Issue 67

Features

Personal Fidelity:

HiFiGuy 528’s Faves!

By Mike Liang

995:

Seven Cheap and Cheerful Favorites

By Mark Marcantonio

Old School:

Vintage Favorites

By Sean Brady

Feature Favorites

The SMARTractor
By Richard Mak

Four Favorite Upstarts:
Audeze, ModWright, PrimaLuna, and Coffman Labs

My Nine Favorite Amplifiers
By Jeff Dorgay

Seven From My System
By Rob Johnson

Our Favorite System – The Devialet Ensemble

Music

Current Releases:

Bob Gendron’s Favorite Live Rock Albums of the Last 25 Years

Jaan Uhelszki’s Favorite Short List

Jeff Dorgay’s Six Favorite NON Audiophile Discs

Previews

BAT VK-655SE Power Amplifier

Simaudio MOON Neo 430HA

Dali Rubicon 2 Speakers

Rega DAC-R

Reviews

SONY’s NWZ-A17
A new standard in portable players
By Jeff Dorgay

Kiseki BlueNS and Purple Heart NS phono cartridges
By Jeff Dorgay

The REL S/2 Subwoofer
By Jeff Dorgay

Rega RP10 Turntable

Our publisher has been a Rega fan since the fateful day in the mid-’80s when we happened by our local dealer (Audio Emporium in Milwaukee, Wisconsin) to find them opening a shipment of Planar 3 turntables.  As they lifted a bright, fluorescent green table out, the sales guy quipped, “What idiot would buy a turntable in this color?”  Little did he know that’s been publisher Dorgay’s favorite color since age 6.  He solemnly replied, “I’m that idiot!” and we took that little British table back to his listening room and were subsequently blown away, being Technics SL-1200 guys at that moment in time, thinking there couldn’t possibly be anything better than direct drive.

Words like pace and timing weren’t even part of our vocabulary back then, but there was a ton of inner detail coming through those Magnepan MGII speakers that wasn’t there the day before, and to this day, both of us have always owned at least one Rega turntable.  For the record, my current reference is a P9 with Apheta cartridge, and it has served me well for some time now.

Evolution no. 10

Someone once said that an elephant is only a mouse built to military specifications, and on one level the same could be said for the P9 – you could think of it as a fully geeked-out P3.  The platter, drive mechanism, tonearm and power supply are all highly evolved versions of the basic Rega turntable.  For those of you that aren’t familiar, the tonearm on the earlier P3 and P9 shared the same basic casting, and now the new RP10 uses a highly refined version of the new casting for the RP3 (and is secured with the same red tape Rega has used for decades), yet the new RB2000 is completely handmade and finished to the highest of tolerances, as was the RB1000.

According to Rega, the RB2000 arm “is designed to have a minimum of mechanical joints while using the stiffest materials possible in all areas.”  Like its predecessor, the bearings are hand fitted and of highest quality, all handpicked for tolerance before insertion into the arm.

A new twist on the Rega platform, beginning with the RP3, is the mechanical brace: magnesium in the RP10, going between the tonearm mount and the turntable bearing, assuring maximum rigidity between these critical areas, while taking advantage of the new, skeletal plinth (further refined from the RP8 design) having seven times less mass than the original Planar 3.

An ex-automotive engineer, Rega principal Roy Gandy has always taken the advantage that less mass means more energy transferred from the record groove to the stylus tip, an opposite philosophy of the “more mass is better” approach embraced by some other manufacturers.  Gandy’s approach has always worked well, but in the past, the P3 and variations have always been accused of being somewhat lightweight in the lower register.  The former flagship P9 has always featured the liveliness that their tables have always been known for, with additional heft in the low frequencies.  Combined with a set-and-forget ethos, there’s no wonder the P9 has won the hearts (and ears) of so many music lovers that just want a fabulous turntable without the setup anxiety.

The race is on

So as much as we wanted this to be a standalone review, the question on the tip of everyone’s tongue – and on our Facebook inbox – has been, “How does the RP10 stack up to the P9?”  As the title of this review suggests, it is an evolutionary move.  Listening to the P9 and RP10 side by side easily shows the additional resolution present in the new table.

A speed check was the first test on our list, and utilizing the Feickert iPad app showed the RP10 to be dead-on for both 33 and 45 rpm speeds.  It’s still somewhat of an urban legend that Rega tables run “a bit fast” to provide a zippier sound.  In our experience, this just hasn’t been the case in the last 15 years or so, and the RP10 keeps them batting a thousand.  So, if you’ve had any internet-related anxiety about the speed of the RP10, forget about it.

Ease as always

Should you opt for the Apheta MC cartridge, which comes pre-installed (at least for US customers), it’s a winner on two counts.  The Sound Organisation, Rega’s US importer, sells the two as a package for $6,495, saving you almost a thousand bucks in the process – and they install the cartridge for you.  Even though this is super easy, because the Apheta features Rega’s three-bolt fastening, and as all Rega tables come from the factory optimized for correct VTA, the RP10 is possibly the only no-fuss, no-muss premium turntable.  All you need to do is set the tracking force to 1.75 grams and fiddle a little bit with the anti-skate if you feel so inclined.  If it takes you more than five minutes to play records on an RP10, you are overthinking it.

If the Apheta is not your bag, rest assured that there are a number of other great cartridges available that will provide excellent synergy with this table.  Here at TONE, we’ve used everything from the ZU Denon 103 cartridge all the way up to the $10,000 Lyra Atlas cartridge on both the P9 and RP10 with fantastic results.  You can read the Apheta review here[1] to get more of a feel for this cartridge, but for those not wanting to dig back, here’s a short synopsis:  The Apheta is a very fast, neutral cartridge with a lot of HF energy.  If you don’t have an MC phonostage capable of going down to somewhere between 25 and 50 ohms, the Apheta will make a poor showing and sound somewhat shrill.  Load it correctly and you will be rewarded with clean, detailed sound.

The P9 and the new RP10 are awesome for music lovers who want great sound without a fuss.  While I’ve listened to a lot of megabuck tables at the TONE studio, $5,000 is my sweet spot – and let’s be clear: I do not consider this the point of analog diminishing returns; however it is all the more I’m comfortable spending on a turntable.  So for me, personally, the RP10 gives me enough of a glimpse into the price-no-object tables for comfort.  Considering Rega has only raised the price $500 over the cost of the P9 speaks volumes for their manufacturing efficiencies.

More listening

As hinted at the beginning of this review, the RP10 does reveal more music throughout the range.  Transients are cleaner, the bass carries a bit more weight, and the high end is even crisper than before.  Regardless of program material chosen, the improvements made feel like going from ISO 200 to ISO 100 on your favorite digital camera (or film for those of you still embracing the medium).

Should you trade up from your trusty P9?  That’s a question only you can answer, and it will probably depend on what your dealer will give you for a trade-in and how wacky you’re feeling with the checkbook.  -Jerold O’Brien

Additional Listening

I’m probably more anxious than most people to finally get my hands on the RP10, as I saw the prototype of this turntable at Roy Gandy’s home about six years ago and it was fantastic back then.  You’ll either love or hate the skeletal design; I love it because it looks so un-Rega, but those of you wanting a more traditional-looking turntable can leave it in its full base.  Me, I’d rather see it in its naked glory and cast a few spotlights on it, letting the shadows fall where they may.

As Mr. O’Brien mentioned, this table, though more radical in design, is definitely evolutionary.  You won’t mistake the sound of the RP10 for an SME or Clearaudio table and that’s a good thing.  Most of the improvements to the tonearm and power supply are not easily seen from the outside, as is the second generation ceramic platter, but Rega tables are always more than the sum of their parts.

In my reference system through the Audio Research REF Phono 2SE, I noticed the same sonic improvements in the RP10/P9 comparison, but what I did notice on a more resolving reference system than Mr. O’Brien’s was that the RP10’s new arm and table design will accommodate an even better cartridge than the P9 could.  Where the Lyra Kleos was about the limit of what I’d mate with the P9, the RP10 could handle the Atlas.  I’m sure most RP10 customers aren’t going to drop $10k on a phono cartridge, but you could, and it can resolve more music than a Kleos will let through.  And that’s part of the magic with the RP10.  It’s a sleeper.

I’ve always enjoyed the Apheta with the P9 and now the RP10, but I found absolute bliss with my Dynavector XV-1s cartridge, offering a slightly warmer overall presentation than the Apheta.  Again, this will be decided by your ultimate sonic preferences and the RP10/Apheta combination is really tough to beat for the money.  Rega has hit a pretty interesting run with the RP10, as there are a lot of great turntables in the $10k–$15k range, as well as in the $2k–$3k range, but this price point is pretty wide open.

We could talk tech for hours, but do we want to?  Put a record on and relax.  Much like my P9, the RP10 has that extra amount of LF weight and drive (torque maybe?) that really makes this table a blast to listen to rock records with.  Going back to Deep Purple’s classic “Smoke on the Water” from their Made in Japan album was incredibly convincing when those famous chords were played.

Extended listening with a wide range of program material reveals a table that gets it right on so many levels.  Mounted on an SRA rack, there were no feedback issues, no matter how loud I played music, so the table’s design is working as it should.

Reflecting on my time with the RP10, I just wonder when Mr. Gandy and his crew will run out of ideas?  They remain fresh as ever, and I can’t believe that after more than 30 years, I’m just as smitten with Rega as I was the day I brought my first one home from the hifi store.  Now, can they just make it in lime green?  I’m happy to give the Rega RP10 one of our Exceptional Value Awards for 2014.  -Jeff Dorgay

Rega RP10

MSRP:  $5,495 (without cartridge)  $6,495 with Apheta pre-installed (US Only)

www.soundorg.com (US distributor)

www.rega.co.uk (factory)

PERIPHERALS  (O’Brien)

Phonostage Simaudio MOON 610LP
Preamplifier Coffman Labs G-1A
Power Amplifier Conrad Johnson Premier 350
Speakers Vandersteen 5A
Cable Cardas Clear Light

Primary Control Tonearm

If you are lucky enough to have tried bespoke tailoring in Savile Row, you will know that nothing off the rack really comes close to it. The term “bespoke” originates in Savile Row, a street in Mayfair, Central London, famous for prestigious tailoring for the individual customer.  It is understood to mean that a suit is custom measured, cut and made by hand to provide a perfect fit where it literally hugs one’s body. In the world of high-end analog audio, if there is such a thing as a “bespoke tonearm,” the Primary Control tonearm from the Netherlands fits this description.

Primary Control is an Amsterdam-based company that specializes in exquisite custom-made tonearms.  Its owner, Bernd Hemmen, is an electrical engineer whose lifetime passions are music and audio. His fascination with the mechanics of turntable and tonearm design led him to create a tonearm that gives users precise management of every conceivable setup parameter, or, as he calls it, “Primary Control” over adjustability in order to allow a cartridge to retrieve signals accurately. After eight years of research and development, the Primary Control tonearm is born.

The ”bespoke” process begins with a consultation with the designer (or the dealer) about your specific turntable needs, as there really isn’t a standard model of the tonearm.  The options are plentiful:  9”, 10.5” or 12” lengths; the metal parts come in matte, shiny, or black; and the armwand in carbon graphite or an exotic wood of your choice. My first review sample took a little over four months to arrive, a 12” model with a Macassar ebony armwand. A few months later, a second 10.5” model made of carbon graphite and titanium followed. The armwand is made of a titanium tube and a carbon graphite outer layer, separated by carefully inserted damping material to optimize resonant characteristics. These two arms are the first to land on North American soil.

Immediately Engaging

The Primary Control’s exquisite elegance can be felt right away as you unwrap the shipping box. Unlike most tonearms packed in molded Styrofoam boxes, the Primary Control is housed in a wooden box with precut foam inlays. It looks and feels expensive, reminding me of the now discontinued DaVinci Grandezza. From afar, the arm itself looks almost like a Schröder Reference tonearm with a nicer finish. The head shell mounting plate and the armwand look remarkably similar, and are both situated to the left of the mounting column.

The Primary Control employs a unique proprietary two-point pivot, similar to Basis Audio’s Vector arm of the ’90s. The entire bearing structure is hidden within a round housing made of Delrin, making the bearing mechanism invisible to the naked eye. It wasn’t until I disassembled the entire bearing housing (a task not recommended by the manufacturer) that I began to understand the working mechanisms of the arm. The arm has a bearing cup mounted on the underside of armwand, which sits on a vertical sapphire bearing that points upward, based on the concept of most unipivot tonearms on which the entire armwand is balanced on a single point of contact.

Distinctly Different, Yet

Proponents of unipivot tonearms often argue that these tonearms provide a better top-end extension and a more vibrant presentation. But the free multi-directional movement of a unipivot arm is as much a nuisance as it is an advantage. Without horizontal stabilization (as in the case of the Moerch UP-4), the armwand wobbles from side to side during play resulting in measurable distortions and increased crosstalk between channels; therefore, the newer unipivot designs will have some sort of horizontal stabilization mechanism to remedy the problem. The Graham Phantom and the Durand Talea use magnetic force to stabilize the arm, whereas the Reed 3P adds on additional side bearings to restrict horizontal movements. The Primary Control incorporates a lower horizontal ball bearing into the pivot housing which makes the armwand “lean” continuously onto a right pivot, virtually eliminating side-to-side wobbling. The horizontal bearing also creates a center of gravity offset from the main pivot, which will improve stability and balance. By turning the counterweight assembly, you can adjust the “leaning force” which essentially changes the horizontal damping of the tonearm. Too much damping causes the sound to become muddy and lifeless, while too little makes the sound thin and nervous.

The instruction manual is short, concise, and filled with detailed diagrams. If one follows the 16-page manual closely to perform cartridge alignment, VTA, Azimuth, VTF, anti-skating and horizontal damping, even a novice will achieve a relatively good setup. Fortunately, some parts of the manual will tell you what sonic changes to expect with certain adjustments –– something very few owner’s manuals will do.

There are two important points which should be mentioned with regard to the mounting position of the armpost and the relative idle position of the armwand to the platter. The Primary Control is designed with the armwand situated to the left of the main column, meaning the mounting position of the main column has to be further away than normal. Both my JC Verdier La Platine and TW Raven tables require an 8” armboard to be made long rather than the normal 6” to 7”; otherwise the optimal position prescribed by the mounting template cannot be achieved on the 12” arm.   The anti-skating mechanism has been carefully designed to incorporate the use of several opposing magnets to provide for a non-linear force across the record surface. If the idle position of the arm deviates too far from the template’s optional  position, the antiskating force may be applied too early or too late, depending on whether the head shell position is too close or too far out relative to the platter. This is why the tonearm is “bespoke tailored” specifically for your specific turntable.

The Proof Is in the Listening

How does the arm sound? To put it simply, the ebony version is musical, elegant and soothing, whereas the graphite/titanium version is accurate, straightforward and lively.

Unlike other reviews I have written in the past in which a general sonic description can be pinned down, in this case it would be unfair to assign a blanket sonic description because every bespoke Primary Control tonearm will have sonic variations. Both arms display exceptional finesse, detail, and frequency extension which tonearms with less adjustability can only aspire to achieve. Depending on the type of music I’m playing, the seductiveness of one may draw me away from the other.

The ever-so-romantic display of poignant emotions was gracefully displayed with the 12” Macassar ebony Primary Control when the violin in the Andante in Act 3 of Delibes’s Sylvia was played (Decca SXL 6635/6, Bonynge – New Philharmonic Orchestra). Paired with the Dynavector XV-1T bamboo body cartridge, the ebony version gives a vivid display of organic qualities which are distinctively more prominent than with the graphite armwand. Though the sonic image appears more smudged and with less clearly defined edges, it makes up for the deficiency by presenting a picture which offers more human-like qualities, drawing you closer to the music.

Yet, when the grand finale in Act 3 of the same ballet is played, the graphite arm is decidedly more neutral, accurate and dynamic, but not so much as to veer towards the direction where it becomes analytical and hard sounding. It delivers a soundstage which is more upfront, yet extends further into the room. The sonic image has more three dimensional qualities. The bass goes deeper and carries more definition, texture and less boominess to the sound.

With vocal-dominant recordings ranging from 1950s Victoria de los Ángeles recordings to 2011 Adele albums, I find myself caught in the same dilemma. The ebony arm exceeds the graphite version on organic qualities, but loses out on dynamism and speediness of response. The same can be said with Fleet Foxes’ White River Hymnal, with which the graphite version offers a more upfront presentation than does the ebony version, which puts you in a few rows back. Halfway through the review, I like the arm so much I will add one of these to my reference system, but I am having difficulty in deciding which one.

The More Care, the More Sound

If there is ever a time in which the veteran can excel over the layman, the Primary Control would be the apt instrument for such a demonstration. With the meticulous attention to details and clarity in setup instructions, the layman can certainly achieve a pretty high level of sonic achievements by following setup procedures. But the Primary Control is also a tonearm which will allow a person with a bit more experience to take the sonic performance to a much higher level. Given the numerous bespoke customizable configurations available, combined with the precise adjustability of the Primary Control, it is a tonearm which offers limitless potential –– and you can be sure it will never be the bottleneck of any analog setup.

There is always a downside to anything elegant and exclusive. Just like the bespoke suits of Savile Row, the Primary Control comes with an elegant price tag. The price ranges from around $5,500 to approximately $8,000, depending on the configuration. Ten years ago, if I were to mention an $8,000 tonearm, it would likely have raised some eyebrows. But in 2014, where a slurry of new tonearm models have gone past the $10,000 mark, such as the Graham Elite, Triplanar Mk VII, or the Vertere Reference –– just to name a few –– they do make this bespoke work of art appear less exorbitant.    -Richard. H. Mak

Primary Control Tonearm

MSRP: Starting at $5,500

http://www.primarycontrol.nl


VPI Classic Two Turntable

VPI’s Classic One set the standard for analog performance at its price a few years ago when introduced and one is still in service at TONEAudio as a reference component, recently revised by Harry Weisfeld to accommodate an Eminent Technologies tonearm.

The Classic Two builds on the success of the Classic One, with the primary difference being the ability to adjust the VTA on the fly while the record is playing, giving the analog enthusiast more control and adjustability than the One does.  Sound quality is very similar, so if you are a more monogamous audiophile who tends to stick with a single setup, the One may be all you need.  But, if you love to change and tweak your system on a constant basis, the Classic Two is the way to spin.  It will make your adjustments much easier to execute.  -Jeff Dorgay

VPI Classic Two Turntable

$4,000

www.vpiindustries.com

MartinLogan Motion 35XT Speakers

MartinLogan continues to expand their phenomenal Motion series of loudspeakers to the new 35XTs you see here, featuring a 6.5” woofer and their incredible folded motion (ribbon) tweeter, all in a solid wood cabinet, available in a variety of colors, including high gloss black.

As with every MartinLogan speaker, these are painstakingly crafted and reveal a level of music that is above and beyond their modest price. Voiced to match the floor standing speakers in the Motion line, these can either function as a high performance/minimal form factor pair of rear surround speakers in an all Motion system (though they do mate very well with MartinLogan electrostatic speakers as well) or a great pair of stand mounted speakers in a dedicated two channel system.

MartinLogan Motion 35XT Speakers

$1,195/pair

www.martinlogan.com

Alta Audio FRM-2 Speakers

The arrival of the Alta Audio FRM-2 loudspeakers exposed a certain prejudice or bias of mine against ribbon tweeters. But it’s a valid one, as I’d never heard a ribbon tweeter that was properly integrated with the rest of the drivers in the system, nor had I ever experienced a ribbon tweeter with a natural high end.  My audio pals with a penchant for razor-sharp transients swear by them, but I’d always come away from them fatigued.  So I must admit that when I was unpacking these scrumptious speakers, my heart sank just a little bit.

And speaking of scrumptious, to someone who spent his formative years in an auto-body shop, and later as a photographer around some of the world’s finest automobiles, the finish of the FRM-2s almost defies definition.  The finish on the review samples exceeds that of anything I’ve seen on a Bentley or Aston Martin, and the new Mercedes S-Class sitting in the driveway looks pathetic in comparison.  The same goes for the audio world: let’s just say the FRM-2s have the finest finish I’ve seen applied to a set of loudspeakers.  And I know that takes a lot of hand work to get right.

While our test samples arrived in a Spinal Tap-like “how much more black can these be?” finish, Alta’s head designer Michael Levy has told us nearly any automotive color can be accommodated.

However, a pretty box is meaningless without sound to match, and I’d buy a pair of FRM-2s if they looked like Bluemenstein Thrashers.  Fortunately for $13,000 a pair you get great looks and great sound.  These little speakers have destroyed all of my preconceived notions as to what a modest sized speaker is capable of.

Keith Jarrett’s At the Blue Note has a wonderful sense of ambiance, with just enough of the audience mixed in to feel dimensional, and is accompanied by a cast of phenomenal musicians.  I’m instantly struck at how completely natural his piano sounds, as well as the cymbals – they just float in the air perfectly, without the slightest hint of sibilance or being goosed for effect.  As wonderful as the instruments come through, the telltale sign is Jarrett’s trademark groaning.  As much as I love Jarrett’s work, this is always aggravating, yet through the FRM-2s, it creeps in gently and then is quickly gone, almost like a whisper.  I’ve never experienced this effect in any speaker before.

Charlie Haden’s double bass work on the Jarrett album sends me in the opposite direction, digging out Shellac’s At Action Park to sample the machine-gun bass line in “Crow.”  Again, the speed of the FRM-2s six-inch bass driver, utilizing Alta’s XTL bass tuning system along with a highly inert cabinet offers up serious bass grunt and definition.  As the rest of the staff trickled in to audition these speakers, they all offered up the same descriptions without being prodded by yours truly.  Four staff members all remarked, “these sound like great electrostats, but with bass!”  And I would add great dynamics, too.

Plumbing the depths of these speakers’ LF capabilities lead me to the last Simian Mobile Disco album, Unpatterns. Cranking up the Devialet 120 used for most of the review had me looking around for the subwoofer and the supermodels. I felt like I was at Fashion Week with the powerful, grinding bass coming out of these relatively small speakers, REL subwoofer (review next issue) unplugged from the AC mains.  The FRM-2s move major air.

More than just bass

Another fun test track here at TONEAudio is Dead Can Dance’s “Yulunga (Spirit Dance)” from the recently remastered SACDs. The opening is ominous and creepy, with an incredibly wide soundfield.  This track features a great balance of real and electronic sounds that don’t necessarily reveal everything about tone and timbre, but a great pair of speakers will disappear completely, rendering a wealth of spatial cues.  Check and double check.

Devo’s debut, Q: Are We Not Men? A: We Are Devo! produced by Brian Eno, does the same thing, yet in a wackier way.  Mark Mothersbaugh’s trippy vocals float all over the room, with ethereal synth effects and overprocessed guitar everywhere.  Not a single natural sound here, yet the speed of the FRM-2s presents this classic in a truly psychedelic way.  Big, big, fun on tap.  Go straight to “Shrivel Up.”

Much like one of Todd Rundgren’s Utopia albums, the Little Village album reveals  highly layered vocals with three guys that sound very similar.  John Hiatt, Nick Lowe and Ry Cooder all have a very similar phrasing and tone that can blend together on a speaker lacking in resolution, yet through the FRM-2s, these three voices all have a distinct sound.

No matter what the program material, the FRM-2s never cross that line that every other ribbon driver based system I’ve experienced crosses.  These speakers have an intoxicating ability to render inner detail, with plenty of transient attack, yet have a relaxed quality like a pair of soft dome tweeters.  It’s very close to magic.  This is one of those rare speakers that has me agonizing between exploring new music and wanting to revisit so many favorites, just to see what treasure would be revealed through this new lens.

Easily integrated

With a rated sensitivity of 87.5 dB @ 2.83 volts @ one meter, you’d think the Altas need a ton of power to work their magic, but again, the preconceived notion is wrong.  Even the 35 watt per channel Van Alstine Ultravalve amplifier provides highly pleasing results in a smaller room, and while bone crushing volume isn’t achievable, they play loud enough on all but really heavy rock records to be engaging.

The first half of this review was conducted in my new home listening room that only measures 11 x 14 feet, with modest GIK room treatments.  Bass traps in the corner, a few diffusor panels behind the listening chair and one 242 panel at each first reflection point.  The FRM-2s proved easy to set up, and even with the speakers placed somewhat randomly in the room, threw an excellent three dimensional image.  Utilizing the supplied stands (an extra $5,000 expense) put the tweeters right at ear level, and even with a slight toe-in, proved excellent in this small room.  Because these speakers are capable of such solid low frequency response, they can be placed a bit farther out in a small room than one might do with something like a KEF LS-50.

Again, the benefit is getting the punctilious imaging of a small monitor with the bass response of a full-range speaker.  An even bigger surprise was how well this performance translated into a large room.  For those just tuning in to TONE, my main listening room is 16 x 25 feet, with a pitched roof and a nice blend of absorption and diffusion, removing the slap echo without being dead and overdamped.

Powering the FRM-2s with the prodigious Pass Labs Xs300 monoblocks was an eye opener.  Much like putting the pedal down in a base model Porsche Boxster and then climbing into a 911 Carrera S, there’s just more oomph there.  The speakers still had great LF traction, and upon spinning the Stereophile test disc, there was indeed solid output at 30hz, though it did drop off sharply after that.  No shame at all for a speaker like this.

Should you have more clean power at your disposal, these mighty little speakers will not disappoint you.  Running through some heavier rock records, I was constantly surprised at how far I could push them without breakup or collapse.  AC/DC, Van Halen and the White Stripes were all highly satisfying.

The FRM-2 is the perfect speaker for someone wanting state-of-the-art performance without having to deal with a pair of massive, floor-standing loudspeakers.  Even in the context of a six-figure system, the Alta Audio speakers are never the weak link in the chain.  It is as easy to hear the subtle differences between ARC, Burmester and Robert Koda preamplifiers as it is between phono cartridges and cables.  These speakers could be an incredible reviewing tool.  Hint, hint to Santa Claus:  I’d love a pair of these under the Christmas tree.

In a word, awesome

The Alta Audio FRM-2s shatter every preconceived notion I’ve ever had about ribbon tweeters and associated issues.  Having had the pleasure of listening to some fantastic speakers from Dynaudio, Focal and Sonus Faber – all in the $12,000 to $20,000 price range – the FRM-2 is easily at the head of the class.  And one of the most musically engaging speakers I’ve heard at any price.

Considering the performance that these speakers have turned in, I can’t even imagine what Alta Audio designer Michael Levy has in store for us with his new flagship speaker.  I can’t wait to find out.

Alta Audio FRM-2 Speakers

$13,000/pair,  Low Profile stands, $2,000/pair, $5,000/pair optional Onyx Black stands

www.alta-audio.com

PERIPHERALS

Analog Source AVID Acutus Reference SP/Tri Planar/Lyra Atlas
Digital Source dCS Vivaldi stack
Amplification Pass Labs Xs 300 monoblocks and Xs Preamplifier    Devialet 120
Cable Cardas Clear

Sonus faber Olympica III Speakers

Sonus Faber Olympica III review by Rob Johnson ToneAudioAt TONEAudio, we’ve had the pleasure of testing Sonus faber’s flagship Aida speaker ($150,000), the Guinari Evolution ($22,900), and one of their more entry-level offerings, the Venere 3.0 ($3,500). In each of these cases, the sound and build quality represents a high bar for their respective price tags.

Not wanting to neglect a middle child in the Sonus faber family, we put the new $13,500 Olympica III floorstanders to the test. The Olympica line of products makes available three models. The Olympica I is a stand-mounted, two-way design. Olympica II is a three-way floorstander with a single bass driver. The Olympica III is the biggest of the bunch with two 7-inch (180mm) bass drivers supplementing the 1.14-inch (29 mm) tweeter and a 5.9-inch (150mm) mid. A center-channel speaker rounds out the lineup should a prospective buyer seek a home theater option.

While there are several great companies producing speaker drivers, and many other speaker manufacturers build cabinets around them, Sonus faber takes a different approach. All their drivers are designed in-house, and each is mated with a cabinet shape which gets the most from it. As a holistic package the Olympica is designed from the ground up with system synergy the priority.

Grace of a figure skater

Made entirely in Italy like Sonus faber’s flagship series, the Olympicas receive the same attention to detail at each level of the build process. Cabinet woodworking is gorgeous, and the resulting products have the appearance of fine furniture. Our sample pair sport the walnut finish. Panels of grain-matched wood curve delicately from the front to the back of the cabinet. Eleven pinstripe-thin maple joints separate the 12 walnut sections on each side of the cabinet, providing an elegant and subtle contrast. For those who prefer a darker colored cabinet, Olympicas are also available with a graphite finish. Even with the greyish-black stain, the wood grain remains beautiful and clearly visible. Regardless of color, several layers of clear lacquer provide a protective and attractive semi-gloss coat.

A top-down view of the leather-topped and backed speaker cabinet reveals a uniquely engineered shape to minimize cabinet reflections. For lack of a better descriptor, it’s an angled teardrop shape with the rounder edge toward the front and the point out the back. The rear portion is asymmetrical with a bit more swoop to one side. This configuration facilitates the addition of Sonus faber’s unique perforated port design on one rear edge. Unlike most small and round bass ports, the Olympica sports a two-inch wide metal-grated port that extends the full length of the speaker. Gracing the cabinet base, a metal four-point outrigger configuration creates additional stability for the narrow towers. Tightening and loosening the spike height facilitates leveling so the speakers keep all four tiny feet firmly anchored to the floor.

Even the metal speaker cable binding posts offer a unique design. With a teardrop profile that mirrors the speaker shape, it’s easy to get a good grip on the posts and tighten them firmly by hand. Dual posts allow for bi-wiring or bi-amplification, and an included, stamped-metal jumper connects the two. The sum of all these parts assigns the Olympica III dimensions of 43.8 inches (1114 cm) in height, 10.25 inches (260mm) across the widest part of the cabinet, and a 16.25-inch (406mm) depth.

Warming up

Speakers are always a tricky piece of equipment to review because each speaker interacts a little differently with a listening space. After a few hours of scooting them around the room in small increments left, right, backward, forward and with varying degrees of toe-in, they finally landed in a location I marked immediately with painter’s tape. To facilitate the process, the Olympica manual suggests some sample speaker and listening seat placement suggestions. These ideas do offer a good starting point for your quest. While the placement process remains a little tedious, these speakers will reward you for the effort.

The aforementioned speaker port can aim to the outsides or insides of the speaker pair since there’s no specific left and right speaker configuration. Trying the ports to the outside first, then swapping the speakers to aim the ports toward the space between speakers, I find the latter configuration offers best sound in my room. Owners should try both and decide for themselves what sounds best to them. Once in place, the Olympicas reveal all they are capable of.  And they have a lot of capability.

Sonus Faber Olympica III review by Rob Johnson ToneAudio

The Decathalon

Decathletes are like the Swiss Army knives of the sporting world. They must do very well at ten different events in order to win. Of course, each individual will have his or her own weaknesses and strengths to bring to the table. Like these athletes, the Sonus faber Olympicas perform very well regardless of the musical genre or source material. In some cases, they truly excel as a reference.

For instance, once the speakers are placed optimally, the sound-staging ability defies expectations. First, the speakers draw no particular attention to their physical location. Sound floats around them without bunching up around the speakers or at the midpoint between them.  Second, musical elements of my favorite songs, panned to the extreme left and right, wrap far into the room and sometimes even startle me with their reach toward the rear of the room. Hooverphonic’s “One Way Ride” offers the illusion of movement as some synthesized tones ping-pong back and forth. With the Sonus fabers, sound transits far beyond the speakers themselves as if it somehow broke free of any barriers and traveled at will. My Piega P-10 reference speakers are no slouch in this characteristic, but the Olympicas exceed them by a significant margin.

Sonus faber’s specifications for these speakers indicate a frequency response of 20kHz down to 35Hz – not quite full range, but close to it. When listening, I long occasionally for the feeling of extremely low and heavy bass on tracks like “Substitute for Love” from Madonna’s Ray of Light album. But honestly, I have little non-electronic music in my collection that delves that deep. For most of the music I enjoy, the subterranean bass extension is not missed. The rest of the Olympica bass spectrum proves excellent. There’s no shortage of rumble in the sofa and floor, and the level of tight, tuneful tangibility projected from the Olympicas is marvelous. On the opposite end of the audio spectrum, highs, too are very well extended but not hot in the mix. Bell strikes, like those on Ben Harper’s “Alone,” have a tuneful decay that reverberates so long that – like fossil dating – a listener almost needs to define it by a half-life.

Vocals and instruments with frequencies residing in the middle of the spectrum are never neglected in favor of the extremes. Unlike my reference speakers with a ribbon tweeter and midrange, the traditional cone shape of the Olympicas offers a slightly more tangible presence.  As with the ribbons, sound remains natural, but Sonus faber drivers add a degree of palpability and up-close sense of the musical performance. The album Perennial Favorites from the Squirrel Nut Zippers represents an interesting challenge for speakers. With multiple vocals, percussion, strings, piano, harp, a horn section, and many other instruments spread across the stage and layered on top of one another, there’s potential for a sonically muddled mess. The Olympicas manage to sort out all that information, across a wide dynamic range, to present each individual element with a convincing illusion of a live performance.

Final score

There’s no such thing as a best speaker. Upstream component synergy, interaction with the room, music genre, and a listener’s personal sonic preferences all weigh into the equation. In my case, I knew a day would come when a set of visiting speakers would unseat my current reference at a price point I can manage. Apparently, that day has come.

Through the Olympicas, there’s only one real downside for me: I’m truncating the lowest bass frequencies. However, other positive characteristics outweigh my quibbles. Soundstaging prowess, palpability, and pure musical enjoyment in my listening space remain top-notch though the Olympicas. There are certainly speakers out there – including Sonus faber’s own flagship designs – which can reproduce full frequency response, a bit more close-to-the-action musical detail, and perhaps more overall sonic heft. However, they will likely cost significantly more.

The Sonus faber Olympica IIIs are marvelous speakers. At $13,500 per pair, they should be. However, there’s a lot to consider as part of that price tag. First, the build quality and finish are stellar – more like a piece of carefully rendered artwork than a speaker. Secondly, a lot of research and development went into their design, including the creation of in-house drivers. Finally, this package’s performance in my listening room exceeds that of some more expensive speakers which have visited. For those like me who value their stereo more than their car, the Olympica III speakers are worth saving for.

If you are investing in speakers to live with for a long time, and this price range is within your reach, be sure to audition the Olympica III. Perhaps like me, you’ll find they are speakers to long for. I’m purchasing the demo pair.

Sonus Faber Olympica III review by Rob Johnson ToneAudio

Additional Listening

by Jeff Dorgay

Sonus faber’s $120,000-a-pair Aida is one of the most breathtaking speakers I’ve had the pleasure to spend time with, but like my GamuT S9s or the equally enticing Focal Grande Utopia EM, all of these speakers are out of reach for most audiophiles.  Yet after listening to the Olympica IIIs for a month before handing them off to Rob Johnson, it’s very exciting to see just how much of the Aida special sauce is present in these speakers at a much more affordable price.  Yes, yes, I know we’ll get all kinds of flak for saying “affordable” and “$13.5k a pair” in the same sentence, but it’s all relative. I know plenty of people that have spent way more than this on a motorcycle, jet ski, wristwatch or a Leica M and a couple of lenses.  If you love music, these speakers aren’t out of reach for a decent number of people and the pleasure they bring is well worth the asking price.

Best of all, these speakers perform well with a wide range of amplification, so if you have a modest system and are looking at these as your ultimate speaker that you will buy now and upgrade electronics around as you go, consider this – they sound awesome with a 35 watt per channel PrimaLuna integrated or a Rega Brio-R.  Their 90dB/1 watt sensitivity allows even modest amplifiers enough headroom to fill a room with sound.

If you were listening to something like Crosby, Stills and Nash, or your favorite solo female vocalist, you might even be challenged to hear the difference between the $120k/pair Aida and the Olympica.  All the major attributes of the flagship speaker are here in spades.

For this price, you should expect great sonics, and the Olympicas deliver.  Yet they also manage to be perfect examples of industrial art as well, with no part of their design or construction less than exquisite, and that’s what makes the Olympica shine above every other speaker I’ve spent time with at this price, save Focal’s Diablo Utopia.  This is a product you’ll love to look at and have as part of your life, even when not playing music!

I am thrilled to grant the Sonus faber Olympica III speakers one of our Exceptional Value Awards for 2014.  They are certainly a personal favorite.

Sonus faber Olympica III Speakers

MSRP: $13,500

www.sonusfaber.com

PERIPHERALS

Speakers Piega P10
Amplifier Burmester 911 Mk3
Preamplifier Coffman Labs G1-A
Analog SME 10    Dynavector 17D3
Digital Light Harmonic DaVinci   Mac Mini    JRiver Media Center 19
Cables Jena Labs
Power Running Springs Audio Haley    Cardas/RSA Mongoose Power Cords