MartinLogan Impression ESL 11A Speakers

-Photo courtesy, The Music Room

Yep, gotta admit being a fanboy of MartinLogan. Having owned and/or reviewed nearly every MartinLogan panel speaker made since the CLS in the 80s, these panels are not only easy to deal with but easy to incorporate into your room without a lot of placement issues.

The ESL11A’s are part of MartinLogan’s Masterpiece series, and incorporate an internal DSP that utilizes Anthem’s ARC room correction for the dual powered 8″ woofers. Just as with subwoofer placement, these powered woofers really benefit from ARC if you can’t put the speakers exactly where they need to go for perfect audiophile sound. Setup suggestion: try and place the speakers to achieve the best balance of bass output and upper bass/midrange clarity before engaging the ARC.

With a nominal impedance of 4 ohms, and a 91dB/1-watt sensitivity, these speakers are very easy to drive and are tube friendly. They do have a high maximum power handling capability, so these panels ROCK. You can play Tool and Metallica with these at any level you want. Yet, the electrostatic panel is a master of nuance, so your favorite vocals and acoustic tracks will come alive in your room.

Speaking of rooms, you will probably need a room that is at least 12 x 15 feet, with more space delivering better results if you’ve got it. Back when I reviewed these, they worked fine in my 13 x 18 foot living room, but provided a larger sound field in my main listening room, which was 16 x 24 feet. Like nearly all panels, they will deliver a wider soundfield if you can place them on your long wall, and a slightly deeper front to back soundfield on the short wall. Again, the DSP for the woofers is your best friend.

If you’ve always dreamed about a pair of MartinLogans, you can grab this pair for $5,995 (plus shipping). Please click on this direct purchase link.

If you’ve never heard ESLs before, be prepared for an open, engaging experience.

The Weiss 501 DAC

-Photos courtesy The Music Room

This DAC is the perfect example of a great, slightly used product. Having just finished my review on the Weiss 502, they explain the difference between the 501 and 502 is the latter having a balanced, 4 pin headphone output on the rear face of the unit. This is the $1,000 difference in the retail prices of the new units at $11k and $12k respectively.

The unit available here at TMR has a few nicks in it, but at $6,299 is a great deal in a high performance DAC. You can purchase this one by clicking here.

The $10k-ish DAC market may well be the most highly competitive, because there are a lot of great DACs at this level. The Weiss serves up a very neutral tonal balance, is incredibly dynamic, and major weight. If you love heavy rock, large scale classical music, and hip-hop or electronica, you’ll be excited. It also serves up any kind of streaming service at your disposal and is ROON ready. Merely plug your Ethernet cable in the back and you’re rocking.

The rear panel view reveals SPDIF inputs (RCA and Optical) along with USB, and AES/EBU. Analog output is via RCA or XLR. This is one very versatile DAC.

As you can see from the front panel, there’s a 1/4″ headphone jack for personal listening. Weiss has done an excellent job here as well. Giving my review sample a spin with Focal, Audeze, Meze and Grado phones proved excellent – so I’m guessing whatever cans you have at your disposal should work equally well.

However, what makes the Weiss DACs (remember the 501 and 502 both share identical circuitry in this respect) is it’s additional functions available in the digital domain. There is a parametric EQ, the usual selection of digital filters, a “Vinyl Emulation” mode, and a De-esser, all adjustable in fine increments. Personally, the De-esser is lovely for those early 80s digital recordings that more often than not, a little on the crunchy side. Go easy with this control and you will be highly rewarded.

Finally, like every pre-owned TMR product for sale, this Weiss DAC has been thoroughly checked out by the service staff and will arrive in perfect working order. Oh yeah, there’s a great, compact remote control too! What’s not to love?

The Java Double Shot Power Amplifier

From the click of the super stylish power button that merely needs your touch to illuminate a diffuse white circle of light, the Double Shot power amplifier from Java gets you going.

To illustrate just how serious I am, listening begins with Jon Astley’s “Jane’s Getting Serious” on 12-inch maxi-single no less. Those Yamaha DX7 keyboard pitch bends never sounded better. This amplifier, is excellent in every way.

So lovely, in fact, that when tracking through BTO’s “Blue Collar,” I’m not even wishing for more cowbell. If that’s not musical perfection, what is? While the amplifier delivers more in spatial terms once it’s been on for about an hour, the tight, coherent musical pace delivered is stellar. Good as the Double Shot integrated is, the power amplifier takes clarity and pace further, because of its larger, dedicated power supply.

It is a magnificent experience to play the Peak Consult Sinfonias at a high volume level, taking advantage of the sheer dynamics these speakers are capable of with enough power. Having mighty monoblocks from Pass Labs (X600.8s – 600 WPC), the PS Audio BHK Signature monos (also 600 WPC), and the PrimaLuna EVO 400 monos (almost 200 WPC with KT150 tubes) all offer their own sonic portrait. Being able to achieve a sizeable amount of the three-dimensional characteristics that the tubes offer, with the sheer sonic slam and control that the big solid-state amplifiers deliver in the compact box that is the Java Double Shot, is nothing short of amazing.

Martin Bell, owner of Java HiFi, sent us his Single Shot integrated amplifier last year, which was fantastic. Fantastic in the same way that we’re not saying “it sounds pretty good for class-D,” like we used to say “it sounds pretty good for digital” when referring to the world’s finer DACs. It just sounds fantastic. Like some of the current crop of class-D designs adopting GaN FET topology, the Single Shot (and all the Java amplifiers) brings a natural, un-electronic sonic signature to the presentation. Eyes closed, you might think you were listening to a Boulder or Constellation amplifier. I pick these two premium designs as a comparison, because in the range of all the amplifier data points in my experience bank, these two have the least colored tonality in either direction. The current crop of Audio Research vacuum tube amplifiers are also in this dimension, but we all know the care, feeding, and cooling requirements of tubes.

It’s not what it used to be

Class D has always promised to be the best of all worlds: high power, high efficiency, and lighter weight. Until just recently, this was the case except for the flat, somewhat harsh, and moderately to severely uninvolving sonics, at least in terms of the best amplifiers.

The Double Shot Power delivers 400 watts per channel into 8 ohms – and while it doesn’t completely double into 4 ohms, it still produces way more power than most should ever need. All in a very stylish package that only weighs 20.3 pounds! The matching LDR preamplifier is arriving very soon, and I’m guessing that, like most other components, the only real reason to buy the amplifier and preamplifier separately from Java is to get the additional fidelity coming from having these components on separate chassis and perhaps a bit more input/output flexibility. And there’s nothing like a bit of matchy – matchy going on in the personal style arena either.

The overall character

However, you may have a preamplifier in place that you already love and don’t want to change things around that much. Or perhaps you’d like just a touch of warmth added to the overall sonics of your system, maybe a tube preamplifier? I did just that, using the Double Shot with the Pass Labs XS Pre (slightly warm), the BAT VK-80 (a little warmer), a vintage conrad-johnson PV-12 (very warm), and the digital preamp/front end of the I1 integrated, which is much closer in sonic character to the Java.

With such a neutral presentation from the power amplifier, you can easily fine-tune everything to your liking. All four combinations were excellent, and thanks to the balanced inputs (as well as single-ended RCAs), every preamplifier is in your grasp.

I apologize for repeating myself. Dynamics are indeed the fourth dimension when it comes to musical reproduction. Unless you are solely listening to small-scale chamber music, big power, properly expressed, yields big results unless you have super-efficient speakers. With many of today’s speakers having sensitivity ratings in the 85-90dB/1-watt range and typically being closer to a 4-ohm nominal impedance than 8-ohms, the Double Shot’s power delivers tremendous dynamic range and reserve.

The Java difference

Mr. Bell says it best, when asked what makes the GaN FET design (and Java in particular) a more musical sounding Class D design. “Many older silicon transistor-based Class D amplifiers will have typical switching speeds of around 100 kHz. The switching frequency of our amplifier modules is in the 400-450 kHz range (Closed Loop).

Together with our partners, we have carried out extensive research on the contribution of switching frequency to both efficiency and performance (both measured and in listening tests), and have found that the ‘sweet spot’ is around 400kHz-500kHz. Beyond that frequency and performance is reduced (due mainly to ‘dead-band’ contribution and Output Filter contribution) and efficiency is significantly reduced. With the GaN modules in our amplifiers there is a switching speed sweet spot where everything is “just right” (as Goldilocks would say).

However switching speed alone is not the sole reason why GaN-based systems can deliver enhanced audio performance vs Si-based alternatives.

A well-executed GaN design can also deliver lower distortion (THD), less noise (both electrically and audibly), faster, cleaner transitions and reduced “dead time” and reduced crossover distortion. In general terms, faster switching speeds are also beneficial for reducing electromagnetic interference (EMI). But as noted above, if switching speeds are increased too much, the efficiency and measured/sonic performance of the modules decreases. Science aside, this is one natural sounding power amplifier.

Back to the music

Without delving into too many of my personal music choices (which may not suit you at all), suffice to say that an incredibly wide range of music was auditioned during this review. This amplifier scales well, delivering subtle texture and nuance when required and high sound pressure levels without losing composure. Stream the cannons at the end of the 1812 Overture or AC/DC’s “For Those About to Rock,” and you’ll see what I mean.

What may really surprise you about recordings you might have thought overly dense and compressed is how they come alive with this much power. It might have just been your 60-100 WPC amplifier running out of dynamic range. I’m just sayin’. Like horsepower, way more amplifier power than you think you need is a good thing, more often than not.

Like the Single-Shot reviewed before, this amplifier excels at small sonic details. Think of your favorite acoustic guitarist, and the sound of fingers sliding across the strings. In this case, the standby is always Michael Hedges Aerial Boundaries, an album full of guitar pluckiness, and harmonic activity. Another great album illustrating this aspect of reproducing complex acoustic instruments together is Charlie Hunter’s Ready, Set, Shango! a mixture of bop and modern jazz. Of course, any classic Blue Note record will always do the job.

High-powered amplifiers don’t always excel at revealing the most minute aspects of the music – again, this amplifier does a tremendous job. Breathy singers, male and female, come through with authority at both ends of their vocal range, making for an intimate presentation.

Huge power reserves mean endless speaker choices

This amplifier’s ability to keep instruments locked in their own spaces without ever losing focus, no matter how wacky you get with the volume control, is something few amplifiers can accomplish. The Double Shot excels here. Swapping the Peak Consults for the Clarisys Audio Auditorium Plus ribbons is very exciting, because even though these are so much easier to drive than the Apogees they are based on, they still are a 3.7- ohm speaker, delivering their all with a lot of power.

The Auditorium Plus speakers play well with a 60 wpc amplifier. Still, their lovely, spatial nature shrinks a bit, and the lowest of low frequencies lack the authority and control that a big amplifier delivers. Again, the Double Shot makes these $150k speakers come alive. Because of their wide range, Electronica, Hip Hop, and a lot of current music really comes alive because so much of it has a strong bass groove. No Taylor Swift for me, but Charli xcx’s “Talk Talk” suits the power this amplifier delivers. That bass groove is killer, and the louder, the better.

Ditto for the drums in Beth Gibbons’ “Burden of Life.” Again, at moderate to high listening levels, Gibbons’ voice isn’t clobbered by the drums, losing its way. These types of musical excursions don’t feel the same without big power, but the clarity, pace, and texture the Double Shot has is equally important. It’s not a double shot of crap coffee; it’s a double shot of fantastic coffee!

Moving on to the Mon Acoustics standmount speakers we reviewed earlier this year, a pair of MartinLogan ESL 9s, and the new Magnepan 2.7x speakers all make for an excellent match with the Double Shot. The same characteristics that are easily discernable in the more refined speakers are available here. Nothing makes even a speaker like the compact MONs come alive like plenty of reserve power. If you’re a Magnepan lover, you know that extra power helps these speakers deliver their all. I’ll be discussing the Java amps more in an upcoming review of the Magnepan 2.7x’s, and this double shot is one of the most exciting pairings I’ve ever heard with a Magneplanar speaker at any price. The synergy with MartinLogan speakers is equally thrilling.

The finer points

When you unpack your Java, you’ll notice the rounded corners and the fine detail work on wood and metal surfaces. All Java products have a signature style that is somewhere between modern art and a mid-century modern look about them. In addition, the Java website offers the option of choosing from multiple faceplate colors and outer casework. This is an amplifier that deserves to be in full view in your listening room to be sure.

Around back, the uncluttered panel has a single pair of speaker output posts and the ability to switch between RCA and XLR input jacks. The power socket is in the middle of the chassis, making it easier to configure in an equipment rack. A small point, but telling of how much thought went into this product. The front panel is equally sparse – it is a power amplifier, after all, but the circular main power button that begins to glow when you touch it is certainly one of the best design elements in high-end audio.

Highly recommended

The Double Shot offers high power and resolution in a package easily competing with amplifiers costing considerably more. This makes it the perfect amplifier to anchor your system as it develops over the years. Its neutral tonality encourages excursions into components and speakers all over the range. You can season the mix to taste, and you won’t have to replace everything if you decide a change is in order (as so many audio enthusiasts do).

Just as the world’s finest DACs stand out in the way they can render music in a non-electronic, unglazed way so that you can just swim around in the music, so it goes for the best Class – D amplifiers. In hundreds of hours of listening, not once did I stop to think about what kind of amplifier I was listening to. This is the ultimate compliment I can pay to the Java Double Shot power amplifier. That and an Exceptional Value award.

Please click here to go to the Java website…

Revox releases the NEW B-77 Mk.III

How cool is this?

Revox announced today, the launch of their new B-77 Mk.III reel to reel tape deck. This is not a discussion about the validity of the format. We know there are plenty of tape enthusiasts, and if you want higher fidelity than a late 70s tape deck can deliver, you’ve had to go to great lengths to have a vintage deck rebuilt/refurbished.

Some of you have spent WAY more than the $15,950 MSRP listed here.

Think about it, this gets you a brand new Revox deck, in the box, with perfect cosmetics and electronics to match. It’s like a Singer Porsche 911, but it’s built by the factory (Who knows more about a Revox tape deck than the people who made them?) and it’s not crazy money.

While you might be freaking out, ponder this: Back in 1977 when the B was introduced they were about $2,000 USD. That’s about $11,000 in today’s money. Also, for those interested, Revox still offers refurbished B-77 Mk.I decks for $7,999.

However, if you’ve longed for a new Revox, they will be making about 20 per month. I suggest getting on the list.


www.revox.com/intro-b77 

REL produces an SE version of their T/9x (in cool colors)

REL calls the new T/9x SE “A Carbon Special for the rest of us…”

This new addition to the top of the T-Series features obvious visual upgrades, in three new super-cool colors (Le Mon Yellow, Tangerine Dream and Italian Racing Red) and a new driver offering faster response and more ultimate dynamic output.

At REL top sonics and visual refinement always go hand in hand, to produce a subwoofer that delivers incredible performance beyond it’s modest physical size.

MSRP is $1,650 and they are available now.

Please click HERE for more info:

The new flagship subwoofers from SVS

They may look very similar to the outgoing models, but the new 17-Ultra R|Evolution series has had nearly every molecule changed and upgraded to the latest tech SVS has to offer.

Starting with an all new high-excursion 17-inch driver featuring a glass-fiber composite cone, long-throw catenary SBR rubber surround, and toroidal ferrite electromagnetic motor allow these two subs to generate massive sound pressure levels well below the threshold of human hearing. (15Hz for SB17-Ultra and 12Hz for PB17-Ultra)

Generating the sonic muscle behind the most powerful and highest fidelity SVS subwoofers ever is a unique dual mono-block STA-2800D Class-D amplifier with MOSFET output stage. Each amplifier drives one of the dual voice coils to increase the power into the motor while asserting pinpoint control and maximizing output potential. Eight 60 Amp 200 Volt MOSFETs deliver extreme high current for reference-level output with maximum efficiency.

SVS integrated the most sophisticated DSP ever to optimize all aspects of performance and usability. The 295MHz Analog Devices DSP orchestrates every function of the amplifier to shape in-room response and stabilize AC voltage delivery while managing a multi-point thermal and current monitoring system for optimal performance and efficiency. In addition, advanced digital audio processing and DACs (Digital-to-Analog Converters) with 120 dB Signal-to-Noise Ratio provide greater headroom, lower noise, and pristine fidelity.

Calibration of the 17-Ultra R|Evolution series is managed via the most comprehensive subwoofer control smartphone app available. The SVS app features controls for volume, low pass filter, phase, polarity, six parametric equalizers, room gain compensation, port tuning (PB17-Ultra R|Evolution only), power management settings, and more. There are also three convenient memory presets for fast and easy system adjustments to match your listening preferences.

Also new to the 17-Ultra R|Evolution subwoofers is the intuitive Auto EQ Subwoofer Room Correction. Using the SVS app and the built-in microphone on a user’s smartphone, the feature applies equalization filters, capitalizes on available room gain, and optimizes in-room frequency response at main listening positions for optimal in-room performance. The simple process requires just a few steps and achieves pristine fidelity by resolving all the acoustic issues caused by your room in a few easy steps. Auto EQ Subwoofer Room Correction will be available via an over-the-air app and firmware update coming soon.

Both models are now shipping in the US.

  • SB17-Ultra R|Evolution – sealed cabinet – $2,499.99
  • PB17-Ultra R|Evolution – ported cabinet – $2,999.99


Finish options include Piano Gloss Black and Premium Black Oak Wood Veneer finishes.

We’re looking forward to a review in the near future!

Please click here for more information, and ordering.



The Diva Utopia Speakers from Focal are here!

Today, Naim/Focal announce their new DIVA Utopia speakers.

They are an “active, connected, wireless hi-fi speaker system.” With 400 watts per channel of class A/B power designed by Naim, (250 for the woofers. 75 for mid and 75 for tweeter) major dynamic range is assured. You can stream every kind of file available, and there is an RCA/analog input as well – to connect your turntable!

While these speakers can be used wirelessly, you can also connect them directly to your Ethernet network, and connect each speaker to each other via a cable using NaimLink.

With four 6.5-inch side firing W-cone woofers per enclosure (2 on each side) with a front firing 6.5 inch mid-bass driver and pure beryllium tweeter, you can be assured to have the Focal sound you are accustomed to. With 8 colors of sustainable fabric on the sides, there should be a color to suit your taste and decor.

Weighing in at 141 pounds each, you can leave your Diva Utopias on the supplied casters, or use spiked feet. Their footprint is small at 16.5″ W x 22″ D and just shy of 48 inches tall, so it will be easy to incorporate them into your environment.

On board DSP room correction will make it even easier to fit these speakers wherever your room dictates, and of course it is all app-driven and can be set via your phone.

All this awesomeness isn’t cheap, with a pair of DIVA Utopias coming in at $39,999 a pair. However, taking into account what an amp, preamp, DAC, processing unit and three stereo amplifiers would cost (as well as all the cables for this stuff) for the right customer, this will be a great bargain.

Will it get legacy audiophiles to de-clutter and get rid of all those boxes and cables? That’s yet to be seen, but for those of you that want true high performance sound and 21st century convenience, the DIVA Utopias may be the only game going. Focal is being tight lipped about smaller models on the horizon, so we’ll have to wait and see there.

Focal says these are available now at qualified stores in their Focal Powered by Naim network.

Please click here for more information.

We are trying to secure an audition sooner than later to give you a full report.




New on Old School – Current Classics!

Sponsored by The Music Room – tmraudio.com

Not everyone wants or can afford brand new gear. Perhaps you like the older stuff better, or just want go get more gear for your hard earned dollar. An older car with “certified pre-owned” instills just as much confidence as a brand new one straight off the showroom floor, yet at a more approachable price.

The reasons for this “collab” are numerous.

I’ve always wanted more gear than I could afford and have always searched for great, slightly pre-owned gear to build more system for the dollar. However, it always had a big question mark, because now and then, you get a piece of gear that is either DOA, or fails (with a large repair bill) sooner than later.

Having worked with TMR as a buyer and a seller, I am happy to give them TONE’s full endorsement. They are straight up to work with, the staff is very knowledgable about the gear they sell, and they pack gear even better than I do. And if you’ve ever bought a piece of vintage gear from me, you know the extent that I go to, to make sure it arrives in perfect shape. So you don’t get that socks instead of toys on Christmas morning feeling!

Knowing that their techs have gone over a piece thoroughly, takes all the guesswork out of the purchase. Yeah, their prices are about 10% more than buying on Audiogon or EBay from a random stranger is well worth it.

Best of all, you’re helping make a sale of a new pice of gear for someone else. How many times have you heard the phrase “you can’t have a new one, until you get rid of the old one?” Everybody wins.

I’ll be placing some short reviews up here, showcasing some of my personal favorites and they will include a purchase link to TMR if they have the gear in question currently for sale. In the spirit of full transparency, TMR is an advertiser with TONE, however the “Current Classics” are not part of an affiliate program – we don’t get paid extra for doing this – it was completely my idea.

I hope it’s one that will lead to your enjoyment of high end audio further.