he list of Japanese audio companies that are not – and probably will not be for a long time – represented in Poland is longer than the one listing the companies we have already “touched.” A cursory glance at the latest issue of the "Stereo Sound" quarterly, the bible of Japanese audio lunatics, that is music lovers and audiophiles (each country has its own madmen), immediately returns such names as: Technical Brain, Kiso Acoustic, Uesugi (U-Bros), AET, Zonotone, TAOC, Aracraft (Tedius), Ikeda Sound Labs, Fundamental, ORB, or Nanotec Systems. These are only the names I have found featured in large commercials and reviews, without going into the smaller classified ads. It is a completely unknown to us, infinite universe. Even supposedly well-known brands like Esoteric, Fostex or Audio-Technica are rather familiar to us by their names as their products are nowhere to be found on the shelves of audio stores. The reason for all that is that although we seem to know quite a bit about Japan and its perfectionist audio market, the truth is much more prosaic. We only catch a faint glimpse of the dazzling wealth that surrounds the Japanese audiophiles every day. All the more we need to grasp and to hang on to any refined audio products from the manufacturers that we come across for the first time. About the time of this review, the two top items in the news section of the Robert Koda website were about the newest distributor, SoundClub from Poland, and about the launch of a new flagship preamplifier, the Takumi K-15. At the same exact time, I received information that the F-15 was sent to me for a review. True global village, this time. Robert Koda LLC was founded in Tokyo in 2008. The company grew out of the passion and experience of Robert Koch, a self-taught music lover and audiophile who for years had worked for Audio Note Japan (Kondo), one of the highest rated Japanese audio brands. After the death of Mr. Hiroyasu Kondo in 2006, he decided to work independently and taking the maiden name of his wife he went out into the world. But first he had to be born somewhere. This happened to be in South Africa, in a family "infected" with audiophilism. His father was an avid lover of high-end sound. His parents’ first concern when looking for a new home would be living room acoustics. Before he decided to realize his dream of life and create his own audio system, Robert was gaining experience working in the audio industry for 16 years. He was selling and servicing audio equipment from many manufacturers, which also led him to the conclusion that he could design better and more durable components. After learning about Kondo products, he naively decided to send his resume to Japan, asking for a job. As one might expect, nothing came out of that. During a prolonged leave that he spent in the UK, he managed to get a job in Audio Note UK. It was there that he was noticed by Hiroyasu Kondo, during one of his visits, and brought to Japan. As we read in the "Audiotechnique" magazine, published in Hong Kong (April 2012, No. 367), the work in a small Japanese family business was difficult to bear for a man born under the big skies of Africa. He parted ways with Kondo three times only to come back each time, being driven by thirst for knowledge. He participated, among others, in designing the M1000 preamplifier. After the death of Kondo-san, he teamed up with his successor, Mr. Masaki Ashizawa, his close friend. It was then that he designed the MkII version of the M1000 and a DAC. His thoughts, however, were already preoccupied with his own design. The decision to cut the umbilical cord was sealed by the fact that Kondo was changing its address and moving from Meguro to Kanagawa, far from Robert’s home. It was THAT moment. The first product that made the new brand known in the circles of advanced seekers of the audio absolute was the K-70 power amplifier. Once seen, it sunk for a long time in memory, not only through its perfect workmanship and sense of proportion, but also a rather unusual design. This “tri-chassis” power amplifier consists of two monoblocks and a power supply housed in a separate chassis, for a single-ended hybrid design employing over 30 power transistors and a pair of 5842 triodes in each monoblock and 6X5 rectifier tubes in the power supply. "Hi-Fi News & Record Review" quotes Mr. Koch saying that the K-70 is his "vision of amplification’s ultimate form" (John Bamford, Paul Miller, Robert Koda Takumi K-70 (£ 35,000), "Hi-Fi News & Record Review," April 2011, see HERE). Due to its triple chassis configuration, the total amplifier weight is a hefty 80 kg (!). The K-70 delivers 70 watts in pure class A. Each amplifier is hand crafted by Mr. Koch and manufacturing is limited to just 20 units a year. Its fascia in champagne gold finish, reminiscent of a few other Japanese brands, was used again in the K-10 preamplifier that was created in 2011, at the explicit request of Robert Koda distributors. Music lovers simply wanted to have a complete audio system. The preamplifier proved to be a solid state design, just like the third product in the company's history, the Takumi K-15 preamplifier under review today, announced as Robert Koda flagship product. The unit is beautiful. Its champagne gold finish of the fascia is further emphasized by golden details including the logo, looking very similar to the logo of Eric S. Design from Poland, the rings around control knobs and the large nameplate on the rear panel, with the unit’s serial number and other information. I am sure that you can also order a nameplate with your own name. Although from the outside the new preamplifier looks similar to the K-10, its design is more sophisticated. The manufacturer claims dynamic range of 148dB, which - if confirmed - would be an amazing achievement. It beats even the top Soulution designs by a few dB. The K-15 sports five line inputs, each one both single ended, on beautiful Furutech RCA connectors, and balanced on XLRs. Volume control is handled by a 32-step L-pad attenuator, with only two resistors in the signal path at any given step. The heart of the unit is the proprietary ITC MKII circuit, Robert Koch’s original invention. The power transformer and mains switch are housed in a Mu-metal shield. A characteristic detail is the power indicator light hidden behind a large ruby. The preamplifier has no remote control. A few simple words with… ROBERT KOCH, Robert Koda’s owner, designer Wojciech Pacuła: Why didn’t you use tubes in the K-15? Robert Koch: Well, I am very fond of tubes but with the K-10 we managed to develop a pre-amplifier that could outperform tubes yet not leave a solid state flavor. The K-15 is very much built from the basics we learned while developing K-10. I shall reserve my use of tubes for applications where they are most suited. What is ITC MKII and how does it differ from the older one? ITC is a simple and elegant, unique circuit I developed specifically for pre-amplifier use. It is an arrangement of semi-conductors that specifically addresses distortion issues that do not show up in conventional testing procedure but may be of much greater (sonic) importance than measurements like THD and the like. ITC MKII is simply an improvement on the original. Mark II includes an extra stage of buffering, has a lower distortion and an even higher dynamic range. These improvements come from both better parts and the use of schematic refinements. It took quite some effort for us to see beyond the original ITC but we were able to make a significant leap. Who makes this gorgeous attenuator for you? It is built for us in Tokyo by a famous audio company. We were very lucky to have them do it for us but we do work with them quite a bit in terms of supply of highly specialized parts. What is your current home audio system? Well we recently moved and built a music room out of two existing rooms. Only problem is we are having quite a bit of water coming in during the strong typhoons that we have here. We are trying to solve that problem and once solved I can complete the room. In terms of electronics, well, I use K-15, K-70, my own custom DAC/Master clock and Kondo cables mostly. I bought a pair of Vivid Audio G2s the other day and they have a nice transparency. SOURCES Matej Isak, Interview with Robert Koch of Robert Koda Takumi K-10 preamplifier, „Mono and Stereo” July 2011, see HERE John Bamford, Paul Miller, Robert Koda Takumi K-70 (£35,000), „Hi-Fi News & Record Review”, April 2011, see HERE Lincoln Cheung, Robert Koda Takumi K-10 Pre-amplifier & K-70 Power Amplifier, „Audiotechnique” April 2012, nr 367, see HERE Albums auditioned during this review Music For A While. Improvisations on Purcell, Christina Pluhar, L’Arpeggiata, Erato 4636203, CD + DVD (2014). Show Band, Punkt styku, GAD Records GAD CD 013, CD (2014). Jim Hall, Concierto, CTI/Mobile Fidelity UDSACD 2012 SACD/CD (1975/2003). Karl Bartos, Off The Record, Bureau CD 974282 BB079, CD (2013). Martyna Jakubowicz, Burzliwy błękit Joanny, Universal Music Polska 376 131 8, CD (2013); Miles Davis, The Complete Birth of the Cool, Capitol Jazz/EMI 4945502, CD ([1957] 1998). Miles Davis, The Original Mono Recordings, Columbia Records/Sony Music Japan SICP 30521-9, Blu Spec CD2 x 9 (1957-1964/2013) Porcupine Tree, Deadwing, Lava 93437, CD (2005). Portishead, Dummy, Go! Disc Limited/Universal Music Company [Japan], UICY-20164, SHM-CD (1994/2011). Sohn, Tremors, 4AD/Hostess CAD3403CDJ, CD (2014). The Modern Jazz Quartet, Pyramid, Atlantic Records/Warner Music Japan WPCR-25125, “Atlantic 60th”, CD (1960/2006). Wes Montgomery & Wynton Kelly Trio, Smokin’ At The Half Note, Verve 2103476, "Verve Master Edition", CD (1965/2005). It's hard to believe it's been already almost two years since we published the “High Fidelity” issue entirely dedicated to preamplifiers. The August 2012 issue No. 99 was intended as a look through the audio market for the most interesting, most promising preamps in the high-end category (see the ARCHIVE and scroll down for the August issue). I had no chance to reach all designs, not even a representative part of the market. This did not matter, however, because I meant it to be a representative sample of what can be achieved in this area. I would later add to the list more designs that struck me as worthy of interest, such as Jeff Rowland Aeris or, recently, Dan D'Agostino Momentum Preamplifier. Combined with the previously reviewed Ayon Audio Spheris II and Convergent Audio Technology SL1 Legend http://highfidelity.pl/@main-133&lang=en , it gives us a pretty solid overview of the top line preamplifiers. However, regardless of how many products I quote and what kind of prices I throw at you, first we need to ask ourselves a fundamental question: is the preamp at all needed? Since each time I try to present another interesting version of the same answer and I am slowly running out of ideas, this time I will say briefly: YES, in 99.99% of cases. The remaining 0.01% covers the cases where the audio system is designed, built and adjusted for a direct coupling of source and power amplifier. Like the flagship system from Ancient Audio, for example. Except that in this particular case the preamp is absent "on the outside", as volume control is the fundamental, and sometimes sole, function of the preamplifier. The preamplifier is therefore essential from a technical point of view, even if just for volume control. In my opinion, it is preferable as an active audio component. It brings to the system dynamics, fullness and bass which passive systems are usually lacking, and a sort of "density". If anyone should still think that the top components are all equally great and, hence, sound similar to each other (as there is only one natural sound), they need to think again. My point is that audio products are designed and made by concrete people, and are a manifestation of their views on how the home audio should look like. There is no agreement on that, and even though we share a broad consensus as to what does and what does not constitute a good sound, there remains a wide margin of discretion. It therefore comes as no surprise that Robert Koch has his own idea of ​​the sound of audio system. Knowing his story, it is not difficult to guess that one of his sources of inspiration was the sound of components from Kondo. Rich, warm, thick, putting emotion before calculation. How he managed to do it using solid state technology seems absolutely unique to me, and hence very interesting. The reviews of the K-70 power amplifier that I have read share a common conclusion that runs as follows: a hybrid amplifier with solid state output stage that sounds like a pure-bred tube amp. The same relates to the K-15, provided that "tube amp sound" denotes something other than warm, plump, rounded. It is true that top audio products show a similar sonic character, maintaining the signature features of their individual designers, and it makes less difference which components or what kind of design ideas are used. Indeed, certain characteristics of tube technology are still not repeatable in solid state designs, but the same can be said the other way round. They have, however, no bearing on the product rating but only on its description, as a whole "package" that we either “buy” or not. The "tube character" of the preamplifier under review today, for example, manifested itself as the absence of any sharpness. The sound was silky smooth. And as colorful as silk Japanese kimonos. The machine did a sort of "remastering" of poorly produced albums. Maybe even not quite poorly but simply those exhibiting some problems. The new album from Martyna Jakubowicz shows a fair amount of compression, intelligent but manifested as bringing vocals and guitars forward, with a simultaneous dulling of their "head" and veiling of their texture. It may also happen that sibilants get somewhat "separated" from vocals. They are not overly bright or sharp, but simply not always are part of vocal emission. The K-15 put it all together into one sensible whole. I was listening to this album for a long time because it was an interesting experience. One moment there was something “not quite right” and the next moment it was gone. The effect of this treatment was very clear. Much less was the fact that it was a "treatment" superimposed on the sonic texture. It was something "underneath" the surface, some kind of mechanics hidden beneath the music layer, which operated without leaving any fingerprints. Of course, the fingerprint manifested as the change of sound, but the print itself was not visible. For some time, I suspected that the machine was simply rounding over attacks and withdrawing treble. But it was not so; the highs were better built than on my Polaris III and only the Dan D'Agostino preamplifier had showed something similar. As a result, I had a presentation that was fuller and closer to reality, in terms of the amount of information. When Alan Grant announces the band accompanying Wes Montgomery on the full version of his album Smoking’…, tape and microphone noise is audible. It is not particularly disturbing and does not sound like a hiss; it is simply there and we know that it is an inherent part of the recording. It is all good. But the moment the whole band starts to play, the K-15 showed a rise in noise level, as if the instrument microphones had been earlier turned down or the intro had undergone additional processing during the remastering. Normally, the noise is masked by louder sounds. During a live performance, we know that it is there but – just like on vinyl – we do not interpret it as distortion as much as part of the “whole package,” alongside the music. The same was true here – the low frequency noise did not disappear, as it does with almost all other preamps I know, but simply was quieter. It does not mean, of course, that I was listening to noise. All I am saying is that it is simply part of the recording, which allows to figure out many things and which shapes the sound at the same time. The K-15 did not emphasize this aspect; I would even say that it was blended into the presentation in an extremely refined way. It made sense and was significant because Mr. Koch’s preamplifier is exceptionally resolving. I would mostly call it smooth, thick and full, and right after that resolving. It was capable of showing things in the recording which I rarely ever hear, even on magnetostatic headphones, like delicate bass harmonics in the starting passage of Złe sny (“Bad dreams”) from the new Martyna Jakubowicz’s album (with Marcin Pospieszalski on bass), or the change of timbre of the low bass on the opening track Tempest from Sohn’s album Tremoros. These were subtle changes but they made the sound even more alive and gave it deeper musical meaning, making it simply more interesting. The Octave Jubilee preamplifier is very similar sonically, except that in its case it actually results from a slight warming of the sound. It shows slightly better three-dimensionality and depth, but at the expense of clarity. In turn, the Convergent Audio Technology SL1 Legend sounded warmer than either of these two units, presenting a true tube sound in the full sense of the word. Its density and fleshiness were simply phenomenal. Very close to the American Legend would be another American preamp, the Aeris from Jeff Rowland. However, the resolution and differentiation of both the Jubilee and K-15 are on a completely different level. The closest sonic match to the component that is the result of Mr. Koch’s love for music were two different design preamplifiers, the solid state Momentum Preamplifier from Dan D'Agostino and my Ayon Audio Spheris II (I'm still waiting for the version III). They both sound lower and meatier than the K-15. Their soundstage presentation is different, too. The flagship Robert Koda’s sound is somewhat recessed behind the speakers, slightly more distant, closer to the live presentation. In turn, the Ayon and Dan sound meaty, showing the foreground closer up and more palpable than what one hears in the concert hall. Which one is true and which is not? Here we get to the heart of the preamplifier dispute. It all depends on what we define as "true." If the live sound is the "absolute sound", then Robert Koch is right and other preamps of this type, like the Accuphase C-3800 (I apologize for forgetting about it earlier on). On the other hand, if what is true is the sound on the physical medium, recorded in the studio or live in concert, the other preamplifiers take the prize. I dare not publically declare myself in favor of either "truth". If we were sitting over a beer and having fun, and someone asked my personal opinion, I would say that I don’t care about truth and that I choose what I like better, which is the sound of the Momentum, Legend and Spheris. That is, however, only my personal opinion and I do not want it to be binding. For I cannot help thinking that it is Mr. Koch who might be right. Maybe one needs to put together a matching system and stick to this particular presentation. Since all recordings are presented in this manner, it is not an aberration but rather a conscious and consistent pursuit of top quality sound. But perhaps this is an unnecessary, purely academic discussion, because the K-15 is such an outstanding piece of equipment that even with its different vision of home audio reproduction I cannot but admit that I have yet to hear a better implemented vision of sound. Conclusion As I said, each of the top preamplifiers sounds different and brings in a different package of features. There is no component that does everything on an equally good level at the same time, or even one that simply sounds "neutral." That can only be guaranteed by a live sound. Therefore, one needs to pick and choose, like in a buffet. Luckily, the shelves are full. The K-15 sounds very soft. It is a good kind of softness. It does not seem rounded on transient attacks or recessed in the upper midrange. I would rather say that its outstanding resolution allows it to steer clear of the problems of most other products that contour the sound to achieve better clarity, selectivity and dynamics, at the same losing its natural "velvet". Resolution and differentiation are exceptional; I have only heard something similar from the Ancient Audio Lektor Grand SE CD player and Vivaldi dCS system coupled directly to the power amplifier. The Takumi K-15 is warm but extremely disciplined. At the same time, it shows soundstage layers at a distance from the listener, which is a break from what other companies have made us used to, that is if the sound is warm and velvety it is also close, at hand’s reach. Such a unique combination of different features gives the Japanese preamplifier a distinct personality and makes it easy to find out if that is what we are looking for. Its design is flawless, watched over by Mr. Koch’s spirit. The sound is similar; it is absolute top high-end that maintains its own sonic characteristics, distinguishing it from other flagship components of this type. Show Band PUNKT STYKU GAD Records, GAD CD 013/GAD LP 002, CD (2014). This album is by an unknown and completely forgotten band from the 1970s, It has the subtitle Lost Gem of Polish Funk, which is absolutely true and does a good job at describing what we’re dealing with here. Although “unknown” is a term I’d only use to talk about its title – a large part of Polish people over the age of 40 have heard Show Band, although they had no idea they were actually listening to the band fronted by bass player Anatol Wojdyna. Their composition titled Trzy kroki was used in the Polish TV show, 07 zgłoś się. The band mainly played on cruise ships and in restaurants, and, as we read in the accompanying materials, they won the hearts of people all over Scandinavia. In Poland, they spiced up carnival parties at the Forum hotel. Keeping in mind the band’s restaurant-dancefloor “background”, it’s hard to believe that the same people recorded such a fantastic album. The music on Punkt styku is funk-jazz at its best. But it’s easier to accept the fact that this material have been waiting so long to see the light of day once you know that Anatol Wojdyna, while founding Show Band in 1972, gathered musicians from Klan (Maciej Głuszkiewicz, Hammond’s organs) and Breakout (Jan Mazurek, drums) to cooperate with him. The album was recorded in mono (!) during a one day session, on February 2nd, 1974, in the Documentary Film Studio in Warsaw, and was remastered by another former member of Klan, Mr. Andrzej Poniatowski, working with the original analog tapes and then with 24-bit files. It was this digital, 24-bit material which was used to press the ultra-limited vinyl edition. It’s no longer available and sold out much earlier – only 300 numbered copies were released. The front cover is a photo taken by Jan Morek, one of the legends of Polish press photography. This happy couple was celebrating the “People’s Tribune” festival. The photo of the band comes from the archives of Anatol Wojdyna. Unfortunately, it doesn’t contain any description or information about the photographer, and the artist himself doesn’t remember who took it. The photos in the booklet come from the vast archives of Grażyna Rutkowska who worked for the “People’s Daily” newspaper back then. She documented daily life in Warsaw – plenty of genius shots, e.g. of individual apartment blocks. It doesn’t come with LP, but the CD’s booklet contains a photo of the Stegna area while it was still under construction – the place where all of the music material would later be created, in Głuszkiewicz’s apartment. I already got used to the fact that material from the 1950s, especially jazz, both from the US and Europe, can sound special. But from the 1970s onwards, we’re faced with an unfortunate decay in the art of recording music. That’s why it’s such a nice surprise to see that the material released by GAD Records on Punkt styku seems frozen in the times of the best funk releases that I know. And jazz, too, with big-band as a thrown-in bonus. It was recorded for the Polish Film Chronicle and was originally intended to be used as a soundtrack, so it was recorded without any re-takes, pretty much from A to B. I think that’s one of the reasons for its great dynamics, great bass work and the kick drum’s power. The treble is slightly dry and lacks body, and is not as juicy as it is on Niemen’s Dziwny jest ten świat. It’s the only weaker spot that I have found, though. The album Punkt styku should find its place in every music-lover’s collection, if they like pop music. It’s superbly recorded, nicely re-mastered, and easily meets the world standards. The LP has an incredibly good cover photo (unfortunately I can’t find any information regarding whose photo it is), which can make you fall in love with the analog edition. This is one of the cases where size does matter. Let me conclude by saying that it’s a shame that GAD Records doesn’t have some sort of a “club” like the American Audio Fidelity does, and which offers some of the best CD remasters (on gold), SACDs and vinyl LPs remastered in the analog domain. I subscribed to it recently, and it’s a great idea. More details can be found and HERE. You’re obliged to buy at least two albums a month, but with a 20% discount. The latter might not be possible when it comes to GAD, since their prices really aren’t that high. But there could be some interesting bonuses instead. For now, I’m preordering everything that GAD releases to make sure that I get the black discs. I also strongly encourage you to do the same. Personnel: Anatol Wojdyna – bass guitar Maciej Głuszkiewicz – Hammond organ Jan Mazurek – drums Additionally Jan Jarczyk – Fender Rhodes piano Aleksander Bem – percussion Recorded 1974.02.02, Warszawa, Wytwórnia Filmów Dokumentalnych An interview with Mr. Michał Wilczyński, the owner of GAD Records, can be found HERE. Sound quality: 8/10 (plus my warm recommendation) The Takumi K-15 is a balanced line preamplifier, without a remote control. Gain is 8dB (V). Its dimensions are slightly different from the traditional "full-size" audio components because it is narrower and taller, which makes it look a bit like a sumo wrestler. The enclosure is made of anodized aluminum panels, finished in champagne gold. The bolts that hold the panels together are gold plated, just like several other details, including the logo on the front panel, the rings around the volume and input selector knobs, and the large nameplate on the rear panel. A very characteristic detail is the large ruby with the power indicator light underneath. The unit is powered on with a little knob like those used in Kondo components. The rear panel is just as beautiful as the front. You can see rows of great rhodium plated RCA connectors from Furutech, a newer version of those used in my Lektor AIR V-edition CD player. There are five pairs of inputs and two pairs of outputs, each additionally on balanced XLRs manufactured by Neutrik in Liechtenstein. Their pins are gold plated. Adjacent to them is a small toggle switch to select either balanced or single ended. Below you will find a ground lift switch to disconnect the ground from the chassis. There is also a large, rhodium plated ground terminal (from Furutech). The IEC power socket is more of a classic affair, this time not from Furutech. However, the preamplifier comes equipped with a quality Furutech power cord, model FI-E11 (G). The enclosure turns out to consist of two layers, an outer aluminum body and inside shell of lacquered thick copper plates. It is the latter that add to the considerable weight of the K-15. The interior looks phenomenal and reminds of tube designs. On the right side is the largest attenuator I have ever seen, with four separate rotary switches and multiple ultra-precision resistors designed solely for audio. It looks to be hand assembled to order and sports lots of copper and gold. The whole assembly is housed in a transparent acrylic box. Sensitive components, including the ITC gain stage, are shielded by “double encapsulation” – a copper shell and a Mu-metal capsule within. I was unable to remove the mu-metal cover. A long shaft couples the front panel knob to rotary input selector switch at the rear panel. An R-core power transformer and power switch are housed in a large sealed Mu-metal enclosure. Adjacent to it is the power supply board, with large Elna capacitors and voltage regulators. An incredible device! Technical Specification (according to the manufacturer) S/N Ratio: 114dB A weighted at 1V Dynamic Range: > 148dB (A) Gain: +8dB Input Impedance (RCA/XLR): 50k ohm/100k ohm Output Impedance (RCA/XLR): 30ohm/60ohm THD: < 0.00003% at 2V  [hfgallery] [img mini="foto_testy/1405/robert/th/05.jpg" big="foto_testy/1405/robert/05.jpg" src="foto_testy/1405/robert/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/06.jpg" big="foto_testy/1405/robert/06.jpg" src="foto_testy/1405/robert/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/07.jpg" big="foto_testy/1405/robert/07.jpg" src="foto_testy/1405/robert/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/08.jpg" big="foto_testy/1405/robert/08.jpg" src="foto_testy/1405/robert/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/09.jpg" big="foto_testy/1405/robert/09.jpg" src="foto_testy/1405/robert/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/10.jpg" big="foto_testy/1405/robert/10.jpg" src="foto_testy/1405/robert/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/11.jpg" big="foto_testy/1405/robert/11.jpg" src="foto_testy/1405/robert/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/12.jpg" big="foto_testy/1405/robert/12.jpg" src="foto_testy/1405/robert/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/13.jpg" big="foto_testy/1405/robert/13.jpg" src="foto_testy/1405/robert/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/14.jpg" big="foto_testy/1405/robert/14.jpg" src="foto_testy/1405/robert/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/15.jpg" big="foto_testy/1405/robert/15.jpg" src="foto_testy/1405/robert/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/16.jpg" big="foto_testy/1405/robert/16.jpg" src="foto_testy/1405/robert/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/17.jpg" big="foto_testy/1405/robert/17.jpg" src="foto_testy/1405/robert/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/18.jpg" big="foto_testy/1405/robert/18.jpg" src="foto_testy/1405/robert/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/19.jpg" big="foto_testy/1405/robert/19.jpg" src="foto_testy/1405/robert/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/robert/th/20.jpg" big="foto_testy/1405/robert/20.jpg" src="foto_testy/1405/robert/20.jpg" desc="HighFidelity.pl"] [/hfgallery]

e are witnessing a death of physical medium – that is certain. Someone once wrote and it was recently reminded by John Atkinson, the chief editor of “Stereophile” – “physical disks are so awfully 20th century”… (John Atkinson, NAD Masters Series M50 & M52, “Stereophile” 2014, Vol.37, No.5, p. 83). I am, however, equally certain that the rumors of their death are strongly exaggerated. There are a lot of interweaving factors, sociological as well as economical and those pertaining to sound quality, which will serve as a kind of “air bag” protecting the presence of vinyl and – that’s not a mistake – Compact Disk in the market for many years to come. The main sales channel will be streaming, of course; it already has 60% of sales in the USA. I do believe that the future belongs not even to storing the audio files locally in memory storage devices and playing them back whenever we like, but to the streaming of files straight from the cloud, similar to internet radio we know. That is how people around us will be listening to music. Us, because when I talk about the survival of physical audio formats I mean a specific group of music lovers and audiophiles who consider both the sound quality and extramusical factors as being important to create a total listening experience. That includes cover art and a physical contact with the record and printed booklet. The same refers to listening to a whole album and not just individual tracks. There is somewhere in us, again referring a group within the audiophile population (as I identify with it), a deeply rooted need for something “real”. As Michał Margański said in his program Potrójne pasmo przenoszenia (“Triple frequency range”, Polish Radio III), audio files do not have a designatum or referent – they do not “exist” as other physical things do. This, in my opinion (but I don’t think I am alone in that), we don’t like. As far as a turntable is concerned, all seems to be clear and there is no need to dwell on it. It is another matter with the CD, a format with rather poor reputation. The amount of information in vinyl grooves is incredible – all agree with that – and the progress in analog music reproduction will only help to reveal it. CD from the very start was recognized to be a mistake by a lot of manufacturers, including Linn and Naim (the then main advocates of vinyl). A natural development was the High Definition Compact Disc and HDCD players followed by high resolution formats, SACD and DVD-Audio, the last being replaced now by Blu-ray Audio. Now they are being joined by high resolution PCM and DSD files. When I look back at the last 10 years of my work, I cannot neglect the fact that both SACD and DVD-A (now BD-A and hi-res files) seemed to me as something that had just started developing. I have appreciated what they can offer, however, when it came to serious auditions, reviews and comparisons I would always choose the CD as a proven format and – for the last several years – mature enough to be treated on equal rights with vinyl. Has audio files changed anything here? Not much, even though it is only my personal opinion. I do believe that this format is much more immature than, for example, SACD. But the development of this audio branch is unavoidable and doomed to a rapid progress. It will nevertheless take some time and I do not want to waste it waiting – I just want to listen to music the way I like. That is why e-mails like that from the reader of “EnjoyTheMusic.com”, where he found my review of the Accuphase DP-720 player and commented “you must have had a lot of fun, trying not to laugh out loud, when you were listening to such an expensive physical media player, right?” or “It must be really funny to review such a player in the 21st century…”, are usually met with a shrug from me, as I realize that the person apparently does not understand a thing (see my review HERE). I do not intend to wage ideological war nor to take sides (as if there were any sides at all here). What I do intend is to present to my readers what I find most sensible and best, and to promote solutions that can benefit both MYSELF and my READERS. We have the common interest. And the CD is for me next to (or maybe slightly behind) vinyl the only source of audio signal which is mature enough to treat it as it deserves. That is why I still review CD players and it does not look as if it could change in the nearest future. What is particularly interesting in the fragment of e-mail that quoted, is the comment on price. It suggests that it would – possibly – make sense to review inexpensive CD players and those expensive should be completely eliminated from the market. It is a complete nonsense, because it was the cheapest physical media player that fell the first "victim" to audio files, and audio manufacturers such as Cambridge Audio, Denon, Marantz and others withdraw from them. While you can still find in their product lineups players from the entry level price range (up to 700 USD), these are exceptions, and the emphasis is on the medium and high price range. People with the most exotic and expensive audio systems also tend to be most conservative, and they usually have vast collections of CDs. And - more importantly – it is in their systems that the quality of Compact Disc format is most markedly manifested. That is true about Janusz’s place, where we usually meet as Krakow Sonic Society, and so it is about mine. Hence, I look at the launching to the market of a 27,000 euro CD transport as something perfectly normal and understandable (for differences between 'transport' and 'drive' see my editorial Transport, also known as the drive). As was demonstrated during the audition of the Vivaldi system from dCS, the CD is capable of sounding so inanely good that there is no need to change it for anything else, no matter how many bits and hertz it boasts (see HERE http://highfidelity.pl/@kts-465&lang=en ). And the Vivaldi is not even a CD player but Super Audio CD player. A dedicated CD transport is at an advantage right from the start. Looking at the latest version of CEC’s "pearl in the crown", one can be absolutely certain of this. The Double Belt-Drive CD Transport TL0 3.0 is surprisingly small when looked at up close and personal. In the pictures, it looks like a powerful machine, while in reality its outline is much smaller than that of the - already quite small - Ancient Audio Lektor Air V-edition CD player, which I use every day. But, from the very start, that was the idea behind the TL0 – to make the chassis as compact as possible by bringing the front, back and side panels closer together. As a result, the machine grew taller. It consists of two parts, isolated from each other with rubber damped spring assemblies. The bottom chassis houses the control circuits and display, and the upper drive mechanism with laser assembly. The proprietary belt drive mechanism has been developed by CEC and is manufactured exclusively by this Japanese company. Here we see its top, double belt version. One belt is used to rotate the disc and the other to move the laser pickup head. For all that to work properly, CEC engineers came up with upgraded firmware; a change of servo, shortening of the signal path and improved ground path weight are the most important improvements compared over the TL0 X. The CD is placed on the platter through a thick metal spindle and clamped from the top with a 460g heavy "stabilizer". The whole looks like a turntable platter and bearing assembly, with a long spindle that extends far below the point of support, has a large diameter and is quite heavy. The upper chassis is decoupled from the bottom using three rubber-damped spring assemblies, a solution called D.R.T. S. (Double Rubbers & Triple Springs). The bottom chassis features a small, not easily readable front panel display behind a mirrored glass (somehow I don’t have the best associations with that), and control buttons. The buttons are repeated on a very solidly built and user-friendly remote control unit, which can also be used to dim the display backlight and operate a CEC amplifier. The latter is an old design as the company’s current exclusive focus has been on CD transports and D/A converters. Compared to the previous version, the rear panel now features a whole array of outputs. In addition to the optical and coaxial S/PDIF, and balanced AES/EBU outputs, we now have the proprietary Superlink that transmits music signal and synchronization (clock) signal separately via 4 BNC 75 ohm cables. It is used to connect a CEC DAC. The problem is that at the moment the manufacturer does not offer a DAC of comparable quality to the TL0 3.0. I decided to hook it up to several DACs that I knew well from many other occasions. Basic auditions were conducted with the fantastic Accuphase DC901. For one, I knew how it sounds with the matching DP900 transport (I reviewed it for "Audio"), and two, I could also use the information about the system of one of our readers, Mr. Richard Aker from Tokyo, whose system includes top Accuphase products (he always receives from the company one of the first units), and who shared his story in the article titled Accuphase – yesterday, today and forever… (see photo no. 25). As you can see, Mr. Aker owns a complete flagship source from Accuphase. He is extremely pleased with it. And yet he has kept transport Compact Disc that he owned previously – the TL0 X from CEC. And he believes that CDs sound best on the latter. Hence, I duplicated his system. During the auditions, I additionally used the Ayon Audio Stratos DAC (reviewed for "Audio") and the Auralic Vega. The transports that I used for comparisons against the CEC included the Accuphase DP900 mentioned above and the transport section of the Lektor AIR V-edition CD player, i.e. the Philips CD-Pro2LF drive. It is worth noting that the Polish distributor, who for years have been using top CEC transports at home, uses a DAC from Vitus Audio. I did not had the chance, but I would bet a bottle of good wine that another brilliant partner would be the Reimyo DAP-999EX Limited http://highfidelity.pl/@main-447&lang=en DAC, designed exclusively for the CD, just like the TL0 3.0. The transports and DACs were coupled with my newly purchased Acrolink 7N-DA6100 Mexcel digital cable. The TL0 3.0 went on sale on December 3, 2013 year. C.E.C products in “High Fidelity” REVIEW: C.E.C. ASB3545WF Wellfloat – isolation platform, see HERE REVIEW: C.E.C. DA 3N and TL 3N – D/A converter + CD transport, see HERE REVIEW: C.E.C. CD 3800 + AMP 3800 - CD player + integrated amplifier, see HERE REVIEW: C.E.C. DA53N – D/A converter, see HERE REVIEW: C.E.C. TL53Z + AMP53 - CD player + integrated amplifier, see HERE REVIEW: C.E.C. TL51XR – CD player, see HERE REVIEW: C.E.C. TL1N/DX1N - CD transport + D/A converter (world premiere) , see HERE REVIEW: C.E.C. AMP3300R – integrated amplifier, see HERE REVIEW: C.E.C. AMP6300 – integrated amplifier, see HERE Albums auditioned during this review Music For A While. Improvisations on Purcell, Christina Pluhar, L’Arpeggiata, Erato 4636203, CD + DVD (2014). Art Blakey Quartet, A Jazz Message, Impulse!/Universal Music Company (Japan) UCCI-9043, “Best50. No. 43”, CD (1963/2001). Chet Baker, It could happen to you, Riverside/Fantasy/Original Jazz Classic OJC20 303-2, Super Bit Mapping CD (1958/?). Czesław Niemen, Dziwny jest ten ¶wiat…, Polskie Nagrania Muza/Polskie Nagrania PNCD 1570, CD (1967/2014). Derek & The Dominos, Layla, Polydor/Universal Music LLC UICY-40004, Platinum SHM-CD (1970/2013). Diary of Dreams, Elegies in Darkness, Accession Records A137, “Limited Edition” CD (2014). Dire Straits, Love Over Gold, Vertigo/Universal Music LLC (Japan) UICY-40029, Platinum SHM-CD (1982/2013). Dizzy Gillespie, The New Content, Limelight/Universal Music Japan UCCM-9097, “Immortal Jazz on Mercury. No. 47”, CD (1962/2003). Elvis Presley, Elvis is Back!, RCA/BMG Japan BVCM-37088, “Living Stereo”, CD (1960/2002). G.F. Haendel, Duetti da Camera, La Risonansa, Fabio Biondi, Glossa GCD 921516, CD (2014). Jean Michel Jarre, Essentials & Rarities, Disques Dreyfus/Sony Music 62872, 2 x CD (2011). June Christy & Stan Kenton, Duet, Capitol/Toshiba-EMI Limited TOCJ-9321, „Super Bit Jazz Classic”, CD (1955/2001) Peter Gabriel, So, Realworld/Virgin SAPGCD5, SACD/CD (1987/2003). Republika, Masakra, Pomaton EMI/EMI Music Poland 9529752, „Reedycja 2011, No. 08”, CD (1998/2011). The Hilliard Ensemble, The Hilliard Sound. Renaissance Masterpieces, Erato 4632795, 3 x CD (1985, 1986/2014). I think that despite the passage of so many years, digital audio technology is still somewhat of a puzzle and mystery. Engineers with good theoretical background, familiar with professional literature, perhaps even with experience and accomplishments in programming or in other areas where their knowledge translates to practice, tend to have a short simple answer – "a bit is a bit". And if you think differently than they do, you're a moron or a troll (but still a moron). Digital audio is nothing but a "stream of bits" that cannot be degraded, as long as they are transmitted in an appropriate manner. I keep it in mind each and every time I listen to digital audio sources designed by other type of engineers, who studied from the same textbooks and who operate within the same laws of physics, but who also have an extra asset that gives them a huge advantage over the first group. They know that theory does not describe everything and that its refinement leads to surprising results. And thus requires further research. First of all, in a laboratory, but in the next stage also in a listening room. The greater the product shows differences in signal reading, decoding and sending it out to the DAC, the more I try to keep it in my mind. And the CEC TL0 3.0 changes the sound in a unique way. Its sound cannot be mistaken for anything else. It is in a category of its own and is significantly different than that offered by the transports from Reimyo, Accuphase and Ancient Audio. It brings an interesting combination of an incredible saturation of the lower midrange (but also the whole midrange as such) and of detailness. Both of these aspects, I'm sure, result from resolution, which is here absolutely astonishing. Playing any CD, the first thing we hear is the density and energy in the subrange that has been responsible for notorious accusations hurled at the CD format. If there is something the CD has been criticized for, based on experience with vinyl, it is for sounding thin and dead. Both of these things, combined with the brightness of treble, resulted in the CD being labeled as sounding "digital". These days, "digital" is commonly associated with "better". However, in the circle of perfectionist audio for many years, and to a large extent even today, it has been synonymous with a sharp and unnatural sound. The CEC easily proves that this is rubbish, and the CD players that sound that way are simply bad players. Period. At any price level, it is possible to put together an audio system with a CD player in the main role, which will sound at least satisfactory. However, if we take the CEC we can create an absolutely top high-end digital system. As I said, its primary characteristic is an incredibly dense midrange, especially its lower part. Next to the CEC, the Philips transport used in my Ancient Audio CD player seems quite unremarkable. And yet the latter is fantastic on its own; I know it well from dozens of very expensive audio products and it has always stood up to the task. In audio, any product is fine and great as long as we don’t hear something better. After such an experience, something "clicks" in our mind and we hear everything from a different perspective, wider, deeper and further. As if we were too close before to see the details. A better unit helps us see our previous reference component from a proper distance, with all its advantages and limitations. Although now we get too close to the "new" to see its own limitations. And it remains that way until we come across something even better. To put it simply, a sonic improvement gives you a different perspective. You can now hear what your previous "reference" has been lacking. What the Philips drive is lacking is more density and selectivity. With the best CD players I know, like the flagship Ancient Audio, Vitus and Jadis, the sound is outstanding. But to some extent it is the result of further signal processing in their D/A converters. The transport itself is excellent, one of the best designs that have graced the audio industry. However, there are even better ones, like the CEC for example. The density I am talking about results in a sound that is very similar to what we hear from high-end turntables. Elvis on his album Elvis is Back! sounded insanely good: deep, low, with clearly emphasized low registers (emphasized by the sound engineer, not by the system). Fever was as moving as rarely ever before. Played shortly after that, Michael Bublé rendition of that song was interesting, but not half as inspired. It also sounded much worse – flatter and boring. And just to think that it has already been 54 years since Elvis is Back! was recorded! And blimey, how well those unique tracks from Jean Michel Jarre’s Essentials & Rarities (I’m referring to the "rarities," of course) sounded! If I thought that the album from the king of rock ’n’ roll sounded deep, the ultra-low and dense electronica tones and percussion instruments recorded by the author Oxygene made me quickly change my mind. In my listening room, everything is set up in such a way as to minimize any vibration caused be low frequencies. But sometimes I’ll get some rattle. Rarely, sporadically, but it does happen. And it does not really matter to go as deep as possible, even less to play as loud as possible. Most albums, even when played very loudly, don’t make any impression on furniture and room equipment. What is really needed to “move” them is energy, and that’s something completely different. The sounds recorded by Jarre onto rather primitive reel to reel recorders turned out to be fantastic through their density and energy that they transferred into the room, “energizing” everything within: the air, furniture and equipment. Density is one thing, but a large amount of information in the treble department is another. Transports that are based on the Philips CD-Pro2 drive have an exceptional resolution. But they also have a tendency to round off the treble attack. Having said that, I need to quickly add that sometimes, although very rarely, with a not properly matched DAC, it may result in a slight sharpening. Let me explain. Intuitively, we perceive sound in such a way that if it is sharp we recognize it as an exaggerated attack, and – usually – too high level of treble. On the other hand, when the sound is smooth and warm, we take it as being rounded off, showing loss of detail in the very first few milliseconds of each tone. But that’s not how it works in high-end. The better resolving the component, and the better-preserved the attack and leading edge, the warmer it sounds. And that means it sounds more natural, “physiological”. The bigger the problems with keeping pace – which the attack is necessary for – and the more blurred the pitch, the more aggressive the sound. It’s that simple. The tweeters are the best example. Silk domes, or generally fabric domes, sound “wet” in comparison to good ceramic or diamond tweeters; some of them may even sound harsh, or “prickly”. Ceramic always results in a warm, creamy sound. It is exactly because it is stiff and doesn’t blur the leading edge. It has its own problems, but in this particular instance it is special. As are planar speaker drivers. The best transports and DACs sound as if they were diamond, beryllium and ceramic domes, best ribbon drivers and Heil’s Air Motion Transformer. Among them, the CEC is "first among equals". For the first time since the TechDAS Air Force One turntable had left my system, I was listening to CDs with pleasure. It was a kind of longed-for breath (see HERE). No, it was not identical sound; the Japanese turntable has been unrivaled and only a full dCS system and a reel to reel recorder managed to show something on its level (although each format in its own way; see HERE and HERE). And this time I had neither the master clock nor the upsampler that are key to dCS sound. I remembered the effect of the upsampler in the system, and how the sound was affected by different master clock cable, not to mention the clock itself. Here, I simply had a "bare" transport. And, as such, it was simply outstanding. Together with the dense midrange we also get a very open treble. Saying "open" I do not mean bright. In this regard, the CEC does not manifest its own character but rather reveals the character of the DAC. The transport appears to "set" the character of the midrange but not of the top and bottom end. That’s why with the Accuphase DC901 I had extremely saturated and dense treble, with a trace of hardness. But that is part of Accuphase philosophy of sound, which the manufacturer held on to for a long time and has been working on improving, without changing it. dCS players used to sound similar, showing an even stronger shape of cymbals and reverbs. In turn, the Ayon Stratos brought a calmer sound, but not so sonorous and without such perfect bottom end. But even that pairing left the impression that the Japanese transport sounded open and convincing. Conclusion I have mostly concentrated on the tone color that we are able to get with the TL0 3.0. The reason is that it seems to me its most important asset, in which it approaches the best turntables. It is exactly the same philosophy of sound as in the Air Force One or products from SME. A full Accuphase system sounds smoother, but mostly on SACDs. On CDs it is slightly less resolving and does not have such a beautiful midrange. The dCS system is smoother, and its sound even more natural and fluid. But I’ll bet dollars against donuts that a 90% of credit for that goes the sound processor and master clock. With them, the CEC transport could show something even better. Marveling at the color I have not forgotten about the space (holography) and dynamics. Both are excellent, although one can indicate their certain "tendencies". That includes bringing the image closer to the listener, which favors smaller jazz ensembles and classical music. Large ensembles, such as Benny Carter's big band accompanying Dizzy Gillespie on the album The New Content, were beautiful in their dominance, order and composure. But yet, over time I preferred to listen to more and more albums featuring smaller ensembles. On the other hand, rock albums were unbeatable, especially if they had been recorded and produced so carefully as Republika’s Masakra. Electronica was flawless, too. I doubt I’d ever heard such great sounding krautrock albums at home, except perhaps on vinyl. I would love to have something like that only for myself, with a dedicated master clock and upsampler. The TL1 from CEC was a belt-driven design but it had a totally classic looks. The disc was loaded from the top, like in all transports using the Philips CD-Pro2 drive mechanism. The TL0 was a complete departure from that, by separating the upper section with the drive mechanism. It is decoupled from the bottom chassis by means of three rubber-damped springs assemblies called D.R.T.S. (Double Rubbers and Triple Springs). The whole rests on three metal spikes. It is notably reminiscent of the design solutions used in turntables, and that was exactly the idea. This is not the first case that certain design solutions employed in a mechanical system, which is what the turntable is, are applied to – seemingly – fully electronic mechanism, which is the CD player. Fortunately, we know that the turntable is not only mechanics, and the CD player just electronics. Oracle Audio seems to think similar and, alongside the Delphi turntable, now in Mk VI version, it offers the extremely similar looking CD 2000 MkIII transport, suspended on four damped springs. The drive mechanism itself, however, is the classic Philips CD Pro-2LF. The CEC of the upper drive mechanism chassis is a sandwich of two different types of metal, a 20mm aluminum top plate and a 10mm brass bottom plate. The motors and the bearing are mounted to the bottom plate. This sandwich design is extremely effective in damping vibration. The main bearing assembly is as solid as a turntable bearing. The 5mm spindle is belt-driven from the adjacent engine. The disc is clamped to the platter with a 125mm diameter stabilizer clamp weighing 460 grams. The stabilizer is designed to cover both the entire top and outer edge of the CD to prevent internal reflections and scattering of light. The player is a joy to operate – we center the disc on the spindle and affix the stabilizer atop. The player has two photo-optical sensors. One detects if the disc has been placed on the platter; the other is activated by the stabilizer. TOC is loaded automatically when everything is in its place. Lektor CD players from Ancient Audio have a separate button that needs to be pushed to load the TOC, which is a bit annoying to me. The control circuits and display are housed in the bottom chassis made of aluminum plates. The power supply has its own separate enclosure that is coupled to the main chassis via a 1.5-meter umbilical cord with multi-pin, gold-plated Cannon type connectors. During the review, the power supply was sitting on the Acoustic Revive TB-38H boar and the Acrolink 7N-PC9500 Mexcel was used as a power cord. The transport weighs 16 kg without the power supply, and its build and finish quality is fantastic. It would be even better if the display was larger and easier to read. Technical Specification (according to the manufacturer) Drive mechanism: belt-driven (two main drive motors + laser positioning) Playable discs: CD, CD-R/RW CD stabilizer diameter: 125mm CD stabilizer weight: 460g CD stabilizer material: nickel-plated brass Spindle diameter: 5mm Suspension: D.R.T.S. (Double Rubbers & Triple Springs) Digital outputs: - Super Link x 1 (BNC x 4) 2.5Vp-p/75Ω - AES/EBU (XLR, hot=pin 2) x 1 2.5Vp-p/110Ω - coaxial x 1 0,5Vp-p/75Ω - TOS x 1(optical): -21~-15dBm EIAJ - Word Clock: BNC x 1: 44.1 kHz Power consumption: 12W Dimensions (transport): 300(W) x 317(D) x158(H) mm Dimensions (power supply): 128(W) x 260(D) x 103(H) mm Weight (transport): 16kg Weight (power supply): 3.2kg Color finish: silver [hfgallery] [img mini="foto_testy/1405/cec/th/05.jpg" big="foto_testy/1405/cec/05.jpg" src="foto_testy/1405/cec/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/06.jpg" big="foto_testy/1405/cec/06.jpg" src="foto_testy/1405/cec/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/07.jpg" big="foto_testy/1405/cec/07.jpg" src="foto_testy/1405/cec/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/08.jpg" big="foto_testy/1405/cec/08.jpg" src="foto_testy/1405/cec/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/09.jpg" big="foto_testy/1405/cec/09.jpg" src="foto_testy/1405/cec/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/10.jpg" big="foto_testy/1405/cec/10.jpg" src="foto_testy/1405/cec/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/11.jpg" big="foto_testy/1405/cec/11.jpg" src="foto_testy/1405/cec/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/12.jpg" big="foto_testy/1405/cec/12.jpg" src="foto_testy/1405/cec/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/13.jpg" big="foto_testy/1405/cec/13.jpg" src="foto_testy/1405/cec/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/14.jpg" big="foto_testy/1405/cec/14.jpg" src="foto_testy/1405/cec/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/15.jpg" big="foto_testy/1405/cec/15.jpg" src="foto_testy/1405/cec/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/16.jpg" big="foto_testy/1405/cec/16.jpg" src="foto_testy/1405/cec/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/17.jpg" big="foto_testy/1405/cec/17.jpg" src="foto_testy/1405/cec/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/18.jpg" big="foto_testy/1405/cec/18.jpg" src="foto_testy/1405/cec/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/19.jpg" big="foto_testy/1405/cec/19.jpg" src="foto_testy/1405/cec/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/20.jpg" big="foto_testy/1405/cec/20.jpg" src="foto_testy/1405/cec/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/21.jpg" big="foto_testy/1405/cec/21.jpg" src="foto_testy/1405/cec/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/22.jpg" big="foto_testy/1405/cec/22.jpg" src="foto_testy/1405/cec/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/23.jpg" big="foto_testy/1405/cec/23.jpg" src="foto_testy/1405/cec/23.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/24.jpg" big="foto_testy/1405/cec/24.jpg" src="foto_testy/1405/cec/24.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1405/cec/th/25.jpg" big="foto_testy/1405/cec/25.jpg" src="foto_testy/1405/cec/25.jpg" desc="HighFidelity.pl"] [/hfgallery]

here is something that, regretfully, slipped my mind when I was writing last May editorial. 2014 is not only the year that marks the 10th anniversary of "High Fidelity" and one in which Poland celebrates (I do) the 10th anniversary of accession to the European Union. It is also a proud 10th anniversary for Japanese Acrolink, a company that has earned our great respect and to which we have grown attached for years. We came to know its products somewhere around 2009, when the first cables with its logo arrived in Poland. We immediately fell in love with them and started using them in our audio systems, both myself and other members of the Krakow Sonic Society, including our regular host, Janusz. We especially liked Acrolink power cords, starting with the 7N-PC9100 Mexcel, followed by the 7N-PC9300 Mexcel and the latest 7N-PC9500 Mexcel. For a long time our CD players – Janusz’s and mine – had been connected via the flagship 7N-DA6300 Mexcel interconnect, which after years of faithful service was eventually replaced by the much more expensive Siltech Royal Signature Series Double Crown Empress. My preamplifier and power amplifier are still linked with one of the few cables in the world that is made of 8N purity copper, the Acrolink 8N-A2080III Evo. Let me also add here that the "High Fidelity" reference audio system has been recently equipped with the 7N-DA6100 Mexcel digital RCA interconnect. In short, we do know and appreciate Acrolink. The cable under review today is an analog interconnect that belongs to the newest generation in the manufacturer’s lineup, which includes analog RCA and XLR interconnects and digital AES/EBU interconnect. Bear in mind that the first Acrolink cables were based on digital connectors that had been designed to operate in extreme conditions, such as Japanese combat aircraft, U.S. space shuttles and medical equipment. They were manufactured by the giant Mitsubishi Corporation and it was the company engineers, in their spare time audiophiles and music lovers, who were the first to use them in their audio systems. The results of this experiment proved so promising that Mitsubishi created a dedicated subdivision focused on commercializing these, originally industrial, cables. As I said, all of them were designed to transmit digital signals. Hence, Acrolink analog interconnects are at the same time digital cables (and vice versa). Different models have either a concentric design, characterized by a 75-ohm impedance (for RCA and BNC S/PDIF connectors), or a balanced design with an impedance of 110 ohm (for AES/EBU). The former are used in analog and digital RCA interconnects while the latter in analog XLR interconnects and digital AES/EBU interconnects. The 7N-DA2090 Speciale is available in two versions, as a balanced XLR and single ended RCA. This is possible due to its design with two conductive cores in a shield. In the XLR version one of the cores carries the positive signal and the other core the negative, while the shield acts as a grounding. The RCA version uses a semi-balanced design, with one core carrying the positive signal, the other one used as the grounding conductor and the shield connected to the ground on the transmitter side. Both versions are directional and use Acrolink’ proprietary high quality connectors. The center (positive) pin in the RCA connector plug is made of beryllium copper (50) with phosphorous copper used for the outer (negative) contact. Both are polished and plated with silver and rhodium. The outer body is made of aluminum alloy, carbon fiber and duralumin. During this review, the interconnect was used in two places: to connect the CD player and phono stage and line preamplifier, replacing the Siltech Double Crown, and to connect the preamplifier and power amplifier, replacing the Acrolink 8N-A2080III Evo. And one more thing – as a matching set with the Speciale, the manufacturer has an almost production-ready 7N-S8000 Anniversario speaker cable, not yet available at the time of this review. I wonder whether Acrolink also thought about an "anniversary" power cord… Acrolink products in High Fidelity KRAKOW SONIC SOCIETY: Acrolink 7N-PC9500 MEXCEL - Meeting No. 90, see HERE REVIEW: Acrolink 8N-A2080III Evo – RCA interconnect, see HERE REVIEW: Acrolink 7N-DA5100 MEXCEL | 7N-DA2100 MEXCEL - RCA interconnects, see HERE KRAKOW SONIC SOCIETY: Acrolink 7N-DA6300 MEXCEL – Meeting No. 63, see HERE KRAKOW SONIC SOCIETY: Acrolink Mexcel 7N-PC9100 vs. Acrolink Mexcel 7N-PC9300 - Meeting No. 72, see HERE KRAKOW SONIC SOCIETY: Acrolink 7N-PC9300 MEXCEL – Meeting No. 72, see HERE KRAKOW SONIC SOCIETY: Acrolink 7N-PC9100 MEXCEL – Meeting No. 60, see HERE REVIEW: Acrolink 7N-PC7100 – power cord, see HERE Nagrania użyte w te¶cie (wybór) Music For A While. Improvisations on Purcell, Christina Pluhar, L’Arpeggiata, Erato 4636203, CD + DVD (2014). Karl Bartos, Off The Record, Bureau CD 974282 BB079, CD (2013). Martyna Jakubowicz, Burzliwy błękit Joanny, Universal Music Polska 376 131 8, CD (2013); Miles Davis, The Complete Birth of the Cool, Capitol Jazz/EMI 4945502, CD ([1957] 1998). Miles Davis, The Original Mono Recordings, Columbia Records/Sony Music Japan SICP 30521-9, Blu Spec CD2 x 9 (1957-1964/2013) Sohn, Tremors, 4AD/Hostess CAD3403CDJ, CD (2014). The Modern Jazz Quartet, Pyramid, Atlantic Records/Warner Music Japan WPCR-25125, “Atlantic 60th”, CD (1960/2006). Wes Montgomery & Wynton Kelly Trio, Smokin’ At The Half Note, Verve 2103476, "Verve Master Edition", CD (1965/2005). Anita Lipnicka, Vena Amoris, Mystic Production MYSTCD 244, CD (2013). For me, equally interesting to a possible rounding off of a complete cable system with the addition of an anniversary power cord is the company’s choice of the price level for these products. In a similar vein to KEF with the LS50 speaker to celebrate its 50th anniversary, Acrolink now hasn’t launched top "statement" kind of products, choosing instead a pretty high price level yet located well below the middle of its price list, somewhere around a high-end symbolic starting point. In well-organized companies, and Acrolink is run very efficiently, nothing is left to chance or whim but is subordinated to a main idea and current trends in the industry. Hence, the new offer in the form of the 7N-DA2090 Speciale is a product that brings no surprises, from its design through its looks and ending with its price. Plugging in a new cable, regardless of its quality and price, to an audio system that we know well is a sort of trauma for the listener. In any case, it is for me. So far it has only happened a few times that I heard something better, something more appealing than my own interconnect being at that time part of my reference system (as that is our focus). It was true with the Acrolink 7N-AD6100, replaced by the 7N-AD6300 and then the Siltech Double Crown. The latter has yet to be beaten, not only in my system but also in several others owned by my friends and acquaintances who bought it. Of course, anything is possible, especially since there have recently appeared two new flagship series, more expensive than the current top ones, from the manufacturers that I respect on par with Acrolink: the Triple Crown from Siltech and Grand Evolution from Tara Labs. Transition to something better can shatter our peace of mind, because sooner or later it results in a purchase. Stepping down, in turn, presents us with a different kind of problem and instead of frowning at it we need to be as objective as possible about what and how much has changed, and what it means. The analysis, however, is usually carried out under the pressure of our desire to come back to our own cables. The anniversary Acrolink is something different still. It is not as good as the Siltech or – just to be clear – the Acrolink 7N-AD6300. Yet, on the one hand, it is enough different from the more expensive Acrolink and, on the other, similar in spirit to the Siltech that swapping the latter did not result in any discomfort and instead provoked me to further comparisons. I think that the most similar sonic aspect of the Speciale and the Double Crown is their tonality. It is not identical, and I’ll come back to the differences, but varies within a narrow range, so narrow in fact that it can be called the same "family." It also includes the Zero from Tara Labs. The Siltech and Acrolink, however, demonstrate a superior differentiation. The Tara is charming as hell and it's hard not to appreciate it, yet, at the same time, it brings everything to the same common denominator, showing beautiful, smooth and warm world for all. The new Acrolink interconnect could be classified as sitting right next to the Siltech while glancing in the Tara’s direction. Its tonal center is set fairly low, even lower than in the Dutch cable, a complete departure from the direction taken by Acrolink in its flagship 7N-DA6100 and 6300. To pick a closest match from the entire Acrolink product lineup, it would be probably the 8N-A2080III Evo. The Speciale offers beautifully saturated or even super-saturated colors and large, dense phantom images. Regardless of the album and the type of recording. For example, the vocals on the wonderful Tremors by Sohn (electronica and processed vocals) had a physically tangible "weight" that manifested in energizing the air in the room, in a large volume and in occupying a considerable space between the speakers. Something that is highly sought after both by music lovers putting their hope in vinyl and those into tube equipment. It would be a mistake, however, to define the sound as "tube" or "analog" in the sense of "vinyl-like". Its resolution and time coherence are well above average, and only a longer comparison against the Siltech shows what could be possibly improved. All other cables seem to sound slightly flat. You don’t actually need records produced with a particular care for midrange (vocals), although on Tremors mentioned above, Off The Record from Karl Bartos, Anita Lipnicka’s Vena Amoris and other albums the impression was truly electrifying. This deepening of the sound was clearly audible even on the recordings that hardly show a particular emphasize on anything, such as Miles Davis’s The Complete Birth Of The Cool, remastered by Mark Levinson. Bill Barber’s tuba finally sounded tight and deep where it usually tends to get lost, despite being an important part of the Davis’s band back then. The treble was thicker and warmer than with the Siltech but at the same time there was more of it. As a result, the sound was more open yet darker. Kind of a paradox. What’s worth paying extra to get the sound on the Double Crown level is primarily a better differentiation, soundstage and dynamics. The Acrolink brings the soundstage closer, pulling up distant layers and condensing the foreground and everything that’s directly in front of us. My reference interconnect easily reveals any differences in the soundstage setting, including mono recordings, showing not only the changes in the volume of a given instrument, but also in its size. The further the distance of the instrument from the microphone and the further it’s set in the mix, the quieter it sounds and the smaller its volume. I haven’t heard this kind of intuition in any other cable apart from the Siltech. The same applies to dynamics. The Acrolink looks at the world kind of through rose-colored glasses – perhaps an exaggeration, but still. It's a beautiful picture that manages to retain a lot of truth passed through a filter of sorts. Almost always, that involves rounded attack, decreased dynamics and reduced resolution, not to mention selectivity. The Siltech is superior to the Acrolink in all these aspects and that’s the way it should be. These are, however, not overwhelming or crushing differences. I would even venture to say that they are no more than moderately important and only so if we strive for the absolute, at any cost. Other cables that try to improve reality, in a similar vein to the Speciale, almost always fail in terms of the sonic aspects referred to above. But not so the Acrolink. This is where I see the reasons for the AcroJapan engineers’ decision to launch their anniversary cable at this price level. The Speciale in many respects sounds better than the flagship 6300, with the latter trumping it in terms of resolution and selectivity. But nothing more than that, and sacrificing body that is just insanely good in the anniversary interconnect. Conclusion For some time now I have been looking for a cable that could worthily replace the interconnect linking my Ayon Audio Polaris III [Custom Version] preamp and Soulution 710 power amp. The easiest solution would be to buy another Siltech Double Crown. The simplest, but too much of a stretch financially. Even my first Siltech that I use to connect a CD player or phono stage to the preamplifier ruined my budget for a long time. So far, I have very happily used the Acrolink 8N-A2080III Evo interconnect. It brings to the system warmth, fullness and density. At 1.5 m it is long enough to be of use during my reviews of other preamplifiers and power amplifiers. However, the 7N-DA2090 Speciale is – I had to say it eventually – really special. Retaining everything that is characteristic of the cable made of 8N copper, it adds to that a better differentiation and openness. Selectivity is comparable in both Acrolinks, but the anniversary cable is more energetic and has a better extension. Hence, the Speciale now becomes part of my reference system, until I find something that’s clearly better and that won’t ruin me. It may take some time, though. For now, I am completely satisfied. Miles Davis THE ORIGINAL MONO RECORDINGS Columbia Records/Sony Music Japan SICP 30521-9 Blu Spec CD2 x 9 Upon reading about the pioneering years of audio and the people involved from the late nineteenth and early twentieth century up to the 1940s, it turns out that the vast majority of them were hobbyists with academic background and that they worked in large research centers, such as Bell Labs and General Electric. In the introduction to his book Illustrated History of High End Audio. Volume One - Loudspeakers, Jonathan Valin says that most of them should have won the Nobel Prize in their time. How very true. It was them that laid the groundwork for what today is primarily the domain of hobbyists and only then of engineers. It seems that we simply refine and hone what THEY invented. One of the most important inventions of those pioneering days was what became known as "stereophonic" sound reproduction, "producing a desired degree of auditory perspective or stereophonic effect in a listening area", as we read in a patent. The founding father of stereophonic sound was Alan Blumlein who at the age of 27 built his first stereo system, patented it in 1931, in 1933 cut the first stereo disc and in 1934 made the first stereo orchestra recording. A true visionary, with 128 patents to his credit. The most dynamic research center was Bell Labs that, based on its research and experience, developed a method of recording stereo sound, which was applied after the war. For Bells Labs stereophony meant something different than it does today. It was assumed that proper spatial recognition requires three speakers: left, right and center. Most of the U.S. recordings from the golden age of jazz were recorded in a three-channel stereophonic system. That also includes Miles Davis recordings for Columbia, starting with the 1959 album Kind of Blue. So where do the mono versions come from? Initially, recording studios were equipped with one- track recording equipment, so all the records were mono. Starting from 1955, more and more studios were equipped with stereo tape recorders. But even then, the material was simultaneously recorded on a three-channel tape and on mono tape, as a back-up. The three tracks were then downmixed to two channels for stereo LPs. From the beginning, two-channel stereo discs were a compromise between the three-channel stereo system requirements and commercial capabilities. In comparison, mono recording was the simplest possible - a microphone, a separate mixing console and one track that was being mixed "on the fly". Perhaps that is why many music lovers believe that the best versions of the recordings, including Davis’, are the mono versions. Especially for them, Sony Music Japan prepared a nine-disc box set, starting from ’Round About Midnight from 1957 and ending with Miles & Monk at Newport from 1964. This is the latest 2013 remaster, also available in the form of hi-res PCM 24/192 files, prepared by Mark Wilder at Battery Studios. The CDs were pressed in Japan using the Blu Spec CD2 technology, i.e. manufactured by a proprietary process which employs a Blu-ray Disc cutting machine. In addition to the nine CDs in cardboard jackets, we get an interesting booklet with Wilder remarks about any necessary adjustments on each album. It turns out that they were minimal and mostly concerned a slight frequency response correction, and only one case involved slight compression. All that processing was performed on tube equipment. Now for the cons. Cardboard jackets do not have the same size as mini LPs, and measure only 123mm x 123mm. They have no OBI. Their cover print quality is average, significantly inferior to the standard the Japanese accustomed us to. The CDs are kept in plastic inner sleeves by which they can easily slide out of the cardboard. What saves it somewhat is a nicely prepared box with large collective OBI and a really good booklet. Regardless of what we think about the sound of the new versions, it's hard not to have this release, especially if Davis is important to us or we simply collect CDs with music from that period of time. I compared its sound to the stereo versions released by Mobile Fidelity (as SACDs and, in the case of older as CDs), mono editions, regular Sony Music releases and Sony Master Sound series versions. The first disc in the set is ’Round About Midnight. I compared it against the stereo Sony Music version, released in Europe to mark the trumpeter’s 75th birthday anniversary, and the mono Mobile Fidelity SACD/CD version from 2012. I must say that the regular Sony Music version is pretty good. This is a stereo release, so the comparison was not entirely fair, but it is definitely worth keeping. The mono version from Mobile Fidelity is brighter and more "forward" than the BSCD2. I preferred the Japanese release, mostly due to its better vividness and phenomenal depth. The MoFi sounded clearer, with stronger cymbals, but against the BSCD2 it sounded slightly overexposed. I had the same exact feelings about Milestones. The new mono release sounds better differentiated, darker and deeper. This is the kind of sound I like. In comparison, the stereo versions released by Sony in the Master Sound series were quite reasonable, but not enough resolving, as if slightly clouded. The new version beat them with presence and density. The BSCD2 versions are excellent. Dense, deep, dark and soft. The new MoFi releases sound slightly too bright and have lower resolution. Interestingly, the older edition dating back to the previous "life" of Mobile Fidelity, pressed on aluminum by Sanyo, turned out very interesting (MFCD 828). The mono version from Sony is thicker and much more resolving, but the old MoFi has kept the spirit, color and dynamics similar to what we hear from the box set version. It is a recommended buy need and brings lots of fun in a small box. The cable conductors are made of 7N purity D.U.C.C. stress-free braided copper. Each core conductor consists of 19 separate 0.26 mm strands. Both cores are enclosed in a macromolecule polyolefin insulator and protected in an inner sheath, which is a hybrid material to reduce noise and vibration, consisting of polyolefin resin with tungsten and amorphous mixture. The inner sheath also includes silk threads and EMI absorbing non-magnetic thread for better mechanical stabilization of the conductors. The shielding consists of four layers. The first one is a copper clad Mylar tape. The second one is a 7N copper braid wire, the third one a special "Noise BEAT" tape, and the fourth one is UEW braid wire (copper with polyurethane coating). From the outside, the cable is protected by UV resistant polyurethane sleeve. The NOISE Beat tape is made of magnetic alloy. This technology has been developed by NTT AT Corporation (Nippon Telegraph Telephone Corporation Advanced Technology) for advanced signal transmission systems. Technical Specification (according to the manufacturer) Outer diameter: 11 mm Conductors: 7N Cu D.U.C.C. stress-free; wire diameter 0.26 mm x 19 strands Insulation: polymer polyolefin resin Filling: hybrid polymer polyolefin resin (tungsten + amorphous mix) Shield: copper foil + 7 N copper braid + Beat NOISE tape + UEW braid External coating: UV resistant polyurethane Resistance: 18 mΩ/m Electrostatic Capacitance: 56 pF/m Impedance: 110 Ω (XLR, AES / EBU)

ne could say that last year, the A.D. 2013 was a year of Raidho's D1 loudspeakers. These were highly acclaimed during CES in Las Vegas, High-End in Munich, and finally they made a memorable appearance during Warsaw Audio Show. I personally didn't go to CES, but was amazed in Munich listening to what these small stand-mount speakers delivered in relatively large room. It was not just about spacing and imaging that are usual assets of any good monitor, but about how detailed, coherent, balanced across the band sound they presented including impressive (for the size of speakers) bass performance. A session during AudioShow only confirmed previous observations even though this time the same speakers performed in much smaller room. One very good performance in Munich – this could be some sort of coincident, but the second one in a different room – that indicated, or rather confirmed that these were damn good speakers. Wojtek was the lucky one who got to review them (see HERE) and obviously enjoyed and appreciated them a lot. Malcontents will surely say that speakers that cost THAT much (the cheaper version costs 60 kPLN and with more exclusive finish even 70 kPLN) don't really have a choice and must perform like a dream. I don't know about the „must” part, as there any many speaker costing even more that don't perform at all, but in this particular case yes, their performance puts them on my private podium of the best monitors I've ever heard. Large chunk of credit for such performance must go to special drivers – not only have they ceramic-aluminum sandwich diaphragm but it is additionally covered with a diamond dust (on both sides), plus there is quite a sophisticated motor system with neodymium magnets (see the picture taken during AudioShow 2013 with Raidho's owner, Lars Kristensen presenting magnetic systems and two types of diaphragms: ceramic-aluminum, and ceramic-aluminum covered with diamond). This year in Munich Raidho presented new, huge floor-standing speakers – D-5. These could overwhelm with their size but again amazed many visitors to Raidho's room with top-shelf performance. This was one of my personal top-five systems of this year's High End Show (and I know that many other people felt the same). That brought me to a conclusion – guys from Raidho simply knew what they were doing and were able to deliver really good performance even from ceramic drivers (although D series sport ceramic drivers covered with diamond). OK, OK – no need to get excited. I'm not saying that ceramic drivers are not good, I'm simply declaring that they are not my cup of tea. Most of them perform quite well, in my opinion of course, but I wouldn't be happy with them. I know that many people feel differently and love „ceramic sound” and that's OK, it's their right, but I usually prefer to appreciate them but rather from a distance, or over short periods of time. Back to the point – Raidho is (again – in my opinion) one of very few manufacturers who apply ceramic drivers (even these in D series are in fact ceramic-aluminum sandwiches covered with diamond) in a way that allows their loudspeakers to produce a sound I might live with and that's from my perspective, quite an achievement. Well, an exception that confirms the rule..., OK, I'm teasing with you. Anyway, since all the shows experiences were so good all I could do was to contact Polish distributor and ask him to deliver one of the models for review. Together with Chillout Studio, we chose a mid-size floor-stander named S2. It's quite a tall (115 cm), slim loudspeaker with a transmission line with a port at the bottom. The letter „S” marks a separate line, even though S2 is the only representative as for today. The above mentioned base of the speaker was given sort of arch shape so that the transmission line port stays in some minimal distance from the ground. There are some adjustable feet there that allow to change that distance within very limited range. Just a word of advice for potential users – it does matter what you place these speakers on – I definitely preferred them placed on granite plinth rather than directly on wooden floor. Whole speaker is gently tilted back for time and phase coherence of the drivers. The cabinets narrows down towards the back and ends with a rounded edge. The black, high-gloss finish makes S2 look very attractive. Speakers sport a sealed ribbon tweeter, and two 115mm ceramic mid- low-range woofers. The fit and finish is of very high standard and the speakers, although quite tall, seem very sleek. Raidho in HighFidelity TEST: Raidho D1, loudspeakers, see HERE | RED Fingerprint Award COVERAGE: High End 2013 – exhibition, see HERE | Best Sound High End 2013 by HighFidelity.pl Recordings used during test (a selection) AC/DC, Back in black, SONY B000089RV6, CD/FLAC. Aerosmith, Pump, Geffen Records, FLAC. Guns N' Roses, Use your illusion 2, Geffen Records B000000OSG, CD/FLAC. Cassandra Wilson, New moon daughter, Blue Note CDP 7243 8 37183 2 0, CD/FLAC. Patricia Barber, Companion, Blue Note/Premonition 7243 5 22963 2 3, CD/FLAC. Al di Meola, John McLaughlin, Paco de Lucia, Friday night in San Francisco, Philips 800 047-2, CD/FLAC. Arne Domnerus, Jazz at the Pawnshop, FIM XRCD 012-013, XRCD/FLAC. Eva Cassidy, Eva by heart, Blix Street 410047, CD/FLAC. Dyjak, Publicznie, UBFC Cd0111, CD. Isao Suzuki, Blow up, Three Blind Mice B000682FAE, CD/FLAC. Kermit Ruffins, Livin' a Treme life, Basin Street B001T46TVU, CD/FLAC. Frank Sinatra, Live in Paris, Mobile Fidelity MFSL 2-312, LP. Lee Ritenour, Rhythm sessions, Concord Records CRE 33709-02, CD/FLAC. Renaud Garcia-Fons, Oriental bass, Enja B000005CD8, CD/FLAC. The Ray Brown Trio, Summer Wind, Concord Jazz CCD-4426, CD/FLAC. V.A. Mozart, Le Nozze di Figaro, Harmonia Mundi HMC 901818.20, CD/FLAC. Georges Bizet, Carmen, RCA Red Seal 74321 39495 2, CD/FLAC. Japanese issues available at [REKLAMA5] It so happened that I had Raidho speakers at my disposal much longer than most of reviewed items. That gave me a chance to experiment a bit using items I had on loan at the same time. I started with an interesting setup with very nice Italian wires from HighDiamond and German electronics – Lindemann MusicBooks. The latter are a pair of quite small, though high quality devices. MusicBook 25 is a preamplifier, D/A Converter, CD Player, streamer (also wireless) and headphone amp in one small enclosure. MusicBook50 is a class D power amplifier. This setup look quite inconspicuous but it is used together with outstanding Manger speakers during many presentation (for example during High End in Munich, and I also received the same system for a review), which speaks for itself. Also Chillout is a distributor not only of Raidho but also of Jeff Rowland electronics, that included class D amplifiers, so such a setup – S2 + class D amp is quite likely to happen. My first note from first listening session was: amazing control and definition. Lindemann does not offer some crazy high output power (2 x 100 W at 8 Ω) but it was enough to keep S2 in almost perfect grip. Powerful, taut, kicking bass, very clean, vibrant treble, and smooth although not rich enough (for my taste) midrange. To be honest that's exactly what I usually hold against ceramic drivers – midrange is very clean, transparent, but (at least for me) too lean, bit dry too. So when it comes to my favorite acoustic music, or vocals such a presentation lacks palpability, and naturalness and as such simply isn't involving, doesn't give me an impression of close contact with music. As I mentioned I had a chance to listen to Lindemann system with fabulous Manger speakers and I definitely liked what I heard, so it seemed that simply combination of MusicBooks and S2 wasn't the ideal one. Although it was hard not to appreciate outstanding control and definition of bass, clarity of the sound and abundance of details this setup reproduced. Would it sound the same with any class D amplifier? I wouldn't really dare to claim that even though the conclusion seemed to confirm my general experience with this type of amplification. Excellent bass performance – great definition, bass is taut, kicking, deeply extended, but midrange lacks some richness which makes them not my cup of tea. The next step was pairing S2 with tube amplifier – such setup should result in a rich, smooth midrange, right? Even guys from Raidho declared on their webpage that they achieved very nice sonic results when driving S2 with low-power tube amplifiers. As I'd just received Ayon Crossfire III for review, which was the newest version of one of my favorite SET amps, I had to try how would it sound with Raidho speakers. This system sounded very different. If I could combine the amazing Lindemann's bass with Ayon's midrange and treble that would be perfect (maybe Raidho should think about double speaker posts that would make bi-amping possible?). Now the sound became much richer, smoother and more palpable – that was exactly what I expected. Impressive richness and differentiation of midband resulted in wonderful vocal and acoustic instruments presentation. This sound finally became involving. The treble, although already smooth, detailed and vibrant with Musicbook now became even more resolving, with more air, sounding more natural. There was more reverberation audible, longer sustain and decay, better presentation of room ambiance, and larger, especially in terms of depth, soundstage. Now I could finally hear what this ribbon tweeter of S2 was capable of. For the past months I've been using Ardento's loudspeakers a lot and they used Fountek ribbon tweeter so I got used to “ribbon” sort of sound – it takes some effort to find optimal placement of the speakers but that always pays off with wonderful, spacial sound. With MusicBook the advantages of ribbon tweeter were not that obvious, I mean it sounded very good but it still wasn't top performance. But Crossfire III delivered, it proved that S2 were capable of presenting amazing, huge soundstage if only paired with proper amp. As I already mentioned ideally I would still combine midrange and treble of Ayon with bass of MusicBook, as now I lacked a bit this outstanding control and definition that German amplifier had delivered. Crossfire was able to deliver 30W per channel and it seemed that it wasn't enough to fully control S2 speakers. The extension of low end was quite good, but there was no such kick as with Lindemann, and bass wasn't so taut, so well differentiated. Long story short – this setup was surely different, had a lot of advantages but it still wasn't “perfect”. Those who prefer acoustic music would surely like this setup better, on the other hand rock, metal fan would surely choose S2 with Lindemann. Last but not least I hooked S2 up to my Modwright pre+amp combo (solid-state KWA100SE power amp and tube preamplifier LS100). Considering above described experience there was a good chance that this setup could be IT (yes, I realize that it is not some top-high-end amplification but it proved many times that it performed much better than price suggested, and it was a damn good fit for many speakers from similar, as S2, price range). And yes, I did combine many of the best features of both previously used amps – very good bass performance of Lindemann with sweet, rich midrange and sparking treble of Ayon's SET. I hope you noticed “many”, which means “not all of them”. When comparing two amplifiers both having their advantages one might dream about combining best features of both of them into one amp. But that is simply not possible – combining these features always means some compromises if one wants to achieve a coherent presentation. So yeah, bass performance was very good but control and definition weren't that good as in case of Lindemann. Midrange was smooth and palpable but not as magical, as provided by Ayon's SET. But what I got was a coherent, impressive performance across the whole band, with no emphasis on any part of the range, which ultimately meant that it was better overall than any other before, even if it didn't not offer such impressive single features. Music is not about showing off. Wait, no, that's not true. Reproduction of music by audio system should not be about emphasizing some elements of sound. The sound system should, in my opinion of course, connect listener to the reproduced music, should allow performing musicians to impress listener with their mastery, listener should be provided with experience as close to the one he gets when attending concert as possible. At least that's what I expect from any audio system. The loudspeakers with ceramic drivers, usually are bass-reflex designs and usually don't sound like that in my ears. Sound is highly detailed, analytic, but it lacks the essence of music – emotions. Guys from Raidho keep reminding me that in audio it is not about particular element (like ceramic driver in this case) but about its application. I don't know how they did it, as Raidho is not a company that shares too many details about their designs, but they managed to create speakers with ceramic drivers that I actually liked. Part of the credit should probably go to the design – that's not a bass-reflex but a transmission line, but I'm sure that this one element alone wouldn't be enough to convince me. Anyway S2 are speakers that with support of proper system created performance that even such a “ceramic skeptic” like me actually appreciated and liked. With Modwright's amplification S2 delivered rich, involving presentation (which does not mean perfect). Same as with Lindmann I enjoyed AC'DC music a lot – very lively, unforced performance with deep, powerful, punctual bass, clean (I mean as much as recording allowed), rich midrange and resolving, open, vibrant treble combined together to create easily involving, very energetic musical event. I love recordings of Isao Suzuki and Ray Brown for their amazing skills of double bass player, not to mention very good quality of these recording. System with S2 delivered nicely differentiated, clean, powerful bass, with a beautiful, long decay without artificial prolonging (which is often an issue with bass-reflex designs). Clearly presented, very fast attack phase allowed me to appreciate mastery of these fantastic musicians and the above mentioned long decay showed the great role of large soundboard. I also enjoyed a lot wind instruments performances. Not only did I listened to my collection of New Orlean's music, but also to classics like Miles Davis and John Coltrane. Raidho excelled in presentation of crisp, vibrant, clean performances of trumpet, saxophone or trombone. These instruments sounded, if needed, very crisp but never too bright or too harsh. That was not achieved via rounding of upper midrange and treble but due to very natural sounding presentation. Just like during live performance when, for example, trumpet can sound quite harsh but even than it doesn't sound unpleasant to our ears. Danish speakers offered similar effect. S2 created also a soundstage that was impressive in every aspect, depending of course on the way it was recorded. Listening to many of such pieces that I knew captured spacing in extremely good way I could tell, that Raidho's performance in this aspect was simply astonishing. It was not only about the size of the stage, right to left and front to back, but also about layering, about precise positioning of each instrument of the stage, and about three-dimensional imaging of each of them. Until now I thought that ceramic speakers were created mostly for rock and electronic music. They came handy when a powerful, kicking bass was required and midrange was not that important. S2 combined with Modwright amplification proved that also acoustic music, vocals, classical music could sound very well delivered with ceramic drivers. One needs electronics with rich, colorful midrange that will takes care of proper expression and palpability level of performance. These combined with “natural” feature of ceramics – clean, fast, precise, highly detailed, resolving sound supported with taut, very clean, and well defined bass will create a very interesting, involving presentation. When playing acoustic music you'll get the feeling of close contact with performing musicians and vocalists, there will be proper pace&rhythm, and the whole performance will be very precise, clean, and shown on a huge, nicely layered soundstage. Such a system is fully capable of delivering high performance with any music genre, what more could one expect from high quality speakers? Their performance should satisfy those who find timbre, richness of sound most important, but also those who prefer highly resolving, analytic sound. I would simply say that Raidho S2 are impressive all-rounders. An important, or even key issue, will be system matching though. Summary Those, who count on getting the level of D-1 performance at half the price will not be fully satisfied – there are no miracles in audio world. But if you give S2 a chance, pair them with carefully selected electronics and compare them with competitors at their price range you will start to appreciate what they bring to the table. These are beautifully made and finished, not too big floor-standing speakers, that are able to contradict a common (among ceramic-skeptics like myself) opinion about ceramic drivers, that inclines a dry, lacking emotional aspect of music performance. Yes, they need a support of a system delivering full, rich midrange, but that's exactly what building an audio system is about – finding elements that support each other, that together create an expected final sound. In my system, with Modwright amplification, Raidho S2 delivered rich, even across the band, and what's most important from my point of view involving sound. These are ones of very few ceramic speakers I could live with. S2 might be called a Raidho's entry level speaker. There is one - X-Monitor LE – that costs less, but that's a small stand-mount speaker, not a floor-stander like S2. The design is a transmission line with the port at the bottom of a speaker. Each speakers sports an arch shaped plinth, which leave some room underneath between TL port and the floor. Plinth is equipped with adjustable feet that allow to change, within limited range, the distance between port on the floor. After my experience I recommend placing speakers on a hard floor (or additional plinth/base) rather then on a carpet. The sleek, tall cabinet is made of (I think – no confirmation on manufacturer's webpage) of MDF. Cabinet is gently tilted backwards to assure proper time and phase coherence of all drivers. The front panel is quite narrow and than the side walls are getting closer to each other towards the back and finally cabinets end with a rounded edge. Single speakers posts are placed on the plinth. A sealed ribbon speaker is a previous version of the one used now in D and C series. These woofers are aluminum-ceramic sandwiches with same ceramic diaphragm as used in C series, but with much simpler driver's motor system. Instead of complex neodymium magnets array used in C and D series, here manufacturer used ferrite magnets. The diaphragm consist of an aluminum frame covered on both sides with ceramic layers. Divers in D series sport additional layers of diamond and these layers are created with a long process of “shooting” carbon particles at huge speed that makes them crystallize on the surface of the diaphragm Since that's a much less expensive series and creating this diamond layer in very expensive, manufacturer decided not to use it. Speakers are delivered inside huge carton boxes that could accommodate much larger speakers. Technical parameters (according to manufacturer) Frequency range: 27 Hz – 50 kHz Impedance: > 6 Ω Crossover: 2nd order with crossover points at 150 Hz and 3 kHz Enclosure: transmission line with port at the bottom Drivers: ribbon tweeter, 2 x 115 mm ceramic woofers Dimensions: 177(S) x 1140(W) x 370(G) mm Weight: 24 kg/pc [hfgallery] [img mini="foto_testy/1406/raidho/th/05.jpg" big="foto_testy/1406/raidho/05.jpg" src="foto_testy/1406/raidho/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/raidho/th/06.jpg" big="foto_testy/1406/raidho/06.jpg" src="foto_testy/1406/raidho/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/raidho/th/07.jpg" big="foto_testy/1406/raidho/07.jpg" src="foto_testy/1406/raidho/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/raidho/th/08.jpg" big="foto_testy/1406/raidho/08.jpg" src="foto_testy/1406/raidho/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/raidho/th/09.jpg" big="foto_testy/1406/raidho/09.jpg" src="foto_testy/1406/raidho/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/raidho/th/10.jpg" big="foto_testy/1406/raidho/10.jpg" src="foto_testy/1406/raidho/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/raidho/th/11.jpg" big="foto_testy/1406/raidho/11.jpg" src="foto_testy/1406/raidho/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/raidho/th/12.jpg" big="foto_testy/1406/raidho/12.jpg" src="foto_testy/1406/raidho/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/raidho/th/13.jpg" big="foto_testy/1406/raidho/13.jpg" src="foto_testy/1406/raidho/13.jpg" desc="HighFidelity.pl"] [/hfgallery]

roducts from countries with no traditions of high-end audio are going up the creek without the paddle. In each and every respect. At the very bottom is the lack of any tradition. That means everything must be built from scratch. As everybody knows, you can see much more standing on the shoulders of the giants. Hence, the lack of experience is the first and foremost problem – the inherent problem of the audio industry. The other “external” problem has to do with a hard time to find subcontractors that manufacture the enclosures, knobs, transformers and other parts. You cannot even imagine what kind of problems audio manufacturers have to face when they want to move from a prototype phase to a real product! Search for anodized plant, for people with CNC expertise and transformer winding specialists bring to mind wandering around Kafka’s “castle” and you have to deal with similar absurdities and paradoxes. And then, last but not least, this business needs to be recognized by the outside markets that have over 80 years of tradition to back them up. The British, American and Japanese markets are the most interesting among them and a slightly less known – French one. The Polish one has almost no resemblance to any of them. When I talk to people from abroad, let’s say from Japan or the USA, after I introduce myself I mostly hear compliments – either about classical music of Chopin, Penderecki, Lutosławski, Górecki and others or pointing in the direction of musicians like Krystian Zimerman and Piotr Anderszewski – that commend the Poles for a superb musical sensitivity and their familiarity with classical music. Many of them know about Urbaniak, Komeda and Stańko and speak well about Polish jazz. I do not try to correct any of that information just taking it all as a general recognition for the whole “package”. When I ask, though, about Polish audio brands only those really well versed come up with the name of our countryman Mr. Stefan Kudelski who created Nagra and sometimes the names of Michał Jurewicz, owner of Mytek (more HERE) and Andrzej Lipiński, owner of Lipinski Sound Corporation. The problem is that all of them left Poland, which was the secret of their success, and that they fought for their own either in Switzerland (Kudelski) or across the Big Pond (Mytek and Lipinski Sound). After them, there is silence. We have a lot of experience, however, in fighting for what is ours. In the course of a dozen years we have done more than others in several decades. Through hard work and making use of the talents that once used to profit others, we are able to surprise the world with something extraordinary. Perhaps that will be the fate of elinsAudio from Sosnowiec. The company started a couple of years ago with an amplifier based on Bang & Olufsen modules and this is what I wrote under the picture from the Audio Show 2010 (misspelling their name): I have to tell about some devices that I deem most interesting, I cannot control myself  :) Elins Audio is a completely new company to me. It manufactures amplifiers. This one here – a power amplifier with 2 x 500W power, the current output 45A max and a transistor preamplifier with a hybrid power supply (line and battery), and it was tuned to work best with the powerful loudspeakers Magnepan model 3.6. The system used also a HDCD player Linn Ikemi and Linn Sondek turntable. AUDIO SHOW 2010 Elins Audio is a completely new company to me. It manufactures amplifiers. This one here – a power amplifier with 2 x 500W power, the current output 45A max and a transistor preamplifier with a hybrid power supply (line and battery), and it was tuned to work best with the powerful loudspeakers Magnepan model 3.6. The system used also a HDCD player Linn Ikemi and Linn Sondek turntable. I was equally enthusiastic about the next launch, the elinsAudio AMP 1000 amplifier with thimble-shaped knobs that was presented at the show in the following year (see HERE). We had yet to wait two more years for the system to move from a prototype phase to a full product sold to public. The company is now closing deals with dealers from very interesting corners of the world and is therefore ready to provide their components with different supply voltages. I use the world “system” on purpose. The Mille consists of three units that are sold together: a preamplifier and two monoblocks. This is a rather extreme way of achieving the end effect. A very similar approach is presented by Ancient Audio in its flagship system, which includes a CD player/preamplifier (one box) and two monoblocks. For even though one can set up a good sounding system from the parts coming from different manufacturers, this is not an easy task and one never knows if it brings out the maximum performance of individual components. In this case we get products that have been designed to work together. In the above quote from the Audio Show I touched upon a matter that elinsAudio remains faithful to – its owners are in love with Magnepans. Not that they sneer at other ways of moving the air in the listening room. It’s just that the way the Magnepans do it seems to be superior to them, the most proper. The problem they had to face having this kind of speakers at home is the ability to drive them. Everyone who owns these speakers knows how difficult that is. One needs a system that is fast, resolving, high output current capable and saturated with harmonics, with no trace of problem with high frequencies. I know from my experience that the “hedgehogs” from Pass – the Aleph 0 monoblocks operating in class A – proved great in that area. Messrs. Janusz Sendek and Ireneusz Chwstek strived for more. That is how the idea of an amplifier that can meet these demands was born. The Mille system with 1000W monoblocks is the first commercially available outcome of this idea. The next two are being designed right now – the 2 x 500W Mezzo and 2 x 250W Piccolo. Soon their offer will also include MM and MC phono stages (both owners are avid vinyl enthusiasts). All the power amplifiers are based on the latest Bang & Olufsen modules that operate in class D. The company altered them in some way that is their secret and is not to be disclosed. The preamplifier is a solid state design with the shortest possible gain path and custom made beautiful volume attenuator based on a switch with multiple resistors. The power supply is a rather unconventional hybrid system using both battery and AC power. It works in such a way that the AC voltage is rectified, filtered and controlled and fed to the battery terminals. The preamplifier circuits are then powered from the same terminals. The people from elinsAudio claim that neither the AC power nor battery alone has been capable of giving the same set of sonic characteristics as they give working together. I asked Mr. Ireneusz Chwastek for the introduction to the company’s history to have a starting point for the audition part of my review. Instead, I got a text written by his wife. Great! I believe that the look from outside the box will benefit us all. A few simple words from… Agnieszka Chwastek, elinsAudio manufacture  …Passion and perseverance are the keys to the success in all fields. It is no different in this case, because designing and launching into the high-end market the Mille amplifier and designing the other models, the Piccolo and Mezzo, has been nothing but successful. Before the amplifier was created, however, we all had to meet. That happened in 2001, and let me add here that it was the wives who orchestrated it – we who had known each other for years taking our daughters to the same playgrounds and schools for all those years. When we met on social grounds, Janusz – an electronic engineer – had been the owner of ELEKTROINSTALACJA company and Ireneusz – a dentist – was managing dentist offices. It seemed that, considering totally different fields of interest, our acquaintance, however nice, would remain purely social one. And yet… Janusz, beside his many designs of tube and solid state amplifiers had a great and beautiful hand made tube amplifier from Burdiak&Sikora that enchanted Ireneusz to the point that he is now its happy owner. Already at the first meeting over good music and alcohol it became evident that both gentlemen had a very similar if not identical musical taste. They both like good old rock, female vocals of Diana Krall type and most of all they both liked natural almost physiological good sound. And they were able to tell if the sound of this quality is or is not there… Good sound – to hear that one needs proper recordings as well as proper equipment which is able to bring it out of the media and deliver to the listener as if they were couple of meters from the real source of sound. Like in the tenth row in a concert hall with superb acoustics. It soon turned out that even though a range of high-end products is very wide, they could not find the one that would fit their taste. You would say – vanity! You would be right to some extent. Every creator is a bit vain when he believes that he is able to create something that was not created before… But if not for them, where would we be today? What was important was that it was the first incentive. The second one was an amplifier built by Janusz for Ireneusz. It was his proprietary design based on the ICE Power 500A modules that had once been bought for another purpose. It turned out to sound no worse from the high-end amplifiers whose names cause shaky hands among audiophiles. The fact was corroborated during several listening sessions in surrounding high-end audio stores. The third incentive was Ireneusz’s admiration for Magnepan speakers, for which the amplifier turned out to be what a proper cut is to a diamond. Everything seemed to sound great – the midrange was exactly as should be, the treble did not lose its natural sound and there was no lack of bass, either… With no subwoofer. It took couple of years to come up with a finished product. In such a way the gentlemen arrived at the point when they could say they had a real product. On the foundation of Janusz’s company they created a daughter company, elinsAudio. There is a product and the market presence started with the Audio Show in Warsaw in 2010 and 2011. And there is a mission – “Custom tailored sound”. “We boast to be The Tailors of Sound because to us the sound is a fabric which we bring out of soulless media and that we shape it to render the original character” says Janusz. “The sound that we want to listen to has beauty in it” – adds Ireneusz. With the amplifier designed by elinsAudio the beauty goes to the listener in a pure, natural form and the room transforms into a concert hall where you – the owner of the amplifier – are the only and most important and satisfied listener. This orchestra or that soloist today perform just for you, in your home studio, as they would in La Scala, Carnegie Hall, in Berliner Philharmonie or in a jazz club… If it is true, it means that the dream we had a couple of years ago has been translated into a success. Albums auditioned during this review Rachmaninoff Plays Rachmaninoff, RCA Red Seal/Sony Music 8697-48971-2, “Zenph Re-Perfomance”, CD (2009). Anita Lipnicka, Vena Amoris, Mystic Production MYSTCD 244, CD (2013). Artur Rojek, Składam się z ciągłych powtórzeń, Kayax Music 071, CD (2014); Diary of Dreams, Elegies in Darkness, Accession Records A137, “Limited Edition” CD (2014). Ella Fitzgerald, Clap Hands, Here Comes Charlie!, Verve/Victor Entertainment VICJ-011-4052, XRCD24 (1961/1998). Frank Sinatra, Sinatra Sings Gershwin, Columbia/Legacy/Sony Music Entertainment 507878 2, CD (2003). Haendel, Duetti da Camera, La Risonansa, Fabio Biondi, Glossa GCD 921516, CD (2014). Bach, Sonatas & Partitas. BWV 1004-1006, wyk. Isabelle Faust, Harmonia Mundi HMC 902059, CD (2010). John Dowland, Lachrimae or Seven Teares, Jordi Savall, Hespèrion XX, Alia Vox AVSA9901, SACD/CD (2013). Krzysztof Duda, Altus, GAD Records GAD CD 012, CD (2013); Krzysztof Duda, autorski materiał na płytę Altus, CD-R (2013); Martyna Jakubowicz, Burzliwy błękit Joanny, Universal Music Polska 376 131 8, CD (2013); Mel Tormé, The Legend of Mel Tormé, Going For A Song GFS360, CD (?). Miles Davis, Bags Groove, Prestige/JVC JVCXR-0046-2, XRCD (1955/1987). The Hillard Ensemble, The Hillard Sound. Renaissance Masterpieces, Erato 4632795, 3 x CD (1985, 1986/2014). Włodzimierz Nahorny, Jej portret, Polskie Nagrania Muza/GAD Records GAD CD 006 (1965/2013); Yoko Ono, Open Your Box, Astralwerks ASW 88710, CD (2007). Japanese issues available at [REKLAMA5] Successful high-end audio products share a common "basis". Actually, all successful products share something like that. This involves a kind of "coherence" of all the elements and is expressed in the ultra-satisfying listening experience. The difference between the high-end and what is below would just came from the listener’s experience, the effect of would be the same. We listen to such a product or system and do not need nothing more to be happy, do not feel any immediate need to upgrade. Such a conclusion can be reached either by a long audition, which is necessary to understand what we hear, or in a flash of illumination, when we receive and accept the presentation at once, at the same time. In my experience, there is no difference between the two and in the case of conducting a high-end component review what is really important is the sensitivity of the journalist (reviewer) to certain stimuli, not the sound itself. The elinsAudio belongs to the latter category. Listening to the Polish amplifier, what came to my mind was various other products of this type, in their nature or in some of its aspects reminiscent of the Mille. And though I'll drop a few clues soon, none of them is identical to the system under review and not even all of them combined make up what I heard. Here’s my clues: the Abyssound ASX-1000 power amplifier (price 29,000 PLN), the Accuphase E-600 integrated amplifier (price 43,900 PLN), the Jeff Rowland Continuum S2 Integrated http://www.highfidelity.pl/@main-457&lang=en amp (price 35,900 PLN), and above all, the Jeff Rowland Corus + 625 preamplifier and power amplifier (price 49,900 PLN + 53,900 PLN). It's a very mature lineup. Mature in the sense of being sophisticated, well thought out. Its main distinguishing features are: the absolute density of the midrange, especially its lower part, fantastic selectivity (with resolution), and good control over the speakers. The latter might seem natural, ultimately we are talking about amplifiers capable of delivering 1000 Watts (into 4 ohms), right? No, not really; I know from experience that amplifiers operating in class D are prone to problems with bass control, especially at the very bottom, below (let’s say) 60 Hz. The problem of this topology is the low-pass filter in the output stage, and the resulting interaction of the amplifier and speaker cables that form part of the filter, and the same speakers themselves. On top of that, there is not too much "headroom" power in terms of transient response. But this is not only the problem of Class D amplifiers – all the amplifiers referred to earlier had a similar problem to some degree, despite operating in class A, AB, and D. The thing is that, in addition to a given technology, what matters is also its application and the assumptions adopted by designers (trade-offs and choices). The Mille sounded different. On the one hand, the Soulution 710 power amplifier used as the reference point showed that bass could be even better focused and define, and presented in and even more velvety and natural way but, on the other hand, the Mille was not that far from the reference. What counts in high-end is each and every "millimeter" of improvement, so I have to say that there was a difference. However, if you are not willing to spend 80,000 USD on an amplifier (the Ayon Polaris III Custom Version + the Soulution 710), there is nothing to talk about. The quality of the Polish amplifier was most evident on the albums from, seemingly, different galaxies: Włodzimierz Nahorny’s Jej portret and Isabelle Faust performing Bach’s Sonatas & Partitas. BWV 1004-1006. The former started my auditions, the latter concluded them. Although I learned much in between and gained a better understand of the philosophy behind the amplifier sound, my perception of Nahorny’s music, a total acceptance of what I was hearing, regardless of the price (in other words, unconditional) was repeated in exactly the same form with Faust’s violin. The violin is truly unique – the "Sleeping Beauty" Stradivarius from 1704. Musicians, even the best ones, cannot afford an instrument of this class. Those who play them either inherited them from their rich ancestors, or have received them from a benefactor, or have them on a temporary loan (usually for life), having been blessed with the loan by an institution. They become its ambassadors and ensure that the instrument is in use – if it is not played, it dies. Such is the case of the "Sleeping Beauty", owned by the L-Bank in Baden-Württemberg. I am writing all this because it is a perfect instrument. Stradivarius violins sound in different ways, and this one sounds deep and velvety. The Polish amplifier unmistakably showed this characteristic of the violin, additionally drawing its large "portrait", with a substantial volume. And with a great space. The violin was positioned slightly behind the speaker line, but the amp showed a tendency to promote on-axis elements and to present them closer to the listener. All this was repeated when I listened to Nahorny’s album. The material recorded over two days in 1970 is a beautiful example of the lasting power of Polish jazz compositions from that time. At the same time, it leaves no doubt as to the limitations of Polish recording studios. Originally issued by Polskie Nagrania „Muza”, the CD was carefully remastered and released late last year by GAD Records (see the interview with its owner, Mr. Michael Wilczynski, HERE). The Mille amplifier showed its best side, complementing the midrange without its coloration. This is characteristic for high-end audio equipment - the warmth and fullness result from great resolution, which builds the "body" of the sound. It also sounded beautiful because the treble was simply sensational. It came out as if from a quality tube amplifier. Its smoothness was confirmed with its sonority. Without any brightening or hardening. And everything was perfectly "glued" together; there was no artificial isolation of subranges. The same was true about the bass. It was significantly better than even from the best tube amps. It is not as important with small monitors as it is considerably sized speakers. My Harbeth M40.1 were a perfect match for the Mille. Paired together, they showed the level of differentiation that cannot really be expected of any of the previously mentioned amplifiers, except the Soulution, which goes even deeper. It was a smooth, well-saturated subrange with outstanding dynamics. Finally, I heard something I knew about after listening to it on the reference system, namely that Artur Rojek’s album had been produced with incredible intuition, especially when it comes to the bottom end. Even the artist himself didn’t hear so great sounding Kokon, I'm sure of that. There was depth, black background and the autonomy of each sound. Not for its own sake, but rather autonomous in the network of connections with everything around it. Full respect! And differentiation, i.e. the sensitivity to differences of production and performance, was equally evident as the depth, which I heard moving right after that to the album Open Your Box signed by Ono (Yoko Ono), a set of remixes of her songs recorded with John Lennon. Everything was great, and I was dragged in again by the hypnotic rhythm of Everyman Everywoman Basement Jaxx and a retro style version of Walking On Thin Ice by Pet Shop Boys. But Rojek’s album beat them all hands down with its depth, blackness, dynamics and sensitivity. Conclusion The Polish system is extremely refined. I also liked as much. The RED Fingerprint Award is the expression of my special recognition, so it seems more than appropriate. However, one should also know how exactly it stands up to the other designs mentioned earlier and where other amps are better. Both Jeff Rowlands and the Abyssound sound warmer, have a lower tonal balance and are even denser, warmer. Although, let me emphasize, the elinsAudio amplifier lacks absolutely nothing here, and compared to many other amps sounds very, very warm. Their microdynamics is slightly better, although the Mille is unrivaled in terms of macrodynamics. The treble is exceptional on the Polish system and only such designs as the Accuphase A-200 monoblocks or my Soulution 710 show a markedly better differentiation, at the same time offering even greater softness and silkiness. The Jeffs and the Abyssound also show a slightly better three-dimensionality. But the difference is really small. Only the masters in this field, for example the Triode TRX-M300 Reference Edition 300B monoblocks can show the Mille the way for development. Not with the Magnepans, though. I know a couple of them and I am sure that they will purr with satisfaction when driven by the Polish system, without losing depth and showing great pulsing bass, rarely ever seen. Many American owners of these magnetostats may never have suspected them of that. Be that as it may, the Polish system is fantastic. Bringing the foreground closer to the listener it makes it seem more intimate, at your fingertips. The space is large and extensive; the sounds around us and behind us (in counter phase) have good consistency and are not glued to the head. The foreground still remains most important, with a strong, dense and warm midrange and well above-average dynamics. The Harbeths, Spendors and – obviously – Magnepans should be among the first the Mille is worth hearing with. But you may also be surprised by the Raidho D-1 and Sonus faber Guarneri Evolution (or, alternatively, the larger Olympic series). Go Poland, go, go! In audio, the distinction between integrated amplifiers and two-piece amplifiers (preamplifier + power amplifier) is one of the most fundamental. In the first case, the situation is clear – everything is housed in a single enclosure – with very rare exceptions, when the power supply is housed in a separate enclosure as in the case of the ASR Emitter II. The two-piece designs have a separate preamplifier and power amplifier sections, the latter often in the form of monoblocks. This is also the design of the elinsAudio system. Even such a seemingly simple separation adds a new dimension to the system. It allows you to set up the preamplifier and power amplifier any way you like, which I use myself. However, it takes many hours of auditions, patience and enthusiasm to find something that will surpass ready-made two-piece systems from the same manufacturer. That is why Polish company offers the Mille – a two-piece amplifier that we buy as a whole system. The separation of both sections has only a design purposes, and is intended to protect them from mutual interference. The enclosures are made of bent, very thick plates. The front panel is a brushed, anodized aluminum. The manufacturer took care for it not to look like another boring box. Although the initial versions had an even more complex faceplate, including gold thimbles in place of knobs, their assembly proved very difficult and did not guarantee repeatability. The enclosure design in the final version is understated, but it looks very cool. The "paths" milled out in the front panel are the planets’ paths, their orbits. The have been designed to form a whole when placing the units next to each other or on top of each other. Amber LEDs in these cutouts indicate connecting to the AC power. They are irregularly distributed, because the orbits are different among the individual units. I like that. Gold plated (with real gold) knobs stand out from the black front surface. Their shape is reminiscent of thimbles and it was probably meant to be – the system is "custom tailored" for each particular customer. One of the knobs is the input selector and the other is volume control. The feet are gold plated, too – they are solid, pretty and really cool. However, since there are never enough improvements, I used the Franc Audio Accessories Ceramic Disc Classic feet under the preamplifier. The power switch is integrated into the IEC socket on the rear panel. The company provides very solid power cords, made in-house of Klotz cable, with ferrite cores. For this review I used the Japanese classics – the Acrolink Mexcel 7N-PC9500 to the preamp and two Oyaide Tunami GPX-R to the monoblocks. RCA connectors are widely spaced, as in classic preamplifiers from Audio Research and Ayon Audio, but with the left channel at the top and the right one at the bottom. The connectors used are very good solid connectors from the American company CMC, although they bear the inscription "Swiss". There are six pairs of inputs and stereo output. The preamplifier has an ultra-simple design with ultra-complex power supply and ultra-sophisticated circuitry. It seems that after selecting the active input with a relay, the signal goes to the volume attenuator – I have never seen one like this. It's a classic resistor ladder network, enclosed in a shielded box. At the back, there is a mechanism to set the resistance of the volume knob movement. The attenuator is mounted at the rear of the chassis, and is linked to front panel via a long shaft. After the attenuation, the signal is sent to a small PCB with four transistors, two per channel. After that there is a circuit consisting of resistors and capacitors. The latter are polypropylene capacitors with tin foil from the French manufacturer SCR. They are coupled to the exit.. The power supply takes much more space – this is the true "heart" of the unit. Behind a thick plate-shield we have a large toroidal transformer, with the size known from large integrated amplifiers. Such a massive transformer for the four low-power transistors! It sports two secondary windings - each channel has its own separate voltage controllers. As I said in the beginning, elinsAudio developed its own hybrid power supply system, using both battery and AC power. Stabilized DC voltage is fed to two big batteries and only then to the preamplifier circuit. At customer request, the manufacturer can mount an additional switch to completely shut off the AC power – the preamplifier is then solely battery powered. According to Mr. Ireneusz Chwastek, it results it a slightly less dynamic, but even more velvety sound. The power amplifier consists of two monoblocks. They employ the Bang & Olufsen ICEpower 1000 ASP modules. People from elinsAudio claim to have them slightly tweaked. You can see additional large power supply capacitors, but it's hard to say what else is there. The monoblocks operate in class D and they are mounted on the same board with a switched mode power supply. The speaker connectors are solid CMC (gold plated copper) terminals, and the RCA input uses the same RCA connectors as those in the preamplifier. The XLR input uses Amphenol XLR connectors. The toggle switch is used to select one of the two inputs. The amplifier has an unbalanced topology. Like the preamplifier, it comes with sensible-looking power cords. The system set includes interconnects on Klotz instrument cables. Technical Specification (according to the manufacturer) Monoblocks – power amplifier Power output: 500 W (RMS) at 8 ohm 1000 W (RMS) at 4 ohm Frequency Response: 20Hz - 40kHz throughout the power range Dynamic Range: 118dB Damping Factor ≥ 1000 Maximum output current: 50A THD+N at 1W: 0.007% THD+N at 1,000W: 0.01% Dimensions: 225 x 360 x 110 mm Weight: 11kg / pc. Preamplifier Line preamplifier, 6 RCA inputs, one RCA output Gain: 6dB Frequency response: 10Hz - 150kHz ± 0 dB Input Impedance: 10k ohms Dimensions: 450 x 360 x 110 mm Weight: 19kg [hfgallery] [img mini="foto_testy/1406/eliens/th/05.jpg" big="foto_testy/1406/eliens/05.jpg" src="foto_testy/1406/eliens/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/06.jpg" big="foto_testy/1406/eliens/06.jpg" src="foto_testy/1406/eliens/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/07.jpg" big="foto_testy/1406/eliens/07.jpg" src="foto_testy/1406/eliens/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/08.jpg" big="foto_testy/1406/eliens/08.jpg" src="foto_testy/1406/eliens/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/09.jpg" big="foto_testy/1406/eliens/09.jpg" src="foto_testy/1406/eliens/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/10.jpg" big="foto_testy/1406/eliens/10.jpg" src="foto_testy/1406/eliens/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/11.jpg" big="foto_testy/1406/eliens/11.jpg" src="foto_testy/1406/eliens/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/12.jpg" big="foto_testy/1406/eliens/12.jpg" src="foto_testy/1406/eliens/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/13.jpg" big="foto_testy/1406/eliens/13.jpg" src="foto_testy/1406/eliens/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/14.jpg" big="foto_testy/1406/eliens/14.jpg" src="foto_testy/1406/eliens/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/15.jpg" big="foto_testy/1406/eliens/15.jpg" src="foto_testy/1406/eliens/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/16.jpg" big="foto_testy/1406/eliens/16.jpg" src="foto_testy/1406/eliens/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/17.jpg" big="foto_testy/1406/eliens/17.jpg" src="foto_testy/1406/eliens/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/18.jpg" big="foto_testy/1406/eliens/18.jpg" src="foto_testy/1406/eliens/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/19.jpg" big="foto_testy/1406/eliens/19.jpg" src="foto_testy/1406/eliens/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/eliens/th/20.jpg" big="foto_testy/1406/eliens/20.jpg" src="foto_testy/1406/eliens/20.jpg" desc="HighFidelity.pl"] [/hfgallery]

o find out which version of Ayon Crossfire one is facing, one has to look at the back of the device. The reviewed unit is marked there with Roman digit „III”. Yes, it's a third version of this Austrian SET integrated amplifier. It's creator, Gerhard Hirt, claims that this is the ultimate version, that there is nothing to improve here. Is it really the final one? I don't know. Not that I don't believe Gerhard but who's to say that one day he won't wake up with some brilliant idea that would make Crossfire sound even better? Is it the best version thus far? That's what I hoped to establish during this review. I had a pleasure of reviewing both previous version of this Ayon amp. Both reviews happened quite a long time ago (6 and 4 years to be exact) which is one element that makes comparisons difficult and the other one is my system that evolved during these years. The only way to check that out would be to place all three versions one next to the other which would be quite difficult (to get all versions now I mean, and to get a rack that would be capable of accommodating these heavy beast at the same time). Anyway I should try to figure out whether Gerhard managed to improve the second version, that was definitely better (sound wise) than the first one. Looking at Crossfire 3 I had a problem to find anything that would differentiate it from previous version. It is the same external design that makes it easy to tell – this is Ayon – whether we look at amplifier, CD Player, or any device originating from this Austrian company. There is always this sturdy black casing with rounded corners that can't be really confused with anything else. One might like it or not but if one buys Ayon that's what one gets. As I said it was hard to find any changes comparing to version „2”, but obviously there were some between „2” and „1”. Crossfire is and always was a Single Ended Triode design build around large, powerful 62B tube. Some call this tube a „300B's big sister”, and there is something to it. The famous 300B triode still has many devoted followers around the world, me included, but there is one thing many would love to see changed about it – output power. 8W is more than enough to drive high-efficiency speakers with speaker-friendly impedance curve, but there are not that many such designs. At the beginning Gerhard Hirt used 300B too, but then two other tubes were created for his needs – 52B and 62B. Both are based, to a point, on 300B design, but they are bigger, more sturdy, more powerful. Ayon Mercury using single 52B per channel delivers around 20W and Crossfire using 62B pushes around 30W per channel. 20 or 30W from SET amp that is already a lot and it allows its user to chose speakers from a much larger pool. Back to the differences – the first version sported 6H30 as drivers and the second used Tungsol's 6SL7. The third version uses two 6H30, and four 6SJ7. There is one more obvious change comparing to first version that one could easily spot with naked eye – the first Crossfire did not sport a tube rectifier, it (5U4G to be specific) appeared together with an additional small silver „cup” in the version no. 2, and it's still there in the „3”. Another novelty in the newest version is a small display next to volume control knob that displays for a few seconds after each change the level of volume. Then it goes dim so one might even miss it until first volume change. That's about it regarding changes one could catch with naked eye. As for internal changes Gerhard said they revised power supply stage (it's now a third-generation PS), tube regulator and developed a new gain stage technology. The gain stages have been optimized to provide for the shortest signal path and the most direct signal flow. Furthermore a new revolutionary MCU based volume control system with analog resistor switches has been installed. Obviously it is still SE and NFB design. Like in the previous versions there are separate power transformers, chokes and filters that provide total isolation between the input and output stage. All of them are encased, damped and RFI/EMI shielded. Only high quality components were used like MKP capacitors, WBT sockets and high quality, shielded internal cabling. The power tubes (as far as I know) are made for Ayon in Czech Republic. There is another parameter that changes from version to version one would easily notice when carrying them – the weight has grown over time to reach impressive 45 kg (!) in the third version. The heaviest components are obviously transformers so the total weight is not evenly spread as the back of the devices is much heavier than front. My advice – don't try to move it by yourself! Crossfire 3 sports 3 linear inputs, one XLR, direct-in input, pre-out output and separate speaker taps for 4 and 8 Ω. It gives user a possibility to adjust bias for power tubes using small pots on the back of the device and a nice VU meter placed between tubes. There is also, like in all Ayon devices, a proper polarization indicator. Next to the EIC socket there are two small toggle switches - „ground” (self-explanatory), and the other that changes the working mode and allowing to check and if necessary adjust bias. Those who can't live without remote control will be happy to hear that there is one – a metal, nicely finished one. Since it's a mighty class A amplifier in a mid-sized room it can replace heating during cold days, during hot ones... well, you get a „free” dry sauna (I wouldn't recommend pouring water or any essential oils over tubes...). If your listening room gets visited by curious little ones, or some pets you might want to use small individual „cages” for tubes, although, to be honest, the casing itself and transformers' covers get quite hot too so its better if you keep kids and pets away from this amplifier. Ayon Audio in HighFidelity Integrated amplifiers REVIEW: Ayon Audio SPIRIT III (NEW) – integrated amplifier, see HERE CRACOW SONIC SOCIETY: meeting #79 – Ayon Audio KT88sx tubes, see HERE REVIEW: Ayon Audio ORION II - integrated amplifier, see HERE REVIEW: Ayon Audio SPARK DELTA - integrated amplifier, see HERE REVIEW: Ayon Audio MERCURY II - integrated amplifier, see HERE REVIEW: Ayon Audio 300B - integrated amplifier, see HERE Preamplifiers REVIEW: Ayon Audio ORBIS - linestage, see HERE REVIEW: Ayon Audio Spheris II Linestage - linestage, see HERE REVIEW: Ayon Audio Polaris II - linestage, see HERE Power amplifiers REVIEW: Ayon Audio ORTHOS XS – power amplifier, see HERE REVIEW: Ayon Audio VULCAN II - power amplifier, see HERE REVIEW: Ayon Audio TRITON MONO - power amplifier, see HERE Digital sources • REVIEW: Ayon Audio CD-3s + NW-T – CD Player/DAC/linestage + music files transport, see HERE CRACOW SONIC SOCIETY: meeting #80 - Gerhard Hirt and his S-3 (Ayon Audio), see HERE REVIEW: Ayon Audio Skylla – D/A converter, see HERE REVIEW: Ayon Audio CD-2s – CD Player, see HERE REVIEW: Ayon Audio CD-5s Special – CD Player, see HERE REVIEW: Ayon Audio CD-1s (in a system) – CD Player, see HERE REVIEW: Ayon Audio CD-1 – CD Player, see HERE REVIEW: Ayon Audio CD-3 – CD Player, see HERE REVIEW: Ayon Audio CD-07 – CD Player, see HERE Other INTERVIEW: Gerhard Hirt, Ayon Audio – owner, see HERE Recordings used during test (a selection) Metallica, Metallica, 511831-1, 4 x LP. AC/DC, Live, EPIC, E2 90553, LP. Patricia Barber, Companion, Premonition/Mobile Fidelity, MFSL 2-45003, 180 g LP. U2, The Joshua Tree, UNIVERSAL, UNILP75094, 180g, LP. Isao Suzuki, Blow up, Three Blind Mice, B000682FAE, CD/FLAC. Tsuyoshi Yamamoto Trio, Autumn in Seattle, FIM XRCD 043, CD/FLAC. Eva Cassidy, Eva by heart, Blix Street 410047, CD/FLAC. Louis Armstrong & Duke Ellington, The Complete Session, Deluxe Edition, Roulette Jazz 7243 5 24547 2 2 (i 3), CD. Muddy Waters, Folk Singer, Mobile Fidelity MFSL-1-201, LP. Frank Sinatra, Live in Paris, Mobile Fidelity MFSL 2-312, LP. Kermit Ruffins, Livin' a Treme life, Basin Street B001T46TVU, CD/FLAC. The Ray Brown Trio, Soular energy, Pure Audiophile PA-002 (2), LP. Cassandra Wilson, Travelin’ Miles, Blue Note 7243 8 54123 2 5, CD/FLAC. Marcus Miller, A night in Monte Carlo, Concord Records, B004DURSBC, CD/FLAC. Chie Ayado, Life, Ewe B00005EZRV, CD/FLAC Stevie Ray Vaughan, Texas flood, epic/LEGACY EX65870, CD i FLAC. Joseph Haydn, Les sept dernieres paroles de notre Rédempteur sur la Croix, Le Concert des Nations, Jordi Savall, Astree, B00004R7PQ, CD/FLAC. Beethoven, Symphonie No. 9, Deutsche Grammophon, DG 445 503-2, CD/FLAC. Japanese issues available at [REKLAMA5] I started this test (and text) with assumption that it would allow me to compare this version with its predecessors. But the fact is that I conducted review of the first version nearly 6 years ago, and of the second version 4 years ago. Additionally during that time my reference system evolved. So as much as I, and probably many Readers, would appreciate such comparison, the truth is it would not be particularly reliable one. Despite what many people think our sound memory is very short, add to it all the above mentioned changes and you have to conclude that such comparison is not really possible. So after couple of days of listening to Crossfire 3 I decided to trust Gerhard and assume that this, supposedly, ultimate version is the best one of the series (also because I know few people who started their adventure with Crossfire with the first version and then upgrade to the second and finally to the third, each time having a chance to compare directly the version they owned with the newer one it their own systems. And since all of them actually upgraded to new version each time I it is safe to say that they voted with their own money for the improvements each newer version brought. As a fan and owner of a SET amplifier build around a pair of the famous Western Electric 300B tubes each time I start to listen to any SET design I look for this one and only SET magic that I fell in love with already during my first encounter of such amplifier. This magic is an enchanting, palpable midrange combined with mesmerizing holography of the sound that brings musical spectacles right into my own room, that makes listening to the music a real, soul touching, intimate experience. I've listened to many different designs from around the globe, based on different triodes and most of them were at least very good sounding amplifiers, some were absolutely astounding. Also some of them seemed superior to the legendary 300B tube in some aspects, while inferior in others. To be honest I've never had to much trouble going back to listening to my own system that offered me an amazing pleasure of experiencing music. There was one exception though - Kondo Souga – a power amplifier based on double 2A3 tubes per channel, that offered performance beyond anything I've ever heard in my room. Was it a matter of 2A3 tube, or Kondo-San's magic – I do not know, but the fact is that I am to hear a better sounding amp yet. And since last year Souga occupies the top of my „most wanted” list, I haven't forgotten my first Crossfire encounter, which was also a „jaw dropping” experience. This amplifier not only offered a lot of 300B magic, but it supported it with amazing range extremes. It is in human nature to get used to „good things”, so when I listened to the second version of Crossfire (and a third too) I wasn't so impressed anymore with dynamics, powerful and yet very well defined kick in the bass, and very clean and vibrant top end. There were all facts which is amazing for a SET tube amplifier, but that was exactly what I could expect knowing previous version(s). Crossfire always impressed me (when paired with matching speakers) with its explosive dynamics, something one would expect from a top notch solid-state rather than tube amp. Paired with Biastanis Matterhorn Crossfire 3 did whatever was required of it whether it had to produce thunderous bass on Metallica, or go down to the gates of hell with Isao Suzuki's bass, or to deliver fast, taut and yet powerful electric bass of Marcus Miller. It seemed not to care at all what kind of music it had to play – effortless, that's the best way to describe its performance. Another great feature was a very good bass differentiation in terms of timbre, pitch, but also texture and individual way of playing. Especially when it comes to acoustic bass it all plays a key role in proper presentation. Because how could one appreciate performance of double bass, or what is happening in the lower piano octaves, or what organs can produce in the low end if these sounds are not properly differentiated? For Ayon it seemed an easy job done in a very natural, effortless way. It became almost my tradition to listen to Patricia Barber vinyl version of Companion during my tests. I use it first of all to evaluate the treble. There is an abundance of percussion instruments used in this recording – some wooden, some metal once. Tube amplifiers often soften their sound, smooth it out which takes away some of huge variety of sounds as some of them become to similar to each other to tell them apart. Crossfire following footsteps of its predecessors offers an amazing treble presentation, vibrant, rich, lively and very natural sounding. Treble does feel smooth but only when it is supposed to. When it comes to some bit harsher, brighter sound Ayon will reproduce them in a proper way. One of such instruments that can sound very smooth, soft even but then it can suddenly turn into harsh, aggressive sounding one is a trumpet. And that's what makes Crossfire different from most tube amplifiers – it is capable of delivering whatever treble is recorded in a way it is meant to be played, without rounded edges, fast, aggressive, even bright if needed. When it came to more dynamic recordings, like electric blues of Stevie Ray Vaughan Crossfire III sounded like a good solid state amp with impressive dynamics, hints of aggressiveness even, drive, power and unlimited energy. Female vocals like dark, deep voice of Cassandra Wilson or brighter, sweeter one of Eva Cassidy both sounded very palpable, both charmed with sex-appeal. Ayon on one hand delivered amazingly lively, i experience with music but on the other allowed me to study layers within layers of each recording, and to analyze them, or it rather would allow me if there was anything that could force me away from just enjoying the music. But still – anybody interested in deep analysis of the recording could do so because this amplifier is really good in differentiating texture and timbre, delivering all, even tiniest details and nuances, and show voice from quite up close. What's important – this presentation made analyzing the sound possible but didn't force listener to do that – there was no “over-exposition” of details, it was smooth, liquid, coherent and above all natural sound. It worked equally well for male voice – each of them sounded authentic, real, and different than others, it was the recording that decided about how particular voice sounded and not the device reproducing it. A quality of recording was very important though. Crossfire III is not a tube amplifier that makes each and every recording sound nice, no matter its true quality. Differences between recording quality were quite obvious. Still, Ayon is a SET amplifier, no doubts about it, so by definition it's not designed for the highest possible fidelity, there always is at least small element of triode magic. That is why even these less than perfect recordings still sounded good enough not to give up listening to them – I mean I could tell what was wrong but still enjoy them if only music itself was interesting enough for me. This was this sort of presentation that makes it easy to focus on everything that is great about particular recording and kind of “forget” about its downsides (not forget but rather ignore). That allowed me to truly enjoy for example U2 albums, that I really love but don't listen to very often as the sound quality doesn't equal their musical value. Crossfire III, just like its predecessors, was able to draw out the “artistic” value of such recordings, deliver great performance of musicians and vocalist. So apart from U2 I could also listen to, and appreciate a lot archive recording of a brilliant pianist Józef Hofmann. Again – it does not mean that Ayon smoothed out all the cracks 7 pops, that it got rid of all the noise – and there are plenty of these in this very old recording – nothing of that sort! These flaws very simply not exposed, they were there but somewhere in the background, “behind” wonderful music. Another chapter of almost each test for me is listening to acoustic guitars – I play a bit myself so I know the sound of this instrument very well and I love it, plain and simple. When I started to listen to such recordings using Crossfire they sounded so natural, so real that I had to take my own 6 string out and (very poorly of course) try to play along with Clapton, Dżem or Rodrigo y Gabriela. Obviously I would dream about having their skill or technique but at least I could compare some sounds coming from speakers and my guitar and I loved what I heard. Reproducing guitar strings is not that much of a achievement, many amplifiers can do that, but delivering properly what a soundboard of guitar does – that's entirely different thing and only some amps are up to the task. It didn't seem to be a problem for Crossfire III – I could easily hear both strings and soundboard in proper proportions. Guitars were nicely rendered in a space with proper size and weight. Strings plucking was very fast, dynamic, and the decay build by soundboard long. Also small string ensembles sounded truly beautiful – smooth, liquid and crisp. Last but not least I started to spin some classic music. That's often a weak spot of low-power tube amplifiers that are not able to reproduce proper scale, dynamics range and complexity of symphonic orchestra. I like to challenge reviewed devices so I use Beethoven's 9th Symphony performed by Vienna Philharmonic Orchestra under Karl Böhm. First of all that a great, powerful performance, secondly there are a lot of dynamics and pace shifts that seem to be quite challenging for amplifiers. Only very few of them are able to deliver this piece of music in a genuinely convincing way. Ayon delivered quiet fragments rich with details and subtleties, gradually building the drama to suddenly change the pace and hit the listener with full power of the mighty orchestra. And all the power and dynamics was delivered in a very orderly, clean way. Sure, the scale was a bit limited but it always is if one tries to reproduce orchestra with audio system in a mid-size room. I couldn't resist and had to listen to one more of my favorite recordings, that I enjoyed on both previous versions of Crossfire: Last seven words of Christ by Joseph Haydn performed by Le Concert Des Nations conducted by Jordi Savall. That's a wonderful piece of music, an amazing performance and fabulous recording. I use it during my tests to assess capability of reviewed device to deliver this amazing huge space and acoustics of a church in Cadiz, Spain, where this recording was made. Crossfire III acted like a true, high quality SET - realism, tree-dimensionality, wonderfully rendered depth, reverberations traveling along the walls – all was there, all very convincing. And there was this absolutely mesmerizing presentation of a voice reading fragments of the Bible – I felt shivers traveling down my spine (without even understanding the Latin text) – amazing! Summary I already wrote that at the beginning – I can't really compare Crossfire III with previous versions – too much time passed between my reviews. But what I can say is that already the first Crossfire became one of my favorite amplifiers. Each new version only confirmed that first experience and I could happily live with any generation of this fabulous SET. Now it means even more than at the time of the first or second version as in the meantime I had a chance to listen to much more different amps so my choice grew bigger. Crossfire is not only a tube amp, but a SET (Single Ended Triode), starting with version II even more of a tube amp because of tube rectifier. And while it offers a solid portion of famous triode magic it combines it with dynamics, speed and powerful presentation that are usually solid-state amp's attributes. Surely the output power is still “only” 30W, which limits a choice of loudspeakers a bit, but this choice is much wider than in the case of any 300B amp. This, I think, could be the main idea behind this design – to offer a lot of 300B's magic but with significantly larger output power and more even frequency response including much better range extremes. Job well done! Ayon Audio Crossfire III as the name suggests is a third version of Ayon's top integrated amplifier. It's a Single Ended Triode design with zero negative feedback, using powerful 62B power tubes. The design of this tube is based on legendary 300B tube, but it is bigger, more robust which allows a single tube to deliver 30W of power. Small signal tube selection consists of a pair of 6H30, four 6JS7 driving power tubes, and a 5U4G rectifier in power supply. Amplifier sports a very characteristic enclosure made of thick, black aluminum panels – this is Ayon all right - rounded corners and chrome transformers' cups can't be mistaken with anything else. This is a very heavy device – 45 kg is no joke! There are two nice knobs on the front – one is a volume control and the other works as input selector. Next to the volume control there is a small display that shows for a few second after each change present volume level – then it dims out. On the back there are solid speaker binding, separate for 4 and 8 Ω loading. Amplifier sports 3 linear RCA inputs, 1 XLR input, direct-in input and pre-out output. In the right lower corner there is a red led indicating proper AC phase polarity. Next to it there are two small toggle switches – one reads “ground” (used in case of some power grid hum), other reads “bias” and when used it allows user to check bias current of power tubes, using a very nice V/A meter placed on the top panel between tubes. The USB port on the back panel of the amplifier is used only for servicing purposes. Comparing to previous version changes include:completely revised third-generation power supply, tube regulator and new gain stage technology; gain stages have been optimized to provide for the shortest signal path and the most direct signal flow; a new revolutionary MCU based volume control system with analog resistor switches has been installed. Amplifier is equipped with small, metal remote control. Technical specification (according to manufacturer) Typ układu: single-ended, czysta klasa A Lampy wyjściowe: 2 x AA62B Impedancja obciążenia: 4 i 8 Ω Moc wyjściowa: 2 x 30 W Pasmo przenoszenia (0 dB): 8 Hz-35 kHz Impedancja wejściowa (1 kHz): 100 kΩ Stosunek sygnał/szum (pełna moc): 98 dB NFB: 0 dB Regulacja siły głosu: drabinka rezystorowa o skoku 1,5dB Pilot zdalnego sterowania: tak Wejścia i wyjścia: 3x liniowe RCA, 1x liniowe XLR, 1x direct, 1x wyjście z przedwzmacniacza Wymiary (WxDxH): 520 x 420 x 250 mm Waga: 45 kg [hfgallery] [img mini="foto_testy/1406/ayon/th/05.jpg" big="foto_testy/1406/ayon/05.jpg" src="foto_testy/1406/ayon/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/06.jpg" big="foto_testy/1406/ayon/06.jpg" src="foto_testy/1406/ayon/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/07.jpg" big="foto_testy/1406/ayon/07.jpg" src="foto_testy/1406/ayon/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/08.jpg" big="foto_testy/1406/ayon/08.jpg" src="foto_testy/1406/ayon/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/09.jpg" big="foto_testy/1406/ayon/09.jpg" src="foto_testy/1406/ayon/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/10.jpg" big="foto_testy/1406/ayon/10.jpg" src="foto_testy/1406/ayon/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/11.jpg" big="foto_testy/1406/ayon/11.jpg" src="foto_testy/1406/ayon/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/12.jpg" big="foto_testy/1406/ayon/12.jpg" src="foto_testy/1406/ayon/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/13.jpg" big="foto_testy/1406/ayon/13.jpg" src="foto_testy/1406/ayon/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/14.jpg" big="foto_testy/1406/ayon/14.jpg" src="foto_testy/1406/ayon/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/15.jpg" big="foto_testy/1406/ayon/15.jpg" src="foto_testy/1406/ayon/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/16.jpg" big="foto_testy/1406/ayon/16.jpg" src="foto_testy/1406/ayon/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/ayon/th/17.jpg" big="foto_testy/1406/ayon/17.jpg" src="foto_testy/1406/ayon/17.jpg" desc="HighFidelity.pl"] [/hfgallery]

VLogic is a Korean manufacturer of audio components and UHD (Ultra High Definition) TV monitors. It just so happens that its research department is behind creating one of the most interesting audio file transports, the W20. Milled from an aluminum billet and equipped with a SSD drive, ultraprecise Oven-Controlled Crystal Oscillator (OCXO), jitter reduction circuit based on battery-powered Field Programmable Gate Array (FPGA), as well as a fantastic iPad app for its operation, it caused quite a stir in the market that seemed to have already been divided between the major players, led by Linn, Naim, and then also Lumin. I'm referring to this unit as a "transport" not without reason. All the above manufacturers offer complete digital music players, featuring both the section to read audio files from the media (transport) and digital-to-analog converter (DAC). Aurender approached the issue differently by concentrating on what they do best, i.e. taking care of digital signal processing and its proper transmission, and leaving D/A conversion to the others. The W20 was and still is a very expensive piece of audio equipment, and even the cheaper S10 that was launched to the market some time later, has not changed much in this respect. Hence, the announcement of two new products, the X100L and X100S transports selling for a fraction of the cost of the W20 and S10, was met with great anticipation. Both the X100 variants are almost, but not exactly, the same. The letter ‘S’ and ‘L’ in their name denotes the size of the hard drive used and can be deciphered as “Small” and “Large,” respectively, which also translates into the enclosure length of each. The 'S' version comes equipped with a 1TB hard drive, while the 'L' features two 3TB drives for the total 6TB of disk storage space (an upgrade to 8TB is also possible). The Aurender engineers believe that disk location should be as close to the player as possible, although it is possible to use a NAS drive. An internal hard drive has also some disadvantages, however, among which the most important are additional RF noise and vibration generated by the drive while accessing the data. And vibration (along RF and mechanical noise) is a major source of distortion in the audio devices and is fought against by every possible means. As the Aurender features a built-in hard drive, its designers had to face the problems referred to above. To reduce mechanical noise, they did not include a cooling fan and IC chips are covered with a large heat sink for a passive cooling solution. The heat sink also acts as a RF noise screen. They battled the HDD-induced vibration in two ways. The hard drives are mounted to a special support frame with rubber pads, mechanically decoupling the two. But this is only the beginning. What is more important is the use of SSD (solid state drive) as a cache. After using the Aurender App to create a playlist by adding individual tracks (or albums), the selected audio files are copied from the HDD to SSD, the HDDs are turned off and the music is played from the SSD memory. The idea of using SSD for playback is not new and can be seen in players from Blacknote (see HERE), Bladelius (see HERE) and others. The Aurender approach, however, is to let the users keep their entire collection, mainly in the form of a high-resolution files, on the built-in storage. And DSD128 files take up a lot of disk space (up to 300 MB a few minutes is a file). Hence the need to use hard drives. Of course, it won’t be long before we see equally capacious and much cheaper SSDs. I perfectly remember the year 2006 and Panasonic proudly announcing the imminent launch of a 4GB SD memory card (see HERE). Today it is next to nothing. The X100L employs a 120GB SSD as a cache drive. Another difficulty that had to be dealt with was a large amount of RF noise affecting the quality of the output digital signal. As I said before, the W20 employed sophisticated methods of noise reduction, including a LiFePO4 (LFP) battery power supply and the manufacturer claims to use the same methods in the new players. The Aurender X100L/S had its official premiere at CES 2014 in Las Vegas (January 7-10). The player supports bit-perfect playback of DSD files (DIFF/DSF, both DSD64 and DSD128), as well as WAV, FLAC, ALAC, APE, AIFF, M4A and other major audio formats, in native resolutions and sampling frequencies up to 32-bit and 384 kHz. Its characteristic feature, in addition to an excellent and highly readable AMOLED front panel display, is a single digital audio output in the form of a USB port. This dedicated USB Audio Class 2.0 output with proprietary power circuitry is designed to eliminate audio signal noise and is carefully shielded from outside RF interference. Why using a single USB digital output? After all, we are used to Blu-ray, DVD and CD players featuring digital outputs in the form of either optical Toslink or electrical, coaxial RCA (or BNC). Well, the reason is that the X100L is actually a specialized computer and as such it uses Universal Serial Bus for audio signal output. Which brings us to one of the disputed points of the program – dedicated digital music player vs. computers in the same role. The issue is not straightforward and each side has strong arguments in its favor. The advantage of the computer as a digital signal source is that it can be virtually endlessly improved by upgrading the software and trying out different software players. A strong supporter of this approach is Marcin Ostapowicz, the owner of JPLAY and co-developer of the best software player I know. Another advantage of this solution is its modest price. But there are those, including myself, who find it unacceptable to have to keep fiddling with the computer instead of listening to music. The computer will always remain computer, hanging up in the least appropriate moment, having problems with drivers, doing something "under the hood" I have no influence on, and not being particularly user friendly. Audio signal processing comes at the tail end as other processes are given a much higher priority. The issue of signal clocking is the audiophile’s nightmare and the computer USB output is a crying shame. For me, using the computer is a true ordeal and even though I often use it during DAC reviews, I have no heart to it. Despite the fact that Marcin keeps installing updated versions of JPLAY and maintaining it in good condition. But the X100L is a computer, too. The thing is that it’s a highly specialized computer. Anyone who’s had their hands on Apple products for video or sound editing will surely know what I mean. This specialization means that the Aurender operating system (here a Linux distribution) gives priority to the processes related to operating as a digital music player. There is only a single specialized output. There is no sound or graphic card. The machine automatically and seamlessly connects to any external DAC. And its user interface is a better version of the CD player. That is what I expect of an audio component – a smooth, maintenance-free operation. To obtain sound from a digital transport, it needs to be connected to a D/A converter. The transport is but a transport and that’s it (see more HERE). To have a reference point, during the review the X100L was connected to several different DACs, including the DC-901 from Accuphase (which I had previously reviewed for the Polish "Audio") and the MA-1 DAC from Meitner with installed software for DSD playback. I used the former for the playback of PCM files up to 24/192, and the latter also for DSD files (DSD64). I chose the Accuphase because I had used it earlier to audition the best CD transport I know, the CEC TL0 3.0 and the matching Accuphase DP-900 SACD transport. Unfortunately, the Accuphase DAC does not accept the DSD signal through the USB input, which is strange as the company promotes the SACD format. Hence the assistance from the Meitner. The Aurender X100L is a fantastically built, solid and nice-looking unit, but it's worth placing it on an additional anti-vibration platform. The Acoustic Revive TB-38H seemed ideally suited for this purpose, and the 215mm x 83mm x 355mm player looked as if it had been custom designed for it. I hooked it up to the DAC via my trusted cable that I use during reviews, the Acoustic Revive USB 1.0SPS with a battery-powered 5V line. I spent a considerable time to select the best possible method of comparison. I was interested in evaluating the following scenarios: The Aurender compared to my laptop (Windows 8, 8 GB RAM, playback of SSD 128 GB, JPLAY) The Aurender playback of CD rips compared to the same CDs played back on the CEC transport and my Ancient Audio Air V-edition used as a transport, The Aurender with hi-res files vs. CDs. In the case of physical CD albums I auditioned both their best available releases as well as classic "plastic" CDs. I could not try out any DSD128 or DXD files, as neither the Accuphase nor the Meitner support them. Albums auditioned during this review Opus3 DSD Showcase, Opus3, source: Opus3, DSD64 + DSD128. Opus3 DSD Showcase2, Opus3, source: Opus3, DSD64 + DSD128. SATRI Reference Recordings Vol. 2, Bakoon Products, source: a flash memory card from Bakoon Products, FLAC 24/192. Bartłomiej Waszak, Random Trip, Nowe Nagrania, 005, CD + FLAC 24/44.1 (2012). Charlie Haden & Antonio Forcione, Heartplay, Naim Label, 24/96 FLAC, source: NaimLabel. Daft Punk, Random Access Memories, Columbia Records, FLAC 24/96 (2013). Daft Punk, Random Access Memories, Columbia Records/Sony Music Japan SICP-3817, CD (2013); reviewed HERE. Dead Can Dance, Anastasis, [PIAS] Entertainment Group, PIASR311CDX, "Special Edition Hardbound Box Set", CD+USB drive 24/44.1 WAV (2012); reviewed HERE Depeche Mode, Delta Machine, Columbia Records/Sony Music Japan SICP-3783-4, FLAC 24/44.1, source: HDTracks (2013); reviewed HERE. Diana Krall, From This Moment On, Verve 1705042, “Special Limited Edition”, CD (2006). Diana Krall, From This Moment On, Verve, source: HDTracks FLAC 24/96 (2006/2011) Keith Jarrett, The Köln Concert, ECM, source: HDTracks, FLAC 24/96 (1975/2011). Keith Jarrett, The Köln Concert, ECM/Universal Music Company UCCE-9011, “Keith Jarrett Solo Piano Gold Collection”, gold-CD (1975/2001). Mikołaj Bugajak, Strange Sounds and Inconceivable Deeds, Nowe Nagrania 001, 45 rpm LP+CD+WAV 24/44.1; reviewed HERE. Miles Davis, Kind of Blue, Columbia/Legacy/Sony Music Entertainment SICP 30526, “The Original Mono Recordings”, Blu-specCD2 (1959/2013); reviewed HERE. Miles Davis, Kind of Blue, Columbia/Legacy/Sony Music Entertainment, source: HDTracks, “The Original Mono Recordings”, FLAC 24/192. Miles Davis, Kind of Blue, Columbia/Legacy/Sony Music Entertainment, COL 480410 2, "Master Sound", Collector's Edition, Super Bit Mapping, gold-CD (1959/2005). Miles Davis, Tutu, Warner Brothers Records/HDTracks, FLAC 24/96 (1986/2010). Recordings from DVD-R discs added to “Net Audio” magazine. Persy Grainger, Lincolnshire Posy, Dallas Wind Symphony, Jerry Junkin (conductor), Reference Recordings, HR-117, HRx, 24/176.4 WAV, DVD-R (2009). Stan Getz/Joao Gilberto, Getz/Gilberto, Verve, source: HDTracks, FLAC 24/96 (1964/2009). Stan Getz/Joao Gilberto, Getz/Gilberto, Verve/Lasting Impression Music LIM K2HD 036, K2HD Mastering, “24 Gold Direct-from-Master Edition UDM”, CD-R (1964/2009). The Joe Holland Quartet, Klipsch Tape Reissues Vol. II, 1955, 57, DSD128. Yes, Close to the Edge, Warner Music, FLAC 24/192, source: HDTracks (1972/2007). Japanese editions are available online at [REKLAMA5] My position regarding the question of the audio file transport vs. the CD transport was explicitly expressed in my review of the CEC TL0 3.0 (see HERE). Hence, I will not repeat myself. Let me just point out two things that I only briefly touched on: I admitted that the progress in the field of audio file playback is very rapid and that digital music players and streamers are getting increasingly better; I also emphasized the convenience that they offer. I think that in this particular category of audio components it is impossible to separate these two elements that are intertwined like twins in the same womb. In terms of "user friendliness" or "playability", to use the term popular among computer games enthusiasts, the X100L stands out as one of the best players I know. So far, the benchmark for me was the specialized application from Linn (see HERE), which has the largest experience in this field of all audiophile manufacturers. I think that the Aurender App is at least as good and it looks prettier to boot. And it is also easier to use (not to take anything from Linn, which I greatly respect). Audio file management on the player’s hard drive storage is equally enjoyable. The user’s computer "sees" it as a normal HDD, so the files can be easily managed and their folder structure is retained. This is a huge plus. The player’s front panel display is extremely elegant and will not grow old like other colorful and flashy displays, stuffed with information, cover art and other garbage. Thanks to the excellent remote user interface on an iPad it might even be dispensed with altogether and the Aurender could then take the form of an aluminum cube. But I understand that its current appearance makes it look nicer and you can see what you are paying for. The player gets an A in terms of user friendliness. I would like to devote slightly more time to the description of its sound. Those who think that all computers, and the X100L is a specialized computer, "sound" the same, i.e. they churn out the same digital audio signal, provided some basic requirements are met, are mistaken. I might use even stronger words, not out of frustration but rather to shake up those, primarily IT specialists, who believe that all the fuss about digital music players is just fuss and nothing else. The Aurender adds a distinctive edge to the sound, shaping it according to a fairly easily recognizable pattern. Its main characteristic is the saturation of lower midrange. This results in a large and dense sound. Once again, after the great Lumin player, I can hear that the dry and cold sound offered by most digital music players is primarily a hardware, rather than software, problem. What's more, the sound dynamics is excellent, which in turn shows that its flattening and reduction, characteristic of computer audio, also concerns the problem of proper playback. I am not saying that everybody needs to agree with my description of computer audio and digital music players’ weaknesses, but rather encourage you to check it out yourself. However, I think that I have auditioned a broad enough range of these components to be able to speak up my mind. I compared the Aurender’s sound with that of the CD transports (as that’s still my reference) in two rounds. At first, I was interested to see how the CD compares against the CD rip played back on the Aurender (CDs were securely ripped with the full version of dBpoweramp software). In the second round I pitted the CD against high-resolution audio files. While the first round of auditions concerned the same disc masters, the second one did not. I had both the same versions on CDs and hi-res files, as well as the best available CD releases and classic hi-res files. The answer to what it had to offer was simple and enjoyable. As a matter of fact, the Aurender player did not sound like a typical audio file player and was reminiscent of what I’d heard from the Lumin. It was a dense and full sound, with palpable sources. Phantom images were shown fairly close and had a large volume. But above all that, there was softness, silkiness. The lowest bass was inferior to that from the CD transport, and so was resolution. With one exception: when the audio file was properly prepared, it was fifty-fifty. This was the case with the files from Naim and Linn. It confirmed what I had already known: both companies are real experts not only in terms of audio equipment. Daft Punk’s album in hi-res files also proved to sound excellent. But with Diana Krall and albums like Getz/Gilberto, The Köln Concert and others, including Dead Can Dance music, the weakness of files was evident. It manifested itself in weaker dynamics, muffled sound and smaller soundstage. But when the player was fed with good material, the sound was beautiful. And DSD files sounded the best. It is a real shame that they will always be a niche within the niche. Actually, it is not the format itself that is crucial, but rather the way it has been prepared. Any PCM file can be converted to DSD, which often happens. But that’s a disaster. Only DSD files made directly from analog tape or from DSD recordings let the Aurender spread its wings and show softness, detail, breath and fluidity. But on the other hand… OPINION no. 2 Text: Tomek Folta Photos: Tomek Folta In early January, when I was looking through a photo story of this year’s CES in Las Vegas, I couldn’t but notice the premiere of the Aurender X100L. Of course, I had already been familiar with this Korean manufacturer, but since I would not seriously consider buying a digital music player for nearly 25k USD and – compared to the flagship W20 – the specification of the less expensive S10 looked definitely inferior, I did not bother with either of them. The longer I looked at the descriptions of the X100L, however, the more I was drawn to the conclusion that in terms of its design and functionality it looked as if it was created to meet my (very specific) needs and requirements. First, the X100L sports an internal hard drive. For me, that is a significant asset, as an NAS server means an additional (and in my opinion unnecessary) peripheral device in my system, together with another power supply as well as two additional LAN cables. What’s important, the Aurender powers down the hard drive after caching the playlist onto the SSD, thus eliminating the issue of hard drive vibration and noise, which, for example, has been the problem in my Dune HD Max player. Another important feature of the Aurender is that it is a digital music transport and there are currently very few audio components of this type on the market. As an owner of a quality D/A converter, I do not want to pay for another DAC in the player. The X100L’s single available digital output, a specially isolated, anti-jitter USB port, directly inherited from the flagship W20, also seems like a tailor-made solution for me, as I have long had a 1-meter top WireWorld Platinum Starlight USB cable. Besides, the manufacturer’s decision to not include several digital outputs, which are available on the more expensive Aurender models, has had a positive effect on the price of the X100L. Last but not least, an extremely important feature of the Aurender is an audiophile-friendly user interface using the iPad. Apart from the standard capabilities available in such programs, like sorting by genre, artist, composer, etc., the Aurender allows you to have five user folders with any name. All that it takes is to create and name the folders on the Aurender hard drive. It is very important to me, as from the beginning I have kept my "collection" of music files on my Dune player sorted into the following folders: “CD rips”, “Metal”, “HD Music”, “Gerhard” (professional CD rips I have received from a friendly audio manufacturer from Austria) and “Others”, and I would like to stick to that. Most of the solutions I have so far come across dump the whole music collection into one bag, creating a complete mess. You will probably agree that the corpse painted (for Satan’s glory) faces of Norwegian black metal stars featured on their album covers from the first half of the 1990s, scattered alphabetically between Stockfisch-Records samplers and Michael Jackson’s discography, look quite pretentious. In addition to the above, the Aurender App allows sorting the audio files by their sampling rate and bit depth and includes a separate “DSD” button. Creating and saving your own playlists is also very intuitive. I cannot imagine what more could I want from a music playback app. The owners of tablets running on Android and Windows will unfortunately have to factor in the additional cost of purchasing a device bearing the Apple logo, though. While we’re at Apple, here’s another important piece of information – the Aurender supports AirPlay. Hence, you can easily stream music from your iPhone or iPad to your audio system, for example from YouTube. Of course, in this case the streamed audio quality is nothing to get excited about, but the feature comes very useful in many situations. I auditioned the player in a standard furnished 30m2 room, with the height of 3.90m. The room had been acoustically adapted by means of suspended ceiling made of the Ecophon Focus Dg material. The Aurender was hooked up to the Ayon Audio Stratos DAC, a special version with the 6H30DR (NOS) output tubes. In my system, the Stratos also acts as an analog preamp, driving the latest Accuphase A-70 stereo class A power amplifier. The speakers are the Dynaudio Confidence C4 ver.2 Signature, signed for me personally by Wilfried Ehrenholz. Whenever I refer to the differences between the sound of audio files and CDs, it means that I compare the Aurender X100L against my Ayon Audio CD-T transport hooked up to the Stratos in I2S mode using a LAN cable from Acoustic Revive. I have never expected to see the orthodox audiophile world, generally not venturing beyond the confines of classical music, jazz, etc., go down on its knees before a mainstream release, as it did in 2013 before the album Random Access Memories from the duo Daft Punk. Guy-Manuel de Homem-Christo and Thomas Bangalter spent over a million dollars for the recording studio, session musicians, Pro-Tools and… Bob Ludwig who mixed the album into three formats: analog, digital and DSD. The money was not wasted, though, and resulted in a musical masterpiece whose first three tracks alone can serve as an obstacle course, mercilessly exposing any shortcomings of the average audio system. On good systems, however, they will reward the listener with incredible dynamics, subsonic room-shattering bass and lots of "special effects" in the treble department (not forgetting, of course, the most important thing, the aesthetic appeal emanating from the music itself). A comparison of the 24-bit/88.2kHz file from HDtracks.com with the Japanese CD release available from CD Japan (Sony Music Japan International SICPA 3817) almost immediately showed the former’s superiority. Bass extension was even deeper, with a perfect control of the huge speakers pumping the air in my sizeable listening room and without the slightest compression. Of course, it was largely due to the Accuphase A-70 power amplifier and its extremely high damping factor of 800, but without a reliable source the feat would have surely been impossible. Few people know that at the behest of Thomas Bangalter the track Giorgio by Moroder was recorded using three different microphones in the studio, which confirms the artist’s pedantic approach to the sound. The first microphone came from the 1960s and was used to tell the story from the past (we are transported to the year 1969), the second of them, from the 1970s, was used in the fragment talking about the present, and the third contemporary model was used in Giorgio Moroder’s story about the invention of the "sound of the future". The differences between the microphones were easier to pick up on the Aurender than on the CD. The audition of DSD files revealed Aurender’s biggest assets. A comparison of the DSF files from the Opus3 DSD Showcase compilation, whether DSD64 or DSD128 (the differences between them were easily discernible, with a nod towards the DSD128 version, of course), with their CD counterparts (Test CD 4.1, Opus 3 CD19400 HDCD, Tiny Island, Opus 3 CD19804, Eric Bibb & Needed Time Good Stuff, Opus 3 CD 19603) demonstrated truly phenomenal phantom image palpability in the case of the former. Swapping the Aurender for the Ayon CD-T made the sound seem calmer and more balanced at first, which would be desirable in most cases, but here after several minutes of listening to one and the other it was the Aurender that proved to sound more natural and more friendly to the ear, making you want to stay with it for the pure listening pleasure. The way the bass and percussion were "sinking" in three-dimensional space on the track Vaquero Tiny Island, one of my favorite albums from the Opus 3 stable, was by far more accurate with the audio file. The highs had a proper tone color, with longer and more accurate decay. The Aurender also revealed more micro details. Live at the Vatnajökull (Opus 3 CD 19802), featuring Mattias Wager’s improvisations on the organ and Anders Åstrand’s on percussion, unfortunately did not last long enough in my CD collection for this comparison. I sold the disc on the popular auction site over a decade ago, having reached the conclusion that it was an extreme example of the audiophile approach to music (sound quality 10/10, musical and artistic value 1/10) and as such did not deserve to take up space on my shelf. However, listening to the DSF file on the Aurender X100L showed me a completely new dimension to this recording. The Korean player allowed me to be easily transported in my mind to a large church, somewhere in Iceland, close to a glacier, and to feel the atmosphere of this place, as if the recording was taking place here and now. What was particularly endearing was the power of the organ and their full range extension. The trumpet that opens Ellington’s track Black Beauty performed by Blue Five, also showed much more treble detail on the DSD file. The double bass that follows sounded very hard, but without exaggerated sharpness or edge. A separate issue is the availability of DSD files. The biggest online service offering files of this type that I know – Acoustic Sounds – prevents purchase from Poland due to record labels’ policy. Of course, for a few dollars a year you can "hide" behind a US VPN, but I have not personally tested this solution. "High Fidelity" does not take any responsibility for any legal consequences of such actions taken by readers. What is interesting and worth noting is that in one of the rooms at this year's High End in Munich I came across the Aurender X100 as a source in a nearly million euro audio system that included, among others, the Marten Coltrane Supreme 2 speakers, the darTZeel NHB-18NS preamplifier, the NHB-458 monoblocks from the same manufacturer and the MSB DAC IV Diamond DAC (see the photo above). It was totally unobtrusive to the eyes (and ears) that at the start of this ultra-expensive audio chain was the player that contributed only about 0.5% towards the cost of the entire system. Is the Aurender X100L an ideal audio component? Unfortunately, I have to admit that CD rips (made with my MacBook Pro using XLD) did not sound as good on the Aurender as "real" discs did on the CD transport, but one also needs to bear in mind that my Ayon CD-T equipped with the Philips PRO-2 drive and paired with the Stratos constitute a very high shelf CD player, and a comparison with cheaper CD sources might work out in Aurender’s favor. Reading online reviews of various digital music players I repeatedly stumbled upon questions like, "and how is this player different from a PC with a software player?" Unfortunately, I will not be able to answer this question in relation to the Aurender, at least not in the way that would satisfy an IT specialist. Perhaps Wojtek will have more success with that, but I need to state it clearly that for three years of playing audio files on my Dune HD Max and MacBook Pro, and testing a variety of applications on the latter (Decibel, Amarra, Audirvana), turning off its Air-port to get rid of any potential interference, cleaning RAM of unnecessary processes in the OS X Activity Monitor before each listening session and using many other annoying in the long run operations to optimize the sound, I have never come close to the sound quality offered by the X100L. I will even say that I have been far away from it. So far, audio files sounded completely flat in my system, barely reaching the bottom end extension of my previous Dynaudio Confidence C2 speakers and never really bringing out the C4 true power. The highs were matted, the whole presentation somewhat nervous internally, and I always felt relieved after going back to the CD. The Aurender has completely changed the status quo, hence it will settle in my system for good as a source, being a worthy match for the CD transport. Conclusion The Aurender is a joy to use. My attitude to computer audio is rather negative, because of its unpredictability and the need for continuous fixes and upgrades. If I were to play the audio files in my system, I would like to use a file player that is as stable as a CD player. The Aurender perfectly meets this requirement. It is small, perfectly designed and built and it offers the kind of sound that should appeal to a large group of music lovers, regardless of how much they want to spend on this type of component. I will go even further to say that the sonic structure it offers is close to my vision of the sound of high-end system components. It is soft, yet not softened; dynamic and palpable. On top of this, there is the outstanding user interface. All that remains is to choose a matching high-end DAC. It could be the Meitner that was used during the review, but it could also be the Mytek STEREO192-DSD DAC which I reviewed some time ago, or the Auralic Vega (see HERE and HERE). Each of these configurations will be great and each will bring out the main features of the X100 sound. If digital music players continue to follow that path, I will soon have to look around for something like that. The X100L is outstanding.

he Air Force One turntable from the Japanese manufacturer TechDAS that I reviewed in March was a true revelation to me and its presence in my system (see HERE) made for an exceptional experience. It embodies all the design concepts of Mr. Hideaki Nishikawa, his whole experience and heaps of money from the Japanese company Stella , which owns the TechDAS brand and paid for everything. The AFO design and built quality is outstanding and it employs some interesting design solutions, like its vacuum hold-down system, air-bearing to “float” the platter, and others. But if you look objectively at this manifestation of the human spirit, which is how I understand audio, while being aware of its perfection it will be difficult to point out things that could be called "breakthrough", "one of its kind", "changing the paradigm". Although such level of precision and such design consequence as here, combined with such accumulation of engineering knowledge are in themselves "one of its kind", their unique status is based on countless minor improvements of concepts that have long been known, discussed and used by many other manufacturers. True innovations are extremely rare in the world of analog audio. Passing over magnetic tape, the basic principles of turntable and tonearm design were known decades ago and have since only been polished and refined. Hence, a revolutionary tonearm design concept introduced by the Swiss company Thales was very refreshing. Its inventor is Micha Huber – mechanical engineer, musician and watchmaker. The concept is based on school geometry and makes use of Thales’ theorem (Thales’ Circle). The idea was patented (694567 CH) as Tangential Pivoted Tonearm and showcased to the world in May, 2004. The Thales Original tonearm, which was based on this theory, came with one sole objective: to reduce tracking errors to absolute minimum while avoiding the problem of tangential arms, i.e. a large difference in the vertical and horizontal effective mass. All pivoted tonearms exhibit distortion resulting from the fact that LP masters are cut tangentially. The Swiss arm looked like a classic pivoted design but, on the other hand, it featured innovative, unusual additional components. While the arm had a classic look, the gimbal bearing looked different than usual. An additional horizontal and vertical arm were used to rotate the headshell as it moved towards to the disc center to mimic the tangential arm movement and keep the cartridge tangent to the groove for zero tracking angle error. A rather complicated description, but one look at the picture is enough to know what it’s all about. The Original arm was very expensive and not suitable for use with every turntable. The latter restriction prompted the development of a more compact arm that was, somewhat tongue-in-cheek, called the Simplicity. The arm can be mounted on any turntable. Tracking geometry is based on a tetragon design with two arm tubes instead of one, moving relative to each other. Thales claims to have achieved a vanishingly low tracking error of 0.008°. The arm length is 9" and its effective mass is 19 grams. The arm is suspended in a gimbal assembly equipped with six ruby ​​bearings. The arm can be ordered in three finish colors and a choice of DIN, RCA or XLR connectors. The tonearm that was sent for a review is the second revision of the Simplicity design. Compared to the MkI, ruby bearings have been abandoned in favor of miniature ball bearings, the tonearm lift is mounted slightly differently and azimuth adjustment mechanism is more accurate. Internal arm wiring is now run differently compared to the first version. Thales is a company whose founding idea was an innovative tonearm design. It soon turned out that in order to maximize its benefits and advantages as planned, it was necessary to design an own turntable. This led to the development of the battery-powered TTT-Compact. The name perfectly describes its body – it is small and graceful and makes no impression of being massive, and therefore expensive. A perfect turntable for those who do not want other family members to know how much they spent on another "toy". This is not the only example of a small, expensive and advanced turntable design. We must also recall the earlier designs – the SG1.1 from Spiral Groove and products from Simone York. But the TTT-Compact is the only battery powered design in this group. The turntable comes with the proprietary air-decoupled LEVI-Base board. The turntable was installed in my place by Wojtek from RCM, a real pro when it comes to THESE things. I wish everybody such great customer service, with every step so well thought out. It was him, together with Roger, the owner of RCM, who decided to equip the turntable with the Shelter 7000 cartridge. It is an MC cartridge with 0.55 mV output voltage. In the RCM phono stage that I used, I set the nearest corresponding value of 0.4 mV. The next value of 0.6 mV seemed slightly too bland. The manufacturer quotes the load impedance of 100 ohms; I settled for 200 ohms and it was perfect. The cartridge comes with a 0.3 x 0.7 mm elliptical nude diamond stylus. Tracking force has a very wide range, from 1.4 to 2 grams; Wojtek set it to 1.8 gram. The cartridge coils use PC-OCC copper wire. The cartridge looked great on the Simplicity II arm, as if the two had been designed together. Albums auditioned during this review Ben Webster, Old Betsy - The Sound Of Big Ben Webster, STS Digital STS 6111129, 180 g LP (2013). Depeche Mode, Leave In Silence, Mute 12 Bong 1, 12” single (1982). Dominic Miller, 5th House, Q-rious Music/Rutis Music QRM 122-2, 180 g LP (2012). Dominic Miller, Fourth Wall, Q-rious Music/Rutis Music QRM 114-2, 2 x 180 g LP (2010); Gerry Mulligan & Thelonious Monk, Mulligan meets Monk, Riverside/Analogue Productions AJAZ 1106, “Top 20 Jazz, 45 RPM Limited Edition #0584”2 x 180 g, 45 rpm LP (1957/2009). Harbie Hancock, Takin’ Off, Blue Note/Cisco Music CLP-7050, “Limited Edition S/N 0692”, 180 g LP (1962/2006). JS Bach, Partitas, wyk. Florin Paul, Tacet L 10, 2 x 180 g LP (2012). Marek Biliński, Best of the Best, Bi.Ma. BiLP-01, 180 g LP (2014). Metallica, Master Of Puppets, Asylum Records/Warner Bros. 470908-1, “45 RPM Series”, 2 x 180 g LP (1986/2008). Miles Davis, Miles Davis and The Modern Jazz Giants, Riverside/Analogue Productions AJAZ 1106, “Top 100 Jazz, 45 RPM Limited Edition #0706, 2 x 180 g, 45 rpm LP (1956/?). The Montgomery Brothers, Groove Yards, Riverside/Analogue Productions AJAZ 9362, “Top 100 Fantasy 45 Series”, 45 rpm, 180 g, 2 x LP (1961/?). Japanese issues available at [REKLAMA5] In audio, and in the turntable department especially, product design and built quality determines the set of its sonic characteristics that we run into when listening to music. In other words, seeing how the product is built, we can say with high probability what kind of modifications it will bring to the sound. Sometimes, as in the case of the Thales turntable, it remains an unpredictable puzzle. Taking into consideration other turntables, it would have to be described as a light, non-decoupled, belt-driven design. The arm remains beyond the scope of our guess, because no other company offers this type of design. One could therefore presume that the TTT-C equipped with the Simplicity MkII will offer a precise, selective and resolving sound. The tonal balance would solely depend on the designers’ choices. It might be rather high, as in turntables from Thorens and Clearaudio (light). It could also be low, as in inexpensive Pro-Ject designs, where the treble is recessed and rounded, bringing the warm midrange to the foreground. In a sense, similar comments could be made about Rega turntables, except that they show a more active treble. None of these guesses works with the Thales, and will be completely off the mark. The first thing that comes in as a shock – and it's not a figure of speech – is the depth, focus and density of bass. Something like that is offered by advanced, mass loaded turntable designs, such as Transrotor, or specially adjusted and also quite heavy units, like SME. The Thales sounds even denser and more dynamic from all of them. As if dropping heavy mass that colors the mid-bass has cleared, refined and polished it. Perhaps it is somewhat "made up" because the bass now shows up on the albums where it was previously lacking or seemed absent altogether, such as on the 45 RPM re-release of Metallica’s Masters of Puppets. Albums with plenty of well-recorded bass, there was fire. Depeche Modes maxi-single Leave in Silence, which sent shivers down my spine on the Air Force One, now sounded even a bit more dynamic, the attack transient a little stronger and stiffer. No contouring or hard edge whatsoever, no way, Jose; but the physical impression of bass punch was greater with the Swiss turntable. But the thing is not just about the intensity and deep extension. The Thales system, as it is both a turntable and tonearm (though I suspect the latter to a greater extent), shows the bass in such a clean way like no other turntable, except perhaps the said Air Force One. But it was only the Swiss machine that let me hear the low frequency distortion that occur on many records, especially at the beginning of the disc. What I mean is the kind of low bass modulations that other turntables do not "hear". This shows that the Thales has incredibly low distortion and, in a way, it brings the music one step closer to the listener. After all, it’s not all about bass. This is a dense, focused sound. The kind we sit back, relax and chill out to, without falling asleep. The beauty of vinyl, irresistible with many a turntable, is truly enchanting with the Thales. It makes each disc sound interesting, even those worst recorded, even as battered as my copy of Isabella Trojanowska’s debut album with Budka Suflera, with the track I am your sin almost completely worn out by the previous owner. The LP was marked Excellent+ when I bought it and it was really clean, almost with no scratches. It was evident that the previous owner had been taking care of it. What you couldn’t see was how much it was worn out, presumably by lesser quality audio equipment. It only came out during playback. The track I’ve referred to ends the disc, hence it falls in the area of the lowest speed, which translates to highest distortion with classical tonearms. Add to that pops and clicks and it spells disaster. The Thales did not improve anything – the pops were still there, as always. What it did, however, was to pitch them next to a dense, low balanced sound, music. That the best turntables put natural vinyl distortion, like pops and surface noise, "outside" music presentation is something absolutely normal. What it means is that the distortion is heard from a different sonic plane and does not interlock with the sound, even though it comes from the same speakers. It is as if we stood in a room where music is played back from the speakers and live instruments at the same time. These are two different realities, which we understand instinctively. The Thales did all that in a very natural, stress-free manner. Intuitively. It added to that the saturation of basic sound, its coherence and density. It made the kind of distortion that were the reason many people had long given up on vinyl even less interfere with the music. On this system, resolution and selectivity are one and the same. Wonderfully combined and supporting each other. The sound of violin, recorded with two microphones, horn equipment and reel to reel tape recorder, was captivating in its beauty. I played this CD to a few people and each one of them was moved by what they heard. The term that everyone used to describe it was "beautiful." Even though it’s a single instrument, the volume of sound was big, and the space in which it had been recorded was supporting the basic sound. Density and focus went smoothly hand in hand. The turntable did not cover recordings’ problems. The Sisters of Mercy remasters from a digital tape remained as they were, showing poorly differentiated and sometimes slightly distorted treble. The Thales had no problem with this kind of problems. They were audible, but somehow easy to ignore, so to speak. The presentation was so vivid and engaging that they were but minor inconveniences, like small bumps on the highway while driving a comfortable limousine. Conclusion When I receive another cool source for a review and I share this information with my friends, they no longer ask about the product itself but rather whether it has any chance to stand up to the Air Force One, my dream machine from TechDAS. My answer is the same: Ha, ha, ha! Typically, there’s more "ha". Such is life. But it’s also true that the Japanese turntable is the absolute top for me and it's very hard to get there. The Thales is not a product of the same caliber, either. At the same time, however, it is one of the few turntables I could live with as a temporary replacement for the AFO (and while waiting for the "Japanese"). They both share a similar approach to the musical material. It's an open, resolving and dense sound with fantastic bass and great dynamics. The sound is well differentiated from disc to disc, often within the same disc, and yet there is a kind of "protective umbrella" over each recording, which makes us pass over the issue of their recording and pressing quality, and instead concentrating primarily on the music. The impression is all the more pronounced with quality pressings, such as 45 RPM versions from Analogue Productions, discs from Speakers Corner or good originals. But even inferior versions or discs in poorer condition are not disqualified and I reached for them with equal pleasure as for the refined 180 g/45 RPM/one side reissues. What the Thales is not capable of doing equally well as the TechDAS machine is presenting the instruments so phenomenally independent of one another, while showing the interlinked connections between the musicians and acoustics. The AFO plays everything even more softly, better showing the contours and textures. And space – the Japanese turntable does something incredible to it, which makes many recordings sound much better than live concerts. The Thales is also great at that sort of thing, but apparently there are just limits to what it can do. But there is something no other turntable that I’ve heard can offer: the sound we get from such a small form factor is similar to what we hear from big, massive turntables full of technological innovations and design solutions. The Thales may be small but its sound is like a dream. The Thales brand is owned by a Swiss company HiFiction AG, located in Winterthur. The company is a specialist manufacturer of precision turntable components and assemblies. It combines modern technologies such as CAD, micromechanical components assembly and surface treatment with traditional hand craftsmanship. In May 2012, the company moved to the third floor of a large industrial building in Hegi, with plenty of space for its R&D department, prototype and assembly room. All this information is important to understand the incredible level of precision that goes into the manufacturing of the TTT-Compact and Simplicity II. TTT-Compact The base is tiny and at first glance we can’t quite see what we pay for. And we pay, among other things, for the battery power supply for the motor. Seeing a high-end turntable we can be hundred percent sure to see next to it a big power supply enclosure. The point is to "translate" the AC mains power to a perfectly clean current to power the motor. It is not necessary in the case of the TTT-C, as it is guaranteed by the very nature of battery power. Four LiFePo batteries and a charging circuit are housed in the cutout in the very low base. Fully charged batteries provide 16 hours of continuous operation. An operating mode switch on the back is used to put the unit into charging, standby or playback mode. Adjacent to it is a small socket for the outboard 13.2V DC power supply. The latter should be disconnected during playback. The speed (33.3 or 45 RPM) is select via two switches in the left front corner. Fine speed adjustment are possible using small potentiometers available through tiny holes in the front. The 20W DC motor is a modern brushless design. The small motor is mounted to a relatively rigid decoupling component. The motor pulley is very close to the sub-platter, because the designers wanted the drive belt to be as short as possible. The belt is made of a special material used in medical applications. The whole drive assembly is carefully calculated and designed for the lowest possible vibration and minimal axial movement of the motor. The main bearing is Most proud of the company is, however, self-designed main bearing. The main shaft (spindle) is made of hard chrome-plated carbon tool steel with hand polished surface. The shaft runs in two sintered bronze bushings. Sintering is the process of forming solid materials by heat and pressure without melting it to the point of liquefaction. This gives the material high purity and very high mechanical resistance. Sintered bronze is frequently used as a material for bearings due to its porosity that allows lubricants to remains captured within it. The bushings are soaked in a specially prepared oil. The platter spindle ends with a small spherical carbide piece that rests on a hardened steel ball. The whole bearing assembly is enclosed in a heavy ductile cast iron housing. The material has excellent vibration damping characteristics. The turntable platter has two main objectives: to increase the rotating inertial mass and to provide a good support for the vinyl disc. In the TTT-C, the platter mass is not too high but it is intelligently used. The platter weighs 6.5 kg but the mass is concentrated at its outer perimeter. This gives the equivalent inertial properties of a 8 kg platter. The platter is tuned to a single resonant frequency, which is damped by a customized high density inlay. It feels like rubber to the touch, but of a different consistency. The inlay also serves as a record mat. The record is hold down by a 460 g brass record clamp. Its underside is covered with the same mat as the platter surface. The whole unit rests on three small feet. While they look simple from the outside, they are actually a smaller variant of isolation feet offered by Finite Elemente. They are composed of two main metal parts, the base and top cap, separated by a ball, held in place by a rubber O-ring around the shaft of the base. The whole sits on the LEVI-Base pneumatic board, whose design resembles the RAF-48H air board that I have been using in my system for several years. The TTT-C can also be equipped with a second tonearm, which needs an optional arm base. Simplicity II Thales’ career began with its tonearm design, which distinguishes it from almost all other manufacturers, except for SME. Manufacturers usually start with a turntable, which is relatively easier to design, and then add to it an own tonearm (or not). Here, the idea was simple: to design a classic gimbaled tonearm that would have the advantages of tangential arm, which is to keep the cartridge tangent to the groove for zero tracking angle error all the way. The way it has been executed in the Simplicity II is that there are two parallel arm tubes, connected with a special gimbal bearing on one end and head piece bearings on the other. The tracking geometry is based on a unique tetragon solution. It may sound simple, but the design and craftsmanship has to be perfect for it to work. The counterweight is divided into two pieces for optimized energy flow so each arm tube has its own counterweight. An additional eccentric piece can be attached to ensure constant tracking force across the record surface. Three different counterweight are included to balance a wide range of cartridges (between 7 and 23 g). The company claims to have reduced the Simplicity II tracking error to a negligible 0.006°. For clarity: the tracking error in a classic 9" tonearm can reach 2.5° and is down to 2° in the best 12" arms. As I have mentioned before, the company replaced ruby bearings with ball bearings. Thales used a new technology, called TTF (Thales Tension Free) bearing technology, which has been in development since 2012. In a nutshell, it combines the benefits of traditional ruby ​​bearings (damping properties, a single point of contact and angular alignment) with those of the ball bearing (high resistance load). The TTF technology allows to achieve an extremely low coefficient of friction, complete absence of backlash and, as a side effect, an integrated shock absorbing system. The arm features Thales’ own pure copper internal wiring. In the previous arm version, the wires were twisted together and run in one of the arm tubes. Now each channel is run separately. The cables are terminated with a DIN or RCA connector, per customer’s request. An interconnect is not included but can be purchased separately from Thales. The review was conducted with the Thales interconnect. The quality of workmanship of each component is well above average and may be called perfect. But what else could be expected from the descendants of the best watchmakers in the world? Technical Specification (according to the manufacturer) Speed: 33 ⅓ rpm, 45 rpm Wow & flutter (at 33 ⅓ rpm, DIN45 507): ± 0.06% Rumble: -60 dB (unweighted) Output: RCA / XLR / Direct Weight: 16 kg Dimensions: 432 x 312 x 91mm Battery life: 16h [hfgallery] [img mini="foto_testy/1406/thales/th/05.jpg" big="foto_testy/1406/thales/05.jpg" src="foto_testy/1406/thales/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/06.jpg" big="foto_testy/1406/thales/06.jpg" src="foto_testy/1406/thales/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/07.jpg" big="foto_testy/1406/thales/07.jpg" src="foto_testy/1406/thales/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/08.jpg" big="foto_testy/1406/thales/08.jpg" src="foto_testy/1406/thales/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/09.jpg" big="foto_testy/1406/thales/09.jpg" src="foto_testy/1406/thales/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/10.jpg" big="foto_testy/1406/thales/10.jpg" src="foto_testy/1406/thales/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/11.jpg" big="foto_testy/1406/thales/11.jpg" src="foto_testy/1406/thales/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/12.jpg" big="foto_testy/1406/thales/12.jpg" src="foto_testy/1406/thales/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/13.jpg" big="foto_testy/1406/thales/13.jpg" src="foto_testy/1406/thales/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/14.jpg" big="foto_testy/1406/thales/14.jpg" src="foto_testy/1406/thales/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/15.jpg" big="foto_testy/1406/thales/15.jpg" src="foto_testy/1406/thales/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/16.jpg" big="foto_testy/1406/thales/16.jpg" src="foto_testy/1406/thales/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/17.jpg" big="foto_testy/1406/thales/17.jpg" src="foto_testy/1406/thales/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/18.jpg" big="foto_testy/1406/thales/18.jpg" src="foto_testy/1406/thales/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/19.jpg" big="foto_testy/1406/thales/19.jpg" src="foto_testy/1406/thales/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/20.jpg" big="foto_testy/1406/thales/20.jpg" src="foto_testy/1406/thales/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/21.jpg" big="foto_testy/1406/thales/21.jpg" src="foto_testy/1406/thales/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/22.jpg" big="foto_testy/1406/thales/22.jpg" src="foto_testy/1406/thales/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/23.jpg" big="foto_testy/1406/thales/23.jpg" src="foto_testy/1406/thales/23.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/24.jpg" big="foto_testy/1406/thales/24.jpg" src="foto_testy/1406/thales/24.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/thales/th/25.jpg" big="foto_testy/1406/thales/25.jpg" src="foto_testy/1406/thales/25.jpg" desc="HighFidelity.pl"] [/hfgallery]

his had to be the largest, most concentrated and intense audio show I had ever been to. The official figures are out and show an increased number of exhibitors and visitors compared to the previous two years. And these had both been record years. The official figures on the High End 2014 provided by the always reliable Renate Paxa, responsible for public relations and press affairs, are as follows: Exhibition space: 26 500 m2 (+ 33%) 452 exhibitors from 40 countries (+ 25%) 5,387 trade visitors (+ 3%) 12,468 visitors with tickets (+ 14%) Total visitors number 17,855 (+ 10%); the number does not include the journalists and do not include the 2,426 exhibitor IDs issued). As it could have been seen last year, the exhibition area and the sheer number of products were impressive. Any attempt to visit all exhibition rooms and talk to at least some of the manufacturers was doomed to failure. Of, course it is possible to stay in Munich for the whole four days. There’s a good chance then to be able to see almost everything. And there would be some time left for meetings and talks. For some time now, I have been trying to do it all in the shortest time possible. And I don’t want to do it again this way. Instead of trying to catalogue the whole show, I would like to show you those moments that caught my interest, introduce you to the people I respect and like, and to the places I came across by chance. I was trying to document these meetings with photos. SAUNTERING AROUND This time I decided to take flaneurism as my methodological principle. I am not the first to use this approach, but it means a significant change in my life. This type of "sauntering" is known primarily from the nineteenth century literature. The flâneur, key figure of the nineteenth-century modernist city, is "a characteristic paradigm of the modern entity," in the words of Katarzyna Kułakowska (Katarzyna Kułakowska, Miasto płci. Dyskurs miłosny Marii Peszek, Warsaw, 2013). She says, after Zygmunt Bauman, a Polish sociologist, that the flâneur has long been brought over from Parisian walkways to everyday life and played a significant role "in building a terrifying universe of the postmodern consumer order" (Zygmunt Bauman, Dwa szkice o moralności ponowoczesnej [“Two essays on postmodern morality”], Warsaw 1994, p. 21). In literature, this method has, for example, been adopted as a research methodology by prof. Dobrochna Ratajczakowa: Methodologically, I'm a flâneur. I set out for a special kind of stroll, not only across various fields of the arts, but also in the areas of the sciences and, like the 19-century flâneurs, I visit not only the shrines of High Art, but also the smoky caffés chantants or (even worse) dubious theatrical freak shows. This flaneuring – thematic, conceptual, theoretical, methodological - allows me to exceed the rigid boundaries of disciplines and to enter fascinating frontiers, combining what is low with what is the highest. Dobrochna Ratajczakowa, O sobie [w:] Ko-medianta. Prace ofiarowane profesor Dobrochnie Ratajczakowej, red. Ewa Guderian-Czaplińska, Krzysztof Kurek, Wyd. Poznańskie Studia Polonistyczne, Poznań 2013, s. 7. Historically speaking, flaneurism is a stroll around the city, no objective, not accidental; loitering, peeping life, "retraction" smells of the city and its moods. The enormity of modern cities does not allow for systematic in their research. To succeed, you need to be cut off from the emotional part. And it's a shame for life. So I walked Nina Simone Way, Oscar Peterson Boulevard, Ella Fitzgerald Avenue (the so-called transition between stalls in the exhibition halls during the High End), rested in the Atrium Atrium 3 and 4 I tried to capture the spirit of the place, remember how many impressions. I hear what you can. THE COMPACT DISC IS DEAD. REALLY? I have found that taking my working band into the studio is too much trouble these days (that is, in 1986, when the album Tutu was recorded – ed. note). The band might not feel good that day at the recording session, or at least some people in the band might not. (…) Doing it the old way, recording like we used to, is just too much trouble and takes too much time. Some people say they miss that spontaneity and spark that comes out of recording with a band right there in the studio. Maybe that's true; I don't know. All I know is that the new recording technology makes it easier to do it the way we have been doing it. If a musician is really professional he will give you what you want in terms of performance in the studio by playing off and against the band that's already down on tape. I mean, the motherfucker can hear what is being played, can't he? One of the reasons I like playing with a lot of young musicians today is because I find that a lot of old jazz musicians are lazy moth­erfuckers, resisting change and holding on to the old ways because they are too lazy to try something different. They listen to the critics, who tell them to stay where they are because that's what they like. The critics are lazy, too. They don't want to try to understand music that's different. The old musicians stay where they are and become like museum pieces under glass, safe, easy to understand, playing that tired old shit over and over again. Miles Davis i Quincy Jones, Miles. Autobiografia, tłum. Filip Łobodziński, Wrocław 2014, ss. 379, 401. Little did I know that my few words in the review of the CEC TL0 3.0 transport would elicit so many emotions (see HERE). I based my evaluation of the situation with audio signal sources on practice and experience. Saying that audio files are the future, but still have a long way to go to catch up with the increasingly more mature and almost unbelievably advanced (in terms of the amount of time spent on its development) Compact Disc technology, I had no idea that the attitude towards the vinyl-CD-audio files relationship is often closer to religion than reasoning. Being called a "dodderer" or an "old fart with no understanding of the modern world" is actually funny. The only thing is that it indicates a serious deficit of synaptic connections in people who say something like that. And/or their deafness. The above quotes from the autobiography of Miles Davis, a musician whom I greatly respect and who changed jazz several times, suggest the need for change. And he is right; it is impossible not to agree with him. It's just that on a completely different matter, to quote Janusz, the host of the Krakow Sonic Society. For Davis, the change in the way of making music resulted from his explorations, his meditation on what he was doing, on his music and the music of people he valued. In addition to Dizzy and Bird whom he adored, it was Prince but also Michael Jackson. And others. The change was never supposed to oppose anyone just for the sake of it and was rather caused by the very musician’s modified approach to playing music. In the case of changes in the recording technology, I have to say that although I disagree with Davis, I respect his opinion. What eventually won was simply practical – the new was better because it was more convenient. These two levels of understanding of the "new" well reflect the situation with audio files and CD, because they are my main point. Vinyl status seems to be well established: it is a classic that will outlive everything and everyone. A growing movement associated with reel to reel tape is a margin, although it adds spice to what’s going on in audio. Audio files primarily mean convenience. This is how they were created and then adopted by the youth. I have nothing against convenience and this aspect is really OK. Having no physical referent is for many people a symbol of modernity and I'm not going to argue with that, either. The second thing is the sound. Here things are more complicated. From my experience, a high-resolution file, prepared in a reasonable manner, played from a good source (player or computer) can sound very good and really interesting. For me, however, that is still not good enough. Good and best CD players, which play back music from this antiquated medium, still sound better, at least in my opinion. Differences between the CD and audio file are similar to those between the CD and vinyl, which has lasted for years. A funny role reversal, but resulting from the progress that continues both in analog and CD. If I still had any doubts, the Munich show would dispel them in a flash. The abundance of digital music players and related accessories, so evident over the last few years, this year seemed less noticeable. Based on conversations with audio manufacturers, music lovers, audio magazine editors and dealers, I generally can say that I noticed in many of them a waning of their initial enthusiasm. Perhaps playing tracks from a black box controlled with a tablet has become so normal that there is nothing to get excited about. Walking through the show rooms I could see lots of familiarity with this type of user interface. Its convenience is beyond dispute. And now, most of the audio demonstrations that stood above averageness, and those that were really good – with some exceptions – had a CD player (or SACD player but playing CDs) as a source or, less commonly, vinyl. I am not making this up, I’m just saying like it was. The demonstrations involving audio files were usually bland and nondescript. Not always, but generally it was true. In other words, they echoed mine and KSS’s convictions. So what is it going to be like now? I can only repeat what I tried to communicate many times: the CD player still remains one of the best audio sources. It will eventually die out over time, but while we are still alive… Vinyl will outlive everything and everyone. As an icon, a sociological phenomenon and still paragon of sound. Reel to reel tape players, which have their own separate reference world, are a small niche that will only be a reference point for the few, a tool in the listening rooms of the best audio manufacturers. Audio files will keep getting better and better. The main stream will be 24/96 and 24/192 PCM files, sometimes 32/384, and next to them, just as reel-to-reel next to vinyl, will be a DSD niche. But I’m not sure how long it will take for engineers, sound engineers and perfectionist companies to make the sound from fixed storage memory so satisfying that we will be able to talk about a paradigm change. BEST SOUND - HIGH END 2014 High Fidelity.pl It was widely felt that this year saw a drop of form. Without too much fuss, I will just say that I did not find too many rooms where I heard something interesting. Most of the exhibitors put lots of effort and money into their demonstrations, and the whole show can be generally called fully professional. It was a place for meetings, for doing business and some small talk. The sound was important, but even more important was the "image": the way a given system or product were exhibited and demonstrated. I must admit that this kind of situation suits me very well. Those who were willing to fight for something more hereby receive a bonus in the form of favorable comments and awards, such as "High Fidelity" Best Sound award. However, all those who opted for contact with visitors, conversation and discussion, they have my highest respect; it was fully professional. As I wrote in the beginning, this report is not an attempt to catalogue the show, but rather some kind of record of my impressions. As such, it is quite random and fragmented, much like the whole reality. But it is my ambition to find in this uncertainty some anchors on which to build. This will help both me and – hopefully – you. Hence, I have given awards to several systems being guided by what might be called "captured attention." If after my first or second, sometimes third and fourth, visit to a given room I had no more desire to listen to music and instead preferred talking about the products and looking at them, it was a sign that the sound was not what was most important there. As I said, I understand and fully accept this strategy. However, to those who managed to prepare something more than that: best congratulations! “High Fidelity” Best Sound High End 2014 Awards go to: SoundKaos (speakers) + Trafomatic Audio (amplifiers) + Lumin (digital music player) Ypsilon (electronics + speakers) + Thales (turntable) Kavero Keiser (speakers) + SPEC (electronics + turntable) + Sforzato Corp. (digital music player) + Acoustic Revive (acoustic treatment, accessories, cables) JWB Merlin (electronics) + YG Acoustics (speakers) KEF (speakers) + Arcam (electronics) TAD (electronics, SACD player, speakers) Progressive Audio (CD player + electronics + speakers) + AVID HiFi (turntable) Zontek (turntable) + Linnart (preamplifier) + My Sound (power amplifiers) + Albedo (cables) + Auto-Tech (speakers) + Sound Box (acoustic treatment and hi-fi rack) Boenicke Audio (speakers) + Auris Audio (electronics) + Pro-Ject (turntable) + M2TECH (DAC) TotalDAC (digital music player + DAC + upsampler) + Keiser Kawero (speakers) + Engstrom&Engstrom (speakers) + Bibacord (cables) Zellaton (speakers) + LOIT (CD player) + Wagner Audio (turntable) + Allnico (phono stage) + Analog Domain (amplifier) OceanWay Audio (speakers) + Viola Audio Laboratories (amplifiers and preamplifier/DAC) + Nagra (CD player) + Artesania Audio (hi-fi rack and isolation boards) Ascendo D9 (speakers) + (amplifier) + Neodio Origine (CD player) + High End Masterclass (hi-fi rack and isolation boards) Special awards go to: KLAudio for an ultrasonic cleaner with record changer Graham Audio for great continuing the BBC legend Erzetich for deliberate and consistent progress McIntosh for a new headphone amplifier/DAC Straussmann for determination in achieving goals What’s left after the show? First, the certainty that the Compact Disc is still in great shape and will remain with us for a long time, just like vinyl. Audio files sound slowly getting better. More importantly, however, it seems to me that the whole audio industry is doing well. Just as I have been saying for a few years now, the youth listening to their MP3 players, then iPods, and now iPhones at some point matured enough to demand something more. They demanded quality. And it is these young people who will be spending most money in the next few years. The largest record companies have recognized a great potential and start to offer high resolution files. This is extremely important because their catalogues include the vast majority of classic jazz, rock and classical music. The related reactivation of the headphones as an equal way of listening to music is now a fact and has resulted in outstanding designs, mostly planar. Class D amplifiers become more refined and in the middle price range must be seriously considered on a par with class A and AB. In the beginning and top of the price list, the classic technologies seem to still have an advantage. I would like to thank everyone who helped me during the exhibition, for their hospitality, warmth and selfless help – many thanks! [hfgallery] [img mini="foto_testy/1406/M2014/th/0527.jpg" big="foto_testy/1406/M2014/0527.jpg" src="foto_testy/1406/M2014/0527.jpg" desc="Ansi Hyvönen, head of Amphion, in front of the speakers with grilles in different colors. And with HF cover in his hands"] [img mini="foto_testy/1406/M2014/th/0529.jpg" big="foto_testy/1406/M2014/0529.jpg" src="foto_testy/1406/M2014/0529.jpg" desc="The long-awaited Rubicon, shown for the last two years as a prototype, a digital-to-analog/analog-to-digital/headphone amp from Antelope Audio. With an ultra-precise master clock on board. "] [img mini="foto_testy/1406/M2014/th/0530.jpg" big="foto_testy/1406/M2014/0530.jpg" src="foto_testy/1406/M2014/0530.jpg" desc="Georgi Lazarev, head of marketing at Antelope Audio, says that the cause for Rubicon’s delay were the results the company achieved with the cheaper DAC. It forced some changes upon their flagship model, which took them over a year to complete."] [img mini="foto_testy/1406/M2014/th/0535.jpg" big="foto_testy/1406/M2014/0535.jpg" src="foto_testy/1406/M2014/0535.jpg" desc="Tools Of Light is a company that uses a… light barrier in their power supplies. Similar to Siltech amp, there’s a high-energy optical link used as a barrier between the distorted “primary” side, and the “clean” output side. "] [img mini="foto_testy/1406/M2014/th/0538.jpg" big="foto_testy/1406/M2014/0538.jpg" src="foto_testy/1406/M2014/0538.jpg" desc="You might remember the review of speakers from Langerton, a German company; pictured is their biggest model, next to Walter Langer, the designer. The Duo Capable speakers consist of two modules, with a midwoofer and a separate large ribbon tweeter. "] [img mini="foto_testy/1406/M2014/th/0545.jpg" big="foto_testy/1406/M2014/0545.jpg" src="foto_testy/1406/M2014/0545.jpg" desc="Onyx is quite well known – pictured is its XIA-160SE integrated amplifier."] [img mini="foto_testy/1406/M2014/th/0556.jpg" big="foto_testy/1406/M2014/0556.jpg" src="foto_testy/1406/M2014/0556.jpg" desc="After launching the Lumin file player the manufacturer now offers four components, and the pictured T1 is a slightly simplified version of the original Lumin."] [img mini="foto_testy/1406/M2014/th/0557.jpg" big="foto_testy/1406/M2014/0557.jpg" src="foto_testy/1406/M2014/0557.jpg" desc="Headphones are in vogue – the Audeze LCD-XC closed magnetostatic headphones are pictured connected to the new headphone amplifier from SPL, the Phonitor 2."] [img mini="foto_testy/1406/M2014/th/0558.jpg" big="foto_testy/1406/M2014/0558.jpg" src="foto_testy/1406/M2014/0558.jpg" desc="The SPL Phonitor 2 headphone amplifier has great-looking VU meters and offers the possibility to re-create the original room acoustics."] [img mini="foto_testy/1406/M2014/th/0566.jpg" big="foto_testy/1406/M2014/0566.jpg" src="foto_testy/1406/M2014/0566.jpg" desc="Mister A. Miura is a man of advanced age, but still full of ideas for the future. As he revealed to me, next year he’s planning the premiere of new monoblocks – new releases are always a big deal with this company. "] [img mini="foto_testy/1406/M2014/th/0567.jpg" big="foto_testy/1406/M2014/0567.jpg" src="foto_testy/1406/M2014/0567.jpg" desc="Lab12 is a Greek company, completely new to me. The Mighty amp, pictured here, isn’t big, but it looks great and delivers 9 W per channel in class A from EL34 tubes. "] [img mini="foto_testy/1406/M2014/th/0571.jpg" big="foto_testy/1406/M2014/0571.jpg" src="foto_testy/1406/M2014/0571.jpg" desc="This is one of the possible preamplifier designs – a passive circuit based on transformers with switchable taps. The company is called Bespoke Audio, and the preamplifier is their new reference."] [img mini="foto_testy/1406/M2014/th/0576.jpg" big="foto_testy/1406/M2014/0576.jpg" src="foto_testy/1406/M2014/0576.jpg" desc="This small, stylish box is a component from Poet Audio called the Pandoretta. The sound spreads nearly omni-directionally out of this “Pandora’s box”. It contains the Bluetooth aptX receiver, 7 speakers and 170 W amps. All you need to do is supply a signal from an iPhone, for example. A great matching table is available, too. "] [img mini="foto_testy/1406/M2014/th/0578.jpg" big="foto_testy/1406/M2014/0578.jpg" src="foto_testy/1406/M2014/0578.jpg" desc="Many of the companies present at the show came from Greece, such as Tsakiridis that specializes in tube amplifiers."] [img mini="foto_testy/1406/M2014/th/0581.jpg" big="foto_testy/1406/M2014/0581.jpg" src="foto_testy/1406/M2014/0581.jpg" desc="There are quite a lot of new tonearms on the market, as well as upgraded designs. Pictured is the WE-308sxl arm, almost entirely re-made by the German company fonolab.com, with a stabilizer from SAEC."] [img mini="foto_testy/1406/M2014/th/0587.jpg" big="foto_testy/1406/M2014/0587.jpg" src="foto_testy/1406/M2014/0587.jpg" desc="Creek Audio new Evolution 50 player, with an amp of the same name. The British are clearly still “in the game”. "] [img mini="foto_testy/1406/M2014/th/0588.jpg" big="foto_testy/1406/M2014/0588.jpg" src="foto_testy/1406/M2014/0588.jpg" desc="Croft Audio is practically unheard of in Poland. But why? They offer truly wonderful, and reasonably-priced tube-based components. Pictured is the RIAA phono preamplifier which costs 1,200 Euro, and below it – the Micro 25 line preamp which costs 980 Euro. "] [img mini="foto_testy/1406/M2014/th/0590.jpg" big="foto_testy/1406/M2014/0590.jpg" src="foto_testy/1406/M2014/0590.jpg" desc="The properly-celebrated premiere of new speakers from Harbeth, the Super HL5plus. The most important change is the material used in the midwoofer – it’s Radial 2 now, the same one as in the M30.1 and M40.1."] [img mini="foto_testy/1406/M2014/th/0592.jpg" big="foto_testy/1406/M2014/0592.jpg" src="foto_testy/1406/M2014/0592.jpg" desc="Ah… The Obravo HAMT-1 headphones, beautifully looking and very interesting sonically. Their unique design stands out from the others – they’re the first coaxial headphones in the world with the Hail transducer at the top and a dynamic one with neodymium magnet at the bottom. "] [img mini="foto_testy/1406/M2014/th/0596.jpg" big="foto_testy/1406/M2014/0596.jpg" src="foto_testy/1406/M2014/0596.jpg" desc="Mr. Peter Lyngdorf is known as the designer of the first TacT digital amplifier to win a commercial success. "] [img mini="foto_testy/1406/M2014/th/0597.jpg" big="foto_testy/1406/M2014/0597.jpg" src="foto_testy/1406/M2014/0597.jpg" desc="Peter Lyngdorf is currently developing his own ideas, including those in the field of acoustic room treatment, at Steinway & Sons, for which he prepared a complete, huge system."] [img mini="foto_testy/1406/M2014/th/0601.jpg" big="foto_testy/1406/M2014/0601.jpg" src="foto_testy/1406/M2014/0601.jpg" desc="Pure Audio Project is a company offering some interesting-looking DIY speakers. Their design is their characteristic trait – these are open baffle designs. There are several versions available."] [img mini="foto_testy/1406/M2014/th/0603.jpg" big="foto_testy/1406/M2014/0603.jpg" src="foto_testy/1406/M2014/0603.jpg" desc="Pure Audio Project speakers are put together like puzzle pieces – with comfortable cut-outs. If you get bored, you can get particular speaker modules replaced. "] [img mini="foto_testy/1406/M2014/th/0604.jpg" big="foto_testy/1406/M2014/0604.jpg" src="foto_testy/1406/M2014/0604.jpg" desc="This photo needs no comments: Pro-Ject in all its analog glory"] [img mini="foto_testy/1406/M2014/th/0605.jpg" big="foto_testy/1406/M2014/0605.jpg" src="foto_testy/1406/M2014/0605.jpg" desc="Pro-Ject in all its digital and amplification glory. New S series components. "] [img mini="foto_testy/1406/M2014/th/0609.jpg" big="foto_testy/1406/M2014/0609.jpg" src="foto_testy/1406/M2014/0609.jpg" desc="The long-awaited, two piece CD player from the RS series, consisting of the Box RS CD transport and Box RS DAC. The transport is a top-loader! "] [img mini="foto_testy/1406/M2014/th/0613.jpg" big="foto_testy/1406/M2014/0613.jpg" src="foto_testy/1406/M2014/0613.jpg" desc="DACMagic XS (as in eXtra Small). This miniature D/A converter and headphone amplifier in one from Cambridge Audio is a convenient method to turn your computer into a high-quality signal source with minimal costs."] [img mini="foto_testy/1406/M2014/th/0616.jpg" big="foto_testy/1406/M2014/0616.jpg" src="foto_testy/1406/M2014/0616.jpg" desc="One of the most important premieres in Munich, to me – the Block amp from G Lab Fidelity Design, a Polish company. Excellent build quality and creative design, with a separate power supply module, output transformers and electronics (in one case, though), are its main characteristics. I’ve ordered it for a review. "] [img mini="foto_testy/1406/M2014/th/0618.jpg" big="foto_testy/1406/M2014/0618.jpg" src="foto_testy/1406/M2014/0618.jpg" desc="I just want to tell everyone at G Lab Fidelity Design – great work, guys!"] [img mini="foto_testy/1406/M2014/th/0620.jpg" big="foto_testy/1406/M2014/0620.jpg" src="foto_testy/1406/M2014/0620.jpg" desc="ADL, Furutech daughter company, presented their new DAC/headphone amplifier, the Stratos. It has USB inputs, among others; PCM processing up to 24/192 and DSD up to 5.6 MHz."] [img mini="foto_testy/1406/M2014/th/0622.jpg" big="foto_testy/1406/M2014/0622.jpg" src="foto_testy/1406/M2014/0622.jpg" desc="The Greek company Ypsylon has visited world-class shows many times prior, largely due to Michael Fremer’s wonderful reviews in “Stereophile” magazine. This year’s presentation fully confirmed the positive opinions. The main attraction was the hybrid Phaethon amp (middle). The system sounded equally good when driven by the Thales TTT-Compact turntable, as well as a two-piece top-loaded CD player: the CDT 100 + DAC 100."] [img mini="foto_testy/1406/M2014/th/0627.jpg" big="foto_testy/1406/M2014/0627.jpg" src="foto_testy/1406/M2014/0627.jpg" desc="Hanging speakers from Architettura Sonora – spaceship-shaped in the foreground, and dolphin-shaped in the background. They work great in minimalistic interiors. "] [img mini="foto_testy/1406/M2014/th/0633.jpg" big="foto_testy/1406/M2014/0633.jpg" src="foto_testy/1406/M2014/0633.jpg" desc="Our friend, Mr. Ken Ishiguro, who has already visited our Krakow Sonic Society. This year he presented completely new set of cable models. The company literature suggests that Furukawa, Japanese supplier of high purity PCOCC-A copper, 2.4 x 2.6 mm long crystal cables, has ceased their production. Therefore, the entire branch had to go search for something different and better. The chosen alternative are CCC cables, manufactured in a process similar to how the metal is processed while forging samurai swords. "] [img mini="foto_testy/1406/M2014/th/0634.jpg" big="foto_testy/1406/M2014/0634.jpg" src="foto_testy/1406/M2014/0634.jpg" desc="SPEC GMP-701 turntable, finally ready and working. It has a heavy, wooden base and a massive platter. The speed switch and manual speed controls are on the side. "] [img mini="foto_testy/1406/M2014/th/0637.jpg" big="foto_testy/1406/M2014/0637.jpg" src="foto_testy/1406/M2014/0637.jpg" desc="A man of extraordinary hearing and craft talent, Mr. Tsutomu Banno, next to the company’s newest amp, the RSA-F33. "] [img mini="foto_testy/1406/M2014/th/0639.jpg" big="foto_testy/1406/M2014/0639.jpg" src="foto_testy/1406/M2014/0639.jpg" desc="Another Japanese master (and I really mean that), Mr. Omata Kyoichi, representing Sforzato Corp. The company manufactures small and refined digital music players. "] [img mini="foto_testy/1406/M2014/th/0640.jpg" big="foto_testy/1406/M2014/0640.jpg" src="foto_testy/1406/M2014/0640.jpg" desc="The Acoustic Revive room as always exuded calm and beautiful music. This year, the company decided to use the Kaiser Acoustics Kawero! Classic speakers. Worth noting are the enlarged, almost floor-to-ceiling acoustic panels."] [img mini="foto_testy/1406/M2014/th/0643.jpg" big="foto_testy/1406/M2014/0643.jpg" src="foto_testy/1406/M2014/0643.jpg" desc="Concrete Audio, straight from the Weimar region in Germany, has some interesting speakers in concrete enclosures. Although the idea isn’t new, most past executions were far from successful. This time, there’s something good going on."] [img mini="foto_testy/1406/M2014/th/0644.jpg" big="foto_testy/1406/M2014/0644.jpg" src="foto_testy/1406/M2014/0644.jpg" desc="One of the many CD player premieres at the show, but definitely a the better-looking one: the HD26 Golden Music player from DestinY. It’s a top-loader type with a big, slide-out cover and 12AU7 tubes in the output. "] [img mini="foto_testy/1406/M2014/th/0646.jpg" big="foto_testy/1406/M2014/0646.jpg" src="foto_testy/1406/M2014/0646.jpg" desc="A stand for all of those who are just getting started with their business: a direct drive turntable from the German company Langer. "] [img mini="foto_testy/1406/M2014/th/0648.jpg" big="foto_testy/1406/M2014/0648.jpg" src="foto_testy/1406/M2014/0648.jpg" desc="Direct Drive Langer Audio, a part mounted to the base."] [img mini="foto_testy/1406/M2014/th/0649.jpg" big="foto_testy/1406/M2014/0649.jpg" src="foto_testy/1406/M2014/0649.jpg" desc="Another “startup”, Mr. Anastasios Vardaxoglou, head of the Greek company Audio4Soul. He’s standing next to a digital music player with a modular design, which allows you to upgrade it into a much better-refined form, with other elements inside and outboard power supplies. "] [img mini="foto_testy/1406/M2014/th/0651.jpg" big="foto_testy/1406/M2014/0651.jpg" src="foto_testy/1406/M2014/0651.jpg" desc="Ooh – I just wet my underpants… the Nagra T-Audio TC reel to reel tape recorder in all its glory. It was proudly displayed on the stand of a company that offers copies of master tapes produced in the patented A4P (Analog 4 Phases) technology – the Italian company Hemiola Records."] [img mini="foto_testy/1406/M2014/th/0654.jpg" big="foto_testy/1406/M2014/0654.jpg" src="foto_testy/1406/M2014/0654.jpg" desc="I’ve written about Tacet in every single one of my reports from Munich. It’s led headed by Mr. Andreas Spreer, the owner and main sound engineer. Mr. Spreer records onto analog rell to reel tape recorder using a few tube microphones. He also cooperates with Polish orchestras. He releases music on SACDs, including multi-channel discs (he was one of the pioneers of using multiple channels on DVD-Audio discs), and on vinyl. He is pictured holding a disc with test signals, one he is especially proud of. "] [img mini="foto_testy/1406/M2014/th/0659.jpg" big="foto_testy/1406/M2014/0659.jpg" src="foto_testy/1406/M2014/0659.jpg" desc="Diapason is an Italian company with tradition. It’s hard to believe that it’s already 25 years old. "] [img mini="foto_testy/1406/M2014/th/0660.jpg" big="foto_testy/1406/M2014/0660.jpg" src="foto_testy/1406/M2014/0660.jpg" desc="This is something for me: the Italian company Thoole makes enclosures for the Tivoli Model One radio, which I’ve been enjoying for the past few years. Who knows, I might give in to the temptation. They also offer stands for headphones and speakers, as well as racks. "] [img mini="foto_testy/1406/M2014/th/0664.jpg" big="foto_testy/1406/M2014/0664.jpg" src="foto_testy/1406/M2014/0664.jpg" desc="ENIGMAcoustic Mythology M-1 speakers with an incredibly interesting, electrostatic ultra-tweeter. It looks phenomenal. "] [img mini="foto_testy/1406/M2014/th/0669.jpg" big="foto_testy/1406/M2014/0669.jpg" src="foto_testy/1406/M2014/0669.jpg" desc="Alan Shaw, the owner and designer of Harbeth Audio UK, busy talking, as always…"] [img mini="foto_testy/1406/M2014/th/0670.jpg" big="foto_testy/1406/M2014/0670.jpg" src="foto_testy/1406/M2014/0670.jpg" desc="Another interesting CD player, a top-loader from AcousticPlan (Germany) named Vadi. Tube output, and a Philips CD-Pro2M drive. "] [img mini="foto_testy/1406/M2014/th/0672.jpg" big="foto_testy/1406/M2014/0672.jpg" src="foto_testy/1406/M2014/0672.jpg" desc="The RPM1 turntable from Pro-Ject in a unique edition: the platter is gold plated, and the base has a glass fiber finish. "] [img mini="foto_testy/1406/M2014/th/0674.jpg" big="foto_testy/1406/M2014/0674.jpg" src="foto_testy/1406/M2014/0674.jpg" desc="A guy working at Pro-Ject presenting the turntable bases of the Xpression series, with different kinds of natural wood finishes. "] [img mini="foto_testy/1406/M2014/th/0676.jpg" big="foto_testy/1406/M2014/0676.jpg" src="foto_testy/1406/M2014/0676.jpg" desc="The gentleman on the left recently visited us in Kraków: it’s Jonathan Brooks-Martin. Keith Martin – his brother, but also boss – is on his right. Keith is also the head of Isotek, where both of the brothers work. "] [img mini="foto_testy/1406/M2014/th/0678.jpg" big="foto_testy/1406/M2014/0678.jpg" src="foto_testy/1406/M2014/0678.jpg" desc="Mytek directed its products to the pro audio market. Despite that, they’ve been bought by “ordinary” music lovers for years. These DACs lacked the looks that an average person would accept in their living room, though. This is supposed to change now – pictured is the amazing design of the company’s new product, the Manhattan DAC based on the 192-DSD Stereo DAC."] [img mini="foto_testy/1406/M2014/th/0679.jpg" big="foto_testy/1406/M2014/0679.jpg" src="foto_testy/1406/M2014/0679.jpg" desc="Polish roots are quite the connection: Lipinski Sound and Mytek companies, together. Mr. Noël Coquet from Lipinski Sound is on the left (he speaks surprisingly good Polish), and on the right we’ve got Mr. Adam Bielewicz and Mr. Marcin Hamerla, representing Mytek. They also speak good Polish :)"] [img mini="foto_testy/1406/M2014/th/0681.jpg" big="foto_testy/1406/M2014/0681.jpg" src="foto_testy/1406/M2014/0681.jpg" desc="Vicoustic is a company specializing in acoustic room treatment. I use their products, but I don’t have anything like this, yet – it’s a tuned bass trap. "] [img mini="foto_testy/1406/M2014/th/0689.jpg" big="foto_testy/1406/M2014/0689.jpg" src="foto_testy/1406/M2014/0689.jpg" desc="An Asian’s wet dream: the whole Residential series from Tannoy, with the powerful Westminsters at the end. "] [img mini="foto_testy/1406/M2014/th/0690.jpg" big="foto_testy/1406/M2014/0690.jpg" src="foto_testy/1406/M2014/0690.jpg" desc="The German company Ultrasone prepared this year a new series, the Edition 5, limited to 555 units. I couldn’t resist the temptation of their Julia headphones, though. "] [img mini="foto_testy/1406/M2014/th/0693.jpg" big="foto_testy/1406/M2014/0693.jpg" src="foto_testy/1406/M2014/0693.jpg" desc="Beyerdynamic is one of the leaders on the headphone market. For the show, the company prepared the T90 Tesla model, celebrating its 90th anniversary. "] [img mini="foto_testy/1406/M2014/th/0695.jpg" big="foto_testy/1406/M2014/0695.jpg" src="foto_testy/1406/M2014/0695.jpg" desc="Acoustic Signature did not fail to deliver – pictured is their new Novum turntable with the Silencer 2 platter, a re-made version of the Silencer, as well as a betaDIG microprocessor and space for two arms. Weight: 43 kg, price: 16 499 Euro."] [img mini="foto_testy/1406/M2014/th/0697.jpg" big="foto_testy/1406/M2014/0697.jpg" src="foto_testy/1406/M2014/0697.jpg" desc="An interesting presentation of Lawrence Audio speakers, driven by Avantgarde Acoustic electronics and the Puccini player from dCS. Pictured is the Cello model with six speakers: 12 and 8” woofers and three ribbon drivers – to handle midrange and treble. In the background you can see a conditioner from the Polish company Gigawatt. "] [img mini="foto_testy/1406/M2014/th/0703.jpg" big="foto_testy/1406/M2014/0703.jpg" src="foto_testy/1406/M2014/0703.jpg" desc="Mister Peter Cheon (left) is a Korean; he is the owner of KLAudio, a company presenting an incredibly well-made KD-CLN-LP200 vinyl record cleaner. The discs are washed with ultrasounds, coming into contact only with the washing solution. Now they also offer a disc changer for a reduced contact with the cleaner, as well as a noise-damping enclosure. "] [img mini="foto_testy/1406/M2014/th/0704.jpg" big="foto_testy/1406/M2014/0704.jpg" src="foto_testy/1406/M2014/0704.jpg" desc="Do you remember the Paragon speaker system from JBL? We now have its “nobler” version made by Lyravox. The Stereomaster system from Germany is intended to be hung on a wall. Its finish quality is like that of the best furniture – it will play CDs and amplify their sound."] [img mini="foto_testy/1406/M2014/th/0707.jpg" big="foto_testy/1406/M2014/0707.jpg" src="foto_testy/1406/M2014/0707.jpg" desc="Music Hall presented new versions of pretty much all their turntables, now with a .1 at the end of their model names. Pictured is the mmf-7.1 model."] [img mini="foto_testy/1406/M2014/th/0710.jpg" big="foto_testy/1406/M2014/0710.jpg" src="foto_testy/1406/M2014/0710.jpg" desc="The British company Roksan presented totally new series of their products. Pictured is their K3 DAC with two USB inputs and wireless connection. "] [img mini="foto_testy/1406/M2014/th/0714.jpg" big="foto_testy/1406/M2014/0714.jpg" src="foto_testy/1406/M2014/0714.jpg" desc="Mr. Arthur Khoubesserian is a nice, good-humored gentleman. At the show he presented his latest Funk Firm Little Super Deck turntable. It so happens that I reviewed it in the same edition of “High Fidelity”. "] [img mini="foto_testy/1406/M2014/th/0720.jpg" big="foto_testy/1406/M2014/0720.jpg" src="foto_testy/1406/M2014/0720.jpg" desc="A system that made a huge impression on me. It included speakers from PMC and Black Pearls electronics: the Virgo CD/file transport, Aries DAC, and the Birth 100 integrated amp. The company is from Greece."] [img mini="foto_testy/1406/M2014/th/0722.jpg" big="foto_testy/1406/M2014/0722.jpg" src="foto_testy/1406/M2014/0722.jpg" desc="You can’t deny Astell&Kern some panache and cool ideas. In Munich, they presented a whole spectrum of components, all of which seemed to be competing among themselves to be the best-looking one. "] [img mini="foto_testy/1406/M2014/th/0723.jpg" big="foto_testy/1406/M2014/0723.jpg" src="foto_testy/1406/M2014/0723.jpg" desc="Astell&Kern flagship product, the AK240 file player – it’s just beautiful. I listened to it using the Ultrasone Edition 5 headphones and it was great. "] [img mini="foto_testy/1406/M2014/th/0724.jpg" big="foto_testy/1406/M2014/0724.jpg" src="foto_testy/1406/M2014/0724.jpg" desc="One of the funnier-looking products. Jarrie Technologies presented a system shaped like a skull: the speakers are in the glasses, an iPhone can be plugged in from the top, and you use a human bone-shaped remote control. "] [img mini="foto_testy/1406/M2014/th/0725.jpg" big="foto_testy/1406/M2014/0725.jpg" src="foto_testy/1406/M2014/0725.jpg" desc="Italians at their best: Care Orchestra bedroom system, including the Celestial Voice amp and Celestial Rose speakers. The company head, Mr. Alessandro Reggiori, said that this is the first amp in their lineup. There are 12BH7 tubes at the input, and solid state output stage. The power output is up to 180 W at 2 Ω."] [img mini="foto_testy/1406/M2014/th/0730.jpg" big="foto_testy/1406/M2014/0730.jpg" src="foto_testy/1406/M2014/0730.jpg" desc="One of the most interesting meetings, at least to me: Messrs. Graham (left), the owner and engineer, and Paul Westlake, head of sales, prepared a beautiful Graham Audio LS5/9 speaker driver, on BBC’s license. The drivers are manufactured from modern materials, but are still completely hand-made, and still in the United Kingdom. "] [img mini="foto_testy/1406/M2014/th/0732.jpg" big="foto_testy/1406/M2014/0732.jpg" src="foto_testy/1406/M2014/0732.jpg" desc="Electronics from AM Audio from Italy. In the background you can see the massive A-300X Excellence power amplifiers that boast hundreds of watts of pure A-class power. "] [img mini="foto_testy/1406/M2014/th/0737.jpg" big="foto_testy/1406/M2014/0737.jpg" src="foto_testy/1406/M2014/0737.jpg" desc="Claudio Cordone (right) is the owner of AM Audio. He received this friendly gesture from Simone Lucchetti (whom you’ll see more of, soon) who was set up next to him. "] [img mini="foto_testy/1406/M2014/th/0738.jpg" big="foto_testy/1406/M2014/0738.jpg" src="foto_testy/1406/M2014/0738.jpg" desc="The Erzetich Deimos amp worked with a top-loader CD player. Unfortunately, I couldn’t find its name, aside from “High End Tube CD Player”."] [img mini="foto_testy/1406/M2014/th/0744.jpg" big="foto_testy/1406/M2014/0744.jpg" src="foto_testy/1406/M2014/0744.jpg" desc="HiFiMAN finally showed a dock for the HM-901 player. It’s big and solid, has a built-in DAC and digital inputs, so it can work as a system’s “center”. The remote control comes included. "] [img mini="foto_testy/1406/M2014/th/0745.jpg" big="foto_testy/1406/M2014/0745.jpg" src="foto_testy/1406/M2014/0745.jpg" desc="Ultrasone Edition 10 and Edition 12 with headphone amplifiers from Transrotor (that’s right!), SPL and Violectric. "] [img mini="foto_testy/1406/M2014/th/0747.jpg" big="foto_testy/1406/M2014/0747.jpg" src="foto_testy/1406/M2014/0747.jpg" desc="Mr. Franc Kuzma wasn’t showcasing anything particularly new this year, except for the new color finish of the M model. But he gladly signed the cover of “High Fidelity”. "] [img mini="foto_testy/1406/M2014/th/0748.jpg" big="foto_testy/1406/M2014/0748.jpg" src="foto_testy/1406/M2014/0748.jpg" desc="In the audio world a company seems to be glued to its products. It’s a very conservative business. That’s why I don’t know how these “rocketships” manufactured by the Swiss-based JWB Merlin will be received by the community. Pictured is their No. 214 amp. "] [img mini="foto_testy/1406/M2014/th/0750.jpg" big="foto_testy/1406/M2014/0750.jpg" src="foto_testy/1406/M2014/0750.jpg" desc="Regardless of how the market reacts to JWB Merlin, the sound of their products paired with YG Acoustics speakers was incapacitating. Dense, dark, but exceptionally resolving. As if it were a tube amp, but also a kind of Soulution-like solid state design. Bravo! "] [img mini="foto_testy/1406/M2014/th/0751.jpg" big="foto_testy/1406/M2014/0751.jpg" src="foto_testy/1406/M2014/0751.jpg" desc="OPPO is a company known mainly for its great Blu-ray players. This is its debut in the headphone market, but it stormed right into it with a system composed of the HA-1 headphone amp and PM-1 magnetostatic headphones, with a balanced connector. "] [img mini="foto_testy/1406/M2014/th/0756.jpg" big="foto_testy/1406/M2014/0756.jpg" src="foto_testy/1406/M2014/0756.jpg" desc="A cross-section of the strangest, funniest-looking speaker at the show, which aimed to show that it’s an unbelievably advanced design. Manufacturer: The Varios. Country of origin: Italy. "] [img mini="foto_testy/1406/M2014/th/0757.jpg" big="foto_testy/1406/M2014/0757.jpg" src="foto_testy/1406/M2014/0757.jpg" desc="Pictured is The Varios Los Angeles and, in front of it, a tiny tweeter that could be put on top of it. "] [img mini="foto_testy/1406/M2014/th/0758.jpg" big="foto_testy/1406/M2014/0758.jpg" src="foto_testy/1406/M2014/0758.jpg" desc="When Bartek, HF’s graphics designer, saw them he said that he could just about picture them in a modern, minimalistic interior. It’s true: the speakers from the Italian company Audel are truly beautiful. Their cabinets, made of plywood, but cut perpendicularly, with matching stands and different-colored front, really look unique. "] [img mini="foto_testy/1406/M2014/th/0760.jpg" big="foto_testy/1406/M2014/0760.jpg" src="foto_testy/1406/M2014/0760.jpg" desc="The camera focuses elsewhere, but I couldn’t just keep myself from showing you this photo: it’s a unique Italian design of a turntable drive. The motor turns a flywheel through a drive belt, and the flywheel connects to an idler. The company is called Audiosilente and comes from Italy. "] [img mini="foto_testy/1406/M2014/th/0763.jpg" big="foto_testy/1406/M2014/0763.jpg" src="foto_testy/1406/M2014/0763.jpg" desc="We’ve seen this man before, somewhere :) It’s Mr. Simone Lucchetti, the owner of Audiosilente."] [img mini="foto_testy/1406/M2014/th/0764.jpg" big="foto_testy/1406/M2014/0764.jpg" src="foto_testy/1406/M2014/0764.jpg" desc="Dared from China surfaced last year. This time it also presented a few new products, but my favorite was a small wooden box, which houses the S20, a kind of passive buffer, similar to what you’d find on MIT cables. It’s supposed to improve signal phase response. Hence its name: Signal Source Optimizer."] [img mini="foto_testy/1406/M2014/th/0766.jpg" big="foto_testy/1406/M2014/0766.jpg" src="foto_testy/1406/M2014/0766.jpg" desc="We’ve written about Norma from Italy several times before, maybe this time we should consider a review for HF? The components, as you can see, are the product of some solid sound engineering. Pictured, in the background, is the HS-DA1 DAC. "] [img mini="foto_testy/1406/M2014/th/0769.jpg" big="foto_testy/1406/M2014/0769.jpg" src="foto_testy/1406/M2014/0769.jpg" desc="What the audio world really lacks is some quality-published literature. But that’s changing. Here you can see books published by Fidelity Books, a brand owned by the “Fidelity” magazine. Unfortunately, they are only available in German, and I don’t speak it. "] [img mini="foto_testy/1406/M2014/th/0774.jpg" big="foto_testy/1406/M2014/0774.jpg" src="foto_testy/1406/M2014/0774.jpg" desc="You can see this turntable in the current edition of “High Fidelity”: the Thales TTT-C. It’s equipped with the new, less expensive Thales Easy arm. "] [img mini="foto_testy/1406/M2014/th/0779.jpg" big="foto_testy/1406/M2014/0779.jpg" src="foto_testy/1406/M2014/0779.jpg" desc="Avantgarde’s banner was chiefly carried by the Zero Pro speakers, driven from a reel to reel tape recorder, among others. "] [img mini="foto_testy/1406/M2014/th/0780.jpg" big="foto_testy/1406/M2014/0780.jpg" src="foto_testy/1406/M2014/0780.jpg" desc="After their integrated X-i60 and X-i90 amps, the French company Advance Acoustic prepared some new, more expensive components, such as the X-Cd3 CD player with a slot transport drive."] [img mini="foto_testy/1406/M2014/th/0783.jpg" big="foto_testy/1406/M2014/0783.jpg" src="foto_testy/1406/M2014/0783.jpg" desc="This is Advance Acoustic’s journey into the high-end: the EXCEPTION X-L1000 speakers and X-i1000z amp from their new Paris series. The speakers are still prototypes, but they’re supposed to be available soon. "] [img mini="foto_testy/1406/M2014/th/0789.jpg" big="foto_testy/1406/M2014/0789.jpg" src="foto_testy/1406/M2014/0789.jpg" desc="Ken Ishiwata on duty, spending another year showing the advantages of special speaker positioning. He toed in some cheap monitors so their axes intersected about a meter in front of them. The sound was surprisingly coherent and well-balanced. It’s worth trying at home. ."] [img mini="foto_testy/1406/M2014/th/0790.jpg" big="foto_testy/1406/M2014/0790.jpg" src="foto_testy/1406/M2014/0790.jpg" desc="The German company Block isn’t just about inexpensive, solid electronics – they also make turntables, such as the PS-100+ pictured here. "] [img mini="foto_testy/1406/M2014/th/0796.jpg" big="foto_testy/1406/M2014/0796.jpg" src="foto_testy/1406/M2014/0796.jpg" desc="There’s only one place you get to rest on a couch like this: McIntosh’s station. "] [img mini="foto_testy/1406/M2014/th/0799.jpg" big="foto_testy/1406/M2014/0799.jpg" src="foto_testy/1406/M2014/0799.jpg" desc="McIntosh, which has recently been purchased by its employees (employees buyout) from an Italian holding company, puts extra emphasis on its American heritage. "] [img mini="foto_testy/1406/M2014/th/0800.jpg" big="foto_testy/1406/M2014/0800.jpg" src="foto_testy/1406/M2014/0800.jpg" desc="The gentleman with Audeze headphones on his head is immersed in the music from the new HMA100 headphone amp. It’s just wonderful! The amp is also equipped with digital inputs, including USB, so it’s also a DAC. "] [img mini="foto_testy/1406/M2014/th/0801.jpg" big="foto_testy/1406/M2014/0801.jpg" src="foto_testy/1406/M2014/0801.jpg" desc="Gerhard Hirt is an old friend of ours, and you can see him here standing next to the long-awaited Spheris III preamplifier. It took his engineers three years to fight the difficulties with the volume control circuit, which is a combination of reed switches and transformers. The smile says it all – it must’ve worked, clearly :)"] [img mini="foto_testy/1406/M2014/th/0802.jpg" big="foto_testy/1406/M2014/0802.jpg" src="foto_testy/1406/M2014/0802.jpg" desc="The newest addition to the Ayon line, a DAC with a preamplifier called the Sigma. It’s meant to sell for 3750 Euro, which is rather not much for this company. "] [img mini="foto_testy/1406/M2014/th/0805.jpg" big="foto_testy/1406/M2014/0805.jpg" src="foto_testy/1406/M2014/0805.jpg" desc="The KEF Blade model was a break-through for the company, because aside from looking awesome, it also introduced a lot of fresh design solutions. Turns out, it spawned an entire series, including the smaller Blade Two (the color isn’t quite blue, but it’s somewhere in that range) and the new Reference series. "] [img mini="foto_testy/1406/M2014/th/0807a.jpg" big="foto_testy/1406/M2014/0807.jpg" src="foto_testy/1406/M2014/0807.jpg" desc="This year KEF and Arcam’s displays captured my attention for a longer while. The KEF Reference 5 speakers worked together with Arcam electronics: the C49 preamplifier and two P49 power amps, used as monoblocks. The source was the BDP300 Blue-ray player connected to the D33 DAC. Fantastic sound! "] [img mini="foto_testy/1406/M2014/th/0814.jpg" big="foto_testy/1406/M2014/0814.jpg" src="foto_testy/1406/M2014/0814.jpg" desc="Still in a prototype format, but already working: the newest and at the same time smallest monitors from TAD. "] [img mini="foto_testy/1406/M2014/th/0816.jpg" big="foto_testy/1406/M2014/0816.jpg" src="foto_testy/1406/M2014/0816.jpg" desc="I have no idea how the Japanese from Silbatone Audio managed to transport all these monsters. But it looked insane: the oldest true speakers, manufactured by Victor Talking Machine, originally belonging to Electric Western Production, come from the 1920s and 1930s. "] [img mini="foto_testy/1406/M2014/th/0818.jpg" big="foto_testy/1406/M2014/0818.jpg" src="foto_testy/1406/M2014/0818.jpg" desc="In the foreground you can see speakers from G.I.P. Laboratory, with the Western Electric 12A behind them – on the right, you can see the extremely rare Western Electric 13A speaker manufactured for Warner Brothers in 1926. "] [img mini="foto_testy/1406/M2014/th/0824.jpg" big="foto_testy/1406/M2014/0824.jpg" src="foto_testy/1406/M2014/0824.jpg" desc="The drivers for all the speakers were made by G.I.P, except for one: the Western Electric 597A tweeters, visible next to the Western Electric 12A speakers."] [img mini="foto_testy/1406/M2014/th/0831.jpg" big="foto_testy/1406/M2014/0831.jpg" src="foto_testy/1406/M2014/0831.jpg" desc="Allnic Audio is a German brand specializing in tube devices. Pictured is the A-10000 power amplifier with the KR Audio 610 power triodes. This is the first time I could see these tubes in products made by someone other than KR Audio. "] [img mini="foto_testy/1406/M2014/th/0833.jpg" big="foto_testy/1406/M2014/0833.jpg" src="foto_testy/1406/M2014/0833.jpg" desc="The Pluto Audio 10A Reference is a special-looking turntable. Copper in the platter certainly helps with that. "] [img mini="foto_testy/1406/M2014/th/0839.jpg" big="foto_testy/1406/M2014/0839.jpg" src="foto_testy/1406/M2014/0839.jpg" desc="I’m impatiently waiting for new speakers from PMC. This time they were rewarded with a new floorstander from the Twenty series: the Twenty-26, with a large dome midrange driver. "] [img mini="foto_testy/1406/M2014/th/0841.jpg" big="foto_testy/1406/M2014/0841.jpg" src="foto_testy/1406/M2014/0841.jpg" desc="Peter Thomas, the head of PMC, in front of photographs of the company’s customers, including Tonny Benett and the band Kraftwerk."] [img mini="foto_testy/1406/M2014/th/0843.jpg" big="foto_testy/1406/M2014/0843.jpg" src="foto_testy/1406/M2014/0843.jpg" desc="Mr. Kazuo Kiuchi, the owner of Combak Corporation, wasn’t in Munich this year. But there was his incredibly-expensive Harmonix X-DC Studio Master “Milion” Maestro power cord. "] [img mini="foto_testy/1406/M2014/th/0844.jpg" big="foto_testy/1406/M2014/0844.jpg" src="foto_testy/1406/M2014/0844.jpg" desc="The completely new design from Bravo!, Mr. Kiuchi’s brand, the Encore stand mount speaker with a SEAS coaxial driver. "] [img mini="foto_testy/1406/M2014/th/0848.jpg" big="foto_testy/1406/M2014/0848.jpg" src="foto_testy/1406/M2014/0848.jpg" desc="An inside view of the flagship No. 53 monoblocks in D-class from Mark Levinson. "] [img mini="foto_testy/1406/M2014/th/0850.jpg" big="foto_testy/1406/M2014/0850.jpg" src="foto_testy/1406/M2014/0850.jpg" desc="Fresh stuff from Mark Levinson, the No. 585 integrated amplifier, with a DAC board, which also accepts USB signal. The attenuator is an advanced circuit with switchable resistors. "] [img mini="foto_testy/1406/M2014/th/0852.jpg" big="foto_testy/1406/M2014/0852.jpg" src="foto_testy/1406/M2014/0852.jpg" desc="Harman Luxury Audio Group has Mark Levinson and JBL in their portfolio. The K2 speakers are in the foreground – they sound great! "] [img mini="foto_testy/1406/M2014/th/0853.jpg" big="foto_testy/1406/M2014/0853.jpg" src="foto_testy/1406/M2014/0853.jpg" desc="Constellation Audio electronics, ridiculously pricey, with Wilson Audio speakers – also very expensive. Vicoustic panels on the walls. "] [img mini="foto_testy/1406/M2014/th/0855.jpg" big="foto_testy/1406/M2014/0855.jpg" src="foto_testy/1406/M2014/0855.jpg" desc="Constellation Audio’s room. That’s what most of the rooms looked like on the opening day, the one available to the press and dealers. Later on during the show, they were impossible to enter."] [img mini="foto_testy/1406/M2014/th/0859.jpg" big="foto_testy/1406/M2014/0859.jpg" src="foto_testy/1406/M2014/0859.jpg" desc="I knew these speakers from pictures, but never saw them live: the Magico Ultimate III, taller than me, and costing over 600,000 USD. "] [img mini="foto_testy/1406/M2014/th/0860.jpg" big="foto_testy/1406/M2014/0860.jpg" src="foto_testy/1406/M2014/0860.jpg" desc="Electronics in the Magico system: Pass, EMM Labs and a professional D/A converter, the Pacific Microsonics Model Two (HDCD)."] [img mini="foto_testy/1406/M2014/th/0861.jpg" big="foto_testy/1406/M2014/0861.jpg" src="foto_testy/1406/M2014/0861.jpg" desc="The basis is a mighty bass horn, supported from the bottom by a classic driver, though. "] [img mini="foto_testy/1406/M2014/th/0866.jpg" big="foto_testy/1406/M2014/0866.jpg" src="foto_testy/1406/M2014/0866.jpg" desc="We reviewed an MBL amp from the Corona series not that long ago, and take a look at this shiny new stuff: the N51 preamplifier and the N31 DAC/CD player. Both of them are also available in white, which has been very popular amongst buyers for the past two or three years."] [img mini="foto_testy/1406/M2014/th/0870.jpg" big="foto_testy/1406/M2014/0870.jpg" src="foto_testy/1406/M2014/0870.jpg" desc="One of the cooler options offered by Naim is the step-by-step upgrade of your system through replacing the outboard power supply. The German company Phonosophy has existed for years, and their offer includes extreme power supplies, as the one can see on the picture, with a transformer that has the diameter of a World War II anti-tank mine. "] [img mini="foto_testy/1406/M2014/th/0871.jpg" big="foto_testy/1406/M2014/0871.jpg" src="foto_testy/1406/M2014/0871.jpg" desc="Although Soulution components never sounded nearly as good at the audio show as they did in my home, they still kept their high predictable level. This year, a lot of new things were presented alongside the Magico Q5 speakers, including: the 725 preamplifier, presented for the very first time at the CES show this January, and the 560 DAC with zero-phase technology. My 710 is still waiting for a comparison to the new 711. The turntable in the system is from Dr. Feickert Analogue."] [img mini="foto_testy/1406/M2014/th/0873.jpg" big="foto_testy/1406/M2014/0873.jpg" src="foto_testy/1406/M2014/0873.jpg" desc="A veeery good presentation with hybrid power amps from Thrax, a phone preamplifier from the same company, and electronics from Ypsilon. The turntable: Bergman Sindre. The speakers: Rossofiorentino Florentia, the flagship model from this company. The cables: Kubala-Sosna."] [img mini="foto_testy/1406/M2014/th/0875.jpg" big="foto_testy/1406/M2014/0875.jpg" src="foto_testy/1406/M2014/0875.jpg" desc="Johnnie Bergmann, the owner of Bergmann Audio, a turntable engineer, next to his upgraded Sindre model. The upgrade mostly dealt with the air pump. "] [img mini="foto_testy/1406/M2014/th/0877.jpg" big="foto_testy/1406/M2014/0877.jpg" src="foto_testy/1406/M2014/0877.jpg" desc="A lovely, lovely, tiny little cutie: iFi and the Retro Stereo 50 system – an amp with a DAC and speakers. The amp reminded me of Luxman latest amps, and the speakers looked like the classic BBC LS3/5A."] [img mini="foto_testy/1406/M2014/th/0880.jpg" big="foto_testy/1406/M2014/0880.jpg" src="foto_testy/1406/M2014/0880.jpg" desc="Heritage SACD Orpheus Labs is a damn complex and advanced design. And it also has a big display screen :) "] [img mini="foto_testy/1406/M2014/th/0890.jpg" big="foto_testy/1406/M2014/0890.jpg" src="foto_testy/1406/M2014/0890.jpg" desc="If something sounds remarkably well several years in a row, it can’t be a mistake. I have no other choice than to give the Best Sound award to the system put together by Progressive Audio, once again. The system included the Phono 1 phono preamplifier, the A1 power amps, and the phenomenal – although very small – Extreme 1 speakers. The sources were, alternatively, the CD 2 player and the AVID HiFi Acutus SP turntable."] [img mini="foto_testy/1406/M2014/th/0892.jpg" big="foto_testy/1406/M2014/0892.jpg" src="foto_testy/1406/M2014/0892.jpg" desc="An interesting system from Wagner Audio: the Concerto Grosso turntable with Dynavector DV 507 MK II arm and Dynavector Te Kaitora Rua cartridge. Electronics: Trigon. I can’t remember the name of the open baffle speakers. "] [img mini="foto_testy/1406/M2014/th/0896.jpg" big="foto_testy/1406/M2014/0896.jpg" src="foto_testy/1406/M2014/0896.jpg" desc="I’ve already talked about Graham Audio speakers, but I met them once again, in a very good company: with Mr. Tim de Paravicini in the EAR Yoshino’s room. "] [img mini="foto_testy/1406/M2014/th/0899.jpg" big="foto_testy/1406/M2014/0899.jpg" src="foto_testy/1406/M2014/0899.jpg" desc="Along with the electronics from LUA, a company founded and directed by Mr. Helmut Lua, the oldest alive engineer from Telefunken, stood the Violin turntable from Audio Fonica, in its gold version."] [img mini="foto_testy/1406/M2014/th/0901.jpg" big="foto_testy/1406/M2014/0901.jpg" src="foto_testy/1406/M2014/0901.jpg" desc="This is what the packaging of every turntable should look like. And this is a turntable made by a Polish company, Audio Fonica. We sure know how to stay classy! "] [img mini="foto_testy/1406/M2014/th/0902.jpg" big="foto_testy/1406/M2014/0902.jpg" src="foto_testy/1406/M2014/0902.jpg" desc="Wolf von Langa clearly has a huge house. The speakers on the photo are a lot bigger than the already-enormous Tannoy Westminster Royal/GR. The speakers use electromagnets, instead of permanent magnets. "] [img mini="foto_testy/1406/M2014/th/0909.jpg" big="foto_testy/1406/M2014/0909.jpg" src="foto_testy/1406/M2014/0909.jpg" desc="A completely Polish room at a show of this scale is seriously SOMETHING. Thanks to the quality, style and sound, this has grown into a serious, pure-breed, great-sounding system. And the fact that it’s from Poland? All the better for it. The turntable comes from Zontek, the preamplifier from Linnart, the power amps from My Sound, the cables from Albedo, and most of all – the fantastic-looking Auto-Tech speakers. The acoustic treatment and rack are from Sound Box. Congratulations! "] [img mini="foto_testy/1406/M2014/th/0910.jpg" big="foto_testy/1406/M2014/0910.jpg" src="foto_testy/1406/M2014/0910.jpg" desc="The Linnart preamplifier allows a three point tone control."] [img mini="foto_testy/1406/M2014/th/0911.jpg" big="foto_testy/1406/M2014/0911.jpg" src="foto_testy/1406/M2014/0911.jpg" desc="The My Sound monoblocks."] [img mini="foto_testy/1406/M2014/th/0921.jpg" big="foto_testy/1406/M2014/0921.jpg" src="foto_testy/1406/M2014/0921.jpg" desc="This year, Electrocompaniet from Norway for the first time presented its ECG-1 turntable – clearly, times are changing. "] [img mini="foto_testy/1406/M2014/th/0923.jpg" big="foto_testy/1406/M2014/0923.jpg" src="foto_testy/1406/M2014/0923.jpg" desc="The Albedo HL3.4 speakers with Ångstrom’s tube monoblocks. "] [img mini="foto_testy/1406/M2014/th/0925.jpg" big="foto_testy/1406/M2014/0925.jpg" src="foto_testy/1406/M2014/0925.jpg" desc="The smaller, sleeker HL2.2 from Albedo. We’ll be reviewing it soon. "] [img mini="foto_testy/1406/M2014/th/0928.jpg" big="foto_testy/1406/M2014/0928.jpg" src="foto_testy/1406/M2014/0928.jpg" desc="A Compact Disc-related product that looks like a pure-bred Transrotor turntable – it’s the Metronome Technologie Calypso transport with gold-plated elements."] [img mini="foto_testy/1406/M2014/th/0929.jpg" big="foto_testy/1406/M2014/0929.jpg" src="foto_testy/1406/M2014/0929.jpg" desc="We already know the speakers from Boenicke Audio. Auris Audio is a company that I came across for the first time, I believe. The tubes, leather and wood finish made me think Italian, but they’re actually Russian components. "] [img mini="foto_testy/1406/M2014/th/0930.jpg" big="foto_testy/1406/M2014/0930.jpg" src="foto_testy/1406/M2014/0930.jpg" desc="The Auris Audio Allegro integrated amp is based on EL84 tubes, with the power output of 2 x 13 W. "] [img mini="foto_testy/1406/M2014/th/0932.jpg" big="foto_testy/1406/M2014/0932.jpg" src="foto_testy/1406/M2014/0932.jpg" desc="This system was built around TotalDAC components: the d1-server digital music player, the d11-monoblock dual mono DAC and an upsampler. The latter transforms all signal to DSD. The speakers are Keiser Kawero Classics. The amps are the Lars type 2 from Engstrom&Engstrom. Cables: Bibacord. "] [img mini="foto_testy/1406/M2014/th/0935.jpg" big="foto_testy/1406/M2014/0935.jpg" src="foto_testy/1406/M2014/0935.jpg" desc="In the foreground you can see Marcin Ostapowicz, the head of JPLAY. The system was composed of electronics from Thrax and the Keiser Kawero Classic speakers. It’s already the third room equipped with these speakers, which sounded very good, to say the least. It certainly didn’t harm anyone that the computer, from which the files were played, was equipped with the JCAT sound card. "] [img mini="foto_testy/1406/M2014/th/0937.jpg" big="foto_testy/1406/M2014/0937.jpg" src="foto_testy/1406/M2014/0937.jpg" desc="Another room with the AVID HiFi Acutus SP turntable, this time with the company’s own phono stage. Most often, however, the music was played from the Luxman D-08u Ultimate SACD player. I also saw the new Luxman C-900u preamplifier live for the very first time, as well as the M-900u power amp in class A. Speakers: EgglestonWorks. "] [img mini="foto_testy/1406/M2014/th/0939.jpg" big="foto_testy/1406/M2014/0939.jpg" src="foto_testy/1406/M2014/0939.jpg" desc="Another year of great sound from Zellaton speakers; this time, it was the Reference model, with an external crossover network. The source was the LOIT CD player, alternating with the Artesio Duo turntable from Wagner Audio. The phono stage was from Allnico. The amplifier – the Analog Domain Isis, with an external power amp. "] [img mini="foto_testy/1406/M2014/th/0946.jpg" big="foto_testy/1406/M2014/0946.jpg" src="foto_testy/1406/M2014/0946.jpg" desc="The premiere everyone was probably waiting for: the flagship Estelon Reference speakers, which cost a ton of money. The black module is remote-controlled and moves up and down using a motor. You can use it to adjust the drivers’ position to the distance from the listener. The speakers were powered by the massive Vitus Audio MP-S201 amp."] [img mini="foto_testy/1406/M2014/th/0954.jpg" big="foto_testy/1406/M2014/0954.jpg" src="foto_testy/1406/M2014/0954.jpg" desc="The amazing omnidirectional German Physiks PQS-302 speakers with external bass modules. The mid-high range drivers are omnidrectional – it’s Peter Dicks’ DDD patent from 1978. The system was driven by four Esoteric M1 monoblocks. "] [img mini="foto_testy/1406/M2014/th/0956.jpg" big="foto_testy/1406/M2014/0956.jpg" src="foto_testy/1406/M2014/0956.jpg" desc="Another highly anticipated premiere: the “younger brother” of the TechDAS turntable I reviewed, the Air Force Two model. There are less models being planned, too, but also… one that is more expensive than the Air Force One. "] [img mini="foto_testy/1406/M2014/th/0960.jpg" big="foto_testy/1406/M2014/0960.jpg" src="foto_testy/1406/M2014/0960.jpg" desc="Scandinavia isn’t just about great crime novelists, but also great audio. The theory was proved by the Coltrane Supreme 2 speakers from Marten – they were driven with the daTZel NHB-458 monoblocks, using Jorma Design cables and SMT Diffusors. And amongst those audio giants, I could see a small, but equally important, conditioner manufactured by Gigawatt from Poland. "] [img mini="foto_testy/1406/M2014/th/0964.jpg" big="foto_testy/1406/M2014/0964.jpg" src="foto_testy/1406/M2014/0964.jpg" desc="One of the sounds rewarded by “High Fidelity” was the one coming from the OceanWay Audio Montecito speakers, Viola Audio Laboratories electronics, ZenSati cables and an Artesania Audio rack. The source was either a computer or Nagra CD player. The sound was superior with the latter. "] [img mini="foto_testy/1406/M2014/th/0967.jpg" big="foto_testy/1406/M2014/0967.jpg" src="foto_testy/1406/M2014/0967.jpg" desc="The out-of-this-world dynamics was achieved by these flagship Living Voice Vox Olympian/Elysian speakers with Kondo electronics and the CEC TL 0 3.0 CD transport, which we reviewed last month. "] [img mini="foto_testy/1406/M2014/th/0969.jpg" big="foto_testy/1406/M2014/0969.jpg" src="foto_testy/1406/M2014/0969.jpg" desc="Living Voice Vox Olympian/Elysian comprises the Olympian module with an external crossover network and the Elysian subwoofer."] [img mini="foto_testy/1406/M2014/th/0971.jpg" big="foto_testy/1406/M2014/0971.jpg" src="foto_testy/1406/M2014/0971.jpg" desc="Finally, a working DAC from Nagra, the HD DAC."] [img mini="foto_testy/1406/M2014/th/0976.jpg" big="foto_testy/1406/M2014/0976.jpg" src="foto_testy/1406/M2014/0976.jpg" desc="A new design from Modwright, the Elyse DAC. "] [img mini="foto_testy/1406/M2014/th/0978.jpg" big="foto_testy/1406/M2014/0978.jpg" src="foto_testy/1406/M2014/0978.jpg" desc="A system I had been waiting for: the GIYA G1 speakers from Vivid Audio, driven by the CH Precision M1 monoblocks, with the two piece D1+C1 SACD player and X1 power supply. But to me, the most important part was the turntable: the TechDAS Air Force One. It was paired with a preamplifier manufactured by the German company Einstein Audio Components."] [img mini="foto_testy/1406/M2014/th/0979.jpg" big="foto_testy/1406/M2014/0979.jpg" src="foto_testy/1406/M2014/0979.jpg" desc="It was a particular honor to me – to be able to meet the creator of the Air Force One, Mr. Hideaki Nishikawa. Especially since he complimented my review, saying that he wouldn’t have added anything to what I had said about the sound. This alone was worth the entire trip to Munich. "] [img mini="foto_testy/1406/M2014/th/0986.jpg" big="foto_testy/1406/M2014/0986.jpg" src="foto_testy/1406/M2014/0986.jpg" desc="We met at last: Mister Xuanqian Wang, the head of Auralic, with his latest brainchild, the ARIES streamer bridge. It accepts PCM signal up to 32-bit/384 kHz, DSD, including double-rate DSD and DXD. What’s more, the ARIES connects to the network wirelessly! One of the most important parts is the Lightning-DS-App for iOS, Android, Windows, OSX and Linux."] [img mini="foto_testy/1406/M2014/th/0987.jpg" big="foto_testy/1406/M2014/0987.jpg" src="foto_testy/1406/M2014/0987.jpg" desc="The sound coming from these weird-looking speakers was an absolute shock. I can’t remember their name – they’re the “praying mantises” up front. The electronics came from 3D Lab, and the source was a Stellavox battery-powered reel to reel tape recorder. "] [img mini="foto_testy/1406/M2014/th/0988.jpg" big="foto_testy/1406/M2014/0988.jpg" src="foto_testy/1406/M2014/0988.jpg" desc="Mr. Kostas Metaxas from Metaxas uses the Stellavox Stellmaster for his recordings. "] [img mini="foto_testy/1406/M2014/th/0995.jpg" big="foto_testy/1406/M2014/0995.jpg" src="foto_testy/1406/M2014/0995.jpg" desc="Raidho with its head executives, and the huge, majestic D5 speakers to the side."] [img mini="foto_testy/1406/M2014/th/1001.jpg" big="foto_testy/1406/M2014/1001.jpg" src="foto_testy/1406/M2014/1001.jpg" desc="A system using Franco Serblin’s speakers (we can only see now how much we miss him), and the Amati monoblocks on Elrod 211 tubes. "] [img mini="foto_testy/1406/M2014/th/1006.jpg" big="foto_testy/1406/M2014/1006.jpg" src="foto_testy/1406/M2014/1006.jpg" desc="A new design from Octave – the HP 700 preamplifier, which is supposed to cost less than the flagship Jubilee, with little difference in its sound. "] [img mini="foto_testy/1406/M2014/th/1008.jpg" big="foto_testy/1406/M2014/1008.jpg" src="foto_testy/1406/M2014/1008.jpg" desc="The Octave V 110 amp is also available with the KT150 tubes. "] [img mini="foto_testy/1406/M2014/th/1010.jpg" big="foto_testy/1406/M2014/1010.jpg" src="foto_testy/1406/M2014/1010.jpg" desc="One of the funkiest people at the show, Corum Audio. They presented sphere-shaped horn speakers, with cube-shaped subwoofers that resembled a diffuser from the front. The amplifier was from Sinetre. "] [img mini="foto_testy/1406/M2014/th/1020.jpg" big="foto_testy/1406/M2014/1020.jpg" src="foto_testy/1406/M2014/1020.jpg" desc="When I was reviewing the tiny Micromega HD boxes for the “Audio” magazine, I wondered what the amp was going to look like. Now I know: it’s a small cube capable of driving huge speakers. "] [img mini="foto_testy/1406/M2014/th/1022.jpg" big="foto_testy/1406/M2014/1022.jpg" src="foto_testy/1406/M2014/1022.jpg" desc="The Carot One, wonderful, tiny headphone amps from Italy. "] [img mini="foto_testy/1406/M2014/th/1024.jpg" big="foto_testy/1406/M2014/1024.jpg" src="foto_testy/1406/M2014/1024.jpg" desc="We just reviewed the Pandora Hope VI headphones from the Japanese company Final, and you can see the Pandora Hope VIII here. The company is celebrating its 40th anniversary. "] [img mini="foto_testy/1406/M2014/th/1031.jpg" big="foto_testy/1406/M2014/1031.jpg" src="foto_testy/1406/M2014/1031.jpg" desc="It was an honor for me to meet Mr. Philip Swift, Spendor’s owner and designer. "] [img mini="foto_testy/1406/M2014/th/1039.jpg" big="foto_testy/1406/M2014/1039.jpg" src="foto_testy/1406/M2014/1039.jpg" desc="Another reel to reel tape recorder from Studer, this time presented on the stand of MSP, a Swiss company. "] [img mini="foto_testy/1406/M2014/th/1040.jpg" big="foto_testy/1406/M2014/1040.jpg" src="foto_testy/1406/M2014/1040.jpg" desc="MSP released Oscar Peterson’s six-album box set, which has already arrived at my house. It’s fantastically-prepared, sounds amazing, and really doesn’t cost that much. The company also offers tapes, and next year they’re planning the debut of a semi-professional reel to reel tape recorder. "] [img mini="foto_testy/1406/M2014/th/1058.jpg" big="foto_testy/1406/M2014/1058.jpg" src="foto_testy/1406/M2014/1058.jpg" desc="SoundKaos speakers, driven by Trafomatic Audio electronics with matching finish. A coherent, dense and great sound was coming from the Lumin S1 player, the company’s newest flagship model."] [img mini="foto_testy/1406/M2014/th/1062.jpg" big="foto_testy/1406/M2014/1062.jpg" src="foto_testy/1406/M2014/1062.jpg" desc="I met these guys after a few years: Derek and Ramsay Dunlop from Art Loudspeakers. Derek presented the new Precision turntable from Systemdek Turntables. "] [img mini="foto_testy/1406/M2014/th/1068.jpg" big="foto_testy/1406/M2014/1068.jpg" src="foto_testy/1406/M2014/1068.jpg" desc="Jonathan Monks is a fantastic guy, son of Keith Monks, the founder of the company that manufactures record cleaners for the BBC. He is pictured here with the latest DiscOvery One record cleaner. "] [img mini="foto_testy/1406/M2014/th/1089.jpg" big="foto_testy/1406/M2014/1089.jpg" src="foto_testy/1406/M2014/1089.jpg" desc="Our friends from “HiFiStatement.net”; on the right side Dirk Sommer, chief editor and sound engineer responsible for re-mastering Oscar Peterson’s box set."] [img mini="foto_testy/1406/M2014/th/1090.jpg" big="foto_testy/1406/M2014/1090.jpg" src="foto_testy/1406/M2014/1090.jpg" desc="Mr. Dirk Mahlstedt, head of Edel, the publisher behind MSP, one of the most interesting Swiss companies which releases CDs, LPs and audio tapes. "] [img mini="foto_testy/1406/M2014/th/1099.jpg" big="foto_testy/1406/M2014/1099.jpg" src="foto_testy/1406/M2014/1099.jpg" desc="This year new design from Dynaudio: the XEO 6 and XEO4 wireless speakers."] [img mini="foto_testy/1406/M2014/th/1120.jpg" big="foto_testy/1406/M2014/1120.jpg" src="foto_testy/1406/M2014/1120.jpg" desc="As I found out, these are still prototypes, although in working condition. Audio Research showcased amps that looked like they’re straight out of the 1950s and 1960s. All of the new products looked incredibly interesting. "] [img mini="foto_testy/1406/M2014/th/1124.jpg" big="foto_testy/1406/M2014/1124.jpg" src="foto_testy/1406/M2014/1124.jpg" desc="Sonus faber launched for their 30th anniversary a new version of their legendary Extrema speakers, in a limited, 30-unit edition. "] [img mini="foto_testy/1406/M2014/th/1139.jpg" big="foto_testy/1406/M2014/1139.jpg" src="foto_testy/1406/M2014/1139.jpg" desc="You wanted to see what’s inside those flagship Chario Academy Serendipity speakers? Well, here you go. "] [img mini="foto_testy/1406/M2014/th/1170.jpg" big="foto_testy/1406/M2014/1170.jpg" src="foto_testy/1406/M2014/1170.jpg" desc="Jurgen Straussman’s room. I’ve already written about him in my “Straussman Story” article. The Tannoy Westminster Royal/GR speakers looked wonderful, and so did Jurgen’s components. This year my friend had a strike of bad luck and one of the amps stopped working. I visited him before I left on Friday, but he was still busy soldering… But I got to see the nice Radius XX turntable manufactured by the German company Tonetool. Whichever way you look at it, it was one of the best-looking audition rooms – big money and big class. "] [img mini="foto_testy/1406/M2014/th/1174.jpg" big="foto_testy/1406/M2014/1174.jpg" src="foto_testy/1406/M2014/1174.jpg" desc="I think this was the first time someone used my photo in an advertisement :) I was famous – but only in this room, and for about five minutes, but still! "] [img mini="foto_testy/1406/M2014/th/1175.jpg" big="foto_testy/1406/M2014/1175.jpg" src="foto_testy/1406/M2014/1175.jpg" desc="The Best Sound award given to Straussman last year turned out to be spot-on – the sound that I heard at his house was even better. "] [img mini="foto_testy/1406/M2014/th/1180.jpg" big="foto_testy/1406/M2014/1180.jpg" src="foto_testy/1406/M2014/1180.jpg" desc="Triode Corporation had a unique reference preamplifier, the Junone Ultimate, hand signed by its designer, Mr. Junichi Yamazaki. The price: 15,000 USD. The preamp is a full dual mono design, from its power supply to volume control. The power supply is housed in a separate enclosure. "] [img mini="foto_testy/1406/M2014/th/1201.jpg" big="foto_testy/1406/M2014/1201.jpg" src="foto_testy/1406/M2014/1201.jpg" desc="New Ascendo D9 speakers – they’re on their way for a review. I’m very curious as to what progress the company has made since my last review of its speakers. "] [img mini="foto_testy/1406/M2014/th/1206.jpg" big="foto_testy/1406/M2014/1206.jpg" src="foto_testy/1406/M2014/1206.jpg" desc="That should’ve been expected: Alluxity made a digital music player. It’s still a prototype, in an unfinished enclosure. In the middle you can see a slot drive used for ripping discs. "] [img mini="foto_testy/1406/M2014/th/1226.jpg" big="foto_testy/1406/M2014/1226.jpg" src="foto_testy/1406/M2014/1226.jpg" desc="The stand of STS Digital that specializes in audiophile recordings (using two microphones) and re-releases of vinyl discs and tapes. I bought a few albums there, including “Old Betsy. The Sound of Big Ben Webster”. The company uses the MW Coding Process, a method of transferring the 24-bit digital signal into the analog domain. "] [img mini="foto_testy/1406/M2014/th/1227.jpg" big="foto_testy/1406/M2014/1227.jpg" src="foto_testy/1406/M2014/1227.jpg" desc="One of the Atriums, with the audition rooms to the sides and up top. "] [img mini="foto_testy/1406/M2014/th/1228.jpg" big="foto_testy/1406/M2014/1228.jpg" src="foto_testy/1406/M2014/1228.jpg" desc="Another Atrium, this time from the top walkway. "] [img mini="foto_testy/1406/M2014/th/1230.jpg" big="foto_testy/1406/M2014/1230.jpg" src="foto_testy/1406/M2014/1230.jpg" desc="The corridor between the audition rooms. "] [img mini="foto_testy/1406/M2014/th/1236.jpg" big="foto_testy/1406/M2014/1236.jpg" src="foto_testy/1406/M2014/1236.jpg" desc="Heed, from Hungary, showcased the new Thesis series: electronics and speakers."] [img mini="foto_testy/1406/M2014/th/1238.jpg" big="foto_testy/1406/M2014/1238.jpg" src="foto_testy/1406/M2014/1238.jpg" desc="Mr. Christian Feickert next to his Woodpecker turntable."] [img mini="foto_testy/1406/M2014/th/1244.jpg" big="foto_testy/1406/M2014/1244.jpg" src="foto_testy/1406/M2014/1244.jpg" desc="A new design from Hegel: the HD12, a DAC and headphone amplifier in one. It accepts DSD signal, has a balanced topology and built-in preamplifier. "] [img mini="foto_testy/1406/M2014/th/1076.jpg" big="foto_testy/1406/M2014/1076.jpg" src="foto_testy/1406/M2014/1076.jpg" desc="This system from Aries Cerat, with a Clearaudio turntable as a source, definitely attracted the gaze of many visitors with its appearance."] [/hfgallery]

tereophile is run by a team of strong personalities. Its journalists have been carefully selected by the chief editor, John Atkinson, in such a way that each one of them covers a section of audio industry with which they feels most at home and love the most. For example: Michael Fremer, whom I interviewed HERE, mainly deals with turntable-related products (he is called an "analog guru") and, until recently, entry level audio products intended for beginning music lovers-audiophiles were covered by Stephen Mejias, whom I interviewed HERE (Stephen has recently become VP of Communications for AudioQuest, and his adventure with "Stereophile" came to an end). Each journalist can move in a wider range than planned, but they rarely go beyond their favorite area. I think that such specialization works well because individual products are reviewed by the people who know a lot about them and, additionally, for whom they are the most important thing in life. One of my favorite journalists is Art Dudley who writes the column Listening. The founder and chief editor of "Listener" between 1994 and 2003, also writing for "Fretboard Journal", he is known for his commitment to vintage products; he gives priority to the passion of listening over selectively treated measurements. As we read in his article from 2013, "Whether the subject is hi-fi equipment, films, restaurants, power tools, or condoms, reviewing should be off-limits to the perennially unhappy." He speaks about this and more in the interview below. Wojciech Pacuła: Tell us something about yourself – how did your adventure with music start? Art Dudley: I was raised in a household where music was appreciated and enjoyed. My mother played piano a bit – my parents were able to buy a piano when I was about 10 years old – and they owned a Webcor record player and a few dozen records. I started buying records of my own, to play on it, when I was 10. (My first purchase was the 45 Rpm record of Roger Miller's "King of the Road;" the first LP I bought was the Rolling Stones' first album – which, in the US, was titled England's Newest Hitmakers.) Did you listen to them on some decent equipment? Not really – not for a while. But when I was 16 I got a part-time job working in a grocery store, so I had the money to buy an inexpensive stereo, with a small turntable (10" platter, piezo-electric pickup) and a receiver in one unit, and two small, separate speakers. (This was around 1970.) Then, a year or two later, I upgraded to a Sansui AU 101 integrated amp, a Dual turntable, and a pair of loudspeakers that a furniture store was about to discard. And I bought more and more records – mostly folk music and rock ' n' roll. After that, when I went to college, I got a part-time job at a very small hi-fi shop – and things really took off from there… I’m not sure if I’m right here but I see you, along with Ken Kessler from “Hi-Fi News,” as the creators of “anachrophile” audio – is that correct? It is an honor for me to be considered in such a light – but here I must also give credit to my favorite audio writer, Herb Reichert, whose columns for Sound Practices inspired, in part, my interest in vintage gear. I must also add that my friend and present-day editor John Atkinson is actually the person who coined the word "anachrophile," which he did back in the 1980s, when Ken Kessler served as his deputy editor on the staff of Hi-Fi News! :-) Going back to my college days: At the hi-fi shop where I worked, I was allowed to purchase anything in the store for cost plus 10 percent. That applied also to used gear, and one day an older gentleman traded-in a nice old McIntosh FM tuner – mono, of course – and the store’s owner allowed him only a pittance. So, for a pittance and 10 percent, I brought it home. I was astonished at how good and lifelike it sounded, just as I was astonished at its beauty, and its build quality. (I can even remember what it smelled like!) Early in my "career" as an audiophile, I had the sense that our industry was moving backwards. What are the worst enemies of today’s audio? There are, in my opinion, two great enemies: 1) We are held back, at every turn, by those who would point to this or that element of design or construction and declare, "That does not matter." To which I usually reply, "Bullshit: EVERYTHING matters!" Still, we hear it all the time. From manufacturers who say that it doesn't matter what sort of metal is used to make an amplifier chassis. From remastering engineers who say it doesn't matter if an LP is mastered from a digital recording (or mastered using a digital delay). From people who say that high resolution digital doesn't matter, because 44.1 kHz satisfies the Nyquist Theorem. That last one is especially troubling because, when you get right down to it, the Nyquist Theorem simply does not and cannot apply to the decimation and reconstruction of a complex music wave: Two samples can indeed be used to describe a single frequency, but that does not provide sufficient sampling density to describe the velocity with which the wave changes – and that is a key component of the difference between music and mere sound. 2) Our other great enemy is something I call the Tyranny of Frequency Response: an attitude that ignores the fact that there exist many different aspects to playback performance and that, in the absence of gear that does everything well – which does not exist – individual listeners should be free to prioritize those aspects as they wish. Traditionally, audio reviewers have exalted the notion of flat frequency response – or, if you will, the notion of freedom from "colorations" – as being of paramount importance. That may well be true for some listeners, but not for all; the idea that, say, dynamics and impact are of paramount importance is equally valid. To the person whose musical enjoyment hangs on the thread of "neutrality," a Quad ESL63 is correct and an Auditorium 23 Solovox is flawed. To the person who savors tactile excitement, the Solovox is correct and the Quad is flawed – distorted, even! Both points of view are legitimate. Do you think that the “Apple generation,” I mean young people with earbuds, will help audio to survive? Although it pains me to say so, given the low quality of MP3 files and of most earbuds, I believe that the Apple generation already has helped audio survive, just as simplistic films help keep storytelling alive and taking the kids to McDonald's helps keep the idea of the family dinnertime alive. The thing is, we could be doing better! What is the worst problem of audio magazines? Apart from signing-off on the whole Tyranny of Frequency Response thing, I believe that magazines fail their readers most grievously when they fail to note when a product is poorly built or overpriced (or both!). Which direction will audio go? Well, I hope that it will go in every direction at once – just like the art of music, which it serves! What a fledgling innocent audiophile should start with to get a good sound? A good dealer can be invaluable – but they are not as plentiful as they once were. So while I would encourage any newcomer to visit as many different shops as possible, I would also advise him or her to become acquainted with as many audio enthusiasts as possible, perhaps through Facebook or a local club. In each of those cases, I would recommend that they beware sonic gimmicks – "holographic" imaging, stomach-churning deep bass response, etc. – and simply listen for those products and systems that allow music to sound as stirring and moving as it is in real life. The newcomer, more than any other audio enthusiast, should remember to focus on the music, not the sound. Is there an interesting new technology you are aware of? Ultra-sonic record cleaners :-) What can web-based magazines learn from print magazines? And the other way round? Although there are a couple of good webzines, I think that most of them are in need of a good editor: someone who sets and enforces reviewing policies; who is very selective regarding both the writing ability and the behavior of their contributors; who understands the value of consistent style (punctuation, usage, grammar, spelling, etc.), and who understands what his or her readers hope to get from each and every piece that is published, and then sets about delivering precisely that. And now for something different, which recording technique seems most natural to you? That which suits the music being recorded. For most acoustic music, a single Neumann microphone is not only sufficient – it is superior to anything and everything else. As for stereo, some of my favorite orchestral recordings were made with crossed pairs, plus the feed from a couple of "spot mics" or "touch-up mics," artfully mixed in. And when it comes to electric music, the desires of the artist and the producer must determine the technology. A lot can go wrong, but when the studio itself is used as an instrument – as part of the artist's palette – the results can be transcendent. Examples include David Bowie's Hunky Dory and The Rise and Fall of Ziggy Stardust, wherein acoustic guitars are mixed as loud as electric guitars, where drums are artfully compressed, and where nothing is actually "realistic," per se, and yet the finished product is moving and enjoyable for what it is. 10 albums you can recommend to “High Fidelity” readers and why? - Gerry Mulligan and Ben Webster, Gerry Mulligan Meets Ben Webster, One of my favorite jazz albums (and it sounds great in mono). - Eric Weissberg, New Dimensions in Banjo & Bluegrass, Elektra – Contemporary bluegrass starts here. Some tracks feature the late Clarence White on guitar. - Du Pre/Barbirolli, Elgar Cello Concerto, EMI – A recording that belongs in every home. No other version comes close. - The Move, Message from the Country, Harvest – A wonderful bit of semi-progressive pop, with lots of studio trickery. - Joanna Newsom, Ys, Drag City – creative songs, with arrangements by Van Dyke Parks.. - Johanna Martzy, Bach - violin sonatas and partitas, EMI – Indispensable. Achingly hypnotic performance, transcendent mono sound. - Janet Baker et al., Purcell, Dido & Aeneas, L'Oiseau-Lyre – Chamber opera at its best, also in brilliant sound. - Big Dipper, Craps, Homestead – My favorite record by one of the best bands of the 1980s. Heartfelt and funny. Great sound, too. - Procol Harum, A Salty Dog, Regal Zonophone – The masterpiece of a sadly underrated band. - Charlie Parker, New Sounds in Modern Music Vol.1, Savoy – Music that's as physical as it is intellectual, in great, impactful mono sound. Rare. ART DUDLEY’S AUDIO SYSTEM Analog front-end Thorens TD 124 turntable Garrard 301 turntable in my own plinth, with Auditorium 23 arm mount Linn LP12 turntable EMT 997 tonearm Grado Laboratory tonearm (1960, I think) Ortofon SPU pickup EMT TSD 15 pickup EMT OFD 25 pickup (mono) EMT OFD 65 pickup (mono, 78 Rpm) Miyajima Premium Mono cartridge Miyabi 47 cartridge Hommage T2 step-up transformer Silvercore One-to-Ten step-up transformer Keith Monks RCM Amplification Shindo Masseto preamplifier Fi Preamplifier (original) Shindo Corton-Charlemagne mono amplifiers Shindo Cortese amplifier Fi 421A amplifier Croft Phono Integrated amplifier Loudspeakers Altec Valencia (1966) DeVore O/96 Quad ESL Cables Auditorium 23 speaker cables Shindo silver interconnects (various) Audio Note AN-Vx silver interconnects Digital front-end Wavelength Proton D/A converter Sony SCD-777 CD/SACD player The Linn turntable, Grado tonearm, and Fi preamplifier are presently retired from active duty; everything else is used, at least occasionally. The Garrard 301 setup is my go-to source! BTW, the photos also show an Octave V 40 SE amplifier and a Monks discOvery One record cleaner; I don't own those products – they just happened to be here for review. As far as records are concerned, some are in the shelves at one end of my room, while others occupy boxes that are scattered all over the house. I think I have about 6000 titles in my collection, including a few hundred 78s, but I don't really know for sure. In “THE EDITORS” series we have interviewed so far Helmut Hack, “Image Hi-Fi”, Germany, managing editor, interviewed HERE Dirk Sommer, „HiFiStatement.net”, Germany, chief editor, interviewed HERE Marja & Henk, „6moons.com”, Switzerland, journalists, interviewed HERE Matej Isak, "Mono & Stereo”, chief editor/owner, Slovenia/Austria; interviewed HERE Dr. David W. Robinson, "Positive Feedback Online", USA, chief editor/co-owner; interviewed HERE Jeff Dorgay, “TONEAudio”, USA, publisher; interviewed HERE Cai Brockmann, “FIDELITY”, Germany, chief editor; interviewed HERE Steven R. Rochlin, “Enjoy the Music.com”, USA, chief editor; interviewed HERE Stephen Mejias, “Stereophile”, USA, assistant editor; interviewed HERE Martin Colloms, “HIFICRITIC”, Great Britain, publisher and editor; interviewed HERE Ken Kessler, “Hi-Fi News & Record Review”, Great Britain, senior contributing editor; interviewed HERE Michael Fremer, “Stereophile”, USA, senior contributing editor; interview HERE Srajan Ebaen, “6moons.com”, Switzerland, chief editor; interviewed HERE [hfgallery] [img mini="foto_testy/1406/wywiad/th/05.jpg" big="foto_testy/1406/wywiad/05.jpg" src="foto_testy/1406/wywiad/05.jpg" desc="Pokój Arta, z zainstalowanymi kolumnami QUAD ESL."] [img mini="foto_testy/1406/wywiad/th/06.jpg" big="foto_testy/1406/wywiad/06.jpg" src="foto_testy/1406/wywiad/06.jpg" desc="Pokój Arta, miejsce, w którym siedzi i kącik, w którym pisze."] [img mini="foto_testy/1406/wywiad/th/07.jpg" big="foto_testy/1406/wywiad/07.jpg" src="foto_testy/1406/wywiad/07.jpg" desc="Ukochany gramofon Arta, Garrard 301 z podstawą wykonaną przez Arta, z płytą montażową dla ramienia Auditorium 23."] [img mini="foto_testy/1406/wywiad/th/08.jpg" big="foto_testy/1406/wywiad/08.jpg" src="foto_testy/1406/wywiad/08.jpg" desc="Na zdjęciu widać zdziwionego Arta, przyglądającego się dziwnie wyglądającym stożkom fazowym kolumn bazujących na przetwornikach Lowthera."] [img mini="foto_testy/1406/wywiad/th/09.jpg" big="foto_testy/1406/wywiad/09.jpg" src="foto_testy/1406/wywiad/09.jpg" desc="Kolumny Altec Valencia na podstawkach."] [img mini="foto_testy/1406/wywiad/th/10.jpg" big="foto_testy/1406/wywiad/10.jpg" src="foto_testy/1406/wywiad/10.jpg" desc="Naprawdę nie pamiętam, skąd w mojej łazience znalazła się mapa Irlandii!!!"] [/hfgallery]

By calling his turntable Little Super Deck (LSD), Arthur Khoubessarian (you can see him on the head picture made during the High End 2014 show in Munich) displayed a sense of humor. You can’t deny him that, nor his talent and intuition. Looking at his first designs he presented under the Pink Triangle brand or the new ones under the brand The Funk Firm one can say that he perceives audio as more than just a sound or functionality and that for him audio consists of many elements among which the visual design is of a great importance. The SAFFIRE II with the FXR II arm reviewed in 2010 by Marek Dyba looked simply astounding (see HERE). Although it seemed that Emporium HiFi, the British dealer of several interesting manufacturers, showing their offer during Audio Show 2010 will take the Polish market by storm, yet after several reviews it disappeared from the sight. Only now, from May of 2014 The Funk Firm is going to stay here in Poland for good. The man behind the brand is Arthur Khoubessarian. In the 1980s his turntables were made under the Pink Triangle name. In 2005 Arthur created a new brand which he called The Funk Firm. Their offer was never extensive. Instead of manufacturing new, numerous versions Khoubessarian works on and perfects his designs. He now offers the next two versions of couple of years old designs featuring very unusual visual designs – the flagship Saffire III (18 900 PLN without the arm) and the Funk Vector IV (7550 PLN). The newest addition to the offer is the more classical looking Little Super Deck and something completely new – the cheapest Flamenca turntable (4450 with F6 arm). Mr. Khoubessarian offers not only turntables but arms as well – the F5 (3950 PLN) and the FX-R (6800 PLN). There are also things like the Achromat turntable mat and the Archoplat version II platter with the mat. The Little Super Deck looks like a typical turntable, has an oblong plinth made of MDF, classically looking RPM switch (resembling buttons of our local design of Unitra-Fonica Emanuel) and an arm that does not stand out at the first sight. This is uncoupled design with a belt drive with an arm with a gimbal suspension. As it usually is the devil is in the details. The platter is made of tempered glass, similar ones I saw in Rega players and Systemdeck. Even though it is driven by a single motor one can see that there is more to it. I don’t know if you remember the Transrotor ZET3 with two motors – if not I recommend you an article HERE. The design was about calibrating the force with which the belt is applied to a platter. Christian Feickert went even further in his top design Firebird where he used three motors with their axles set into a equilateral triangle. The LSD is a relatively inexpensive product so three motors and their synchronization were out of the available budget. Mr. Khoubessarian applied another “patent”: there is only one motor but in places where dr. Feickert in his Firebird put other motors he put tension rollers for a short drive belt. He called the solution Vector Drive. The F5 tonearm is a proprietary design of the The Funk Firm founder. It features a gimbal suspension and an aluminum tube. What is unusual is an aluminum sleeve and a scale on the tonearm tube. This is a part of a vertical tracking force (VTF) adjustment. At the back of the tonearm there is a classical counterweight but the final adjustment is done by using the sleeve. I have seen such element but those arms used it to change a resonance frequency of the arm itself. It serves that purpose here, for sure, but the main goal is to distribute VTF adjustment into two points. Moving the sleeve also changes the effective mass. The cartridge is also mounted in a unique way. A head of the tonearm in LSD is attached in such a way that it allows it to be moved back and forth in order to set the overhang as well as to the sides to set the azimuth. This is not the easiest way to set the cartridge and it requires some experience to tune all the factors. The best way is to have it done by a dealer. More so is because the short manual is rather superficial and contains too few a picture. It obviously is directed at people who are no strangers to vinyl. There is one more unusual solution: anti-skating is achieved by using a string wrapped around a small axle. It allows very precise adjustments – as small as ¼ g. The turntable is available in different finishes. For the review we received one with a black acrylic plate on top and wooden finished sides and bottom. A similar configuration i.e. acryl and wood is used in their turntable WOW! by German Acoustic Signature. The Funk can be upgraded in several ways. The very first I used is replacing the 3 mm thin felt mat provided with a mat called Achromat. It is a version of vinyl with a good dumping qualities available in a variety of colors. It came out of reverie of the owner of TTF over the way in which mechanical coupling between the record and the platter takes place. In his Pink Triangle turntables he used acrylic interface as early as the year 1979. In Achromat available since 2005 there are air bubbles imbedded which improve dumping factor. The mat is available in three sizes: 3mm, 5 mm and 12 mm. The firm suggest using 5 mm version. The original power supply can be replaced with a more advanced called XL-PSU. There can be added Kinetic Kradle anti-vibration board. For the review I used the LEVI-Base from another specialist – Swiss company Thales. It is not mentioned in the manual but the plastic feet are worth replacing as well with something more refined like one of Finite Elements products – the Thales TTT-Comact utilizes similar ones. I used two cartridges for the test: Denon DL-103 with a low compliance and relatively large vertical force and recently reviewed ZYX R-1000 Airy3 X/TB. Both performed perfectly with the turntable and each displayed a slightly different set of features. The Funk Firm in “High Fidelity” REVIEW: The Funk Firm SAFFIRE II + FXR II - turntable + tonearm, read HERE Albums auditioned during this review Ben Webster, Old Betsy - The Sound Of Big Ben Webster, STS Digital STS 6111129, 180 g LP (2013). Billie Holiday, Lady Day, Columbia/Pure Pleasure PPAN CL637, 180 g LP (1954/2010). Billie Holiday, Songs For Distingue Lovers, Verve/Classic Records AS AVRJ 6021, “Special 45 Edition, One-sided”, 2 x 200 g LP (1957/2012). Bing Crosby, Bing Crosby’s Greatest Hits, Decca Records/MCA Records, MCA-3031, LP (1941-1945/1977). Bing Crosby, The Best of Bing Crosby, Decca Records/MCA Records, MCA2-4045, LP (1973). Dominic Miller, 5th House, Q-rious Music/Rutis Music QRM 122-2, 180 g LP (2012). Dominic Miller, Fourth Wall, Q-rious Music/Rutis Music QRM 114-2, 2 x 180 g LP (2010); Ella Fitzgerald, Ella Fitzgerald Sings The Cole Porter Song Book, Verve/Speakers Corner Records MGV 4001-2,2 x 180 g LP (1956/2000). Gerry Mulligan & Thelonious Monk, Mulligan meets Monk, Riverside/Analogue Productions AJAZ 1106, “Top 20 Jazz, 45 RPM Limited Edition #0584”2 x 180 g, 45 rpm LP (1957/2009). Harbie Hancock, Takin’ Off, Blue Note/Cisco Music CLP-7050, “Limited Edition S/N 0692”, 180 g LP (1962/2006). Marek Biliński, Best of The Best, Bi.Ma. BiLP-01, 180 g LP (2014). Peter Gabriel, So. 25th Anniversary Deluxe Edition, Realworld/Virgin PGVOX2, 4 x CD + 2 x DVD + 180 g LP + 180 g, 45 rpm LP (1987/2012). The Montgomery Brothers, Groove Yards, Riverside/Analogue Productions AJAZ 9362, “Top 100 Fantasy 45 Series”, 45 rpm, 180 g, 2 x LP (1961/?). Japanese issues available at [REKLAMA5] As the author of the turntable review in Music Direct points out the Little Super Deck was launched exactly 33 and 1/3 of a year after starting the previous company of Mr. Khoubessarian – Pink Triangle in 1979 (see HERE). Coincidences such as this and similar suggest that we deal with people with a sense of humor. But that is not the only conclusion. It also means that the sound production is not the only goal that there is an attempt to associate the sound with something more, with a lifestyle, with a sense of detachment form the job you do. Above all of this there is something bigger, something that is the ultimate cause – and as I see it – is the thought given to the music and the sound. In the case of products such as the Little Super Deck the last fact is obvious from the early stage of the review. The point is that the sound of the turntable is given a lot of attention and thought. Please note that I do not use the word “immaculate” nor even “perfect” because it is far from both even if we take into equation the price i.e. we compare the LSD with other turntables within price range of 10 000 PLN. Yet, record after record we can hear what were the priorities the boss of the Funk company choose. We catch on quickly what is going on and if it is “our type” of sound we just go for it. If I were to summarize the first impressions I would point to coherence and fluidity, warmth and body. If someone is in the hurry this is the place where they can stop just add to the picture information about selectivity that is subservient to the fluidity and the general impression over the details. These few things tell all about what the LSD is and is not. This is not a device that presents a “precise” sound. I put that expression into inverted comas because the front of an attack is not washed out, no “spilling” of the sound nor its general lousiness. This is warm, thick sound with its weight put on stamina which in turn generates large volume and beautiful, multidimensional imaging. It is basically unimportant whether we play Billie Holiday from 1935 or the new project with Ben Webster music published by a Dutch STS Digital. The differences in the recording approach, the differences resulted in totally different technical tools are clear, there is no impression that all music sounds the same. From both the recordings Funk brings out density and wholeness. With the ZYX cartridge the sound was more precise but with Denon bass was better filled out. With both Japanese cartridges the feeling of saturation was one of the most prominent and I became acquainted with this aspect of sound during the test to the point we became buddies. This is an “analog” sound in every respect. High frequencies, if they are stronger on the record, sound bold, vibrant, are not muffled. This was the case on Deep Purple single and I heard similar sound on Wes Montgomery’s California Dreaming. It is the way the sound is treated by a properly implemented EL34 tube. Its sound is slightly rounded and a bit warmed. But not “cut” nor “quenched”. It is as if the sun was reflected from gold: it is bright and shines strong but there is something soft in it, it is “warm”. The dynamics in a micro scale is very good. It is supported by well led differentiating, both in the imaging area as well as where the volume and color are concerned. A lot is happening while listening to records. In the macro scale, however, the dynamics are calmed. Metallica, Deep Purple and Paktofonika played nice, thick with a full bodied bass. They were, however, not as exciting as played on the turntables that present lighter and faster sound. The speed is not the word that comes to mind in association with LSD too often. Do you remember what I told some time ago about the amount of thought given to the design of the sound of this device? This is one of the choices that had to be made. I am familiar with a number of products where we deal with a similar distribution of accents which do not sound half as good and as convincing. Because they were put there without that thought. What we get in a package with the LSD is different although the starting point seems to be similar. That is because it is a sum of a great many choices that together make up a well thought through quality that encourage us to certain ventures. The sound of Mr. Khoubessarian turntable causes us to reach for the shelves with records featuring vocals, electronic, small ensembles classical pieces and jazz. One could venture so far as to say that the beautiful midrange is the culprit here. Because it is truly beautiful, rich in complicated interactions, strong and slightly soft. As I said before, however, strong brass, trumpet, vibraphone – everything that places energy in high range sound strong, there is no question of the sound being closed. All of this does not really fit to put a label “midrange sound”. Against such a label protests another range, which especially with the Denon DL-103 is extraordinary strong, low, thick, soft, dense and fluid. It is not exceptionally contoured and the instruments are not focused that much. As long as we dwell in the climate I mentioned we are not really bothered, there is no moment that I would like to turn my attention to those factors. The only reason for that, as I see it, is very good resolution and differentiating. Both elements are limited by other factors due to which selectiveness is not a strong feat of the LSD. But that the LSD for you – rather charming than inquisitive and discerning. Conclusion In the case of turntables such as the Little Super Deck it is difficult to speak about technological perfection. Turntables such as German Transrotor, Acoustic Signature and Clearaudio seem to be made better and look more dependable. This approach produces a sound with a special signature. Funk follows the path of Rega and Linn where the most attention is focused on the key elements of the design such as bearings, for instance, and the rest are made well but without the special devotion. You have to close the budget, after all, and to do that you have to make certain decisions. Arthur Khoubessarian puts body over contoured sound, fluidity over details. His turntable looks really nice. There is a possibility of an upgrade at our convenience. If we like the package, if this is what we are after in audio it will be difficult to beat that offer. RED Fingerprint for an idea and its execution. The more expensive models from The Funk Firm come in interesting shapes which are result of their function – it was about making the size of a base as small as possible keeping the maximum rigidity at the same time. The Little Super Deck, second from the bottom, sports classical proportions: 415x320 mm and weighs 7 kg. It is relatively low with an oblong shaped base. It is covered with an acrylic plate glued to a MDF plinth. In the tested version the acrylic plate was black and MDF veneered. The right corner sported RPM switch 33 1/3/45 with a middle setting in which the motor is off. This kind of settings reminds of the 50’s. When the turntable is on there is a blue glow under a small acrylic plate on which the switch is mounted. The main bearing is made of a hardened bronze with a ball on which there rests a flat bottom of a sub-platter axle which itself is made of aluminum and a drive belt drives just this sub-platter. On top of it we put a platter made of tempered glass. It is transparent so we can see Vector Drive i.e. three rollers between which the drive belt is stretched: brass spindle on the motor axle and two plastic ones put on the vertices of a unilateral triangle. DC motor is similar to the one the creator of Funk has been using in his designs since 1979 – the moment he started Pink Triangle. Voltage is provided from a modestly sized wall PSU which can be replaced with a bigger one. The F5 tonearm was designed just for this turntable. Even though Mr. Khoubessarian used modified Rega arms in the past, this time he designed one from scratches. Its mounting and dimensions are the same as in Rega so both can be used interchangeably. The effective length is 239 mm and mass can be adjusted so different type of cartridges can be used. With the cartridges of higher compliance we move the sleeve closer to the head. The arm features gimbal suspension and anti-skating. The tube is made of aluminum with a set diameter. The head is attached with a single screw which allows us to adjust the overhang and azimuth. Technical Specification (according to the manufacturer) Little Super deck Mounting Length (spindle to pivot): 222 mm Mounting hole diameter: 20 mm Speed: 33 1/3, 45 RPM Color: white, black, or walnut Dimensions: 415 x 320 mm Weight: 7 kg F5 Mounting Length: 222 mm Mounting: 3-point Rega standard mount, 20 mm mounting hole diameter Effective Length: 239 mm Effective Mass: Variable from 14.2g to 19.1g [hfgallery] [img mini="foto_testy/1406/funk/th/05.jpg" big="foto_testy/1406/funk/05.jpg" src="foto_testy/1406/funk/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/06.jpg" big="foto_testy/1406/funk/06.jpg" src="foto_testy/1406/funk/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/07.jpg" big="foto_testy/1406/funk/07.jpg" src="foto_testy/1406/funk/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/08.jpg" big="foto_testy/1406/funk/08.jpg" src="foto_testy/1406/funk/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/09.jpg" big="foto_testy/1406/funk/09.jpg" src="foto_testy/1406/funk/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/10.jpg" big="foto_testy/1406/funk/10.jpg" src="foto_testy/1406/funk/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/11.jpg" big="foto_testy/1406/funk/11.jpg" src="foto_testy/1406/funk/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/12.jpg" big="foto_testy/1406/funk/12.jpg" src="foto_testy/1406/funk/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/13.jpg" big="foto_testy/1406/funk/13.jpg" src="foto_testy/1406/funk/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/14.jpg" big="foto_testy/1406/funk/14.jpg" src="foto_testy/1406/funk/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/funk/th/15.jpg" big="foto_testy/1406/funk/15.jpg" src="foto_testy/1406/funk/15.jpg" desc="HighFidelity.pl"] [/hfgallery]

t doesn’t happen too often that I give an album the maximum 10/10 score in the sound quality category, at the same time praising album’s musical and artistic quality. After listening to Charlie Haden & Antonio Forcione’s album Heartplay I just couldn’t think of anything else and the top score was a must (see my review HERE). And yet, the duo’s CD release is the poorest album version, with a much better vinyl and many times better high-resolution 24/96 files (a notable exception). This is not the only album from Naim Label to offer such exceptional sound quality and give so much listening pleasure. The most important, of course, is the music and musicians. However, how they will sound on our home system depends in equal measure on the people who record, mix, master and produce the album. In the case of Charlie Haden’s albums, although not only his, available from Naim Label we are talking about one man: Ken Christianson. And about his proprietary True Stereo recording technique. Typing the name Christianson into a search engine will bring links associated with two companies: Naim Label and Pro Musica. They are both related to the world of perfectionist audio products, with the former specializing in "content", i.e. recordings, and the latter in "hardware", i.e. playback devices. But even Naim Label clearly does not exist in a vacuum, and is a daughter company of Naim Audio, founded by Julian Vereker in 1973. Naim Label was also founded on Vereker’s initiative and has been his pride and joy. He acted on the assumption that only by controlling the entire audio chain, from recording to playback, he was able to guarantee the best possible results. The first CD released by Naim Label was Gary Boyle’s Electric Glide, which immediately became one of the most popular CDs to be used for auditioning audio systems during audio shows and presentations. Julian Vereker, like another influential figure in British audio, Ivor Tiefenbrun, who founded his company Linn in the same year as Julian, was not satisfied with the quality of CD sound for a long time. That's why we had to wait until 1991 to see the launch of the first-ever Naim CD Player, the two-box CDS top-loader. Naim recording label followed shortly after. Its new version was opened in 2009, with a name changed to Naim Label and high-resolution audio files available for purchase online. Currently, hi-res files account for 70% of Naim Label sales. Sources Phil Ward, A NAIM OF NOTE. Recording For The Naim Label, “Sound On Sound”, June 2001, see HERE David Zych, Label Watch: Naim Records, “Jazz Times”, April 1999, see HERE The Naim Label, see HERE How did you start working for Naim Label? I met Julian Vereker in 1977 in Chicago at a CES trade show convention. I was very impressed with his knowledge of all aspects of audio his understanding of recording and his philosophy of reproducing the sound for what it was and not trying to alter of try and make sound colored in anyway. I was at the time just really getting started with serious recording and over the years would share much of what I was doing with Julian, he appreciated my desire to capture what the musician was saying as opposed to just making a sound and the Idea of True Stereo recording made complete sense to him and the results I was getting, also that I was working with great musicians. How did you get involved in audio? I have been in the audio field for 38 years. I have only had three jobs in audio over all these years, my first being Pacific Stereo (1976-1977) followed by Victor's Stereo (1977-1983), and my own shop Pro Musica which I co-founded with my longtime partner John Swartz (September, 1983-present, and hopefully for many more years to come). I have spent my professional life trying to understand how to record music in the most natural way and the best way to play it back to appreciate them. I have been teaching Master Class Live Sound Recording Classes at Columbia College since 2000 trying to pass on whatever research I have been working on as I see this as a continual and never ending quest. I have been both privileged and fortunate to work with and record so many wonderfully talented musicians. Some of my favorites have been my good friend, legendary bassist Charlie Haden who played in the middle 50s with Ornette Coleman and later with Keith Jarrett and Pat Metheny. And Iona Brown with the Norwegian Chamber Orchestra and Danish Philharmonic, who began as a teenager playing violin with, and eventually directing, St. Martin's In the Field – the most recorded ensemble in history. She also played in the string quartet for the Beatles video of Hey Jude. The Chicago scene is incredibly happening and has also been a huge source for great talent that I have recorded and produced over the years, often with the Naim Label. I love Naim’s audio equipment which I use as a reference. My current system is: a Linn Sondek LP12 turntable, Naim 553 preamp, Naim 500 power amp, various Naim CD players (when I use them), the new Naim NDS (UPNP player) with Naim 555 power supply, a Nagra IV-S analog, Nagra VI and LB digital recorders Could you describe the recording and mastering process used by Naim Label, particularly high resolution? How does it differ from other recording techniques? We are talking about True Stereo Recording and remastering to Hi Definition Digital (24/192). True Stereo recordings offer the listener a live, acoustically realistic perspective without processing or electronic manipulation of any kind. Done with a single pair of microphones, set up spaces with good natural acoustics, a textural dynamic quality is presented that simply cannot be achieved with multiple microphone techniques. Harmonic and spatial accuracy allow one to almost forget it's a recording, making the artist's true intentions more approachable. My recording projects for the Naim label, as well as the majority of my personal projects have used only a single pair of microphones (AKG 414 EB circa 1978) in a method I have dubbed “True Stereo”. This is certainly not a new concept, and to me it just means trying to be true to the music. I have recorded everything from solo piano to 108 piece orchestras using this method which I have been personally researching and developing for as long as I have recorded. Nothing for me is so gratifying, as to be involved in the music making process, and hearing it on a great audio system in its sheer beauty. Digital recording has evolved with Hi Definition formats (24/192). Done properly high resolution formats can offer truly superb quality. These True Stereo Recordings have been transferred from the Original Master Tapes on the Nagra IVS Analog to the Nagra VI Digital at 24/192 with great care to give the listener the ability to hear what we call the Closest Approach to the Original Sound. What is your opinion about hi-res files? Is it a real high-end option? I think the original recording is the most important and the music even more so, this is the true limitation of sound. Just having more bits means nothing unless you have a way to use them. I believe Nagra has made a brilliant digital recorder with the VI and Naim Audio has created a playback system starting with the UnitiServer SSD and any of their streaming units, especially the NDS which is my current reference playback system. Most USB units that people are employing don't impress me much and sound flat. I generally prefer a good CD player. Done right, I think it is really engaging and the future looks good. What are the most important things in a digital recording? And what about analog recordings? I see them simply as storage mediums. It is the microphones and their use that makes the biggest difference. Digital is more accurate, analog is more beautiful, but this really depends on the particular recorder used. My preference is Digital: Nagra VI, Analog: Nagra 4S. Which one do you prefer? I love both but until I got the Nagra VI, I would not have ever made a digital recording. Do you still use a turntable at home? How about a CD player? I have been recording many of My 14,000 plus LP collection to high resolution digital since I got the Nagra VI, as well as a few hundred of my recordings. I have copied all my CD collection in the Naim sever but I was never a huge fan of CD sound. Although Naim really did a pretty good job with that medium. I really listen almost exclusively to the Naim streaming system. It is totally enjoyable to me and offers both convenience and wonderful musicality. How has audio world changed since you started working in audio? There a fewer people that appreciate or even recognize that high end audio exists. Life is much faster paced and many people just don't take the time to listen. For me nothing has changed. Music has been and will always be my spiritual guide in life. Working with great musicians is my favorite thing to do and listening to music is what I do. Ken Christianson’s recording system Nagra IV-S analog tape recorder, 7.5 ips (19 cm/s), with 3M 996 tape Nagra VI (PCM 24/192) digital recorder Matched pair of AKG 414 EB microphones from 1979 Philips CD-R burner (consumer) Portable Sony DAT recorder Naim Hi-Cap power supply Naim Headline headphone amps (a few) Beyerdynamic DT931 headphones (several pairs) Naim Label CDs are available from Naimlabel.pl [hfgallery] [img mini="foto_testy/1407/wywiad_naim/th/05.jpg" big="foto_testy/1407/wywiad_naim/05.jpg" src="foto_testy/1407/wywiad_naim/05.jpg" desc="Naim True Stereo session while recording Pick Stieger’s album."] [img mini="foto_testy/1407/wywiad_naim/th/06.jpg" big="foto_testy/1407/wywiad_naim/06.jpg" src="foto_testy/1407/wywiad_naim/06.jpg" desc="The interior of Lake Forest Chapel."] [img mini="foto_testy/1407/wywiad_naim/th/07.jpg" big="foto_testy/1407/wywiad_naim/07.jpg" src="foto_testy/1407/wywiad_naim/07.jpg" desc="The interior of Ganz Hall."] [img mini="foto_testy/1407/wywiad_naim/th/08.jpg" big="foto_testy/1407/wywiad_naim/08.jpg" src="foto_testy/1407/wywiad_naim/08.jpg" desc="The interior of St. Gregory’s Church."] [img mini="foto_testy/1407/wywiad_naim/th/09.jpg" big="foto_testy/1407/wywiad_naim/09.jpg" src="foto_testy/1407/wywiad_naim/09.jpg" desc="The interior of Florida Church."] [img mini="foto_testy/1407/wywiad_naim/th/10.jpg" big="foto_testy/1407/wywiad_naim/10.jpg" src="foto_testy/1407/wywiad_naim/10.jpg" desc="The entrance to EMI’s studios on Abbey Road."] [img mini="foto_testy/1407/wywiad_naim/th/11.jpg" big="foto_testy/1407/wywiad_naim/11.jpg" src="foto_testy/1407/wywiad_naim/11.jpg" desc="The Nagra IV-S system during recordings at Abbey Road."] [img mini="foto_testy/1407/wywiad_naim/th/12.jpg" big="foto_testy/1407/wywiad_naim/12.jpg" src="foto_testy/1407/wywiad_naim/12.jpg" desc="A master disc cutting system at Abbey Road."] [img mini="foto_testy/1407/wywiad_naim/th/13.jpg" big="foto_testy/1407/wywiad_naim/13.jpg" src="foto_testy/1407/wywiad_naim/13.jpg" desc="Nagra VI in its full glory, in Ken’s system."] [img mini="foto_testy/1407/wywiad_naim/th/14.jpg" big="foto_testy/1407/wywiad_naim/14.jpg" src="foto_testy/1407/wywiad_naim/14.jpg" desc="Charlie Haden & John Taylor during the recording session for the Nightfall album."] [img mini="foto_testy/1407/wywiad_naim/th/15.jpg" big="foto_testy/1407/wywiad_naim/15.jpg" src="foto_testy/1407/wywiad_naim/15.jpg" desc="Patrick Noland and Pete Vancura at the Beverly Art Center during the recording sessions for Passage To Thought."] [/hfgallery]

onsil, a former giant and the largest manufacturer of drivers and loudspeakers in this part of Europe, located in the Polish town of Wrzesnia, has recently published information about a photo contest featuring speakers from this company. The winning photos showed older but no less interesting designs, meticulously restored, kept alive and – most importantly – still being used. This is our technical heritage shared by millions of music lovers and ordinary people. After all, I also once had huge Tonsil boxes with a passive radiator. As one pair of them seemed to me not enough back then, I bought another pair and put them on top of the first, two per channel. If my memory serves me, the towers were taller than me. I think that it's still an untapped opportunity to dust off and reinvigorate the cult brand. The example of Pylon Audio, a joint stock company managed by Mr. Matthew Jujka, shows that it is possible to build a solid company with a strong production base as long as you are rational and consistent. A year ago, the company moved its manufacturing facility from Przyborek near Września to Jarocin, the capital of Polish punk and hardcore. This is where, step by step, there arises a manufacturer that will soon be a force to be reckoned with, not only in Poland. What is important, Pylon Audio in no way draws on the Tonsil brand, creating instead its own original designs under its own brand. A few simple words from… Mateusz Jujka – President of the Management Board The Pearl 25 has been developed as an extension of the Pearl speaker line. Seemingly simple, the new model actually differs significantly from the Pearl 20 in terms of construction. The 2.5-way design makes it possible to achieve a higher speaker sensitivity, lower tweeter attenuation and greater crossover point flexibility. We have taken advantage of all these options :-) Hence, the Pearl 25 offers a higher sensitivity than the Pearl 20 and a slightly higher crossover point, which allows the tweeter to work more freely. At the same time, the new design is fully phase adjusted to both the Pearl monitor and the Pearl 20. 2.5-way designs are known to be better suited for larger rooms and, due to double the cone surface area, capable of deeper bottom end extension and larger scale of the sound. The price for this is that their impedance is decreased by half, which is no problem in this case as the quoted 4 Ω is genuine 4 Ω and even relatively low current output capable AV receivers can drive them with ease. Despite our efforts to fit it in multi-channel systems, the Pearl 25 has been designed and optimized as a stereo speaker system, and we hope that in this capacity it will serve many novice lovers of good sound. The choice between the Pearl 20, Pearl Monitor and Pearl 25 largely comes down to the size of the room in which they will be used. Highlights of the Pylon history over the last three years include: - changing the location of the company’s production site and adapting larger production facilities in Jarocin (August 2013) - debuting on the NewConnect stock exchange (August 2013) - filing 12 industrial design applications (from the PYLON SA product lineup) in the European Patent Office - implementing an ERP business management system - preparing a B2B business process automation platform - expanding equipment fleet to add the capability of manufacturing natural veneered cabinets (March 2014) - purchasing a new CNC machining center, which has increased production capacity (January 2014). In the photo below - Mr. Marek Kostrzyński, head of technology (right), and Mr. Mateusz Jujka, president. Pylon in “High Fidelity” REVIEW: Pylon PEARL – floorstanding loudspeakers, see HERE REVIEW: Pylon PEARL MONITOR – standmount loudspeakers, see HERE The Pearl 25 were directly compared to the reference speakers in long A/B auditions. The Pylons can be optionally equipped with front grilles; the pair under review did not have them. The speakers come with high spikes and small spike pads. During the review I used something better and swapped the latter for the SPU8 brass spike receptacles from Acoustic Revive on top of the RST-38H isolation boards from the same company. The Pearl 25 sounded best with their axes crossing about 50 cm in front of me (in other words, with more toe-in than usual). The speakers were positioned about 100 cm from the rear wall. Moving them closer to the wall results in a slightly more bass. In smaller rooms, it is worth trying to plug the bass port with something soft: a sponge, socks, stuffed plush toy animals, etc… Albums auditioned during this review Anita Lipnicka, Vena Amoris, Mystic Production MYSTCD 244, CD (2013). David Roth, Will You Come Home, Stockfisch SFR 357.4079.2, SACD/CD (2014). Diary of Dreams, Elegies in Darkness, Accession Records A137, “Limited Edition” CD (2014); Dire Straits, Dire Straits, Vertigo/Universal Music LLC (Japan) UICY-40008, Platinum SHM-CD (1978/2013). Dominic Miller & Neil Stancey, New Dawn, Naim Label naimcd066, CD (2002). J.S Bach, Sonatas & Partitas vol. 1 BWV 1004-1006, wyk. Isabelle Faust, Harmonia Mundi HMC 902059, CD (2010). J.S. Bach, Sonatas & Partitas vol. 2 BWV 1001-1003, wyk. Isabelle Faust, Harmonia Mundi HMC 902124, CD (2012). Marek Biliński, Best of the Best, Bi.Ma. BiCD-10, CD (2014). Mark Knopfler, The Travelerman's Song EP, Mercury, 9870986, CD (2005). Mayuko Kamo, Primo, Sony Music Japan SICC 30095, “Best Classic 100”, Blu-spec CD2 (2008/2012). Miles Davis, Live Evil, Columbia/Sony Records (Japan) SRCS 9123-4, “Master Sound Jazz”, 2 x SBM CD (1972/1996). ShowBand, Punkt styku, GAD Records GAD CD 013, CD (2014); recenzja TUTAJ Japanese CD editions are available from [REKLAMA5] During a spare moment, we sat down with the gentlemen from Pylon to listen to my audio system. It was then much easier to discuss our tastes and define the sound. I think they liked it. However, getting up from the couch, the engineer responsible for new Pylon designs said that while this was superb sound, he would prefer a bit more sparkle and bite, something to pull him up him from his seat and stimulate his blood circulation on the stronger passages in Arriving Somewhere But Not Here, the twelve-minutes-plus composition from the Porcupine Tree album Deadwing. I can understand it perfectly as I am aware of what my system is still missing. My needs are slightly different, though. Listening to music several hours a day for many years, I need a maximum natural and organic sound. Energetic, too, but rather as something underneath, perceived more intuitively and driving the whole presentation, without necessarily manifesting itself as a more powerful attack of the sound. Knowing what the priorities of Pylon are, I could only confirm what I had heard several times before auditioning other designs from this manufacturer: that they are energetic and open sounding loudspeakers. That is not, however, what is most important about them. There are quite a lot of open sounding and energetic speakers out there, even in this price range. The special value of the Pearl 25 comes from something else: their openness and energy is combined with excellent integration of drivers with one another, and the drivers with the bass port. Listening to the latest design that came from the hands of Mr. Jujka and his team, I was immediately reminded of what’s offered (or used to be offered, as I am not sure if they are still in production) by the Monitor Reference MR4 floorstanding speakers from Monitor Audio, manufactured for this British specialist in China (see HERE). Despite their completely different drivers, although used in a similar arrangement, and completely different design philosophy reflected in their use of materials, the Polish speakers sound as if they were a polished-up version of the MR4, or their successors. This shows that given the right priorities, extensive knowledge and talent involved, different designers arrive independently at similar conclusions (results). The Pearl deliver a big, full sound, with a lower midrange and upper bass that seem slightly more important than the rest. They build believable real-size phantom images that are casually "cast" in front of us. At the same time, however, there is no feeling of anything being emphasized. It is true that the range referred to above is slightly more forward, but this is based on my experience with other designs, independently of my assessment of these speakers, as it were. And that's because there is nothing to bother us and we have a feeling of a slightly warm but open and even sound. As if the audibly emphasized midrange in the MR4 has been corrected here. The speakers are incredibly dynamic. You can check it both on the Show Band recordings from their album Punkt styku and Miles Davis’ Live Evil , as well as on the ultra-minimalist solo violin album by Isabelle Faust. What I mean is that the speakers do not "choose" recordings with which they are "compatible", and instead faithfully show everything that is sent to them. Let me repeat that the basis for that is a great driver integration. The driver interaction brings the sound that surrounds us and comes to us in the form of a large sphere, denser than the surrounding air. And so it should be; this is how the noise of the recording studio, microphones and tape is heard on older recordings, or how the energy "caught" by the microphones is manifested, for example on Neil Stacey and Dominic Miller’s album, issued by Naim Label. And I still perfectly remember the sound of Miller's guitar, because not so long ago (on my 41st birthday) I was at his concert at the Dom Muzyki BCK in Bielsko-Biala. Sitting in the front row, right next to Tomek, Justyna and Marcin, with whom we later played the same recordings during a meeting of the Krakow Sonic Society, I heard the sound from the stage, straight from the musicians’ amps. What I heard there, in its sheer scale, palpability and "takeoff," cannot be repeated in any audio system. There is no such chance. It can be beautifully approximated, though. The scale of a large room can be greatly conveyed by big floorstanders, like Tomek’s Dynaudio C4 Signature, or by speakers with sizeable drivers, like my Harbeths, but neither of them are capable of showing such high dynamics. Despite their obvious limitations derived from the laws of physics and related to their low price, the budget oriented Pearl 25 showed Miller's guitar in an incredibly cool way. Its sound was at the same time palpable and dynamic, open and tight. That is how I imagine the optimal sound of inexpensive speakers. The soundstage was expansive, but not especially deep. At least not in the whole area "BEHIND" the speakers. Details shown in front of the listener were strongest and best-defined. Here the speakers had good timbral differentiation, and the instruments and vocals were presented with real depth. Everything that was portrayed to the sides was weaker, with quite quickly damped reverbs and large room acoustics. It's not a problem, and the Pearl were still great in what they did. On should, however, be aware of their limitations, on an absolute scale. Individual sources on the soundstage were big and strong, on the one side, and highly energetic, on the other. There was no impression of "snuffed" sound. I think that to a large extent it was related to a slightly more emphasized frequency range above 1 kHz. With recordings where vocals are not recorded particularly great, which are in majority - for example, Diary of Dreams Elegies in Darkness or Anita Lipnicka’s Vena Amoris, the speakers showed a slightly emphasized upper treble, which again recalled my experience with the Monitor Audio MR4. The Pearl treated this type of recordings gently, without irritating with such coloration and without masking it, either. The MR4 covered it slightly with stronger midrange. The Polish speakers had a more even frequency response and their somewhat harder upper midrange attack (since that’s what mattered) was balanced by their slightly better resolution. The latter was not particularly exceptional, and for this kind of money we only get a foretaste of what is in the high end. The Pearl, however, did not provoke such questions, offering a complete, well thought-out vision of the sound as a whole. Conclusion It is a perfect speaker. Inexpensive, nicely built and finished and big enough for us to know what we have paid for. It is fully manufactured in Poland, backed by flesh-and-blood people, known by name. To me, this is very important. The speakers will be a good match for a wide range of electronics, but I'd first listen to components from NAD and Block. A good bass control will give us better dynamics. But a quality tube component, especially from a higher price range, will add some refinement to the whole presentation. This is an extremely versatile design for very reasonable money which I highly recommend to anyone looking for something below 650 USD. My second choice would be the Monitor Audio MR4. This juxtaposition is a tribute to the Polish Pylon more than anything else. Such inexpensive and yet substantial and good-looking speakers are a rarity. Monitor Audio achieves that by using mass production facilities in China. Pylon is capable of doing something just as good, if not better, by the accumulation of knowledge, experience and manufacturing equipment in one place, where people know what they are doing. An own joinery and veneering plant and packaging production facilities are incredibly strong assets in hand. The Pearl 25 is a floorstanding, 2.5-way, three-driver speaker design. The cabinet is made of MDF with vinyl veneer, which looks like natural wood veneer. The drivers are labeled as Pylon Audio, but they are not manufactured in-house. Instead, they are OEM made by Monacor and STX. However, since their design includes extensive changes in the basic driver design devised by Pylon, giving them an own name seems justified. The treble is handled by the Pylon Audio PST T-80/8 soft dome tweeter, whose plastic front sports an area covered with a soft material. It is designed to help control high-frequency reflections. The tweeter is a version of the Monacor DT-101SK adapted to Pylon needs. Below are two Pylon Audio PSW 18-80/S mid-bass woofers with fiberglass cones, rubber front suspension and solid cast baskets. Similar woofers were previously used by Pylon Audio in its Pearl and Pearl Monitor speakers, and by another Polish company, ProTonsil, in the Siesta floorstander, and prior to that by Revolver from the UK in the Revolver RW 16 standmount speaker. Here we see another version of the woofer, manufactured for Pylon Audio by STX. The Pearl comes with a single pair of solid, gold plated speaker terminals. Since they are mounted in a recess in a plastic board, perpendicular to the rear panel, using anything else than banana connectors may be a real challenge. The cabinet is made of MDF and chipboard, braced inside with wreaths and damped with artificial wool in the upper part, behind the tweeter. Internal wiring uses OFC copper braid. The crossover network is assembled point-to-point and glued to the back panel from the inside. In the tweeter section we have a nice polypropylene capacitor from Jantzen and a powder core coil. The mid-bass section uses classic electrolytic capacitors and iron core coils. The speakers rest on high steel spikes with small receptacles underneath. You can order a version with front grilles or without them. Specification (according to the manufacturer): Nominal impedance: 4 Ω Frequency response: 35 Hz-20 000 Hz Nominal power: 95 W Maximum power: 150 W Sensitivity: 89 dB Dimensions [W x H x D]: 200 x 980 x 280 mm Weight: 15 kg each Woofer: 2 x Pylon Audio PSW 18-80/S Tweeter: Pylon Audio PST T-80/8 Spike receptacles: Yes Grille: Yes/Option Warranty: 3 years + 1 year (on product registration) Available finish: black, calvados, wenge, milk oak, walnut Special finish: high-gloss white [hfgallery] [img mini="foto_testy/1407/pylon/th/05.jpg" big="foto_testy/1407/pylon/05.jpg" src="foto_testy/1407/pylon/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/06.jpg" big="foto_testy/1407/pylon/06.jpg" src="foto_testy/1407/pylon/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/07.jpg" big="foto_testy/1407/pylon/07.jpg" src="foto_testy/1407/pylon/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/08.jpg" big="foto_testy/1407/pylon/08.jpg" src="foto_testy/1407/pylon/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/09.jpg" big="foto_testy/1407/pylon/09.jpg" src="foto_testy/1407/pylon/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/10.jpg" big="foto_testy/1407/pylon/10.jpg" src="foto_testy/1407/pylon/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/11.jpg" big="foto_testy/1407/pylon/11.jpg" src="foto_testy/1407/pylon/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/12.jpg" big="foto_testy/1407/pylon/12.jpg" src="foto_testy/1407/pylon/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/13.jpg" big="foto_testy/1407/pylon/13.jpg" src="foto_testy/1407/pylon/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/14.jpg" big="foto_testy/1407/pylon/14.jpg" src="foto_testy/1407/pylon/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/15.jpg" big="foto_testy/1407/pylon/15.jpg" src="foto_testy/1407/pylon/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/16.jpg" big="foto_testy/1407/pylon/16.jpg" src="foto_testy/1407/pylon/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/17.jpg" big="foto_testy/1407/pylon/17.jpg" src="foto_testy/1407/pylon/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/18.jpg" big="foto_testy/1407/pylon/18.jpg" src="foto_testy/1407/pylon/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/19.jpg" big="foto_testy/1407/pylon/19.jpg" src="foto_testy/1407/pylon/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/20.jpg" big="foto_testy/1407/pylon/20.jpg" src="foto_testy/1407/pylon/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/21.jpg" big="foto_testy/1407/pylon/21.jpg" src="foto_testy/1407/pylon/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/pylon/th/22.jpg" big="foto_testy/1407/pylon/22.jpg" src="foto_testy/1407/pylon/22.jpg" desc="HighFidelity.pl"] [/hfgallery]

umen Artarski is a hunk of a man. Tall, handsome and ramrod-straight. He could serve in Special Forces or join the Honor Guard. He could be a grenadier or serve in the praetorian guard of the Caesars. There is some inner strength in Rumen – he is big, but not bulky or sluggish. When he first wrote to me in 2010 I did not know him as much as I do today. However, the preamplifier that he sent for a review was outstanding, very much to my liking. Built with a heart, it looked like a pure-bred product from a large manufacturer that has for years mastered the production process and now can focus solely on the sound. The review appeared in "High Fidelity" in January 2011 and was the first publication on products from Thrax Audio outside its native Bulgaria. Almost any encyclopedia confirms that a vital characteristic trait that was admirable in ancient Thrace, whence the company takes its name, was physical strength. I think Rumen would fit in perfectly there. The region, which was historically part of the Roman Empire, located on its eastern flank, is currently divided between three neighboring countries: Greece, Turkey and Bulgaria. It was the birthplace of Spartacus, the slave and gladiator who became the leader of a slave uprising against the Roman Republic in 73-71 BC, which attracted about 100 thousand people. There is no denying that by naming his company after the Roman era and borrowing the names of his products from the Greek pantheon of gods and famous people from the Roman period he clearly identifies with them. Well, if you can boast such a long history, you just have to do that. The beginnings of Bulgaria go back to the 5th century BC, when Thracian tribes were united in the Odrysian Kingdom, subsequently conquered by the Romans. The region between the Danube River and the Balkan mountain range was organized as the Roman province of Moesia (6-9 AD). Rumen would fit in perfectly there, I'm sure of that. I have been waiting for four years to review the whole Thrax Audio system, which has recently been expanded to include a DAC. Now we have a complete audio system, from the Maximinus D/A converter, through the Orpheus phono stage and the Dionysos preamplifier, to the power amplifier, either the tube-based Spartacus or the hybrid Hero monoblocks. Each one of them is a proprietary Thrax design. The company is located in Sofia, the capital of Bulgaria. All Thrax products are manufactured right there, from A to Z. Each one features interesting design solutions. The DAC is based on a DSP-controlled, discreet R-2R resistor ladder. It is a multi-bit design with the resolution of 25-bit and upper sampling frequency of 384 kHz. The user is presented with a wide range of sound-shaping capabilities, which include selectable reclocking, two upsampling algorithms and four digital filters. The signal path is extremely short, with no output buffers or coupling capacitors. Instead, the output is transformer-coupled. As a matter of fact, coupling transformers seem to be a Thrax trademark, and are also used in the input and output stages of the Dionysos preamplifier and in its volume regulator. The power amplifier has a transformer-coupled input and employs an interstage transformer. As I’ve said earlier, the components are manufactured in Bulgaria. The workmanship is top notch. Perfect enclosures, beautiful inner assembly, very expensive electronic components throughout and microprocessor-based control are common features in all of them. Every company, regardless of its origin and experience, could be proud of such design and workmanship quality. Even the Japanese, although they have their own tricks and solutions, like the use of oil capacitors and copper. A few simple words with… Rumen Artarski | Thrax | CEO Could you tell us the story behind the Spartacus? The concept for Spartacus came along after years of listening to the most famous single ended triode amplifiers. Our research pointed that the sonic character of the amplifier is defined by the driver stage and output transformer rather than by the type of output tube. The other crucial component is power supply. So we set to design a better single ended amplifier by using the accumulated knowledge. We decided to use a driver that is much more linear than the output tube by using a directly heated triode there, namely the PX25, and taking the PSU to an extreme by implementing a constant current shunt regulator. This sounded fabulous but the amount of heat produced and moderate power output (30W) was not enough. The next step was to double the output stage and reverse the phase of one of the output tubes. This resulting current cancelation gave us the opportunity to use higher quality nickel transformers and doubled the output power. Lower current fluctuations meant easier load for the shunt thus reducing the extra heat output. The second harmonic cancelation in the output stage made the amplifier sound even better and again its sonic character is shaped entirely by the quality of the PX25 driver. It does not sound like a tube amp at all, it does not sound like solid state either. And what about the Maximinus? The Maximinus was born out of necessity. I have been a distributor for some top digital brands since 1996. I am used to top quality digital components, but after introducing our amplifiers there was a huge gap in performance between the best analog and hi-res digital front ends. We needed a D/A converter that would have an exemplary low level linearity and resolution. We acquired all the best in the available OEM designs but none came close to our reference. After a bit of research we came across MSB Technology and their discrete sign-magnitude Ladder DAC. This was conceptually the right thing to do. We contracted them to do a revised version of their current flagship for us. During the process of product development we designed a new PSU topology using our ccd/shunt concept and new input board, this sounded very good. The next step was to do our own output buffer. We bypassed the output opamp they use and that changed everything – it was as clean and natural as we could ever want. The question was how to get that perfect signal out of the board. Here we set to design a circuit around an output transformer, more or less like in the Spartacus. This provides the necessary isolation and impedance matching. Does the Spartacus feature a fully balanced topology? The Spartacus has a balanced input as it is transformer coupled but the driver is single ended giving the whole amplifier its special character. Why do you use these particular tubes? Emission labs and KR make some of the very best tubes in existence today. This is the 21st century implementation of old technology. NOS tubes are inconsistent in terms of availability and performance, so we decided it is worth the extra cost. MSB has its own design concept of the USB input – which solution do you use? The USB input board has been developed by George from JLsounds.com He has written all the s/ware and implemented special features not available in other implementations. The Maximinus offers several digital filters – could you say something about them? There are 2 upsampling algorithms and 4 digital filters. We could not decide on a single filter that sounds best so we left the option to the user to choose “their” version. The differences are quite big. Try them all and after that I will tell you which one is which. Digital filters are one thing but upsampling is something else – do you consider the latter a good way of shaping the signal? I would recommend it for CD but again is a matter of taste. Thrax Audio in “High Fidelity” REVIEW: Thrax DIONYSOS – line preamplifier, see HERE INTERVIEW: Rumen Artarski, Thrax Aud Nagrania użyte w teście (wybór) Music For A While. Improvisations on Purcell, Christina Pluhar, L’Arpeggiata, Erato 4636203, CD + DVD (2014). Charlie Haden & Chris Anderson, None But The Lonely Heart, Naim naimcd022, CD (1998). Danielsson, Dell, Landgren, Salzau Music On The Water, ACT Music ACT 9445-2, CD (2006). Dire Straits, Brothers in Arms, Vertigo/Universal Music Ltd. Hong Kong 5483572SX, SHM-XRCD2 (1985/2011). c, Bonne Records BOR 96016711, CD (1996). Jean-Michel Jarre, Revolutions, Dreyfus Disque/Polydor POLH 45, LP (1988). Jean-Michel Jarre, Zoolook, Dreyfus Disque/Polydor JAR4 5, LP (1984). John Coltrane Quartet, Ballads, Impulse!/Universal Music LLC (Japan) UCCU-40001, Platinum SHM-CD (2013). Lars Danielsson, Mélange Bleu, ACT, 9604-2, “ACT: Nu Jazz””, CD (2006). Laurie Anderson, Homeland, Nonesuch 524055-2, CD + DVD (2010); Miles Davis, In A Silent Way, Columbia/Mobile Fidelity UDSACD-2088, “Special Limited Edition, No. 1311”, SACD/CD (1969/2012). Pat Metheny Group, Offramp, ECM/Universal Music K.K. UCCU-9543, “Jazz The Best No. 43”, gold-CD (1982/2004). Piotr Anderszewski, Piotr Anderszewski at Carnegie Hall, Virgin Classic 267291 2, 2 x CD (2009); ShowBand, Punkt styku, GAD Records GAD CD 013, CD (2014); Soundgarden, Superunknown, A&M Records 3778183, “Deluxe Edition”, 2 x CD (1994/2014). Tangerine Dream, Phaedra, Virgin/EMI Music Japan VJCP-68867, CD (1974/2004). The Beatles, Abbey Road, Apple/Toshiba-EMI TOCP-51122, CD (1969/2000). The Handsom Family, Singing Bones, Carrot TopSAKI036, CD (2003). Japanese CD editions are available from [REKLAMA5] The Thrax system is truly impressive. It is perfectly built, has well-balanced proportions and offers great functionality. Its metal enclosures sport the kind of finish befitting modern solid state amplifiers, which seems to stand in opposition to Thrax’s tube soul. But only at the first glance. After proper installation and setup, the components blend into the surroundings, only occasionally marking their presence. The most dazzling of them are the monoblocks that make for the clou of this system. However, to bring out this clou and be able to say something like that, the Spartacus need to be set up with the other Thrax components. The review concerned the whole Bulgarian system, but I also tried swapping the components one by one for those from my reference system. Each time I noticed a marked change and some sonic improvement. But I was always glad to go back to the original setup installed by people from RCM, the Polish distributor for Thrax, with a sense of relief and satisfaction of a job well done. The DAC, preamp and monoblocks would just “click” together into something better and nicer. Playing tracks that are big on atmosphere, with clear interaction between the musicians which creates a "message", not only music, I found the Thrax system become more beautiful with every next track. Not that it looked or sounded bad to start with, that is. It’s just that during the audition you slowly start to sink into whatever you’re sitting on, and feel your shoulder and then face muscles relax. The presentation is incredibly dense and beautiful. The category of beauty is difficult to stratify and there are no clear indicators of what makes a thing "beautiful" because it changes over time. But I think that in a small group that belongs to a given segment of culture, for example among audiophiles, it is possible to agree on what is and what is not beautiful. That is why it is so easy for me to talk about beauty in the context of Thrax. Part V from Salzau Music On The Water. Falling from Homeland. Mélange Bleu from the album of the same title. The whole of None But The Lonely Heart. And others. All these tracks were wonderful. Saturated and soft. And at the same time so packed with information on differences between the instruments that they felt natural. It's not about detail, because when we listen to live music we do not perceive details in isolation from context. The Thrax sounded the way you hear music at a concert, offering large musical planes without emphasizing the attack, and at the same time clearly enough to nicely compensate for the lack of visual aspect. The system evidently cherished vocals in a special way. And solo instruments, like on the Platinum SHM-CD version of John Coltrane’s Ballads. Discs of this type sounded better than they do on my system. At least in terms of depth within a given sound source or timbral differentiation. It did not apply to all CDs, which I will say more about later, but the sound was very similar to what I had heard before from the Ancient Audio Silver Grand Mono monoblocks. A similar softness was also characteristic of the Triode TRX-M300 Reference Edition monoblocks, although it was not accompanied by such outstanding resolution. A similarly saturated sound is also offered by solid-state amplifiers from Vitus Audio. The overall tonality of the Thrax system was centered on warm midrange, although not limited to it. When a recording suggested it, the upper treble was open and strong. The bottom end, if only so envisaged by the production and mastering engineer, was strong, dense and accurate. Of course, accurate for a tube amplifier. But the dominant impression after the first minutes of listening was that of sinking into something soft, which indicates that it is the midrange that is most important. The Spartacus, which is the most important contributor in this regard, has a good low frequency response. Most triode-based amplifiers I have heard (including pentode and beam tetrode designs) have a less controlled and more "saggy" sound. Many powerful amplifiers on the KT88, KT120 and even KT150 power triodes cannot fully cope with the deep bass extension of electronic instruments, and tend to round off the left hand of the piano and thicken the double bass body. The Spartacus also adds something of its own and cannot match the sound decay capability of the Soulution, but it is neither intrusive nor awkward in doing that. Even a very deep bass extension on the recordings by Laurie Anderson or Lars Danielsson made no impression on the amplifier. The output current capability of the monoblocks must be impressive. Only the Ancient Audio amplifier is capable of something even more spectacular. But if you test your amplifiers using such speakers as the Sonus Faber Fenice (also known as "The Sonus Faber"), the Wilson Maxx3 or German Physics designs, you clearly know what you are doing. These are the speakers used by Rumen Artarski and his Thrax team in their reference system. Not easy to drive at all, particularly in the bass range. My Harbeth M40.1, although nominally the easiest to "move" in this company, are also very demanding. But even with them, the Bulgarian tube amp created very large phantom images, which is a sign of a great lower midrange and bass saturation, and showed good extension all the way down, only limited by the speakers themselves. The bottom end, below some 40 Hz, was slightly less energetic but it had no special consequences for the music. Only a direct comparison against the Soulution showed that, whatever we think of it, tube amplifiers are just no match for solid state in this range. The sound of the Thrax system showed only slight coloration. Its overall tonal balance seemed fantastic and was reminiscent of that in my own system and in Tomek’s system (see HERE). If anything, it was rather on the warm side, or at least it seemed to be. My bet is on the latter. The sound was very clean and exhibited a fantastic dynamic and timbral differentiation between instruments. The Thrax built up a large soundstage, with very strong musical planes in front of the listener, and with excellent spatial aspects in counter-phase. Anderson’s and Danielsson’s albums that are rich in this type of information made me sit in a large bubble of sound. It must be said that the foreground was so intense and palpable that it made the layers further down the soundstage seem quieter and less important. The background was neither muted nor too little expressive, but it simply did not draw so much attention as it does on my system. I needed to focus on the further planes to make them "come out", appear from the background. In a normal listen, when we let ourselves be carried away by the music, everything that is located behind the performers and sounds in the foreground becomes of secondary importance. Everything written so far is very universal and will prove true with any musical material and the majority of loudspeakers. The Spartacus monoblocks have excellent speaker control, without showing any sign of a "tube" character. But they will not do anything that’s not to their "liking." Their agility and energy, in the sense of rhythmic "punctuality," are fairly subdued. Electronica albums by Duda and Bilinski (the new Best of the Best is fantastic, including the LP!), rock music, such as the new remaster of Soundgarden Superunknown or the SHM-XRCD release of Dire Straits Brothers in Arms, but also more upbeat tracks by The Beatles, all sounded calmed down and smoother than they should have. Small ensembles and slower compositions came out brilliant, as if played live, with suspended "air," proper pause and silence, and fluids between performers. Anything heavier would bring me back to a polite, gentle sound. As I’ve said, the amplifier has a high current output capability and does not run into audible clipping. It has therefore more to do with the structure of sound built in a certain way and results from designers’ choices and the inherent limitations of technology. It sounds as if Rumen and the people from Thrax knew exactly what they wanted to arrive at, and they managed to do it in great style. Conclusion A system is a sacred thing in audio. The one from Thrax is a real system, not merely a set of components. They all fit together perfectly, helping each other. I did not review them separately, but to understand what they are capable of on their own I listened to each one, comparing them against my reference components. The DAC has a very warm, incredibly "analog" sound. It shows large phantom images and beautiful foreground. It sounds rather soft and does not offer a particularly deep soundstage. Its resolution is good, less so its selectiveness. The USB input works great, and the sound can be shaped to a large extent by the choice of digital filters. The preamplifier has a similar tonality, but is also more dynamic. It has quite a lot of "swing" to its sound, with a nice, soft attack. While the DAC gives the whole system its overall tonality and "sets" the soundstage, the preamp gives it some "swing" and binds everything together so that individual elements work in harmony. But I think it is the Spartacus that is the real star here. The monoblocks give everything else energy and build up the structure onto which elements transferred from the DAC and preamplifier are superimposed. And it is them that retain full calm driving even large speakers that present a complex load. It is a system that offers a very versatile sound, particularly suiting small ensembles and good recordings that will come out very natural. Albums with poorer production are fun, too, and the Thrax tries to save them as much as possible, but when it is fed with something special, it warms up and plays music with real passion. And that is also how you listen to it, with a flush on your face. If you prefer large ensembles and like more drive and speed, you will either need to try out other speakers or look somewhere else to find more suitable electronics. The system was reviewed as a whole. Connection was via RCA interconnects; the individual components are single ended although they can also be hooked up using XLR cables. The amplifier gain was set to "Low." The DAC offers many opportunities to change the sound. I settled for Upsampling off, Reclocking on and Filter no. 4, occasionally changed with Filter no. 2. The upsampling adds warmth to the sound and emphasizes the midrange. However, it happens at the cost of lower resolution and clarity of the top and bottom end. The UPS1 setting is more focused, with smaller sound, while the UPS2 is more spacious and with less focus on instruments. The digital filters differ significantly. Filter 1 resembles a classic brickwall-type filter, with a sharp roll-off and symmetrical ringing before and after the transient. It results in a less “alive” sound, rather devoid of emotion. Filter 2 is deeper, warmer but very open. Filter 3 resembles something between 1 and 2, and did not evoke any special emotion in me. I liked Filter 4 the most, with its warmer tonality and best body. It is the one that particularly favors the foreground, but is also the only one that offers outstanding volume and palpability. It treats further musical planes with less attention. Reclocking results in better three-dimensional bodies, nicer textures and better bass.>During the review, the amplifiers were placed on the Acoustic Revive RST-38H isolation boards, and the DAC was sitting on the Franc Audio Accessories Ceramic Disc Classic feet. All components were powered via the Acrolink Mexcel 7N-PC9500 power cords, plugged into the Acoustic Revive RTP-6e Ultimate power strip. The signal was fed from the transport section of the Ancient Audio Air V-edition and, via USB, from a HP laptop equipped with Windows 8/8GB RAM/128GB SDD/JPlay player. NOTHING BUT THE MUSIC 7 INCH PLATINUM SHM-CD Emerson, Like & Palmer EMERSON, LIKE & PALMER, Island/Victor Entertainment VICP-78001 (1970/2014) TARKUS, Island/Victor Entertainment VICP-78002 (1971/2014) PICTURES AT AN EXHIBITION, Island/Victor Entertainment VICP-78003 (1971/2014) Platinum SHM-CD is the newest and best CD pressing technology. I have no doubt about that. Although its advantage over "regular" XRCD and K2 HD releases differs from title to title, even the smallest difference results in a large improvement, with the biggest ones being close to the "unbelievable" category. If you think you know how Dire Straits sound on their debut CD, or Queen do on their first albums or John Coltrane on his Ballads, and have not yet heard their SHM-CD Platinum editions, let me assure you that you have no idea what you are talking about. Hearing the difference between this new Victor Entertainment "invention" and a "regular" release usually brings out a faint "holy s…." Multiple auditions of new mastering and manufacturing CD technologies conforming to the Red Book specification, repeated ad nauseam during the Krakow Sonic Society meetings, have shown that there is still untapped potential in the CD format. And even if hi-res audio files on the one side and vinyl on the other (or actually their "followers") seem to eliminate the CD from market, as long as I have breath I will be saying that it is a mistake which we will regret someday. The only area where the CD flat out loses to LP, and often to audio files, is the cover art, or rather its scale. Nothing beats a large vinyl cover, or high-resolution image on your tablet or computer screen. The CD has always been at a disadvantage in this respect. Some compensation or substitute for the black disc came with Japanese mini-LP or cardboard sleeve releases – the replicas, often extremely accurate, of vinyl releases. But even their name indicates that they are only a "reflection" of the full-size vinyl cover artwork. With the launch of Platinum SHM-CD, the Japanese had to emphasize the new format identity. This is a fundamental marketing strategy used by any manufacturer bringing a new product to the market. The results can vary, but in this case all went pretty well. The new discs were sold in a kind of white, stiff cardboard boxes, with glued-on album covers and new release description. Inside the box was a mini-replica of the vinyl cover, like in Cardboard Sleeve releases with the OBI. Included underneath was a Japanese description of the album and remaster. The disc was inserted into a cotton sleeve – again, like in a mini-LP. There was, however, provided a special location for the disc. The inside of the box cover featured a foam disc with a recess for the CD. It looked pretty cool and I was completely satisfied with it. The boxes stood out from other releases, and although not all the shelves were designed to accommodate them I accepted the new format in its entirety. Very quickly there appeared another version of Platinum SHM-CD, slightly poorer equipped, without the box. The rest remained the same. When I was ordering Coltrane’s Ballads and Mozart’s Requiem, performed by the Wiener Philharmoniker and conducted by Karl Böhm (and featuring the great Polish tenor Wieslaw Ochman!), I was convinced that I bought the original Platinum SHM-CD version. Hence, my great disappointment when it turned out that the new releases only differ from the regular "plastic case", somewhat humorously named "jewel box" since the beginning of the CD, by their shimmering transparent covers. And the difference in price was symbolic. The music itself and the way it sounded made me quickly forget my first negative impression, but did not remove it completely. Platinum SHM-CD seems to be the current ultimate CD pressing technology. I am sure that manufacturers will soon come up with something new, maybe even better. In my view, however, this format, like the earlier gold-CD, all varieties of XRCD, K2 HD, HQCD, Blu-spec and SHM-CD, represents such refined level that exchanging it for a newer release will only rarely make sense. There remained an unsolved problem of the "intrinsic" weakness of CD packaging, "imprinted" in this format in the moment of designing the original compact disc case. Although later with him repeatedly spurt, whether in the form of a digipak, mini LP, or popular lately packaging, and the SACD (with rounded edges), it was a modification under the old paradigm. The landscape has been completely changed by the launch of "Platinum SHM-CD 7 inch" (7"). They are exactly what their name suggests – their covers have the same size as standard vinyl singles, i.e. 7-inch (almost 18 cm). They include a classic OBI and, as mini LP releases, they are true replicas of the original 12" vinyl records. Taking the disc in hand for the first time, one has the feeling of holding an analog release. Album cover descriptions, tracklist and the list of personnel - everything is bigger. The only thing that remained unchanged is the size of the CD – it is still 12 cm. To somehow keep the CD in place, it is clipped to the center of a black cardboard disc that imitates the vinyl single. And it is the only element that seems tacky. The idea of ​​magnification cover is brilliant in its simplicity and, as with most such solutions, all had not come to mind.. At this moment, the problem is a very limited catalogue of releases – close to zero. The list of releases available in the new format include three first Emerson, Lake & Palmer albums (together with a 7" Union Disk box) and Premiata Forneria Marconi discography. I think this is just a feeler and, depending on customer interest, Victor Entertainment will decide the fate of the project. In my opinion, these are the best CD releases (apart from extended box sets) that I have come across thus far. Sound quality: EMERSON, LIKE & PALMER - 6-7/10 | remaster – 10/10 TARKUS - 6-7/10 | remaster – 10/10 PICTURES AT AN EXHIBITION - 6-7/10 | remaster – 9/10 Wydawca: Victor Entertainment The build and finish quality of the Bulgarian components is perfect. A few of my friends, who saw them at my place, could not take their eyes off their ideal enclosures, nice proportions and details. The enclosures are made of thick aluminum plates with sanding finish. I doubt that any Polish manufacturer would be able to match this kind of aluminum enclosure finish quality. The DAC and preamplifier share the same chassis design, obviously with different front and rear panels. The Spartacus in turn shares the chassis with the hybrid Heros monoblocks. All components are equipped with rather small but well-designed feet. They are made of POM material, used in turntables, and mounted to the chassis with vinyl screws. MAXIMINUS The Maximinus front panel features a few push buttons, a small knob and large green LED display. The display lights up only when controls are being used, then goes out to reduce the noise it generates. I would prefer more user control over this. The display shows the currently selected input as well as its frequency and word length, and menu settings. Interestingly, the signal fed from the Philips CD Pro2 drive is indicated as 17-bit rather than 16-bit. One of the push buttons is used to "wake up" the DAC or put it back to sleep. Another one activates the mute mode. The other buttons and the knob are used to navigate through the menu. The very good, rhodium-plated RCA connectors are from Cardas. In turn, the gold-plated XLRs come from Neutrik. The analog outputs include a pair of RCAs (single ended) and XLRs (balanced). Digital inputs are a plenty and should be enough for even the most advanced systems: 2 x RCA, 2 x TOSLINK, 2 x AES/EBU, USB (optional), and LAN – intended for a future expansion and now secured with a plug (bearing the Neutrik logo), probably to connect to a computer in the local network, using the DLNA protocol. Of course, there is also the power socket with an integrated mechanical switch. Unfortunately, I did not manage to completely disassemble the units, as they are assembled “on the back.” From the bottom, I could only see high quality power supplies, separate for each section: D/A converter, master clock, DSP and logic circuits. However, Rumen had sent images where you can see what’s what. The main board is made by MSB Technology, and includes four mono converters built on discrete R-2R resistor ladders controlled by two DSP chips from Analog Devices. There are four converters, two per channel, since the circuit operates in a balanced mode. The converters used are the most expensive Platinum Signature model. This is the most labor-intensive and expensive but probably also the best type of DAC design. Using DSP also made it possible to implement proprietary digital filters. Thrax gives the user lots of options and possibilities with four filters, two types of upsampling and two reclocking options. The whole circuit is ultra-minimalist, because the converters are not coupled to gain and buffer stages, normally used in DAC designs. There are only impedance matching transformers and that's it. All digital inputs are also transformer coupled. USB input is optional. It is housed on a small PCB that brims with great design solutions. It is mounted together with a very large, thick aluminum plate to isolate the USB input from the rest of the DAC circuit. The optional USB input has been designed by JL Sounds, which I had never heard of before. It is based on a reprogrammed XMOS chip, surrounded by fantastic quartz oscillators - one for the input and two for the output signal, separately for the 44.1 and 48 kHz sampling frequency families. There is also a reclocking circuit to eliminate jitter. The USB board accepts the signal in asynchronous mode, up to 32-bit/384 kHz, which makes it DXD capable. It can also handle the DSD signal (via the DoP protocol). The USB board provides I2S and S/PDIF output. To isolate the rest of the DAC circuit from the incoming computer noise, the I2S output (and S/PDIF, if it is used), oscillators and reclocking circuit are galvanically isolated from the XMOS circuit and USB input ground. The user can also use an outboard master clock. I have maybe seen an equally sophisticated USB input circuit once or twice in my life. DIONYSOS My review of the preamplifier was published in January, 2011, in “High Fidelity” No. 81. I think I have exhausted the subject, so let me now simply repeat the most important aspects of the Dionysos design. The front panel is shaped similarly to that of the Maximinus, with a recessed area for the push buttons, display screen and volume knob. The buttons include standby, tape out and absolute phase control. The latter is thus easier accessible than in the DAC, where absolute phase can only be changed from the menu. The switchable tape output is different than a traditional tape loop that introduces additional contacts to signal path all the time. Here the main signal path is kept as short and simple as possible, with additional features added ‘around’ the signal path to minimize their interference with the audio signal. With the Tape out activated, the tape output connectors are transformer buffered straight from the currently selected input at unity gain. The rear panel is excellent and features high quality RCA and XLR connectors. The latter are included for user’s convenience, as the preamplifier has single-ended circuit topology. The balanced signal is desymmetrized in the input coupling transformers and re-symmetrized in the output. There are four single-ended and two balanced inputs. One of the inputs can be set to bypass for integration in home cinema systems, with the input signal looped through to the output. There is also a pair of tape out RCAs, ground/float switches for all RCA input and output connectors and four pairs of outputs, including two RCAs and two XLRs. In a separately milled recess sits the IEC socket, a mechanical power switch and a level set button. The latter can be used to set the level of any chosen input and place it in bypass mode. This input's LED will then turn red. The voltage level is set in internal memory and won’t default with power-down. Unity gain equates to 24 on the display. Electronic components have been selected for their sonic quality rather than their origin. Hence, a lot of them are military grade components from the former Soviet Union, like the excellent oil capacitors in the power supply. The PCB with the amplification section and power supply is bolted to two blue-anodized aluminum bars which themselves are not bolted to the bottom plate but the chassis sides. The Maximinus sports a similar design. The entire power supply also mounts to the side panel, with a nice big transformer, NOS oil capacitors from the USSR and a very big Lundahl choke. To the other side panel bolt two big Japanese Hashimoto Electric input and output coupling transformers, and the volume transformers enclosed in catchy solid metal cans. Transformer-based volume control is very important for me, because it is also used in my Ayon Audio Polaris III preamplifier. These supermalloy transformer attenuators from SAC Thailand feature SILK winding technology. Connection to the main board is via Oyaide cables with high quality PCOCC-A wires. An internal heat sink divides the PCB in two parts, power supply and amplification circuit. In the latter we only have one 6N6P (6Н6П) twin triode. Next to it we see a few high-quality passive components including Wima coupling capacitors and precision resistors. To the side there is an additional PCB with two rows of relays to key the individual TVC sections. On the other side of the heat sink divider sits the power supply with the 6C4P-EV (6Ц4П-В) tube rectifier and a voltage stabilizer using the SG15P (СГ15П). On the tubes we can see ferrite muffs for EMI shielding. The heater circuits are rectified by discreet solid-state bridges separately for the power supply and amplification tubes. Preamplifier comes with a nice, metal remote control unit, which is actually quite user-friendly. SPARTACUS The Spartacus is a stereo power amplifier built as a pair of monoblocks. It sports a fully tube circuit, including the power supply. This powerful machine is capable of delivering 70 Watts in class A! The tubes have been selected on the basis of their sonic qualities and come from various manufacturers and periods of time. Their arrangement is different than usual to maximally shorten the signal path (a similar design is used by the French company Jadis in their amplifiers). Looking from the front, instead of the usual input tubes here we see two 6Д22С rectifier diodes, dating back to the Soviet Union era, in a full wave rectifier circuit using a center tap transformer. The 6Д22С has a top cap connection for the cathode. Behind them are the great-looking directly heated triodes from Emission Labs, the EML520B-V3. They are manufactured in the Czech Republic and are also used by the Swiss company Colotube. The driver stage includes another directly heated triode, the powerful KR Audio PX25. The tube is loaded with a phase splitting interstage transformer. The input stage features another Japanese step-up transformer with switchable ratio for voltage gain. The amplifier offers three gain levels to adjust the input sensitivity to the rest of the audio system. The signal path is one of the simplest possible with absolute zero feedback. The output transformer is also Japan-made and comes from the same manufacturer, Tamura Seisakusho Co., founded in 1924. Tamura products are very difficult to buy outside of Japan. They are used by such companies as Air Tight. The amplifier has no capacitors in the signal path. To protect against tube aging, the Spartacus uses a servo circuit that keeps the current in both output tubes constant. Microprocessor control is used to constantly monitor all the subsystems for proper operation. The hottest tube that glows bright like a light bulb is the Г-811 triode, here in the 811A version from the Chinese company Electron Tube. It is used in a constant current sourced shunt regulator. Designing the power supply must have been a real challenge. The monoblocks are not closed from the bottom, at least not completely. Laying them on the side, you can see massive transformers in shielding cans, bigger than those used in powerful solid state amplifiers boasting the power output of several hundred watts. One of them is the power transformer and the other one is actually a massive choke, both from Plitron. They are mounted upside down to an aluminum plate that divides the interior in two. This lowers the amplifier’s center of gravity and at the same time completely separates the transformers from the amplification circuits. The choke is used to reduce the noise and to dispense with large electrolytic filter capacitors. The capacitor bank is thus much smaller and comprises high quality polypropylene caps. A small СГ-13П voltage reference tube also dates from the Soviet Union era. A special filament heating circuit includes a separate transformer winding, rectifier, filter capacitors and a voltage regulator to electronically isolate the filament from the DC source. A cooling fan visible from the rear is somewhat of a surprise, although it was not audible in operation. Its purpose is to cool down the amplifier interior and transformers cans. And a few words about input and output connectors. The signal can be fed to either RCA or XLR input connectors. The amplifier has an unbalanced topology and the XLR input signal is first desymmetrized by a Lundahl transformer. The RCAs are the rhodium plated version of Furutech connectors, the same as in my CD player. The XLRs are, in turn, gold-plated Neutriks. The input type (RCA or XLR) is selected with a small toggle switch made of green illuminated plastic, which looks great. The speaker terminals are the Furutech FT-808, one of the best currently available terminals. I recall that when Furutech started their production I was sent two pairs to use in my speakers. And so they have been patiently waiting for their time to come… Specification (according to the manufacturer) Maximinus Digital inputs: x8 (6 + 2 optional) Analog outputs: XLR + RCA Accepted signal: COAX (RCA) – up to 24-bit/384 kHz AES/EBU (XLR) – 24/384 TOSLINK – 24/192 USB (optional) – PCM up to 32-bit/384 kHz | DSD Dimensions: 432W x 400D x 120H mm Weight: 12 kg Dionysos Tube complement: 1 x 6H6П | 1 х 6Ц4П Inputs: - 4 x RCA | - 2 x XLR Outputs: - 2 x RCA | - 2 x XLR | - 1 x RCA – tape out Attenuation steps: 32 Gain: - minimum: - 46 dB | - maximum: +18 dB Power consumption: 45 W Dimensions: 432W x 400D x 120H mm Weight: 15 kg Spartacus Tube complement: 1x PX 25 | 2x EML520B-V3 | Г- 811 | СГ-13П | 2 х 6Д22С Inputs: - 1 x RCA (single ended) | - 1 x XLR (balanced) Power output: 70 W/4 Ω, 8 Ω Power consumption: 380 W/each Dimensions: 210W x 440D x 420H mm Weight: 35 kg/each Distribution in Poland RCM S.C. tel.: 32/206 40 16  40-077 Katowice | Polska e-mail: rcm@rcm.com.pl rcm.com.pl [hfgallery] [img mini="foto_testy/1407/thrax/th/05.jpg" big="foto_testy/1407/thrax/05.jpg" src="foto_testy/1407/thrax/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/thrax/th/06.jpg" big="foto_testy/1407/thrax/06.jpg" src="foto_testy/1407/thrax/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/thrax/th/07.jpg" big="foto_testy/1407/thrax/07.jpg" src="foto_testy/1407/thrax/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/thrax/th/08.jpg" big="foto_testy/1407/thrax/08.jpg" src="foto_testy/1407/thrax/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/thrax/th/09.jpg" big="foto_testy/1407/thrax/09.jpg" src="foto_testy/1407/thrax/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/thrax/th/10.jpg" big="foto_testy/1407/thrax/10.jpg" src="foto_testy/1407/thrax/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/thrax/th/11.jpg" big="foto_testy/1407/thrax/11.jpg" src="foto_testy/1407/thrax/11.jpg" desc="HighFidelity.pl"] [img 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HOW THE KSS GAINED ITS POLISH The 93rd meeting of the Krakow Sonic Society has been arranged at the request of wykop.pl and related web portals. This report from the meeting is intended for people who like to think and act. I would like to apologize to all those who only like to think and assure them that even though audio is an area of ​​experimentation and testing, we will also have their needs in mind. But not this time yet. kicked off the meeting by expressing my enormous outrage at the fact that six months had passed since our previous meeting. Half a year! You got to be kidding me! For over ten years we used to meet at least once a month, usually more frequently, and suddenly such an embarrassment. Having said that, I need to exercise self-criticism and confess that this has largely been my fault. The visit of Raveen Bawa from dCS was supposed to be a prelude to a series of meetings with other interesting people from all over the world (the report from the KSS meeting with Raveen can be found HERE). Unfortunately, nothing came out of these plans. Due to various commitments all the guests had to regretfully cancel their visits, hoping to meet another time. It seems that some of the planned visits will at last be possible, but that’s not what I wanted to say. The fact that half a year has passed without any reaction on my part must be because time keeps accelerating. But it also must result from my preoccupation with something else, which I realized only recently. Apparently, I must have been thinking that since various interesting people kept coming from all over the world just to sit down with us, listen to some music, have a talk, sip some wine or beer and see Krakow, we should stick to that. And I was dumb as dirt. After all, KSS meetings have always been about various things that interested us; personal business and possible guest visits have been given secondary attention, no matter how enjoyable they have been. Hence, I put on my sackcloth and ashes and I solemnly promise to do better in future. After all, we are not that far from the 100th KSS meeting and it would be beautifully symbolic if we could meet for the hundredth time in the same year that “High Fidelity” celebrates its 10th anniversary, wouldn’t it? TOMEK’S SYSTEM But maybe it was meant to be that way? I'm not a fatalist nor do I believe in "destiny" and predestination, but I painfully often face a course of events that are difficult to explain by the chaotic nature of the universe, and which may be a good argument for the existence of something or someone who directs it all. For behold, just a few days earlier Tomek, one of the "founding fathers" of the KSS, finished completing what I assume to be his dream audio system. This is obviously but a temporary situation, because one of the axioms of audiophilism is a constant pursuit of an ever-elusive goal. It seems, however, that Tomek has finally arrived at a place where he can just sit back comfortably and listen to music, without a feeling that something’s not quite right. It is a system in which everything has its place. Its sound is largely similar to what I have at home: it is rather warm and "analog," in the sense of being smooth, dynamic and free of sharp, unpleasant edge, with a pleasing lower bass tonality and huge soundstage. What helps the latter is the fact that Tomek has the big Dynaudio C4 Signature floorstanders, signed for him personally by Wilfried Ehrenholz, the owner of Dynaudio. Hence, the vertical soundstage dimension is very natural here, without a feeling of the sound being compressed into a wide narrow strip. I also think that for the first time Tomek’s Dynaudio speakers, which he tried out a few different pairs before, are driven properly. Although on paper they are quite friendly even to a tube amp, they sound best when kept on a short leash by the amplifier. And the newest Accuphase A-70 stereo class A power amplifier that employs many technologies from the powerful A-200 monoblocks is perfectly capable of that. By the way, Tomek’s new integrated is one of the first A-70 units that have left Japan. Our host has chosen to drive the amplifier from the Ayon Audio Stratos DAC with analog preamplifier. Since I reviewed it for "Audio," I know that it is a truly unique component, with an outstanding preamplifier section that is not so much behind my own Polaris III. The DAC is fed the signal from a digital TV tuner and HD Dune Max media player (mostly used for video) as well as from the Ayon Audio CD-T transport. For now, the latter is connected using the I2S link, but Tomek would soon like to try the S/PDIF output, here with a tube buffer. This proprietary link has been developed by Gerhard Hirt, the owner of Ayon, to help improve data integrity. But the latest addition that permanently appeared in the system literally two or three days before our meeting, is the Aurender X100L music files transport – exactly the same unit that was the subject of my last month review, to which Tomek also contributed a few paragraphs. The player he has been dreaming of for quite some time. MACHINING BY TURNING We clarified the matter right at the very beginning of our meeting at Tomek’s: from a technical point of view, the component that we were about to review and discuss was a vertical turning lathe. The Audiodesksysteme Gläß CD Sound Improver is designed to improve the reading of signal from optical discs. It has been developed for the Compact Disc format, but there is nothing to prevent you from using it with SACD, DVD and Blu-ray discs. The idea of ​​how to improve the concentricity of discs, and reduce laser light scatter, was originally developed by two gentlemen, Dr. Erich Schrott, a biochemist, and Mr. Wolfgang Schneider, an engineer. This simple but brilliant idea came from the same people who also created the beautiful ultrasonic Vinyl Cleaner (see HERE), which I use every day. Here they came up with a lathe that trims the edge of a disc creating a 38º beveled angle. The beveled disc edge is then colored with a black felt marker for a better absorption of extraneous laser light. The trick that has been known in the audiophile community for years, here has its logical conclusion. By way of reminder, a green marker was commonly used to color the CD edge. The gentlemen from ADS claim that black color is better because some lasers work with infrared light rather than solely red light. Both elements, the improvement of disc concentricity and light scatter reduction, have one goal: jitter reduction. It is so brilliant in its simplicity that even Jarek Waszczyszyn, himself an engineer with many years of professional experience with CD reading devices and digital signal decoding, was impressed. The CD Sound Improver is simple to use. It looks like a small turntable with a knob to regulate the rotational speed. There is a movable arm, with a cutting blade at one end. The tungsten carbide blade can trim around 2000 CDs before needing replacement. A vacuum cleaner hose can be hooked up to the device, to remove the plastic CD shavings. We place the CD face down on the "platter" and secure it from the top by tightening the metal clamp. After turning up the speed to maximum, we slowly and carefully push the arm. There is a pre-set limit point so there is no fear of damaging the disc. Once the shavings are no more produced, we reduce the speed to minimum and carefully press the supplied black marker against the CD edge to darken it. And that’s it. During the meeting, every participant could have a go at trimming his own disc, which most of us did. In audio, what counts is what you hear. Theoretical basis, measurements and knowledge are all extremely important, crucial even, but secondary to what you hear. If you think different, you should conduct some comparisons yourself. I can assure you that you will face a big problem trying to find a logical explanation for what you have heard. It often happens that a currently held theory, or actually its particular application, fails to keep pace with practice. Hence, we wanted to test the impact – however indirect - of the German device on sound in practice, by listening to CDs processed with its help. Our listening procedure was simple: A/B/A, with the A and B unknown. With Tomek’s help, I prepared a selection of CDs to directly compare the discs that had been trimmed to the original, untrimmed copies. After each audition, I asked the participants whether there was an audible difference between the two discs and, if so, which version they preferred. Then I encouraged them to try to identify the disc that had been trimmed and painted. The effect of using the Audiodesksysteme Gläß CD Sound Improver was clear, large, and the results were reproducible. They were not argued or disputed by a newcomer to our group who made his KSS debut, bringing in a completely fresh, undistorted perspective. Wiktor is a professional musician who also designs and builds hybrid amplifiers. A week later he played the contrabassoon with the MultiPlayer Ensemble at a concert in one of the cinemas in Krakow (Game On Music, see HERE). I cannot imagine anyone who would not pick up the sonic difference. Let me here give props to Ryszard B. who once again showed a truly audiophile sense of hearing and without a shadow of the doubt correctly identified the trimmed versions in all the auditions. Albums auditioned during the meeting Dominic Miller & Neil Stancey, New Dawn, Naim naimcd066, CD (2002) Diana Krall, The Girl in the Other Room, Verve 498620465, SACD/CD (2004) Audiofeels, Uncovered, Penguin Records, 5865033, CD Mark Knopfler, The Travelerman's Song EP, Mercury, 9870986, CD (2005) Dire Straits, Dire Straits, Vertigo/Universal Music LLC (Japan) UICY-40008, Platinum SHM-CD (1978/2013) Daft Punk, Random Access Memories, Columbia Records/Sony Music Japan SICP-3817, CD (2013); Japanese CD editions are available from [REKLAMA5] Dominic Miller & Neil Stancey, New Dawn Naim naimcd066, CD (2002) The first CD that we auditioned was the wonderful album by Dominic Miller and Neil Stacey released by Naim Label. Quite sensibly, given the fact that four of us had recently been to the former’s concert in Bielsko-Biala (see HERE). Four people chose the original version and six went with the trimmed disc. The difference was huge, but it additionally revealed our individual preferences. WIKTOR I must say that I was somewhat surprised at the scale of changes. I chose the original version only because I prefer a clearer and more distinct sound. The trimmed version had a stronger midrange that slightly lacked clarity. This version was calmer and fuller, which I liked, too. But if I had to choose, I would prefer a brighter sound of the original. JAREK I chose version B, which turned out to be the one that had been trimmed and painted. The difference was large and surprising in its scale. I liked the sound coming free from the speakers in the "made up" version. With the original disk, there were a few moments when I wasn’t sure whether there was reverb or some noise behind the guitars. I had no such doubts with version B, which showed a much better differentiation of these elements. ROBERT I am torn between A and B, and can’t decide which one I liked more. The two were so different that they just couldn’t be mistaken for one another. Version B, which had been trimmed, sounded warmer, deeper and had a clearer midrange, especially the lower midrange. Version A showed more information, more clarity in the treble. Version B sounded incredibly analog-like. PAWEŁ I picked up version A, untrimmed, due to its stronger bass and more air at the top. And that’s what I like. I also liked the fact that details were stronger on this version. BARTEK For me, version B, trimmed, was unbeatable – the guitars came forward and the whole presentation was richer. I do not agree that the A had more detail. In my opinion, there were fewer details with better clarity, the attack of the sound was harder, which made it seem like a lot more was happening than there actually was. Version B was warmer and better. It also had a much better bass - denser, meatier and nicer. ANDRZEJ For me, the difference was very large and without any hesitation I chose version B, which turned out to be trimmed. It sounded as if the recording had been made in a different room. The guitar sound was richer in harmonics and had an incomparably better depth. The only thing that I might like about version A was its greater energy at the bottom end. While the guitars didn’t have a particularly deep extension, they had a larger "body" when the bottom end was stronger. I used to play the guitar for quite some time and I have to say that I preferred that sonic aspect of version A. MARCIN I chose version A because I think that it was richer. I simply prefer more clarity to the sound. Its top end was more detailed, more powerful and more forward. The attack of the sound, as in plucked strings, was stronger on the A and I prefer this kind of presentation. And the difference was very large. RYSIEK B. I point to version B and declare it, even before it is confirmed, to be the one with the trimmed edge. For me, the sonority of this version was outstanding, with excellent timbral differentiation and fantastic dynamics. I think that it removed and cleared up a kind of curtain in front of the instruments, which somehow blurred them on version A. To me, version B had more clarity. Diana Krall, The Girl in the Other Room Verve 498620465, SACD/CD (2004) With Diana Krall’s album (we listened to the CD layer), the listeners decided almost unanimously, by a show of hands, that version B was better. Only one person preferred version A, following the choice made during the first presentation. This time, again, version A was the original disc and version B had been trimmed. JAREK This time I chose the untrimmed version because it sounded better to me, with a better order in the recording and more contoured bass. And, surprisingly to me, the tambourine was less sharp on version A, which came out for the better. The differences were less pronounced than in the previous comparison. WIKTOR I chose version B, trimmed. I could now hear exactly the same changes as before, but they seemed reversed to me. The treble in the A was less transparent and less resolving. The whole recording seemed to be dirtier, somewhat tainted. Version B was warmer and at the same time cleaner. PAWEŁ Version B seemed to have a more even frequency characteristic, so I went with it. Previously, I voted for the untrimmed disc due to its brighter tonality, but now I preferred the trimmed version. Although the untrimmed disc again had a brighter tone color, the top end seemed unnaturally emphasized. Bass was less contoured on the B, but it had a more pleasant timbre. This version also had milder and hence more enjoyable vocals. MARCIN This time I voted for version B, which turned out to be the other way round as before. Version A was just too sharp and that’s why I preferred the B. And the boosted treble was uncool, as if the treble tone control was turned up high. ANDRZEJ I chose version B, which turned out to be the trimmed one. Certain sonic aspects of the untrimmed version were pretty cool, but version B had much more going for it. The differences were not as large as on Miller’s album, but they nevertheless defined its reception. For me, the tambourine on version A was irritating. Jarek said that it was clearer and, hence, better. To me it was too clear, to the point of being annoying. It had what we call a stereotypical digital sonic signature. Version B, on the other hand, exhibited a stereotypical analog, vinyl sound. The way I see it, the trimmed discs offer a more pleasant, gentler sound. Version B, the trimmed disc, also had something that was lacking on the A, no matter how we perceive it, that is an emotional element, feelings, which I value a lot. RYSIEK B. It has been a long time since I last heard so many divergent opinions at a KSS meeting. And yet, in my opinion, the subject matter is very clear. I immediately said that version B is trimmed. Tomek's system has a warm, soft, tube-like sound. In my opinion, the trimmed disc sounds more accurate, which works better in this system. It is more sonorous and thus clearer. I have no idea why you are all saying that the untrimmed version is brighter. But I already got used to it… TOMEK For me, the choice was simple, because what’s important in this recording is the double bass. And it had a better rhythm, timbre, body and presence on version B, which was the trimmed one. That's it from me – it was a more pleasant, prettier sound. Mark Knopfler, The Travelerman's Song EP Mercury, 9870986, CD (2005) With this CD, gave of himself to know what a powerful release repeated the next one. The point is that both Knopfler and Audiofeels sound quite warm, strong and full-bodied. Trimming the disc edge and painting brought out, however, something that was previously masked, and that was not the end of fun. Do not shoot the messenger? - Apparently so, but nevertheless, the choice depended on what we liked more. As a result, the conversion of five people voted for a version of B, that is serrated and two for nienacinaną. Interesting, but most of them hesitated, and only squeezed into the wall vote for any of them. RYSIEK B. Precision, sonority, clarity of bass and great instrument separation - there is nothing more to talk about. I choose version B and I am sure that once again it was the trimmed disc. PAWEŁ For the first time I choose the warmer sounding version B, i.e. trimmed. I think it had a less exaggerated guitar size and less boomy bass. On version A everything was more in-the-face. WIKTOR On the trimmed version, everything was softer and less contouring. The lower bass was somewhat muddled on the untrimmed disc. On the trimmed one, the bass line left the upper range unaffected, separate and pretty. I’m going with the trimmed version. JAREK OK, since I have to make a choice I’m going with the trimmed version. But let me rock the boat a little and say that both versions had something likeable about them. The differences were clear, say it. I agree with Wiktor that the untrimmed version was more precise. But at the same time it was less enjoyable, too brash. The trimmed version had a better defined bass. However, the untrimmed disc sounded clearer and had more air. I would like to add here that I think in the last listening fatigue began to assail me. We played disc A, then B, and A again (not knowing which one had been trimmed). While I noticed the difference between the A and B (the first and second listen), the subsequent difference between the B and A was minimal… And yet they were the same discs! My second observation confirms my initial thesis. The trimmed disc has less uncontrolled reflections of the laser beam, which results in a lower optical jitter. The effect is quite similar to using a higher precision master clock in a D/A converter: a better overall precision and instrument separation, and more rhythmic bass. I might say that the meeting calmed us down, which I didn’t quite expect. As for the Acoustic Revive ionizer, I'm still in the dark like an MP before voting for bills… The science is silent in this case and yet the discs sound better… MARCIN I disagree. In my opinion, it was the untrimmed version that had a better bass, which was somewhat more expressive and better controlled. But version B was generally more pleasant and warmer. It’s a tough choice. But if I have to, I vote for the untrimmed disc. ANDRZEJ I think that this time the difference was smaller than in the previous comparisons. Or maybe we got used to it? A few bars into the track, the untrimmed version seemed better to me, but the further into the forest the smaller grew the differences. The opposition between the analog-like (trimmed) and digital-like (untrimmed) sound, which was previously so evident, this time largely disappeared. I slightly preferred the vocals on the trimmed disc, because they were deeper and prettier. ROBERT I can’t decide, either. The two presentations sounded very different but I liked them both. The vocals were undoubtedly better on the trimmed version. However, I had doubts about its treble quality. To me, the treble seemed clearer and better defined on the untrimmed disc. Audiofeels, Uncovered Penguin Records, 5865033, CD This time version A was trimmed and B was left untrimmed. Although we continued our auditions and listened to some more discs, I’ll stop here as the Audiofeels album brings the auditions to a nice close with a reversed coda – it was the only one to get the majority of votes for the untrimmed version by a ratio of 5 to 3. WIKTOR I started in opposition to everybody else and I finish in opposition, but I just can’t not say it – version A, trimmed, was simply good. On version B, untrimmed, the vocals of Audiofeels guys sounded as if they had gone through an additional filter. And let no one tell me that the vocals are not processed because I don’t believe that. But it was less audible on the trimmed version, and the whole presentation was more coherent and fluid. RYSIEK B.. I can say this with full conviction that I recognize version A to be trimmed. You may say what you want but I know what I know. This version had a better clarity and - do not shout at me – sounded sharper and more distinct. It was also warmer. The trimmed discs, including this one, have better vocals’ separation and show more emotion. JAREK This time, sharper, i.e. less pleasant for me was version A, trimmed. The original version sounded softer. Perhaps somewhat dirtier but less imposing. PAWEŁ I choose version B, untrimmed, because it was more pleasant to listen to. That's it. MARCIN The trimmed disc had a sharper treble, with too much pronounced sibilance. Hence, I preferred listening to the untrimmed version, although previously I consistently chose the one that was clearer and more distinct. Here there was too much of that. ANDRZEJ For me, the difference between the two versions was not particularly large. I heard more detail in version B, untrimmed. There was analog, liquidity - really great. I prefer the untrimmed over trimmed. ROBERT Definitely the untrimmed version. For me, the difference was large, maybe those aspects just do more for me. Very nice soundstage, depth and detail. I choose the untrimmed disc. TOMEK For me, without any doubts version A, i.e. trimmed. I could go on for long, but let me just mention the suspension of vocals on Sound of Silence, when all vocalists go silent and we only hear the "background", fantastically suspended between the speakers, which was definitely "blacker" in this version. These and other details meant that in my opinion the sound of the trimmed disc, even if slightly dirtier than and not as smooth as the untrimmed one, was better. Conclusion The meeting had a fantastic atmosphere. Around midnight, a birthday cake with ten candles was brought into the room as it was our first opportunity to celebrate the 10th anniversary of High Fidelity’s presence on the web. We had fun and enjoyed some good wine and snacks. More importantly, however, once again we discovered something that can push the CD in the right direction and improve its sound. After the ionizer and demagnetizer from Acoustic Revive, the CD Sound Improver is the third product that is worth having. I am stating this quite unambiguously, even though it is a product that physically, visibly and irreversibly changes the physical structure of the disc. You need to keep that in mind. I am not hiding behind “maybes,” "in certain cases" or "under certain conditions," because my view on the matter is clear. The participants of the meeting differed in evaluating the changes that took place. Each time, however, they were all repeating the same arguments as the trimming of discs introduced sonic modifications of the same structure. First, it cleaned any hash that was masking the sounds. On most discs, especially those well-recorded (like the phenomenal Dire Straits debut on Platinum SHM-CD or the brilliant Miller’s release from Naim!), it resulted in a deepening of the sound and its better saturation. The sound was darker, with less pronounced treble, which is what I consider a good direction. In my experience, any problem in the digital audio path manifests as a hardening of the sound and emphasizing the attack. Lower jitter results in a more natural, "analog" sound. It did in this case. The exception to the rule was the Audiofeels album. It seems that something which was previously masked must have “come out” from the background. The Aurender X100L digital audio player sitting on the shelf at Tomek's place is the future. For me, however, the physical medium still sounds better and I find it to be more natural and real. I do not know how much longer this state of affairs will last, but the new proposals in the form of Platinum SHM-CD and devices to prepare the disc for playback show that the CD format is still very much alive and kicking. And we also need to remember about continuous advancements in digital signal processing, as demonstrated by the Vivaldi system from dCS. Not to mention the outstanding show put on by the CEC TL0 3.0 transport when it comes to reading the data from the CD. Hence, I'm strangely calm about the future of the Compact Disc. Once I hear the first audio files whose sound will "floor" me in the same way as it did a few times when I listened to the physical digital medium (I'm not talking about vinyl because I do not expect it to happen), I will gladly retract my previous statements and eat my words, howling with joy to welcome a new era in audio. Audio system used during the auditions Transport Compact Disc: Ayon Audio CD-T Transport plików audio: Aurender X100L Przedwzmacniacz/DAC: Ayon Audio Stratos Wzmacniacz mocy: Accuphase A-70 Kolumny: Dynaudio C4 Signature Kable głośnikowe: Acrolink Listwa sieciowa: Oyaide The Audiodesksysteme Gläß CD SOUND IMPROVER was provided courtesy of Eter Audio Wine has been provided courtesy of Michał Klamka and dobrewina.pl internet store ul. Kobierzyńska 139a | Kraków [hfgallery] [img mini="foto_testy/1406/kts/th/05.jpg" big="foto_testy/1406/kts/05.jpg" src="foto_testy/1406/kts/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/06.jpg" big="foto_testy/1406/kts/06.jpg" src="foto_testy/1406/kts/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/07.jpg" big="foto_testy/1406/kts/07.jpg" src="foto_testy/1406/kts/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/08.jpg" big="foto_testy/1406/kts/08.jpg" src="foto_testy/1406/kts/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/09.jpg" big="foto_testy/1406/kts/09.jpg" src="foto_testy/1406/kts/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/10.jpg" big="foto_testy/1406/kts/10.jpg" src="foto_testy/1406/kts/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/11.jpg" big="foto_testy/1406/kts/11.jpg" src="foto_testy/1406/kts/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/12.jpg" big="foto_testy/1406/kts/12.jpg" src="foto_testy/1406/kts/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/14.jpg" big="foto_testy/1406/kts/14.jpg" src="foto_testy/1406/kts/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/15.jpg" big="foto_testy/1406/kts/15.jpg" src="foto_testy/1406/kts/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/16.jpg" big="foto_testy/1406/kts/16.jpg" src="foto_testy/1406/kts/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/17.jpg" big="foto_testy/1406/kts/17.jpg" src="foto_testy/1406/kts/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/18.jpg" big="foto_testy/1406/kts/18.jpg" src="foto_testy/1406/kts/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/19.jpg" big="foto_testy/1406/kts/19.jpg" src="foto_testy/1406/kts/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/20.jpg" big="foto_testy/1406/kts/20.jpg" src="foto_testy/1406/kts/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/21.jpg" big="foto_testy/1406/kts/21.jpg" src="foto_testy/1406/kts/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/22.jpg" big="foto_testy/1406/kts/22.jpg" src="foto_testy/1406/kts/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1406/kts/th/23.jpg" big="foto_testy/1406/kts/23.jpg" src="foto_testy/1406/kts/23.jpg" desc="HighFidelity.pl"] [/hfgallery]

ave a look at the pictures in John Marx’s listening room. What do you see? What caught your attention? I was struck by the ubiquity of records and the ATC standmount speakers placed upside down. They point to John’s "out-of-the-box" thinking on the one hand and to his love for music. This is not just another audiophile with three CDs (samplers) to review audio components or someone who shudders at every single “non-kosher” detail. John is, among other things, an audio journalist who has been running Stereophile’s Fifth Element column for years. His essays, articles, and reviews are different than what is usually found in audio magazines. They focus on the music and the man, treating the audio system as a necessary, viable and valuable tool, but a tool nonetheless which can be used well or poorly. The last thing you could say about him is that he "fetishes" hi-fi audio. His passion for audio gear is evident, otherwise he would not have spent time on it. But when he starts talking about the music everything else pales in comparison. As you are about to find out, my new friend is very well informed on the subject matter and has a balanced but firm opinion on the topics that fascinate him. This has resulted in the longest interview in a two-and-half year long history of interviews published in the "The Editors" series. Thirteen small print pages (10, Times New Roman), patiently answering my questions, sending next photos and showing interest in our correspondence (the interview has been via e-mail). And there was lots and lots to ask about, because apart from audio journalism John is also a sound engineer, and for some time he used to run his own record label, John Marks Recordings. He can therefore look at the audio industry from different points of view. As usual with such long in-depth texts, I encourage you to make a cup of tea or coffee, pour a glass or a pint, play some music and sit down for a relaxed reading.. John, please tell me something about yourself, about your childhood, career etc. Or to put it simply, how did it happen that you started listening to music? As a very young child, I was fascinated by sounds. I had a music box that was a jack-in-the-box. It played the English folk song Johnny’s So Long at the Fair (also known as Oh, Dear, What Can the Matter Be?). I never got tired of the music. The pop-up puppet, I grew tired of. My father was a jazz buff of the “moldy fig” variety. He adored Kid Ory and those players of the early generation such as King Oliver and Jelly Roll Morton. I don’t think that he liked anyone more recent than that young upstart Louis Armstrong. My mother had taken piano lessons. During WWII, my mother’s brother had been a trombone player and singer with an Army Air Forces big band. He actually made some 78-rpm recordings, singing Same Old Dream and other love songs of that era. My oldest brother got a folk guitar during the folk revival, and he sang. He too made at least one recording. But whereas my uncle’s big-band 78-rpm recordings truly were of professional quality, my brother’s track on a “showcase” LP called Rising Folk Stars of 1966 or something like that was, I think, not very good. He sang Dust My Broom, and it was not convincing. And what kind of music did you listen to back then? Well, back then the Catholic Mass was still in Latin, so every week I heard some Chant, some organ music, and some traditional hymns. Latin fascinated me. My oldest brother had a suitcase stereo hi-fi and an RCA record-club membership. I think that it was a requirement back then that everybody in America had to own Van Cliburn’s Tchaikovsky Concerto LP. It apparently was a patriotic duty. The Russians were first in space, but our guy could play Tchaikovsky! Even they had to admit it! My favorite LP however was the Charles Munch/Boston Symphony Debussy La Mer. Every time I go to Symphony Hall in Boston, it is a special thrill. BTW, Boston’s new conductor Andris Nelsons, from Latvia, is fabulous. But most of the music was from the radio. I was not a huge fan of the Beatles when they came along. They were just OK with me until Abbey Road. The second side of Abbey Road was I thought something truly new—and worthwhile. Sgt. Pepper struck me as just a mash-up with a lot of music-hall music in it. McCartney’s posing got on my nerves, and I did not think that John Lennon was all that talented—so I was a music critic even before I had my driver’s license! Did you have some decent audio gear? Mostly suitcase stereos, growing up. My aunt and uncle had I think a Webcor, while my brother’s was a Motorola, I think. Nobody cared about properly placing the lid with the other speaker in it for “stereo.” Later on, I would put the player on the floor, take off the lid, and face the speakers toward each other and lie down with my head in between—that’s how I would listen to Simon & Garfunkel’s Parsley, Sage, Rosemary and Thyme LP. My aunt and uncle’s stereo could also play 78 rpm discs, and so I listened to those, out of curiosity. The John Philip Sousa brass band, and of course Caruso. It was there I first heard the My Fair Lady soundtrack on 45-rpm records, a little boxed set of 45s. I used to sing along, thinking I was singing with Audrey Hepburn, not realizing it was the dubbed-in voice of Marni Nixon. Audrey Hepburn is still one of my ideals of feminine beauty. When I reached third grade I was eligible for instrumental instruction in the public school, and so I chose violin. I was successful for a while. I just did what I was told, and played instinctively. I could play in tune with a big tone, but I was rather hopeless at subdividing the beat… or even basic counting. I was a principal second violin in a youth orchestra. The first time we all played together (there were probably at least 80 of us), I was so stunned by the sound we made—I have never forgotten that. I also sang in chorus—I was a boy soprano and my friend and I would annoy the girls by singing at least as high as they could and perhaps higher. Certainly louder. To whom do you owe your first contact with hi-fi equipment? A friend was an electronics hobbyist, and I learned from him. His parents had an all-in-one “console” stereo. However, the things that were the real “high fidelity” of the 1960s, original Marantz, and McIntosh and AR and Thorens, were out of our reach financially. We had kits from Allied Radio, we scavenged for old radio speakers, and we experimented with baffles and enclosures. My first hi-fi had a plastic Garrard turntable and a Shure phono cartridge, and a solid-state integrated amplifier and ported two-way bookshelf speakers from Lafayette Radio. I later bought a Pioneer PL-12D turntable and a Pioneer integrated amplifier. My first “high end” loudspeakers were I.M. Fried’s Q2s. But the first loudspeakers I heard that gave a “shock of recognition” musical experience were Chartwell (BBC) LS3/5As I heard at Nicholson’s in Nashville, Tennessee in 1977 or 1978. It was when I was living in Nashville that I first became aware of The Abso!ute Sound and the phenomenon of high-end audio. What do you think is worthy of praise in today’s audio? What is bad? I honestly think we have a crisis in high-end audio—let’s face it, there is a crisis. In the US we have gone past a tipping point—at least with regard to the “stereo-store business model.” It used to be that too many stereo stores were chasing too few paying customers. Now the major dynamic is: Too many brands are chasing too few stereo stores. However, there are even fewer paying customers than before. And, getting ahead of myself, the lack of showroom traffic in the remaining stereo stores is in my view the major cause of the explosion of hi-fi shows. I wrote about that in Stereophile (see HERE). In the 1950s, there were lots of hi-fi shows, because there weren’t many stereo stores yet. The major US audio chains of the future such as “Tech Hi-Fi” (founded in a dormitory room at the Massachusetts Institute of Technology), came about in the mid-1960s and hit their stride in the early 1970s. We are now at the tail end of that model, and so the hi-fi shows are back. If you have a new audio company or are a new importer, signing up dealers is very difficult. So, if you exhibit at a hi-fi show, you might get a buzz going, and if people write nice things about your exhibit on the Internet, you can use that to try to sign up dealers. When I was in college there were five stereo stores near the campus—now there are none there. But there are at least three tattoo parlors, and at least three eyebrow-threading parlors. So, I think that there is a crisis, and that we are with few exceptions in the endgame of the traditional stereo-store business model. I think that the overarching and non-fixable cause of the problem is very simple: High-end audio is a victim of its own technological and marketplace successes. In the 1950s and 1960s, to get sound that was lifelike and not bloated in the bass and rolled-off in the treble, you had to be a hobbyist of sorts or at least know a hobbyist to give you good advice, and you had to spend some real money, or build a kit or two. What has changed since the 1960s? First, the Thiele-Small parameters made it possible to predict the behavior of ported loudspeaker enclosures. Yes, ported enclosures can be built to “boom.” But not all of them do. We went from a situation where the good-sounding speakers were large sealed boxes such as the early AR speakers and the Larger Advent speaker, to a situation where there are very few sealed boxes—I just wrote about that in the June issue of Stereophile. [John Marks, Where are the sealed boxes of yesteryear?, “Stereophile”, Vol. 37, No. 6, June 2014, pg. 41-49 – Ed. note]. So one, by the late 1970s/early 1980s it became possible, almost overnight, to build a better loudspeaker for less money. Second, large-scale integrated circuit chips. If you wanted to choose the music you heard in your home in 1959, you had to buy a stereo. Today, most people’s best sound system is in their car! And their smart phone can play their playlists. And their home theater can play music, and their computer can play music. Nearly everything everybody owns except their clothes-washing machine can play music. The basic technology for music playback fits on an inexpensive chip. That is a total game-changer compared to vacuum-tube gear with point-to-point wiring in the 1950s. In the 1950s, a turntable, a vacuum-tube amplifier, and bookshelf speakers would in total weigh at least 50 pounds. An iPod and earbuds weigh a few ounces, and you can take thousands of tunes with you anywhere. So today, to get people to want to buy a high end stereo, you have to convince people that the four or five things they already own that can play a CD or a music file are not good enough. Then, you have to convince then they have to spend a lot more money on a complete new system that is far less convenient to use than what they already have. Do you think that inexpensive audio systems can also sound decent? Have you heard the large Sonos speaker system, the Play:5? It costs $399 (plus some network hardware to connect it to your computer and through there to the Internet). That’s all the sound that most people want, because most people want music only as an accompaniment to other activities, and not as the sole focus of their attention. If you just want some music in your home, just buy as many Sonos units as you need. However, if you want to hear everything that is going on inside a Beethoven Late String Quartet (or The Birth of the Cool), Sonos probably is not going to be good enough. You want stereo speakers set apart at least the width of a seated string quartet, and you want a convincing stereo image, etc. Well, not for The Birth of the Cool, perhaps. A sold center image would be nice, though. So, the consumer-electronics industry as a whole is delivering a product—you and I might call it a generic product, but it is what people want. That product also sounds much better than the mass-market audio of the past. That is good. (I also think that the sound of audiophile gear is in general better than at any time in the past.) However, the huge improvement in affordable mass-market audio means that today’s stereo-store stereo equipment has a tough job trying to make a convincing “value statement” to non-hobbyists. A pair of high-quality two-way loudspeakers like Aerial Acoustics’ Model 5B plus Parasound’s entry-level CD player, preamp, and stereo power amplifier will cost a total of about $5000, including speaker stands and cables. I think that that system will deliver exceptional value for someone like me. But I also think that most normal people would rather spend the same amount of money on a cruise or other kind of vacation. The complainers complain that “Stereophile” never gives any bad reviews. Well, that shows that they don’t read the magazine! I will say truly bad reviews are rare simply because there aren’t that many truly bad products. There was a loudspeaker made about 40 years ago based upon drivers that Bose had rejected in Quality Control and then sold off for not much money. Quality-Control rejects! If I recall correctly, costing under four dollars per driver. That loudspeaker design was essentially an organ pipe with one four-inch driver at the top. Can you imagine anyone trying to sell that kind of thing today? The cost to acquire very sophisticated capabilities in loudspeaker design, crossover simulation, and prototype measurement is perhaps 1/100th of what it was 40 years ago. Perhaps even less. Today, you really have to ignore a lot of freely or inexpensively available knowledge in order to build a loudspeaker that is just plain bad. So, it’s a best of times/worst of times situation. The high end is the victim of its own past successes in technology and marketing. Most people agree that good sound is “somewhat” important (but very few people are willing to make sacrifices in other areas of their lives in order to enjoy better sound quality). What has changed is that people no longer need to visit a stereo store to get sound that is good enough for them. I think that there is going to be a shaking out, as more and more companies design ever-more expensive audio products on the theory that it is easier to sell one $50,000 pair of loudspeakers than ten pairs of $5,000 loudspeakers. Look what happened in real estate. Is high end audio a bubble? Look at all the companies in Stereophile’s “Buyer’s Guide” that are offering loudspeakers costing more than $20,000 a pair. In other words, loudspeakers costing more money than most people spend on an automobile—an automobile that takes them three, four, or five years to pay off! I think there is going to be a shaking out. I may be in the minority, but I absolutely can’t believe that just because somebody is rich, they are automatically going to buy an expensive stereo. Just look at the typical luxury goods. A Porsche 911. It stays in the garage. And even if all you do is, as shown in the TV commercial, drive your habitually late daughter to school after she intentionally misses her school bus, you have the experience of driving it, and the experience of being seen driving it, if you need that too. The Porsche does not live in the living room; it does not take up space in the home. (That said, reportedly the two most popular vehicles with US millionaires are the Ford F150 truck and the Jeep Grand Cherokee station wagon.) A Rolex watch. OK. It takes up about six square inches on your dresser; you do not need to dedicate a room to it. People will react to it however they react. The Rolex is not something that one’s spouse will worry about the maid hitting with the vacuum cleaner, or, not vacuuming close to it and leaving dust on the carpet, both of which have been stated as objections to floorstanding speakers and arguments in favor of in-walls. A wine cellar. OK, it’s in the basement. Fine art takes up a little wall space. People can ooh and aah. Low maintenance. You walk past it and you see it. You don’t have to sit still in front of a painting for an hour, like you have to in order to enjoy a Mahler symphony. A passing glance is all that is needed. Whereas when you are trying to sell a rich guy a $100,000 stereo system just because he is rich and not because he is a music lover, he pretty much has to dedicate a room to it, and he won’t get the full benefit unless he sits down in front of it and shuts up and pays attention. For hours at a time. Does it make sense for someone to spend $100,000 on something he will use on average less than one hour a week? No. The worst thing that is going on right now, in my view, is that the industry is migrating upward in price on the theory that “That is where the money is.” People seem to be afraid to release a product at $10,000 because the segment of the market they are targeting will think it does not cost enough; they seem to think it has to cost $20,000 before a rich person will take it seriously. If the wristwatch business were a valid analogy to the stereo business, that thinking might be applicable. However, in the US at least (I can’t speak for China), the wristwatch business is not a valid analogy to the stereo business. By the way, the streets are full of millionaires wearing $20 Timex watches as they drive their Ford pickup trucks. Millionaires in unglamorous businesses like dry cleaning, pouring concrete foundations, or selling plumbing supplies to builders. I think that the rich guy who wants to sit at home and listen to music really deeply as the sole focus of his attention is the rare exception, and certainly not the rule. Alec Baldwin might listen to Mahler and he might even be crazy about Mahler (as well as just plain crazy), but as far as I know, Johnny Depp does not listen to Mahler… Perhaps because of the disproportionate focus on rich people just because they are rich, stereo stores appear to do very little to reach out to the people who have dedicated their lives to music—music teachers, church musicians, marching band directors, piano teachers, singing teachers, community chorus members, and the parents of serious young music students. Why can’t a stereo store stay open on the night the TV series Glee is on and invite the regional high-school choral directors in for snacks and drinks and to listen to the TV show on a Home Theater system that was designed for music playback and not just for dinosaur footfalls? How about having an appreciation day for all the local piano teachers, with door prizes of great piano CDs? Instead, most stereo-store events reach out to the same audiophiles who showed up last year. How about not letting audiophiles through the door unless they bring a non-audiophile, truly music-loving friend with them? Obviously, I am speaking only for myself here as a private individual and a music-loving record producer. I love audio and the audio industry, and I don’t want to see them drive the bus off a cliff. We need to forget about rich people unless they are music lovers, and refocus on music lovers from all walks of life. To do that we have to be able to demonstrate an affordable system that clearly sounds better than what people already have in terms of their car stereo, computer audio, home theater, etc. My first stereo system, adjusted for inflation, today would cost about $1,100. I think it would be great if a hi-fi show were to set up a special competition for systems costing no more than $1,100, and have a panel of impartial judges do the judging so there would be no problem with ballot-box stuffing. I also think that the judging should be “binary.” “This system is excellent value for money: Yes or No.” No first, second or third prizes. Just a seal of approval: This system is excellent value for money. That allows for different tastes, and it makes the judging quick and easy. If half of the systems get blue ribbons, great. If all of them get blue ribbons, that might be possible too. With a well-chosen receiver, plus some nice little two-way speakers, everything for $1,100 could be done. I think that it should be done. I love expensive audio (as long as it sounds great). I know that it is a case of diminishing returns. I could not afford to buy the equipment I really love. But I also think that some external force has to impose a sanity check upon the industry and provide incentives to putting together and publicizing systems at the price points of $1,100, $2,500, and under $5,000. As far as I know, the cost of the average “Stereophile” reader’s stereo system is about $17,000 (inflation-adjusted since that survey), but many of the new-product announcements I get seem to be for single pieces that cost more than that system total. I think that dealers should give their stores a good hard look and see if they are doing all they could in the entry level and just as importantly, providing great choices in things to make up a $17,000 system, because that is where most of the market really seems to be. How have multiple shows affected the audio world? As I mentioned before, I think the reason that audio shows are now so important is that dealers are no longer as important, because there are so few of them compared to 20 years ago. That is in part because of changing consumer tastes, but also it is because compared to 20 years ago, the cost of running a first-class high-end store has to be so much higher. I can remember when a $4000 DAC was shockingly expensive; now nobody blinks at a $4000 DAC. There are $40,000 “DAC Stacks” and supposedly $100,000 “DAC Stacks.” If a dealer is going to carry three major loudspeaker lines and three major electronics lines, and cables and headphones and turntables, what used to be a $100,000 inventory investment at dealer-demo prices now has to be more like $250,000. And if you want to have the top of the lines on display, that investment goes up to $500,000. I speak in terms of a large store with up to five audio showrooms, and products such as Wilson Audio’s Alexandria XLF and the top items from Vacuum Tube Logic and dCS, and expensive cables, a nice turntable, etc. That’s a lot of money to tie up in hopes that you will be the “last man standing.” There is a lot more money to be made, more easily, in whole-home automation—lighting control and motorized window shades and the like. Furthermore, in that kind of business, nobody can waste your day listening to your gear and sucking up your knowledge base and then becoming an “educated shopper” trolling for used equipment on www.audiogon.com. I think that a hi-fi show “exhaustion factor” may set in, and eventually manufacturers will have to look at the amount of money being spent on audio shows versus the incremental sales generated that would not come any other way. At some point, someone will say, “Nobody will think we are getting ready to go bankrupt just because we skip one audio show.” It’s nice to say, “It should be all about the music.” However, a business needs to operate at a profit so that it can meet its obligations to its employees, its vendors, and its community. Most small businesses can’t operate profitably if they are spending $100,000 a year to ship gear and send out employees to shows all over the world, yet all that may be happening is that they are entertaining “tire kickers” who can’t or won’t buy the products. That’s throwing away $100,000 cash, which is sacrificing the profit on perhaps $500,000 of turnover. I am NOT saying that hi-fi shows are a waste of money, any more than I would say that print-magazine advertising is a waste of money. But without question, all these hi-fi shows present a substantial financial burden, and at some point well-run companies have to justify such an expenditure. A strictly audiophile question – is there a future for DSD files? Well, what is a DSD file? And does it matter? All kinds of things can get turned into DSD. I am not going to turn my nose up at an SACD that started out as hi-res PCM such as DXD or 24/192. But I will object to an SACD that is only a format conversion of regular CD Red Book 16/44.1 data. Sony’s SACD of Glenn Gould’s 1982 Goldberg Variations was merely the CD data chopped up a different way. Then later they released a three-CD set that used the backup analog safety tapes. Why they did not use those analog tapes for the SACD—seeing as those tapes were edited on a Sonoma workstation for the CD re-release. Baffling. When I see a hi-res PCM download or a DSD download offered for sale, I usually would like to see more information about the history of the project, the master tape, was there an analog backup, where did this data come from? I think there is not enough of that kind of information. I think we are in a way going through the same “hi-fi demonstration record” phase as we did in early stereo, back then with freight trains and table-tennis games. People think they need a DSD DAC, and then they might play half a dozen “DSD” files, and then perhaps move on. On the best DACs available today, good Red Book CD sounds stunning. The problem I have with hi-res music files of any kind for deep-catalog classical is that you end up having to print out the liner notes, and if needed, texts and translations. I think that SACDs are more practical, except that you can’t buy a transport that will output DSD via the DoP protocol—yet. What is your current audio system? Right now I am listening to Bricasti’s M1 DAC fed mostly from Parasound’s Halo CD 1 as a transport, Nordost digital cable, Cardas Clear analog cables, ATC’s P1 power amp, and ATC’s sealed-box SCM19 loudspeakers, which are a huge bargain at $3700 in the US. The ATC SCM19 is a great example of really delivering the goods for a very justifiable price. The whole system sounds fabulous. What can web-based magazines learn from print magazines? Perhaps, in some cases, a little more patience and perspective. The ecosystem of online publishing demands new content all the time. That can lead to what I call “The Tyranny of the New.” Other people used to call it “Flavor of the Month,” but now that has to be “week” or “day.” Writers should never forget the context of the things they have praised before. The newest can’t always be the best, can it? There are things you learn about a piece of gear or a recording that come to the surface only after living with it a while. I find that my best judgments are retrospective, often times triggered by whether I miss a piece of gear after sending it back, or—am I glad it is gone, or at least, I don’t particularly miss it? And what can print magazines learn from online magazines? The magazines that have survived, I think have learned things from the web. I think that John Atkinson has struck a successful balance at Stereophile between new content going up on the website nearly every day, while the print magazine gives you the first look at in-depth reviews and measurements. What is the most interesting technology you are aware of? Two actually—the violin, and the concert grand piano. They fascinate me endlessly. I mention those only because the human voice is a gift from God, and not a technology. Is the “Loudness War” over yet? Honestly, I hardly noticed it when it was going on. I don’t listen to much of the music that suffered most from the over-use of dynamic compression. I know that some reissues such as Born to Run came out with added dynamic compression, and that of course was regrettable. But a lot of the music I listen to, classical, jazz, and popular, was recorded in the 1950s. Some of those recordings will make you think that we actually have not advanced all that much. What is the most natural recording technique for you? That is a two-semester course. How much am I going to be paid to teach it? The short answer is, that in order for something to sound “natural” in a totally different environment, we have to compensate in advance. That’s what makes recording an art based on science. One fundamental problem is that in order to record so that there is a realistic stereo image, we often get an un-natural presentation because the microphones are much closer than your ears would be at a live performance. If you move the microphones back to get the tonal quality and the blended sound of a live performance as well as more hall sound, the stereo image becomes “wide mono.” This is why John Atkinson often records with three pairs of microphones in different arrays and at varying distances from the musicians, and time-aligns the three mic pairs in post-production. Depending on what is being recorded, I love spaced omnis, Mid-Side, or ORTF. My default is ORTF. I try to be both a Neo-Platonist and an Aristotelean: If it sounds good, it is good. A recording may be “impressive,” but if you don’t find yourself reaching for it to hear it again, there might be something artistically wrong, either in the performance or the engineering. Audio engineering is an art that you can’t reduce to a mathematical formula. You usually end up giving up something once you decide that something else is more important. If you want all the bass and all the room sound you can get, you choose spaced omnis; but that choice is at the cost of not getting the in-focus, solid center image possible from coincident placement of directional microphones. Could you list and describe 10 must-buy albums for the readers of “High Fidelity”? Ella Fitzgerald and Louis Armstrong, PORGY & BESS Orchestra conducted by Russell Garcia Produced by Norman Granz Verve 827 475-2 Recorded Los Angeles, 1957 If there is one recording that best shows the complexity, the richness, and the depth of American musical life, this is it. No contest, as far as I am concerned. The story was written by a white Southerner and turned into an opera (with his help) by two Jewish brothers who were first-generation Americans. But the drama is universal. At the emotional climax, the fallen woman Bess sings to the cripple Porgy that she is not worthy to stay with him because he is “too decent” to understand the hold that the drug pusher and pimp Crown has on her. There are many other things in opera and concert music that go as deeply into the mysteries of the human soul, and that similarly can be a sign of to us of the hope that love can offer. In my opinion, there is nothing that is clearly better; only different. The men who sat around some rich guy’s table 500 years ago and invented opera, and Beethoven, and I think Mahler all would have been impressed, and emotionally moved. Of course, Fitzgerald and Armstrong almost can do no wrong, especially together. Clifford Brown, CLIFFORD BROWN WITH STRINGS Arranged by Neal Hefti With Max Roach, Richie Powell, and George Morrow Polygram 814 642-2 Recorded New York, 1955 Trumpeter Clifford Brown’s death at age 25 robbed the world of music of so many fair hopes. Some people feel a need to deprecate “with strings” projects. Well, Charlie Parker said that his favorite album was his ballad album with strings. Clifford Brown’s songlike phrasing and tasteful ornamentation make this recording a high point in song-form jazz. Brown, of course, could blow Bop with the best of them, but here, it’s all about the melody, and phrasing, and tone. Technically, it is a shockingly good recording, given the date. Frank Sinatra, Where Are You? Arranged and conducted by Gordon Jenkins MFSL CMFSA2109 Recorded Capitol Records Studio A, Hollywood, 1957 Sinatra was in some ways not a good person, and he ended up as a parody of himself. But while he was on his way back up, and had not yet started believing his own… nonsense, he made a few great albums. This I think is both the least-well-known, and the best of them. An amazing mono SACD transfer from MFSL; grab it while you can. Sir Roland Hanna Tributaries, REFLECTIONS ON TOMMY FLANAGAN IPO C1004 Recorded and mastered by Tim Martyn at S.U.N.Y., Purchase, NY, 2002 Roland Hanna’s tribute to his boyhood friend Tommy Flanagan turned out to be his last album. Excellent recorded sound, and pianism that reflects a lifetime’s accumulation of musical wisdom. BASICALLY BULL Alan Feinberg, pianist Steinway & Sons 30019 Recorded at Sono Luminus, Boyce, Virginia, 2013 Playing early-keyboard music (circa 1611) written for the virginals or clavichord on a modern Steinway concert-grand piano sounds like a recipe for disaster. But, at least in this case, it was not. Alan Feinberg plays with delicacy and authority, and his selection of pieces holds your interest. Cypress String Quartet, BEETHOVEN STRING QUARTET OP. 127 IN E-FLAT MAJOR 24/96-native recordings downloaded from www.cypressquartet.com Recorded by Mark Willsher at Skywalker Sound, California, 2012 This young quartet from San Francisco has surprised me with a set of Late Quartets that has become my all-time favorite. The great recording job would be irrelevant if the playing were not so coherent and convincing. The web site has sound bites. John Adams, THE DHARMA AT BIG SUR Tracy Silverman, 6-string electric violin BBC Symphony, John Adams Nonesuch 79857-2 Recorded at Abbey Road Studios 2004/Skywalker Ranch 2006 Mastered by Bob Ludwig The Dharma at Big Sur blends elements of Indian music, trance music, modal music, and electric-guitar-style virtuosity—in a two-movement work for six-string electric violin and orchestra. However, I think that when you carefully scrape away the overpainting, what is underneath is a traditional 19th-century virtuoso violin concerto. In other words, music that Paganini or Wieniawski could relate to—and so can you. Elvis Costello & The Attractions, ALL THIS USELESS BEAUTY Warner Bros. 46198 Produced by Geoff Emerick and Elvis Costello Recorded at Windmill Lane, Dublin and Westside Studios, London 1995-1996 Mastered by Bob Ludwig The fuss made over Justin Bieber would seem to indicate that the music-business conventional wisdom I heard a long time ago is most likely still true. That is, the largest single demographic segment of buyers of recorded music is girls 16 years and younger. Not yet having driver’s licenses or jobs, they tend to stay home or socialize with other girls; listening to music is often a shared activity. Unsurprisingly, that audience does not demand complexity or ambiguity in the music they enjoy. Complexity, ambiguity, and perhaps even a reappraisal of the place of rock music in the cosmos is what you get with Elvis Costello’s All This Useless Beauty, his seventeenth studio album (1996). It’s a shame that the liner notes’ presentation of the songs’ lyrics is nearly indecipherable. There are some deep and somewhat scary things going on in these songs. Along with, it seems, quite a load of barely-repressed anger. What makes this recording a sure recommendation to audiophiles, however, is the sheer impact of the recorded sound, coupled with so much fine detail. Each track creates its own sound-world. Morten Lauridsen, LUX ÆTERNA, OTHER WORKS Los Angeles Master Chorale, Los Angeles Master Chorale Sinfonia Orchestra, Paul Salamunovich RCM 19705 Peter Rutenberg, producer; Fred Vogel, engineer Recorded in Sacred Heart Chapel, Loyola Marymount University, Los Angeles 1997 & 1998 How’s this for unlikely? An American composer (and former jazz-flugelhorn player) writes a five-movement Latin-language (but non-liturgical) Requiem for chorus (with orchestra in the four outer movements). To a degree, Lauridsen emulates the architecture of Brahms’ Ein deuteches Requiem. His Requiem’s surprising underground/grassroots success has made it one of the most-performed works for chorus and orchestra written in the 20th century, eclipsing works by Elgar, Stravinsky, and Leonard Bernstein. The vocal score has sold more than 300,000 copies. Lux Æterna shows a subtle mastery of formal structure as well as complete familiarity with the history of choral music. It reveals a wealth of inspired ideas, one of the most pivotal being the decision to do without vocal soloists. I think that the work is concise enough and holds one’s interest well enough not to need the addition of vocal soloists, given the risk that they would become quasi-operatic distractions. For all its thousands of live performances, Lux Æterna has only been recorded for commercial release four times; to my knowledge, no “name” orchestra has ever presented it. Holst, THE PLANETS Boston Symphony Orchestra, William Steinberg Deutsche Grammophon 419 475-2; other couplings available; 24/96 downloads available from HDTracks.com Karl Faust, Tom Mowrey, producers; Günter Hermanns, engineer Recorded in Symphony Hall, Boston, Massachusetts, 1971 The Planets is pretty much the definitional “crowd-pleasing orchestral warhorse.” However, there are legitimate reasons for its widespread popularity, including the inspired orchestrations, the brevity of the movements (which alternate between drama and repose), and some memorably rollicking “big tunes.” There are at least 40 available recordings of The Planets. A very small handful accounts for the versions most frequently recommended (Boult, Mehta, and Previn, it seems to me). For whatever reason (or no reason) the Steinberg/Boston Symphony recording seldom gets the praise it deserves. The Boston Symphony was still basking in the glow of its golden era. The tempi are brisk, the ensemble tight, and the recorded sound among the best ever recorded in Symphony Hall. Single tracks not available individually, but the 24/96 full-album download is reasonably priced. Used LPs and CDs widely available, and perhaps your local library has a copy. In “THE EDITORS” series we have interviewed so far ART DUDLEY, “Stereophile”, USA, editor-at-large, interviewed HERE Helmut Hack, “Image Hi-Fi”, Germany, managing editor, interviewed HERE Dirk Sommer, „HiFiStatement.net”, Germany, chief editor, interviewed HERE Marja & Henk, „6moons.com”, Switzerland, journalists, interviewed HERE Matej Isak, "Mono & Stereo”, chief editor/owner, Slovenia/Austria; interviewed HERE Dr. David W. Robinson, "Positive Feedback Online", USA, chief editor/co-owner; interviewed HERE Jeff Dorgay, “TONEAudio”, USA, publisher; interviewed HERE Cai Brockmann, “FIDELITY”, Germany, chief editor; interviewed HERE Steven R. Rochlin, “Enjoy the Music.com”, USA, chief editor; interviewed HERE Stephen Mejias, “Stereophile”, USA, assistant editor; interviewed HERE Martin Colloms, “HIFICRITIC”, Great Britain, publisher and editor; interviewed HERE Ken Kessler, “Hi-Fi News & Record Review”, Great Britain, senior contributing editor; interviewed HERE Michael Fremer, “Stereophile”, USA, senior contributing editor; interview HERE Srajan Ebaen, “6moons.com”, Switzerland, chief editor; interviewed HERE [hfgallery] [img mini="foto_testy/1407/wywiad_john/th/05.jpg" big="foto_testy/1407/wywiad_john/05.jpg" src="foto_testy/1407/wywiad_john/05.jpg" desc="Elizabeth Schwarzkopf in a French Pathé-Marconi/Columbia pressing from the early 1950s. As you can see, John was obviously laughing about something. Perhaps Ms. Schwarzkopf."] [img mini="foto_testy/1407/wywiad_john/th/06.jpg" big="foto_testy/1407/wywiad_john/06.jpg" src="foto_testy/1407/wywiad_john/06.jpg" desc="Rare on this side of the pond, and in very nice shape, a challenging violin recital by the Concertmaster of the Concertgebouw Orchestra."] [img mini="foto_testy/1407/wywiad_john/th/07.jpg" big="foto_testy/1407/wywiad_john/07.jpg" src="foto_testy/1407/wywiad_john/07.jpg" desc="“I volunteer to help organize the sale of used books and music media to support the programs of our Community Library. Here I am sorting and getting ready to photograph a table full of early 10-inch classical LPs.”"] [img mini="foto_testy/1407/wywiad_john/th/08.jpg" big="foto_testy/1407/wywiad_john/08.jpg" src="foto_testy/1407/wywiad_john/08.jpg" desc="The listening arrangement is either a little distant for nearfield or a little close for midfield, an Equilateral Triangle appx. 8 feet on a side. Photo shows Shunyata power distribution and cords."] [img mini="foto_testy/1407/wywiad_john/th/09.jpg" big="foto_testy/1407/wywiad_john/09.jpg" src="foto_testy/1407/wywiad_john/09.jpg" desc="“I use the Parasound as a transport. I put the white tape on to mark the position of the loading slot.."] [img mini="foto_testy/1407/wywiad_john/th/10.jpg" big="foto_testy/1407/wywiad_john/10.jpg" src="foto_testy/1407/wywiad_john/10.jpg" desc="The Bricasti with cedar closet blocks for vibration control and a wine cork to level it."] [img mini="foto_testy/1407/wywiad_john/th/11.jpg" big="foto_testy/1407/wywiad_john/11.jpg" src="foto_testy/1407/wywiad_john/11.jpg" desc="“200Wpc discrete solid-state; a very nice amp at a very fair price.”"] [img mini="foto_testy/1407/wywiad_john/th/12.jpg" big="foto_testy/1407/wywiad_john/12.jpg" src="foto_testy/1407/wywiad_john/12.jpg" desc="The SCM19s are upside down because the stands are too tall and the couch is too low; ATC approved this setup."] [img mini="foto_testy/1407/wywiad_john/th/13.jpg" big="foto_testy/1407/wywiad_john/13.jpg" src="foto_testy/1407/wywiad_john/13.jpg" desc="My listening position with Grace Design m905 Monitor Controller/DAC on coffee table."] [img mini="foto_testy/1407/wywiad_john/th/14.jpg" big="foto_testy/1407/wywiad_john/14.jpg" src="foto_testy/1407/wywiad_john/14.jpg" desc="A few records from John’s label. One of them was pressed on gold – a special edition ordered by a dealer in Singapore."] [img mini="foto_testy/1407/wywiad_john/th/15.jpg" big="foto_testy/1407/wywiad_john/15.jpg" src="foto_testy/1407/wywiad_john/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/wywiad_john/th/16.jpg" big="foto_testy/1407/wywiad_john/16.jpg" src="foto_testy/1407/wywiad_john/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/wywiad_john/th/17.jpg" big="foto_testy/1407/wywiad_john/17.jpg" src="foto_testy/1407/wywiad_john/17.jpg" desc="HighFidelity.pl"] [/hfgallery]

t's been already almost 2 years since I received Audeze LCD-3 for a review and ever since I've considered them the best pair of cans I had a chance to listen to in my system. Me getting these headphones for a review was a result of a few factors. First of all other planar-magnetic cans, HiFiMAN's had dragged me into headphone world which any of „regular” dynamic cans couldn't really have done before that. Secondly after reading some reviews of LCD-3 I just thought „it might be IT for me”. As ridiculous as it might sound I trust my instincts a lot when it comes to audio equipment. Back then we had no distributor in Poland, so I had to ask manufacturer for a review sample. This took a long while but as it turned out LCD-3 were really worth waiting for! These Audeze cans were exactly what I'd expected them to be – outstanding performance combined with beautiful fit and finish. They were not that perfect – they were quite heavy and they required a powerful, high performance amplifier to drive them properly. OK, the latter feature can't be really called a weakness, it is rather some sort of a rule in a high-end world – one wants high-end performance one has to build a system of high-end devices. Ever since that review LCD-3 have been my private reference I compared all other cans to. Even though I reviewed some very good headphones Audeze still remained in my system not only as a reference device but also as my personal favorite. At that time Audeze offered two models – LCD-2 and LCD-3 – both were so good, so appreciated by a very demanding fast growing market for cans that Audeze had to focus on their production and building a distribution network. But they obviously realized that even such a huge success wouldn't last forever. So they worked on some improvements to existing designs and on some new ones too. Finally last year they presented 2 novelties. First of them was a model called LCD-X, that landed between LCD-2 and 3 on Audeze's portfolio. The design was similar to previous ones – an open back design – but at the same time more durable one, with aluminum (instead of wooden) capsule housing. Wood might be more elegant, nicer looking but especially over some time of usage it is more susceptible to damages. Another, even more important change, was higher sensitivity and change of impedance which made these cans much easier to drive. Last but not least with this model Audeze introduced a technology called FAZOR (introduced at the same time also to older models) which in fact are an acoustic wave-guides assemblies attached to the magnets. They help guide and manage the flow of sound in the headphone. The result is, as claimed by manufacturer, improved phase response, greater frequency extension, smoother frequency response, and remarkable 3D holographic imaging. At the same time Audeze presented also another new model called LCD-XC, where „C” stands for „closed back”. All the Audeze, and planar-magnetic cans fans were very excited – that was to be the first closed-back model of that type. Until this moment all manufacturers – HiFiMAN, Audeze, Oppo – delivered only open back designs. Surely open back design has its advantages but there is one thing that in some situations might be considered a flaw – part of the sound „escapes” outside so if there are any other people close by they are forced to listen with us. Closed back designs are used mostly in studios – one might say that it is a design originally intended for professional use. But since music fans started to listen more and more music in public spaces such designs that significantly limit „sound leakage” became more and more popular especially that they also offer a better isolation from outside world, hence better sound perception. Obviously using them at home also brings some advantages – one can listen to the music without disturbing other family members. It takes one look to realize that it is rather unlikely to use Audeze outside. Not only do these cost quite a lot but also are quite large an heavy which makes them rather useless for outdoor usage. But still even having these cons in mind ever since I learned about that model, even before I read first reviews, I was somehow convinced that I should be interested in this particular Audeze novelty. Again it took a while to get a review sample – this time reason was different, I'd approached manufacturer asking for them but got a response that they were just finalizing an agreement with a Polish distributor. The lucky company chosen was a headphone specialist, Warsaw based AudioMagic. Even when the deal was made it still took a while as Polish headphone fans waited so long for availability of this brand in Poland that their demand had to be satisfied first. So in fact my first contact with LCD-XC happened during HighEnd show in Munich. They were driven by a new Bakoon headphone amp. Obviously exhibition is not the best possible place to assess any audio product but still what I heard there only confirmed that these were fantastic cans, another Audeze's great achievement. All I could do was to wait (impatiently) for my review sample. Recordings used during test (a selection) Renaud Garcia-Fons, Arcoluz, ENJ94782, CD/FLAC. Isao Suzuki, Blow up, Three Blind Mice B000682FAE, CD/FLAC. Whitesnake, Starkers in Tokyo, EMI Music B00000IGV9, CD/FLAC. Miles Davis, Tutu: Original Recording Remastered 2011 Deluxe Edition, Warner 081227976873, CD/FLAC. AC/DC, Live, EPIC E2 90553, LP. Rodrigo y Gabriela, 11:11, EMI Music Poland 5651702, CD/FLAC. Wycliff Gordon, Dreams of New Orleans, Chesky B0090PX4U4, CD/FLAC. The Ray Brown Trio, Soular energy, Concord/Pure Audiophile PA-002 (2), LP. Might As Well: Persuasions Sing Grateful Dead, Arista B0000YLNN, CD/FLAC. TREME, soundtrack, Season 1, HBO 0602527508450, CD/FLAC. Lee Ritenour, Rhythm sessions, Concord Records CRE 33709-02, CD/FLAC. Kermit Ruffins, Livin' a Treme life, Basin Street B001T46TVU, CD/FLAC. Pink Floyd, Wish you were here, EMI/EMI Records Japan TOCP-53808, CD/FLAC. Dead Can Dance, Spiritchaser, 4AD/Mobile Fidelity MOFI 2-002, 180 g LP. Miles Davis, Sketches of Spain, Columbia PC8271, LP. Dire Straits, Communique, Vertigo 800 052-2, LP. Carlos Santana, Shaman, Arista 74321959382, CD/FLAC. John Lee Hooker, The best of friends, pointblank 7243 8 46424 26 VPBCD49, CD/FLAC. Buddy Guy, Blues singer, Silvertone 01241-41843-2, CD/FLAC. Muddy Waters & The Rolling Stones, Live At The Checkerboard Lounge, Chicago 1981, Eagle Rock Entertainment B0085KGHI6, CD/FLAC. Japanese CD editions are available from [REKLAMA5] As I already mentioned new Audeze models brought also a new technology (implemented at the same time in older models) - FAZOR. There is a picture on Audeze's web page that presents exactly what this solution is about. If you look at it you will find something that might seem small, insignificant – just an acoustic wave-guides assemblies attached to the magnets that are supposed to „guide” soundwaves. In Munich I had a chance to listen to a new version (including FAZOR) of LCD-3 and even considering their open back design combined with exhibition's „treats” (ambient noise and so on) I still thought they sounded different from my older version – more precise and bit brighter. Now, being already during or after extensive listening sessions of both new models (not only LCD-XC but also LCD-X) in my own system, both utilizing FAZOR technology (although are were no versions without it so there is no comparison) I can easily say that this „small” trick introduced a large, and clearly positive change to the sound. Both models while offering most of fantastic advantages of (older) LCD-3 bring more clarity, precision, and much less of this „dark sound signature” Audeze was famous for. For me LCD-3 (with proper amplifier) never sounded too dark, I always said that most of those who complained about this feature were simply „spoiled” with overly bright sound of most „regular” dynamic cans. Anyway – the moment I started to listen to LCD-XC I thought: nobody would complain about Audeze's dark sound anymore! Let me first, before I get to the point (being the sound), give you an impression of the design itself. Despite LCD-XC being a closed back design (which can be easily spotted as they have „full” ear cups) they simply look as any Audeze product, at least for anybody who had contact with their products before. Same headband finished with a very nice lamb skin, ear cups mounted in the same way, same mini-XLR input sockets in both cups, same lamb skin ear pads (you might chose leather-free ones but after having LCD-X with these I would recommend sticking to leather ones). These cans are also large and heavy – to call things by their names, because of full, wooden ear cups this is the heaviest Audeze model and one of the heaviest on the market. This is the „cost” of closed back design, but on the other hand this is what makes this model so special – as far as I know this is the only currently manufactured planar-magnetic model of its kind regardless the brand (there was a closed back model of electrostatic earphones - STAX-4070, but already discontinued). Size of ear cups matters! – there should be enough space inside even for quite large ears, which obviously effects comfort of usage and a quality of what one hears. Also the pressure these cans implement on one's ears/head seems fairly adjusted – tide, but not too tide to cause any discomfort even during longer listening sessions. As I mentioned, these are quite heavy cans but somehow it didn't bother me at all, not even after few hours of listening. This is obviously the top closed back model in Audeze portfolio and only second from the top to the LCD-3 considering its price. Low impedance (20 Ω), and higher than in older models, more „amplifier-friendly” sensitivity of 95 dB allow user to drive these headphones with almost anything including mobile devices (smartphones, DAPs and so on). I can't imagine someone walking down the street with these on, but using very well designed travel case and one of the high performance DAPs (from HiFiMan or Astell&Kern for example) I can easily imagine taking these for a business trip, or holiday to have top quality sound with me. Yup, once again - that's an advantage of closed back design – you can use them anywhere without disturbing other people. I have to mention the system LCD-XC played with because in this particular case it wasn't really mine own. For the past few months thanks to Mr Wojtek Szemis I've been using a fantastic headphone amplifier - Sugden Masterclass HA-4, plus at the time of this review I had also another great representative of class A devices - M2Tech Marley (I've had it also for more then a month before this test so I knew its sound also very well). It so happened that I also had in for reviews (also already for a few weeks) two high performance sources, a digital one from Ayon: CD-T + Stratos (CD transport and D/A Converter), and analogue one: Transrotor Apollon with 12 inch SME 5012, ZYX Premium Omega cartridge and Phasemation EA-1 II phonostage. Knowing already how good both these sources were I couldn't skip the chance of using them for this test. That's still not all. Audeze distributor, AudioMagic, delivered LCD-XC not only with a stock cable but also with an alternative, a damn good one, from a Polish manufacturer, well known among headphone fans, Forza AudioWorks. Cables from this Warsaw based, young company, not only are beautifully made, solid but they usually offer also a much better performance than stock cables (and it goes for all cans I had a chance to listen to), while being offered in reasonable prices (see HERE). Long story short – I ensured LCD-XC had the best possible accompanying system so I felt entitled to expect, even demand absolute top performance of them. I started this review with mentioning that I'd been using LCD-3 for almost 2 years now, which means simply that I am an Audeze fan. Obviously I was curious whether Audeze was really able to offer something new/exciting/better after ingenious LCD-3. Being in audio business for a while now taught me that „better” was always possible, and this case was no different. Well... it seems that I've already declared that „better” is the case. Just let me remind you that I compared the reviewed model with LCD-3 but without FAZOR (or any other improvements that Audeze might have introduced during these 2 years). So yes, I will stick with this initial declaration - LCD-XC compared directly to my version of LCD-3 surpassed those in term of sound quality and I liked them better too (it's not always so obvious, at least in my case). A much better (although not perfect) isolation from an outside world was one thing, but already mentioned improvements in terms of precision, clarity, and general impression of a brighter, or rather less „dark” presentation were also obvious (please notice „brighter” not „bright”!). These were still (like LCD-3) cans that offered fantastic bass performance – powerful, taut, fast, with a real slam (as for cans of course), beautifully defined and extremely well differentiated. To evaluate this part of range I always use (among other things) recordings of double bass. When well recorded it offers an amazing, wide dynamic and sound range, and a wonderful timbre. And when I started to listen to bass I simply couldn't stop – more and more recordings came in - Ray Brown, Isao Suzuki, Renaud Garcia-Fons, and any other with significant presence of this instrument I could think of. LCD-XC offered a wonderful insight into every string pluck, usually fast, strong, energetic, supported with a huge soundboard (supported in right proportions) which provided also a wonderful decay. Abundance of detail, ability to differentiate even tiniest sounds, impressive richness of each sound turned each good recording (like Soular energy for example) into a special, spectacular experience, adding something more than most cans – a feeling of participation in a live event. Double bass isn't the only instrument that makes such a great impression via LCD-XC. If you have a chance check out some nice percussion recordings. You'll find out how fast each strike is, how powerful, you will realize how flexible membranes of drums are (or how well you can actually hear that), how good is a differentiation between drums, how you can not only hear but also feel a bass drum. LCD-3's performance was amazing in this regards and XC, in my opinion, do that also amazingly well, although in a bit different way. They are capable of going down as deep as LCD-3 although the lowest bass doesn't have same weight as when delivered by flagship model. On the other hand though XC seem to offer faster, tauter bass. So when stick hits a drum it's more about speed, about interaction between stick and membrane than about slam itself. What followed was a great pace&rhythm which allowed me to enjoy a lot my favorite music – blues, rock, but also for example Marcus Miller's electric bass guitar. So when I started with this kind of music I simply couldn't stop, it sounded too good to stop. It's not everyday that I get headphones that really rock and truly feel the blues. Bit more about percussion – cymbals, well differentiated, sounded powerful, rich and they really “shone” and sparkled bit more than I remembered from LCD-3 sessions. Whether it was about powerful sticks hitting cymbals, or a “jumping” hi-hat, or brushes gently touching cymbals – presentation each time sounded very convincing, very accurate. Yes, I admit that HD800 driven by Bakoon HPA-21 conveyed these elements in an even more convincing way, but, in my opinion of course, it was the only real advantage of this setup, as for everything else I definitely preferred Audeze. What makes these Audeze cans so special is amazingly balanced, coherent sound throughout the whole range. These are definitely not headphones with „U” shaped range, with impressive extremes and lean or shy midrange. I loved bass and treble performance but it was extremely well balanced with rich, colorful midrange. Even closer to the truth would be stating that it is the midrange that substantiates the sound of these cans. It's what all Audeze cans do in a very special way – they offer amazingly dense, creamy but at the same time lively and detailed mids. Maybe, just maybe LCD-XC are not that palpably dense as LCD-2 and 3, but it's not a significant difference. And it is debatable whether it actually is a question of “density” or it's about more sparkling, shining treble that lifts part of the attention from lower midrange (where it is focused when listening to LCD 2 or 3) up. Does it really matter? Midrange might not be that rich but it is more lively, faster which makes LCD-XC's presentation different rather than better/worse, and surely also very attractive. They convey a very palpable, accurate image of all acoustic instruments. I'll get back to vocals in a minute but first I have to mention how amazing violin, viola and cello sounded – rich, detailed, with wonderfully displayed texture and timbre – one could “see” fingers traveling along strings, one could easily, without any effort hear proper share of “wood”. Violins sounded very sweet, smooth to “cry” just moments later or even sound pretty harsh, aggressive if necessary and they did it all in equally convincing way. But what I found most compelling about this presentation was already mentioned proper share of “wood” in the sound. Same ability of smooth, even creamy sound on one hand and harsh and aggressive when needed was what made also brass instruments sound so good, so realistic – trumpets, trombones, saxophones – it was just pure pleasure to listen to nice recordings of these instruments including many “old” jazz masters. Vocals... Even if LCD-XC's midrange was not that dense, rich as of LCD-3, vocals still sounded more real, more convincing than when delivered via almost all cans I'd ever listened to. These headphones offer amazing, detailed insight into each voice, its timbre, texture, pitch and so, plus they convey all the emotions in a very expressive way. In most cases one can hear vocal from up close which combined with this very convincing expressiveness creates a feeling of close contact between listener and vocalist and as result the involvement of a listener in the world created by music seems to be natural, easy. To find out how capable the LCD-XC are when it comes to vocal presentation one should listen to some quality a capella recordings, in my case it was one of records of The Persuassions. There are five, so different and yet so harmonious voices. LCD-XC allowed me to follow each and every one of them, dive into smallest details, nuances and yet enjoy the “big picture”, the amazing harmony. Audeze proved to be very analytic and yet tremendously musical cans. This could be their shortest characteristic – they combine these two major features that come together so randomly as headphones (like other elements of audio systems) are usually either musical or analytic. After this experience I started to believe news I read somewhere that some people use these cans even in recording and mastering studio. I bet LCD-XC can do very well there too, and all of us can enjoy a lot music that is made using these brilliant cans. Last but not least a feature that had surprised me once before when I reviewed another closed-back headphones – FAD Pandora Hope VI – amazing spacing. I mean as for headphones, obviously, as such space or soundstage is not really comparable to what pair of stereo speakers in a room can create. Still, it is a natural feature of planar magnetic headphones – they offer a spacial presentation that takes place not only inside listener head but it spreads outside it. Soundstage is not only quite big left to right and front to back but also presented in an orderly way. It is one of the reason why from my very first contact with cans made in this technology I fell in love with them. But LCD-XC is a closed-back design, which usually means much bigger limitations in terms of spacial presentation. Honestly – I don't know if I should believe my own ears or maybe my enthusiasm for these cans carried me a bit away but I have to say that comparing them to LCD-3 I did not notice any limitation to the size of the soundstage or to its three-dimensionality. The above mentioned Pandora Hope VI had surprised with this aspect of the presentation too, when I'd reviewed them, but they still could quite match LCD-3. This time I couldn't really tell the difference. I also compared head-to-head Pandoras with LCD-XC – after all these are both closed-back design, although the former are “regular” dynamic cans and the latter are planar magnetic. The price difference is quite significant – Japanese headphones cost not much more than 50% of what one has to pay for Audeze, but does it mean that American cans are twice as good? As we all know it doesn't work this way in audio world. We, audiophiles, pay a lot for a slightly better performance. This case is no different – twice a price doesn't mean double performance. Audeze LCD-XC are, no doubt, better headphones, offering truly high end performance, but is it worth paying 3 thousand PLN more? That's a question each individual potential buyer has to answer himself. Audeze have more to offer in almost any aspect one might consider – bigger space, more powerful, bit faster bass and slightly more vibrant treble. I think that midrange performance is the most similar part of performance, although FAD's midrange when it comes to density, richness of this part of the range is closer to LCD-2 than XC. Both cans are very musical, Audeze are more analytic though. FADs are lighter but probably still to heavy to carry them on on the street so advantage is not that significant. Audeze is sure more luxury product – they look better and are bit more comfortable (despite larger weight). So I'd say that if money is no issue or if the ultimate performance is of biggest importance you should buy yourself Audeze LCD-XC (or LCD-3). If you can't spare that much give Pandora Hope VI a chance. Summary Well, let me be honest with you – I would love to have my own LCD-XC – they would immediately become my private closed back reference or maybe even the all-round reference as I liked them better than my LCD-3 (the older, non-FAZOR version I have!). I need to think about it for a while but it is quite possible that rather sooner than later you'll see LCD-XC in my reference system. I loved them also for practical reasons – as a closed design they isolate listener from environment pretty well and the environment from listening to somebody's music as well. They are probably not the best in these particular aspects but good enough. When it comes to performance these cans combine amazing musicality with quite an analytic approach to sound presentation so there is a pretty good chance they could convince both – those who only care about music and those who love to analyze sound. They offer outstanding (for cans in general, not only for closed designs) spacing and imaging, deep, taut, fast bass that creates a very coherent whole with smooth and very expressive midrange (although not as rich as offered by LCD-3) and sparkling, open, vibrant treble that offers a better insight in this part of range than LCD-3. LCD-XC are quite easy to drive so can be used even with DAPs although they really shine when driven by top quality amplifier with signal delivered by a high-end source. Manufacturer recommends output power of 1-4 W which is something that no DAP (at least none I know) can deliver and that's why to get these cans to perform at their best you need to drive them with a really good amplifier. Audeze LCD-XC are not just a piece of equipment I could live with but I would love to live with them and their high-end performance! Audeze LCD-XC is (as for today) the only closed-back planar magnetic model on the market (at least as far as I know). Considering that its price isn't much lower than Audeze's flagship's, LCD-3's one could easily call XC the closed-back flagship. A heart of Audeze cans is a planar magnetic transducer – a thin foil with imprinted circuit (coil) spread across the surface of a thin-film substrate that moves in magnetic field between magnet arrays. Planar magnetic diaphragms are thin and lightweight compared to much heavier moving-coil or dome diaphragms found in “dynamic” drivers. Since the force created by the magnetic field is distributed across most of the diaphragm surface, the planar magnetic diaphragm moves faster and with far greater accuracy to the input signal thus delivering wide frequency response and low distortion. A new solution presented with new models – LCD-X and LCD-XC and subsequently used also for new edition of LCD-2 and 3 is called FAZOR. These are acoustic wave-guides assemblies attached to the magnets that help to guide and manage the flow of sound in the headphone. The result is improved phase response, greater frequency extension, smoother frequency response, and remarkable 3D holographic imaging. LCD-XC is the heaviest unit even among already heavy Audeze models. Credit for that goes surely mostly to full, wooden ear cups. Except for these elements all the rest is the same or very similar to everything we've seen before in Audeze cans. They sport a wide, comfortable headband with a luxury lambskin on it (although there are three versions one can chose from), thick, finished with lambskin, ear pads that sport a certain angle which makes them fit any head even better than “regular-shaped” pads. There are also the same mini-XLR sockets on both ear cups that are also angled towards front. Large mass of these cans forced manufacturer to use quite some “clamp” these put on a head but, at least I a feel it, it's not too big. Together with cans user receives two 2,5m long cables, one with 4-pin XLR plug, other with large jack. For the review I received XC with a cable made by a Polish manufacturer – Forza Audioworks, who's products have been already appreciated by many satisfied customers not only in Poland but in many other countries. As any Audeze cans one can order them with a very nice wooden display case, or less beautiful but more practical ruggedized travel case. These are beautifully made, very solid headphones. Technical specification (according to manufacturer): Type: closed, circumaural Transducer type: Planar magnetic Impedance: 20 Ω Frequency range: 5 – 22 000 Hz Maximum power: 15 W (for 200 ms) Optimal power: 1-4 W THD: < 1% SPL: >130 dB Sensitivity: 95 dB/1 mW Cable length: 2,5 m Polish distributor: AudioMagic.pl ul. Sienna 61 00-820 Warszawa e-mail: pomoc@audiomagic.pl audiomagic.pl [hfgallery] [img mini="foto_testy/1407/audeze/th/05.jpg" big="foto_testy/1407/audeze/05.jpg" src="foto_testy/1407/audeze/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/audeze/th/06.jpg" big="foto_testy/1407/audeze/06.jpg" src="foto_testy/1407/audeze/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/audeze/th/07.jpg" big="foto_testy/1407/audeze/07.jpg" src="foto_testy/1407/audeze/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/audeze/th/08.jpg" big="foto_testy/1407/audeze/08.jpg" src="foto_testy/1407/audeze/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/audeze/th/09.jpg" big="foto_testy/1407/audeze/09.jpg" src="foto_testy/1407/audeze/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/audeze/th/10.jpg" big="foto_testy/1407/audeze/10.jpg" src="foto_testy/1407/audeze/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/audeze/th/11.jpg" big="foto_testy/1407/audeze/11.jpg" src="foto_testy/1407/audeze/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/audeze/th/12.jpg" big="foto_testy/1407/audeze/12.jpg" src="foto_testy/1407/audeze/12.jpg" desc="HighFidelity.pl"] [/hfgallery]

n a large, superbly designed and printed book titled The Absolute Sound's Illustrated History of High-End Audio dedicated to loudspeakers, we will not find a single word on the company Albedo (Robert Harley and others, The Absolute Sound's Illustrated History of High-End Audio, Austin 2013). And it’s no wonder - among the distinguished pioneers and veterans of the loudspeaker industry like Altec/Lansing, JBL, Quad, Spendor, KEF or Bowers&Wilkins and new, but heavily advertised and already well-known manufacturers, there seems to be no room for such a young (referring to the veterans) and "low-profile" (with a nod towards heavy promotion) company. In the early 1990s, two people, Massimo Costa, editor in chief of the Italian audio DIY magazine "Costruire Hi-Fi," and Giuseppe Pucacco, with a PhD in Physics from the University of Rome, joined their forces to explore the mysteries of the transmission line speaker enclosure. The fruit of their cooperation were mathematical rules describing this type of driver loading. Tangible result of these calculations was a proprietary simulation software that allows a very accurate prediction of the behavior of any transmission line. The basic design premise has been further expanded by adapting another important solution from the field of acoustics, namely the Helmholtz resonator, used to control the spectral components of transmission line emission (in the frequency domain). Albedo calls this solution Helmholine. The transmission line and Helmholtz resonator are the two basic characteristics that are the basis of all the three Albedo models – the HL2.2, the Aptica under review and the flagship Axcentia. Of course, the transmission line is not a new thing in audio. Once very popular, it is still used by many manufacturers, such as PCM and Castle. It is Albedo, however, that bears the palm when it comes to systematic research on this technology. But this is not the only characteristic thing for this Italian company. The other one concerns the drivers used in its speaker designs. And the Absolute Sound’s book (which I highly recommend!) dedicates a whole chapter to them, titled Ceramic Drivers and written by Jonathan Valin. Albedo, like other great manufacturers including Avalon Acoustic, Isophon, Kharma, Marten, Estelon and Tidal, use ceramic drivers from the German company Accuton. In 1984, Bernhard Thiel, an engineer at Backes & Müller in Germany, discovered a way to produce extremely thin layer of hard material called alumina, a crystalline form of aluminum oxide, which is found in nature as sapphire. He also managed to form it into the shape of a driver cone. This is done by burning the component at 2200° C and cooling it down properly. While these first fully ceramic cones had very good internal damping, they showed lots of high Q-factor resonance. To prevent this, Thiel used a laser to cut out holes in the cones and filled them with Sorbothane. Initially, ceramic drivers were produced exclusively by Backes & Müller, but after a few years from his invention Thiel left B&M and founded his own company, Thiel GmbH in Homburg, Germany. When in 1992 his former employer, Backes & Müller, withdrew from the production of speakers with ceramic drivers, Thiel found himself in financial problems. He was helped in this difficult time by Adrian Bankewitz, his longtime friend and European distributor. Thiel GmbH turned into Thiel & Partner GmbH and has been known since as Accuton, the name proposed by Bankewitz. 1996 saw the first ceramic woofers and 1999 a method for manufacturing diamond cones. In 2009, Accuton added to its lineup ceramic sandwich cones. The first product from the two Italians, who did not form Albedo until 2009, was a two-way speaker designed in 1995 for Apex Audio and sold exclusively in Italy. Looking at it it’s hard to resist the impression that it was a ready form, which after minor changes (more or less, at least) later evolved into the HL2.2 and Aptica. It was a small, slender speaker tapering downwards, mounted to a broad plinth that kept the exit of the transmission line at an appropriate distance from the floor. This shape has remained unchanged to this day. What has changed is the materials used and build and finish quality. The Aptica looks stunning, as if tailor made for refined interiors. And it is not kitschy in the least, which may easily happen. The front baffle is made of hand chiseled wood. The rest of the cabinet, including the back panel, is lute shaped, which is the design popularized by Sonus faber. The Aptica also uses new drivers. The earlier classic ones have now been replaced with Accuton ceramic drivers – a 150mm mid-woofer and a 25 mm dome tweeter with the DSD system. I couldn’t find any information on what the abbreviation stands for. According to the white papers available at the Albedo website the DSD is a variant of the Helmholtz resonator designed for high-frequency and used to suppress diffraction and reflections from the tweeter. It looks ultra-professional: on both sides of the Accuton tweeter dome are glued metal plates with cut outs, with damping material behind. The whole thing is simply perfect. Albums auditioned during this review Music For A While. Improvisations on Purcell, Christina Pluhar, L’Arpeggiata, Erato 4636203, CD + DVD (2014). Arturo Delmoni, The Songs My Mother Taught Me, John Marks Records JMR One/JMR 1G, gold-CD (1994). Bing Crosby, The Radio Years, GNP Records/King Records (Japan) 240E 6848, “Very Best Jazz”, CD (1988). Charlie Haden & Chris Anderson, None But The Lonely Heart, Naim naimcd022, CD (1998). Charlie Haden & John Taylor, Nightfall, The Naim Label naimcd077, CD (2004). Charlie Haden, The Private Collection, The Naim Label naimcd108, 2 x CD (2007). Danielsson, Dell, Landgren, Salzau Music On The Water, ACT 9445-2, CD (2006). Dean Martin, “Dean Martin”, Capitol D 162295, “The Capitol Collector Series”, CD (1989). Heinz Sauer + Michael Wollny, Certain Beauty, ACT 9442-2, CD (2006); John Coltrane Quartet, Ballads, Impulse!/Universal Music LLC (Japan) UCCU-40001, Platinum SHM-CD (2013). Jonas Knutsson + Johan Norberg, Cow Cow: Norrland II, ACT 9425-2, CD (2005) ; Lars Danielsson, Mélange Bleu, ACT, 9604-2, “ACT: Nu Jazz””, CD (2006). Laurie Anderson, Homeland, Nonesuch 524055-2, CD + DVD (2010); Miles Davis, In A Silent Way, Columbia/Mobile Fidelity UDSACD-2088, “Special Limited Edition, No. 1311”, SACD/CD (1969/2012). Modern Talking, The Collection, E.M.S.S.A. Argentina/Sony Music Entertainment Hong Kong 88725439142, “Limited Edition No. 0420”, K2HD CD (1994/2012). Pat Metheny Group, Offramp, ECM/Universal Music K.K. UCCU-9543, “Jazz The Best No. 43”, gold-CD (1982/2004). Pat Metheny, What’s It All About, Nonesuch Records/Warner Music Japan WPCR-14176, CD (2011); Savage, Tonight, Extravaganza Publishing/Klub80 Records CD001, “25th Anniversary Limited Edition No59/150, CD (1984/2009); SBB, Nowy Horyzont, Polskie Nagrania “Muza”/Belle Antique 142218, SHM-CD (1974/2014). ShowBand, Punkt styku, GAD Records GAD CD 013, CD (2014); Soundgarden, Superunknown, A&M Records 3778183, “Deluxe Edition”, 2 x CD (1994/2014). Japanese CD editions are available from [REKLAMA5] Although I was forewarned that the Albedo speakers deliver "big" sound, hooking them up to my system brought a pleasant surprise, like every time when something good happens in front of me. Manufacturers left and right claim impressive specs, which are often fabricated, and quote design details that only they are capable of employing, which is even more rubbish talk. This applies not only to the audio industry, but in our industry it happens to be difficult to verify. All this promotion talk is to generate a positive attitude towards the product. And then come what may; as if many producers felt that their customers are deaf and will not notice that something is "not quite right". Hence, those manufacturers that actually do use in their products interesting solutions, which actually work, deserve special recognition. I’m saying this because I cannot explain such a large soundstage and so good volume of instruments other than by a very good synergy of well-matched and properly crossed over drivers with the transmission line and Helmholtz resonator - the three distinguishing features of Albedo designs. The bass does not extend "surprisingly" deep nor is it "surprisingly powerful." This simply cannot be obtained from such a slim enclosure, no matter how cleverly designed. However, similarly as in the best standmount speakers from Harbeth, Spendor and Rogers, nothing seems to be missing here. The presentation is absolutely satisfactory, with no signs of "lacking" anything in the bottom end department. I could only tell that after auditioning several piano albums, an instrument that I used to sound engineer and record for years. A comparison with the much larger Harbeth M40.1 was also helpful. At the same time, the Aptica showed the same combination of incredible smoothness and attention to detail that I’d previously heard from other good speakers equipped with this type of drivers, like the Avalon Transcendent and the Isophon Berlina RC7. In the Aptica, these two tendencies, usually mutually exclusive, were combined with high resolution and large musical planes, and a fairly average selectivity. I mean an internally rich sound that wasn’t lacking any of its truly amazing attack, which was way above average, and at the same time resulted in a warm presentation, with slightly recessed upper midrange. The CD cover of Hainz Sauer and Michael Wollny’s album Certain Beauty released by the Munich-based ACT label includes the following paragraph: In one of my books I once wrote something that seems valid here. Under the heading “About the inner realms of duo-playing” it reads: “Jazz without drums, isn’t that a paradox? Like water flowing upstream? Sure, if you believe that jazz normally requires the noise level of a Boeing 747, then it is inconceivable without drumming. But let me send this friendly message to the friends of Gene Krupa, Buddy Rich and Max Roach: Doing away with the drums in jazz can have its rewards”, because, as Stan Getz once confided to me: Jazz is rhythm, man, and rhythm is inside you, nowhere else!” The words echoed in my ears along with wonderfully sounding well-recorded classical albums from Naim, ACT, ECM and Nonesuch. The speakers seem to be created for this kind of music, i.e. small ensembles, good production, peace and space between the notes and musicians. I would venture to say that if someone does not particularly like the appearance of the Harbeth M30.1 or M40.1 and wants a similar quality while listening to, say, Charlie Haden, Pat Metheny, Bill Evans and others, the Aptica would be my first recommended speaker. It is a very similar way of building up the sound that has the same texture, with great soundstaging and momentum, realistically sized instruments, and the same outstanding resolution executed by a very precise attack. And it's all smooth, silky and soft. You want detail without harshness or brightening? Here you are, the Italian speakers are the champions in this respect. I would even say that in terms of conveying transient attacks without sound compression they are better than my Harbeths. I am mainly thinking treble here. Their pitch differentiation in this range is much better than that of my M40.1. Ceramic drivers have an edge over any other type of driver design, with the possible exception of (good) diamond and some metal cones. This cannot be simulated or imitated in any other way. The Albedo’s predilection for small ensembles is part of something bigger. The speakers sounded fantastic when not loaded too hard with a continuous noise. That's why Heinz Sauer’s quote referred to earlier was so well suited to the review situation. Pushed towards more chaotic and compressed popular productions, like Modern Talking from the Japanese K2HD remaster or the - otherwise excellent – remaster of Savage’s Tonight produced by Damian Lipinski, they exposed their problems. That's good, as differentiation is one of the basic characteristics of high-end audio. The Aptica does it this way: "We know that all our children (here - recordings) are beautiful and we love them all the same because they are ours. But look how beautifully Hanna plays the violin and how good a swimmer James is!" I hope you understand what I'm trying to say. The speakers do not bash the albums that are not so great. The more "successful" ones, however, are the apple of their eye. Both Savage and Modern Talking as well as Soundgarden on the anniversary edition of Superunknown had a nice color, were not tiring and never sounded overly bright. At the same time, however, their dynamics was somewhat flat, as was their color differentiation. Yes, it is a problem of this type of recordings. Large loudspeakers or those combining high selectivity with resolution (real ones, not simulated by sharpening the attack) are capable of some kind of refining these weaker productions, without pretending that there are no problems with them. Other designs, focused primarily on selectivity, will continue to gnaw at their problems to the point where we are fed up with everything and will never come back to the given album. The Aptica chooses the middle path, presenting everything in a smooth and warm way, but without trying to authenticate it somehow. During his visit to my home and then listening to music at Janusz’s, at a meeting of the Krakow Sonic Society, Srajan Ebaen said that people tend to build their audio systems to suit their tastes and music they listen to (see HERE). I think he was right. You can pretend to strive for universal sound and absolute system transparency. It is a worthy goal, and my full respect to those who keep an eye on it! It is nevertheless a utopia, even if most beautiful. It is good if an audio system can equally well handle the widest possible variety of music styles, production and release types. In the end, however, what's the point of it if you still choose your favorite type of music and album releases. Is it not better to "push on" in this direction? I think Albedo prepared the perfect gift for all those in whom the words of Sauer stirred a dormant, and seemingly long-buried, longing for beauty, fullness and calm. Let me repeat: the point is not that the Italian speakers "do not play" anything, unless it came out of the hand of Ken Christianson or John Marx. But when you listen to Charlie Haden and John Taylor’s Nightfall, Pat Metheny’s What's It All About or vocal music from the 1940s and 1950s, you will realize that this is something you will henceforth aspire to. And you will get it with the speakers that look simply flawless, better than all that designer crap that people are pushed to buy. The speakers that are slender and do not occupy too much space, and are equally good with this type of music as the powerful, big Harbeth M40.1. It is generally true that when you read about an artist a bit more than just a note on the book cover, a mini-essay in the album booklet or a short mention in an exhibition catalog, you start to perceive their work in a different way. Literary theory has for years seen two opposing positions on the fundamental principles of interpretation of a literary work. According to one you should learn as much as possible about an author and the times in which he or she lived, and make cross-comparisons with their other works and the works of other writers. In this perspective, only full knowledge can bring us close to the most accurate interpretation. There is, however, an opposing look, in which the only way to "read" the literary work is to treat it as an autonomous, independent being. Any attempt at linking it with the author results in psychologizing and losing its authenticity. I must say that the latter approach was much more appealing to me during my university years. I was not alone in this, even though Polish universities tend to be very conservative in their teaching methods. In this case, conservatism meant tying a literary work to its author’s biography. We considered it a sign of backwardness. Postmodernism, introduced to us by professors Tadeusz Nycz and Michał Paweł Markowski, was incredibly attractive and we considered the method of "discovering" the literary work through its deconstruction to be a true revelation. However, I notice that as I get older I am more and more inclined to the classical approach. I can better understand what I read and what I listen to when I know whose work I read and whose song I listen to. And, better still, if I have an opportunity to see and hear the person live. This way I can link a work of art with my own emotional experience – an interpretative monstrosity! And yet, it seems to me that it is much more real and to be moved by it is what all this is about. The Apticas sound in a way that clearly refers to a particular system of values, needs and aesthetics. They are fantastic in that. Large phantom images, absolute smoothness and incredible sensitivity to individual sounds and their attack result in something truly unique. I am not saying that it is the best in the world, but that it is completely sufficient. Provided that we listen intelligently, and our album collection largely includes small ensembles. And if we have some more information, for example about the method of recording, everything gets even more beautiful. This was my experience with Naim releases, which I could appreciate even better after my earlier correspondence interview with Ken Christianson, the chief Naim producer and creator of the True Stereo system. A similar thing happened with albums from John Marx, an editor for "Stereophile," who by some miracle dig them up for me. They have long been out of print and often command shockingly high prices on eBay. Again, that was after my long, ultra-interesting interview with John. Both interviews are published in the current "High Fidelity" issue. The Albedo speakers also rewarded my deepened interest in them with an even better sound. Conclusion The Italian speakers have a somewhat recessed upper midrange. Not even its level as much as its energy, which is damped. The result is that all albums that are similarly withdrawn will sound less vivid, as was the case with the SHM-CD re-edition of SBB album New horizon released by Belle Antique label from Japan. Neither the new remaster in Japan nor the exclusive pressing could help that much and the poor production from the mid-70’s was evident. But even here the Aptica remained calm and smooth. However, it also showed that they are not fully universal speakers. They will definitely suit a particular group of music lovers and a certain body of recordings. Here, they will be true champions. Pair them with a good amplifier – preferably a powerful solid state machine – and you will have a system for life. Polish Albedo distributor also offers Crayon amplifiers and these will be a great match (see the review of the Crayon CFA 1.2 HERE). But do not forget about the Accuphase E-600, the two-piece elinsAudio Manufacture Mille and Vitus Audio components. The Albedo Aptica are superbly made and exquisitely finished speakers with a big, warm heart beating just for us. Actually, all important information about these speakers has already been given in the introduction. It is a two-way design in a transmission line enclosure, with a Helmholtz resonator to linearize response. The Aptica employs acoustic resonators inside the transmission line for cancellation of the unwanted line’s resonances and as acoustic impedance compensators. The line’s walls are additionally lined with medium porosity polyurethane. Albedo calls this solution Helmholine. A smaller variant of the Helmholtz resonator called DSD is mounted on both sides of the tweeter. The floor facing transmission line exit is located at the rear. To keep the speaker at the right height above the floor and prevent it from tipping over, it is mounted to a heavy steel plinth. It sports four pretty top-adjustable spikes. Leveling the speakers is fairly easy thanks to large locking washers. The speakers come with steel spike pads. I did not use them. Normally I use spike receptacles from Acoustic Revive, but this time the distributor supplied the Harmonix RF-900 MkII tuning spike bases, which is what I used during the review. The speakers were placed on the Acoustic Revive RST-38H isolation boards. The Aptica uses drivers from German Accuton – the 158 mm (6.25") C158-8-085 mid-bass woofer, and the 25 mm (1") C25-6-012 tweeter. The latter has an inverted dome. The drivers are crossed over with first-order filters (6 dB/octave). Phase coherence is one of the pet subjects of the people from Albedo, and it can only be achieved with this type of crossover. The crossover network is mounted on a printed circuit board. Although the first order crossover only requires a single capacitor and a coil, the Aptica uses a much more complex circuit, consisting of three audiophile class M-Cap capacitors, four air coils and three resistors. They are used for phase and impedance linearization. The signal is fed to the speaker via a single pair of speaker terminals that are mounted at an angle so the bananas plug in from below. The build and finish quality is perfect, including both the hand chiseled front baffle and the rest of the cabinet. The pair under review was finished in high-gloss varnish. The manufacturer recommends a 100-hour burn-in period. Specification (according to the manufacturer): Applied drivers: 158 mm mid-bass ceramic woofer | 25 mm ceramic dome tweeter with the DSD system Enclosure type: transmission line with Helmholtz resonator Crossover: 1st order Nominal Impedance: 8 Ω Sensitivity: 85 dB SPL (2.83 V / 1 m) Frequency response: 45 - 20 000 Hz Dimensions: 260 x 190 x 1010 mm Weight: 19 kg / pc. Available finish: Macassar ebony, glossy graphite ebony, black Distribution in Poland MOJE AUDIO ul Sudecka 152 53-129 Wrocław e-mail: biuro@mojeaudio.pl www.mojeaudio.pl [hfgallery] [img mini="foto_testy/1407/albedo/th/05.jpg" big="foto_testy/1407/albedo/05.jpg" src="foto_testy/1407/albedo/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/06.jpg" big="foto_testy/1407/albedo/06.jpg" src="foto_testy/1407/albedo/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/07.jpg" big="foto_testy/1407/albedo/07.jpg" src="foto_testy/1407/albedo/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/08.jpg" big="foto_testy/1407/albedo/08.jpg" src="foto_testy/1407/albedo/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/09.jpg" big="foto_testy/1407/albedo/09.jpg" src="foto_testy/1407/albedo/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/10.jpg" big="foto_testy/1407/albedo/10.jpg" src="foto_testy/1407/albedo/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/11.jpg" big="foto_testy/1407/albedo/11.jpg" src="foto_testy/1407/albedo/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/12.jpg" big="foto_testy/1407/albedo/12.jpg" src="foto_testy/1407/albedo/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/13.jpg" big="foto_testy/1407/albedo/13.jpg" src="foto_testy/1407/albedo/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/14.jpg" big="foto_testy/1407/albedo/14.jpg" src="foto_testy/1407/albedo/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/15.jpg" big="foto_testy/1407/albedo/15.jpg" src="foto_testy/1407/albedo/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/16.jpg" big="foto_testy/1407/albedo/16.jpg" src="foto_testy/1407/albedo/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/17.jpg" big="foto_testy/1407/albedo/17.jpg" src="foto_testy/1407/albedo/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1407/albedo/th/18.jpg" big="foto_testy/1407/albedo/18.jpg" src="foto_testy/1407/albedo/18.jpg" desc="HighFidelity.pl"] [/hfgallery]

his is how Keith Martin recalls IsoTek’s first months: The early days were chaotic, but great fun. I remember making the first 50 IsoPlugs (a plug-in noise suppressing device) on my kitchen table; the larger products were assembled on the landing upstairs. We were driven by our desire to make something better, to design mains conditioning components that improve sonic definition and detail without the dynamic restrictions commonly introduced by products already on the market. „Pulse”, Autumn 2011, s. 4. This dream soon became reality and the company that was founded in 2001 started to grow fast. IsoTek’s first product was the Substation, a modular power conditioning component that introduced the company’s innovative thinking and solutions to the audiophile world. It was soon followed in 2002 by the Mini Sub, an affordable, six-way conditioning unit. By 2003, it was clear that in order to progress the company needed to restructure. Manufacturing was moved to a 2,500 sq ft industrial unit. This was where a new generation of ‘GII’ IsoTek products was readied for launch in early 2004. Around this time, IsoTek began working with Nordost, the highly regarded cable manufacturer. The idea was simple: to create a mains conditioning component to be sold under the Nordost brand. The result was the Thor. As Keith recalls, to keep up with order demands they were working over 16 hours a day. Despite this hectic pace, IsoTek found the time to design two flagship products, the Titan and Nova reference-level conditioners. One was tailored for power amplifiers, the other for preamplifiers and source components. The Titan, sporting Direct Coupled Design technology, was launched in 2005. As in any well-managed company, design concepts and solutions developed for flagship products over time filter down way to less expensive product lines, like the EVO3 series. In 2011, IsoTek launched an upgraded version of the Titan mains conditioner called Super Titan, the first product in the flagship Ultra Reference range. We met Jonathan Brooks-Martin, IsoTek International Product Training & Sales Manager and Keith’s brother, during a recent presentation in Chillout Studio, one of audio salons in Krakow (see HERE; the description of Chillout Studio can be found HERE). This time we talk with IsoTek’s chief of chiefs, Keith. Wojciech Pacuła: Tell us please, how IsoTek was born, when and where. Keith Martin: The IsoTek concept was an idea that I had from overviewing the market of audio accessories. It seemed that there were fundamental flaws with existing so called power cleaners, many simply taken from other applications rebadged and sold as an audio solution. We were a small talented group of music fans with an eye for innovation and a passion for great sound. I designed the IsoTek logo and decided to form a company with a singular purpose: to deliver power filtering products that were more effective than the inadequate solutions available at the time. IsoTek was started in England, Hampshire, by Keith Martin, the IsoTek trademark was registered by Keith Martin in 2003 although the company had been running in a very small way for a few years before. IsoTek stands for Isolation Technology, we keep every single connected component free from pollution with each having its own dedicated clean power filtered supply (Aquarius, Sigmas, Titan…) What was your personal reason to start such a company? IsoTek was started from a desire to do something better. We were driven to design mains conditioning components that improve sonic definition and detail without the dynamic restrictions commonly introduced by products already on the market. To remove the noise on the mains line without removing the soul or emotion from the performance. To open the sound with perceived extended frequency range and openness with increased atmosphere. How do you persuade the customers that clean power is important? The first input into any audio or AV system is electricity. It flows through the system, utilised by each component in turn to create the signal that eventually moves the speakers' drive units or delivers the pixels on-screen. What we see and hear is ultimately fashioned from, and by, mains electricity - it is the 'raw material' from which the 'art' is created. Without power no component will work, not even the best products in the world, but the quality of the power will have a fundamental effect on performance. Power is the foundation of any good sounding audio system. Are there reliable measurements to back up such a statement? All of our products are tested for function, electrical measurements. Extensive listening tests are also carried out, as it is a fact that a paper capacitor will measure the same as a polypropylene capacitor, but can sound different in an audio circuit, so listening tests are vital. The products are then tested for maximum compatibility with third party equipment - we cannot claim that IsoTek works with everything, as we've not listened to every single audio component in every single configuration in the world - I don't believe anyone has. But we can say that we've travelled the world extensively conducting product training and A/B demonstrations and we've not failed to improve the sound of all audio systems IsoTek has been used with. We have independent tests from a Cambridge testing facility dB Technology, but perhaps the most relevant for your article is an independent test by British Audio Publication Hi-Fi News (see HERE) Why so many people do not “believe” in special power cords etc.? The simple fact is there are a lot of poor sounding solutions that are spurious and overpriced. It was this that lead IsoTek to design and produce our EVO3 Premier power cable, which uses high purity materials to produce a sub 100 EURO cable that out performs cables costing several times its price. Here are some independent review comments: “This lead offers a level of performance that competes with considerably more expensive cables... so effective and such good value for money that I now have three!” Tony Bolton, “Hi-Fi World” “The IsoTek EVO3 Premier power cable is a bit of a no-brainer as far as I am concerned – the benefits of high-end power cable design, but without the high price. Recommended!” Jerry Jacobs, “Hifi Pig” “A distinct cleaning up of the sound... more space, lower noise, greater resolution and a much greater sense of musical flow... highly recommended and particularly good value for money” Jason Kennedy, “Hi-Fi Choice” Could you tell us more about your strategy in designing power cables? Do you use a certain gradation? Our strategy for producing anything first starts with understanding what we're trying to achieve, using the best components or materials that we can, and then applying suitable design and engineering to give a result that is the best possible at the given price point. Of course small compromises need to be made for low cost solutions, but these decisions are carefully weighed up. We also work to a strict build of materials and labour element when pricing so that the product or cable is always very fairly priced. For example EVO3 Premier uses 6N OFC copper, silver plated conductors, FEP (Teflon) dielectric, we protect this dielectric by packing the cable with cotton this not only preserves the dialectic constant but also helps against microphony. We then terminate with solid copper 24ct gold pated connectors. We realised that a considerable amount of time would be spent in the termination process, so we tooled up our own connectors to apply by a manufacturing process, so we don't compromise on performance, but save the customer considerable labour costs. In most cases just the connectors alone would cost more than our fully finished EVO3 Premier. We would say that EVO3 Premier is the lowest grade power cable that you should use. If you're using the cheap black cables that came free with your equipment you're already holding back the performance of your audio system. So lets weigh up the challenge. We cannot do anything about the cable from your home to the power station, and to be honest there is less resistance in the power running over pylons (due to the very high voltages) compared to a dirty connector in your home. It is when the power steps down to 230V that our work must begin. A good quality power cable from the wall socket is important as we don't want to limit things further, high amperage is often beneficial - this should be connected into an IsoTek conditioner, we can then remove Common Mode and Differential Mode noise. Then using our cabling we can preserve this. As we've said Premier is such a great cable for the money it should be the least you should do. How do your top power conditioners work? Are they similar to products from Accuphase or PS Audio? We have the greatest respect for Accuphase and PS Audio. We design our unique circuits from the ground up, IsoTek offers unique solutions with a very strong focus on preserving and improving the sound of all audio systems. We offer both passive and active solutions and have just relaxed Mosaic Genesis, perhaps the most interesting hybrid power conditioner yet. Any special advice to “High Fidelity” readers? Assemble an audio system on strong basic principles, not marketing or media hype. Don't forget the room that it is placed within. A good quality rack, and good quality input power. Try to run a dedicated spur, a single line to your audio system. From here you have a good foundation point. We have a useful Set-Up CD that will enable you to get the best from your audio system too through correct loudspeaker placement. We designed it to help our international product trainers Set-Up and fine tune audio systems prior to demonstrations, its also been used extensively at Hi-Fi Shows by other manufacturers too! 10 MUST-LISTEN ALBUMS Could you list 10 albums that “High Fidelity” readers should listen to and tell us why? Firstly a word of warning, I listen to lots of different music and have quite an eclectic taste. Your question is very tricky as I've probably close to 6000 albums mostly on vinyl. I've tried to select 10, which cover different styles that perhaps your readers might not yet have heard of, some I'm sure have. Unfortunately I ran out of space for the latest Lana Del Rey album Ultraviolence that I'd also suggest buying too… (see a Polish review HERE). It will be used in some IsoTek demos sometime in the future!!  So in no specific order… Antony & The Johnsons: I Am a Bird Now Beautiful, haunting baroque pop that perhaps is a little sinister at times. On this distinctive album the music grabs a hold of you and just doesn't let go. Nick Cave & The Bad Seeds: The Boatman's Call Sombre and minimalist, an album that reflects on personal relationships and spiritual yearnings, it remains one of my favourite Nick Cave albums. Cat Stevens: Tea for the Tillerman This is well known and a classic and includes many of Stevens best known tracks. The Stone Roses: The Stone Roses A pioneering English group of the 'Madchester' movement in the late 1980s. This is their debut album released in 1989, just fantastic nostalgic memories of my youth! Goldfrapp: Felt Mountain A juxtaposition of shuffling drum beats and hushed vocals coupled with crying analogue synthesizers, seven chords evoke amazingly strong images of all things past but remains undated and fresh. Roger Waters: Amused to Death This concept studio album by former Pink Floyd bassist and song writer Roger Waters explores his disillusionment with modern western society, specifically the influences of television and mass media. Recorded in Q Sound, this stereo album gives full surround sound effects. If you like The Wall, and you like Waters lyrical style then you'll love this, the recording is stunning! [Soon it will be released again by Analogue Productions on vinyl and SACD/CD; see more information HERE and HERE – ed. note]. Rimsky-Korsakoff: Scheherazade(Reiner & Chicago Symphony Orchestra) LSC 2446 This is a ravishing and romantic approach that will leave you breathless. It is my favourite interpretation of Scheherazade as well as being a bit of an audiophile classic. Neil Young: Unplugged Part of MTV's 'Unplugged' series which captures classic Young tracks in a laid back acoustic way. I never tier of this album and as my system has improved over the years so has the detail and atmosphere in this recording. Gregorio Paniagua: La Folia De La Spagna (Harmonia Mundi) A folia is apparently some sort of mad dance, this statement perfectly summarises this album! Consisting of Spanish dance melody ranging from Renaissance, Baroque to ultramodern variations with jazz rhythms, including chainsaws, pistols, birds and automobiles! The performance is excellent, the music bizarre, but fun... not much compares. Thoroughly enjoyable, time after time after time. Air: Moon Safari Described as psychedelic, or downtempo space pop, with a progressive rock twist, this is the debut studio album by French music duo Air. I enjoyed this album form the first note and now avidly buy anything released by the group. Virgin Suicides a score created for Sofia Coppola is also fantastic. I recommend both, even though this takes my music selection to 11 or maybe 12!

hen I think about Phasemation I see a picture in front of my eyes of an older gentleman, the CEO of this company, standing next to the TechDAS Air Force One turntable gently lowering stylus to the groove. That's a picture, to be exact, from a „Stereo Sound” magazine, and since the size of that picture is quite small I can't be quite sure but it seems that it's a stylus of either his top cartridge PP-1000, or its predecessor P-1G. Phasemation, a company that has a separate brand on Japanese market called Phase-Tech, is widely recognized as an „analogue specialist”, as they've been providing customers for years with excellent cartridges and phonostages. Also the other above mentioned company, TechDAS, is widely recognized as an analogue specialist because of their fantastic „One” and „Two” turntables (I know they work on new models - entry level „Three” and a new flagship „Zero”). But the fact is that both these brands offer also headphone amplifiers and D/A converters, so not only turntable related products. So why do these brands have such products in their portfolios? At first answer might seem hard to find but only if one doesn't know much about quite specific Japanese market that combines a lot of „classic” products with a some futuristic ones. Maybe that's why this „hi-tech” country rejected audio files as music medium for so long but finally when files playback reached certain (high) level of performance it quickly became widely accepted, or one could think so basing for exampa files player, or a computer and D/A converter. So it seems possible that these two seemingly totally different worlds could be, on some level, coherent and complimentary. One of these products that don't really fit into Phasemation's „analogue” image is a HD-7A192 D/A Converter. There are few versions of this device and one can find it only on Japanese web-page of Phase-Tech, but it sports something that immediately attracts attention: a digital K2 filter. This D/A Converter uses a special algorithm to convert 16 bit signal into 20 bit one. Most audiophiles heard about it because of famous JVC CDs - XRCD/XRCD2/XRCD24, but also K2 and K2 HD. These CDs are prepared in a special way using K2 D/A converters, K2 converters, K2 de-jitter circuits, and finally a special K2 laser that cuts a CD matrix. But the fact is that K2 was firstly used as a D/A converter to play music. It was invented by JVC and Victor Musical Industries in 1987, and at first it was used exclusively in JVC's CD Players. Today few more companies use them including Reimyo in their DAP-999EX Limited D/A Converter, and Phasemation. It is not widely used because of limited quantity if JVC8009 chips, and because Japan Victor Company is quite reluctant when it comes to granting a license for using an adequate logo. This DAC sports two S/PDIF inputs, a coaxial RCA and optical Toslink. The former accepts signal up to 24 bits and 192 kHz, the latter up to 24/96. There is another input, important enough to have it described already on the packaging as: „USB Audio Interface”. This input is build around Xilinx chip that accepts PCM signal up to 32 bits and 192 kHz. The K2 processor is, at least for me, the most important element of this device. In Reimyo devices it works all the time. In Phasemation it can be switched off. When activated a green LED turns on. It's color might change to red which indicates that K2 isn't working but a 4x synchronous upsampling has been activated. Upsampling is active also when K2 is on. At the back besides digital inputs and analogue outputs there are two more BNC sockets. One of them can be used to send a synchronization signal to a compatible CD Transport. But even more important one is the one that allows connection with external 10 MHz master clock. You might remember our coverage of Cracow Sonic Society's meeting with Mr Raveen Bava, who presented a dCS Vivaldi digital system? If you don't remember (or never read it) I strongly encourage you to read it (see HERE). One of the most important elements of this four-box, 400.000 PLN system was an ultra-precise master clock. This solution is widely used in professional studios, where different devices have to be synchronized with a single master clock. All of them sport proper inputs and there are manufacturers who offer high quality external master clocks that can be used for this purpose. JVC followed the same approach in their K2 mastering system, and used K2 master clock for all elements of the system. The newest version of K2 system, for XRCD24, includes „Rubidium K2 Clock”. Why did they use it? Because they learned that a proper master clock helped to reduce jitter in the device and thus to improve sound. Audiophiles quickly learned this trick and started to use professional master clocks in their systems but then manufacturers caught up and delivered products designed for audiophile systems. Nowadays it is hard to imagine systems from dCS, or Esoteric without external master clock. An interesting fact – most companies offering master clocks for audiophile systems come from... Japan. There are not so many of them of course, but Phasemation is one of them. They offer their HD-7Rb („10 MHz Rubidium Master Clock Generator”) that sports same clock as used by JVC, and it costs twice as much as the reviewed D/A converter. The symbol of an atom on a front plate might suggest that it is in fact a Rubidium Atomic Clock, used in Universal Japan studios. A proper logo one can find on many CDs from this label, for example on „Jazz The Best” series. Unfortunately during this test Phasemation Master Clock was not available. If you want to read more about K2 see HERE. Phasemation in „High Fidelity” Phasemation EPA-007 – headphone amplifier, see HERE Recording used during test (a selection): Paganini For Two, Gil Shaham, Göran Söllscher, Deutsche Grammophon/Universal Music Ltd, Taiwan 480 246-5, XRCD24 (1993/2009). Aquavoice, Memoris, Generator GEN CD 011, CD (2009). Czesław Niemen & Akwarele, Czy mnie jeszcze pamiętasz?, Polskie Nagrania MUZA/Polskie Nagrania PNCD 1572, CD (1968/2014). David Gilmour, On An Island, EMI Records 3556952, CCD (2006). Diana Krall, All for You, Impulse!/JVC 532 360-9, XRCD24 (1996/2010). Elton John, Goodbye Yellow Brick Road, Mercury/Universal Music LCC UICY-40025, Platinum SHM-CD (1973/2013). John Coltrane, Expression, Impulse!/MCA Victor MVCZ-39, “Master of Jazz”, K2 CD (1967/1996). Karajan, Adagio, Deutsche Grammophon/Universal Music Ltd, Taiwan 480 245-9, XRCD24 (2010). Laurie Anderson, Big Science, Nonesuch 79988-5, “Expanded and Remastered for the 25th Anniversary”CD (1982/2007). Martin Krotochwil & Jazz Q, Temmné Slunce, soundtrack, GAD Records GAD CD 018, CD (1980/2014). Mike Oldfield, Man On The Rocks, Virgin/Universal Music LCC UICY-15274, SHM-CD (2014). Skrzek & Rudź, The Stratomusica Suite, Generator GEN CD 032, CD (2014). Talk Talk, Spirit of Eden, EMI Records 8571292, CD (1988/1997). Japanese issues available at [REKLAMA5] I have no problem with stating that under certain circumstances the D/A converter under review might be the only one you'll ever need. It is not the best DAC I know, far from it actually. It is easy to discover all choices its designer made and then to assess them by yourself. What's more – it is also easy to tell what exactly one pays for sometimes even several times more money when buying top quality device of this kind. But still from the moment I started my sessions with HD-7A192 as well as when I finished them I was certain that this was a well thought through, finished design that required no tweaks, upgrades or whatsoever. It might not be clear to everyone at first. No offense please. I simply think that to assess products from such specialized market niche like high end audio one needs a lot of experience in it. If one's experience is based on listening to DAC's from manufacturers like Arcam, Cambridge-Audio, Pro-Ject, Music Hall and others like that – that are very good but only at their price level – one might find Phasemation's sound indistinct. But if one has a lot of experience with high-end systems and one realizes quickly what all these Arcams, Pro-Jects and other lack to enter high-end world, and also why this solid-state converter fits very well into a portfolio of a company offering very expensive cartridges, phonostages and powerful, tube amplifiers. I'll get back to that bit later but I want to make one thing very clear from the beginning – I assessed this DAC with K2 processor on. It wouldn't be fair to say that without it this DAC wasn't any good. K2 is not a magical trick, it is supposed to improve already very good input signal. You know what they say: sh.t in sh.t out no matter what you do with it in between. If you put sh.t in than all you can do is to „pack” it nicely but it still will be a nicely packed sh.t. So this DAC is a very good device but it is K2 that gives the sound the final touch, makes the sound more sophisticated, „noble” and it is K2 that allows me to say that for some people this might be the only DAC they'll ever need. It offers very smooth and dense sound. That's kind of proprietary JVC feature, that I recognized from Reimyo converters that sport K2 processor, and from XRCD and K2 CDs. An interesting thing – the newest CDs of this kind, the K2HD, offer less of this density (that might be perceived almost as euphony) than their predecessors. Euphony in case of HD-7A192 is bit of a too strong word but I still would like to use it as it explains best the direction of thinking I'd like to invite you to chose here. Phasemation is capable of „extracting” from any recording some things that usually gets buried under many other more „significant” elements. The most important of them is the „air” that is always present during recording. It manifests its presence by a low level noise and by „ambiance”. And all the noise from microphones and tape becomes to make sense. One can hear them better, which some might interpret as a bad thing, noise is not a good thing, right? It is obvious that noise is an enemy of high quality sound. But the noise I'm talking about is an inseparable part of the signal that we have to reproduce at OUR side of the chain. So it has to be reproduced equally well as the rest of the signal. K2 used in HD-7A192 does a fabulous job at that. All the noise that comes from tape and microphones should be interpreted by the device as any other part of the signal and how it deals with that proves the quality and value of particular device. If these elements are somewhat emphasized, or sound too bright there is work to be done, it should be eliminated. Such a system would have an emphasis in the upper part up the range and that's something I can not tolerate, that's a thing that totally spoils music. When, on the other hand, treble is rolled off it is also wrong but such a sound with limited resolution is easier to accept for many people than a too bright one. To be clear – I don't listen to noise, but it help me to establish some fundamental facts concerning system, particular device and/or recording. There is no emphasis on treble here. Japanese converter offers slightly rounded sound with a hint of natural warmth. That's a coloration, all right, but it is so small that it could easily be interpreted rather as sonic character than coloration. I could describe bass in a similar way. There is a lot of it if only particular recording allows it, it's colorful, tuneful, with a nice slam. But, same as the treble, it's a bit rounded. And, again the same as treble, it's extension could be a bit better as it isn't as good as presented by for example Ayon Audio Sigma that I reviewed recently for „EnjoyTheMusic.com. But I said it was a complete sound, right? Right, it is! As any audio device also this one has some limitations that have been composed into DAC's performance which in general voids these limitations. Everything one could hold against this DAC goes away because of its smoothness, richness and impressive resolution of low level signals. There is nothing in this sound that causes immediate „wow” effect, nothing demands listeners attention and yet when one starts to listen one dives deep into music and nothing else matters. Yes, I did start my listening sessions with XRCD and K2/K2HD discs from my collection. I concentrated on those that I got directly from Mr Kazuo Kiuchi, when he visited us in Cracow (see HERE). Mr Kiuchi's involvement, also financial one, in this system is well known, and you can find his name on many covers of XRCD24sstating his as a producer. That is I value so much discs with his personal inscription for me. But it's not really a point here> i started with these CDs and I got what I'd expected – some sort of „compatibility” between these discs and this DAC. Soon enough I found out that limiting my sessions to K2 CDs was not necessary. Everything I loved so much about this performance – amazing depth not only of the whole recording/soundstage but also of individual sounds – I found also while listening to non-K2 recordings. It worked even with such a poor (technically!) recordings like Mike Oldfield's Man On The Rocks, his newest album that I got in, hypothetically, best possible version - SHM-CD, straight from Japan. Even this version doesn't really help with brightness and compression. It might even make it worse to listen. But still, while played through Phasemation it sounded at least OK, with more precise, deeper, more „pleasant” images. And vocal wasn't so irritating any more. On the other hand with small masterpieces like Czesław Niemen and Akwarele's Czy mnie jeszcze pamiętasz new remaster prepared by Jacek Gawłowski (see more HERE) it sounded amazing, beautiful. There was this natural softness and amazing ability to differentiate timbre, great spacing and precise imaging. That's what Phasemation does so well! Summary Any ideas that are supposed to lead to improvement of a Red Book sound seem, in times of HD Audio, obsolete. Why would someone improve something that is a „closed system” while at the same time we have at our disposal a signal that offers much better parameters, that is there within grasp and that costs less? I respect such a view as it is based on solid theoretical base. It was nicely laid out by Mark Waldrep of “Real HD-Audio”: The article I read says that the XRCD process creates “precise pit lengths to eliminate time jitters”. There is no jitter associated with the position or length of the pits on a CD. The data is read by the optical laser from the pits (and lands) and re-clocked within any quality CD player. Basically, it’s a stream of words pulled from the pits and then sent out to the DACs in a tightly clocked sequence. The original rubidium clock is old news by then I’ve posted on this topic previously. The resolution of a Redbook CD cannot be “extended” by using better mastering methods or custom processing of any kind. There will always be 44.1 kHz samples and 16-bit words on a CD. The best that can be said about XRCDs is that they are among the best CDs ever replicated. But the quality of the source audio and the quality of the mastering process determine the overall sound of the final replicated CD much more than the “K2″ converters or XRCD label. This is another example of marketing over media. If the music you want is available as a normal CD file or download, you should acquire it that way. If you spend $35 on an XRCD, you’re wasting your money. Here’s a troubling and completely impossible statement from a review on Amazon of the XRCD of Steve Miller’s “The Joker”, “Without a doubt, this is a High Resolution CD”. Mark Waldrep JVC XRCDs: A Blueprinted Compact Disc (“Real HD-Audio”, Aug 27th 2013, see HERE) It's a reasonable, well laid out opinion. On paper it looks very well. But in reality, where this „paper” is verified by actual experience, at least in my opinion, it seems wrong. I'd say that if one decided to spend 35 USD for XRCD, it is money well spent, probably in the best possible (at least today) way. I've been buying CDs that were prepared in more advanced way than regular ones and audible differences between these and „regular” CDs are always somewhere between clearly noticeable and huge. So i definitely can't agree with those who claim that it doesn't matter how CD is done – that's simply not true. But it's been repeated so many times by many people that it became a „common knowledge”. Same can be said about audio devices: it does matter how a digital signal is processed and converted, it simply effects what we can hear. It might even be more important than one would think. Even though it seems to oppose „bit-to-bit” logic digital processors, like K2, when calculating bits read from a CD, do something they should not be able to do. If they are good enough, I mean. And K2 belongs among the best of them. Using it Phasemation designed a D/A Converter that offers a higher quality sound based on 16/44 signal from a CD than on HD signal delivered via USB input. The latter offers very good quality, sound is dynamic, tuneful, but it doesn't have resolution and density of what CD (played via high quality CD Transport) delivered. When I compared the two I thought that playing even HD audio files was still far from perfect. It's a beautifully sounding DAC. There is nothing about this device that could indicate it comes from Japan. It could as well be made in China. In fact nowadays many Japanese devices look like that. A solid design but not special about them. The casing was made of brushed aluminum. There are two nice knobs on the front of the device. One is input selector other allows user to activate K2 filter or only upsampling – by pushing it in – or change input sampling frequency by rotating it. I do not really understand how the latter function works and the manual quite purely translated to English doesn't really help. But the „manual problem” is quite common especially among small manufacturers. Form what I understood user has to manually select sampling frequency if signal comes from a „home made” source. Any other device should automatically synchronize with DAC and rotating this knob doesn't effect the sound. Operation of K2 and upsampling (these two are connected) is indicated by a green LED, when only upsampling works a LED turns red. If non of these circuits works this LED does not work at all, and the other green LED indicates a selected input. There is also a LED that works if external master clock is used. The back side of this device is pretty standard: RCA, USB and Toslink digital inputs, a pair of gold plated analogue outputs, a dedicated input for external master clock and a master clock output to connect it to CD Transport. There is also a IEC socket as Phasemation has w power supply integrated within the same casing. The mechanical design is pretty good, although there is nothing special about it. Except maybe for one element – there are three feet, one supporting the back of the device, and two supporting front. The front feet are fixed to the bottom of casing and than through decoupling rubber washers with a bakelite plate. On the other side of the same plate power transformers are fixed so all these elements seems to create a single „block” together. So in case one decides to use additional anti-vibration feet one should place them under feet, not just any place under the device. It might not look fancy but it is a solid design. It's built around quite advanced power supply section with 3 R-core transformer: two supply analogue section (right and left channel) and the third one powers digital stage. The latter has 5 separate secondary windings. Analogue section sports a rectifier based on Zener diodes. There are a lot of high quality capacitors. There are two, one per channel, Burr Brown PCM1974A DAC chips. The I/V conversion, analogue filters and output buffers are all based on transistors and not on integrated circuits. Manufacturer used high quality elements like metallised resistors, polypropylene capacitors, and purple Sanyo electrolyte capacitors that I've seen before a lot in many of the best digital devices. The digital section combines several DSP and CMOS circuits. USB input delivers signal to XMOS chip that is capable of decoding signal up to 24 bit/192 kHz and converting it to PCM I2S signal. Next this signal (also signals from other two digital inputs) is sent to Analog Devices AD9852ASTZ DSP circuit. It seems to be a digital receiver with PLL loop that also sports digital filters and upsampling feature. Next there is an inconspicuous JCV8009 chip – it's a D/D converter that changer 16 bit words into 20 bit ones by interpolating additional bits (not by adding empty ones). Only than signal goes finally to DAC chip but not directly only via optocouplers – optical isolators separating these two sections. An impressive design with lots of interesting ideas and good engineering involved. Technical specification (according to Manufacturer) Sampling frequency: • USB – 44,1/48/88,2/96/176,4/192 kHz | 16/24/32 bit • RCA – 44,1/48/88,2/96/176,4/192 kHz | 16/24 bit • Toslink – 44,1/48/88,2/96 | 16/24 bit Maximum output: 2 V rms Channel separation: 105 dB (10 Hz – 20 kHz) S/N ratio: 110 dB (10 Hz – 20 kHz) Frequency response: 5 Hz – 4 kHz (+0, -2 dB, fs = 96 kHz) Distortions: 0,008% (1 kHz, 0 dBfs) Output impedance: 100 Ω Power consumption: 12 W Dimensions: 260 x 77 x 327 mm (WxHxD) Weight: 3,2 kg Polish distributor ETER AUDIO ul. Malborska 24 | 30-646 Kraków | Polska tel.: 12 425 51 20/30 e-mail: info@eteraudio.pl www.eteraudio.pl [hfgallery] [img mini="foto_testy/1408/phasemation/th/05.jpg" big="foto_testy/1408/phasemation/05.jpg" src="foto_testy/1408/phasemation/05.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/06.jpg" big="foto_testy/1408/phasemation/06.jpg" src="foto_testy/1408/phasemation/06.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/07.jpg" big="foto_testy/1408/phasemation/07.jpg" src="foto_testy/1408/phasemation/07.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/08.jpg" big="foto_testy/1408/phasemation/08.jpg" src="foto_testy/1408/phasemation/08.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/09.jpg" big="foto_testy/1408/phasemation/09.jpg" src="foto_testy/1408/phasemation/09.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/10.jpg" big="foto_testy/1408/phasemation/10.jpg" src="foto_testy/1408/phasemation/10.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/11.jpg" big="foto_testy/1408/phasemation/11.jpg" src="foto_testy/1408/phasemation/11.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/12.jpg" big="foto_testy/1408/phasemation/12.jpg" src="foto_testy/1408/phasemation/12.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/13.jpg" big="foto_testy/1408/phasemation/13.jpg" src="foto_testy/1408/phasemation/13.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/14.jpg" big="foto_testy/1408/phasemation/14.jpg" src="foto_testy/1408/phasemation/14.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/15.jpg" big="foto_testy/1408/phasemation/15.jpg" src="foto_testy/1408/phasemation/15.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/16.jpg" big="foto_testy/1408/phasemation/16.jpg" src="foto_testy/1408/phasemation/16.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/17.jpg" big="foto_testy/1408/phasemation/17.jpg" src="foto_testy/1408/phasemation/17.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/18.jpg" big="foto_testy/1408/phasemation/18.jpg" src="foto_testy/1408/phasemation/18.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/19.jpg" big="foto_testy/1408/phasemation/19.jpg" src="foto_testy/1408/phasemation/19.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/20.jpg" big="foto_testy/1408/phasemation/20.jpg" src="foto_testy/1408/phasemation/20.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/21.jpg" big="foto_testy/1408/phasemation/21.jpg" src="foto_testy/1408/phasemation/21.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/22.jpg" big="foto_testy/1408/phasemation/22.jpg" src="foto_testy/1408/phasemation/22.jpg" desc="HighFidelity.pl"] [img mini="foto_testy/1408/phasemation/th/23.jpg" big="foto_testy/1408/phasemation/23.jpg" src="foto_testy/1408/phasemation/23.jpg" desc="HighFidelity.pl"] [/hfgallery]