – the former deliver bit faster, harder, better defined low tones, the latter bit richer, bit more extended, with longer decay (of a bass for example). Mjolnir somehow decreased this difference, made Audeze deliver faster, tauter bass without losing their previous virtues. Now the bass was outstanding – I simply love that instrument and after the first recording of Ray Brown I couldn't stop – I put most Ray's albums on the playlist, added Isao Suzuki, Renaud Garcia Fons, some others, and on top of that I added Marcus Miller with his electric bass guitar – just to find out if it sounded as great as bass. Each and every of these recordings was an amazing experience for me as Mjolnir dealt with each of them with ease, making them sound so natural! And since listening to the recordings via headphones is a bit like studying them under microscope, I felt like I was discovering many new things about my favorite music, that I thought I had already known by heart. The before mentioned transparency helped me discover many details, subtleties that of course when played via loudspeakers were also there but hidden under many layers of music. Now it was so much easier to find them, recognize, or maybe just notice them, as they were presented in a more distinct way. I do, and probably always will prefer listening to the music with my 'large' system with speakers, as I love the space, 3-dimensionality, more „real-size” experience they can deliver, but on the other hand not even the best speakers ever gave me such z incredible insight into the music as Mjolnir driving LCD3 did. Not only the bottom played by this new Schiit is so amazing, spectacular, but the treble as well. Even though some people claim that Audeze cans sound bit dark, but in fact there is absolutely nothing missing in the treble, that is extended to the very top, very detailed but also very rich, dense and smooth. As I already mentioned - Mjolnir sheds more light on the sound, and thanks to that listener perceives music as less dark but not brighter. Details are exposed, presented in a more distinct way, music starts to... shine with that wonderful 'magical' halo, that makes you open your eyes wider, and your heart bit fast when a stick hits a cymbal, or triangle, or bell and suddenly you can 'see' the air vibrating, and hear the decay suspended in this air almost indefinitely. And than you realize that there is not so much air between a diaphragm in the can and your ear, so how is it possible? That's another upside of planar-magnetic headphones that made me their fan. Classic, dynamic cans, that I listened to, never created a convincing illusion of 3-D spacing, or maybe they did but only limited to the inside of my head which was so different from what speakers delivered that I never before (before first planar-magnetics) even wanted to keep listening. The HiFiMan's cans were the first that finally convinced me that headphones could create at least to some extend a convincing 3-D soundstage that went beyond the space between ears. Audeze also do it very well, especially when driven by Mjolnir. Spacial effects will never be as impressive, as realistic as with speakers, but at least are delivered in some smaller scale that allows to tell which instruments are in front, which in the back, and one can tell there there is some space between them, that there is some air too so instruments can 'breathe'. Even such recordings as Antiphone blues, or Les sept dernieres paroles de notre Rédempteur sur la Croix, both recorded in large churches which makes the huge space around musicians an important element of the music, sounded pretty well. Again – the scale of the space was smaller, but given in the right proportions, giving the listener an idea of this large interior, and the great resolution of the sound allowed to follow every detail including reverberations wondering along the walls. Mjolnir is also a powerful, dynamic beast, that delivers impressive pace&rhythm. That allows it to play also dynamic music like rock, or electric blues without slightest hesitation. I truly enjoyed AC/DC and Metallica – there was heavy slam, rhythm, vivid, crisp electric guitars, thunderous percussion and so on, and, especially when this first band played, tons and tons of positive energy pouring directly to my ears, and simply making me smile (with Audeze over your ears smile is the only reaction you can allow yourself – these are heavy cans so you need to be careful not to shake them off). What about midrange? Somehow I haven't really mentioned it yet. Why? Because... there was nothing special about it – by that I mean that it was exactly as it was supposed to be – palpable, rich, colorful, with great resolution and so on – fabulous in one word, like in the real life. I can't remember such a palpable, intimate contact with human voices as relayed by LCD3 driven by Mjolnir. All I had to do was to close my eyes and I saw the vocalist's face, its mimics, emotions in her eyes – that's what happened when I listened to Eva Cassidy, Kate Bush, or the one and only Etta James. Well, each of them was just one of its kind, each was wonderful. What about acoustic recordings? I already mentioned my favorite bass, but none of them played solo, each of them was accompanied by bigger or smaller band. Piano – powerful, vibrant, sophisticated, trumpets – vibrant, crisp, saxophone – palpable, deep, rich, vibes – so vibrant, wonderful decay! And the acoustic guitars, yes – another of my favorites. Ever since the Rodrigo y Gabriela's concert, last November in Warsaw, I could forget that live sound, especially this incredible amounts of energy these guy were able to deliver via just two guitars. Nobody stood still during that concert – it was simply impossible, everybody had to give in to the rhythm flooded with pure energy coming from the stage. These guy have been my favorites for some time already so I listened to their recordings, including live ones, many time and I loved it. But after finally having a chance to see them live, I realized that at home I was missing a lot of this amazing 'craziness' of true live performance. To my surprise Mjolnir with LCD3 gave me the closest impressions to those from concert – not my system, with speakers, but cans. Why? Maybe because they poured this hot, Mexican energy directly to my ears. And since this set delivers also tons of details with great resolution and selectivity, I could hear everything very clearly, maybe even clearer than during concert – an amazing experience, still no so impressive as participating in concert, but also great although in its own way. Summary Many companies after creating such a great performer as Mjolnir would call it the end-game performer, place a sticker with at least 2 tUSD on it and just kept delivering and checking their bank account. But that not the way of Schiit Audio. They are now working on the next step, state-of-art amplifier, a reference amp if you please. I will not be surprised if they manage to achieve that, if that will be the new ultimate, reference headphone amp and it will cost less than all serious competitors. Mjolnir already seems to be a complete, amazingly well sounding device, and it's hard to imagine what could get even better. Some might say that its downside is an ability to drive only balanced cans, but come on! Is that a downside?! It's a consequence of its unique topology that is responsible for fantastic performance, so could one argue with designer's choices? If you're looking for a serious headphone amplifier you need to put Mjolnir on your short list of devices for audition. Me... well, I have a problem – to buy or to wait for the reference model? I don't know yet... DESIGN Mjolnir is quite a large headphone amplifier – there are not so many 40 cm wide. The general look of the device is similar to previous models – nothing changed much. It looks like two casings of smaller Asgard were taken and joined by the side. Casing in made of aluminum – it seems very solid, rigid. On the front there is a volume control knob (Alps RK27 pot inside), and 3 XLR sockets. The first on the left should be used to plug in any balanced headphones with cable terminated with 4-pin XLR plug. The other 2 can be used if you have balanced cans with each channel terminated separately with 3-pin XLR plugs. There is no 6,3mm jack socket as this is a 100% balanced device, from the input (even though you can deliver signal via pair of RCA interconnects) to the output, and it will not accept unbalanced headphones (not even if you use an adapter). As the manufacturer claims there is no signal conversion from balanced to unbalanced or the other way around anywhere in the signal's path. The topology of the circuit is a cyrclotron like but with high-voltage JFET in the input and MOSFETs in the output instead of tubes. Schiit Audio came out with its own name for that topology – they called it Crossfet™. Mjolnir is capable of delivering 8W (!) output for 32Ω loading (5W for 50Ω) which makes it a perfect partner even for the most difficult loads, including planar-magnetic cans. In the back, next to IEC socket there is a on/off switch, also RCA and XLR analogue inputs with another switch between them allowing us to chose which input shall we use, and an analogue XLR output. Technical specification Frequency Response: 20Hz-20Khz, -0.1db, 2Hz-400KHz, -3dB Maximum Power, 32 ohms: 8.0W Maximum Power, 50 ohms: 5.0W Maximum Power, 300 ohms: 850mW Maximum Power, 600 ohms: 425mW THD: -75dB, 20 Hz-20KHz Output Impedance: 1.5 ohms Gain: 8 (18db) Weight: 5,5kg Dimensions: 40,6 x 22,2 x 5,7cm Power consumption: 45W

Published: 1. February 2013, No. 105 The basic role of audio magazines is acting as a kind of filter (for audio products) and offering consultancy. The former means choosing from an avalanche of new audio products those that are most interesting, most innovative and best sounding. Consultancy role is focused on establishing on the basis of tests and reviews what kind of audio system a given component is most likely to sound best in; what’s worth buying and what’s not, what is a good match for something else and how to use it. There is, however, one more duty that’s least spoken about – educational role. It doesn’t get much attention because specialized hobby magazines – such as audio – are governed by slightly different rules than traditional industry magazines. In our case, the research methods we use (auditions) are called into question and their results are undermined not on the basis of other results but in principle, by denying the very idea of such research. Fortunately, one can point out a part of that educational role free from any politics – it is finding new audio brands and manufacturers, previously unknown in a given region. This is one of the areas that can only be served by transnational, i.e. published in English, Internet magazines. Srajan Ebaen with his “6moons.com” has been doing that for many years; for the last several years we have been trying to do the same with “High Fidelity”. Since audio components from all over the world can now be delivered directly to the editor, they can be made known to and taken up by distributors in the country in which the magazine is registered. And if the distributors like them they will take care of making them available for the customer. Being the “godfather” of these brands is a source of pride. This way gets realized the last and least tangible aspect of the role of audio magazines – the role of a promoter: of good habits, of good products, of interesting people and of interesting views. Our pride, among others, are: Leben, Acrolink, Musica, Gato Audio, Edit Audio, Entreq, HiFiMAN and other, now well-known brands in Poland. Not all of the manufacturers we present find a representative but it apparently needs to be so. Those, however, that stay become an important part of distributors offer. Among them a bright example is the Japanese brand Oyaide Electric Co. Ltd., having its registered office in the capital of Japan, Tokyo. While I have known this company for years, since mid-2005 and our review of the 75AD Straight Line digital interconnect (published in September 2005, in “High Fidelity” issue no. 17), I met its owner, Mr. Satoru Murayama, for the first time this year, during High End 2012 in Munich. Soon afterwards we saw each other again in Poland – the head of Oyaide also came to Warsaw to Audio Show 2012. Even though we had no time to talk, we managed to shake hands and take a quick photo. We also agreed for an interview you will see published shortly. But I already had at home, prepared by Mr. Murayama, top power cord system from his company comprising: four-socket MTS-4e power distribution strip (the version with six sockets is named MTS-6e; ‘E’ indicates the use of Schuko sockets) and five Tunami GPX-R power cords. Thus equipped, I was able to wire up all my system starting from the wall socket, through the CD player, preamplifier and power amplifier, and finishing on the headphone amplifier. A pleasant surprise was the autograph signed on the strip by its designer. And because it was a whole coherent system, showing internal logic in using the same conductors for the cables and for internal wiring of the strip and the same connector pins in power strip plugs and power strip sockets, I tested it as a whole system, replacing my own reference power cord system. Oyaide in High Fidelity AWARD OF THE YEAR 2006: Oyaide PR-02, TUNAMI Nigo, see HERE REVIEW: Oyaide PR-02, TUNAMI NIGO, analog interconnect, power cord; see HERE REVIEW: Oyaide Tunami GPX power cord, see HERE REVIEW: Oyaide OR-800 ADVANCED speaker cable, see HERE REVIEW: Oyaide STRAIGHT LINE 75AD digital interconnect, see HERE KSS meetings dedicated to mains supply and power cords KRAKOW SONIC SOCIETY: meeting no. 50 - The mains (first part), see HERE, KRAKOW SONIC SOCIETY: meeting no. 54 The mains (second part), see HERE KRAKOW SONIC SOCIETY: meeting no. 73 - Acrolink Mexcel 7N-PC9100 vs. Acrolink Mexcel 7N-PC9300, see HERE SOUND A selection of recordings used during auditions Random Trip, Nowe Nagrania, 005, CD + FLAC 24/44,1 (2012). Ash Ra Tempel, Ash Ra Tempel, MGART/Belle, 101780, SHM-CD (1971/2010). Ashra, Belle Aliance Plus, MGART/Belle, 121914-5, 2 x SHM-CD (1979/2012). Bill Withers, Just As I Am, Columbia/Sony Music Japan, SICP-2633, "Natural Soul Collection", CD (1971/2010). Carlo Gesualdo, Madrigali, dyr. Rinaldo Alessandrini, wyk. Concerto Italiano, Opus111/Naïve, OP30486 (2000). Depeche Mode, Personal Jesus , Mute Records Ltd/ Sire/Reprise, 21328-2, maxi SP (1989). Dominic Miller, Fourth Wall, Q-rious Music, QRM 108-2, CD (2006); reviewed HERE. Jack Johnson, Sleep Through The Static, Brushfire records, 756055, CD (2008). Jean-Michel Jarre, Magnetic Fields, Dreyfus Disques/Epic, EPC 488138 2, CD (1981/1997). King Crimson, Lark's Tongues in Aspic, Atlantic/WHD Entertainment, IECP-20220/221, "40th Anniversary Series", 2 x HQCD (1973/2012). Marc Copland & John Abercombie, Speak To Me, Pirouet Records, PIT3058, CD (2011). Radiohead, The King Of Limbs, Ticker Tape Ltd, TICK001CDJ, Blu-spec CD (2011). Schubert, Lieder, wyk. Dietrich Fischer-Dieskau, dyr. Gerald Moore, "Signature Collection", EMI, 55962 2, 4 x SACD/CD. Stan Getz & Joao Gilberto, Getz/Gilberto, Verve/LIM, K2HD 036, silver-CD (1963/2010). Japanese editions available from Are you aware of the fact that the electric current flowing through your speaker coil, i.e. provided by your power amplifier is almost exactly the same as the current that comes from the wall socket? Contrary to our first impression, it is not the current nor even the voltage present on RCA or XLR outputs of a player or a turntable. In each house the path of electrical current starts with the distribution board with fuses. It is followed by a wire running to a power junction box and then if we are lucky the last wire to the wall socket. This is where we connect a power strip with plugged in power cords to power our audio system. If we are short on luck there are more junction boxes on the way where the wires are joined by screw clamps. Looking from this perspective and adding up all that happens before electric power gets to our house (additional fuses, power line, transformers, the grid), it is hard to believe, being of sound mind, that the power cord not to mention the power strip has any influence on the sound. Measurements do not help much either. The differences measured in well prepared tests, i.e. not simple checks to determine the basic parameters resulting from Ohm’s law but the tests that use variable signals as close as possible to the type of signal we deal with in music reproduction, are equivocal. They show changes but they are difficult to interpret. A properly prepared audition, though, demonstrates that something is going on; something that escapes classical evaluation. One can joke as much as one wants, there is no law against it, yet I know what I know – the power cord does influence the sound. So let me come back to the electrical current flowing through the speaker coil. It is almost exactly the same current that is delivered to our wall socket, hence its key importance to the sound. Via power cord it is supplied to the amplifier where it is usually initially filtered just next to the IEC socket and next sent to the primary winding of the. The transformer reduces the voltage which is taken from the secondary winding, rectified in the rectifier and then as DC filtered again in filtering circuits with resistors, capacitors and chokes before powering transistors or vacuum tubes. After transistors we have speaker terminals, speaker cable and a crossover. This is still the same current. Modulated, filtered (not fully though) of AC components, galvanically isolated in the transformer – still the same, though. The signal from the source only modulates the current flowing through transistors. The changes in the sound of my system when using various power cords and power strips are considerable and repetitive no matter the time of day or night. The last factor is important to power conditioners of the kind manufactured by Accuphase and PS Audio. Power cords and power strips are not susceptible to that, at least in my experience. That is why I put a special attention to set up a power distribution system that satisfies me – this is the best system consisting of the best components I know. I have a separate line drawn from the distribution board and dedicated to audio equipment, using Oyaide Tunami Nigo wire (9 meters). I also replaced an automatic circuit breaker with a regular fuse, one with wire and gold plated connectors. At the other end of power line I have three parallel coupled FT-SWS sockets with rhodium connectors from Furutech. Into one of them is plugged the Acrolink Mexcel 7N-PC9300 that powers the Acoustic Revive RTP-4EU Ultimate power strip. From there I use two of the same cords from Acrolink – to the CD player (2.5 m) and to the power amplifier (1.8 m). The preamplifier is powered by the Gigawatt LS-1 power cord. The cable that powers the power strip is clamped with the CNS-7000SZ Cable-Noise Stabilizer from Audio Replas (see HERE). I give you all that information so it would be easy for you to see what I change and what the implications are. Let me repeat – this is the best system I know. I did not change my mind after the visit of the Siltech Ruby Double Crown cable in my home (my review of the whole Siltech system can be found in the January issue of “EnjoyTheMusic.com”). I decided to treat the Oyaide cables as a whole system. Hence in one go I replaced everything – I plugged the Tunami GPX-R in one free Furutech wall socket to power the MTS-4e power distribution strip and from there I used three identical GPX-R cords to power all the components of my system – the CD player, the pre-amplifier and the power amplifier. The comparison was conducted on the basis of A/B/A tests where A and B were known, with ‘A’ being the reference system and ‘B’ the Oyaide system. The results were perfectly audible right from the start. There was no need to strain to hear them. Then I compared the Oyaide system to a generic “no name” power strip with thick computer power cords. This combination was plugged into the third Furutech wall socket. It allowed me to tell the difference from THIS end. The Oyaide system proved to be exceptionally smooth (to stick to a convention I won’t use the phrase “the sound was smooth” or “the sound changed in such and such way” – it would muddle the text and divert the attention from what is important). To be honest, I think that even the reference system is not that smooth or polished, so to speak. This does not refer to one or the other sub-range but to the whole frequency spectrum. With the Oyaide system we get perfectly balanced, which is equally important, sound flowing without any obstacles, irregularities or hoarseness. Provided our audio system is properly set up as well. While the Japanese cables will correct unnecessary brightness (although to a certain extent only) and graininess, the starting point is the system we have at our disposal. With a system which is transparent, dynamic and highly resolute as is the case with mine it is evident that the Oyaide modifies the sound in its own characteristic way. I have heard it repeatedly and it is no different now. The sound has less resolution than with the Acrolinks. The change is not as dramatic as with going from a 1,000 PLN to a 10,000 PLN CD player but audible nevertheless. It defines the perception of the whole. This gives the impression that after coming from the reference system the sound was quieter. I am almost positive that measurements would not show that unless we introduced an element dealing with energy spectrum analysis in particular sub-ranges. We would see then what I saw – everything seems warmer and a bit calmer. Lower bass is more shallow and synthetic bass from Random Trip album, particularly with 24-bit audio files played by the Ayon (CD-3s + NW-T) was focused a bit higher, mostly on upper bass. Higher midrange is smooth as hell. That will surface in all descriptions because this is the thing that lingers after auditions. The higher part of frequency range is perfectly coherent and resonant. It is also a bit stronger that with the Acrolinks. That is why, despite the fact that the sound is smooth and a little less dynamic that the reference, it is open. With badly set up systems where there is too much of high frequencies we would be torn between the beauty of midrange, the resonance and resolution of the treble (which is far above par) and the excessive energy of cymbals rich with sibilants – all of which is the worst junk in audio and should be avoided. This, however, won’t be the fault of cables but of the system. With a properly setup, maybe a little warm system the Oyaide will add something special to treble without brightening or glare. That “something” in my case added an extra layer, better selectivity. I had not complained before, yet the Tunami GPX-R showed class similar to one I heard with the Siltech Ruby Double Crown. It was cohesion, smoothness and, I will repeat myself, perfect selectivity. One can kill for such a thing, so to speak, for it is a place one cannot reach by simply replacing audio components or speakers. We won’t arrive there by polishing cables either – unless we arrive there by properly matching the power system all will be for nothing. Without this element it might seem that the Oyaide slows down the sound but this way – everything was alive and pretty. Comparison with the ultra-expensive reference system (about 100,000 PLN) easily demonstrates how the more expensive cables are better. However, as I mentioned already, even then the Oyaide provided us with something uniquely their own, something that could speak to their favor. If we are take into account the overall class of sound then the reference system fares far better, no doubt about that. It will be another story altogether when we consider a generic computer power cord and a generic power strip. Set against such background the Oyaide becomes the champion of champions. Now we can fully appreciate the fluidity of sound and its smooth inner cohesion. There is nothing that irks or irritates us. Even pretty strong treble proves resolute and selective without being excessively detailed. The computer cables sound hoarsely and primitive. The Oyaide presents aristocratic calmness and confidence of its high (that is, better) status. This calmness translates into contouring. With the Japanese cables from Mr. Satoru Murayama the contours are big and saturated. Although ultimately it is not the most selective sound I know, particularly in midrange and in lower regions, it still high resolute and hence very natural. The sound of an audio system with these cables is well organized and easy to absorb. Their questionable lower bass and lower treble resolution as well as a bit excessive energy of the latter require auditioning them at home in your own system in order to decide if that is what you are after. I am 99% sure that they will stay in your system because it is really difficult to find something that would reconcile two contradictory factors: smoothness verging on warmth and open treble. The MTS-4e power strip is especially worth recommending here. Somehow I have never written about it but I have been using it for two years now. It powers my headphone system with the Leben SC-300 SX [Custom Version] and the sources that are connected to it. It has never failed me both sonically and mechanically. If I am to recommend other products they are usually cheaper Supra and Gigawatt and only then the Acoustic Revive I use in my main system. I am under impression that the majority of other power strips (perhaps with the exception of Furutech and the Gigawatt PF-2 – I don’t know the new Mk2 version) is just snake oil and an attempt to pretend to be something that they are not. Oyaide is exceptional in that it comes up with innovative products of its own design and manufactured mostly in house. Products, we should add, excellent sonically and with matching workmanship. AC power plugs from this manufacturer are used by a greater part of high-end audio industry all over the world (if they can afford them, that is). This is true engineering backed up with an excellent ear. And not so otherworldly expensive to tell the truth. DESIGN TUNAMI GPX-Re power cord Tunami GPX-R is a new version, with a better specification, of the Tunami GPX power cord known for years. The new cable is equipped with a special version of the Oyaide P/C-004 mains connectors called "Aspirin Snow White". The plugs are white and the cable is black, which gives a great artistic effect. Housing is made of thick polycarbonate, with rigidity and hardness that offer resistance to small vibration with high slew rate. Conductive parts are not made of phosphor bronze but of beryllium coated copper, providing better conductivity and mechanical integrity. The contacts are additionally coated with a layer of platinum and palladium. The cable is constructed of twisted PCOCC-A with a 5.5 mm2 cross-section. The cables are guaranteed for voltages up to 600 V and a maximum current flow of 30 A. To protect against noise Oyaide has designed a triple screen. It not only protects against external and internal distortions but also ensures the suppression of noise generated by conductors’ vibration. In the first layer electromagnetic waves are converted into heat. The second layer is made of semiconductor (a form of carbon), using its properties, consisting of discharging static electricity without affecting surrounding conductors. The third layer is a copper foil protecting against external noise. The whole is complemented by a “drain” wire placed close to the foil screen and connected to a protective conductor, improving the S/N ratio. MTS-4e power strip The strip housing is made of rigid sheets of high-grade stainless steel with repeatedly polished surface. Internal wiring is made of 4N 2 mm2 silver wire. Generally metals are subjected to accelerated aging process in order to prevent their stiffening. In this case the internal connections wires were only processed to eliminate surface oxidation. The power sockets are Oyaide top design, the SWO-XXX-E, with the body made of 30% glass filled PBT (Polybutylene Terephthalate). Particular attention was paid to connecting pins. They are made of deoxidized phosphor bronze coated with multiple layers of gold and palladium. Socket pins have a special, patented design, based on two spring elements and a very large contact area, ensuring extremely strong pressure. The IEC socket is also important which is why Oyaide used the high-end IEC 320 RR with contacts of silver- and rhodium-plated brass. The manufacturer lists the following strip’s characteristics: - The Dual-Spring vise design newly-developed for the top most expensive Oyaide sockets. Due to its strong holding power and 9 mm wide contact area, the contacts significantly reduce vibration at the contacts with no loss of signal transmission. - Sockets body is made of PBT (Polybutylene Terephthalate), filled with 30% glass mikrokuleczkami - it has excellent mechanical characteristics and fantastic dielectric properties, - The body has a special design with separately molded bottom and top, very effectively suppressing high frequencies. Small distance between the body and fixing pins additionally reduces vibrations - All the components ranging from the 6 mm thick contact down to stainless screws are made of non-magnetic materials - The chasses is made of highly rigid stainless non-magnetic SUS 304 steel. It protects not only from vibration but also electromagnetic waves and a very broad spectrum noise - Chassis damped from the inside with VEM 313 (Visco Elastic Material) damping material - Internal wiring is made of 2 mm 4N OFC copper - To separate the strip from the ground, it is placed on accurately machined brass spikes – a choice of four-point (default) or three-point support. SWD-XXX-e mains socket Although I have not mentioned that, we can also add to the whole set the wall socket costing (in Poland) 590 PLN. The SWD-XXX-e is made exactly the same way as the sockets on the strip. Its metal parts are made of oxygen-free phosphor bronze. The housing is made of 30% glass filled PBT (Polybutylene Terephthalate). The connectors are rated up to 240 V and 16 A. The contacts employ a special "dual-spring" configuration developed specifically for the SWO-E series. Due to its strong holding power and large 9 mm contact area, contact with the inserted pins is excellent and vibration further reduced. 30% glass-filled PBT was chosen because of its unique machining characteristics and electrical isolating properties. Since both the body and the base plate are made of one piece of the same material, high frequency vibration is reduced. Additional metal elements located at the back of the socket help to carry heat off the pins. Front is made of polypropylene with high mechanical resistance, further reducing the vibrations. Its smooth surface serves to improve product’s aesthetics. All the components, including fastening screws, are made of non-magnetic metals. The socket accepts wires up to 2.6 mm2. Distribution in Poland Eter Audio 30-646 Kraków, ul. Malborska 24 tel./fax: 12 655 75 43 e-mail: info@eteraudio.pl www.eteraudio.pl

Published: 1. February 2013, No. 105 Our audition that took place in mid-December 2012 brought us one step closer to the 100th anniversary of the first meeting in this formula. We still have about two years to go (14 meetings) but on the other hand eight years are already behind us. It might therefore seem that we got bored, that we know everything about ourselves and audio equipment. That we have already heard and seen everything. KSS RULEZ and all. Any thinking and refined person would not find it difficult, however, to respond to such statements with a shrug. Every peak, every top, every “wall” we face eventually gives way to something even stronger, bigger, better. Yet these stops are necessary. Being an ‘audiophile’ is for me one of the synonyms of being ‘human’, one of the emanations of the human need for something higher, in this case expressed by desire to reproduce music with all the associating beauty, emotions and attributes making us, if only for a moment, suspend our disbelief that this is not a true artist but only a mechanical reproduction of something long gone, finally and definitively. And being human, after all, means continuous change, often for the better (development). We mature fastest and most fully when we face border experiences. With all that in mind we can’t of course pretend that this type of situations in audio are equally important as those in our daily, family or career life. Together they add up, however, to something that makes us who we are. Keeping the right proportions it is easy to identify such border experiences and situations in the audiophile’s life. One of them is usually the first contact with genuine, quality sound; sound with the capital ‘S’. The initiation usually occurs on the occasion of listening to an inexpensive system – a well set up NAD, Music Hall with speakers such as Castle and we have an epiphany. It is important that our new experience is something completely different from our previous experiences; something we were not aware of and did not expect. Krakow Sonic Society is a bunch of rather jaded customers. No matter how hard I try to toss them something new, there will always be some nose turning and distancing themselves from what we do. Don’t take me wrong, I’m not complaining; I know I can always count on them but it becomes increasingly difficult to surprise them. I continue to see interest in their eyes only on two occasions (except for opening another bottle of wine…): when we have a chance to listen to something from the absolute top and when we have an interesting guest. It just so happened that our meeting No. 86 was a kind of rollover jackpot – we had an ultra-interesting guest and incredibly expensive (each in its own category), top products. And somehow it seems that the guest will stay with us for longer as will the products in question. Or at least part of them. Human being – priceless Man always comes first. Here’s what our guest writes about himself: I love music played preferably in tube technology, especially on the 300B triode. I like Vintage style as a symbol of good and long-lasting products with a soul. I love radio, not just old tube radio sets but radio as an institution which can be a great way of public communication and a theater of imagination. I worked in radio for many years ago as a music presenter and later as a reporter. My interests as a journalist focused on social problems and challenges but I also used to show in my reportages unique characters and their interests and fascinations, especially with culture, art and science. My reportages received numerous national and international awards. My tribute to the legendary Polish radio presenter Tomasz Beksiński titled Romantics of rock music was voted "Reportage of the Year 2001" by the listeners of Polish Radio Three. This reportage now lives another life on the Internet and inspires Tomasz’s fans to develop their fascination and explore new, noteworthy music. Remaining faithful to many bands I came to know during my years of working in radio, I still discover new trends in music and currently turn more to classical music, especially chamber violin and piano music, helped by my 300B tube in its best possible reproduction. I continue to develop my interest in social issues and multiculturalism. At my alma mater, Jagiellonian University, I am Disability Coordinator, heading a unit supporting students with various disabilities in university education. However, Mr. Ireneusz Białek, for that’s the name of our guest, is not writing something that needs to be said – he is a blind person. He is heading a university department that has pioneer achievements in teaching students with disabilities; people excluded by most other universities from a circle of interest. Just imagine, how difficult it is to teach a deaf person a foreign language? After all, it would be his or her THIRD language, after sign language and Polish! And Irek and his team are not limited to doing such things. It is important that more people get to know about it, not just experts interested in this type of teaching methods. Let us appreciate it. Ireneusz is also, as he wrote, a music lover and an audiophile. He has been reading “High Fidelity” for years, using capabilities offered by computer software. He is also a journalist. How has he found us? As usual, there has been some coincidence involved but also an element of mutual attraction of the right kind of people – after all he found his way through “High Fidelity”, wine and friends. What really matters is that he did find us… A 7,000 PLN album If it were not for my mistake, the album in question would have probably not found its way to Poland. A release costing 136,500 yen (in Japan) would cost about 7,000 PLN in Poland (including customs duty, VAT and shipping costs). And we are talking about a single Compact Disc. However, this is no ordinary disc. An ultra-limited edition of 200 copies (the one that ended up in Janusz’s hands bears the number of 028, as far as I recall), the discs are not made of plastic but of quartz glass – hence the name of the series: Crystal Glass CD. A special remaster for it was made separately by a different team, straight from the digital CBS master tape numbered DC-113. The tape is digital because the album is Bach’s Goldberg Variations performed by Glenn Gould in 1981, and this particular recording was made in the digital domain (SGCD02 / TDCD91228). The founder and patron of the series is the prestigious Japanese magazine “Stereo Sound”. The magazine collaborated with Sony, the owner of the master tape. In the opinion of people who dealt with other Crystal Glass discs – there is no better digital medium. However, it was not “Stereo Sound” all this began from. Already back in 2008, Victor Entertainment, a division of JVC, announced the development of a completely new way of Compact Disc manufacturing, called "Super Excellent Glass". Two patents were involved: K2HD audio encoding belonging to JVC and an extremely precise way of disc manufacturing, made not of polycarbonate but of and glass crystal, with a layer of gold in place of aluminum. The latter patent is owned by another Japanese company, Memory-Tech. The first three released titles were: Kaori Osamu Village, Aranjuez Concerto Ingrid Fuzjko V. Georgii-Hemming, Campanella Miracle Ikuko Kawai, New World Each cost 180,000 yen and appeared on the market in April 2009. The astronomical price was due to a completely different way of creating pits and lands – this is done by laser, as if it were glass "stamper" to press regular discs. Sony CD is made differently although it is also based on ultra-pure quartz glass. In this version, the glass is treated with special resin, in which pits and lands are burned (actually, it is the pits but let it be…). The prepared film is irradiated with UV to cure it. The burning process is carried out on machines designed to manufacture Blu-ray discs in a process called Phase Transition Mastering. The end result is a perfect shape of pits and lands. Blu-spec CDs are manufactured exactly the same way, now in version BSCD2. A where’s the mentioned mistake? Well – I asked my friend, Yoshi Hontai, to buy me a Gould CD. The only problem was that I misread the price, making a mistake by the order of magnitude – even 700 PLN per CD seemed to me madness. When the CD arrived and when I saw the invoice I nearly fainted. Fortunately, it all ended well; I leaned against the wall keeping upright and the disc has already found its home. It may be the only such album in Poland and probably even in Europe. For more information see HERE, HERE and HERE. Especially the second article, written by Robert Harley, chief editor of "The Absolute Sound" explains many of the surprising sonic differences between CDs made in different techniques. Set of cables for 400,000 PLN While both Irek and Gould came to us by a somewhat convoluted route, the main subject of the 86th KSS meeting was a natural extension of my review I’d done for the American magazine "Enjoy The Music.com", scheduled to appear in the January edition (see HERE). I’m talking about the top-class Siltech cabling system from the Royal Signature Double Crown series. The subject matter is the following 400,000 PLN set: Siltech Royal Signature Series Double Crown Empress interconnect, Siltech Royal Signature Series Double Crown Emperor speaker cable and a couple of Siltech Royal Signature Series Double Crown Ruby power cords. An audition in a different system than my own, together with other people, was very important to me. Such delving deeper into a topic always make sense but becomes essential in case of top products. Even though I listened to the Siltech on both my own reference system and another one consisting of the Accuphase A-200 monoblocks, the Amphion Krypton3 speakers and others, it is the Janusz’s system that has become the reference point for us all. Based on the 18 W Ancient Audio monoblocks with Takatsuki TA-300B tubes (see HERE http://highfidelity.pl/@kts-1076&lang= ), the top Ancient Audio CD player and the Sonus faber Amator Electa (I) standmount speakers it is in many ways beyond competition. Naturally, a small size of speakers and a low power output of the amplifier do not allow for conveying a full momentum and power of sound, as can be achieved in my system, but there is something for something – I do not have the kind of resolution, selectivity and naturalness Janusz does. Reference testing audio system CD player: Ancient Audio Lektor Grand SE, see HERE Power amplifier: Ancient Audio Silver Grand Mono, see HERE Standmount speakers: Sonus faber Electa Amator (I), see HERE Interconnects: Acrolink Mexcel 7N-DA6300, see HERE Speaker cable: Tara Labs Omega, see HERE Power cords: Acrolink 7N-PC9100, see HERE Power conditioner: Ancient Audio First Generator Accessories: Acoustic Revive, see HERE and HERE AUDITION METHODOLOGY The audition had a character of an A/B comparison with known A and B. The comparison was between two complete cable systems consisting of: interconnects between the CD player/preamp and the power amplifiers, speaker cables, and two power cords powering DACs. It means we had two cable systems to compare, almost complete; there’re six power cords in Janusz’s system and we changed two, but let it be… Normally, the first (the ‘A’) is Janusz’s own system we all know and the ‘B’ is the system we want to evaluate. In this case, we changed the order and the first to audition was the system from Siltech. We decided on that modification due to a unique design of the Dutch cables requiring their longer playing time while positioned the same way. Before our audition they had been laid out and playing for three days. As usual, I collected comments from the audience after the whole audition, trying hard as I might with coughing noises and raising my eyebrows to limit their conversations and sharing of initial impressions along the way. SOUND Albums used during the audition Missa Criola, Lasting Impression Music, LIM K2HD 040, UDC Collector's Edition, gold CD. Stan Getz & Joao Gilberto, Getz/Gilberto, Lasting Impression Music, LIM K2HD 036, UDC Collector's Edition, gold CD. Peggy Lee, Mink Jazz, Toshiba-EMI, TOCJ-9327, CD. Miles Davis, Kind of Blue, Sony Records Japan, SRCS 9104, CD. J. S. Bach, The Goldberg Variations, CBS/Sony Records Japan/Stereo Sound, Glen Gould (piano), "Limited Edition No. 28/200", SGCD02 /TDCD91228, Crystal Glass CD. A/B comparison I asked each listener the following three questions: 1. Do you hear any difference? 2. Which system was better at them? 3. Is it worth it to pay the difference in price between the systems? I also asked for their comments. Tomek 1. Yes. 2. Siltech. 3. Surprisingly, for me, but yes. The biggest surprise for me was something that could be called an extension of frequency response. Janusz’s system seemed to offer more bass that extended deeper. I heard more treble with the Siltech. It struck me, as if someone had hit me on the head; had some kind of “cognitive dissonance” (ha, ha!) – the Siltech had a lot more information about everything: air, recording atmosphere, playing and recording technique, instruments. There were more details but rather of discrete, unimposing kind. I was struck by magic and realism. Although at first Janusz’s system seemed to be more impressive, it was some sort of “show off”. The Siltech equals incredible calm but it is a “crouching, hidden” calm. Andrzej 1. Yes. 2. Siltech. 3. Unfortunately, yes. The system with the Acrolinks and the Tara sounded audibly louder, louder physically. It also seems to me that this system sounds warmer. The Siltech seemed to me to be more detailed and resolving. But in the best possible manner. On the Gould’s album his “humming” was clearer with the Siltech but at the same time it also more naturally “fell in” with everything else. With the Janusz’s system it did not make one sound with the piano but was something separate, as if added on or as if recording microphones had picked it up from a different plane than the instrument. The Siltech sounded as if I heard it all in front of me, live. With the Janusz’s system it sounded as if it had been overdubbed separately. Bass – I’m not sure if I’d fully agree with Tomek, perhaps to some degree. My impression was that if some bass did rumble with Siltech, it was meatier, stronger. Cymbals on the Getz album sounded somewhat harder but it was a more natural, live sound. The whole drum set seemed properly set up and ready to drum away with these cables. On the other hand, I liked the sound of the saxophone better with the Acrolinks and the Tara; its attack sounded finer on track number 5, the instrument sounded tighter. At least in this one respect Janusz’s system equaled the Siltech. Still, I choose the Siltech with no second thoughts because overall everything sounds more genuine, more natural with it. Ryszard S. 1. Yes. 2. Siltech. 3. Yes, definitely worth it. The Acrolink and Tara system sounds very well. I mean, one could get an impression that there is something wrong with it; no, it’s an outstanding, top cable system. Yet with the Siltech we got something like with Piglet: the effect of “pink ears”. I do not really like to listen to this particular recording (speaking about the Variations…) as I experience discomfort due to Gould’s murmuring. Somehow I feel that I face a brilliant artist and an underdeveloped music lover at the same time. But the Siltech ... This time I got a wonderful emanation of the whole piano body, large and “black”. It didn’t happen before; everything was kind of artificial, the way I’d remembered it. I loved the track from Kind of Blue with the Siltech. Refinement – as if someone managed to catch all sonic sub-ranges in a natural and balanced way. I heard slightly more sibilants on Getz’s album with the Siltech. As a contrast, the Acrolinks and Tara made everything seem a bit blurred and hence a little warmer. Peggy Lee with the Siltech sounded proper, accurate, albeit a tad dry. I used to experience that album in a more tangible way; now both presentations were more distant and to be honest I don’t know what happened. In this one case, with female voice, sound from the Siltech lacked some “chemistry” for me. Somehow like the volume of sound. The Acrolinks and Tara system with the same album is much more “Mr. Lusty”(from “lust”…). Ryszard B. 1. Yes. 2. Siltech. 3. Yes I was afraid of this audition. After all, we’re talking about huge amount of money and my opinion is usually different from everyone else’s… Well, I don’t really remember the last time our opinions would be so unanimous. Including mine. Ryszard S. complained about the lack of big sound with the Siltech and when he said that I thought he was being picky. Only after we swapped the system back to Janusz’s I heard it: indeed, the Siltech shows everything a bit smaller. It’s just that it’s apparently more sensible, more natural, as if the other system puffed everything up. The Acrolinks had shorter sound release; sound faded longer with the Siltech. Similarly, color differentiation was better with the latter. It is a silky sound with a wide frequency range. After that, it is difficult to listen to the Acrolink and Tara. Irek I do not feel qualified to evaluate the sound since I don’t really have experience with sound systems of that quality. I have a wonderful JAG 300B amp, bought actually on Wojtek’s tip, but what you have here is from another planet altogether. It's a superb system, be that with the Acrolinks or the Siltech. To rate it is impossible – I agree with what Tomek said. However, let me try to summarize my impressions. I don’t know if that’s perhaps a psychological effect but I only started to listen seriously the second time around. Then I really liked everything I heard. I don’t know this audio system nor do I know these cables and it’s hard for me to get my head around it all. It’s audible that the Siltech sounds a tad drier but I preferred it nevertheless. Janusz 1. Absolutely yes! 2. Only Siltech. 3. Surely – I’m buying the interconnect… This is amazing! With the Siltech, I mean – the saturation of sound, its fullness and directness. Beautiful vocals. Compared to that my current system is pointless, as if it were broken. And I know that only a week ago it seemed to me, but to you as well, brilliant, fantastic, phenomenal. That’s what happens when you get to hear something better than “genius”… The Acrolink interconnect is outstanding on its own yet against the Siltech it seems less saturated, tonally shallower. Until recently, this cable for me was the “wall” I reached and didn’t know what else could be improved. I can hear it now. It will surely be the same with the Siltech one day but before then… I can’t imagine things can be better than with the system from Siltech. The price is of course absurd but if I had the money, I wouldn’t hesitate for a second. For now I’ll just buy the interconnect and that’ll also make me happy. Ridiculously happy… Summary – my own opinion This section could be simply called, “And now, what I think about it all”. ‘Summary’ however implies my impartiality and that “sells” better :) So let it be… Since this is not a regular review but rather a sort of a hybrid of an essay and reportage, I can express my opinions in a looser form. In this case it is particularly important because comparing the systems from Acrolink and Tara and Siltech was one of my most important experiences in recent years. The sound with the Siltech system was mystical. Especially with the Gould’s album. I listened to a real performance. Despite obvious sound engineering and production weaknesses of that material! As if things related to the emotional aspect of the presentation were more important. Yet not by denial of technology but rather in spite of it, through it. Nor do I mean a kind of emotions – mind dualism; that game is at another level altogether. When Gould struck the piano keys for the first time and there followed silence (pause), I froze with him. The sound was deep, normal – in the sense of “natural”. I have never heard anything like that on an audio system before. Going back to Janusz’s system deformed all that. The sound seemed louder, more spectacular; bass was bigger and treble quieter. But it was a “made” sound. The Siltech sounded differently: incredibly natural. I did not expect that Jarek Waszczyszyn’s electronics and Franco Serblin’s speakers are at all able to show that much of a difference; I thought we’d already reached the “wall”. Going back to the old cable system was painful. Interestingly, after coming back home I quickly got used back to it (my cables are almost exactly the same as Janusz’s). But I still have in my head what I experienced with the Siltech. I never expected such smoothness from the CD. I know there’s much more music in its pits and lands but I never thought it’s SO MUCH. That kind of hypnotic presentation happened not only with the Crystal Disc but also with other albums. Both the special release of the album by Getz/Gilberto and Gould on glass offered simply outstanding sound. Let me say this: if I had that sound quality from all the CDs I wouldn’t need high definition files or a turntable. The already mentioned Robert Harley comparing the sound of Crystal Disc to traditional CDs wrote something that perfectly characterizes the differences between the cables from Siltech and Janusz’s system: I hate to repeat the well-worn cliché that describes progress in digital sound but the glass CD sounded more “analog”. It was smoother, had more breath, was more open and deeper, sounded more freely. In comparison, the polycarbonate disk was flatter with less air between sound sources; the texture of instruments was less natural, sounding – compared to CD-Glass – somewhat artificial. Could he have anticipated our meeting? Or maybe he had a supernatural epiphany, writing exactly what all those present at Janusz’s, in general terms, think about the Siltech? I would not rule out anything in advance… Information about manufacturers SILTECH Contact: Nieuwe Stationsstraat 10 | 6811 KS Arnhem | Netherlands tel.: +31 (0) 26 353 9040 | e-mail: info@siltechcables.com Website: www.siltechcables.com Country of origin: Holandia ACROLINK Contact: Yoshi Hontani 3016-1 Tsunatori-machi, Isesaki-shi Gunma Pref. 372-0812 | Japan tel.: +81-270-24-0878 | fax: +81-270-21-1963 e-mail: e-hontani@musonpro.com Website: www.acrolink.jp Polish website: www.acrolink.pl Country of origin: Japonia TARA LABS Contact: TARA Labs, Inc. | 1020 Benson Way | USA tel.: 541 488 64 65 | fax: 541 488 64 63 e-mail: tech@taralabs.com Website: taralabs.com Country of origin: USA

Published: 1. February 2013, No. 105 The time of physical media players, at least as we understand them, irrevocably comes to an end. Where instead of a CD disc there is a choice of an audio file, the customer will choose the latter’s convenience, both in terms of product purchase, storage and playback. What is still a problem is that large media companies remain distrustful of this form of selling “content”, due to its association with copyright theft and Internet piracy via torrent and other P2P websites. It seems that the first company to boldly go where no one has gone before and offer its customers a convenient, secure way to handle this, will become the winner. When the dust settles and the battle between manufacturers of media files player, streamers, or whatever we call them and between stores offering music and movies (rental outlets?) is over, there will remain companies still relying on CDs, SACDs and vinyl. LPs – well, it’s not just great sound but also a certain philosophy of product, of life; a whole culture of playing music. It is a format that will likely last many, many years. It’s not easily frightened by new codecs, sampling frequencies, copy protection schemes. It is absolutely ANALOG through and through, in every sense of the word. Likewise, manufacturers of CD (SACD) players, at least some of them, will continue trying to win over the owners of billions of CDs collected in household collections. It seems, however, that it will mostly concern the expensive and very expensive equipment. The mass market will be the first to go. The second decade of the 21st century seems to be a transition period. Such time is best suited for hybrid devices that combine the old with the new. Do you still remember combo VCR/DVD players? Many people bought them (and a large part still use them) because of a dual character of their video collections and a resistance to change. And, closer home, how about multi-format DVD-A/SACD players? Or even closer – HD-DVD and Blu-ray? The files may follow suit even faster although another scenario is also possible with files and players haunted with various problems. Discs are a known and well worked out affair. Files, on the other hand… Well, let’s say diplomatically that playing files is not without certain difficulties. Multi-format audio players have been with us for quite some time. They are now offered by virtually all manufacturers. The audio market, however, primarily approves of manufacturers of audiophile, high-end devices, such as Cambridge Audio, Arcam, Yamaha, Marantz or Denon. The manufacturer that sells most such devices, however, does not come from this circle. The company is registered in the United States and is called Oppo Digital Inc. Its products are often heavily modified by other, specialized audio companies, such as ModWright (see HERE), but Oppo is also well known for the fact that the components for its devices are developed in parallel with those for other manufacturers which slightly (if at all) modify the firmware, change power supply or audio outputs, leaving the main modules untouched. As an example we may quote Lexicon with the infamous BD-30 (see HERE) or Cambridge Audio with – this time respectable – the Azur 751BD (see HERE). As I wrote once before, the company that offers the whole platform is called Winbase Electronics Corp. Ltd. Oppo has an advantage, however, that other specialized manufacturers seem to lack – it reacts incredibly quickly to changing market trends and is often the first to adapt technological innovations. An example of such a step is the latest top player from the company, the BDP-105EU. It has numerous advantages and the full specification takes a few printed pages. It doesn’t make much sense to list all the data so I’ll mention only the most important points that make it something more than just another Blu-ray player to watch movies. The reviewed device can in fact be regarded as a high-end player of both optical discs and audio and video files. It offers the following: - Video up-scaling to 4k that is 3840 x 2160 (particularly useful with 3D films, using half of the full available resolution) - 2D to 3D video conversion - Dual HDMI inputs for external sources (can play the role of a digital center of an audio/video system) - 24/192 asynchronous USB input (at the time of the review there was no driver for Windows 8 so I was limited to 24/96 files) - 24/192 coaxial and optical digital inputs that make the Oppo a D/A converter - Playback of CD, HDCD (including decoding), SACD (dual- and multi-channel), DVD-A (the same), 2D and 3D Blu-ray, as well as video and audio files - Audio playback up to 24/192, WAV and FLAC - Built-in headphone amplifier - Rigid, intricate chassis - High-end video components, such as the Qdeo/Marvell Kyoto-G2H video decoding chip - “Source direct” mode for video signal - “Pure audio” mode for audio signal - Separate PCBs for audio circuits with multi-channel and stereo outputs - RCA and XLR audio outputs - Separate power supply for the stereo audio section with a toroid transformer and two secondary windings (for the digital and analog sections) - and finally the highlight – two excellent SABRE32 Reference ES9018 D/A converters from ESS Technology, separately for stereo and multichannel outputs, commonly used in the most advanced DACs and SACD and CD players in the world. There is a whole lot of it and I only just scratched the surface – it really is an incredibly complex device. To wrap my head around it, I decided to use it mainly as an audio player, only occasionally checking how well it fares with video discs and files. SOUND A selection of recordings used during test (a selection) Audio Accesory - T-TOC Records High Quality Data Master Comparison, TDVD-0002, DVD-R (2011), ripy 16/44,1, 24/96, 24/192 FLAC. Random Trip, Nowe Nagrania, 005, CD (2012). SATRI Reference Recordings Vol. 1, Bakoon Products, FLAC 24/96. SATRI Reference Recordings Vol. 2, Bakoon Products, FLAC 24/192. T-TOC Data Collection Vol. 1, T-TOC Records, DATA-0001, 24/96+24/192, WAV, ripy z DVD-R. Al Di Meola, Flesh on Flesh, Telarc, 24/96, źródło: HDTracks, FLAC. Allan Taylor, Live in Belgium, Stockfisch, SFR 357.7062.2, Blu-ray + DVD (2009). Ashra, Belle Aliance Plus, MGART/Belle, 121914-5, 2 x SHM-CD (1979/2012). Bajm, Płomień z nieba, Pomaton/EMI, 4942032, CD (1993/1998). Charlie Haden & Antonio Forcione, Heartplay, Naim Label, 24/96 FLAC. David Sylvian, Sleepwalkers, P-Vine Records, PVCP-8790, CD (2011). Dick Hyman, From the Age of Swing, Reference Recordings, HR-59, HRx (176,4/24), DVD-R (1994/2001). Ellen Sejersted Bødtker, SONaR, 2L, 2L51SABD, Blu-ray + SACD/CD (2008). Frank Sinatra & Count Basie, Might As Well Be Swing, Universal Music Japan, UICY-94601, "Sinatra Society of Japan, No. 17", SHM-CD (1964/2010). Johann Sebastian Bach, Weihnachtsoratorium, Karl-Friedrich Beringer, Winter&Winter, 910 189-2, 2 x CD (1991/2011). Kombi, Nowy rozdział, Polskie Nagrania Muza/Polskie Nagrania, PNCD 985, CD (1993/2005). Lars Danielsson & Leszek Możdżer, Pasodoble, ACT Music, ACT 9458-2, CD; reviewed HERE; rip FLAC. Metallica, Metallica , Warner Brothers Records, źródło: HDTracks, FLAC 24/96. Miles Davis, Tutu, Warner Brothers Records, źródło: HDTracks, FLAC 24/96. Portishead. Dummy, Go! Disc Limited/Universal Music [Japan], UICY-20164, SHM-CD (1994/2011). Radiohead, The King Of Limbs, Ticker Tape Ltd, TICK001CDJ, Blu-spec CD. Schubert, Lieder, wyk. Dietrich Fischer-Dieskau, dyr. Gerald Moore, "Signature Collection", EMI, 55962 2, 4 x SACD/CD. Sonny Rollins, Tenor Madness, źródło: HDTracks, WAV 24/96. Sonny Rollins, Way Out Wes, Contemporary Records/JVC, VICJ-60088, XRCD (1957/1997). This Mortal Coil, HD-CD Box SET: It’ll End In Tears, Filigree & Shadow, Blood, Dust & Guitars, 4AD [Japan], TMCBOX1, 4 x HDCD, (2011). TrondheimSolistene, Divertimenti, 2L, 2L50SABD, Blu-ray + SACD/CD (2008). Vangelis, Spiral, RCA/BMG Japan, 176 63561, K2, SHM-CD (1977/2008). Japanese editions available from I remember very well our disgust at listening to first DVD players. “Our” meaning us, music lovers, audiophiles. The sound they offered was dynamically and emotionally flat, devoid of any color, gray. There was no talk of extended bass or saturated midrange. Treble was metallic and bright. A true nightmare! Although manufacturers tried hard to convince us that we’re wrong and that the fantastic new technology must be better than the inherently limited Compact Disc format, one listening session was usually enough to make everything clear. The situation with high resolution 24/96 records, unfortunately, was no better. Although the DVD format was focused from the beginning on picture and was backed by huge money that could only be recovered by selling entire movie catalogs on the new medium, its potential was particularly interesting for us (again, the plural “we” – I apologize but I identify with a group of people who are addicted to listening to music and who want it to sound the way it was intended by the recording artist, not the manufacturer of audio equipment). The WG-4 Forum standing behind the Digital Versatile Disc format didn’t care much for the audio side of things. There wasn’t any money in there – or so it seemed. Perhaps by way of reaction, recognizing the beauty lying in the ability to play high-resolution recordings, there emerged an organization called ARA: Acoustic Renaissance for Audio, founded by Professor Hirokazu Negishi. The technical committee consisted of people like Tony Griffiths (Technical Director of Decca Recording Company, Chairman of Technical Subcommittee National Sound Archive, member of IEE, Fellow of the Royal Television Society), Professor Malcolm Hawksford (University of Essex, on the board of the Audio Engineering Society, on the board of Institute of Acoustics and on the board of IEE), David Meares (R&D Manager, Audio & Acoustics, BBC Research & Development Department, member of IEE) and Bob Stuart (chairman and CTO of Meridian Audio Ltd., associate member of Essex University, member of the Audio Engineering Society, member of the Acoustical Society of America, head of Acoustic Renaissance for Audio, member of XtraBits, member of the Technical Subcommittee National Sound Archive, and member of IEE and IEEE). The insistence of the new organization focused on using the DVD format for audio was such that the WG-4 included in the final format specification the ability to play DVDs with two channel 24-bit, 96 kHz audio, without the need of an external TV screen. The discs were operated just like ordinary CDs. Such albums under the name of DAD: Digital Audio Disc were issued by Chesky Records. And that’s where the hard part began. It quickly became clear that the competition, Sony and Philips, was not asleep but working on their own hi-res audio format, SACD, able to fit high-resolution stereo and multi-channel 5.1 on a single disc. With the help of Bob Stuart an amendment was added to the DVD under the commercial name DVD-Audio. In addition to multi-channel 5.1 24/96 audio it could also contain 24/192 stereo sound and video signal. Digital revolution in video formats was already under way, taking a momentum. DVD players were unable to play DVD-A and no one was going to replace the newly purchased, expensive equipment for a newer one. Moreover, to play DVD-A discs one had to turn on the TV to navigate the menu. Something unacceptable for the audiophile. The crucial, however, was the lack of support by large recording companies. Thus began the instantaneous fall of the young, after all, format. SACDs fared slightly better, although after the withdrawal of its creator, Sony (unofficially, of course), there only remained small, specialized companies, mainly offering classical music and jazz. The situation did not change even when EMI started issuing SACDs. For a moment it seemed that Blu-ray is another opportunity for high-resolution audio. The disc can store 24/96 7.1 multi-channel and 24/192 stereo signal. Bob Stuart was involved again and his MLP codec, known from DVD-A, is an optional part of the new format. The latest Internet revolution, however, turned everything upside down. As I wrote in my editorial to the 48th issue of HF in April 2008, four and a half years ago, transferring files on the Internet would reconcile everything and all. And it probably has… From the very beginning DVD players, and Blu-ray is to a large extent their development, have fought an uphill battle. Their drives have been optimized to read DVDs, as have been their clocks, without much care given to the sound from CDs. Dreadful, cheap switching power supplies only worsened the matter. First tests with DAD discs and later, with DVD-A players, with 24/192 recordings showed that the “dense” format indeed had its advantages. But a comparison with even an inexpensive but solid CD player showed the new machines their place, no matter if they played 24/96 or 24/192 material. Their place was under the TV. CD discs Top models are inherently a manufacturer’s showcase, its technical and technological banner, where "hanging out" what is best in it. Accordingly, the BDP-105EU has a very solid, really great enclosure, an advanced power supply and the audio signal path has been given the same attention, put in the same “basket”, as the video. That can be heard, indeed. The sound is very well balanced, with nice dynamic and surprisingly well-handled treble. Annoying, rustling, empty, shrill top end is standard in video equipment. Here treble is saturated and slightly warmed. It may, therefore, seem to be hidden under what is going on in midrange department. In fact, it is upper midrange that is withdrawn, eliminating virtually any problem with sound brightening. A slight rounding of treble, however, makes it perceived to be more “in the rear”. Well, it is not. The player delivers big sound, with a flourish. It shows real muscle which is a refreshing change from “audiophile” CD players often sounding muffled. The Oppo not only builds large phantom images but backs them with appropriately intense room response and its delay – everything that the sound engineer decided to add to the basic sound. The sound is well organized for a digital source for that kind of money. Phase relationships are maintained, which could be very well heard on recordings by such Polish groups as Kombi on the mini LP edition of Nowy Rozdział (“New Chapter”) or Bajm on Płomień z nieba (“Flame from Heaven”) from 1998. Although their sound is nothing spectacular, one can listen to them with pleasure because, among other things, their sound producers managed to show plenty of space. The Oppo nicely showed the details in counter phase, extending the soundstage past the speakers, as well as the sounds behind the listener’s head. It was not quite as overwhelming experience as playing the same CDs on the Mark Levinson No.512 SACD player standing next to it but there was no doubt about what’s what and which direction it’s going. A general refinement of sound is the first thing worth noting and one that allows to treat the device seriously – I mean it in the context of audio. Only a few BD players, such as the Cambridge Audio Azur BD751 or the Arcam BDP300 – among those I know – allowed something like that. The Oppo, however, stands out in terms of its scale of sound. Its midbass is clearly emphasized, which extends to some degree onto lower midrange resulting in male voices being weighted down and stronger and the bass guitar getting a gentle “push”, coming out from the shadow. This is a deviation from neutrality, let’s not have any illusions. It is, however, intended and well thought out; that is precisely why the sound is big and expansive. The resolution is pretty good, as is selectivity. They do not go beyond the capabilities of a CD player for some 3,000 – 4,000 PLN, such as the Music Hall cd35.2, but neither are they substandard. In fact, it would be difficult to decide between these two players (or the Cambridge Audio Azur 651C, since we’re at it). Dedicated CD players are a bit more restrained in their presentation of bass and can better control it. They also show a slightly deeper soundstage. They can’t, however, offer such spectacular dynamic, something that can be termed as “drama”. Nor will they ever be able to do what the Oppo is actually designed for – to play audio and video files from your hard drive or USB flash drive, or play Blu-ray discs (not to mention SACDs). High resolution recordings (Blu-ray, SACD, HRx, audio files) I torture (as do other audio journalists) multi-format players with CDs because every self-respecting music lover, music fan, usually owns several thousands of such discs and does not want them to just be gathering dust. I have already hinted that the Oppo is doing surprisingly well with them. There is no way of going beyond the level of a CD player for more than 5,000 PLN but no one would really expect it, either. Yet even in such a comparison the Oppo would not embarrass itself; there is no quality gap. In this case, what starts to take over is small details that only taken together generate a new quality. All in all – a surprisingly high level. I think that after listening to how the player handles audio files, both high-resolution and CD quality, one may revise one’s views on what is "kosher" in audio and what is not. The sound from an external hard drive was in fact even better organized and even more internally consistent than from optical discs. It seemed calmer, apparently because it was smoother and more vivid. BDs sounded surprisingly well, both audio, e.g. SONaR by Ellen Sejersted Bødtker of 2L, as well as video/audio BDs such as Allan Taylor’s Live in Belgium issued by Stockfisch. Both presentations were extremely natural with performers present here and now. It was helped by the very nature of these recordings featuring either soloists or small ensembles, but the overall impression was very positive. Larger ensembles were shown a little further on Blu-ray discs than on CDs. It is natural as the production of the latter requires quite substantial audio compression, resulting in increased average volume and subjectively closer sources. But here it was something different than that. Higher resolution allowed the tracks to develop, somewhat like a movie plot – there was breath, sequence, expectation and suspension. And it was not only on the spectacularly shown 24/192 recordings from the Alan Parsons Project’s album but also with small ensembles on reference albums from Bakoon Project (24/96 and 24/192), and even ultra-minimalist music on the already mentioned album by Ellen Sejersted Bødtker. Everything was deeper tonally, including deeper soundstage that was rather shallow on CD recordings, with a closely set foreground. SACDs also sounded very interesting. Their warmer color and smoother texture showed the recordings somewhere between the open breath of high resolution PCM and the literalism of CDs. Treble was closer to that of the CD, slightly warm and well integrated with the rest of the sonic range. There seemed to be more of it on BDs. The impression was even stronger due to something that was clearly heard and that I mentioned right at the beginning – a withdrawal of upper midrange. Increasing the bit depth from 16 to 24 bits (or, in case of SACD, its equivalent) and – to a lesser extent – increasing the sampling frequency on the Oppo player brings a clear sonic change for the better. In every single aspect. Which actually reflects well on the resolution of audio path. The majority of DVD and BD players show no change with transition from CDs to 24-bit audio files. Here one can immediately hear a better background; darker, quieter. Even with recordings seemingly resistant to such treatment, recordings considered to be low-fi, such as the new Mikołaj Bugajak’s album Random Trip on New Recordings label. As I tried to demonstrate on his first album (reviewed HERE), if a musician has an idea of what he’s doing, if a music producer (in this case it's the same person) can hear the results of his work, each kind of music is worthy of our highest attention. Making the recordings available in 24-bit resolution can only help that. The owner of New Recordings, an artist also known as Noon, seems to get it as both albums have been released in such a way that one can play them on a CD player but also rip high definition files to one’s hard drive. All for the price of a single CD. Let’s support such people! All the more so as the music is cool, recorded with much attention. In any case, the “dense” version of the album had much more to “say” on the Oppo. Dynamics was significantly higher, resulting in a more unrestrained presentation. What did not change was bass – it lacked low extension and was not as well controlled as it should have been. Conclusion Classifying audio recordings according to signal resolution is misleading. This debate has been going on for a long time and the issue seems to be well recognized. For some guidance on this topic, take a look HERE. The argument is about the fact that the commonly used division into “standard definition” signal, in the context of audiophilism associated with the Compact Disc, and “high definition” signal, i.e. SACD and DVD-A discs and 24-bit audio files, is misleading! In my experience, a well-recorded material, carefully released, preferably as XRCD, K2HD, SHM-CD, Blu-spec or HQCD, often sounds much better than the same material released in the form of 24/96 or even 24/192 audio files. Why is that? I am convinced that the problem lies on both sides: mastering and playback. Recording and mastering studios have clearly not yet mastered the art of preparing such files and it does not matter whether the source is analog tape or digital. The companies had thirty years to learn to properly handle the 16/44.1 signal and it’s finally starting to sound good. And audio files? Not counting the DVD-A failure, also in sonic terms, they entered the game about 3-4 years ago. Likewise, comparing the “dense” layer of the SACD with the CD layer on the same hybrid disc is a mistake. The CD layer reflects laser light significantly worse than that on the “regular” Compact Disc, making it more vulnerable to distortion. A meaningful comparison can only be made if we take up an SACD and a normal CD. Still, even if we give it enough care and attention, in most cases such a comparison will not be conclusive. A louder sound of 16-bit recordings usually masks their weaknesses. On the other hand, SACD players are usually not really designed for a proper processing of that signal, converting it to PCM somewhere along the path (usually in the DAC). What it all means is that talking about “high resolution” files only makes sense with reference to signal parameters, not the sound as such. The Oppo can, however, show how these two worlds differ from each other. Not conclusively since the changes are not revolutionary and one can put forward an argument that CD-quality files will continue to bring us so much joy that the fight for hi-res, at any price, makes not much sense. Still, if we decide to pay more, for example for a 24/96 file, it will be a home run. It really is a successful device. Its primary value is good sound with each format and an incredible functionality. In addition to CD, SACD, DVD, DVD-A and BD it will also play DVDs and DVD-Rs with audio files! I had no problem listening to such DVD-Rs from Japanese T-TOC and HRx Reference Recordings. Finally, I could easily play the recordings accompanying the Japanese "Net Audio" magazine, except for DSD files that the player unfortunately did not “see”. HDCDs – you bet… Video? Better quality than from the Cambridge Audio Azur 751BD and the Popcorn Hour A300. Cleaner, better saturated picture. And what about the sound? Well, you need to be prepared for some compromises. It will not be as good as from a CD player for 6,000 or even 5,000 PLN. It is, however, very close to the latter; closer than any other multi-format player I know. And then there are the files which are its strongest side. Oppo is known for its inexpensive, well-designed devices, eagerly modified by specialized companies. The BDP-105EU, however, is not cheap. Will it became a success? I don’t know… What I do know is that as a flagship model, one “in the spotlight”, it is a good example of what can be done within the framework of a large company, not particularly audiophile-oriented, as long as the people standing behind it know what they’re doing. TESTING METHODOLOGY The adopted testing methodology was based directly on my initial assumption to review the OPPO BDP-105EU the same was as any other AUDIO player. The testing had a character of an A-B comparison with known A and B, and 2 minutes long music samples. The reference point was the Ancient Audio Lektor Air V-edition (for CDs), the Mark Levinson No.512, the Cambridge Audio Azur 751BD (SACDs and video discs) and the HDI Dune HD MAX (audio and video files). Another reference point for audio files was a system consisting of the Ayon Audio NW-T + CD-3s CD player and DAC. The device sat on the Acoustic Revive RAF-48H anti-vibration platform and additionally on the Acoustic Revive RIQ-5010 quartz spacers. It was powered via the Acrolink Mexcel 7N-PC9300 power cord. DESIGN The OPPO BDP-105EU is an extremely advanced device in terms of functionality. Nevertheless, the designer managed to keep a very clean and coherent front panel. That is mostly a result of moving the main user interface onto the remote control and the external TV screen. While CDs and SACDs can be played without connecting the TV, all others, including audio and video files, require an external screen. Fortunately, one can also use a dedicated application for smartphones and tablets and thus remain in an “audiophile” circle. At the time of the review applications were available for Android but not yet for Apple iOS. The reviewed model has been designed from the beginning to be an “audiophile player”, as indicated by the introductory line on the manufacturer’s website: “The OPPO BDP-105EU is designed from the ground up with components optimized for enhanced analogue audio performance.” It’s visible on the outside – the front panel is a stiff, thick aluminum plate; the rest of enclosure is made of thick steel plates. The top panel is damped from the inside with special damping material. There is no cooling fan inside – cooling is wholly passive! The nice, clean front panel has been designed with a particular customer in mind. A blackened, semi-transparent acrylic plate with a disc tray in its center is glued on a metal frame. On the left side there is a small, really small display – it’s obvious that detailed information is transferred onto larger external displays. The buttons are so well integrated that, at first glance, only the eject button is visible. ‘Standby’ is masked by the manufacturer’s logo; others are touch buttons that light up only when you turn the device. The rear panel reveals rather unequivocal evidence of what kind of device we’re dealing with. The video section is surprisingly small, given extensive player’s capabilities. There are two HDMI outputs and a single HDMI input for an external audio-video player. Three USB inputs can also be counted in; they are used to connect three hard or flash drives (one in the front and two in the rear). Audio inputs and outputs section is much more extensive. Outputs are separate for stereo and multi-channel. The former are in two pairs – RCAs and balanced XLRs (pin 2 = hot). 7.1 multichannel outputs are grouped together horizontally. The device, however, can also be used as a DAC and hence the three digital audio inputs – optical TOSLINK, electrical RCA and asynchronous USB. All accept signal up to 24/192. Unfortunately, at the time of the review there was no driver for Windows 8 which is the version I use. Internet connection is via an Ethernet cable. The grouping of different outputs on the rear panel reflects the positioning of PCBs inside. There are lots of them because each module is housed on a separate PCB. They are mounted in a rather complex way, onto metal screens and braces stiffening the whole chassis. Fortunately, audio PCBs that interests us the most are mounted at the top. They feature surprisingly good passive components. Actually, the audio circuit is built on two really nice looking PCBs – accordingly for the stereo and multi-channel sections. Their design is surprisingly similar and differ in two main details – a much more extended power supply for the stereo section and a different way of using the eight channels of the ESS Sabre32 “Super DAC”. In the stereo section they are divided into two groups of four, for the unbalanced and balanced outputs accordingly; the 7.1 section assigns each channel to a single output. As I said before, in the input there are excellent D/A converters (let me remind you, separately for each section). Next in the audio circuit path we have two National Semiconductor LM4562 per channel, and then another one. This section is divided into separate paths for RCA and XLR outputs. The circuits feature high quality Wima polypropylene capacitors and electrolytic Elna Silmic II at the output. The stereo section is powered by a separate power supply, with a large toroid transformer in a screen. The rest is assembled on PCBs with the DACs – two separate power supplies for the analog and digital sections. First there are two large Elna Tonerex filter capacitors followed by IC voltage regulators. Wima capacitors can also be found here. The 7.1 audio PCB is powered by a simpler power supply but it also looks very nice. Digital inputs received good treatment as well. RCA (S/PDIF) is coupled to an input impedance matching transformer and USB is coupled to a large DSP XMOS. A multi-format drive is placed in the center, reinforced from the top with a metal plate and bolted to a rigid base. It is powered by a separate section of a sizeable, screened switching power supply. The other PSU sections power the video systems. It is a unique device in which the audio section received a very serious treatment, better than in many expensive CD players. The video section is in a class by itself, due to employment of the latest audio and video processors. One problem is a very crowded remote control; you should seriously think of using a smartphone or tablet for that – it really helps! Technical specification Playable Discs: BD-Video, 3D Blu-ray, DVD-Video, DVD-Audio, AVCHD, SACD, CD, HDCD, Kodak Picture CD, CD-R/RW, DVD±R/RW, DVD±R DL, BD-R/RE HDMI Audio: Dolby Digital, Dolby Digital Plus, Dolby TrueHD, DTS, DTS-HD High Resolution, DTS-HD Master Audio, up to 7.1ch/192kHz PCM, up to 5.1ch DSD HDMI Video: 480i/480p/576i/576p/720p/1080i/1080p/1080p24/4Kx2K, 3D frame-packing 720p/1080p24 HDMI Audio inputs: Dolby Digital, Dolby Digital Plus, DTS, AAC, up to 5.1ch/192kHz or 7.1ch/96kHz PCM HDMI Video: 480i/480p/576i/576p/720p/1080i/1080p/1080p24/1080p25/1080p30, 3D frame-packing 720p/1080p24 MHL Audio: Dolby Digital, Dolby Digital Plus, DTS, up to 5.1ch/192kHz PCM MHL Video: 480i/480p/576i/576p/720p/1080i/1080p24/1080p25/1080p30, 3D frame-packing 720p/1080p24 USB Audio: up to 2ch/192 kHz PCM Frequency response: (RCA) 20 Hz - 20 kHz / ± 0.2 dB; 20 Hz - 96 kHz / -1.5 dB (XLR) 20 Hz - 20 kHz / ± 0.3 dB; 20 Hz - 96 kHz / -1.5 dB S/N Ratio: > 115 dB (A-weighted) THD + N: 110 dBV Channel Separation: > 110 dB Power Consumption: 55 W Dimensions: 430 x 311 x 123 mm Weight: 7.9 kg Distribution in Poland CINEMATIC ul. Piotra Ignuta 89 | 54-151 | Wrocław | Polska tel. 71 351 91 96 www.cinematic.pl

Published: 1. February 2013, No. 105 Five years in company's life is not much. These offering high-end devices introduce new products in more or less such intervals, so if company exists only five years that's truly short life and we should not expect too much from it. But obviously this is not a rule set in a stone and, with proper effort, it can be broken, or bypassed. In the year of 2007, which means bit more than five years ago, the company Devialet SAS was founded in France. It appeared to be just another slightly eccentric French manufacturer (they all are, bit eccentric I mean), hoping to find its own niche on the market and in customers habits and preferences, somewhere between all other competitors that had been on market for long offering amplifiers, players and speakers. But it would be a mistake to think that – they way the company was founded, how it operates, what are its targets and purposes, and most of all their product – all that differentiates them from everything we, customers are used to. Surely there was one thing Devialet had in common with other companies – they, as many others, started with an idea. In 2004, Pierre-Emmanuel Calmel quit Nortel R&D Lab to work on the first prototype of a new kind of hybrid amplification technology. The effects of his work must have been interesting enough for Mathias Moronvalle, a former Nortel colleague, to join this enterprise. In 2006, these two passionate engineers met other entrepreneurs – also musicians and audiophiles – from industrial design, marketing and management consulting: Emmanuel Nardin, Quentin Sannié and Manuel de la Fuente. Usually the word 'hybrid' in association with amplifier is used when the preamplifier uses different technology than output stage. The most common solution involves tube preamplifier and solid-state output stage, although a Czech company KR Audio does it other way around. In this particular case of Devialet 'hybrid' means something totally different, although popular association of this word is not that wrong. Company created and applied a technology called ADH, which reads as : Analog Digital Hybrid. This innovative technology allowed to combine an analogue, low-power, class A amplifier with mighty, digital, class D amp working in PARALELL. I remember very well a maintenance engineer in Juliusz Slowacki Theater, where I worked at the time, telling me that he had a cool idea for an audio amplifier. In fact I was building my own small tube amp and he seeing it came up with an idea of a 'hybrid' amplifier, combining tubes a transistors, but his idea was to make them work in parallel. The key part of that project was supposed to be a small, class A SET amplifier that would work alone until no more than few watts would be required, but when there would be a greater need for power the second, solid-state amp would kick in. At the time I wasn't even aware that it wasn't the first time somebody came up with such idea – in fact it was presented for the first time in 1970ties by famous company QUAD, although they used two solid-state amps – a small class A one, and the second, much more powerful, working in a class AB. This idea was called "freeforward" and was implemented in power amplifier named 405. I have no idea what happen to this idea as I lost contact with this engineer many years ago, but in general, the idea of two amplifiers working in parallel seems to be still quite attractive for some designers as a solution/answer for weaknesses of classic designs. Obviously it's rather difficult to realize that idea, to put it in practice as you can hardly find any such amplifier on the market. Except for Devialet D-Premier AIR – they used the idea and put in into practice designing a product that might, I'm not afraid to used that expression, revolutionize audio market: that's a hybrid, analogue-digital integrated amplifier, that includes also a D/A converter. You can feed it with analogue or digital signal. The latter can be delivered not only with S/PDIF (RCA and TOSLINK) cables, but also with HDMI, directly from a Blu-ray player. Designers used also their knowledge and experience from the field of wireless communication, as their product embeds Devialet AIR (Asynchronous Intelligent Route ), the exclusive Asynchronous Wi-Fi HD Streamer designed by Devialet. To configure this device one needs to use a special application. Using it one can name inputs, assign functions to inputs, and even set a maximum power between 160 and 240 W. Considering that there are two amplifiers in kind of dual-mono setup, one working as "Master", and other as "Slave" the maximum power delivered at output might reach 500W per channel. The other key feature that makes this device different is its external design. When you see it for the first time you'll sure be surprised by its innovative look. Also using it is quite intuitive. My 18-years old son, a true fan w McIntosh and tube devices was simply stunned when he saw this flat, shining device on my rack (Devialet can be placed horizontally or vertically hung on the wall). He said it was the coolest thing I ever had in my system. He's 18, so he knows... But I can totally understand his reaction. The enclosure is a solid aluminum casting and you can chose one of three available finishes: chrome silver, black mat, or white "High Gloss". It is possible to use two Devialets working as monoblocks. And while D-Premier looks awesome, its remote control, using radio waves to communicate with amplifier, is even cooler. Using it is amazingly comfortable, user-friendly – I miss it already. There is one more thing I would love to see – the reading from devices display – if I could have that on the remote too, it would be simply perfect. As you already learned this is a unique, innovative, ground breaking device. It's supremacy on the high-end market is undoubtful, unless for open-minded people. Its unique character has been momentarily recognized by audio magazines around the world – its picture was featured on the covers of "Hi-Fi News & Record Review", "TONEAudio" and "Stereophile". Alan Sircom from "Hi-Fi+" magazine put it on the list of The 10 most significant amps in European history. Do I need to say more? Probably not, but I might still add that for the past two years Devialet D-Premier, presently in AIR version with all the upgrades introduced with the newest soft 5.7 (I forgot to mention that since Devialet emerged on market company still works on numerous improvements introduced via new software) is a part of Paul Miller's, "Hi-Fi News & Record Review" chief editor's, reference system... It took Devialet engineers 3 years (2007-2010) to create the final product and introduce it to the market in 2010. Ever since many improvements have been implemented, mostly with newer versions of software (which is possible because a DSP processor is a heart of that device). So one might say that this product doesn't get obsolete. The particular piece we've received for a test is a best prove of that. The original name of that device was D-Premier. Two years after it was introduced to the market a new version was offered, which in fact is an upgraded „old” version, and it changed its name to D-Premier AIR. You might have already guessed that this upgrade meant adding a possibility of wireless communication between Devialet and computer working as a source of a digital signal. Most devices on the market use Apple AirPlay, which is configured in a way that forces user to use iTunes. It delivers decent performance but this way of delivering signal is surely far from being perfect. The owners of Devialet are people with their „roots” in telecommunication business. So it was to be expected that they would come up with something special. And they did – it's the 'AIR'. It is in fact a standard 802,11 b/g/n Wi-Fi. But in Air there is a Red Pine module working with the newest DSP Analog Devices Sharc circuit, that allows for asynchronous transfer of a signal using a single clock – the amplifier's master clock! After receiving signal goes to a buffer and is re-clocked to further reduce jitter. The only downside – for know the only software player that works with it is iTunes. The advantages of AIR are quite unique though: for one, even though we need to use iTunes it doesn't not process the sound (e.g. Kernel Mixer is bypassed), secondly, according to the manufacturer, in the near future we should be able to use also other software players. For know we can send only 16/44 signal but that is also supposed to change to allow sending even 24/192 signal via AIR. AIR starting from 5,6 versions allows sending 24/96 signal via Wi-Fi, and 24/192 that is automatically down-sampled to 24/96. Sources Devialet, White Paper - Devialet, May 2011, see HERE [avail.: 04.01.2013]. Paul Miller, Devialet D-Premier, "Hi-Fi News & Record Review", April 2010, p. 22-27; see HERE [avail: 04.01.2013]. Paul Miller, Devialet D-Premier AIR, "Hi-Fi News & Record Review", July 2012, p. 48-51; see HERE [avail: 04.01.2013]. Alan Sircom, The Devialet D-Premier integrated amp/DAC, "HiFi+" Issue 75, p. 68-72; see HERE [avail: 04.01.2013]. Alan Sircom, The 10 most significant amps in European history, "HiFi +", Issue 82, p. 14-18; see HERE [avail: 04.01.2013]. John Atkinson, Devialet D-Premier - D/A integrated amplifier, "Stereophile", January 2012, p. 72-83; see HERE [avail.: 04.01.2013]. Marja & Henk, Devialet D-Premier, "6moons.com", May 2011; see HERE [avail.: 04.01.2013]. Mike Valentine, Devialet D-Premier - Mini first impressions, "Stereomecmuasi"/"6moons.com", May 2010; see HERE [avail.: 04.01.2013]. Jeff Dorgay, The Devialet D-Premier Does It all, TONEAudio, Issue 35, p. 146-157; see HERE [avail.: 04.01.2013]. SOUND Recordings used during test (a selection) Audio Accesory - T-TOC Records High Quality Data Master Comparison, TDVD-0002, DVD-R (2011), ripy FLAC 16/44,1, 24/96, 24/192. Random Trip, Nowe Nagrania, 005, CD + 24-bit WAV (2012). SATRI Reference Recordings Vol. 1, Bakoon Products, FLAC 24/96. SATRI Reference Recordings Vol. 2, Bakoon Products, FLAC 24/192. T-TOC Data Collection Vol. 1, T-TOC Records, DATA-0001, 24/96+24/192, WAV, ripy z DVD-R. Al Di Meola, Flesh on Flesh, Telarc, FLAC 24/96, źródło: HDTracks. Annie Lennox, Bare, "Limited Edition", RCA/BG, 22472, Copy Control Disc + DVD (2003). Ash Ra Tempel, Ash Ra Tempel, MGART/Belle, 101780, SHM-CD (1971/2010). Breakout, Blues, Polskie Nagrania Muza/Polskie Nagrania, SXL 0721/2007, LP (1971/2007). Carlo Gesualdo, Madrigali, dyr. Rinaldo Alessandrini, wyk. Concerto Italiano, Opus111/Naïve, OP30486 (2000). Charlie Haden & Antonio Forcione, Heartplay, Naim Label, FLAC 24/96, źródło: HDTracks.. Charlie Haden, The Private Collection, The Naim Label, naimcd108, 2 x CD (2007). Depeche Mode, Home, 74321501702, maxi-SP (2007). Jun Fukumachi, Jun Fukumachi at Steinway (Take 2), EMI/Lasting Impression Music, LIM DXD 038, silver-CD. King Crimson, Lark's Tongues in Aspic, Atlantic/WHD Entertainment, IECP-20220/221, "40th Anniversary Series", 2 x HQCD (1973/2012). Mark Knopfler, The Travelerman's Song EP, Mercury, 9870986, CD (2005). Metallica, Metallica , Warner Brothers Records, FLAC 24/96, źródło: HDTracks.. Miles Davis, Tutu, Warner Brothers Records, FLAC 24/96. Pieter Nooten, Surround Us, Rocket Girl, rgirl85, CD (2012). Porcupine Tree, Deadwing, Lava, 93437, CD (2005). Schubert, Lieder, wyk. Dietrich Fischer-Dieskau, dyr. Gerald Moore, "Signature Collection", EMI, 55962 2, 4 x SACD/CD. Sonny Rollins, Tenor Madness, Prestige, WAV 24/96, źródło: HDTracks. Japanese editions of CD and SACD available from The experts seem to be some kind of giants, rising above problems concerning the rest of the population. At least in their area of expertise – they are, after all experts, right? Somebody like that doesn't have any weaknesses, is resistant to any kind of external influence, doesn't know what prejudice is – simply a walking perfection. Well... I wish it was true, I really, really do! My life would be so much simpler, everything would be simpler, easier, more obvious. Looking at such a device like a Devialet there would be no questions in my head like: "so light?", "so shining?", "so... 'digital'?". Regardless the experience and reason these questions must pop up in a mind of every person who has some experience with audio amplifiers. Experts, in this particular case, editors of audio magazines, are no exception. That is why the sound of Devialet took me by surprise, as I'm pretty sure did everyone who gave it a try, „professional” audio guy or not. Why? Because what came out of my speakers reminded me of... what I usually get from high quality tube amplifiers. Although previous experiences with D-class amps did give me an idea of how such a device might sound, but in this particular case it was not about rounded treble, there was no softened attack, but about the general richness of the sound, warm vocals and rich, saturated lower midrange. And all that complemented with strong, open treble. For some time I even though that the tonal balance was set bit higher than in my reference amplification. But after giving my ears a while to accommodate to that sound this impression disappeared only to come back when I switched to my amp again. Sp its possible that in your system, your room sound might appear bit too lean or too bright. But there is a possibility to equalize that using different settings for bass and treble. Since the sound is processed in digital domain it effects a sound quality much less, than in case of classic, analogue amplifiers. So do that, if you need to, as it will improve the „comfort” of the listening significantly. In my case I preferred the sound without any equalization. I think it was so because of this incredible resolution of the higher frequencies and because of how much energy they carried. But it's not only about that energy, that can be delivered also but much less expensive devices, but the energy combined with the „weight” of each attack, richness of each of them. These are attributed of tube amplifiers, no doubt. Even the best solid-states like my Soulution 710, Accuphase A-200, SPEC RSA-V1 (which is a class-D amp) are only able to present some approximation of that – it is still great, and for me it's enough, but still it doesn't sound in such a natural way like when delivered by high-quality SET amp. The more surprised I was with French amps presentation – not only a solid-state but a digital one. That is followed by other attributes usually associated with tube devices. The most important of them is how instruments are presented. And you can watch them closely, in the most intimate way, they are simply palpable. You can hardly ever see words 'digital' and 'palpable' used together, but Devialet is a prove that digital device can offer palpable presentation of instruments so the problem is not in the digital technique but in its implementation. Of course the best recordings take the biggest benefit from it. I was bit concerned when I decided to play an Annie Lennox Bare, a recording coming from „dark times” of BMG, Sony and EMI, when each of those labels implemented some kind of „copy protection”. Specialized hackers could care less about this protections but for a regular music fan they were a true pain in the ass. In theory Copy Control was supposed not to effect sound quality, because it was based on adding some inaudible distortions that would make it impossible for computer to read signal from CD. Audible or not these distortions were a reason of significantly lower quality of the sound from such a CD... Anyway, I don't listen to Bare to often, and even if I do these are usually two pieces from an addition DVD, that were recorded before concert. These pieces are brilliant! Unlike the sound delivered by a CD. The French device was able to do something special about it (also about problematic Porcupine Tree Deadwings). Selectivity improved significantly, and as much as it was possible, also a resolution. But the most important improvement was the lack of this brightness and numbness of the sound. Now I could finally listen to it with pleasure, so I did as it was hard to predict if and when this could happen again. It was like the digital input stage of D-Premier was able to fix the mistakes made during mastering pressing. So what about high quality recordings? Amazing! - you can simply reach out and touch musicians as they are right there in front of you in 3D. Dynamics is beautiful, which allows music to „breathe” and the listen to feel like he took part in some „live” event. Because of that I had to listen to a Charlie Haden's concert organized for his 50th birthday. It was incredible how real that sound felt like. Fantastic selectivity and resolution which resulted in very close, warm forefront and it gave me a very good idea of what and where was located on the stage. Especially that there wasn't even a hint of power shortage – Devialet delivered a truly great rendering of a live performance, with a small add-ons – wonderful timbre and slam. What's more – this amp offers incredible dynamics. Only two amplifiers I know could compete with it - Soulution 710 and Accuphase A-200. Both have more sophistication, but none of them has this immediacy of dynamics changes, that French contender has. Devialet offers a hint of what it would be like if you listened to live recording at home with its full dynamic range, which of course would be quite difficult, especially over a longer period of time, as some fragments would be too loud, and some too quiet. If you listen to rock, or even jazz – there is no problem. The former is compressed already during production, the latter usually involves small bands playing is not so big rooms, so their real dynamic range is limited. That doesn't apply to classic music or soundtracks. If you like big orchestral performances you'd better have a large room for D-Premier. It will allow it to create something quite close to life performance, something very, very few other amplifiers can deliver. Have w tube amplifier play the same music and you'll know what I'm talking about. Although I am a great fan of tube amplifier, but I listen to music not only with my heart but also my brain and ears, and those tell me that some part of their dynamics is artificial, not the macro-dynamics, but micro-dynamics. Even if you get the impression of a „larger” dynamics it's rather because it plays louder. To describe the sonic character of that device's sound I'll have to use words like „smooth”, „spacial”, „natural”. I think that I finally understand why D-Premier fitted so well into Paul Miller's system. On one hand its sound is powerful and open, and the other the roughness in the treble is somehow smoothed out. That should allow it to work perfectly with Bowers&Wilkins 802 loudspeakers in HFN&RR (the description of the system HERE) chief editor's system. Same goes for bass – rather slightly on a soft side, but delivered with amazing grip, at least down to 50 Hz. Bass isn't hardened as it never gets distorted in any way, at least not with my speakers in my room. The Jadis I-35, a great tube amplifier, that I auditioned shortly before Devialet, offered bass similar in character. The difference was that when it came to some high level moments bass got hardened, lost it's natural softness. Why? Because it required the amplifier to deliver too much current, which seemed to be a strong side of that amp. Devialet proved that French tuba amp had its limitations. Not because I-35 played it not so loud as Devialet, that I could feel that it offered less output power, but because the attack was hardened and the presentation got slightly messy at higher levels, which did not happen with innovative Devialet amplifier. The D-Premier's ability to differentiate sound was amazing. The better recording the bigger, better, more natural sound it delivers. And when fed with hi-res files it improves even further. Most of files players, D/A converters have difficulty to present the difference between 16 and 24 bits, between 44,1 kHz and 192 kHz. Quit possibly the hi-res recordings are at least partially to blame here as it seems that many sound engineers still don't know how to make them right. I am 100% sure that all, or almost all hi-res recording that I acquired could still use remastering, improving. But there are few devices like Devialet, or recently reviewed Ayon system (see HERE), that are capable to prove why there is so much fuss about 24 bit word length and high sampling frequencies. The answer is simply – such recordings sound more natural. I would like to use a word „analogue sound”, but that would not be a proper description (see: Michael Lavorgna, The Road to Analog-Sounding Digital: Are We There Yet?, "Stereophile", January 2013, p. 3; see HERE). It's about more beautiful timbre, bigger space and loosing up a tie that CD standard tied up on our necks even if we did not realize that. There is still a long way ahead of us. Compact Disc can still deliver thing we did not dream about, but the innovative devices like Devialet point us in the right direction for the future. Summary Looking at the covers of audio magazines one might get an impression that almost every month there is some breakthrough in this industry, that the ultimate, perfect sound is at the grip of our hand. That's rubbish, don't believe in it! The reproduced sound is, and always will be a different universe that the one played live. Secondly that real breakthrough product appears only once in a while, long while. But when it emerges we need to cherish it, hold it dear, because only then something bigger, better, some block buster changing everything in this industry might really come. I don't think that Devialet requires caresses but I'd like to get in line to express my congratulations for its creators. Make no mistake – that's not a perfect device. The soundstage would use some more depth, the differentiation of a timbre is not so sophisticated as when delivered by good SET amps. The lowest bass is also not so well differentiated and not so well defined as by high-quality solid-states. The selectivity is fantastic in Devialet's presentation but it's always the same, no matter what recording we play. It sounds beautiful, the problem is that it always does. These downsides should not diminish the fact how innovative amplifier that is. OK, I wrote amplifier, but the D/A converter is also very good. When you hear the sound of this device you might think it comes from a small SET amp, with its incredibly palpable forefront, that seems to be slightly warm. Instruments seem to be within the reach of you arm. The resolution and selectivity are impressive not only considering the price tag, but also comparing it to other high-end devices. The ability of differentiation is amazing – it's like a tube amp inside a silicon chip! The extensive functionality, releases of a new version of software and fantastic remote – that's all sings of 21st century. In connection with 19th century tube technique that it uses (virtually of course) to define the sound it offers a final effect different from everything else. A full scale revolution plus great aesthetic impressions – that's what D-premier AIR is, period. TEST METHODOLOGY D-Premier AIR is a device significantly different from anything else on the market, including other digital amplifiers. Its weight is not impressive, but it requires a high quality amp stand – that's what the distributor, Mr Jarek Orszański, told me before test and what I can hereby confirm. I used the Acoustic Revive RAF-48H stand. The power we deliver to French device also matters. Usually I use the Acrolink Mexcel 7N-PC9430, as that's the best power cable I know, and it works great in my system. But the Distributor recommended the Synergistic Research Tesla SE Hologram A with active shielding, powered from external power supply. So I decided the run the test in the recommended setup. A large IEC plug forced me to disassemble a plate covering sockets. Since speaker posts are placed quite close to each other I was bit afraid to use my reference Tara Labs Omega Onyx cable. Instead I used Acoustic Revive SPC-PA. Often with digital amplifiers there it's a challenge to chose proper cables – low pass filters (LC) in the output combined with cable's capacitance and inductance often influence linearity of the signal. But there is no filter in D-Premier's output (another of Devialet's own solutions) so I wasn't afraid of any mismatch. Although the device sports analogue inputs, including phono, in fact it's rather an amplifier with build-in D/A converter. Of course you can use a turntable or other analogue source and as long as the primary one is digital its fine. But the primary source should be digital and that's why I used a Philips CD-Pro2 transport in my Ancient Audio AIR V-edition CD Player as one source and a file player – the Ayon NW-T via buffered S/PDIF tube output as a second. I did an AB tests, with A and B known. I used 2 minutes long music samples. My reference devices were my own two box amplification - Ayon Polaris III [Custom Version] + Soulution 710, and a tube amplifier Jadis I-35. DESCRIPTION Pierre-Emmanuel Calmel during interview given for John Atkinson, "Stereophile's" chief editor, presented many details regarding the design of the Devialet, so I'd like to use that. You can feed D-Premier either with a digital or analogue signal. The analog input signals are converted to digital with an A/D converter, a Texas Instruments PCM4220, running at 96 or 192kHz—the former is the default—before being applied to the volume control, which operates in the digital domain and is implemented in a 32-bit floating-point DSP chip by Analogix, along with a soft-clipping function and crossover filters when required. All signals are then converted back to analog by two Burr-Brown PCM1792 chips—a high-quality, 24-bit, two-channel, current-output device operating at up to 192kHz. Just half of the DAC is used for each channel, and the current output of the DAC is converted to voltage with a resistor and fed directly to the class-A amplifier—the analog signal path from the DAC output to the loudspeaker terminals is only 2" long. In effect, the DAC swings the high voltage required to drive the speaker output, and the class-A amplifier therefore works at unity gain, as a voltage follower, so that its performance can be maximally linear at high frequencies. As Mr Calmel said there are only 2 resistors and 2 capacitors in the signal path! Classic amplifiers of that kind have their problems as they generate high-frequency noise at the output, which forces designers to use low-pass filters. But there are none in D-Premier. Instead Class D stage is fed by digital processors, so that it receives a digital 300kHz PWM (pulse width modulation) signal. This device is equipped with linear power supply. This type of PS i well known and widely used in military and health care devices, and in audio it's been used most of all by two companies - Linn and Chord Electronics, so happens, that both companies are from Great Britain (Scotland and England). The PS used for D-Premier delivers 600 W constant power and 2100 W peak power. The shape of D-Premier AIR is also quite special – it is flat and square. On top there is a translucent window with a display placed under it. It allows the user to read (among other things) the volume, and the chosen input. The volume can be set in the range between -97 dB and +30 dB, with 0,5 dB steps. Signals from analogue inputs beyond 0 dB, are compressed, and at +30 dB gently cut-off. The elegant circular display orients itself if you hang the D-Premier from the wall. When a signal is received from a digital source the name of particular input is colored in red and the link between source and amp is established and than it turns black. There is a piece of information that is not, unfortunately, displayed – the word length. But since newer software versions allowed to read a sampling frequency it is possible that this „lack” will be fixed in the near future. All sockets are placed on the back panel – impedance matching transformers are used for all digital inputs. The access to the sockets is really simple as the part of the cover is fixed only with magnets so it can be easily taken off. The back panel is quit small which leaves not to much room for sockets and thus these have to be placed close to each other – the power cable delivered by Distributor had a large IEC plug so I had to take this part of a cover off to plug this cable in. There are as many as 8 digital inputs: AES/EBU, 4 x S/PDIF (RCA), 2 x S/PDIF (TOSLINK) and HDMI. All of them accept a PCM signal up to 24/192. So before one can send a signal from DVD or BD player it has to be converted to PCM (check the menu of the player). There is also a HDMI output that allows to send an audio and video signal to a projector for example. There is also an analogue input that can be configured (via menu) and a regular linear input, or a MM/MC phonostage input. The digital input can be configured as analogue input, also for e second turntable, or, if you have a 2.1 system, you can use it to SEND an analogue signal to a subwoofer. D-Premier sports single speaker posts. I've never seen anything like that before. A pure perfection. Technical specification (according to "Stereophile's" measurements + HFN) Output power: 180 W/8 Ω THD+N (at full power): 0,003% Input impedance (analogue input): 14 kΩ Output impedance: 0,04 Ω Chanel separation: >100 dB Frequency response (fs=96 kHz/192 kHz; +0 dB/10 Hz, -8,7 dB/90 kHz): 0,1 Hz-40 kHz/0,1 Hz-90 kHz A-wtd S/N ratio (dig/an): 120/90 dB Dimensions (WxHxD): 400 x 44,5 x 400 mm Weight: 6,9 kg Distributor's comment I'd like to use this opportunity to thank you for a professional review of the Devialet D-Premier AIR. As its distributor I can hardly be objective as I personally believe that it sounds amazingly good, but I need to mention few elements that allow this device to reach its peak performance. First of all: power. In our reference system we use the Synergistic Research Hologram D power cable to connect Devialet with Synergistic Research PowerCel 10SE MKIII. Both PC and power conditioner improve amplifier's performance. Hologram D delivers even a bit better performance than Hologram A delivered for test, and the power conditioner does matter too. In each and every setup a properly chosen power cable and power conditioner will enhance Devialet's performance. Secondly: anti-vibration accessories. These used with Devialet improve the precision of the presentation, its palpability and 3-dimensionality, that seems to be unlimited. If you use (for example) just 3 Symposium Ultra PADZ cubes it will improve the sound of French amplifier so significantly that when you later listen without these you might think the device broke somehow. Another suggested 'upgrade' – the Synergistic Research Tranquility EMI/RFI noise blocking platform might be „a icing on the top” - giving sensitive circuits additional protection and creating better environment for their work. In this way we can achieve a smoother sound with better micro-dynamics. All roughness (if there was any which you realize only now) disappears. Devialet D-Premier is not only about the design. It is a high-end piece of device that could compete with any other setup regardless the price. I don't think you could build another system (that would have to include also some expensive cables) at Devialet's price that could offer similar performance. Jarosław Orszański Audiofast Owner

Published: 1. February 2013, No. 105 I have no idea what kind of mechanism governs access to editors of various audio magazines. It seems to me that I see a pattern in how long I have to wait for a reply (I conduct most of the interviews by e-mail) and what I read when it does arrive. But this is just my guess and I don’t have anything concrete evidence to support it, beyond my hunches. And it's definitely not enough to draw any far-reaching conclusions. Generally speaking, it’s not always true that the longer I wait for the interview the bigger my interviewee’s ego, nor is it that all the coolest, most interesting editors didn’t keep me waiting… I asked David W. Robinson for an interview exactly on April 10th, 2012 and it was finished on December 28th. So it took a little while. But it wasn’t that I’d lost contact with him – something kept coming up on his side that prevented us from moving forward. Which actually shows the amount of work the chief editor of a large audio magazine have to deal with. But finally, the interview is here. And I haven’t been so lucky all the time. For example – Robert Harley, chief editor of "The Absolute Sound" responded to my request immediately and then for a year have been apologizing for not having time to do it and asking to postpone the interview. Or, similarly, Constantine Soo, chief editor of "Dagogo". And that’s far from the worst: chief editors of "Hi-Fi News & Record Review", "Hi-Fi +" and "Stereophile", (respectively) Paul Miller, Alan Sircom and John Atkinson never even answered my many-times-repeated e-mails. Of course, I put it down to their lack of time and I’m not giving up – I hope that sooner or later I manage to get through to them. In the February issue of HF we’ll talk to Matej Isak, chief editor of "Mono and Stereo", and now I’d like to invite you to meet David W. Robinson, chief editor, co-founder and co-owner of the American magazine “Positive Feedback Online”. Having already been published for 23 years, “Positive Feedback Online” is at the moment one of the largest audio magazines in the world. Available online, that monthly magazine is something special. For over ten years it had been published in print and since 2002 it has only appeared online. Today such a step seems perfectly natural; it is taken not only by specialized, trade magazines, although in their case it has most sense, but also by mainstream magazines (vide “Newsweek”). Ten years ago, however, it could have seemed reckless and bore the signs of hysteria. Apparently, David W. Robinson together with his associates (see the interview) demonstrated an extraordinary sense of time and coming trends. This puts them today a few years ahead of other print magazines, some of which will also need to make that conversion. Unless they want to disappear from the market. For some, even that may not be enough help… But regardless of whether the magazine appears online or is published in print, the same concern for high publication standards is required of its editors. It just so happens that at the very core of first "Positive Feedback" and now "Positive Feedback Online" we can see values that today should be expected of all players on the audio market. One of the magazine’s major objectives has been an open attitude towards everything and everyone. The material entitled Philosophy , which can find HERE http://www.positive-feedback.com/philosophy.htm says: Positive Feedback Online is first and foremost a community, composed of writers and creative persons from around the world. Positive Feedback Online is an ongoing "work in progress," chronicling the efforts of audiophile listeners, reviewers, designers, manufacturers, distributors, and humorists to explore the possibilities of high end audio to the utmost. Any audiophile with something worthwhile to say is welcome to contribute to Positive Feedback Online. No false and misleading barriers are put up against "manufacturers," nor do we assume that individuals commercially involved with high end audio are automatically suspect. Informed members of the design/manufacture/distribution community have been enthusiastic and supportive contributors to Positive Feedback from the beginning, with no messy controversies about "conflict of interest." As you can see, we deal with something different than before. Let’s listen, then, to what Dr. David W. Robinson have to say to “High Fidelity” and compare it to our previous interviews. I hope that it will help the readers to better understand differences between various magazines but also to formulate their own opinion on what they should all have in common. David W. Robinson’s audio system can be seen HERE . In "THE EDITORS" series we have interviewed so far: Jeff Dorgay, “TONEAudio”, USA, publisher; interview HERE Cai Brockmann, “FIDELITY”, Germany, chief editor; interview HERE Steven R. Rochlin, “Enjoy the Music.com”, USA, chief editor; interview HERE Stephen Mejias, “Stereophile”, USA, assistant editor; interview HERE Martin Colloms, “HIFICRITIC”, Great Britain, publisher and editor; interview HERE Ken Kessler, “Hi-Fi News & Record Review”, Great Britain, senior contributing editor; interview HERE Michael Fremer, “Stereophile”, USA, senior contributing editor; interview HERE Srajan Ebaen, “6moons.com”, Switzerland, chief editor; interview HERE Wojciech Pacuła: Please tell me something about yourself. David W. Robinson: I've been interested in audio since I was 15. My first investment in audio was in a reel-to-reel recorder when I was 16. I did a number of amateur recordings in high school, and then did location recordings and radio production work while I was at Lewis and Clark College, at KLC FM. I got into high-end audio in the later 1980s, after years of mid-fi. Joined the Oregon Triode Society as a founding board member in January of 1990. Took over as Editor-in-Chief of “Positive Feedback” in the spring of 1990 (Issue 3); have been doing it ever since. In 1995 I took ownership of the magazine. In early 2002 I merged with Dave and Carol Clarks high-end audio publication, “audioMusings”, and jointly we converted to full-time Web-based publication in the spring of 2002. We've been publishing for 10.5 years continuously since then, under the dba of "Positive Feedback Online". Could you outline for us the history of PFO compared to other US audio magazines and tell us what role it plays among them. PFO is a good bit different than some other audio journals. Our subtitle is the heart of it: "A Creative Forum for the Audio Arts." We're open to contributions of all kinds from many different sources... editors, reviewers, designers, manufacturers, distributors, retailers... provided that an article isn't an infomercial or a flamefest. Over the past twenty years we've had some great contributions from knowledgeable and passionate contributors in the industry, people like George Cardas, Bob Carver, David Manley, Peter Qvortrup, Scott Frankland, Greg Beron, Harvey Rosenberg, Jennifer Crock...the list is a long one! We've published reviews, music reviews, and show reports, of course, but also essays, cartoons, satires, poetry, prose poetry, gonzo thought pieces, DIY projects, evaluations of modified equipment... things that are in some cases outside of the usual envelope of high-end audio journalism/publication. Now that we're online, we do a great deal more of it than in our print days (1990-2001), since we aren't constrained by the costs and limitations of paper 'n ink. Our mission is two-fold: to educate and entertain our readers... and ourselves. And to have a bloody good time doing it! Overall, I think we've succeeded rather well. Our role is to provide a different voice and perspective on high-end audio than is to be found in other publications. Anyone who reads PFO and other audio magazines will notice the difference over time. Which magazines are number 1 in the US, regardless of whether print or Web-based? My list of leading audio publications in the USA would include “Positive Feedback Online”, “Stereophile”, and “The Absolute Sound”. There are some others out there that might be cited, but these would be on my list. How does the American market differ from the rest of the world? It's very diverse; it tends to mass movements in audio, and represents a marketing challenge for high-end audio. Many Americans aren’t even aware of the existence of fine audio. What do you think about "national" sound preferences - is this still a real thing? I'm not even sure what you mean by this. I assume that you’re referring to stereotypes about preferences for a given audio presentation in various lands; if so, perhaps it exists only in the most statistical kind of way. What could web-based magazines learn from print magazines and vice-versa? Web magazines can learn editorial standards, rigor, cost-control, and journalistic standards/professionalism from print journals. Print journals can learn to be more flexible in content, more engaged with their readers, more responsive to trends/issues, and that they need to have some element of their publishing online. In fact, I suspect that many audio print journals will be growing their online presence over the next few years. The economic realities driving this are nearly irresistible, and hard to argue with. "It is useless for men to stand in front of steam-engines," wrote Charles Francis Adams in 1868. He's right. Why do online magazines have so many readers? At least compared to a limited number of readers of print magazines… Ease of access, clearly, and also near instantaneous publication and "buzz," together with much lower costs associated with publication. “Positive Feedback Online” is far larger in its readership than it ever was in its print days, and now has a global reach that was never possible with paper 'n ink. It was far too costly in every way to attempt global distribution when we were a print publication. The return on investment was poor and uncertain, and profit margins were very slim. You have to be a very large enterprise with deep pockets to play in that game… and even some of those entities have gone down or given up over the years. Things are changing. What is your policy of audio reviews? What kind of methodology do you use? Our editorial philosophy will be found HERE, where it has been published for years. Our methodology is that of the classic subjective review, sometimes with second or third reviewers doing parallel projects, and sometimes with informal listening groups. No measurements; no double-blind. What do you thing about the future of audio? I don't think that audio has a single "future"; it's more likely that we'll see multiple futures, as the current technologies and trends, all tending to produce multiple technologies, formats, and standards, emerge. Clearly we will see more portability, more flexibility, and more computer-based alternatives, but that's true of high-end audio as well as mass audio. Meanwhile, the classic media (LPs, tapes, SACDs, CDs) will continue to exist in their own world, and high-resolution formats like DSD and Double DSD will break new ground among audiophiles. Do you think that vinyl revival is a stable trend or is it just matter of time before it disappears? That's a pretty stable... and growing... trend, I think. How about hi-resolution audio files? Definitely. Especially downloadable DSD and Double DSD (very especially!), once people hear what these can do. Various flavors of high-resolution PCM will also be available...from 96/24 to 192/24...though I consider them to be clearly inferior to DSD and Double DSD. How do you select audio gear for reviews? Do you review stuff you don't like? We generally find gear by visiting audio shows, and previewing candidates there. What we like or find promising, we attempt to review. As to reviewing stuff we don't like: no, we don't do that. Why would anyone review something they didn't like? And would anyone who designed a product want someone to review it who didn't "like" it? All photographs and image processing by David W. Robinson of Positive Feedback Online (www.positive-feedback.com), and are used courtesy of that magazine. Copyright © 2012, all rights reserved, by David W. Robinson and Positive Feedback Online. These images may not be re-used without the express written permission of David W. Robinson and Positive Feedback Online.

Published: 1. February 2013, No. 105 This is one of those reviews I have been waiting to write for a long time indeed. It has been over a year since I first talked about reviewing one of Rega turntables with a platform made by Polish Monolith Audio to their Polish dealer (this.pl), even before Audio Show 2011. Some things, apparently, have to take their time. The good thing is that for this review I got the RP6 model, one of the newest products of the manufacturer; the latest RP8, as far as I know, is not being sold in Poland yet. I am reviewing not just a turntable but a tonearm, a cartridge and an anti-vibration platform as well – a whole system. The RP6 came to me in the Union Flag Edition (looks splendid!!!) fitted with the EXACT cartridge and with the RB303 tonearm. The turntable sat on the above mentioned platform. The turntable itself is available in two options. The first is just a “bare” turntable without a cartridge, equipped with the RB303 tonearm and sells in Poland for 3,890 PLN. According to the dealer the UK price is 798 GBP. The turntable comes in black, white, red and green finish. The second version is fully equipped and comes with the factory fitted EXACT cartridge and the RB303 tonearm. The price is 4,940 PLNin Poland and is a total of 3,890 zł for the RP6 and 1,050 PLN for the cartridge. In the UK you would have to pay 998 GBP. It is available in all colors plus the Union Flag Edition. The last one is supplied with the EXACT cartridge fitted. The RP6 was built according to a new concept with a double brace – metal and plastic –between the tonearm mounting and the main hub bearing. The platter is made of glass and is 16 mm thick, more so on the edge. To better fit it onto the plastic subplatter the latter is fitted with an aluminum adapter. The turntable is equipped with a 24V twin phase synchronous motor controlled by a separate power supply with speed control. The EXACT cartridge is a top MM model from the manufacturer. Its main body is a one piece component with a particular attention to the top surface being perpendicular to coils. Those are wound in house by Rega. Using a special coil winding machine it was possible to reduce the number of coil turns by one third. The stylus has a “Vital” or “Fine Line” shape. A turntable is a product particularly susceptible to vibration. Especially if it is such a lightweight as the RP6. That is why what we put it on is equally important as the turntable itself. The Polish dealer came up with something unusual and solely for this project created Monolith Audio, a company manufacturing anti-vibration platforms. They are available in several versions: ∙ For electronic devices (amplifiers, CD/SACD players, DACs) and speakers with the price tag of 900 PLN. They are available in custom ordered sizes. ∙ On ball bearing feet, dedicated to turntables. There are two options: a) Standard feet (metal alloy with tungsten carbide ball) for 1,200 PLN b) Ceramic feet with aluminum oxide ball for 3,200 PLN. As we were informed the price of manufacturing the feet alone is over 2,000 PLN. The platforms are made of carefully selected solid wood. To make one, one has to go through 100 cubic meters of timber of 8-10% humidity, which requires tremendous amount of work. A block design allows to achieve a product without flaws, dimensionally stable in various working conditions. This type of platform has much better mechanical properties than one made of single block of wood. The company makes plinths, platforms and wooden elements for several big manufacturers in Europe and elsewhere. Due to strict marketing agreements their names can’t be disclosed, though. ODSŁUCH Recordings used during test (a selection) Bill Evans, Bill Evans Live At Art D'Lugoff's Top Of The Gate, Resonance Records, HLP-9012, "Limited Edition - Promo 104", 2 x 180 g, 45 rpm LP (2012). Brian Eno, Craft On A Milk Sea, Warp Records, WARPCDD207, 2 x 180 g LP + 2 x CD + 24/44,1 WAV; reviewed HERE. Cocteau Twins, Stars and Topsoil, 4AD, CAD 2K19, 2 x 180 g, white LP (2000/2011). Pet Shop Boys, Please, Parlophone/EMI, PCS 7303, LP (1986). Peter Gabriel, So. 25th Anniversary Deluxe Edition, Realworld, PGVOX2, 4 x CD + 2 x DVD + 180 g LP + 180 g, 45 rpm LP (1987/2012). Talk Talk, Spirit of Eden, Parlophone/EMI, PCSDX 105, 180 g LP + DVD 24/96 (1988/2012). Wes Montgomery & Wynton Kelly Trio, Smokin’ At The Half Note, Verve/Universal Music K.K. [Japan], UCJU-9083, 180 g LP (1965/2007). William Orbit, My Oracle Lives Uptown, Guerill Studios/Linn Records, AKH 351, 2 x 180 g LP; reviewed HERE. I know some very serious audio reviewers for whom a turntable is junk and such basic turntables as the Rega are total junk. They hold to their opinion based on their knowledge of recording technology and technology in general never bothering to confront that knowledge with such a trivial thing as reality. Come to think of it, this may not be such a bad thing, though. One could come to a conclusion that it would be even worse if they held to their point of view DESPITE their listening experience. I have to admit that I do not comprehend that notion. Despite the fact that the digital technology has gone through profound changes during the last two or three years and even a CD can sound unbelievably well, the reference point is still analog technology – for the very few chosen ones in the form of reel to reel and master tapes and for the rest a turntable and vinyl LPs. Well, at least it is still a reference point for people I respect most and whose opinion I trust. There is something in vinyl that escapes a simple description of “friendly”, “soft”, “warm” and “smooth” which are often synonymous with the sound of vinyl. There is something “between” the notes that makes us think that the music happens here and now, something that makes us suspend our disbelief, for a while at least, and despite obvious shortcomings of the format we absorb the music. The Rega RP6 is a perfect example of how a simple designed turntable can achieve that sort of a “window” to another dimension where we experience music directly, without the need of technology. Aware of the fact that this is just a “trick”, that there are things even a budget CD player can do better, we enter the world nevertheless, just as we are. The “trick” is to go through layers of our analytic self and move the music to a higher level of emotions – as it happens in a concert hall. The reviewed turntable can do that graciously and effortlessly. It provides us with thick sound rich in harmonics, with beautifully differentiated shades of color. Generally, it is a “rich” sound because it presents a full color spectrum with the all the shades and scintillating moments referring to live experiences. Its midbass is evidently emphasized. It gives the sound panache, kick and fullness. The darker side of this coloring is that it does not allow for precise differentiation of the bass, double bass or a bass drum. Had I been an opponent of vinyl I would point to that very characteristic as something that disqualifies it and that would be the end of it. However, as I am perfectly familiar with the sound of live instruments, from analog and digital recordings I made myself or assisted in the process, I am aware that “exactness” is just a one of many conditions of a good sound and not one you can’t live without for that matter. It should be sought after; be our destination point, a haven to which we sail. It can’t be sought, though, at the expense of other aspects such as phase matching, coherence, color, saturation and cohesion. They make the sound come “alive” and seem natural. For exactly that reason the second weakness of the LP format did not cause me to doubt my sanity. I am talking here about traveling noise and crackle which in RP6, due to its lightweight design, is more evident than in heavy turntables or the ones with decoupled sub-chassis. In such lightweight designs as the one under review traveling noise is a bit more prominent. That cannot be helped. These are the flaws that are there but are not the part of music, so to speak. These are not digital distortions served as an immanent part of the sound. Here the sound is a full, integrated ‘self’ served together with this “stuff”. Therefore, despite the fact that I would prefer not to hear that noise, the problems arising from the very nature of vinyl did not draw my attention away from the musical message or make me feel uncomfortable. This is one of the “magical” characteristics of vinyl, one which can’t be unequivocally explained. There is no sensible explanation as to why we so easily let go of this type of distortion while with CD players even a slightest deviation from accuracy often grows (in our minds) to the extent that make the listening unbearable. Since I cannot find an explanation myself, I just give my subjective description – the way I perceive it personally. As it will later turn out, both problematic properties of this model (or, more precisely, this system as it consists of a turntable and a cartridge) can be, to a certain degree, treated. They will always be present and a strong bass will always be a distinctive feature of this particular turntable but their level will be much lower. We will deal with that in a jiffy. Now, we arrive at a point where it is worthwhile to describe the tonal balance of the RP6 with the EXACT “on board”. One feature we already know, namely a strong midbass which gives the sound enormous volume and panache. We do not get bored no matter what we listen to – even Cocteau Twins from the white vinyl collection Stars and Topsoil sounded nice. Nothing spectacular – bright treble and a slight chaos in that range can’t possibly be changed – but rather pleasant and with good taste. With better pressings things will only get better, much better! Smokin’ at the Half Note by Wes Montgomery with Wynton Kelly Trio, an analog remaster released in Japan on an excellent pressing sounded insanely deep and full. Differentiation and rendering of shades evoke goose bumps. The music “happens” in our vicinity with a strong foreground and a very wide expansive soundstage, extending past the speakers. Its depth does not cause our heart to tremble because it is just right. What the turntable does with the foreground, though, is exceptional, rarely experienced with CD players except the very top ones. This can be heard with all records, not only with the gems from Japan, original pressings from Decca or Mobile Fidelity remasters. Also with records that have their history of mastering and remastering as convoluted as credit history of some very “resourceful” businessmen. Let the example be the recent 2012 version of Spirit Of Eden by Talk Talk. Buying the vinyl record (180g) we also get a bonus DVD with audio material in 24/96 format. The record itself comes from 1988, when digital had long been present in recording studios. Despite that the material was recorded on a 2 inch, 24-track analog tape. It was then mastered on a 32-track digital recorder and finally mixed to stereo on… an analog tape. All releases, including the latest one, come from this analog tape. What is so special about that? For example the fact that the Mitsubishi Pro Digi 32 digital recorder could sample the signal with the maximum frequency of 48 kHz. Hence, everything above 22 kHz level (transients and a large part of percussion instruments energy) was cut out at the very beginning. Aware of all that I sat to listen to this album with mixed feelings. Needlessly so. Despite its complicated route from the recording mics in the studio to the speakers in my room the latest vinyl version sounds great. Much better than the remastered CD from 1997. Better than the digital version included on DVD! What I want to say is that the shortcomings of LP format and the reviewed turntable are very easy to forgive. The RP6 with the EXACT cartridge is so involving that one does not want to listen to digital format, no matter how good. The latter is simply not as full and saturated as the music presented by the reviewed turntable. The effortless way in which the sound fills the room and the speakers disappear is enchanting. Rega, or actually its designer, has a knack to make simple devices do the work in 110%. A simple plinth, even braced with some kind of gizmo, a glass platter, an MM cartridge and a small frail motor produce the kind of sound most of the music lovers will like without any desire to change anything in it – suffice to recall Stephen Mejias from Stereophile who owns the P3-24 (see the interview HERE). Perhaps with the exception of Monolith Audio. It is one of the very few improvements of Rega turntables not being made by Roy Gandy that really work and bring considerable results. To such an extent that after an extensive listening of the RP6 on the platform I would not listen to anything without it. The changes that take places are of structural character; this is not some “tuning” of color or dynamics or any customary evoked aspect of sound. Noise and crackle diminish right after you put the turntable on the platform. After a careful audition you realize that the distortions did not disappear; they are still there. The foreground, however, is stronger and the instruments are better defined. The noise is masked and we perceive that as its decrease. The effect is just great. Bass profits as well. I could live with the type of presentation described above. Everything I spoke about is still applicable. Monolith Audio makes bass better differentiated. Upper frequencies as well but it is the lower regions that make the real impression. To appreciate it one has to listen for some time to good audio or to test the turntable and the platform longer than for a day. Then it will be difficult to do without. As in case of every high quality product, the platform works on all aspects of sound, not just a part of it. It does not really change anything; it simply enhances the good qualities of the product sitting on it. Such a comprehensive approach leads not to rejection of a turntable or a CD player, if not placed on it, but to appreciation of their qualities and urges to fully explore those qualities. The 180g 45 RPM album Bill Evans Live At Art D’Lugoff’s Top Of The Gate is a splendid example of this phenomenon. George Klabin, the session engineer making a live recording without an opportunity to do any prior soundcheck, recorded the first two tracks, Emily and Witchcraft, with the double bass and the percussion a little too prominent, which he adjusted on the fly on the next tracks. Played by Rega sauté, the difference was obvious. The fact that the turntable slightly emphasizes part of bass did not affected the overall perception – the whole recording seemed bigger compared to that played on CD players. The platform caused the previously somewhat hardened attack of double bass or percussion to be now softer and the whole more vivid. The difference of the volume level of those two instruments was presented a tad better, was more evident. What is more important, however, their volume changed. The rule is that the material is mixed at a presumed set level of listening volume (be that on earphones or speakers). And there is only one volume level that guarantees achieving the same listening experience in home environment. In this case it was audible that the sound better “sits” in later tracks, although an inexperienced listener would be prone to favor the first two. The Rega RP6 sitting on the Monolith Audio was able to show even such subtle differences! Summary Equipped with the EXACT cartridge, the Rega RP6 together with the Monolith Audio platform is a whole system. The components are good enough on their own but together they present us with a sound with panache and volume similar to a live event. The sound intimacy, its “here and now”, the proximity of the foreground as well as splendid color differentiation make it far from boring. Dynamics is rather average, with no sudden changes. This does not really matter because subjectively most digital players seem flat with this type of presentation. Emphasizing a part of bass spectrum makes many aspects of the sound better with a little loss. Traveling noise and crackle tend to be lower with heavier and decoupled turntables than with the Rega. However, there is no irritating “sizzling” of high frequencies here. The presentation seems to be perfectly balanced with high frequencies present but not more than necessary. And tastily differentiated at that. If this particular combination makes your heart beat faster, do not hesitate – life is too short for boring Hi-Fi, as the classic said… DESIGN Rega is well known for a few of things, setting it apart from other turntable manufacturers. The plinth for example. It should be light and non-decoupled. In all basic models, including the RP6, it is made of wood with a phenolic resin skin. For some time now, a double brace has been used to increase rigidity between tonearm mounting and the main hub bearing – metal on top, plastic on the bottom. This solution is called Double Brace Technology and allows for further reduction of weight. The energy storage is considerably shorter then. 16 mm glass flywheel platter is made of two pieces – slightly thinner (upper) and thicker (lower) using a complex and labor intensive UV curing bond technique. The thicker outer extra ring acts to increase flywheel effect. On top of that comes classic wool mat. The platter rests on a plastic subplatter; not directly, as there is a very rigid aluminum top hub adaptor. The driving belt is very short and the motor is atypically not in the left back corner but directly behind the hub. The ring on the motor hub is made of aluminum and has two diameters. There is no need to change the speed manually as the RP6 comes with the TT-PSU outboard power supply which sports power button and the speed button. When set to 33 1/3 rpm the Rega logo is red; set to 45 it is green. It is coupled to the turntable motor via a short 4 pin umbilical. The power supply uses a crystal quartz generator provides precise balanced power signal. The motor is a 24 V twin phase synchronous design. Each unit is manually tuned to its power supply to minimize noise and vibrations. The turntable is equipped with the RB303 tonearm – a direct descendant of the RB300, the most famous tonearm in the world. By the way – a great article describing its history can be found in the November issue of “Hi-Fi News & Record Review” (Steve Harris, Rega RB300, Vol. 57 No.11, November 2012, p. 120-124). One thing that should be noted and remembered are the words of Roy Gandy, Rega’s owner: What most designers tend to do is to get one major thing that the feel is important and spend all their money and development time going for that, assuming that when they’ve got that part of the design working, everything will be a lot better. But real design is not about that. It’s about realising that you can’t make anything perfect, and that everything is a series of compromises. And if you get the ideal set, then everything works at its best. The RB303 tonearm introduced in 2011, currently used in the RP3 and the RP6 turntables, has a three point mounting system used for the first time in 2007 in the RB301 tonearm. It is designed with the latest 3D CAD/CNC technology. The EXACT cartridge is an MM type. Its one piece body is made of Pocan – a polymer harder than industrial aluminum. The coils are manually wound which results in a very narrow magnetic gap – 0.25 mm. The stylus has Vital shape (Fine Line). The manufacturer points out that the bracket suspension is made of just one component while in products from other manufacturers it can be as many as five. The reduced component number lowers losses and improves the response time of the whole system. The cartridge has a three point coupling improving stability. Its output voltage varies between 6.8 and 7.2 mV. Distribution in Poland this.pl ul. Nowickiego 5/54 | 02-112 Warszawa | Polska tel.: 784 50 50 50 www.rega.this.pl

Published: 2. March 2013, No. 106 Japanese audio market is so much different from that in Europe! It is actually different from the U.S. market, too, but I have more experience with and information about the Old Continent. For years now, browsing through the pages of "Stereo Sound" magazine, since unfortunately reading it is out of question, I have been surprised by the meticulous editorial approach to all its elements - from its graphic layout, in which Japanese lettering plays an important role, to the logos, scrupulously printed on all advertisements, reviews and news articles. Suffice it to say that it is what inspired us at “High Fidelity” to place the manufacturer’s logo in the header of its product’s review. ‘Perfectionists’ is perhaps the best word that can describe the Japanese. We wouldn’t probably be too far from the truth if we called them ‘obsessionists’, now would we? We can feel that, right? Products from mature manufacturers from the Japanese Islands, and I mean not the company age as much as a certain approach to the product and to music, are not only aesthetically refined but also contribute something new to the sound, to our pool of knowledge about the sound. And there are lots of manufacturers related to the audio industry in Japan. For years, we have been trying at "High Fidelity" to introduce some of the most interesting products, available to the external market. Have a look at the "Archive" section and try to find the May 2012 issue of the magazine to confirm what I am saying. One of the first manufacturers to found, through us, their way to Poland was Oyaide. Founded in 1952 by Mr. Kazuji Oyaide and currently headed by Mr. Satoru Murayama it offers cables in the lower and medium price ranges. In its product line-up we will also find power strips, connectors, turntable accessories and many other products. This is no small manufacturer; for example it orders whole series of cables from Furukawa that manufactures them for Oyaide – the project comes from Oyaide and the manufacturing is entrusted to a few specialized manufacturers in Japan. I first met Mr. Satoru Murayama at Munich High End 2012 http://highfidelity.pl/@main-854&lang= . We did not have much time to talk. Pretty soon it turned out, however, that we would see each other again in a few months in Poland, during Audio Show 2012 http://highfidelity.pl/@main-1485&lang= . I was very glad, looking forward to an interesting conversation, for Mr. Murayama is a man who knows what he's doing, both in terms of business as well as audio. And again, nothing came out of it as the scope and expanse of the last year’s Warsaw event caught me by surprise, to the point that we had barely time to start talking and continued our conversation via e-mail. But I managed to see it through and I hope it turned into a harmonious whole. I would like to take this opportunity to sincerely thank Messrs. Hontai – Yoshi and Ella – for all their help! Wojciech Pacuła: Could you please tell me the story behind Oyaide - How did it all start? Satoru Murayama: In 1952, Oyaide Elec. Co., Ltd. began business as a small store in the Akihabara area of Tokyo, specializing in the sale of electrical wires. Though we sold mainly magnet wires in the beginning, as our business grew, we expanded our offerings to include a wide variety of electrical cables, including industrial electrical wires, electrical wires for electrical equipment, and coaxial cables. Oyaide began dealing in audio cables about 40 years ago. From that time, the importance of high quality cables for audio systems began gradually to be recognized, and as a consequence, the number of customers requesting them increased as well. The founder, Mr. Kazuji Oyaide, who always listened and responded to the customers’ need, developed our first power distribution box “OCB-1” designed exclusively for audio use and brought it to market in 1976. He then developed our first speaker cable, the “OR-800”, which incorporates OFC litz in a “Star-Quad” Structure. Though these items were sold only at our store in Akihabara, they quickly developed a wide following among audiophiles throughout Japan. Since I took office as president in 2000, Oyaide began the development of cables and accessory parts for audio in earnest. Over time we demonstrated exceptional ability as a designer of specialty electrical cables. After becoming president, I led Oyaide in the development of a new and far-reaching business model. We deftly arranged crucial and strategic partnerships with manufactures and subcontractors who each excel in their own area of expertise, thus ensuring that all Oyaide products are manufactured to the highest standard possible. Many cables manufacturers simply brand someone else’s cables. How is it with Oyaide? No, it isn’t like that at all with us. But I know many Hi-End cable manufactures do it that way! Because most of small manufactures can’t get their own cables due to the limited sales of their products. If they want to make cables with their own specification, minimum order quantities of the factory are often too huge for small manufactures. So they mostly have to use someone’s cable and just put their brand name on the cables. Or wrap someone’s cable with braided sleeves in order to hide the cheap cables inside sometimes. Although they can make own cables with OEM factory, its cost will be much expensive due to the small-lot production. That’s the true story. But our business policy is totally different from that. Our business policy is providing the best quality to our customers at a reasonable price. To provide the best quality cables with reasonable price to customers, we are always trying to hold down the retail prices of our products. Because if the quality of the products are almost the same, less expensive will be happier for customers all over the world. Along with the popularity and good sales background, our production-lot is usually big, so we can make the cost lower and share it with our customers. We can provide the best quality almost same as very high price products. But we still need big volume of the sales for that, you know. For example, our Tunami GPX and GPX-R have been sold more than ten thousands of pieces worldwide ever since it’s released. Like this we have been able to count on our estimate sales worldwide in advance. Regarding our cable design, we have been developing our knowledge and skills through our long experiences with carrying so many cables worldwide and with a lot of customers like many audio manufactures, famous Hi-End reviews and audiophiles that we communicate every day at our shop. So we design our own cable by ourselves and produce our cables with the cooperation with many cable factories in Japan because we have dealt with them so long time. We always seek to provide unique and original designs and we are not satisfied with the status quo. We constantly anticipate the next format and the newest development. By means of comprehensive and ongoing market research we seek to develop products that are always ahead of the curve. The fundamental idea behind Oyaide product development is “Engineering with spirit”. This means that we seek to deliver a new standard of products to the world – products that are created with state-of-the-art technology and that deliver breakthrough performance while maintaining the traditional values of old-world craftsmanship. Our customers always demand the very best, and our goal is to satisfy that requirement. As I understand, many of your cables are manufactured by Furukawa - why this particular company? Through our experiences with carrying and testing so many audio cables for a long time, including many cable conductor materials that we can choose for our cable. But I found PCOCC-A (Pure Copper by Ohno Continuous Casting with Annealing) made only by Furukawa Electric in Japan to have the most potentials for making very good sounding cables with its high cost performance. PCOCC from Furukawa Electric as developed by Dr. Atsumi Ohno at Chiba Institute of Technology, is a material that includes very few impurities and insures very low levels of signal disturbance. Because of its low incidence of grain boundaries, the signal passes without impediment or distortion. Heating and cooling the PCOCC wire under controlled circumstances yields a densely re-crystallized, highly pure structure called a μ (mu) conductor. The resulting product with mirror finishing and annealing is called PCOCC-A copper. And in practice PCOCC defies the NNNN purity race by providing very clean sound without the very high cost of copper purifications. I have to mention that some cable manufacturers use unknown OCC materials made by somewhere else than Furukawa Electric in Japan. But we have serious doubts concerning the quality of the material that they use. Furukawa Electric has the trademark right of PCOCC, PCOCC can be supplied only from Furukawa Electric. I don’t want to point any fingers but it’s easy to prove whose conscience is guilty – these manufacturers never use the PCOCC name in their advertising materials published in Japan; they do use it anywhere else. So some other cable manufactures have to use OCC with funny names like Ultra Pure OCC or α OCC. There is no cable manufactures which can supply PCOCC in Japan other than Furukawa. That means that unknown OCC copper cables are supplied from somewhere else than Japan. Our guess is it is mainly from China. All Oyaide products are made with materials that are processed exclusively in Japan. This insures the highest standard of reliability, quality and value and that the latest and most sophisticated technological processes are employed. How do you come up with a new product? I mean, could you describe your product development process? It is usually started based on our daily market research whatever we can. As you know, we have our direct store in Akihabara and also have a web shop. Both shops carry thousands of products. The items are not only audio cables and its related items like AC receptacles, AC plugs and Audio plugs but also industrial cables like any cables you can imagine. Our customers are not only audio DIY people and audiophile but also many other kinds of people include industrial customers, carpenters and music players! Basically every people who needs any cables. And fortunately the sales of both shops have been very powerful for a long time. Although we often communicate with the press and reviewers like you, we communicate with customers directly every day and we do trend analysis daily from their feedback. So we believe it is easier to get new trends from customers than our competitors. Each Oyaide product has its own unique characteristics. Exhaustive listening tests involving multiple combinations of plating methods, including gold, silver, platinum, rhodium and palladium have yielded products of real interest and value to end users. We always welcome the painstaking effort required to produce our products. Our philosophy, born out our commitment to our customers, requires that we do no less. Please tell me about the position of Oyaide on the Japanese market? We always stay among the top three in audio accessory market in Japan. How does the Japanese market differ from the rest of the world? I try to visit many countries because I would like to know the difference in every country. But I don’t think there is so much difference between countries beside… In brief, the market is young or mature. I think Poland, Russia and China are young markets. I was so surprised that Polish people are very passionate about audio when I visited the show in Warsaw this time. Most of Europe, the US and Japan market are matured. Which audio magazine is most important in Japan? "Stereo Sound". But especially for audio accessories, "Audio Accessory". How do Japanese audio magazines differ from their American and European counterparts? I don’t know much about audio magazines abroad. But their power of influence is getting lower in Japan. I believe you are still very powerful in Poland. What kind of music do you listen to at home when you just relax? I basically like listening to old and new R&B stuff. But I really enjoy listening to all kinds of music! What is your home audio system? Speakers: Wilson Audio Sasha W/P Power Amplifiers: Pass Laboratories X1000.5 Pre-Amplifier: Pass Laboratories XP-20 D/A Converter: Esoteric D-70vuk CD Transport: Esoteric P-0s What are your nearest plans? We will soon release cables with 7N cooper material by Mitsubishi [Mitsubishi is Acrolink’s parent company – ed.]. You can count on it! Do you have any other hobbies besides music? Yes, it’s scuba diving, collecting watches and driving cars. Thank you for your time! You’re welcome. OYAIDE Elec. Co. Ltd 1-9-6 Yushima Bunkyo-ku, Tokyo | 113-0034, JAPAN tel.: +81-3-5684-2151 | fax: +81-3-5684-2150 e-mail: hayato@oyaide.com www.oyaide.com

Published: 2. March 2013, No. 106 There are many cable manufacturers and probably each one of them offers not only interconnects and speaker cables but also power cords. Some of them also add power conditioners to their line-up. The vast majority of manufacturers do it in a very similar way. Well-designed cables, and here we are interested in power cords used to power the devices, are capable of showing incredible things. Why the power cord so dramatically affects the sound is the bone of contention in any discussion between the listeners and those who rely on measurements, and it needs to be made clear that there is still no single, coherent theory that would explain it. However, audio is the domain of experiments and it is their results that count, not a theory, because the latter is often formulated organoleptically, post factum. The results of majority of tests are clear: from the very fine NAD C316BEE amplifier all the way to the Soulution 710 power amp, from a cheap media files player to a hundred thousand bucks source from dCS or Jadis – changing the power cord or even a power strip clearly, often dramatically, changes the sound. And that is what I hold onto. Classical designs, if only backed by knowledge, talent and appropriate research funds, can provide stunning results. Suffice it to mention the Oyaide cable system reviewed a month ago (see HERE) or the Acrolink 7N-PC9300 Mexcel power cord and the Acoustic Revive RTP-4EU Ultimate power strip (see HERE). These are just two examples of how it can be done with flair. Key elements of the power cords design are the choice of conducting material, the choice of dielectric, type of design and shielding (or the lack thereof – that too belongs in this category). The latter issue divided the audio world into two camps – one, according to which there should be minimal amount metal around the conductor (see DNM Design and ETI Research) and the other, claiming that the greatest threat to the signal (and the current in the power cord is a non-modulated signal) is external RF or EM interference, and others. The second group focuses on the most efficient cables shielding. According to them, in the audio everything simply comes down to eliminating interference. The cable shield or screen is a jacket made of conductive material (with high conductivity) surrounding the conductor with the signal, and connected to the ground (at the earth potential) or to another point (another potential). It is usually a copper braid, mesh or stranded wire, copper or aluminum foil, sometimes full metal tubes. Well made, often in different combinations (such as mesh plus two film layers), yield excellent results. But there are also other ways to increase the screen efficiency – screen polarization, in other words active systems. In such designs, certain voltage is applied to the screen, polarizing it and thereby improving noise resistance. One of the most interesting methods of this type, and certainly the best known, is DBS (Dielectric-Bias System) from Audioquest. Its basis can be found in an accessible, elegant document available HERE. As it turns out, the concept is not new and certainly does not belong to Audioquest. Or to any other company for that matter. It is a part of common knowledge and what’s patented is only particular projects – Audioquest has the DBS patent and Synergistic Research, which I would like to introduce to you this time, the Active Shielding patent. Ted Denney III, lead designer, CEO of Synergistic Research Inc. describes is this way: Wojciech, let me explain what Active Shielding is. Our first experiments with Active Shielding began early in 1996, and involved the placement of batteries in a static circuit, with the positive anode of the battery tied to a conductor running the length of a cable, and the negative anode of the battery tied to the shield. These initial prototypes subjectively improved performance in the high frequencies. However, they also increased the noise floor (especially on long runs), with the positive conductor running the length of the cable (and not being terminated to signal or ground) thus acting like an antenna picking up RFI and EMI." My first experiments (above) are basically what Audioquest patented. "We then experimented with closed circuits, where the shield carried a DC current, with a buffer circuit between shield and ground and separate conductors carrying the ground signal. This closed circuit design not only improved subjective performance, but also made our cables measurably quieter, thus improving detail with greater frequency extension from top to bottom. Since a closed circuit draws current, we could no longer use batteries, as this would drain a battery in a matter of hours." Fair enough, we have some starting point. It is not much more, however, than the information available on the manufacturer’s website. I asked Ted to elaborate on differences between DBS and Active Shielding. Without any further ado he wrote the following: Wojciech please allow me to comment on your question. The following link explains in detail the difference between Audioquest's DBS system and SR Active Shielding. LINK Basically we apply both voltage AND current to a cable's shield. This allows the shield to find ground not on the component but to the ground potential of the cables power supply which makes the cable much quieter then the DBS system or a normally shielded cable. Next, were we to use a battery to power our cables as is the case with Audioquest's DBS System, we would not only loose the benefit of a quieter cable, we would also drain the battery dry in a matter of one or two hours (unless the batter was the size of a car battery :) Basically if SR Active Shielding is like a turbo for an internal combustion engine, Audioquest's DBS system is a hood scoop. As to the PowerCell's internal EM Cell it is a 100% SR developed technology and is patented. It works on the principal of Quantum relationship between two different energy fields and as such it does not limit current on demand- not at all. As such the EM Cell is the world's only non current limiting filtration system for voltage and current. As I have repeatedly said, using various cables in the system, from various manufacturers, is only a half measure. What a given system is capable of can be best seen by using cables from the same manufacturer. Therefore, for this review I ordered the Tesla PowerCell 10SE MkIII power conditioner with cables for the entire audio system: the Element C•T•S Analogue Power cord for the preamp and the power amp and the Element C•T•S Digital Power for the CD player. The SR cables are thick and stiff, particularly around the plugs. I did not manage to connect the “Element” to my Soulution 710 power amp. In this particular example the amplifier’s IEC socket is located in such a place that the power cord must be relatively flexible. My Acrolink 7N-PC9300 Mexcel fits just fine, the Element C•T•S Analogue Power unfortunately does not. So during the review I used the SR power cords to power the CD player and the preamp. I also tried out the power cord with the Jadis I-35 integrated amplifier and the Restek Epos CD player. Synergistic Research in High Fidelity REVIEW: Synergistic Research TRANQUILITY BASE see HERE SOUND A selection of recordings used during auditions Random Trip, Nowe Nagrania, 005, CD + FLAC 24/44,1 (2012). Barbara Lea, Woman In Love, Riverside/Sinatra Society of Japan, XQAM-160, CD (1955/2007). Danielsson/Dell/Landgren, Salzau Music On The Water, ACT Music + Vision, ACT 9445-2, CD (2006). David Gilmour, On An Island, EMI, 55695, CCD (2006). Diorama, Cubed Deluxe Edition, Accession Records, A 114, 2 x CD (2010); Gerry Mulligan & Scott Hamilton, Soft Lights & Sweet Music, Concord Jazz/Mobile Fidelity, UDSACD 2017, SACD/CD (1986/2006). Hilary Hahn, Hilary Hahn Plays Bach, "Best Classics 100", Sony Classical/Sony Music Japan Entertainment, SICC 30087, 2 x BSCD2 (1997/2012). Jethro Tull, Thick As a Brick, "40th Anniversary Set", Chrisalis/EMI 461923, CD + DVD PCM 24/96 (1972/2012). Józef Skrzek, "Pamiętnik Karoliny", Polskie Nagrania/Metal Mind Productions, MMP CD 0535 DG, CD (1978/2009). McCoy Tyner, Inner Voices, "Jazz Next Standard. Spiritual Jazz", Milestone, UCCO-9467, CD (1977/2008). Megadeth, Countdown to Extinction, Capitol/Mobile Fidelity Sound Lab, UDCD 765, gold-CD (1992/2006). Miles Davis Sextet, Someday My Prince Will Come, Columbia/Mobile Fidelity Sound Lab, MFCD 828, CD (1961/?). Muse, The Resistance, Warner Music Japan, WPZR-30355-6, CD+DVD (2009). Norah Jones, The Fall, Blue Note/EMI, 99286, CD (2009). Pat Metheny Group, Offramp, ECM, ECM1216, CD (1982). Porcupine Tree, Deadwing, Lava, 93437, CD (2005). Portishead, Third, Go! Disc/Universal Music K.K. (Japan), UICI-1069, CD (2008). Schubert, Lieder, wyk. Dietrich Fischer-Dieskau, dyr. Gerald Moore, "Signature Collection", EMI, 55962 2, 4 x SACD/CD. Tadeusz Woźniak, Tadeusz Woźniak, MUZA Polskie Nagrania /Polskie Nagrania, PNCD 1289, CD (1974/2010). Japanese editions available from We do not like when the scientists speak the language of science. That is, when they use a complex language, belonging to the segment of knowledge in which they happen to specialize. It is incomprehensible to us which annoys us, arousing aggression. We would like them to talk in such way that we knew what they’re talking about, that we could join their discussion; we would like to be able to take a stand in the discussion and not be just a part of decoration, a dummy participant. And indeed, experts in a given field overuse the specialized jargon, often trying to use it to cover their complexes, to show who "rules". Or they simply forget they are not talking with their colleagues but with laymen. But that is only one side of the coin. The other is no less painful for people from outside the circle, but at least it is clean and clear: at some level, sufficiently complex issues cannot be discussed using any other than the "language of science". It is more multi-dimensional, richer and far more explicit than the general terms we use every day. And in a conversation among experts concerning areas of their common interest it is the only possible language. Without that, any discourse would return to the level of "it’s f…ing great / it’s f…ed up", to choose from. So please do not be angry with me if I speak in the way that is customary in the audio and in other fields from which the language has been borrowed – the arts and art criticism, especially painting, music and literature, as well as related fields, i.e. journalism specializing in the evaluation of wines, watches and cars. It's a language that I know well, that I used for many years in college, and that just works. It is descriptive but such is the language used in all the mentioned arts and their related criticism. After all, what you are doing now is reading a specialist magazine, edited by specialists (audiophiles-music lovers) for professionals (audiophiles-music lovers), which deals with specialized products. That is why without being coy, without false shame and without posing as a "homie" I'll start with the following statement: the reviewed power cord system from Synergistic Research has one characteristic I haven’t found in any other cable system, including mine and even the Siltech Royal Double Crown Series – it condenses or thickens textures. I think this statement best describes the essence of the SR system. It is not easy to distil, to pinpoint, but in the end I came back to it each and every time. That was one characteristic that effected the most pronounced sonic change. Reaching that conclusion is not easy because every time, with each single album it works a bit differently. Of course one can extract a body, a group of recordings where the results are similar, but even that will not be entirely accurate. The power cord system from SR fantastically differentiates the recordings. I will even go further: it shows the differences better than any other system I have had at home. One just needs to do it justice – it does not impose its character on all recordings, at least not directly. It brings in something of its own, even quite clearly, but it is not a simple, mechanical "imposition" on each recording that can be heard all the time. Texture thickening I referred to earlier can be described as enlarging phantom images, showing their edges and bodies (!), increasing the volume of sound. It is best heard on recordings with correctly preserved spatial relationship, i.e. the right size and intensity of sound sources, with instruments showing sufficiently refined, rich texture. If a recording is poor in this respect, which is actually the case with most contemporary pop and rock recordings, other advantages of the SR cables come to the fore, but this particular one disappears. Now, let’s talk about vocals, shall we? Audio shows and presentations of all sorts can nearly make us throw up, become allergic to female vocals. It's just that too much of something does not mean that the essence of it is evil, that no one listens to that kind of music, that it's crap. What actually is crappy is the kind of music usually played during exhibitions, with a special nod to contemporary "female artists", often "female jazz artists". As long as we treat them "lite", i.e. as pleasant Muzak, elevator music – no problem. However, it has nothing to do with real art, with real music. But when we listen to Peggy Lee, Barbara Lea, Sarah Vaughn, Chris Connor, Carole Creveling, Carol Sloane, Keely Smith, Doris Drew, Jane Harvey, Elle Fitzgerald and other true female Vocalists, then the SR cables bring in something unique, simply outstanding. They highlight, emphasize strong sound sources. In this case, vocals. On classical recordings that will be a lead instrument or vocal, with jazz – all loud and strong sounding instruments. Oh, how brilliant, tangible, from-the-gut was the sound of the Salzau Music on the Water album by Danielsson / Dell / Landgren trio! I told you it works best with small ensembles, didn’t I? I did not? Well, it could have been understood that way. The truth is actually more complex. It turns out that good productions with large ensembles, such as Verdi’s Choruses or the new remaster of Thick As a Brick by Jethro Tull (a fantastic version with PCM 24/96 material, highly recommended!), also get the same "push in the back", so to speak. Not a stab with a knife but a friend’s helping hand, guiding us onto the stage. That's it – a theater stage is a good comparison. How do we quickly tell a good actor from a bad one? Firstly, by his or her diction, and secondly, by the ability to "find" light. The theater uses static lighting systems, so-called "stages", in which each reflector has its own specific brightness, angle and the point at which the light beam hits the stage. Actors need to learn where they stand in a given scene and what trajectories they follow so they always remain within presumed light intensity. Young or poor actors have continuous problems with that; they move around the stage as if they had problems with concentration, always looking for the right spot and never finding it. Outstanding actors, and I got to work with some of them (including my number one, Jan Peszek, a total actor), do it casually, seemingly without any conscious calculation. They simply always stand where they need to be, even if they find themselves in a new situation (for example, during rehearsals). The cables from Synergistic Research together with the power conditioner from the same manufacturer play the role of an extra "talent". It is as if they guided the actors (here, vocalists and instrumentalists) to always "find" light. When Barbara Lea sings, she is singing only for us. When Landgren plays the trombone, he is doing that only for us. But also for his colleagues, each having a distinct shape, beautiful color and being palpable. As you can see I'm not talking in traditional categories in which we normally evaluate the speakers, the amplifier and other audio system components. It does not make sense. Everything that is important here happens “between” these categories, “between” color, tonal balance and dynamics. And these are, in my opinion, the most important observations for a proper understanding of the reviewed system as well as its evaluation, in terms of our own audio system, listening preferences and the ideal we are looking for. Nevertheless, the traditional categories also need to be mentioned to have a full picture. Midrange is more open than with my reference cable system. Not that it is brighter as it’s not. However, lower midrange with the SR is lighter than and not as thick as mine’s. On the other hand, upper midrange in the American system is better “lit”, has better resolution. In comparison, my Japanese cable system sounds a bit more "old-school", as the recordings from the 1950s. If I were in any way comment on the top and bottom ends, I would say that they are a bit quieter on my system, that they are better controlled. Especially the bass. The lower range of the instruments is a bit better differentiated but also seems to be shallower. Is it really? I don’t know; maybe it just a matter of interaction with my speakers and with the rest of the cable system. A complete SR system might sound different. Here and now, that is in my system, the bass seems a little "held back", controlled, “grasped” from all directions; there is no room for chance, for uncontrolled expression. I similarly interpret reverberation. Since it is the foreground, the first planes, that are most important in the Synergistic Research sound, everything around them is subdued, subordinated to the main sound. The presentation is therefore more essential but also drier at the same time – the two are not contradictory in this case! The essence is the vocals, instruments, consonances, and the said dryness (not the best term but I can’t find another) is a less active acoustics in the final presentation. Hence, my system seems more dynamic, a little "live on stage", not entirely predictable. The SR would be characterized as a "studio", or even a "studied" sound. Conclusion It just so happens that before and during the review I had an interesting correspondence with Mr. Stanislaus, one of the readers of "High Fidelity", the designer of the DAC that played in the audiostereo.pl room during the Audio Show 2012. His hobby is RF and EM interference degrading the sound. I would like to quote a fragment of our correspondence to illustrate what I’m talking about and to show that the question of eliminating distortion has been one of the most important problems that the audio world has been struggling with for years: But I have [...] an observation from all audio exhibitions. As a rule, audio equipment usually sounds bad at such shows, although there are exceptions. I’ve got my own homebred theory that this is not always caused by poor acoustics of hotel (show) rooms but by huge noise generated by mains power network. During these exhibitions there is plenty of digital devices plugged into the power grid in the building, usually clustered in one small area. It was at the Audio Show 2012 that I found it to be true. What happened was that by chance I didn’t couple the DAC’s protective conductor to the wall socket as back at home I had the center connector on the primary side of the power supply filter coupled to central heating radiator. As we know that center is two capacitors connected in series between the live and the neutral conductors. The center is to be connected to the protective conductor. Leaving it uncoupled resulted in huge sparks observed when coupling the DAC via RCA cables to an amplifier! Of course, this was not due to electric leakage or poor insulation, but it was caused by interference noise that was shorted to ground when connecting the RCAs. I measured that effect with a spectrum analyzer later at home and I know now that this is high frequency interference. But back at home it results in only a small spark while at the Sobieski Hotel (the Audio Show venue) the sparks were like from a welder. I think that it was caused by high power grid noise, which is also responsible for the poor sound during audio shows. [...] I did a lot of DIY and tinkered with amplifiers and DACs (for over 20 years) and I have some insights as well as measurable and listening evidence that the interference is the main reason why we still listen to analog turntables and are still not satisfied with the sound. For example, when I installed my DAC during the AS2012, at first I was very frustrated with the sound and I felt as if I went some 100 steps back with my design. And these steps are nothing else than different methods to minimize interference. Hence, I blame the interference as the main reason for low quality sound at the shows. Please pay attention to the bass at these shows! It can’t be the fault of poor acoustics! If my system is very noisy with high jitter, that is exactly what the bass sounds like. Don’t you think? It is only super-low jitter and low distortion that bring a positive effect. For me, this would be an optimal audio path: JPlay as the source, followed by galvanic isolation, a de-noised asynchronous USB converter, super accurate clocks, a low-noise DAC (I like Sabre chips) and only then we get proper bass intonation, no matter whether it is loud or quiet; you can hear the cellos, the double bass and they never get lost in the background. With high-jitter noisy systems you can only hear some low rumble and it’s not quite clear what kind of instrument it is. And hence the "rumbling" audio shows rooms and strange sounds. It’s all INTERFERENCE, nothing else… ;) I'm convinced Ted Denney III had exactly the same thing on his mind when he first came up with active shielding of his cables. Actually, he is not alone in that – listening to the power cords from Siltech, with the dedicated Octopus power strip, I could hear very similar sonic modifications. Although the overall sonics were different, when it comes to bass tightness, its control, as well as the control of all sub-ranges, they were almost identical. Siltech power cords boast one of the most advanced, most expensive passive screens that can be found on the market. And they are very expensive. The power cord system from Synergistic Research is the most sophisticated system I know. The degree of its complexity is as high as that of an elaborate audio system. All these measures, however, have a certain purpose and are supported by solid fundamentals, both scientific and those arising out of experience in the field of audio systems power (i.e. organoleptic). It has all paid off as nothing else can. Audio devices powered by the SR cables get a sort of "boost", showing reliable shapes and bodies, beautiful colors, a superior differentiation of recordings. I have already discussed good recordings. When it comes to poorer production or inferior pressings, such as Countdown to Extinction by Megadeth or On An Island by David Gilmour, they sound very nice although rather flat dynamically. Each album retains its own character and the introduced modifications do not make them all into a soundtrack from the same bad movie. I am apprehensive of products where form prevails over substance – and that is how, at first glance, Synergistic Research cables look like. A prevalence of LED indicators, power supplies, filters – it is all so different from classic audiophile experience that can be overwhelming. But when we turn to specialized literature, when we see what it’s all about and when we finally listen to what that whole “circus” brings in to the sound, we start thinking that something is missing in other cables; we begin to look for power supplies and try to spot those small LED indicators… This is an absolute top power supply system, in its quality an equivalent of my own, carefully perfected and comprising exclusively of Japanese components, system, offering however a slightly different perspective on the sound, in several points even better, even meatier than what I have at home every day. My congratulations for a hell of a job, for many years of research and testing; that is something one needs to pay for. It is not the cost of material, a pound of nails, but the years spent on experiments and the accumulated know-how that is expensive. As it always is. In this case, it pays off better than ever! DESIGN The Synergistic Research Power system consisted of three components: Tesla PowerCell 10SE Mk III power conditioner, the Element C•T•S Analogue Power – power cords dedicated to analog audio devices, and the Element C•T•S Digital Power cords for digital devices. The conditioner has a large housing made of non-magnetic material, a black acrylic. The front only sports a milled model name and does not have any indicators. We find them on the back of the unit. The rear panel features five dual SR connectors, a filter for the EM Cell (with a blue LED - the same as on active platforms from that manufacturer), a connector for an outboard power supply for the active noise reduction systems and a connector for the power cord powering the device. The connector and the plug are wonderful – PowerCon from Neutrik, an excellent design both in terms of mechanics and electrics. Housed inside are the EM Cell high frequency noise reduction active systems. They are placed next to the components they work with – there are no additional systems in the power signal path or in parallel to power cords. Power consumption depends solely on the performance of the power grid in our house. For details, please refer to the manufacturer's website HERE. I will not pretend I understand everything; take for example "Quantum Tunneled". The Elements Series cables have been designed using trickle down technologies from the much more expensive, prestigious Galileo System series. Some of the employed technologies are Active Shielded Air Dielectrics, Pure Tungsten, Enigma Tuning Circuit and interchangeable Enigma Bullets filter modules. The power cords are very thick and consist of multiple twisted cable runs, with three different cable diameters. Each of the reviewed power cords is built of three materials: copper (Cu), tungsten (W) and silver (Ag). They are terminated with high-quality G07 connectors. Each connector sports interchangeable Active Shielding modules, correcting sound to some extent. During the review I used the "middle" filter module, characterized by a neutral sound. I did not exchange it for the other two modules because one of the basic requirements is connecting the power supply, and therefore the filter, 72 hours before auditioning. During the testing I thus employed a reverse B/A order, with the B and A known; ‘A’ being the reference system and ‘B’ the reviewed system. I first listened to the selected albums and tracks on the system B, then did the same on the A. It was not possible to directly compare individual tracks. The Enigma Bullets filter modules feature blue LEDs (I wonder if there are any other colors available?) and get very hot during use. For each power cord we need to use an external wall wart power supply with very nice, shielded cable terminated with gold Tesla connectors (manufactured in house). That means that in addition to sockets for power cords we also need to provide sockets for the power supplies. The manufacturer suggests using a good power strip but you may also try to plug them into the conditioner, as showed on the pictures. Further experiments are welcome. The conditioner was placed during the review on the Acoustic Research RAF-48H anti-vibration platform and the power supplies plugged into the Oyaide MTS-4e power strip. Distribution in Poland FAST M.J. Orszańscy s. j. Romanowska 55e, | 91-174 Łódź | Polska tel.: 42 61 33 750 | fax: 42 61 33 751 e-mail: info@audiofast.pl Website: audiofast.pl

Published: 2. March 2013, No. 106 Peterborough, Ontario, November 14th, 2012 – Bryston LTD (Bryston Limited: Music for a Generation), builders of the world’s finest audio electronics and celebrating 50 years in 2012, has announced the introduction of the BDA-2 outboard digital to analog converter (DAC). Bold words, indeed. But then, they come from no less an authority than Canadian Bryston, one of the better-known audio brands both in the world of consumer as well as professional audio. Similarly to such British manufacturers as ATC, Harbeth, Tannoy, PMC, dCS, or Dynaudio from Denmark, Bryston Limited is a company equally at home on both sides of the “glass”. It is also one of the few successful manufacturers of electronics; almost all the others, apart from dCS, mainly offer speakers. Recording studio provenance of audio equipment usually guarantees one thing, in addition to its user friendliness: high manufacturing quality and thus long equipment life. Satisfied owners of twenty years old or older Bryston amplifiers will be happy to confirm that. But what about Bryston DAC owners? Well – they have not yet had enough time to find it out as the BDA-2 predecessor, the BDA-1, was actually the first DAC offered by the manufacturer since 2010. The new BDA-2 is not meant to be its direct replacement but rather a product line supplement. The immediate reason for its launch was the need to upgrade the USB interface, previously limited to 16-bit, 48 kHz signal. With the new model we get an advanced, modern solution based on an XMOS chip, offering asynchronous transmission of signal up to 24-bit, 192 kHz resolution. USB is the domain of computers and thus difficult to manage. The BDA-2 arrives with its own driver on a flash drive in the shape of a key. During the review, however, it did not yet support Windows 8 that I use. Usually, Windows based computers limit playback to signals to 24/96 without a dedicated driver. Here it is different – the input is completely inactive until we install an appropriate driver from Bryston. Thus, I had no means to test the DAC's USB interface. The BDA-2 also features an improved power supply section, with two independent power supplies for digital and analog sections and independent voltage controllers for each stage in the digital chain. Likewise, the DAC chip has been upgraded: in place of the previous 24-bit delta-sigma Cirrus CS4398 with 128-times oversampling the new Bryston incorporates superior dual AKM 32-bit chips. Digital inputs are isolated with impedance matching transformers and the signal is over clocked to minimize jitter. The output stage operates in class A and is fully balanced. Upsampling A special care has been given to signal upsampling. The technique, very popular a few years ago, consists in re-clocking the 44.1 kHz (or 48 kHz) input signal to get 192 kHz signal. As is known, the sampling rate determines the signal upper frequency range, which is 22.05 kHz for 44.1 kHz and 96 kHz for 192 kHz sampling rate accordingly. Upsampling does not add anything to the signal so the new 192 kHz signal is still bandwidth limited to 22.05 kHz. It is similar with a change in the word length. Although upsampling circuits are called “Sample Rate Converter”, the process also lengthens the word from 16-bit to 24-bit. The amount of information is not increased; just added 8 "empty" bits. Why all this? It was assumed that the upsampled 24/192 signal, although carrying exactly the same information as the 16/44.1, was much more DACs “friendly” in that DAC chips worked better with so treated signal. Much has changed, however, over the last several years and today we know much more about digital audio. It turned out that the upsampler effectively worked by minimizing jitter – after all, it is an asynchronous converter with signal re-clocking. Doesn’t it remind us of something? How about an asynchronous USB port? Right there… Upsampling is a complex mathematical process. And according to signal theory, but also proved in practice, it changes the sound. With discovering other ways of eliminating jitter, e.g. by improving the signal, the effect of upsampling on the sound became more and more pronounced and not necessarily positive. Bryston approached the problem very seriously, as the upsampling in the BDA-2 is SYNCHRONOUS – 32, 48 and 96 kHz signals are upsampled to 192 kHz, and 44.1 and 88.2 kHz to 176.4 kHz. The circuit can be turned on or off according to listening preferences. SOUND A selection of recordings used during auditions: MJ Audio Technical Disc vol.6, Seibundo Shinkosha Publishing, MJCD-1005, CD (2013). Abraxas, 99, Metal Mind Records, MMP CD 0102, CD (1999). Anita O’Day, All The Sad Young Men, “Original Collection 50”, Verve (Japan), POCJ-2761, CD (1961/1999). Bonney M., Sunny, BMG Ariola, 24931, CD (1995). Dave Brubeck Quartet, Time Out, Columbia/Sony Music Entertainment Hong Kong, 83532, No. 55, K2HD CD (1959/2011). floating.point, Free Falling, Piotr Sczepaniak, CD-R (2010); Frank Sinatra, Only The Lonely, Capitol/Mobile Fidelity, UDCD 792, gold-CD (1958/2002). Handel, Arias for Cuzzoni, Simone Kermes, Lautten Compagney Berlin, dyr. Wolfgang Katschner, Edel Classic, 16422BC, CD (2009). Jimmy Giuffre, Western Suite, Atlantic/Warner Music Japan, WPCR-25160, “Atlantic 60th”, CD (1958/2006). Marek Biliński, Mały Książę, Bi.Ma., BiCD-09, CD (2010). Megadeth, Countdown to Extinction, Capitol/Mobile Fidelity Sound Lab, UDCD 765, gold-CD (1992/2006). Michael Jackson, Thriller. 25th Anniversary Edition, Epic/Sony Music Japan, EICP-963-4, CD+DVD (1982/2008). Miles Davis, Kind of Blue, Columbia/Sony-Legacy, 480410, “Master Sound”, Super Bit Mapping, CD (1959/1995). Muse, The Resistance, Warner Music Japan, WPZR-30355-6, CD+DVD (2009). Slow, Art of Silence, Proa Records, 194000, CD (2011); The Tokens, The Lion Sleeps Tonight, RCA/BMG, 66510, CD (1994). The Shadows, Greatest Hits, EMI, 81982, CD (2004). Japanese editions available from How to make the musical event taking place either in the recording studio or live at stage and then its recording and reproduction resemble each other as much as possible? Or how to best transfer musician’s ideas so when played back at home they’d be closest to what the artist had in mind? These are fundamental questions in the audio world. Playback of a recording at home is in fact the final stage of a long journey during which anything can happen. Is it even possible? Is it possible to “bring” musical events to our home in 1:1 scale? I think it’s pretty clear that this a myth, something we will never be able to achieve. Mainly because music recording, mixing, mastering, media preparation and manufacturing are all creative process, where there is no single “proper” way or “golden” rule, and everything is based on taste, skills, capabilities, money, objectives, series of events and coincidence. Playing back the recording at home is the final act and the final interpretation of the music material. It cannot be approached differently if, of course, we want to understand the presentation. I am not concerned with the silly “what the poet had in mind” (the sound engineer/producer/musician/editor/engineer/coincidence), but with how WE understand what is in front of us, what WE think while listening to the music track. I think that’s exactly what Jason Victor Serinus had in mind when he wrote in his editorial Music? Or Sound?: “Beyond all those specifics, when you take a deep breath and let the music flow over you, does what you hear make musical sense or does it seem unbalanced? Does the music move you, conveying the emotion you sense the composer intended to communicate? How does it make you feel?” (Jason Victor Serinus, Music? Or Sound?, “Stereophile”, February 2013, p. 3.) What needs to be known is that similarly to people involved in music recording and production, each audio device also interprets the signal being sent to it. We are used to think of this process as distortion. And that’s right – in the end it comes down to distortion. However, since the signal is distorted by EVERYTHING, including ourselves, sometimes it is worth looking at it from another angle, as a somehow desired effect, as a result of conscious choices, as an “author’s compromise”. If I were to illustrate it in some way, the BDA-2 DAC from Bryston would be a model example. Costing pretty good money, the device has its own “sound” or, rather, it modifies the signal after its own fashion. It can be assumed that it is a common feature of high quality audio devices designed for both home and studio systems. Traditionally, studio equipment has been received by the audiophile community as being sterile, dry and devoid of emotion. At the same time precisely defining sound attack, dynamic and selective. Based on my own experience, I must admit that this is largely true. It does not, however, apply to all devices as there has also been a group of expensive products whose sophisticated presentation differ from that stereotype.Like the sound of the Bryston. Be that a result of contact with environment completely different than the pro audio world or simply its design maturity, what’s important is that in the reviewed DAC I heard both extensive experience and personal choices related in a much nuanced way to the so-called “accurateness”, i.e. “objective” balance. Narrowing its description to several basic terms, I would say that its sound is very resolved, fairly well saturated and it keeps fantastic timing. Blurring of attack time, lack of a perfect sense of punch is a problem of many products, regardless of their price. I understand the trade-offs leading to that. However, once we listen to something like the Bryston, where a music track has its own internal logic resulting not only from its tune, a sequence of phrases, timbre, etc., but also from its rhythm, subcutaneous pulse, we will always look for that in other devices. And even if we agree to give up this aspect in exchange for something else, a small room will remain in our mind, where behind closed doors that memory will be waiting for its moment. And that will come, sooner or later. For the ability to define individual instruments, events and echo in the whole mix is here outstanding. It can be can be appreciated both on exceptional versions of outstanding records, such as We Get Requests by The Oscar Peterson Trio on the stunning UDC First Impression Music release, as well as stuff that no self-respecting music lover, no reputation-conscious audiophile would be seen dead listening to, for example: Sunny by Boney M., The Lion Sleeps Tonight by The Tokens and The Chordettes by the group of the same name. Regardless of music genre, its “weight” and value, the ability of the Canadian DAC to render individual elements in time, to prevent their blurring, translated into an incredible sense of the “here and now”, usually achieved by appropriate color manipulation. Here, one has a sense of “becoming” of events, not their mechanical, lifeless playback. I have mentioned the stereotype concerning studio equipment; one of its aspects is a belief that such devices are characterized by strong, sharp treble and low, contoured bass. As it usually happens, that stereotype came from the observation of reality and automatically extrapolating it to all devices of this type. The Bryston case is really very interesting. Its highest reble is slightly hidden, just like its bottom end. A comparison with the reference player showed it immediately. Does that mean that the BDA-2 favors midrange, that its sound is colored in the fashion of tube devices? Absolutely not! What I'm talking about is a part of this device’s own nature on which the engineers, the way I see it, worked really hard. In order to do justice to what I heard, I have to refer to an example related to recording sessions’ techniques. Human voices and acoustic instruments are recorded by microphones. That also applies to electric instruments in combination with specialized amplification systems (e.g. guitar amps), such as electric guitars, Hammond organ, and others. It has become customary to treat the microphone as a “window” through which we “see” what is in front of us. It seems to me, however, that what would be much closer to reality is a comparison with a magnifying glass. The microphone magnifies or reduces the recording element – it all depends on how far/close it is located from the sound source (and is a result of microphone properties). The vast majority of recordings are made from a very short distance; a few inches from the piano, voice or trumpet is the norm. This translates into a larger instrument, into weighing down its color, discernible even after frequency correction. Such are almost all jazz recordings from the 50s and 60s, e.g. (for illustration purpose only) Western Suite by Jimmy Giuffre or Anita O'Day’s All The Sad Young Men. It’s even clearer, however, on new productions, even very good – for example The Art of Silence by the duo Slow. Bryston BDA-2 shows these recordings closer to what we would hear live. It delicately lightens lower midrange, gently withdraws bass, and shows everything in a slight distance. We are used to a close sound, 'tangibility' has become one of the attributes of a good sound – and that’s OK. However, the Canadian device redefines what is in the signal, as if re-constructing a real event, trying to jump over the recording and production process. It's an amazing experience, worth enjoying even if you believe (as do I) that the main task of any audio component is a faithful rendition of what is on the disc/file. The BDA-2 slightly distances the sound, at the same time offering lots of details, very good definition and differentiation. It is a dense sound, which is better audible with a media files player as the source. Recordings made from a considerable distance, such as most classical music, were also slightly distanced. The sound was a bit smaller than from the reference player. But it was not as pronounced as in the case of close miking; these effects were not symmetrical. The DAC behaves slightly differently when connected to a media files player. The sound becomes deeper and warmer; higher midrange slightly quieter. Low midrange and some bass are strong, full, saturated, making all the events on the stage seem large. Not as big as from the reference CD player but large nevertheless due to this weighing down the bottom. The sound is not quite as precise as before but we get something that is rather rarely associated with the files, i.e. tangibility, reliability. Almost all the file players, apart from those most expensive, suffer from a kind of anorexia and detachment from reality. As if they could not convey emotions contained in the recordings. Thus they would not meet the basic postulate suggested by Jason Victor Serinus, cited above. Bryston goes against the current with that slight coloration, with shifting the accent down. Recordings are a pleasure to listen; the benefits of moving to 24-bit are audible, be that in the form of a deeper color or by adding the instruments bodies some "seriousness". Differences in sampling frequency were not as clear as could be but apparently one can’t have everything. Conclusion Listening to audio devices from the point of view of our system, in other words wondering whether to buy them or not, it is worth first examining our conscience and think about what we really expect from a given product. What is important in the assessment, of course, is whether the sound is of a high order, in any price range, but in the end what really matters is how comfortable we feel with the device. Bryston BDA-2 offers things that other products would be proud of, if only they could boast of them. First of all, it keeps the coherence of presentation, fantastically defining time in music. This in turn leads to a lack of any internal tension given to music by the device. Without slowing down, rounding off, which can be nice but only in the short term, its color is difficult to clearly define. On the one hand, bass and treble can sound really strong, especially with a files player and a computer, but on the other, the presentation is a little distant, which subjectively seems to favor clearer midrange. Yet this is not an intentional color manipulation but rather the result of other choices. Resolution is excellent and only much more expensive digital devices are capable of an internally richer, more nuanced presentation. It’s worth pairing the Bryston with a saturated system; nothing will be taken away and we will get a “spring” that drives all that machinery. Very interesting effects can be achieved by using upsampling technology. As previously mentioned, it is an operation on the signal that changes it irrevocably (not only due to a change of sampling rate and word length). In the BDA-2 from Bryston it is immediately audible, which reflects well on its capabilities in terms of differentiation or resolution, but also on the fact that the signal is well treated, i.e., has low jitter. Pressing the "upsampling" button adds weight and mass to the sound, directing listener’s attention to midrange and lower. So anyone missing a bit of weight may well try this option. At the same time, however, the sound becomes a bit "plastic" and less defined, with slightly silenced upper midrange. It is of course up to the listener to decide and it’s great to have at our disposal this type of digital filter, shaping the sound. For me, though, the DAC sounded unequivocally better with this button’s indicator off. This is a very successful device nicely showing what really matters to the people involved in recording studios and on stage, and also having contact with the other side of the "glass" – the end users. A superbly equipped and built DAC that will serve its owner for many, many years. DESIGN DACs are usually small. They do not need very efficient and large power transformers, there are no moving parts (e.g. a motor drive), nor do they emit too much heat. Bryston BDA-2 DAC is no exception, although its enclosure has been designed to be as solid as possible. Hence, a standard width thick aluminum front panel and a rigid stainless steel chassis – low but quite deep. The device is operated with small buttons sporting small LED indicators above. Green/red LEDs! Finally, there are no blue ones! Green indicates the synchronization of input with the transmitter (transport); red show lack of synchronization. As if that was not enough, there is an additional "Lock" LED indicator that serves the same purpose. The buttons are used to change the active input, to switch upsampling on/off and to power the device on/off. The “Lock” LED is located in one of the two rows of LEDs indicating sample rate. The DAC accepts signal up to 24-bit with sample rates of 44.1, 48, 88.2, 96, 176.4 and 192 kHz. But it does not accept DSD signal. There is also no indication of bit depth. Bryston uses its own proprietary techniques to reduce signal jitter, including reclocking and upsampling. Unlike other manufacturers, it employs synchronous upsampling, separate for the 44.1 kHz sample rate family (orange LED) and the 48 kHz (green). The device is equipped with a wide array of inputs and outputs. It sports eight digital inputs: two optical TOSLINK, two RCA, two BNC, one AES/EBU and one USB port. The latter is asynchronous 24/192. There is also a digital RCA output and two pairs of RCA analog outputs: unbalanced RCA and balanced XLR. All connectors look very solid and come from Neutrik. There is also a RS232 port for firmware upgrade and a remote 12 V trigger. Mains connector is a classic EIC 16 A. The DAC sits on large rubber feet. It’s worth placing it on feet with ceramic balls. Bryston is a modern company, no garage (with all due respect and love), one-man manufacturer. Accordingly, its electronics is built using surface mount technology. Only certain components are through hole – mainly capacitors and voltage controllers; in other words: the power supply section. The printed circuit board occupies less than half of the interior; the enclosure is oversized in order to move a large toroidal transformer away from the PCB and to provide mechanical stability for the circuits. The inputs are coupled via impedance matching transformers. The USB port features a large US1219 XMOS chip with its own high quality clock. Right next are two more clocks: separate for 44.1 kHz and 48 kHz and its multipliers respectively. After selecting the active input the signal goes to the upsampler, the SRC43921 from Burr Brown. The next step is a digital to analog conversion circuit. It is based on two large, very nice AKM AK4399 Audio4pro series converters, one for each channel. They work with 32-bit 192 kHz signal. Finally, the analog section – nice, separate paths for each channel. It is fully discrete, built on SMD components, with really large transistors in the output stage. Each stage has separate voltage controllers. The whole power supply is quite complex, with separate circuits for the analog and digital sections. Overall, it is a very solid device. Distribution in Poland MJ Audio Lab tel.: (22) 397 79 08; (22) 397 79 07 tel. kom.: +48 888 693 711, +48 506 063 857 e-mail: office@mjaudiolab.pl www.mjaudiolab.pl

Published: 2. March 2013, No. 106 Synergy is the Holy Grail of the audio world. It is the final destination, the Nirvana and Eden – the Paradise. Not the “absolute sound”. That, like every imaginary concept, is too abstract and too easily eludes common comprehension to think of it with goose bumps on your arms. Synergy, on the other hand, easily triggers such emotions. Yet the word is not commonly used, not in a normal conversation at least. It is a classical book expression, often used in articles, and to some extent abstract, too; maybe not as much as the “absolute sound”, but still. What is important, though, is that it is rooted in reality. When do we know we’re dealing with synergy? Each time we hear from somebody that “the sound is freaking awesome!” or when we feel shivers down the spine while listening to music, when it is hard to get up from the couch and stop the music, when we feel that THIS IS IT. I believe that it is the shortest definition of synergy. We can naturally refer to a dictionary definition which states that it is: “joint working, co-operation” and further “increased effectiveness, achievement, etc., produced as a result of combined action or co-operation”. “Jaw dropping” is much more evocative, though, to describe its effects. It is worth noticing that we never mention the absolute quality of the said system, in our case an audio system, but such selection of its components that brings some added value to the whole, something that is not present in individual components. Setting up an audio system is a basic activity in audio (see HERE), continuously selecting its components, swapping them around and looking for the right combination that will allow us to sit and listen to music with satisfaction. Of course the satisfaction will only last as long as it takes us to “learn” that sound which makes us ready to move forward. In case of an audiophile this process has no end and is an integral and important part of life, as important as listening to music itself. That is why we often say of this type of “seekers” as “audiophile/music lovers”, emphasizing an equal importance of both these aspects. How to set up, put together a perfect system? It’s impossible. No, please, don’t let it break you down – I’m speaking the truth, no matter how hard it is to swallow; still, it's better to articulate it than to keep telling yourself that it's different. However, it’s possible to prepare a system so good that it will be the "right" one for us. It’s worth doing! When you reach that point we will experience a revelation, an epiphany, music will start "speaking" to us with a new voice; we will often for the first time hear something more than just a melodic line accompanied by noise. There is, however, one problem with audio systems: one needs to know the market well and know most of the audio components of the set up system. Hence, it’s easiest to rely on manufacturers and to buy all the electronics from one manufacturer. This ensures basic compatibility and co-operation. In a large proportion of cases it will be the right step. You can, of course, complicate your life and try to put together components from various manufacturers. That will allow coming even closer to what you're looking for; it is, however, time consuming, more expensive and gives no guarantee that the result will be satisfactory. Keeping all that in mind, from time to time I try to show you an exemplary system, set up by me in order to make the best all its components. Such a system is naturally a reflection of my taste and preferences, but I think that it is universal enough to let almost everyone find something useful for themself. However, testing a system is a rare case. It requires as much effort as several separate tests without any guarantee of hitting the "bull’s-eye". For, although I am knowledgeable about the audio market and know a lot of products, the basis is still organoleptic – I need to listen to a certain number of systems out there, in various setups, to choose matching accessories, and put everything together to make it sound – tada! – synergistic. Simply great. And that means one thing: time to spare. Which is what I do not have. Hence, once I finally decide on something, once I see in my mind a shape of a "model" setup, it translates into my even greater commitment to look for equipment, to test it out and make choices. Especially if the audio system consists of components that are particularly interesting, new, or have any unusual features/characteristics. DESCRIPTION The first device in this review that I came across was the Arcam rDAC digital-to-analog converter. The manufacturer took the whole market by surprise, because for little money it offered fantastic sound, great features, and outstanding external design. In my review of DACs I did for "Audio" the rDAC was one of the stars. Since then, its functionality has improved even further – now it offers, then unavailable, wireless signal transfer from the computer. The technology is owned by Kleer and allows for the transmission of uncompressed PCM 16/44.1 (CD quality) signal. High resolution files need to be sent via USB (24/192 asynchronous), coaxial (24/192) or optical cable. The rDAC in itself is excellent. However, since I wanted to make it a totally unique system I plugged the DAC into the SATRI BPS-02 battery power supply from Bakoon, the same whose products featured on the cover of the December issue of “High Fidelity” (see HERE). It moves the rDAC to a whole new level, I think even higher than with external power supplies from other manufacturers. After all, it is a battery… The battery power supply requires its own power supply plugged in to the mains, but the next component in this audio system allows for something special… The center of the system is the latest design from Arcam, the FMJ A19 amplifier. We have been waiting for a new product from this manufacturer for years and it looks like (unfortunately, I cannot say anything more for now) soon everything will move forward and good times are ahead. The A19 is the least expensive amplifier from the manufacturer and belongs to the FMJ series. It is controlled by a microprocessor so operating it is really cool. To make it environmentally friendly, the device is equipped with an automatic switch off that puts the amplifier into sleep mode after a certain period with no input signal. We can set the timer value or switch off this function altogether. The amplifier comes with a MM phono stage on board, which we will not be using at this time, focusing on digital sources. An important feature of this amp, as it turned out during the review, is the presence of the headphone jack – as you will see, it is a true "integrated". That's not all; as I said, the A19 has something special, making for an easy integration with external Arcam devices from the "r" series. On the rear panel we will find accessory power output – mini-jack DC 6V connector. The amplifier comes supplied with an accessory power cable providing two 2.1mm 6V 1A connectors to power two 'R' series devices at the same time. And now: you can thus get rid of the external power supply for the Bakoon SATRI battery supply. Simply plug in the SATRI via the accessory power cable and you're done. It’s important, however, to set the amp on and off timer so that the battery was charged. The speakers proved to be the biggest problem for me. I wanted coherent sound, without brightening but without excessive warming, either. I wanted a unique design. There are several options available and I will discuss the most interesting ones at the end, but let me now simply say that I decided for the Richmond Anniversary speakers from Castle (Limited Edition). The first version of the Richmonds appeared in 1973, at the very beginnings of Castle; the Anniversary model was created for the company’s 35th anniversary. The cabinet is similar in size, but is a bit deeper, with different speaker drivers, reinforced cabinet and better crossover components. The rear panel features a gold plated, large plaque confirming the speakers’ special status. Castle is currently part of Chinese International Audio Group, the owner of QUAD, Audiolab and other British brands. IAG, as you can see, has been doing very well with the British heritage. Those interested in accurate measurements of the speakers will be happy to find their review in Australian Hi-Fi magazine HERE. And finally, the cables. I went for quite expensive, in the context of electronics pricing, Chord Cadenza interconnects. You have to pay 990 PLN for 0.5 m length, the same as in the review, but the system requires that. It’s not worth settling for anything cheaper. I leave choosing speaker cables and power cords up to you. Chord speaker cables will be a good choice; in case of power cords you might consider Supra or Gigawatt. I do not give you any particular model because I’d like to show you on this occasion a patent that’s worth using in this system. The Richmonds are equipped with dual speaker terminals. This is a legacy from the 1990s when bi-wiring was a hot topic. Fortunately, more and more companies withdraw from that idea – it’s better to use a single, more expensive cable than two cheaper cables. However, if we already have bi-wire terminals, it is essential to replace the jumpers between them for better quality ones. The majority of manufacturers offer something like that and it is best if the jumpers are made of the same cable as our speaker cable. But there is an even better, true no-compromise solution. Although I have written about that before, let me repeat: Acoustic Revive has prepared a no-compromise way to couple the speakers’ bi-wiring terminals. This requires reworking of the speaker cable ends. Instead of terminating them with banana plugs we use the BWA-4 Bi-Wire Adapter. It is made of two materials, 2017 duralumin and brass, in order to minimize vibration. It’s also subjected to a cryogenic process (-196 º C). To the other end of the BWA-4 we connect two pairs of 15-cm lengths, separately for each pair of speakers terminals, of the same cable as the main speaker cable we use. And we terminate them any way we choose. In my case, I used the Acoustic Revive RBN-1 banana plugs. During the review I focused on two types of signal: from the CD player via RCA digital cable and from the computer, wirelessly. The Ancient Audio Air V-edition was used as a CD transport. The player and the amplifier sat on the Acoustic Revive RAF-48F anti-vibration platforms. Since I used a short length of the Chord interconnect (due to its high – in the context of the whole system – price), I didn’t have much room to maneuver to set up the DAC and the amplifier. After several attempts I ended up placing the former ON the amplifier, in its left front corner. I could not hear any difference over against placing them next to each other, and the DAC’s rubber "sole" prevented its slipping on the top panel of the A19. rDAC battery power supply sat next to it on a wooden shelf. The HiFiMAN HE-300 headphones also came handy. As usual, I used them with the fantastic, beautiful Klutz Design cancans http://highfidelity.pl/@main-853&lang= stand. SOUND A selection of recordings used during auditions: Random Trip, Nowe Nagrania, 005, CD + FLAC 24/44,1 (2012). Abraxas, 99, Metal Mind Records, MMP CD 0102, CD (1999). Allan Taylor, Old Friends – New Roads, Stockfisch, SFR 357.6047.2, CD (2007). Barbara Lea, Woman In Love, Riverside/Sinatra Society of Japan, XQAM-160, CD (1955/2007). Dave Brubeck Quartet, Time Out, Columbia/Sony Music Entertainment Hong Kong, 83532, No. 55, K2HD CD (1959/2011). Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, "Special Edition Hardbound Box Set", CD+USB drive 24/44,1 WAV (2012); Depeche Mode, Singles 13-18, Mute, 6 x SP CD (1991). Frank Sinatra, Only The Lonely, Capitol/Mobile Fidelity, UDCD 792, gold-CD (1958/2002). Jethro Tull, Thick As a Brick, "40th Anniversary Set", Chrisalis/EMI 461923, CD + DVD PCM 24/96 (1972/2012). Megadeth, Countdown to Extinction, Capitol/Mobile Fidelity Sound Lab, UDCD 765, gold-CD (1992/2006). Miles Davis, Kind of Blue, Columbia/Sony-Legacy, 480410, “Master Sound”, Super Bit Mapping, CD (1959/1995). Muse, The Resistance, Warner Music Japan, WPZR-30355-6, CD+DVD (2009). Porcupine Tree, Deadwing, Lava, 93437, CD (2005). Portishead, Third, Go! Disc/Universal Music K.K. (Japan), UICI-1069, CD (2008). Roger Waters, Amused To Death, Columbia/Sony Music Direct (Japan), MHCP 693, CD (1992/2005). Warne Marsh Quartet, Music For Pracing, Mode/Muzak, MZCS-1111, „Mode Paper Sleeve Collection vol.1”, CD (1957/2006). Japanese editions available from Matching individual audio system components is not unlike cooking. Or designing a building. The point is to take some known patterns or designs and then convert them, add something new and spice it in such a way that we enjoy the result. While the basic conditions placed on this type of "work” need to be met, its final shape depends on us and it is to us that it should be especially appealing. It is no different with the reviewed system – it is a reflection of my understanding of sound and what I deem important. And there is consistency. The Arcam electronics with the Castle speakers create something that can’t be called anything else than "a spectacle with bounds". That spectacle consists of drama, fullness, excellent tonal balance, differentiation and growth, and the bounds are limits imposed on the sound due to selection of small floorstanding speakers and inexpensive electronics. Of course, you can improve each of these components, but to fit within our budget, you have to give up something we already have. And that would not be advisable… First of all, it is bass extension. The Castle are small standmount speakers and their designers did not try at all costs to squeeze out of them as many low sounds as possible. This type of strategy, i.e. lowering sensitivity, slightly changing tonality to get a better extension, is understandable and in the hands of a good designer can produce spectacular results (see RLS Callisto III http://highfidelity.pl/@main-568&lang= ). Something else needs to be sacrificed, though – consistency and clarity of all components. The Castle’s bass is very consistent, low, but without exaggeration. After a certain point, somewhere around 100 Hz it is slowly phased out, without disappearing suddenly, without creating the impression of emptiness, absence, which happens even with very large floorstanders. The reviewed system is thus very even. And while low-bass limits are clear, the volume of sound is amazing, as is its focus and spaciousness. The acoustics of any given recording is not based solely on treble, which happens if your system emphasizes treble. Then it’s an artifacted soundstage, kind of fake, lacking a stronger fundament and not credible. Something ticks, echoing for a long time, but it lacks body, is detached from the sound that created the echo. The Arcam with the Castles sound deep, showing wide, deep, very believable soundstage. The first planes are saturated, strong and somewhat emphasized, but what is deep inside is well captured, clear. Soundstage, let me repeat, is very deep. Temporal relations between different sounds are correctly preserved. It happens because the presentation is normal, real, in spite of its obvious limitations. Selecting the recordings on which phase relations play a major role will keep us sitting down and listening intently, waiting for yet another "treat". It will be a part of something bigger, not a "treat for its own sake"; we will have it shown in a clear, interesting way, without losing sight of the whole picture. A seminary album in this respect, Amused to Death by Roger Waters sounded almost as good as with the Harbeths M40.1 (in terms of consistency of information outside of the main plane) or the Amphion Krypton3 (in terms of positioning accuracy). An even stronger "kick" the system gave the album 99 by Polish group Abraxas. The fullness of the so the created "stereo" in the sense of "sphere" is associated with a strong lower midrange and a nice mid- and upper bass of the speakers, superbly driven by the Arcam, bringing full breath and reliable tangibility. In turn, its focus, precision, reliability, lack of image vibration on the edge of the "field of view" is a result of speakers dimension. We won’t get something like this, for the money, with any single floorstander. If you manage to find something with an even stronger drawn, even more powerful "body" of instruments, not just in front of us, but at every point in space, we'll need to pay for it with the size of soundstage, its momentum. And its color. And reliability. Despite the fact that everything is bigger, deeper, it will not be so clear, so well defined. The system does not care much what kind of music we throw at it. Personally, I liked the most jazz recordings with vocals in the lead role, such as the not listened to for long and now refreshed with pleasure Kind of Blue by Miles Davis and Take Five by Dave Brubeck Quartet. Among vocal recordings - Sinatra with Only The Lonly. But I already mentioned Waters and Abraxas, and I can add to this both Depeche Mode, Clan of Xymox, and Jarre. Similarly, classical music. When I played Bach’s Toccata in D minor, both my daughter and son came running, knowing the recording by watching the TV cartoon show Il Etait Une Fois ... L'Homme from 1978. It was a special experience, because even though the powerful Harbeths are ideal for my son, he admitted that he also liked the Castles and felt shivers down the spine. This particular version of the Fugue… comes from the compilation titled High-Quality Music Source. Technical MJ Disc vol.6 issued by the Japanese magazine MJ Technical. I hate compilations, but this particular album attracted my attention with covers of some discs. And very well so as the version of Bach's track I'm talking about sounds spectacular and allowed the system to show its best side. Low bass was still lacking, but was in a very suggestive manner suggested. As it turns out, one can pinpoint the system components responsible for different aspects of sound and abstract how they limit the system. The amplifier has a slightly weighed down mid-bass and weaker treble resolution than that of midrange and bass. Although I opened the A19 after the auditions, I knew what I could expect to see inside – output stage on ICs. I have already heard it many times, both with cheaper, and more expensive devices. In this case, the "benefit of inventory" plays its role: it adds the speakers some "body", saturates the midrange and slightly dulls the treble. The speakers are in fact quite transparent. Preserving the "magic" of Castle, consisting in slightly sweet emphasizing the attack, they are cleaner and have better resolution than most of the speakers from the company, regardless of the price. Their treble is quite strong, and the upper midrange gently withdrawn. Therefore, it’s best to pair them with more expensive amplifiers, maybe tube. Unless it is the Arcam (or a Music Hall) - in this setup I got everything that’s best in the Richmonds, with something extra I was not expecting for the money. As I said, it is consistency and balance. Headphone outputs in integrated amplifiers and in CD players are almost always a secondary feature, nothing to write home about. If we want to use the headphones in an equivalent way as the speakers we will almost always need to buy an external headphone amplifier. There are exceptions to this rule, but they are expensive: tube amplifiers from Leben and Cary, the Marantz SA-11S3 SACD player that I reviewed for "Audio" some time ago. The rule, however, is that headphone outputs are supposed to raise the functionality of the device, not affect its 'value'. Headphone output in the A19 is different. Although it is only a mini-jack connector, I used it to listen to music for long and with pleasure. The HiFiMAN HE-300, equipped with a mini-jack terminated cable proved an almost perfect match – there are no coincidences… The sound was not particularly resolved and differentiated, and the midbass was stronger, but the whole sounded surprisingly real and natural. High dynamics, very good "sound stage", the lack of the brightening - we typically get that in headphone amplifiers for 1,500 PLN and more. Here we have it for free. As I said at the beginning, I was primarily interested in how the system sounds with the CD and with the signal transmitted wirelessly from the computer. All the above considerations and remarks apply to the signal from the CD, via cable. Kleer wireless transmission is very stable. I never had any problems with interference or signal “dropouts”. The sound, however, was worse than via cable, let's not have any illusions. It is shallower, lighter and less dynamic. It cannot therefore be our "main" transmission channel. However, if we want to use our computer as an alternative source, when you do not sit before the speakers focused on music, but only work, relax, or cook - it will be ideal. It is hassle-free and gives us easy access to thousands of recordings collected by us on our computer's hard disks. DESIGN Arcam rDAC/Bakoon SATRI BPS-02 It's a small box made of cast aluminum, with four LEDs and a button. The latter change the active input, and the LEDs change color from red (no signal) to green. We can feed it via RCA, TOSLINK optical (both 24/192) and USB (asynchronously, up to 24/96). The latter port features the TAS1020B digital receiver with software licensed from dCS, world leader in the field of digital signal processing. RCA and TOSLINK digital inputs are coupled to the WM8805 digital receiver from Wolfson Microelectronics. There are actually two receivers - for the S/PDIF inputs and for an optional PCB with the Wi-Fi module accordingly. The former accepts 24-bit signal up to 192 kHz, the latter is limited to 24/48. There is a single D/A converter chip, a very good, modern Wolfson WM8741, accepting signal up to 32-bit and 192 kHz. The output stage is built on two low-noise, high-speed L49722 ICs from International Semiconductor. The whole section features very good Elna Silmic capacitors. RCA output (only ground connector is gold plated) is coupled via DC servo system and activated by a small relay. Battery power supply from Korea is a nice aluminum box with a switch on the front panel and a small LED light, changing color from white (charging) to green or amber (charged), depending on which of the two batteries works. Arcam FMJ19 This is the latest amplifier design from Arcam, but it looks exactly the same as the first device from the FMJ series, many years ago. It is housed in an aluminum enclosure, dampen from the inside with glued-on aluminum plates. The front panel sports a green display screen, a large volume knob, and a row of buttons. They are used to select the active input, to activate channel balance and 'Mute' mode, to dim and turn off the display. There are also mini-jack connectors – a headphone output and an input from an external device. The connectors on the rear panel are of medium quality. There are, however, surprisingly many of them: six line inputs, MM phono input (which can be turned into another line input in the "menu"), tape loop and pre-out. Speaker terminals are single. There is also a mini-jack accessory power output connector with 6V DC. The electronic circuitry is mounted on one big PCB. The preamplifier is based on National Semiconductors ICs and the Burr Brown PGA2311 stepped resistor attenuator. Phono stage sports a single JRC2114 chip. Power amplifiers are built on the LM3886 ICs from National Semiconductors mounted to a sizeable heat sink. Most components are surface mount, with the exception of through-hole resistors and electrolytic capacitors. The power supply looks very nice: a large toroidal transformer and four filter capacitors for the power amplifier. The preamplifier section has a separate secondary winding and voltage controller. It also supplies power for the accessory output 6V. Castle Richmond Anniversary The new Richmonds are small, beautifully finished with natural veneer and very heavy. The original cabinet of 15 mm MDF was additionally damped in the 3i version by the addition of bitumen mats. For the Anniversary Edition the engineers reduced panel vibration and resonance even more, using multi-layer composite laminate and soft wool to absorb sound waves inside the cabinet. As Peter Comeau, the head of Castle designers, said, in order to fully realize of the dynamic capabilities of the 110 mm midwoofer the cabinet was reinforced by carefully selected additional internal bracing. The midwoofer has carbon fiber woven cone. The driver motor system employs a Kapton former with a copper clad aluminum voice coil. The whole is mounted onto a solid cast aluminum chassis. Treble is handled by a polyamide micro-fiber 19 mm dome tweeter. It is placed below the midwoofer which provides a degree of time alignment between the drivers and allows a phase accurate Linkwitz-Riley type crossover for the best tuning of the speaker drivers. The tweeter is offset to disperse and reduce front baffle reflections, further enhanced by the new profiled cabinet edges. The speakers are supplied in mirrored pairs. The crossover components have been selected for their “transparency” and include oversized air coil inductors and Castle’s proprietary low-loss polypropylene capacitors. Distribution in Poland ARCAM | CHORD AUDIO CENTER POLAND ul. Malborska 56, 30-646 Kraków tel.: 12 265 02 85, 12 265 02 86 | fax: 12 425 64 43 e-mail: audiocenter@audiocenter.pl www.audiocenter.pl CASTLE ETER AUDIO 30-646 Kraków, ul. Malborska 24 tel./fax: 12 655 75 43 e-mail: info@eteraudio.pl www.eteraudio.pl

Published: 2. March 2013, No. 106 It's been already a year since I reviewed Calyx 24/192 DAC (see HERE) and even though I still remember that device quite well and I still consider it very good sounding comparing even with many other devices I listened to later. Why, should you ask? Because it was the first D/A converter I knew that offered a higher quality sound from USB input than it offered from coaxial one. Today, a year later there are still very few on my personal list that achieved the same. Maybe that should not really be a surprise – designers improved coaxial input for many years, and their 'adventure' with PC-Audio and USB inputs started only (relatively) recently. In this industry achieving a perfection (or I should rather say something close to perfection) takes usually many, many years. It's a process that involves many designers, many companies, and the progress is achieved only step by step, and only after a long years of work such a brilliant device as also reviewed by me Accustic Arts DAC can be created offering amazing sound (from coaxial input to be clear). One of the pioneers of PC-Audio was an American company Wavelength that offered USB DAC before most other companies did, but today the competition has already grown strong. Many of manufacturers focus their efforts on creating so called USB converters or transports – devices that convert a signal delivered via USB to a standard that most DACs can accept via coaxial, AES/EBU, or BNC inputs. Fewer companies tried to create D/A converters that sport few digital inputs with USB being one of them and the goal was to achieve same performance regardless of the input used to deliver signal. To be honest so far only very few companies succeeded and Korean Calyx is one of them. Most likely few years back nobody even heard of this company (I mean outside Korea), and today, just 2-3 years later their USB DACs are among the best offered on the market. 24/192 DAC was, when I tested it a year ago, their top model, but than last year they presented a new flagship, called Femto. That’s w D/A converter obviously, but with build in digital volume control, which allows it to drive directly power amplifiers. 24/192 looked a lot like a miniMAC with both shape and size quite similar. But Femto is a true beast with its 18kg (!), and an extremely solid, aluminum casing measuring 430 x 102 x 404, and absolutely beautifully finished. There is nothing fancy about this casing – it's beautiful because of its simplicity. What I also found interesting about the design were cork finish of DAC's feet – no rubber, plastic, no spikes, just metal feet with cork washers. Obviously cork was a choice not a must, and I can only assume that it was carefully made to improve sonic and not the other way around. Femto sports all sorts of digital inputs: 2 x coaxial, 2 x AES/EBU, 2 x Toslink, BNC and USB, all of them accept a signal up to 192kHz, and analogue outputs, both balanced and unbalanced. It looks like guys from Calyx had seen some Modwright devices and decided a very simple bu t clever solution – each sockets has a double description – one above it, let’s say a 'regular' one, and one below, that is turned upside down so you can easily ready it when bending over the device to plug in some cables (which is a case for at least 90% of users I assume). There is a very nice, large, easy to read display on the front, and 7 push-buttons next to it, that allow you to control the device. This above average sized display shows a lot of data like: input, sampling frequency of the signal, setting of a digital filter, phase, and, of course, volume level. There is also a remote control attached – nicely machined from aluminum (not some cheap, plastic one) that sports exactly the same 7 buttons, in exactly the same array as the front panel of Femto. That really makes thing easier for user. The on/off button sits on a side wall of the device which makes it no so easy to track when you use a device for the first time. When I saw the quality of Femto's finished it only confirmed what I already knew – if you want a solid, great looking casing for your device you should look for a manufacturer in South Korea – they are really good at it. Calyx DAC 24/192 was one prove, Eximus DP-1 the second, and now Femto confirming it one more time – solid and great looking at the same time. The name of this DAC – Femto – comes from a femtosecond, which is the unit of time equal to 10−15 of a second. These are the unit used to measure a jitter of this D/A converter, which according to the manufacturer is the lowest that any device on the market has to offer. Most competitors measure a jitter of their products in picoseconds (10−12 s). Of course it is debatable whether a human ears can really catch a difference, but on the other hand human ear is able to pick up some things that it hypothetically isn't supposed to. So if Calyx is able to provide us with a device with the jitter measured in femtoseconds, why the hell not? As I already mentioned Femto sports a digital volume control that works in 0,5dB steps from 0 (total silence) to 100 (0 dB), and that allows user to drive an amplifier directly with it. When used with a preamplifier volume should be set to the maximum which allows to bypass the digital volume control. 24/192 DAC used an ESS Technology ES9018 Sabre chip and Femto uses exactly the same one, but two pieces of them, one for each channel. The USB input works, of course, in an asynchronous mode, and its based around XMOS chip. As usually Apple computers need no drivers to work with Femto, and PC owners have to download and install proper driver. Installation on my AudioPC went smooth even though I have a 64-bit Win8 installed (which creates problems with many different drivers) with JRiver 18 and Jplay. SOUND Recordings used during test (a selection) Bobo Stenson Trio, Indicum, ECM, B008U0FJ9Y, FLAC. Arne Domnerus, Jazz at the Pawnshop, FIM XRCD 012-013, CD/FLAC. Ella Fitzgerald & Louis Armstrong, Ella and Louis, Verve/Lasting Impression Music, LIM UHD 045, CD. The Persuasions, A capella dreams, Chesky Records, B0000D9PHK, CD/FLAC. AC/DC, Back in black, SONY, B000089RV6, CD/FLAC. Tsuyoshi Yamamoto Trio, Autumn in Seattle, FIM XRCD 043, CD/FLAC. Hanna Banaszak, Live, Polskie Radio, 5907812243944 , CD/FLAC. Keith Jarrett, The Köln Concert, ECM/Universal Music Japan, UCCE-9011, CD/FLAC. Rodrigo y Gabriela, 11:11, EMI Music Poland, 5651702, CD/FLAC. Led Zeppelin, Led Zeppelin, Atlantic/Warner Music, WPCR-11611, CD/FLAC. Beethoven, Symphonie No. 9, Deutsche Gramophone, DG, 445 503-2, CD/FLAC. Muddy Waters & The Rolling Stones, Live At The Checkerboard Lounge, Chicago 1981, Eagle Rock Entertainment, B0085KGHI6, CD/FLAC. V.A. Mozart, Le Nozze di Figaro, Harmonia Mundi HMC 901818.20, CD/FLAC. Pink Floyd, Wish you were here, EMI Records Japan, TOCP-53808, CD/FLAC. Even though the distributor informed me that this particular unit was already fully broken in I still gave it 2 full days for a warm up in my system before I started my listening sessions. This test preceded the one of Accustic Arts, and so I did not have this high quality CD Transport by AA at my disposal at the time. But to be honest I was primarily interested in USB input's performance. Also I knew that Femto would get its chance to shine in a full Reymio system, fed with signal from one of the best transports available. Femto po USB I started my audition with Femto acting as a D/A converter only, with my AudioPC as a source, Modwright LS100 + KWA100SE setup amplifying signal, and with fabulous Ardento Alter, that I received again for auditions in a slightly modified version. Why did I go with computer first? Because, as already explained, I remembered very well a great performance of 24/192 DAC and I assumed that in Femto case also an USB input might be superior. Also, to be completely honest, there is plenty of DACs that offer great performance when fed via coaxial input, but quite a few that can offer similar, or better performance when signal is delivered via USB. Calyx had already made a name for itself of a company offering great USB converters so I counted on it. The first note I took during first listening session was, I quote: 'amazingly musical performer'. This Korean DAC surely belongs to this category of devices that don't allow listener to focus on sound analysis. Its performance immediately attracts listener's attention, involves him in the amazingly colorful world of music. In my case the first recording, that impressed me so much was fantastic (for both, technical quality and music) recording from ECM label – a Bob Stenson Trio Indicum, played from 24/48 FLAC files. When I played it for the first time I managed to focus on task – which was supposed to be Femto's assessment – for like 5 seconds, because right after that the world created by musicians and reproduced so well by a system with Femto in it, swallowed me and I forgot about basicaly everything, not just the assessment. So I had to play it for the second time to write anything else apart from: 'fantastic, brilliant, amazing' and so on. What attracted attention most was beautiful, rich, vast in volume, magic and magnetic piano – as I see it now at least equally great as the one delivered from a CD by Accustic Arts source (with Transport hooked up to the DAC with coaxial cable). But of course it wasn't a solo piano recording. There was also very impressive percussion – each time a stick hit one of the cymbals the sound was not only very immediate, not only amazingly vibrant, but also delivered with even tiniest details regardless of drums being only a support instrument placed in the back of the stage. And finally my favorite instrument – the bass, also rather supporting piano in this recording rather than taking lead, but still very rich, colorful, dynamic, with lots of wood and long, wonderful decay. Spacing was also great – very plausible, 3-dimensional with each instrument precisely placed on the stage and recreated as a 3D source of sound, not just a point in space. Also the space between instruments was filled with air that allowed each of them to breathe. And finally this device allows listener to get really deep into the music and its ambiance, to feel its heart and soul which is a breathtaking experience that simply doesn't leave any space for anything else but music, or in other words it makes everything but the music irrelevant. All the next jazz recordings only confirmed what I already observed, proving also that Calyx is fully capable of rendering any and every well recorded instrument delivering very convincing, life-like sound. I played some recordings with a trumpet, saxophone, clarinet and vibes and each time there it was – the 'wow!' effect, as I was amazed with the way Femto beautifully rendered each of them in the space, how plausible these instruments seemed in my room. These recordings presented also clearly other strong virtues of Korean DAC – extraordinary resolution and selectivity. With bands bigger than trios, the 'wow!' effect was still there regardless if I was following the big picture or even the smallest details, nuances usually hidden somewhere in the back of the mix. To be honest during listening sessions with Femto I acted a lot like a kid in a toy shop – look Mom this toy is the best, no the other one is better, or wait there is a next one and it beats all, and so on, and so on. I was in fact cruising across my music files directory just wondering and then checking how particular piece, or sometimes just a single instrument would sound played via Femto. And even though my expectations grew with every recording, this fabulous DAC kept satisfying them. So I kept challenging it again and again and... finally I had to stop, as the time of each review is somehow limited, unfortunately. It was time to check how well could Femto deal with other music genres. So I moved from acoustic jazz to vocal recordings. I started with The Persuasions and their Acapella dreams (24/96 files) – the purest form of vocal, a capella. Once more did Calyx fulfill its job amazingly well delivering voices in the most convincing, involving way. The already mentioned great selectivity allowed me to follow any chosen voice, to study its texture, timbre, all the details that differentiated this particular voice from others. Presentation was also so palpable that I 'saw' these five guys standing maybe 3 meters away from me. Voice was coming not only from a proper horizontal placement of each guy, but also from a proper height. I could 'see' them moving to the rhythm of their singing, making faces and so on – it was one of the closest experiences to the ones from live concerts. Moving to a much more dynamic music, like some AC/DC recording did not impress Calyx much – it was clearly not afraid of a need to 'make some noise'. There was rhythm, timing, bass extension and extraordinary differentiation, hefty, clear and vibrant treble, and quite a lush and smooth midrange with a very good resolution, that allowed Brian Johnson's vocal to be heard and, what's more difficult, to be understood. Femto seemed also to be able to deliver almost overwhelming energy produced by Angus Young and his crew. The Metallica's black album proved that proper kick of a rich, deep bass wasn't a problem to reproduce, and neither was a bit harsh, powerful but very fluent sound of electric guitars and equally rough voice of one James Hatfield. I have to admit that I liked this presentation a lot also because Calyx delivered bass the way I liked it which was a perfect match for my Modwright + Ardento setup – bass was very well extended, had a good grip, it was rich, there was impressive differentiation, proper weight and power and all these elements were key ones for Femto's presentation, and not a supersonic speed, or some extreme tautness that were priorities for some other DACs. Another very energetic experience was a listening session with a 'new' hi-res files of Michael Jackson's Thriller. This album played from a CD could not compare in any aspect with fantastic performance of a vinyl edition. CD lacked the timing, and power of a record, and only the latter provided truly impressive pace&rhythm. But the hi-res version from HDTracks proved that a digital copy of this great album could also sound amazingly well, at least as well as the black record did. Under one condition, of course – the rest of the system has to be able to keep the pace with this recording. My system, with Femto as a source, did, in my opinion, fabulous job. I was totally blown away while listening to Beat it, or Billie Jean, and the volume knob wondered to the area it never went before. I knew my neighbors would hate me but at the moment I didn't care, I couldn't resist this pure joy and great entertainment that Calyx offered. Femto didn't let me down also when playing some classical music like my favorite Beethoven’s 9th Symphony conducted by Boehm, which truly benefited of all key features of Calyx's sound – great resolution and selectivity, liquidity of the sound and the overall musicality of its presentation. I use this particular performance often as a test of how well the particular device can differentiate dynamics, how it deals with sound going suddenly from pianissimo to fortissimo which provides a lot of information on dynamics in both micro and macro scale. Considering how well this test was going so far I kind of hoped that I would finally find at least some scratch on the surface of so far 'perfect' sounding device. But I didn't find any – I just sat there, on my couch, totally enchanted, listening to a presentation that was more engaging than any other I had heard before. The easiest summary of Femto's USB performance would be as simple as that: Femto is the best USB DAC I heard so far, period! Already 24/192 DAC was something special considering its USB performance, but Femto goes easy beyond that with much more refined, sophisticated sound. It achieved a level of performance comparable with what amazing Accustic Arts TUBE-DAC II MK2 presented together with dedicated CD transport hooked up with BNC cable. Obvious advantage of the Korean device is its ability to play hi-res files, that sound better than 'regular', 16/44 ones. Personally I'm not one of these people who claim that there is a gigantic quality difference between 16/44 and 24/192 files, but still I admit there is a difference to the favor of hi-res files, only it's not as huge as many people claim, and Femto clearly shows that difference – 24 bits mean in practice 'more music in music'. The presentation seems denser, has more weight to it, its more tuneful, easier to absorb as it sound more natural. In my opinion Femto proved that the more important part of the equation are bits and not sampling frequency which was clear to me when I listened to Bobo Stenson Trio played from 24/48 files. Anyway – if you're looking for the top USB performer for your system, Femto is a must on your 'for audition' list. Femto as a preamplifier I shall not elaborate much on that topic, as although Calyx did its job of driving Modwright's power amp pretty well, but the system as a whole sounded far better with LS100 preamplifier in the system. Femto, you might say, drives amp just fine, and it's hard to point out any downsides, but all I had to do was to set its volume to the maximum (to bypass its volume control) and hook up LA100 to hear the difference. Sound was now richer, smoother, more colorful, and the only aspect I thought might not had improved was transparency. Obviously LS100, although not too pricey, offers fantastic price/value performance and, in my opinion of course, it is hard to find a better tube preamplifier even at twice the price. Plus of course it works with same manufacturer's power amp damn well. So these two fact make it really tough for any device with volume control to beat LS100+KWA100SE combination. Don't get me wrong – Femto's volume control is pretty good, so if you want as simple system as possible, you can surely use it to drive power amp (assuming you don't have any analogue source of course) and you'll be fine. What you need to know is that a high quality preamplifier will allow you to hear even more of the great potential of Korean D/A converter. In one of the reviews the owner of Calyx admitted that they were working on a preamplifier themselves, so (that's of course only my presumption!) they might have come to the same conclusion as I did – to show the full potential of this outstanding device one should use even better volume control than the digital one implemented in it. Femto via coaxial input As I already mentioned I do not own any highest quality CD transport myself, nor I had any at my disposal at the time of this test, so I couldn't really expect to explore the limits of a coaxial input's performance, ergo achieve as great performance as from USB input. Indeed, sound was bit less liquid, not so amazingly rich, I lacked a bit of this fantastic differentiation I had heard before, and the soundstage wasn't so incredibly palpable as before. Again – don't get me wrong, this was still a very good performance but not so impressive after what I heard before from USB input. Yes, via USB I could play hi-res files, which made a difference, but I also played 'regular' CD rips, so 16/44 and these still sounded better, than CD themselves played via coaxial input. Also, even though it happened bit later, Accustic Arts setup (CD transport + D/A converter) proved that CD might still sound damn well, incredibly well even. Hell, even German DAC with the very same Oppo (that I used with Femto) as transport sounded bit better than with Korean device. So I had two choices – either to draw a conclusion that Femto's, just as 24/192 DAC's before, USB input simply outperformed coaxial input, or I could still give it a chance with some top quality CD transport. I chose the latter. Unfortunately Calyx and fabulous Accustic Arts Drive II did not meet under my roof, so I did the same thing, as already couple of times before – I called some friends and we met at Jacek's place to test Calyx in a Reymio system, that included a CDT-777 CD Transport – one of the best I knew. Femto settled in this Japanese system (a system that doesn't like 'strangers' much) really nicely. Soon we started even to poke our host gently suggesting that he could consider replacing his Reymio D/A converter for Femto because it sounded so good. With CDT-777 Femto delivered amazingly smooth, liquid, rich and palpable sound, which reminded me very much what I had heard before using AudioPC as transport via USB input. It seemed now, that with top quality CD Transport Femto was able to deliver sound with the same, or at least very similar qualities, as when fed via USB. We couldn't experience head to head comparison as Jacek (at the time) didn't use any computer as a source in his system, but in my ears it felt at least close enough to acknowledge that Calyx did a great job and this time offered a device capable of delivering top performance not only from USB input. All you need is a top performance CD Transport. Obviously considering both the price of Femto and the number of digital inputs one would rather consider it obvious, that the Korean manufacturer wouldn't charge customers that much just for a great USB performance. I still believe that the best, most complete, mature sound you get from Femto comes from USB input, but I have to admit that with proper transport you can get almost the same level of performance from other inputs. And don't let this 'almost' mislead you – that is still a top performance that many other D/A converters, even some more expensive ones, are not able to match. It seems that whatever input should you use an amazingly musical, involving, precise, and detailed sound is what you'll get. I believe that it is a USB input that can get you absolutely top performance of this DAC, but the other inputs are just a half step behind if you provide a high quality source. This device will fit even into most high-end systems, even though it doesn't cost as much, as many other high-end D/A converters. Way to go Calyx! You did a fabulous job – it's the best USB DAC I heard so far, but also one of the best ones all together. DESIGN Calyx Femto is a digital-to-analogue converter with digital volume control. Unlike its predecessor, 24/192 DAC, it is much bigger, and better equipped device. The design will impress most audiophiles from the very first look, as it sports a very solid, simple but elegant, aluminum casing, available in silver or black. It sits on metal feet finished with cork, that according to the designer did its job better than other material. Front sports a nice, large display, that makes reading any information displayed on it easy, even from a distance of a few meters. On its right side there are 7 push-buttons that allow to control the device. Femto comes also with a very nice, handy, aluminum remote control that sports exactly the same 7 buttons in exactly the same array as on the front panel The main on/off switch sits on the side wall of the device. The back sports a large array of 8 (!) digital inputs, that include: 2 x coax, 2 x AES/EBU, 2 x Toslink, 1 x BNC, 1 x USB, and analogue outputs, both balanced (XLR) and unbalanced (RCA). It's a dual-mono design, with separate 32-bit, 4-channel ESS9018 Sabre DAC chip for each channel, each of them being equipped also with a separate, ultra-precise, ultra-low jitter oscillator with jitter measured in femtoseconds – it measures (according to the manufacturer) 500 femtoseconds (which is a 0,5 picosecond). Now the name of this device should be self-explanatory. Not only both channels have their own oscillators, also the USB input has its own. Each of those oscillators is shielded in a metal casing. Femto employs two separate power supplies, one for the digital circuits and the other for the analog output stage and each of them is also shielded in a separate metal casing to separate them from electronic circuits. USB input uses XMOS chip set, which operates asynchronously. Mac users don't need any additional drivers to start using this DAC, those with Windows operated Pcs have to install a driver that is available on manufacturer's website. I had no problem installing it on my WIN8, 64-bit system. Specification (according to Manufacturer) Digital inputs: Two Coaxial / Two Optical / Two AES-EBU / BNC / USB Sampling rate: 44.1kHz ~ 192kHz Frequency Response: 20Hz ~ 32kHz @ - 0.5dB - Balanced Output / 20Hz ~ 38kHz @ - 0.25dB - Unbalanced Output Total Harmonic Response: Less than 0.0003% @ 1KHz, 0dB - Balanced Output & Unbalanced Output Signal-To-Noise Ratio: 130 dB, A-weighted - Balanced Output / 124 dB, A-weighted - Unbalanced Output Dynamic Range: 130 dB, A-weighted - Balanced Output / 124 dB, A-weighted - Unbalanced Output Channel Separation: 144 dB @ 1KHz, 126 dB @ 20KHz - Balanced Output, 140 dB @ 1KHz, 124 dB @ 20KHz - Unbalanced Output Output Voltage: 6.8 Vrms - Balanced Output / 2 Vrms - Unbalanced Output Output Level Control: - ∞ ~ 0 dB, 0.5 dB Step RMS Jitter: 500 Femtoseconds Dimensions: 430mm x 102mm x 403,8mm (W x H x D) Weight: 18,5Kg

Published: 2. March 2013, No. 106 How do we find new brands, original devices from interesting manufacturers? (“We”, meaning audio reviewers). Well, we search the Web, we observe what other reviewers test, or sometimes we get information from those manufacturers. In this particular case of Erzetich Audio from Slovenia two methods worked together. First, I found a picture of an interesting device on the Web and soon after that I found it in the 6moons.com Newsroom. So I contacted the owner, Mr. Blaž Erzetič (hence the explanation for the manufacturer’s name), and asked him to send me the device for a review. Mr. Erzetič answered immediately and promised to send me a review unit but suggested that I first have a look at his newest product, the Perfidus that was just getting ready for being manufactured. Slovenian and Polish brands have something in common in that you can hardly find their reviews in international audio magazines. I think it will change soon as the 21st century is an age of web-based magazines, which gives small manufacturers a much better chance to get their products reviewed. Web-based magazines don't really need an audio distributor in their country of origin, nor do they need to be paid for ads or in any other way; all they need is a product for a review. Their strength are the Readers who require honest, reliable and prompt reviews of novelties that just came to the market. A magazine is responsible for the first three; the last one lies in the hands of a Manufacturer. Erzetich Audio would be rather unlikely to get a review in a print magazine as their operation is based on direct sales – no distributors or dealers. What you're reading here is in fact an international debut of this interesting brand. Despite I have studied electronics and been involved in sound for almost 25 years, my professional path went mainly into visual direction. Since 1998 I've been working as a designer, illustrator and photographer. Those were also (beside the sound) topics that I've been teaching at two Slovene universities: University of Arts and University of Natural Sciences. As a musician I have released 4 albums: one with US label Wampus Multimedia, two with German label Black Rain and one with my own label Neversun. That got me even more in touch not only with music, but also with sound engineering in studio, on-stage and off-stage. I work as a freelancer designer since 1999, but in the February 2012 I have expanded also into production of electronic devices under brand Erzetich. Merging my knowledge of electronics, acoustics and design I have created three headphone amplifiers that, for their timeless and unobtrusive design, were featured on plenty of design webzines and blogs around the world (USA, China, Greece, Russia, Poland, ...), including Yanko Design and Delood. Bacillus is a AD8066 op-amp based amplifier with 250 mA current buffer at the end. That means that op-amp feels no load and therefore no non-linearities. Input capacitors are Wima KPT. Sound is slightly bright. Bacillus tilia is OPA627 op-amp based amplifier, also with current buffer. It uses Obbligato Gold Premium input capacitors. This combination makes it sound smooth and neutral. Perfidus is class-a amplifier with transistor based current buffer, while at the input stage uses OPA627 op-amp and Wima input capacitor. Headphone amplifiers are not as popular as they should be. I find absurd people buying studio headphones for, let's say, 500 EUR and plugging them straight into portable MP3 player. That's like buying a Ferrari and driving it on a gravel road. Big studio headphones need power that a portable player (not even soundcard or built-in headphone outputs on CD player) doesn't have. Difference is obvious when using dedicated headphone amplifier: thick bass, clear sound, less distortion, good soundstage, etc. . Erzetich headphone amplifiers are practically small power amplifiers: they have double power supply and only one high quality (input) capacitor in the signal path. Power supplies are also embedded into the chassis, making amplifier compact and simple to carry around if needed. If you see a single power supply headphone amplifier (usually with an external on-wall-socket transformer), that's trouble, because it needs a big output capacitor, which means quite some undesirable signal shaping. I wish that more people would be aware of that. All of the components are of great quality: Alps potentiometer, WIMA or Obbligato input capacitors, Burr-Brown integrated circuits, OFC silver plated wiring, etc. All units are also individually handcrafted and tested which gives additional value to these devices. Since we sell our amplifiers directly from the website, we can keep prices more than reasonable for that kind of quality. There is a fourth, hybrid, headphone amplifier on the way that is based on tubes and solid state output. It's not sure yet when it will be in production. Hopefully this year. Since we are at our beginnings, we must first let people know about our brand and our products, always keeping in mind great quality for good price. SOUND A selection of recording used during auditions Debussy. Complete Piano Works, wyk. Walter Gieseking, "Signature Collection", EMI, 55917 2, 4 x SACD/CD (2012). Random Trip, Nowe Nagrania, 005, CD + FLAC 24/44,1 (2012). Allan Taylor, Old Friends – New Roads, Stockfisch, SFR 357.6047.2, CD (2007). Barbara Lea, Woman In Love, Riverside/Sinatra Society of Japan, XQAM-160, CD (1955/2007). Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, "Special Edition Hardbound Box Set", CD+USB drive 24/44,1 WAV (2012); Depeche Mode, Singles 13-18, Mute, 6 x SP CD (1991). Handel, La Maga Abbandonata, Simone Kermes, Maite Baumont, Il Complesso Barocco, dyr. Alan Curtis, Deutsche Harmonia Mundi/Sony Music Entertainment, CD 88697846212, CD (2003/2011). Jethro Tull, Thick As a Brick, "40th Anniversary Set", Chrisalis/EMI 461923, CD + DVD PCM 24/96 (1972/2012). Józef Skrzek, "Pamiętnik Karoliny", Polskie Nagrania/Metal Mind Productions, MMP CD 0535 DG, CD (1978/2009). Megadeth, Countdown to Extinction, Capitol/Mobile Fidelity Sound Lab, UDCD 765, gold-CD (1992/2006). Muse, The Resistance, Warner Music Japan, WPZR-30355-6, CD+DVD (2009). Porcupine Tree, Deadwing, Lava, 93437, CD (2005). Portishead, Third, Go! Disc/Universal Music K.K. (Japan), UICI-1069, CD (2008). Tadeusz Woźniak, Tadeusz Woźniak, MUZA Polskie Nagrania /Polskie Nagrania, PNCD 1289, CD (1974/2010). Warne Marsh Quartet, Music For Pracing, Mode/Muzak, MZCS-1111, „Mode Paper Sleeve Collection vol.1”, CD (1957/2006). Japanese versions available at I must say that finding the best matching headphones for this amplifier was quite a challenge. If you just plug in any pair of not too expensive cans, they will, most likely, sound rather poorly, emphasizing upper midrange that might become a bit unpleasant. While its undeniable purity and transparency will surely sound attractive, the longer listen will result in a rather fast material fatigue. The material in this case being us, the listeners. I started with the old and actually not all that inexpensive AKG K271 Studio that often work very well with class A amps (see HERE). I also wanted to check out the Oyaide HPC-X62 headphone cable, dedicated to these cans. Unfortunately it didn't work – the sound was rather shrill and plastic. The top and bottom end are not the strongest points of the K271, but in this setup all their problems with saturation and differentiation came right up so distinctly that I couldn't simply ignore them. I wasn't too happy with the Beyerdynamic DT770 Pro Limited Edition 32 Ω, either, nor with the HiFiMAN HE-500. The former sounded a lot like the AKG and the HE-500 delivered too limited, too distant sound to consider them seriously. The Slovenian amplifier proves how careful we must be to voice our opinions. Imagine a short audition of this amp in an audio salon with poorly matched headphones or listening to it at home with our usual one or maybe two pairs – most likely you'd send it back as quickly as possible. That is a good example of audio magazines raison d'être, as we are able to advice our readers a possible direction of quest. The final verdict would be thus a secondary goal of a review. If most audio salons are gone we will need to trust the manufacturer and/or opinions expressed on some audio forum, and these may often be the same people. Buying directly from the manufacturer you can always send the product back if you don't like it, but it takes time and it’s a hassle, plus it doesn't solve your problem as you still don't have a product that you need. Nowadays it is the reviewers that often act as some sort of 'pre-selectors', taking the role previously handled by audio shops. The greater the responsibility that rests on us. So I did my best in this review, like I always do, trying to dig deeper and not letting myself get discouraged by the first setbacks. After some time I arrived at some very interesting setups and conclusions. After a time-consuming process of selection I was left with three pairs of headphones: the HiFiMAN HE-300, the AKG K701 and the Beyerdynamic DT-990 Pro (the older, 600 Ω version). The order is based on how long ago they were introduced to the market – from the 'youngest' to the 'oldest' – and hence their availability, although my preference of how well they paired with the Perfidus would be exactly reversed: I liked the DT-990 Pro the most, followed by the K701 and the HE-300. But what's important is that all three sounded really good with this amplifier and I could easily live with any of them paired with the Perfidus. To find a reference point for a given product constitutes probably half of a successful review. Such a comparison explains many things that would be hard to clarify otherwise, either because of lack of time or proper vocabulary to describe it. In this particular case I'd have no doubts to choose the Ear Stream Pearl, a Polish headphone amplifier, as the “soulmate” reference (see HERE). The key sonic characteristics with the Perfidus in the audio path are good resolution and selectivity, speed and high dynamics. Especially the latter is a bit surprising considering that this device doesn't seem to have too much headroom. And it was mostly the dynamics that made the described 'incompatibility' with some cans so irritating. When I listened to an old Walter Gieseking solo piano recording, the upper octaves were immediately emphasized with each instrument’s crescendo. This amp was able to present tonal differences between individual key strokes. This 'effect' was obvious not only with the piano that delivers plenty of high harmonics, but also with some older recordings like Music For Prancing by Warne Marsh Quartet. The album, originally released by Mode and now wonderfully restored from vinyl LP by Japanese Muzak, has a rather limited frequency response, with almost no treble. The Perfidus played it with much care, clearly showing, especially with the HiFiMan cans, the weaknesses of this recording but mainly presenting a slightly warm although not slowed down music, with emphasized lower midrange, yet without making the sound syrupy. Usually with a warm amplifier the dynamics would be averaged, but the Slovenian device somehow emphasized it. The tonal balance might be described as gently lit up but also with a solid low end base. The latter was most obvious with the HE-300 and this setup offered the most 'modern' sound, in the sense of widest frequency range, great dynamics and slightly dull upper midrange, somewhere above 900 Hz – 1 kHz. It was a pure pleasure to listen to Depeche Mode recordings from their singles box No. 3, or to dense, meaty sounds from the Random Trip album and to the beautiful, deep voice of Allan Taylor on Old Friends – New Roads. The sound was deep but open and fast at the same time. The last characteristic repeats itself a lot in my review and seems to be a key feature of the Perfidus presentation. It might even 'push up' its selectivity a bit, helping to differentiate the cymbals so nicely which in turn makes the recordings such as Anabasis by Dead Can Dance and the latest release of Thick As A Brick breathe and flow, with the instruments having proper acoustics, and it structures the whole recording really well. Selectivity is quite impressive, allowing us to 'see' the sound images spread wide and deep on the soundstage. The volume of sound might not be as big as from high-end headphone amplifiers but that should not come as a surprise considering the price. What might be surprising is the amount of small details, previously hidden somewhere in the mix and now presented more openly, although still merging into the bigger picture. You can clearly hear both the foreground and the backstage. The presentation is clean, distinct, with some tendency to brightness, as also stated by the manufacturer himself. With the Beyerdynamics and the AKGs the sound will be creamier, with less accented both frequency response extremes. I liked it more that way as it’s the coherence and depth of the presentation that I value more and these were slightly better here. But it is each listener’s individual preferences that will decide in finding the best headphones for the Perfidus. I hope I gave you some helpful clues. Summary One of the most interesting pieces of information one can get from audio manufacturers is what devices/systems they use when auditioning their prototypes and working on the final sound of their products. The idea is (usually) to create an all-rounder, a device that would be a good match for most systems, but eventually the manufacturer has to audition it in a particular system/systems. It is easiest to obtain such information from smaller manufacturers, as it is obvious for them that their product will work better in some systems than it will in others. These guys don't just calculate their own profit and loss account but they also take into consideration a prospective customer. In other words, these guys also think of us, the audiophiles. Blaž Erzetič is one of 'these guys'. When asked about the cans he used he named them: Grado SR325, Beyerdynamic DT770 Pro, Sennheiser HD600, Sennheiser HD280 Pro and some smaller models like: AKG K450, AKG K44, Koss K/6X plus. Before I received his e-mail with this information I assumed that high-impedance cans would sound best with the Perfidus – so I thought of the Sennheiser HD800 (300 Ω), and as next choices: the Beyerdynamic DT990 Pro (900 Ω), the AKG K701 (71 Ω) and, kind of an exception, the HiFiMAN HE-300 (50 Ω). The AKG offer quite warm, creamy sound which I thought would fit this system nicely, and the HE-300 bring high sensitivity to the table, which could also be a benefit here. But most headphones named by Blaž were rather low-impedance ones, which suggested that something else was at play here. It seemed that it was rather a combination of impedance, sensitivity and frequency range. When it comes to matching cans with an amplifier it is about matching the amp’s output and the load – it is that simple. The Perfidus will allow you to build a reasonably priced system that will deliver a very satisfying performance. Each pair of headphones I mentioned in my review will do very well with this amp. You might also think about a moderately warm source. The specification available on the manufacturer's website reads: “character – bright and quick”. I can only concur – this gentleman knows his device. He created a nice looking, well-built headphone amplifier that will bring lots of joy to its owners. TESTING METHODOLOGY The test was an A-B comparison with the A and B known. Music samples were 2 minutes long; whole albums were also auditioned. The reference devices were my Leben CS-300XS [Custom Edition] amplifier and the headphone output of the Arcam FMJ A19 amplifier. Apart from my reference CD player, as a source I also used the Arcam rDAC with the Bakoon SATRI BPS-02 battery power supply, and the Restek Epos CD Player. There are two obvious weaknesses of this amps design – its feet and the power cord. I couldn't do anything about the latter but I did what I could about the former. The amplifier sat on the Acoustic Revive RIQ-5010 quartz discs, with the fo.Q G-53FS damping spacer in between, and I placed the whole on the Acoustic Revive TB-38 isolation platform. I decided to put two more quartz discs on top of the device – it couldn't hurt, right? And it made me feel better… Especially that I had a chance to hear the influence of Acoustic Revive accessories during Audio Show 2012, when Mr. Ken Ishiguro personally set these up for two systems, with the Dynaudio Xeo active speakers and electronics from Octave. Since then I'm not just a 'believer', now I'm rather a 'follower'. DESIGN Headphone amplifiers, as a specific kind of amps, follow a rather specific design. Especially when it comes to reasonably priced devices. The smallest among them are really tiny and can fit in your palm. The bigger ones usually look similar to the Perfidus. The Perfidus is a solid-state headphone amplifier, with an output stage working in class A. The casing has an elongated shape, with a small front panel that sports a volume knob, a headphone socket, and a small, red LED that acts as a dot over the 'i' in the device’s name. The on/off switch sits on the back panel next to the power cord. The latter is bad news as it is permanently fixed and judging by its looks I'd rather replace it with some high quality cable. There is also an analogue input – a pair of solid RCA connectors. I haven't mentioned that before but the front panel looks really nice – it is an acrylic plate with lettering on its inner side (see White Bird Virtis-01). The letters were chosen to add some modern and professional look to the device’s fascia. There are two company's logos – one around the headphone socket and the other on the top panel. The logo is a circle with *ahem* little horns… The device is housed in a rigid, aluminum casing. There are two main parts – the top and the bottom bolted together – all one needs to do is to slide in the PCB and then fix the front and back panel – it's a simple solution used also for many much more expensive devices. The Perfidus sits on four feet used to hide the screws nuts. The whole circuit is mounted on one PCB occupying the whole unit’s interior. It's divided into two parts. The back is occupied by a chamber with the power supply – a small toroidal transformer and four Rubycon capacitors. The power supply section is separated from the amplification circuit by a thick aluminum plate with voltage regulators bolted to it. The signal runs from the inputs via long shielded cables to the front of the device where it is connected to PCB right next to a nice Alps potentiometer. The pot is coupled by nice, large Wima capacitors. Right next is a TL072 chip. It's a DC-Servo to maintain DC 0V on the output. According to Blaž Erzetič headphone amps working in class A, after warming up have a tendency to increase DC offset drift which might be dangerous to the headphones. The DC-Servo detects DC-offset voltage and corrects it. The gain stage is really interesting. In the input there is a Burr Brown OPA627 surface mount on a tiny board with pins which plugs into a classic socket. The second stage is solid-state, push-pull Class A. It employs the STMicroelectronics BD139+BD140 bipolar transistors. Mr. Blaž informed me that this is not a typical gain stage but rather a current buffer, meaning a circuit with gain equal 1. All the voltage is delivered by the first gain stage. The transistors are mounted to both side walls that are thicker in this area (additional aluminum plates are added). All passive components seem to be of high quality – precise resistors and polypropylene capacitors. All electrolytic caps are from Elna. The headphone socket isn’t gold plated. Even though it is an inexpensive device, inside you'll find some fine, carefully selected components – capacitors, resistors, potentiometer, power supply, but also the casing itself is of a high quality. The two problematic, from my point of view, components are the non-detachable power cord and the long signal cables running right next to the power transformer. The whole rest is very good indeed. Specifications (according to the manufacturer) Headphone impedance: 8-600 Ω Frequency response: 4 Hz - 40 kHz (-1 dB) Power consumption: 15 W Dimensions (W x H x D): 110 mm x 64 mm x 280 mm Weight: 1325 g Character: bright and quick

Published: 2. March 2013, No. 106 Wojciech Pacuła: First, please tell us where you come from and where you live. MaMatej Isak: I live in a small town near Slovenian-Austrian border. JaHow did it happen that you took to audio? What is your experience in that area? Actually, everything goes back to my youth. Before studying law my father first education was electrician-technician and he loved music dearly. So some sort of hifi-reproduction gear was mandatory in the house and so were the records. With my brother we listened to his quite large album collection from legendary artist like The Beatles, Louis Armstrong, Elvis Presley, Ella Fitzgerald, Glenn Miller etc. and many domestic artist. I still remember how much we spinned the good old vinyl on turntable to the point when some records were almost worn out. Do remember, that buying LPs back then was something special. It was not cheap and often hard to get good pressings. Later in my primal school a few things happened that changed everything. I got across Pat Metheny and John Coltrane, tried to learn classical guitar in music school, became a member of well-established and prominent vocal choir and trying to understand the art of soldering and building of tube amps. Last phase came a bit later on. Fellow singers from the choir opened up the world of music in a passionate magical way to me and we had one of the best and most demanding conductor to guide and teach us. Not as close as Toscanini in strictness, but we had to understand and remember not only notes, but also song lyrics and the meanings of all songs. Discipline was non-questioning and my respect and critical view of the music in general was being affected in the best way possible. Our repertoire was broad from Eric Clapton “Cocain Lily”, pop songs, national hymns, modern poetry, to the established classics. Luckily these songs imprinted my inner understanding of music and opened doors of my hearth for the music of any kind. In my fifth grade when I moved from the main large city to smaller town my musical teacher who recommended me to the conductor of choir gave me a good-bye gift. It was Ivo Pogorelič piano concerto. Perhaps out of affection and as a token of appreciation I listened to it continuously and with my whole being. My curiosity for classical music began and it didn't stop up to today. I just wish I had enough time to explore the vast universe of classical music and travel with composers through all time periods... Some of that is on the way, but John Coltrane is still one of my favorite artist. His path and quest for music perfection and in later years a hankering to touch and help the people at large with his music had a largest impact. He went beyond what most understand as music in trying to bring the transcendence and ragas into his playing. Sadly he died to young with many things out for wonder. I’m humbled by his genius and hard work and forever thankful for his unaltered quest of perfection and meaning of music and life. As my love for music grew, my interest of hi-fi and later high-end came to attention. I went through the phases of DIY and great dreams of becoming an audio designer. Thankfully I learned my lessons quick and safe enough. As it turned out that was neither my path nor destiny :). Slowly I moved from DIY projects and hi-fi, to high-end tube amplifiers, speakers etc. I learned about classical hi-fi and high-end and to this day I still respect strongly anything from Western Electric, 300B, Alnico, Japanese audio, tubes etc. With mileage came an ever going quest for "perfect" reproduction and I'm entrapped by the so-called magic of high-end audio reproduction. In my writings I tend to talk about culture as it brings people together with the history of unique musical events and poetry of composing. So, audio gear would come and go and I developed a certain taste and critical view on how the gear should be designed, how high-end should truly sound and what one should and could avoid along the high-end high-way. Why did you start “Mono & Stereo” magazine? Where did the idea come from? I was the co-founder of first national internet high-end forum and as things gone out of hands I wanted to move further on; not being trapped by narrow minded mentality which tend always to take their life’s mission to criticize and see no light at the end of tunnel. I simply want to see audio as it is and without constraints. My passion for music reproduction and audio gear kept me in contact with people and manufacturers around the world. Gradually I started to write short articles about high-end audio and the ball was thrown. For some time I was writing for American “Wired” and helped with establishing brands and public image for few audio companies, designed few websites etc. In due time I saw that people started to recognize some of my writings and what I had to say. Many small articles about audiophile gear, headphones etc. started to pile up and at some point I said to myself: “Being the jack of all trades and master on none is no way to go. Do something, make a difference and try to envision all the things you always wanted to read about in other magazines.” To put it simply, I guess I wanted to make a difference. And making difference brings sleepless nights, countless swapping of gear, endless notes, objectivity in subjectivity, feedback on any kind etc. Not always a glorious and shining life as it seems from the distance. It's both heaven and hell and hard work with one blessing – the MUSIC. All this comes with responsibility. Suddenly you're being recognized at shows by manufacturers and people are coming to you with questions, problems and open criticism. I started to receive emails and calls from all over the world with people asking me questions related to high-end, suggesting a system, how to change things for better, what is my opinion on this and that, etc. I always took this seriously. You cannot play fool with people's hard earned money and feel no responsibility. All of the people contacting me simply want best musical reproduction within their budget and I'm trying to share my experiences, mileage and knowledge in an open and friendly way with staying down to an earthly plane packed with an healthy portion of ego :). Do you see “M & S” as an audio magazine or as something else? It’s the magazine, news center, interview place and most importantly cultural virtual place for music and art of musical reproduction. Perhaps my following text sums it up perfectly: "Twenty years of active traveling through the unique landscape of high-end audio led me to many people and objects of rejoice or sometimes even sorrow. That all unmistakably shaped my vivid and strong perception about audio, music, high-end industry and manufacturing. It's my goal and passion to listen, review and reveal great and carefully carved high-end audio products. Most of our daily readers are audiophiles, audio connoisseurs and owners of high-end audio components. These people not only recognize and respect real artisans of audio industry, but they're actually willing to spend their respected money for the high quality audio products regardless of price. There are still people who trust in high-end audio manufacturers knowledge, efforts and heritage. High-end audio is becoming more and more personal. That can only be a good sign and safe path to the mutual satisfaction for both sides. Honest customer care, quality of the products and on the other side satisfied music lovers are the real keys opening the doors to the future of high-end society. As a devoted fan of music and high-end oriented components I'm in constant search for unique audio instruments that speaks back to us naturally and cherish the unique world of music reproduction. In my audio quest I'm trying to reveal those standout products that convey music with the highest impact of it's coherent natural imprint. After years of listening and testing vastly number of audio components passing through my listening room I dare to conclude, that only those who truly love, respect and know music to the hearth, strive for the absence of specific sound imprint and try to balance natural transparent signature sound in their audio products. It's always joy to find such exemplary products and people behind them. At the end of the day, it's simply all about music. Duke Ellington's famous quote sum it great with: "If it sounds good, it's good!." You’ve mentioned that live close to Slovenian-Austrian border, but in Slovenia, hence my question: Is “Mono & Stereo” a Slovenian or Austrian magazine? It's borderless magazine with world wide readership. How do web based magazines differ from print magazines? I guess we can reach out to more people and there is no cost of printing. Web magazines doesn't carry the burden of advertising and large staff machinery. One of the triumphs of web magazines is reviewing of less known high-end brands and small manufacturers. Without a tight links of old dinosaurs "scheme" between distributors and large print magazines, small high-end audio entities can deal with web mags directly. We've seen the rise of head-fi phenomena where small audio designers (often one man work) established a fair dealings and healthy business for audiophiles and headphones fans. What I want to say is that we play an important role in presenting the healthy balance to the high-end audio society. Now, not everything regarding the Internet is great, but some things for sure can be very positive as for example connecting the people in an easier and more transparent way. And there along the way an positive interaction between the readers and writers can be established that is much freer and comprehensive. How are print magazines better from online magazines and vice versa? What we can learn from each other? Printed magazines bring the long standing, great writers, fixed advertising money and established readership. Web based magazines can open up the doors to many manufacturers that are usually forgotten on not taken seriously due to the policy of non advertising. There are also web based magazines with "cash in front" policy when it comes to testing and reviewing, but a fresh new wave of writers and web magazines are slowly, but surely taking the leading role over in a good way. If transparency and fair attitude are the main store front in due time even big names came in front and wanted the exposure of web-based magazines. Jointly with printed magazines we can help bring the culture back to the high-end society and we all hankering for this in some way. What are your thoughts about the future of CD? CD as medium will stay for quite some time, but not as strong as it was. Many people (also non audiophiles) still use some sort of device that support red book replay and new releases are coming out daily on this medium. It's not the future, but it won7t disappear any time soon. Does the future then belong to digital streaming? Good question. We've seen with French Devialet (see our review of the D-Premier AIR HERE http://highfidelity.pl/@main-345&lang=en ) and few other small companies that digital streaming is pushing the boundaries of what was possible up to present time. So far any kind of streaming was handicapped with reproduction quality. Even with 24bit/96khz there is an instant recognition of lesser quality. In due time it might get perfected to the level of direct digital cable connectivity, but so far it fails in the ultimate sense. Streaming media use mainly wi-fi and bluetooth as a transfer protocol. This is still niche industry and it takes a lot of time and funds to perfect. Devialet is working hard on making it work. With their 15 million euro injection they got and with the most impressive tech team being hired I have strong feeling that they'll reveal some impressive solutions in not to far future. So far Bluetooth dealt and still do with "limited" transfer. Technology works great within domain of phones, i-acessories, computers etc. but still fails at proper high end or hi-fi reproduction. We've seen and heard for example Burmester implementation. Easy handling and universally outreach is the key. Still song sound is of second nature. What do you think will be the ultimate specification for USB? DSD over USB is coming to the new devices. I think the industry will push the ability of USB to the max. What exactly will this translate into bits and kHz we'll see. It seems that along the streaming USB will become (and already is) an important digital transfer method. As USB upgrades (currently at USB3) performance will also advance. Asynchronous USB has become an unwritten standard for audiophiles as well as high resolution. We'll see what USB 3 protocol will bring regarding the speed transfer and stability. Trend with digital seems to follow the computers. Bigger, faster and better is the key. In past few years we all learned the hard way that setting up a state of the art digital system demands as much efforts and know how as setting of true high end turntable front end. Everything down to the smallest nuances matters. So, I do expect further refinements and advancement. Streaming audio and USB will develop jointly without a doubt. How about vinyl and reel-to-reel movement? Reel-to-reel is a niche market. Yes, their reproduction challenge the best vinyl and digital releases with their master track quality, but the technology, knowhow and funds needed to use them properly are never going to become mainstream. Now, vinyl is a different story. I'm very happy to see the "return" of vinyl. Sadly it won’t catch up with digital, but vinyl can bring something different to the table. It reveals the culture of handling with music being and going beyond just a concept, changing the way that we listen to music. Even younger generations are getting on the analog train and can hear the difference. For me a well configured analog system still sound much better then 99% of digital. I know it's a bold statement, but I had a privilege of listening to some of the best digital converters and setup and so far nothing convinced me even so far to conclude it in any other way. Contemporary digital is good. Actually great. Yet, there is something that simplye doesn't convey the music as is should be. I've done my elaborate homework and I actually grew up with the digital revolution side by side. Being a geek at heart I’ll never push away any new technology, DAC, software etc. As said great times ahead, but in ultimate sense... still a lot to hanker for. Please tell us about the audio market in your country and how it differs from other countries? I guess our national situation is non different from around the globe. High-end as it was became a dying beast. Only few high-end shops are still around and people are moving towards online buying and references. I'm the first one to support local distributors and dealers as some of them are the best advocates of high-end audio culture, yet as William Gibson said we live now in a crazy world and have no future because our present is too volatile. What do you think about the future of audio, which direction will it go? We all see the digital nature of audio future. It will develop and become more affordable. With digital the step down of state of the art happens very quickly. Vinyl will stay an interesting medium as almost all more or less recognized artists are bringing their albums also on vinyl. Now, I wish they would put more efforts into the separate analog mastering. We’ve seen with the labels like Morten Linderberg 2L, Opus 3, Stockfish records that same high-resolution digital masters on vinyl transfer can sound phenomenal. 2013 is the year of life style products and we can see this trend coming “back” into the high-end. Some sort of future retro reunion. Compactness and integration of many technologies are becoming a standard and a must. This is in no way a bad thing as it brings the easiness of handling with music and audio gear to the hands of much more people then just audiophiles. We need more enthusiasts over at high-end audio society to survive in a long run. It’s a fact that lifestyle product are the thing of rising demand. Dan D'Agostino told me this year at Munich High-end audi show in our interview that he plan to bring cost no object lifestyle product as there were numerous requests. New Wadia Intuition 01 is clear sign, Devialet Premier D needs no introduction. As we speak many high-end audio manufacturers are working hard on new products with true integration and shape . This is one branch of high-end future. There will still be a market for separates as it's within nature of audiophiles to change and try new things, “voice” their systems and experiment with different setups. Other branch is an over growing movement of luxury components. There are some amazing products with the premium pricing, but it feels that became a mandatory how high price relate to high performance. This concept is as wrong as it gets and is keeping the people away from high-end. I written many times, how I see audiophiles in general as healthy intellectuals. They are critical and wise, but luxury labeling is killing the true spirit. We don't need luxury for the sake of luxury. It’s an death end. Please describe your audio system(s). My audio system is in constant rotation due to the review items with quite few steady players. Bellow is a complete list, but I would expose a few stand outs like: Mactone MH-300B amplifier, Robert Koda K-10 preamplifier, SoulSonic Impact speakers, Arte Forma Perla preamplifer, Burson Conductor DAC and preamplifier, Lampizator Level 4 DAC, Goldenote Baldinotti blue MC cartridge, Skogrand, LessLoss and High Fidelity cables etc. Matej Isak’s reference system Integrated Amplifier: GoldeNote S-3 Signature II Amplifiers: Musical Laboratory Bosangwha monoblocks, April Music Eximus S1s, Sanders Sound Systems Magtech, YBA Passion 650, Mactone HH-300B Preamplifiers: Lamm LL2, Musical Laboratory Paeonia passive preamplifier, Woo Audio WA2, Thomas Funk LAP-2.V3, Burson Audio HA-160 D, Burson Soloist, Robert Koda Takumi K-10, April Music Eximus DP1, Burson Conductor, Arte Forma Perla Passive amplifier: UCA Unidirectional Current Accelator Speakers: Sonus Faber Elipsa Auditor, Ologoe Five and One, Sound Design Tcyhe Audio Rack and furniture: Solid Tech Rack of Silence Reference 4, HifiRacks Ltd. Modular rack system, Music Tools ISOsquare, EMMESpeakers EMMERack Audio Rack Isolation platorm: Pro Audio Bono Basic and Reference Anti Vibration Platform, CA Electronics Damping Plate Isolators Absorbers: Solid Tech IsoClear, Solid Tech Disc Holder, Solid Tech Dics Of Silence, Solid Tech Feets Of Silence, Alto Extremo Neoflex, Viablue absorbers, Agora Acoustics MagicHexa™ Isolating and absorbing feet: Alto Extremo Neo Flex, Electronics Ceramic Cones XS Resonance passive control: Shun Mook Mpingo discs Headphones: Sennheiser HD-650, Sennheiser HD-580, Sennheiser HD-800 Headphone amplifier: Burson Soloist, Burson Audio HA-160 D, Burson Conductor DAC – Digital Source: Lampizator Level 4 DAC, Burson Audio HA-160 D, Macbook pro, Halide Design S/PDIF Bridge, MHDT Labs Havana, Apple IMac, Apple AirBook, Brik Audio Bluetooth digital receiver and DAC, Kingrex UD384 +U power, , Antelope Audio Zodiac DAC with Voltikus power supply, April Music Eximus DP1, Burson Conductor Bluetooth: Brik Audio Bluetooth digital receiver and DAC Analogue Source: Mono Stereo Reference turntable, Thorens TD-235 Analogue accessories: CA Electronics Ceramic LP Puck LW, KeyStrobe Lights & Discs turntable speed adjusters, Pathe Wings Record Clamps and turntable mat, Spin-Clean - Record Washer System MKII Tonearm: Pole Star PS-UNV2 Tone Arm Headshell: Pole Star Aluminum/Chrome, Yamamoto HS-1AS 6N and HS-3 Head shell Cartridge: Goldenote Baldinotti MC, Nagaoka MP-500, Miyajima-Labs Shilabe Stereo, Miyajima-Labs Premium BE Mono, Miyajima-Labs Kansui; Denon DL-103, ZYX Omega X Phono Preamplifier: Tom Evans Audio Design Microgroove X +, Acoustic Preference-Reference one, Aries - Cerat Talos Reference, Clearaudio Balanced Speaker Cables: LessLoss AnchorWave speaker cables, Audionova Moonwalk MK2, Skogrand SC Air Speaker Cables, Tellurium Black Q speaker Cables, Marc Audio Silver, Skogrand SC Markarian 421, Element Cables Connoisseur Cable isolators: ESD Cable Isolators, CA Electronics ceramic cable isolators Interconnects: LessLoss AnchorWave interconnects, Artisan Silver XLR, Audionova Aurora MK2, Tellurium Black Q interconnects, Giant Killer Audio silver, Marc Audio Silver Cryo treated, High Fidelity Cables CT-1 interconnects, Skogrand SC Markarian 421, Element Cables Connoisseur Digital Cables: High Fidelity Cables CT-1 digital cable Power Cords: LessLoss DFPC power chords cables (3x), Sablon Audio power chord, Shielded Power Cord GigaWatt LC-2 (MK2) Power Strip: Filtering Power Strip GigaWatt PF-2 Power Distributor: Furutech ETP-609E Power Conditioner: Audience Adept Response aR6 power conditioner, Tombo Audio PPSC Passive Power Supply Conditioner Power Filter: LessLoss Audio Firewall Acoustic treatment: Organic Acoustic pure organic panels, Advanced Acoustics panels, Avcon Grande acoustic panels, Astri Audio Qseries acoustic treatment panels, absorbers, bass-traps Accessories: Entreq power chord energy transmiter USB & Computer cables: Entreq USB cable Ambient field conditioner: LessLoss Blackbody 4 x Tubes: KR audio KR 300B 4x I have on my hand few listening rooms when needed to confirm my findings or clear out any doubts related to room acoustics. One important factor is to expose review items to different settings. Most of the audiophiles and music lovers don't have a luxury of dedicated and fully treated rooms. So down to earth rooms with the access to fully acoustic room is best combination for balanced review. Could you list, say, 10 album titles the readers of “High Fidelity” should buy and listen to straight away? - John Coltrane, A Love Supreme - Michael Franks, Abandoned Garden - Dirty Projectors, Swing Lo Magellan - Anne Bisson, Blue Mind - Zlatko Kavčič, Roundtrip - Sam Cook, Night Beat - George Harrison, Living in the material world - Pat Metheny, Bright Size Life - Jaco Pastorius, Jaco Pastorius - Arturo Toscanini, Wagner, Tannhauser Overture - Other People Place, The - Lifestyles Of The Laptop Café - Rasa, Everyting you see is Me Thank you for the interview! Me too :)