TONEAudio MAGAZINE The Concierge of High End Audio

We’ve just received the new “Atmosphere” speakers from hORNS in Poland. You can read more on their website, at horns.pl.

This two-way speaker has an additional, rear firing woofer than can be switched in and out as room placement demands, no doubt, part of the reasoning behind the name. With a rated sensitivity of 84db/1-watt, it will be interesting how they match up with the amplifiers we have on hand.

Initial MSRP is $5,000/pair and custom finishes are available at no extra charge. Our review pair is beautifully finished in BMW “M” colors with white stands, which are included, also at no extra charge.

Stay tuned, we will have a full review shortly and they will be featured in issue 92 – our “small speaker” issue.

It just seems right to begin the review of MoFi’s UltraDeck+M with the first MoFi record I bought many years ago. #007 – Steely Dan’s Katy Lied.

Yeah, I’m that old. You probably hate Steely Dan, and you may not approve of the EQ curve they used back in the day, but whatever. I’ve heard this record a lot of times, on very many different systems, so this one is burned into my memory.

For those of you not familiar, this particular MoFi record is slightly tipped up at the high end, and could probably use a touch more on the bottom, but pressed in Japan, as MoFi records back then, it’s incredibly quiet and free of distortion. This lack of distortion is what initiated so many of us to the idea of paying extra for an “audiophile remaster.” MoFi paved the way.

Gently lowering the stylus to the second cut, this record sounds exactly as it should, with its tipped tonal balance in place. And it sounds glorious. A minute into the track, the UD’s ability to keep the musical pace locked down is uncannily good. A quick check with some Feickert tools confirms that the UD’s speed is spot on and unwavering, which is a significant contributor to this tables ability to pull it all together.

You can buy the UltraDeck without cartridge for $1,799, and for those of you that like to mix and match, this is a great way to go, but if you’d like a plug and play solution that is straight out of the box fun, I suggest the UltraDeck+M package that includes MoFi’s MasterTracker MM cartridge for $2,199. In the context of my six-figure reference system, the UD+M turns in a highly competent presentation, up against the big boys from Brinkmann, AVID, and Grand Prix Audio. No, this isn’t a $20k analog front end for $2,199, but it’s ticking all the boxes.

Positively perky

There’s something about a good MM cartridge that really makes music come alive. There’s an explosive character about MMs I find incredibly appealing. Considering the Japanese company that manufactures the cartridge for MoFi, this is no surprise – I recognized the sonic signature quickly. The MasterTracker’s billet aluminum body and unique damping material are said to eliminate resonance and was voiced by MoFi with Spiral Groove designer Allen Perkins. It’s hard to believe that this much performance is available for $699, less if you bundle it, but it’s a great addition to your system.

Purchasing the combination from Music Direct with the cart in place and installed is a great place to begin. Straight out of the box, the combo is fantastic, but breaking out the Analog Magik toolkit, I was able to optimize the setup even further, achieving even better channel separation and lower distortion. While this is probably out of reach of the average customer purchasing a UD+M, it’s worth mentioning, because it illustrates that while MoFi does an excellent job on setup at the factory, this table is capable of even more performance if you have access to more sophisticated tools.

Back to listening, this time with the original MoFi pressing of Hall & Oates’ Abandoned Luncheonette, the magic continues. The depth and subtle interplay between Daryl Hall and John Oates on this record is perfectly rendered – again with a large soundstage in all three dimensions.

Keeps you in the listening chair

Moving to more current music, with substantial low-frequency content, Beck’s Sea Change (on MoFi, of course) fills the bill perfectly and reveals that the UD+M not only has significant LF extension but detail and pace. Again, that word. Every time I drop the tonearm on this table, that word keeps etching itself into my memory, and that’s such a big part of the musical experience that helps you forget your listening to recorded music and immerse yourself in the experience.

The graininess and lack of low level that plagues nearly every MM cartridge regardless of price is surprisingly absent here. Auditioning acoustic selections or primarily vocal tracks proves highly convincing. A long stint of Ella Fitzgerald is enticing. Ms. Fitzgerald’s signature smoothness comes straight through, and this turntable/cartridge combination is never at a loss to render tonal gradation the way you’d expect an excellent analog setup to do.

As the listening sessions continue, it sinks in further just how great this combination is for just over $2,000. Granted this is probably not a casual purchase for most, but it is a substantial step up in performance from any turntable I’ve experienced in the $500 – $1,000 range. If you’re playing the analog game at that level and decide to trade up to a UD+M, this will be a revelation – it’s by no means an incremental increase in performance. Every aspect of the music revealed will be a major step up.

And that’s one of the most significant aspects of this level of analog playback. The sonic gains are enormous for minimal cash outlay. By comparison, going from your favorite $8k phono cartridge to your favorite $10k phono cartridge might only get you different, not better.

Performance options

Jay Leno once said when referring to cars that you’re either a wrench turner or a check writer. On a somewhat similar level, I feel that vinyl enthusiasts tend to be more or less predisposed to tweaking and upgrading their analog setup. Some are perfectly happy to “set it and forget it,” while others love to try and get more performance out of the existing setup. One of the things I love about my Rega P6 is that you can hang a Rega cartridge on the end of the tonearm and it’s good to go. Now that Rega has implemented a machined sub platter, (a past point of contention) other than swapping cartridges, there’s not much room for change or improvement – and founder Roy Gandy likes it that way.

However, if you would like to have a bit of an upgrade path to your table without replacing it, the UD+M gives some solid options. The tonearm is well suited to adjusting around different cartridges, and thanks to the RCA outputs on the back of the plinth, you can easily upgrade interconnects. Swapping the included interconnects for one from Cardas and another from Tellurium Q both made a tremendous difference – both revealing a substantial amount more music.

Later, a few different cartridges were tried, and the $750 Hana SL proves cost effective as well, but then you will need to consider an MC phonostage. We can discuss that later. The Delrin platter is designed to be used sans turntable mat so that no improvements can be had there, but if you want to take your UD+M as far as it can go, consider a MoFi record weight and a better power cord. Most of you will never bother, but it’s nice to know you can. You either want an open system or a closed one. Good as this table is out-of-the-box, there’s even more performance to extract, should you take the path.

Parting thoughts

You can tell a lot about a product, by the way, it’s packaged. Things often hurried to market are shabbily packed, but products built with pride nearly always carry that attitude all the way to the end. Mobile Fidelity has taken a great product and has packaged it tastefully and without excess so that you feel really good about writing the check. They even made the packaging materials orange to match the color of the drive belt. Nice touch.

This may or may not matter to you, but I love the fact that the UD+ uses a standard IEC power cord and does not have a wall wart or small external power supply. I lose those things all the time, and it drives me straight up the wall. Those more organized may not be bothered in the least; keeping it all in one box also makes it easier to place on one rack shelf. Again, may or may not matter to you.

It’s no accident that MoFi’s first turntable effort is at the top of the class with their first effort – they have a crack team behind it. John Schaffer, formerly of Wadia, has headed the project, bringing a tremendous amount of manufacturing and procurement knowledge to the mix. Even though Wadia was always a digital company, Schaeffer’s love for analog has always been apparent, as is his commitment to high quality. Allen Perkins from Spiral Groove was tapped to guide the turntable design, and his Spiral Groove tables are some of the best made at any price. Interestingly, the MoFi table makes the same little belt squeal sound at startup that my Spiral Groove did. Even the feet were contracted to HRS, so no real stone was left unturned.

Finally, all of this was accomplished right here in America. This table was not farmed out offshore to hit a price point. I think that is really impressive. In the end, I’m happy to give this turntable one of our Exceptional Value Awards for 2018. This is as good as analog gets for $2,200.

Ed. note: The opening and closing images in this review are courtesy of MoFi Distribution, ©2018, all rights reserved

The MoFi UltraDeck+M

$2,195 w/Master Tracker MM Cartridge

www.mofielectronics.com

Peripherals

Phonostage                 Pass Labs XS phono

Preamp                       Pass Labs XS pre

Power Amps               Pass Labs XA200.8

Speakers                     Focal Sopra no.3 with (2) REL 212SE subwoofers

Cable                           Cardas Clear and Tellurium Q Silver Diamond

Racks                           Grand Prix Audio Monaco

Perhaps the only other speaker that has as big of a long-term following as the esteemed LS3/5A is the Quad 57 (or original Quad if you’re being fiddly.)

However, unlike the famed ESL, there aren’t nearly as many variations on the theme as there are as the little British broadcast monitor that can. As a licensed product, made by a number of different manufacturers, each sounding somewhat different. You can lose hours on the internet arguing about which one is the “best,” but it’s more likely that finding the answer, you’ll just be more confused at best and aggravated at worst.

The Graham Audio BBC monitors are certainly the most faithful we’ve encountered, and when we reviewed Graham’s LS3/5 speaker, actually preferred it to some of the best originals. Heresy, perhaps. Yet the hard core LS3/5a enthusiasts were quick to point out that this was “not a true LS3/5a.”

So here we go. They’ve just been unboxed and we are ready to start listening. Let the good times roll.

www.grahamaudiousa.com

With so much excitement over the $10k – $30k phono preamplifiers, there’s somewhat of a gap between $10k and down. Bandwidth Audio has a great solution.

Not everyone has that kind of cash on hand, and with so many audiophiles having either two turntables, or two-armed turntables, the need for a great $6,500 phonostage with more than one input is strong. Though there is a catch – the Kaskode One offers one MM and one MC input (with Lundahl transformers on the MC side), set thusly. This is not a two input phonostage, where either input can be configured for MM or MC. But then again, neither is my $16,000 Conrad-Johnson TEA 1, and I enjoy it every day, so I’m not holding this against the Kaskode, and the Kaskode offers you the option of running the MC input balanced. A nice touch.

Depending on the load impedance selected by the internal jumpers, three gain settings are available at 60, 66, or 72db. MM is fixed at 46db, which will be fine for anything you might have on hand. You can read more about the loading options here:

http://www.bandwidthaudio.com/kaskode-one-phono-preamp.html

When used with all of the cartridges at my disposal, nearly all having .4-.5mv output, the 66 dB setting was just fine. I never found the need to go all the way to 72db, except for my Denon 103, which only has .25mv output. Even at maximum gain, the noise level stays low.

A different approach

An all-tube design, the Kaskode piqued my interest immediately, and further investigation reveals a different tube compliment than the typical 12AX7/12AU7/6922 that nearly everyone else uses. Instead, Bandwidth uses hand tested and matched D3a/7721 and EC8010/8556 tubes. The good news is that these tubes are not terribly expensive, the bad news is that you can’t find them. If you love the Kaskode One as much as I do (it’s pretty outstanding) order a few sets of replacement tubes right nowand start the hunt for more. This phonostage uses two of the former and six of the latter.

Another benefit to off the beaten path tubes is that you won’t have to agonize about tube rolling. While some enjoy this, I find it more often than not an exercise in futility and a great way to flush a lot of money down the drain. Use the Kaskode with the supplied tubes and enjoy!

Diversion from the path traveled by everyone else does have its benefit though. The Kaskode offers an open, natural, dynamic, and quiet sound that you’d expect to have about double the price tag attached to it, maybe more. But then they don’t have 60 mouths to feed and pay health insurance for like Audio Research does.

While the Kaskode offers balanced inputs, single-ended RCA outputs are the only option. Bandwidth claims that their output stage is very robust and capable of driving long cables with ease. A 30-foot pair of Cardas Clear interconnects, A/B’d with a 3-foot pair confirms this is no problem, so those of you wanting your turntable across the room can rest easy.

A number of companies have based their designs on hybrid technology to get the noise floor down, which does work well, but provides a different sonic signature than the Kaskode. My Audio Research REF Phono 3 is a perfect example of a very mature design – honed over decades. Each tube set/topology has a different sonic signature. It’s up to you to find the one you love and provides the perfect synergy for the rest of your system.

This is not a better or worse comparison, but the Kascode does present a different tonality, a different flavor. ARC’s FET/6H30 design is slightly punchier and less “tubey” in it’s presentation. Never a bad thing, but to me it’s like comparing a BMW M6 to a 911 GT3. They both offer tremendous performance, they just go about it differently with a different ride. And the Kaskode does have a different ride. Used in the context of a system with older Magnepans or the Graham LS5/8s (which are already slightly soft tonally) the Kaskode is too much of a good thing for me – though that might be perfect for you if you want that really romantic sound. However, when the Focal Sopra no.3s were in place in system one, or in room two with the Raidho X-1s (both of which are extended and highly revealing) the Kaskode is sheer perfection.

Putting this preamplifier through its paces with about ten different cartridges reveals no weak spots. The Kaskode really embodies what I think of when the word analog is brought up. I appreciate the subtle balance at work here. This phonostage has an extended HF range without ever being harsh, combined with a silky smoothness that never feels dark, or rounded off.

Good as the MC performance is, the Kascode delivers stunning MM performance, so if you are using an MM cart on your second table or second tonearm, you will not be disappointed. Paired with the recent Clearaudio Charisma V2, I never found myself longing for the MC. Thanks to a 1mv output, the Kaskode also works incredibly well with the Grado Statement 2 moving iron cartridge, which requires 47k loading. Regardless of cartridge used, from $95 Shure to $12k Atlas, the Kaskode extracts plenty of music from your LPs.

Rather than going on and on about specific musical selections (none of which might even be in your record collection) suffice to say that the Kaskode delivers great all-around performance. If your taste leans more to vocal heavy tracks, you’ll be impressed at how well harmonies are defined, with plenty of three-dimensional “reach out and touch it” going on. The soundstage painted by the Kascode is big in all dimensions.

The overall tonal balance is natural yet defined enough to resolve the difference between stringed instruments in an orchestra. Dynamic slam is here in abundance as well, so if you like to rock, the Kaskode has enough sheer dynamic force to keep you interested.

The stuff you don’t see

Because Bandwidth’s designer Mr. Beardsworth comes from a solid engineering background, the Kaskode offers a lot you don’t see until you remove the cover. The level of detail paid to its construction is first class all the way, from the – 2-layer PC board, all the way to the quality of the solder joints. The Kaskode certainly features $20k build quality.

A short delay following turn on and turn off will save you at least one blown tweeter over the time you own the Kascode. An internal selectable subsonic filter is included, and around back is a conveniently placed switch to float the ground, just in case you are having buzz issues. The level of sheer human engineering incorporated into this product shows the level of care that went into its design. (And I’ve had more than one $20k phonostage make a loud “thump” when switched off or from mode to mode.)

The longer you listen, the more you’ll like the Kaskode

Economic arguments aside, if you’ve been thinking about a two input phonostage, and don’t want to spend five figures, the Kaskode should be at the top of your list. Aesthetics are straight forward and understated. It will fit in nearly anywhere you might use something else, though if you’re super OCD, the grey might be a deal breaker. Personally, I love the semi retro look and the grey instead of the usual black or silver.

My only complaint about the Kaskode is very minor. Should you buy one, be super careful around the switches that control mute and MM/MC mode; they are the same flimsy paddle toggles that ARC and BAT used to use years ago. (and I’ve accidentally broken them all) The power switch is much beefier.

If you don’t change phono cartridges often, hence not needing to change gain and loading on the front panel (or via remote control) Bandwidth Audio’s Kaskode One could very well be your final destination. It turns in impressive sonic performance, and thanks to being produced by a smaller audio company, (with less overhead to build into the price) offers class leading performance at a lower price than you’d pay for a similar offering from the big boys. A true audio value and worthy of one of our Exceptional Value Awards for 2018.

And for what it’s worth, one of my personal favorites. Highly recommended. I can’t wait to see what else Bandwidth Audio comes up with in the years to come.

The Bandwidth Audio Kaskode One Phonostage

$6,500

www.bandwidthaudio.com

Peripherals

Analog Source Technics 1200G, Grand Prix Audio Parabolica, Brinkmann Bardo turntables

Preamplifier Pass XS pre

Power Amplifier Pass XA200.8

Speakers Focal Sopra no.3 with (2) REL 212SE Subwoofers

Cable Cardas Clear, Tellurium Q

AVM’s new Inspiration CS 2.2 4T has just arrived, and it does everything you need.

Further pushing the boundary of a high performance audio control center, it allows the ability to play CDs for those still loving the shiny silver disc, as well as a top notch MM/MC phono section for those with a collection of black discs. It’s ability to connect to your LAN, UPnP server or WiFi components leaves no options left to chance. And there’s even an FM tuner!

165 watts per channel (at 4 ohms) offers a wide range of speaker choices, and there is an on board headphone amplifier too.

Best of all it is TIDAL and QOBUZ ready, so you are rocking, no matter what the format.

We’ve just unboxed the CS 2.2 4T, so watch for our review very soon, and again in issue 91, which will be all integrated amplifiers. Please click here for more information.

Current MSRP is 4,990€, or $6,975 (without optional RC9 remote)

https://avm.audio (Main Site)

Peruse their Facebook page here...

Bios to follow SOON!

A true world citizen, Richard Mak can be found wherever there is great food, wine, music and turntables to be setup. His expertise as a turntable master is unparalleled. Creator of the Analog Magik software system and test record, he’s made it easy (but not cheap) for analog lovers to get the most out of their systems. We appreciate his help.

VPI has done as much to advance the resurgence of vinyl playback over the past decade as any turntable manufacturer going.

When vinyl was on life support and the consumer audio industry had its collective hands tugging on the plug, VPI pumped iron, took its vitamins and kept on keeping on. This gave VPI a running start into Vinyl’s second coming and they took full advantage. VPI has done a great job developing its product line and provide an upgrade path that can often extend a turntable’s life span for years on end. The recently retired TNT lived on for nearly two decades, an amazing by any standard. The VPI family recently welcomed the ADS speed controller and the Voyager phono preamp (review in issue 88) into its lineup.

Founded by Harry and Sheila Weisfeld 38 years ago, son Mat and his wife Jane continue the legacy, and have been continuously producing turntables for 38 years, no small feat. Headquartered in Cliff Wood NJ, VPI has American made stamped all over every model.

The $22K Avenger Reference gets its “Reference” moniker thanks to its new, massive, heavy duty motor. The 300 RPM, 24 pole, AC synchronous motor has a machined aluminum housing and utilizes VPIs new Rim Drive approach, moving away from a belt driven platter in favor of a drive wheel that comes in direct contact with the platter. The wheel itself is propelled by dual belts driven by the motor.  One would think having a large wheel rubbing up against the side of the platter would conduct vibrations to greater degree than either a ribbon or a thin rubber band but VPI conducted extensive measurements and found just the opposite to be true. The absence of vibration offers extremely stable platter speed, verified by a few speed checks.

The 25 lb. 6061 aluminum platter spins atop an Inverted bearing that features a hardened stainless steel shaft, with a 60 Rockwell chrome hardened ball, spinning in a phosphor bronze bushing sitting on top of a PEEK thrust disc.  The belt drive’s side load is placed at the center of the spinning bearing for zero teeter-totter effects. The plinth is triple layer made of a sandwich of black acrylic and slab aluminum with damping material between each layer. The beefy, yet easily adjustable notched support cones make leveling the table as simple as these types of adjustments get. The Periphery Ring clamps your record for the ultimate in record warp reduction, though it can be left off if desired. Finally, the fully adjustable machined aluminum armboard provides a solid platform for the tonearm, in this case the latest JMW 12, (a 3d printed design) wired with Nordost reference wire. The entire setup process took less than 30 minutes.

Setup and initial impressions

With the new VPI speed controller (included) dialed in and my Ortofon Cadenza Black bolted on and lined up just so thanks to set up maestro Mike Trei…I cued up Grover Washington Jr.s Winelight. Before getting into how it impressed, A little back story and some of the ancillary elements that helped shape my opinions. My current table, the Triangle Art Signature and Osirus V1arm has never left me feeling short changed. It has a center of the Earth solidity and warmth that is always musically satisfying.

Instrument tonality is a shade dark via the Triangle Art providing a dollop of mystery and sophistication. Utlilizing the D’Agostino Momentum phonostage with multiple inputs and EQ curves, made for an easy decision process on a few additional tonearm cables in for evaluation. Those who enjoy this process can take easy advantage of the VPI system, having additional tonearm wands for different cartridges. The rest of the reference system consisted of the

But what about the Avenger Reference Plus?

What doesitsound like. Can it be isolated in way that reveals its inherent character? Yes it can. Expressed in a few broad strokes, the Avenger Reference is lively, engaging and frankly, riveting. Simply put, the Avenger Reference is a ball to listen to. Back to Limelight,The top to bottom coherence, bouncy up tempo momentum and rhythmic enthusiasm is undeniable. This table swings baby. The Avenger Reference is much about upping the heart rate of the listener, never ever getting bogged down or plodding or dragging the tempo down. Much of this is the result of beautifully integrated low to mid bass lucidity and speed that seamlessly melds into the mid band. Coherent? Sonically cut from one cloth? Take your pick, you’d be correct.

Regardless of musical genre, the Avenger Reference never favors one type of music to another. Whether it was Red Garland playing On Green Dolphin Streetor Steely Dan’s Babylon Sisters or Sarah Vaughn Send in the Clowns, the Avenger Reference is superb at revealing and presenting the life, soul and energy of the performance. In each of these songs, the timbre of the instruments is exceedingly well rendered. This table always seems to accentuate the best of what each track has to offer. Red Garlands’ piano has a lighter touch than it does via the Triangle Art. The notes had a bit more sparkle and upper frequency air where the Triangle Art held true to its darker, weightier nature. Over all, the Avenger Reference is more even handed in tonal balance, not too dark, not too bright, just right. 

Having only the Ortofon Cadenza Black cartridge to evaluate the Avenger Reference, I recognize the fact that the Cadenza Black while being extremely well balanced and brimming with competence is not the last word in high frequency resolution and over all detail. I will go out on a limb here and conclude the Avenger Reference would be more than capable of extolling whatever virtues any given cartridge would offer just as it easily shows the difference between phono cables.

Sound staging and imaging is excellent via the Avenger. Though of all the characteristics of a component, sound staging varies the least from one competent product to another in my experience, and I feel that stage width and depth among front ends at this level is pretty consistent. The Avenger Reference won’t disappoint, nor will it reveal a great deal of variation from other top tier front ends. Images are well served by a nice dollop of contrast from a very quiet background and all pop into view nicely. Pace, timbre, and tonal balance is where the Avenger really excels, and for me, that’s where the music really lives and breathes.

Is there anything I did not like about the Avenger Reference?

Sonically nothing I can think of. It really does it all. That’s not to say there aren’t other tables out there that do even more of it all, VPI’s own reference 40K Titan instantly comes to mind. I personally find the Avenger Reference completely sonically satisfying. The Looks? Well, that is really in the eye of the beholder. I don’t find it the prettiest table, but its old school vibe will appeal more to those more mechanically minded – and the fit and finish are excellent. This table is solid as hell, no question. Personally, I’d love a bit more panache and modernity, but then it might not be a VPI?

With the Avenger Reference, most listening sessions evolved in very much the same way. I could never seem to tamp down my enthusiasm enough to put away each preceding album into its sleeve. After a few hours of listening the scattered albums made quite mess of things, not a habit that will continue that is for sure. The chaos was in the name of the best possible cause-the deep unbridled enjoyment of music that the VPI Avenger Reference delivers in spades.

Buying into the VPI family is just that. A family owned and run business that offers outstanding service and nearly 40 years of history to back up their experience in understanding what it takes to makes a great deck. This is no small issue. There are plenty of young companies out there jumping into the analog game. Some will survive, many wont. With VPI, you can rest assured your investment will remain relevant and well serviced for years to come.  – Greg Petan.
(Images courtesy of VPI Industries)

The VPI Avenger Reference

MSRP: $22,000 (with tonearm)

www.vpiindustries.com

On one level I want to share the new SIT-3 power amplifier from Nelson Pass’ First Watt division with the world and avail you all to its awesomeness.

On the other hand, they are only going to make a couple hundred of them, and I want one. Can’t even buy the review sample. Pass Labs’ Desmond Harrington assures me that this is one of a pilot run of ten amps “to get out to friends and reviewers for evaluation.”

This $4,000 box will not be for everyone. With only 18 watts per channel into 8 ohms and 30 per channel into 4, some listeners will be excluded. But for SET listeners contemplating crossing over, this will be like dropping a V8 into a Smart Car.

Think every audiophile cliche you’ve ever heard in one bundle, squared. The Pass SIT-3 delivers the cleanest window to music that I’ve yet experienced. I’ve got more listening to do, but no amplifier has ever made a better, more profound “first impression.”

If you can live with this level of power, call Pass immediately and get in the queue. You will not be disappointed. Now, there might be a few doubting Thomases’ saying “But those First Watt amps are a little thin.” With the wrong speakers, they certainly can be, and in a direct comparison to the SIT-2, the -3 is in a league of it’s own. This one has a fullness that others lacked. You don’t realize it till you hear it.

While anxious to pair the SIT-3 with the highly efficient Pure Audio Project Trio 15s, I couldn’t wait. Finishing the photo shoot, I plugged it right in to the main system (formerly with PASS XA200.8s) via the Focal Sopra no.3s, which have a sensitivity of 92db/1 watt and proceeded to by hypnotized by the mixture of drive, clarity, and sheer space that this amplifier delivers.  Think all those cliches again. Yeah.

The First Watt SIT-3 might be the amp that helps you to kick the bottle.
www.firstwatt.com

The minute you walk into the door of Starpower Audio/Video, in Dallas, Texas you realize that “audio/video” is a major understatement.

In addition to the stuff you do expect (big TVs’, cool couches, and a plethora of custom automation goodies), there’s a lot you don’t. Like kitchen stuff. Yeah. In addition to a killer 2channel or theater system, Starpower does custom kitchens, appliances and flooring. And not the mediocre stuff you see at Best Buy – they offer all top-shelf appliances from Jenn-Air and the like. In addition to kitchens, they are fully equipped to put together an incredible outdoor system too.

What could be better than getting it all done one place, with a crew that can help all of your needs? When discussing this radical approach with owner David Pidgeon and Brandi Thompson, head of VIP services, they both made it clear that the crossover aspect of buying at Starpower is strong. Pidgeon smiles as he tells me “it’s not at all uncommon for someone to come in looking for a range and buying a subwoofer too.”

Which leads to today’s adventure.

MartinLogan chose to launch their new line of Dynamo subwoofers here at Starpower for good reason. ML’s Marketing Manager Devin Zell makes no bones about what a great location this is, and that their depth of product knowledge along with a deep customer base is a perfect fit. “All these flat screens with our message on it is pretty cool too.” Can’t argue with that.

After the crowd has had some time to nosh and fully investigate the premises, the black boxes are unveiled to the standing room only crowd. The new Dynamo series starts with the Dynamo 400, ($399) and a single, powered, 8-inch woofer. Going up the range from the ($599) Dynamo 600X all the way to the ($1,699) Dynamo 1600x, we see more power, larger drivers, and more low frequency oomph. To keep costs in line and value high, MartinLogan only offers the Dynamo subwoofers in a matte black finish, and the three larger models can be used in downward or front firing configurations. They can be connected via Bluetooth and wireless connection is also an option. These are versatile subs, indeed.

That X is important, because all of the “X” models offer the option of built in Anthem Room Correction (ARC™) that can be configured from a PC, iOS, or Android device. If you’ve ever struggled with integrating your subwoofer and main speakers, this is a major blessing. Even if you’re room is fairly easy to work with, having ARC™ at your disposal gives you a few more placement options.

Keeping everyone in the loop

Part of the promotion at Starpower was a big product giveaway. The MartinLogan team made it easy for everyone, including those not able to attend. By tuning in to their broadcast at Starpower, live on Facebook, those in the audience were already in the mix for this and subsequent Dynamo giveaways.

Before and after the demo, Zell and staff were on hand to answer a lot of questions from eager customers. He was having a great chat with a young couple about subwoofer choices and said, “get in the drawing, you might win one.” It was great to see so many people at a well-staffed hifi event. The food was pretty good too!

Watch for a future test drive

Thanks to a full line of ESL main speakers, MartinLogan has always made subwoofers offering dynamic, articulate bass. You have to make a punchy subwoofer to keep up with an electrostatic panel. We can’t wait to get a few of these in for review to give you a full report, so stay tuned.

Whether you need new flooring, a theater room or just a subwoofer, Starpower Audio/Video truly does have everything including the kitchen sink. And what about that couple looking at subwoofers? As I saw them loading one in their trunk, Zell quipped, “yeah, they won one in the drawing, how about that?”

For more information on MartinLogan Dynamo subwoofers, please click here

For more information on Starpower Audio/Video, please click here

(and tell em we sent you…)

While rumors abound of audio reviewers being bribed by lavish meals and travel, it’s easier to get my attention – just send a pair of speakers painted the same color as one of my BMWs. Ha. Carbon fiber is pretty much catnip too.

After a bit of positioning in room two, the Raidho XT-2 speakers are delivering the goods. So far, our experience with the Danish brand outside of shows (where they always bring BIG speakers) has been with the smaller monitors. All good, but we’ve been jonesing for a pair of Raidho’s with a bit bigger bottom.

The just under $20k/pair XT-2s deliver, with a pair of 4″ Raidho X-Drivers and their renowned ribbon tweeter. In a diminutive cabinet, barely 6 inches wide, these 41 inch tall columns provide room filling sound with ease. The 6-0hm impedance makes them easy to drive, and even though the sensitivity is rated at 85db/1 watt, our reference Pass INT-60 amplifier has no problem playing with authority.

You can read more about the XT-2s here.

And we’ll have a full review shortly.

Mounting a $10,000 phono cartridge gives you a bit of respect for surgeons: one slip and kaboom! All that craftsmanship down the drain. But the effort is worth it.

Once mounted, moving a smidge here, a smidge there and back a molecule at a time until your vision of setup perfection is reached, and then analog bliss occurs. It certainly does with the $9,995 Koetsu Onyx Platinum phono cartridge.

The entry level Koetsu sound of the Black is very warm and forgiving, almost like a vintage Grado. Moving up the range, each model provides a higher level of depth, dynamics and low-level resolution, never losing the gentleness through the midband that makes these cartridges an object of desire around the world. The Onyx Platinum is nearly the pinnacle of the Koetsu line.

Beginning the audition with a less than perfect record, in this case, the MoFi version of Rickie Lee Jones’ Pirates, instantly captivates. The signature digital edge of this recording is still present, but the inner detail of this previously ignored record is staggering, from beginning to end. Cymbals remain slightly crispy, but the midband is full of warmth, palpability and almost a fourth-dimension of liveliness. If you’re the type of audio enthusiast who wants a “reach out and touch it” experience from your records, the Koetsu delivers the goods. Switching to a better recording, like Shelby Lynne’s classic, Just a Little Lovin’, is otherworldly, and if the rest of your system is up to snuff, this cartridge brings Lynne diabolically close to performing between your speakers. It’s that good, that exciting, that involving.

Aside from the extra-steady hand required with a cartridge of this magnitude, like the other Koetsu cartridges we’ve used, the Onyx Platinum is straightforward to set up. As a relatively low compliance cartridge, a higher mass tonearm is required for this cartridge to deliver the maximum dynamic range. As with past Koetsus, the SME V arms mounted to a few of our reference tables prove a wonderful match as well as the JMW 10.5 arm on the VPI Classic tables.

The test bench

We settle on three major combinations for the Koetsu, all good, yet different. The SME 30, AVID Acutus Reference SP and our highly geeked out Technics SL-1200 – all featuring the SME V tonearm. The SME table proves the weightiest of the three, with the AVID a very close second, yet the Acutus SP proves quicker and more nimble, allowing the Onyx Platinum to sound more open than you might expect. The modded Technics shows surprisingly well, with incredible pace due to its direct drive system, though not possessing the ability to throw as big of a soundstage like the much more expensive AVID and SME tables. SME setup wizards will tell you, as they’ve told me many times, do not use too much damping fluid in the trough, or you will find all that delicacy absent, and you’ll get the “woolly bass” that SME arms are wrongfully noted for. If your SME V has wooly bass, it’s over-damped. Make sure the goo just barely touches the damping paddle and you’re there.

Where the Urushi Blue tracks best at 1.95 grams, the Onyx Platinum settles in at 2.10, offering the best combination of dynamics, HF extension and an incredibly quiet background. The cartridge proves a quick setup in the SME tonearm and after weeks of listening doesn’t feel as if it’s fallen out of alignment like some hypersensitive combinations on the market – another reason I prefer the AVID/SME combination. It’s easy to set up, tolerant of less than perfect setup and does not waver once set up. There may be a more revealing combination, but I love using AVID turntables both for work and pleasure because they are so user friendly, yet offer tremendous performance.

For the more technically inclined, the Onyx Platinum features silver-plated copper windings, with platinum magnets and a solid boron cantilever. Everyone else claims their way is the right way, but Koetsu puts these elements together perfectly. Using the Pass Labs XP-25 phonostage, 100 ohms proves the best loading combination in our reference system.

Those tiny coils only generate .3mv of output, so both the BAT VK-P6SE we recently reviewed (55db of gain) and the phono section of the Audio Research GSPre (56dB) can’t muster enough gain to use the Onyx Platinum successfully. Switching to the Rogers PA-1A with 12AX7 tubes (65dB), the Pass Labs XP-25 (72dB max) and the Simaudio MOON LP 610 (72dB max) gets the job done handily.

More music!

Thirty seconds into the ORG 45 r.p.m. remaster of Duke Ellington’s Jazz Party in Stereo, and you’ll know what the Koetsu magic is all about. Cymbals have seemingly endless decay, and the horns bleat with texture, presence and authority. That being said, Cheap Trick’s In Color sounds pretty damn cool too, with Rick Nielsen’s crunchy guitars having enough bite to feel like one of his Marshall stacks are right here in my listening room.

The wider the range of music in your collection, the more you will appreciate the Onyx Platinum. Comparing it to the other super duper cartridges we’ve lived with long term, it feels somewhere between the spectacular Clearaudio Goldfinger and the Lyra Atlas, with the Goldfinger being even meatier, weightier and more substantial sounding, yet not quite as neutral tonally as the Atlas. All three are amazing, yet if I had all three, the Koetsu would be my daily driver.

Where some cartridges come across as warm, throwing resolution out by the roadside, the Koetsu is more gentle, striking a perfect balance of being ever so slightly forgiving, yet resolving the slightest details at the same time. Yet the presentation offered from this cartridge goes beyond that. If you’ve spent much time with single driver or full range electrostatic speakers, they offer a seamless, cohesive, holistic presentation that no speaker system with multiple drivers can recreate in the same way. What they lack in presenting the last few molecules of dynamic punch or extension is nothing in comparison to the organic recreation of music they offer.

The Koetsu Onyx Platinum is very similar in the sense that the music coming from it unfolds in a way that this unique continuity settles in rather than jostling you into submission. The other high-dollar cartridges are equally compelling, yet in different ways – and much like a Quad 57 speaker, if you love the way it presents music, nothing else will do.

That sums up the performance of the Koetsu Onyx Platinum phono cartridge. If you get the opportunity to hear one and love the way it presents recorded music, it will probably gnaw away at you until you can possess one. While there are plenty of other great phono cartridges costing a lot less money – and you don’t need to spend $10k on a cartridge to enjoy music – if you want this experience, this is what it costs. And if you fall prey to its spell, you will write the check, happily.

Final thoughts: over a year later…

Living with the Onyx Platinum for over a year, I am still just as smitten as I was the day it arrived for review. It’s easy to get caught up in the romance of any product, and living with cartridges at this level can be like courting a mate. Sometimes the initial excitement wears off. Not here.

The Onyx Platinum, now living happily on a Brinkmann Bardo table with RONT power supply continues to deliver the goods. Yet like a bottle of Macallans 60, I don’t serve it to everyone. This is the cartridge I use for serious, personal listening. When the closed sign is on the door and the reviewer hat hangs on the doorknob, the Onyx is my personal choice. And that’s the highest compliment I can give this cartridge. It is pure analog joy. I believe occasional TONE contributor and hifi reviewer extraordinare, Ken Kessler recently arrived at a similar conclusion in HiFi News.

The Koetsu Onyx Platinum Cartridge
MSRP: $9,995

Buy it at:  http://www.musicdirect.com/p-345416-koetsu-onyx-platinum-mc-phono-cartridge.aspx

Peripherals

Turntables                 SME30/SME V tonearm, AVID Acutus Reference SP/SME V tonearm, Technics SL-1200 (heavily modified)/SME V tonearm

Phonostages              Pass Labs XP-25, Rogers PA-1A, Simaudio MOON LP610

Preamplifier              Robert Koda K-10, ARC GSPre, Coffman Labs G1-B

Amplifier                    Pass Labs Xs 300 monoblocks, Audio Research GS150

Speakers                    Quad 2815, GamuT RS5, Dynaudio Evidence Platinum

Power                         IsoTek Super Titan and power cords

Cable                          Cardas Clear, Nordost Frey

If you’ve ever had the good fortune to visit Japan, one of the first things you will notice is how deliberate everything in Japanese culture is. They do not take anything, even the most minute act, lightly. The level of care they exhibit is a treat to behold.

Unboxing the Luxman PD-171A turntable is a similar joy. When you get to the inside of the third box, the table is revealed in three more layers. Dust cover is on top, exquisitely wrapped, followed by the plinth/motor assembly, and the platter is on the bottom of the box. Each bit is carefully, perfectly wrapped. Should you purchase a PD-171A of your own (and I highly suggest you do) plan on at least 60-90 minutes to savor this process!

Each layer is wrapped, taped, and fit together so tightly, that it must be removed slowly and carefully. Wonderful as Luxman products are, even the packaging is a work of art unto itself.

What has to be the best feature assembling the PD-171A though, is the threaded handles, so that you can gently lower the finely machined platter on to the main bearing. I wish EVERY turntable manufacturer did this!

Here it is, fully assembled, ready for a cartridge – but what will we choose?  We’ll have more pictures in issue 90 and a full review on our site shortly.

Features

Old School:

Paul DeMara revisits the Walkman!

995:

Pro-Ject Debut Recordmaster

Journeyman Audiophile:

Parasound JC3 Jr.
By Eric Neff

Aural Exam:

Stressing about Cables

MINE

Gig Harbor Goodies

Ortofon Headshells

Super Sneakers

Analog Magik Torque Wrench

and more….

Music

Playlists:  We share our readers choices from around the world

Audiophile Pressings: The Rolling Stones Studio LP’s

Can’t Get it Out of my Head
By Emily Duff

Take Your Whisky Home

A new column by Roy Hall

Future Tense

Gold Note Integrated

Luxman belt drive table

Pure Audio Project Voxative Drivers

and more…

This Month’s Gear: Approachable Analog!

Rega P6

VPI Cliffwood

Technics SL1200GR

MoFi UltraDeck +

Channel Islands PEQ•1 Mk II

Musical Fidelity NuVista Phono

Tellurium Q Black and Black Diamond Phono Cables

Clearaudio Charisma v.2

Sumiko MM carts

Hana SL MC cart

Switching from the delicate, quirky vocals in Bjork’s latest, to Keith Jarrett’s classic The Koln Concert, to the pounding beats in High Contrast’s Night Gallery, through the new Magnepan .7 speakers, I realize I haven’t heard a moderate power tube amplifier offer up this level of sheer grip since the legendary Audio Research D79.

75 watts per channel? Magnepans? Is this an alternate universe? Nope. This amplifier cranks it out. Honestly, the REF 75SE offers so much sonic heft, the power meters barely move when paired to the Raidho X-1s, even at high volume, but the Magnepans make the REF 75SE work, using up all the available power on tap at high volume. The result is brilliant with both configurations.

Firing up the Audio Research REF 75SE for the first time, the amplifier is pleasant, but not OMG. However, like all ARC products, the REF 75SE needs some time on the clock to give it’s all. ARC suggests 600 hours of playing time, and while past REF components required close to this, even after the 50 and 100-hour mark has passed, the magic happens in earnest. OMG arrives between 300 and 600 hours, as with every other ARC REF component.

Talk to a fan of Audio Research, and the REF moniker often conjures up visions of the massive REF 750SE monoblocks; towering beasts that require palettes of power tubes at the ready for when the need to retube strikes. With a much more extensive selection of speakers offering a sensitivity rating above 90db/1 watt these days, not all of us need 750 watts per channel or even 250, but the desire for the resolution that the REF series provides is always welcome.

Some Audio Research aficionados admit in a hushed tone that the REF 75SE, with its single pair of KT150 output tubes per channel, is the sweetest creation in the lineup. That’s tough to call, without having them all right here for direct comparison, but considering our road trip with the Minnesota based amplifier company goes back multiple decades, we’ll try our best.

The $10,000 price tag on the REF 75SE, puts an entire REF based system in reach of a broader audience in many ways, and not just financially. A single power amplifier means less rack space and less wear on your back. Weighing in at only 47 pounds, the 75SE is a REF you can get your arms around!

A legacy to live up to

For this writer, the comparison doesn’t immediately go to the other amplifiers in the REF lineup, but the legendary D-79, which I’m equally familiar with and still own. It’s big power meters on the front panel bring back warm, fuzzy memories right away. A few hundred hours of run in time take the REF 75SE from really good to “oh my goodness.” No disrespect to the big REFs, but this amplifier has an appealing palpability to it that will make you a tube lover if you aren’t already part of the club.

Where a few past ARC designs were voiced with a leaner sound by comparison to this amplifier, (which might have you guessing whether there were transistors under the cover) the current REF series pulls it back slightly. The GS150 that was our Product of the Year back in 2016 has a warmer, more saturated tonal balance than the REF75SE, and that amplifier is a one of a kind – there is no lineup of GS series amplifiers to compare to. The GS is almost more vintage like in sound – you could almost think of the GS as two cups classic/vintage ARC sound mixed with one cup of current ARC sound, while the REF 75SE is two cups current ARC combined with one cup vintage. Both are fantastic, but if the last generation of REF amps left you a bit cold and the GS proved “too vintage” for your taste, the REF 75SE will be your perfection.

The 75SE is the epitome of the breed, perhaps because it is a simpler circuit, with a single pair of output tubes. Switching back and forth repeatedly between the D-79 and the REF 75SE is enlightening. The older amplifier, with its massive power supply and output transformers, feels as if it has more ultimate heft than the REF 75SE, yet the longer you listen, the current amplifier is cleaner, faster and more resolving across the scale. In many respects after decades of building world-class tube amplifiers, ARC knows better where to pound the nail.

Great as the D-79 is, a side by side comparison reveals the older amplifier, while still excellent, even by today’s standards, does not reveal as much music. Whether you prefer that presentation is up to you, but I’m guessing that if you have a modern, high-performance pair of loudspeakers and similar components, you’ll appreciate what ARC has built here. And the new amplifier incorporates everything that has made ARC great.

Deeper tracks

Listening to a series of familiar jazz tracks from Herbie Hancock, Miles Davis, and Lee Morgan, the 75SE presents acoustic instruments in a natural, tonally correct way, with the right amount of attack, decay, and presence to convince you that you are listening to the real thing. This presentation does not vary when switching between Focal, MartinLogan, Graham, Raidho or Magnepan speakers. Each one of these speakers retains its own personality if you will, but as a listener, you don’t bounce back and forth between rows in the hall.

One of the toughest parts of the musical spectrum for tube power amplifiers to reproduce is the lowest register. More often than not, tube amplifiers don’t have that last bit of grip that the best solid-state amplifiers do, yet some solid-state designs can come across over damped at times. Hair-splitting for sure, yet the 75SE produces a hefty amount of bass extension, combined with control and definition. Listening to Jaco Pastorius tear up and down the fretboard on his self-titled album, the 75SE gives an exciting and engaging performance, full of low bass grunt, combined with the harmonics of Pastorius’ complicated technique.

At the other end of the frequency spectrum, the 75SE is equally detailed and nuanced, with an enormous soundstage painted in all three directions. Music played through the 75SE takes on a delicate, airiness that is the hallmark of tube gear – and ARC is definitely one of the masters of the craft.

What sets the 75SE apart from the larger, more powerful REF amplifiers is the subtle balance of microdynamics, pace, and delicate musical texture. The most complicated musical selections come alive in a way that most big amplifiers can not muster. Again, the big REF amplifiers create a sense of dynamic that the small amplifier does not, so you need to know what you value most.

A perfect partner for the right system

Combined with speakers like Focal Sopras, Wilson Sophias, or something else with a sensitivity rating of 91db/1-watt or higher, you may never need a bigger amplifier than the REF 75SE, especially if you do not possess a huge room. The 75SE combined with the Sonus faber Guarneri Tradition speakers ($16,500/pair) in our 13 x 15-foot room is lovely.

Adding a REF 6 preamplifier and a REF Phono 3 along with a fantastic $10k-$30k pair of speakers combined with a source or two puts an entire system in your reach for $50k – $80k that will leave you wanting for nothing. Again, your mileage may vary. If you have inefficient speakers, a big room, or you must listen at punishing sound pressure levels, this is not the droid you want.

Audio Research has built a compact version of their top line REF series amplifiers that sacrifices nothing sonically to their biggest amplifiers and has put it in reach of a broader audience. For music lovers that crave the best, yet have to keep somewhat of an eye on the bottom line, this is a dream come true.

The Audio Research REF75SE

MSRP:  $10,000

www.audioresearch.com

Peripherals

Digital Source                         dCS Rossini DAC and Clock

Analog Source                        Grand Prix Audio Monaco 2.0/Triplanar/Lyra Etna

Phono Stage                            ARC REF Phono 3, Pass XS Phono

Preamplifier                             ARC REF 6, Pass XS Pre

Speakers                                  Raidho X-1/REL T7is, Focal Sopra no.3/REL 212SEs

Cable                                       Cardas Clear, Tellurium Q Silver Diamond

Zeroing in on the tonal characteristics of a phono cartridge and keeping it within a budget that makes sense is often one of the biggest challenges facing an analog enthusiast, but it can be done.

Depending on your system goals, the cartridge can be the ultimate tone control, and an easy way to express your take on what defines musicality to you. Think of it as buying a painting at an art gallery: some like the realistic portrayal of Norman Rockwell, others like the soft focus and hues of the French impressionists, while some dig the bright saturated colors of Andy Warhol.

So you can better understand my personal bias, I prefer cartridges on the slightly warmer, romantic side of the equation, and it’s reflected in the reference cartridges that I use: Koetsu, Grado, and Kiseki. Of course, we do use Lyra, Ortofon, and Clearaudio as well, but I’ll always take a little bit of sugar, rather than drink it black if I have my druthers.

I’d like to share a lovely new (to me) cartridge, hailing from Russia, imported by Solypsa Sound, here in the Pacific Northwest, Seattle to be exact. Sensitive Sound produces no less than 35 MC models from the $669 Splash X1, all the way up to the Violet T-8 at $8,160. The Art-Majestic MC featured here comes in at $1,270 and utilizes a Micro HD stylus mounted on a Boron cantilever. You can read the complete specs here:

http://sensitivesound.com/mc-cartridges-art–majestic/

With premium phono cartridges solidly in the five-figure range, you might think it’s tough to get an amazing cartridge for around a thousand bucks anymore – and to some, that’s still a high price tag. If you’ve settled on a great table in the $2,000 – $5,000 range (a ballpark figure so don’t freak out if you’re a bit outside of this range), this could indeed be your scooby snack.

Queuing up Del Amitri’s Change Everything, the level of coherence that the Majestic brings entices instantly. This average recording at best, while slightly flat via Tidal, blossoms to life with the Majestic/Technics SL-1200G. It has width and depth, with a much fuller low end, allowing the bass drum in “The First Rule of Love” to merely unfold in the room. A similar effect happens with the Average White Band’s Cut the Cake– another perfectly average record, now engaging via the Majestic. Hundreds of albums later, I realize that this is the Majestic’s greatest strength – bringing gusto to the process and making mediocre records more viable.

Nuts and bolts

The Majestic is a moderate to low compliance cartridge, so it will not deliver the goods on your favorite Rega arm or vintage high compliance SME tonearm. It proves a near perfect match on the current Technics SL-1200G, and even better when stepping up the game to the Acoustical Systems Arche 5D headshell, adding a bit of extra mass to the Technics tonearm. Those not in the mood to purchase such an expensive cartridge, consider adding a slight bit of mass to whatever headshell you are currently using on the Technics to dial things in all the way.

Sensitive Sound suggests tracking force set in the 1.8 – 1.95-gram range, and it performs best towards the higher end of that range with the stock Technics headshell, but better around 1.8 grams in the more massive AS headshell.

An output of .45mv and suggested load impedance of “100 – 47k” leaves room for experimentation. My Esoteric F-07 integrated amplifier has only one, a 100-ohm setting for its MC phono section and this proves outstanding. While some audio gurus swear by system synergy, yet others turn their nose up at the concept, the Majestic is one of, if not the most enjoyable cartridge I’ve used with the new Technics 1200G. Crazy as it might sound so spend half the money on the cartridge on the AS headshell, it allows dialing in the cartridge so tightly, it delivers performance well beyond what you’d expect for this price. The Majestic is proof that good components set up with fanatic enthusiasm can provide exceptional results.

Plugging the 1200G/Majestic combination into my reference Pass Labs XS Phono, with a much wider range of loading options, still delivers the best combination of dynamics and even frequency response at 100 ohms. One more check mark in favor of a synergistic match.

Sampling a range of phonostages from the just acquired Musical Fidelity  NuVista Phono ($2,999) up to the Conrad-Johnson TEA-1SE, the Majestic turns in a stunning performance. Those on a budget would do well to consider the $999 Channel Islands phono (slightly more with external power supply) for a killer, high performance/modest cost option.

A unique personality

After listening to many album sides, the only thing the Majestic leaves on the table that the mega cartridges offer is the last bit of fine detail resolution, and a deeper front to back presentation – that feeling like you’re swimming in music. If you’ve got shelves full of first stamper this and first stamper that, you’ll notice the difference. Unless you have the absolute finest records available, (and if you have that record collection, you’ve probably got a turntable and system to match) and you prefer a slightly warm tonal balance, there’s no need to go further than this.

Balanced as the Majestic is, compared to some other cartridges in its class, it delivers a very resolute and detailed bottom end, where many of its competitors can only produce one note bass, or barely a little more. This cartridge offers plenty of attack and speed in the lower register along with texture and detail that you would typically associate with cartridges costing two or perhaps even three times more. Its tracking abilities are above average as well. Part of this is matching the cartridge to the proper arm, yet once set up, I experienced no mistracking during any of my listening sessions.

I had equally excellent results with this cartridge in the SME 309 arm with the AVID Volvere SP and Soulines Kubrick HDX turntables as well. The Majestic mates well with the lower cost Technics SL-1200GR that we are finishing the review on, but personally, I’m not a fan of spending as much on a cartridge as a turntable. I prefer to steer you towards a more precisely built table and a lesser cartridge (again, perfectly set up) than the other way around. I feel you’re throwing resolution away putting a more expensive cartridge in a modest deck.

The Majestic is a very fun and engaging cartridge because it does offer that little bit extra tonal saturation, yet is not soft, slow or sluggish. There’s still plenty of resolution accompanied by a vast soundstage. Again, the Majestic does not offer that level of front to back depth that cartridges costing 5-10 times as much do. Yet in my smaller (13 x 15 foot) listening room, helped along by the tremendous resolving power of the Raidho X-1 speakers, I never found myself wanting for more.

Within the vast sonic landscape that the Majestic does paint, the water is indeed nice. This cartridge is more than worthy of one of our Exceptional Value Awards for 2018. It’s my personal favorite and will be staying as a permanent reference with the SL-1200G after the review. Remember what I told you about my priorities – if you don’t want a touch of romance, move on. But if you do, try and get a listen; Majestic is the perfect name for this cartridge. We look forward to experiencing more of what Sensitive Sound has to offer further up the range. And as soon as possible.

The Sensitive Sound Art-Majestic Cartridge

www.solypsa.com (US Importer)

www.sensitivesound.com (Manufacturer)

Peripherals

Turntables                   Technics SL-1200G, VPI Classic Two w/ET 2.5 tonearm

Phonostage                 Conrad Johnson TEA-1, Musical Fidelity NuVista, Pass Labs XS Phono

Amplification              Esoteric F-07

Speakers                     Raidho X-1 w/(2) REL T7i subwoofers

Cable                           Cardas Clear, Clear Light, Clear Reflection

Power                          PS Audio P20

Features

Old School:

The Magnepan Tympani 1D

995:

Acoustic Energy AE-1

Journeyman Audiophile:

Triangle Theta

Aural Exam:

Rotating Your Tubes!

Walkabout:

A visit to Munich HiEnd 2018

MINE

AYO Wearables

Hydrosilex Recharge

Norlan Whisky Glasses

BMW C Evolution

and more….

Music

Playlists:  We share our readers choices from around the world

Audiophile Pressings: Todd Rundgren SACD’s

Can’t Get it Out of my Head

Future Tense

New MM cartridges from Sumiko

Novelle Records Box Editions

Clearaudio Charisma MM Cartridge

and more…

This Month’s Gear: All Speakers!

REL T7i Subwoofer

Pure Audio Project Horn 15

MartinLogan Classic ESL9

Alta Audio RHEA

B&W 705S2

Sonus faber Guarneri Tradition

Dynaudio Special 40

B&W 707S2

SVSound Prime Elevation

Sonus faber Venere S

Usually, subwoofer discussions start with tales of thunderous, booming bass that rocks the house.

I’ve been using REL subwoofers for about 10 years now and that’s not what this is about. They will certainly add major low frequency extension to whatever speakers you choose to mate them with, but that’s not what REL is about. This is about adding scale to your system.

Laurie Anderson said in the song “Language is a Virus,” that “paradise is exactly like where you are right now, only much, much better.” That’s what adding a REL (preferably two) to your system will do if you have it properly positioned and set up. You won’t find yourself thinking “that subwoofer sounds killer!” You won’t even know it’s there. But your system, enabled thusly will reveal more music than it ever has, and not just down low.

Beginning one of many listening sessions with a pair of T7is in a 13 x 15-foot room with a pair of Raidho X-1 speakers as my initial references, Dave Pike’s rendition of “Bluebird” has more body, more realism than I am used to, even with the spatially superior Raidhos. The Raidho’s small woofers just don’t go down much past about 55-60hz with authority in this room, so using the RELs in this context is picking the low hanging fruit. The string bass is now fleshed out with authority, yet when the low keys on the piano are struck, you can feel it in your chest, and your soul. Adding a $2,000 pair of small RELs transforms an already lovely pair of $6,000/pair small monitors into full range masterpieces.

Following the concise instructions on the REL website, the T7is are set up and dialed in pretty quickly. This is an overly simplistic analysis, but again, you know you have them set up right when you can’t localize them. For those not familiar with REL, they prefer using a high-level connection from your amplifier’s output, accomplishing two things: your main speakers are run full range, making for a more seamless crossover and the sub picks up the exact tonal character of your power amplifier. They include a 33-foot cable with bare wire on one end and their Neutrik connector on the other. Those feeling the need can still plug in with preamplifier output, or via a .1/LFE channel in certain theater applications. But if you’re building a 2-channel system, I highly suggest doing it RELs way.

Size, shape, etc.

You can read all of the pertinent specs on the T7i here, (https://rel.net/shop/subwoofers/serie-ti/t7i/) but most important is that these enclosures (12”H, x 14.5”W x 15”D) barely take up more than a cubic foot.

An 8-inch driver fires forward, with a 10-inch passive radiator facing downward. A 200-watt, class AB amplifier, a refined version of what has served previous REL subs well drives the T7i. The two controls requiring your full attention are the ones marked “crossover” and “hi/low level.” Because your main speakers are already running full range, this control is a low-pass control, determining how high up the REL goes, and can be varied from 30hz all the way up to 120hz. Like the level control, these are stepped controls with extremely fine adjustment capability. If you experiment with multiple placement options or main speakers, this makes it easy to count how many clicks you’ve turned the controls, so you can always go back to where you were.

As suggested by REL’s John Hunter, now is a great time to optimize your main speakers for the maximum bass output without the REL. The further down you can get your mains to play, the easier it will be to integrate the REL seamlessly. I like to start with the crossover control all the way down at 30hz and slowly, gently bring the level up until the presentation takes on a fuller sound, without becoming boomy, or overloaded in the mid bass region. While Hunter (and all of his disciples) are fond of Jennifer Warnes’ “Ballad of the Runaway Horse” tune for optimizing upper and lower bass balance during speaker setup, I’m finding excellent luck using Frank Zappa’s voice. Because you just can’t listen to that damn horse song all the time. Using the famous Zappa track “Montana,” I find when the REL is set to perfection, Zappa’s voice doesn’t get overly foggy, cloudy, muddy. It just gets bigger. He sounds like GOD ZAPPA when its right.

This will get you close. Then a bit of moving the REL around and slight fine tuning – perhaps with a friend to help speed up the process and you’re rocking. Even the most OCD person operating solo should be able to nail this in about an hour. Hunter adds here that they also like track 4 from the soundtrack of the 90’s movie Sneakers to dial the REL in itself. When perfectly optimized you can clearly hear the second skin (he calls it a “double-tap”) of the concert bass drum as the compression wave from the softly struck mallet on the first membrane passes through the body of the drum and pressurizes the second skin. This track is also excellent for determining phase and crossover settings, with level falling in to suit. Unless you are driving the hell out of an incredibly large main pair of speakers, the chance you will overdrive the T7i is slim. Even a long playlist of Aphex Twin and similar tracks, I was unable to overdrive the T7is, still mated to the Raidhos.

Highly versatile

Though Hunter suggested I use larger RELs for my Magnepan Tympani 1Ds and .7s, even in a larger room, the T7is offered more than satisfying results – part of this will be determined by your room and listening habits. After living with the T7is for some time and getting used to their character, I also found them easy to integrate with the Dynaudio Special 40s, Totem Signature 1s, and the Graham Audio LS3/5 monitors. Both the B&W 705 and 707S2s were a good match too. Bottom line, before you invest in that next, bigger pair of speakers, you might just consider a pair of T7is. They come covered in gloss black (like our review samples) or gloss white, making them easy to blend in to your décor just as easily as they blend into the soundstage.

Exactly like the 212SEs that I use in my main reference system, after you get over the initial amazement of using the T7is, it’s easy to forget them – until you turn them off. Yeah. It’s the audiophile equipment of pinching yourself. Shut em off from time to time, to really see what you’re getting.

Just as the 212SEs have become a permanent fixture in my main system, the T7is are now a permanent reference component in room two. In the context of some carefully chosen gear making up a system worth about $30k, the $2k investment in the RELs increases the desirability of the entire system by about 100%. There’s just no better value in high end audio for this reviewer than adding a pair of RELs, regardless of which model you choose.

What I really enjoy about these smaller, less expensive subs, is that there has been no compromise in the T7is in terms of what makes the big RELs truly great. The cabinets, though slightly simpler in design, are still executed to the same level of fit and finish as the top models. Ditto for the drivers and electronics. Hence, the T7i is more than worthy of one of our Exceptional Value Awards for 2018. If you feel so inclined, read my review of the 212SE – everything that I found enticing with the 212SE is here with the T7i. Think of the 212SE as a full bottle of your favorite adult beverage and the T7i as a hearty glass full.

Final thoughts

Regardless of the music you play through your system, once it becomes REL equipped, you’ll notice much more depth and ambience way up through the midband. But what fun would a pair of subwoofers be without digging some bass heavy grooves? I’m sure you have your favorites, so now that class is dismissed, enjoy!

The REL T7i

$999/each, white or black

www.rel.net

Peripherals

Analog Source                         AVID Volvere SP

Digital Source                         Gryphon Kalliope with dCS Bridge

Amplifier                                 Pass INT-60, Esoteric F-07

Speakers                                 Raidho X-1

Cable                                       Cardas Clear

Power                                      PS Audio P20

After a few months of constant listening, I want to say “Bowers & Wilkins new 705s2’s kick major ass,” but that would be so un-British.

But they really do. Today, listening to Emerson, Lake, and Palmer’s Brain Salad Perjury, an ambient/electronica remix of a major slice of their catalog, I continue to be impressed at the sheer scale these compact monitors deliver. There, much more polite.

In the past, Bowers & Wilkins flagship 800 series speakers have been the only models sporting their signature diamond tweeters, resulting in a fairly large gap in resolution between the two. Yet with the s2 version of the 705, they are catching up on the sonic signature of the 805, even though the 705 features B&Ws new carbon dome tweeter. This is a first, replacing the aluminum dome that used to be standard issue on the 700 series, yet it is produced in a similar way to the diamond domes, just layering carbon atoms instead of diamond atoms.

Simple or traditional?

Both the $6,000/pair 805d3 and the $2,500/pair 705s2 share B&Ws new Continuum cone material, and as was explained when I visited their US office last fall, one of the major commonalities here is that both the carbon dome and the Continuum cone for the LF driver are hand made in the UK facility, and shipped to their overseas plant for final assembly. Every aspect of the 800 series is hand built and optimized in the UK facility.

Of course the diamond tweeter requires more effort to produce, and the cabinet of the 805 features the same curvy form that distinguishes the series. Watching these come to life in their factory, layer by layer, then pressed into shape transcends mere manufacturing. And as we happen to be touring the paint shop, a few of the people in coveralls just happen to be from Rolls-Royce. Our tour guide explains “Yes, we share information on finishes.” This is industrial art in the truest sense.

Back to the 705, shall we? In addition to the cost cutting savings in manufacturing and driver technology, though B&W has incorporated their billet tweeter enclosure and flowport design from the 800 series, they have made the cabinet a simpler box shape. I can only imagine how much time this saves in the assembly process.

Value is the result

Thanks to an engineering team of nearly 100 people now, B&W has put some major heart into the 700 series. This is what you get when a company has complete control over the design and manufacturing process. With so many boutique speaker companies picking this bit or that bit off the shelf and hammering it into place to make it work, there’s a reason why B&W can produce such an incredible product for this low price. There are a number of economies of scale going, as well as depth of design prowess. And though the cabinet is a simpler shape, the level of execution is still like that of the 800 series. Personally, I love, love, love the matte white adorning our review speakers.

You might think I’m too excited. Sorry. But the longer you listen, the easier these speakers are to live with. An 88db/1 watt sensitivity and a 3.7 ohm nominal (rated 8 ohm) impedance make the 705s2s a breeze to drive with solid state or tube electronics. After auditioning them with about a dozen different amplification choices (including the Rotel RAP-1580 in concert with a pair of 707s2s and an HTM72 center channel) all provided highly satisfying sound.

Running through a gamut of quad and surround mixes underscored how much better this effect is when you use five very similar speakers, and it was easy to get lost in the trippiness of this. The Rotel/5-speaker system in a small 10 x 11 foot room delivered a massive sonic landscape that felt so much bigger than you might suspect.

Setup is a breeze. The 705d2s offer bi-wiring as an option, but we ran them with a single pair of Cardas Clear Beyond speaker cables. The only tweak I’d suggest is replacing the supplied jumpers if you do not bi-wire these speakers, with jumpers made from the same speaker cable. This is another area that the 800 series offers higher quality – their supplied wire jumpers are the best in the business. I did notice a slight jump in clarity and cohesiveness by switching to Cardas Clear jumpers.

24-inch stands are what you need. B & W offers their own 700 series stands, but they will set you back another $499, pushing the price of the 705s2s closer to the $3,000 mark. However, any of the other mini monitors in this category suffer the same fate. It’s like when you book that $34/day rental car, but you still need insurance. These speakers are excellent, don’t scrimp on the stands. Jedi rant over.

Moving in stereo

Returning to the universe of two channel, the majority of my listening was done, pairing the 705s2s with the Pass Labs INT-60. These speakers will deliver excellent results with anything from a vintage receiver on up, but because of the high resolution they do offer, pairing them with the best amplifier you can muster will pay dividends in image depth, bass grip and extension as well a high frequency smoothness that the lesser amps don’t offer. These speakers deliver performance well beyond what you might expect for this price.

$2,500 does not buy you the full enchilada, yet spending time with the flagship 800 Diamond, both at the B&W factory in the UK and a very recent experience with B&W’s Kevin Wolff in Vancouver BC at the Hi Fi Centre, it is incredible how much of the core 800 sound is here in the 705s2.

Both the $30k/pair 800s and the $2,500/pair 705s render a large musical soundfield. In a smaller room, with program material not dipping much below 45 or 50 hz, you might even be hard pressed to tell the difference. The large 800D has a forceful bottom end, rattling the walls with its output and playing incredibly loud without distortion.

Yet the small 705 can still play loud enough to satisfy most listeners in a modest size room. The Pass amplifier has tremendous headroom, and is able to propel these speakers with plenty of force. The classic track “Yulunga(spirit dancer)” from Dead Can Dance proves the 705d2s do produce formidable, high quality low frequency output. A minor miracle for a speaker in this price range. Those in a modest sized room may not need even entertain the thought of a subwoofer.

The 705d2s produce their immersive soundstage well beyond the sweet spot in the center of the couch. No doubt a result of their collaboration with Abbey Road studios, where the 800s are used as mastering speakers, and wide dispersion is a must – the mix has to sound good when sitting or standing at the console. This is an area where the 705d2s excel.

Simplicity at its best

Many audiophiles prefer the coherence of a well-designed two way speaker, feeling that a simpler is better approach, along with only one crossover point to disrupt the sonic landscape the ideal. Should this be your flavor of choice, I suspect you will be very pleased with what the 705d2s have to offer.

Along with wide frequency response and wide dynamic range, the 705d2s have a cleaner, more natural tonal rendition than their past iteration. Acoustic instruments feel correct and that bastion of audiophilia, the female vocal, is well represented. Whether it’s the quirky delicacy of Aimee Mann or the raw power of Chrissie Hynde (don’t make me go you-know-where) these mighty mini monitors are right at home.

The only remaining question? Matte white, gloss black, or rosewood. You know what I like. Don’t forget, Bowers & Wilkins is one of the few manufacturers that does not charge extra for their gloss black option. And remember, it’s Rolls Royce good.

The Bowers and Wilkins 705s2

MSRP: $2,499/pair (stands $499 addl)

www.bowers-wilkins.com

Peripherals

Analog Source                         AVID Volvere SP/Rega RB-2000/Gold Note Machiavelli

Digital Source                         Gryphon Kalliope DAC

Amplifier                                 Pass Labs INT-60

Cable                                       Cardas Clear Beyond

Power                                      PS Audio P20

After hearing Jeff’s praises of the D705 s2, I appreciated the chance to put some ear time on their smallest bookshelf speaker in B&W’s 700 series lineup, the D707 s2.

These diminutive marvels feature many of the same trickle-down technologies of larger D705 s2. Despite the strong family resemblance, a few key differences set the 705 and 707 apart. First, all the musical joy of the 707 emerges from a much smaller enclosure measuring 11 inches tall (280mm), 10.2 inches deep (260mm), and 6.5 inches (165mm) wide. While the drivers feature the same materials and construction as the 705, the 707 sports a 5-inch midrange/woofer rather than the 6-inch version used in the 705.

The 705’s tweeter is placed atop the cabinet like the classic 805 design, decoupling it from the main enclosure. The 707, in contrast, builds the tweeter into the cabinet body giving the speaker a more traditional look. The 707’s un-isolated tweeter placement leaves it exposed to a bit of cabinet vibration. As such, the 707’s alternate design sacrifices a bit of HF nuance compared with their larger siblings. But at a price of $1,250 per pair for the 707s, compared with the 705’s $2,500 price tag, one cannot expect everything for a fraction of the price.

While the voicing remains very similar to their larger 700 series brethren, the 707’s modest cabinet size cannot reproduce bass frequencies in the lowest registers. According to B&W, the speakers experience roll-off below 50Hz. Those seeking bowel-rumbling bass levels should pair the speakers with a subwoofer or two. However, the 707 speakers pack a surprising punch for their diminutive size. Frequencies the speakers are designed to handle register with beauty and a high degree of realism. Bass never lacks punchiness; rock and electronica retain the excitement of the recording.

Like the 705, the 707’s two-way design includes a double set of five-way binding posts for those who want to bi-wire or bi-amp. The included jumpers do an excellent job though, and I expect the vast majority of 707 owners will connect these speakers to a single amp with a single set of speaker cables. In your listening space, experimenting with the binding posts is a worthwhile investment. With the jumpers in place, try connecting both speaker cables to the lower binding posts. Give it a listen, then try connecting to the top set. Heck, why not also try one cable connected to a top post, with the other on the opposite bottom post? While the sound does not change dramatically in these three scenarios, you may prefer the subtle difference of one configuration over the others.

Sound-wise, the 707’s voice remains just slightly to the forgiving side of neutral, but not at all slow or syrupy. The characteristic makes long listening sessions a pleasure, without ear fatigue. B&W’s newest tweeters give the 707 plenty of high-frequency detail without unpleasant stridency and sibilance.

The 707 performance defies its price tag. Some listeners will choose them as great sounding, and cost-effective surround speakers for a home theater application. However, those choosing the 707 as a stereo pair of speakers – in a smaller-sized listening space – will not be disappointed at their prowess.

Kudos to B&W for offering budget-conscious audio fans a speaker with exceptional components and wonderful sonics. The D707 S2 speakers demonstrate B&W’s commitment to putting great sound within easy financial reach of those who prioritize music in their lives.

The Bowers and Wilkins 707S2

MSRP:  $1,250/pair

www.bowers-wilkins.com

Now in its fourth iteration, the Sonus faber Guarneri is still a standout performer.

How the engineers at SF manage to put so much of the sound of their larger speakers in such a small cabinet always baffles me, but they do a fantastic job. Having spent a fair amount of time with everything from the Sonus faber flagship Aida down the range to the Olympica and Venere speakers, this small, high-performance monitor was a personal favorite. I came that close to buying the last version of this speaker, the Guarneri Evolution. If I ran things, after spending time with both speakers, I’d rename the last model the Tradition and this one the Evolution, but that’s neither here nor there.

A delight for all senses

I usually jump right into a review with a favorite track that draws me in to a product, but the Guarneri begs a bit of backstory. The original SF speakers under founder Franco Serblin were famous for their warm, lush midrange, and soundstaging that was almost beyond belief for such a small speaker – yet they required a ton of power to drive and were notoriously tough to set up. However, when it was right, it was really right and if you’ve ever experienced a pair of early Guarneris in a well optimized system, you know the sheer magic these speakers are capable of creating.

Sonus faber has always felt the lute shape of their speakers works with the sound of the drivers, tuning the end result like an instrument and making the cabinet part of the sound. Other manufacturers like Wilson, YG, and Magico feel that every molecule of the cabinet needs to be damped out and removed from the picture, so only the sound of the drivers and crossover comes through. I’ve never found a YG fan to be a SF fan, so you will have to experience it for yourself – my guess is that during your first Sonus faber audition, you will fall madly in love with them or you will move on. The endless romantic, I’ve always had a love for Sonus faber speakers – bias admitted.

Sonus faber sound aside, their cabinetry and finish is fine art of the highest order. The multi layered lacquer finish is perfect; having more depth, greater smoothness, and higher luster than anything you will ever experience on the world’s finest automobile. For those of you that have had a child in your life, remember how smooth your son or daughter’s skin was immediately after they were born? That is how smooth the finish of the Guarneri Tradition (actually, all SF speakers) is.

Obvious differences

The first big difference is that the new Guarneri tips the scale at just under $16,000 a pair, complete with stainless and carbon fiber stands just as beautiful as the speakers. In nearly 30 years of auditioning Sonus faber speakers, there has never been a non-audiophile in my home or studio that can resist their charm. My friend’s wives nearly always make the exact same comment: “You can put a pair of those in our living room.” The $16k/pair a comment is interesting because the outgoing Evolution model was about $22k/pair, so the current Sonus faber organization as part of the McIntosh Group has been able to take advantage of the corporate structure to hold costs in line for all brands. This is a bonus for everyone.

While the current Guarneri still benefits from more power, it is not as power hungry as past models. Quality is the key here, especially to wringing the last bit of bass performance out of these speakers. Pair them with a budget integrated and you’ll never hear what these speakers are capable of. This is not a speaker to build a system around if you have to scrimp on until you can afford a great amplifier.

Finally, the newer look of the Tradition model is more embellished, shall we say than the Evolution model it replaces, with more defined horizontal stripes in the curved cabinet (much like the very early Sonus faber speakers) and brushed trim rings around the drivers. There is also a sizeable Sonus faber logo on the top of the cabinet. I prefer the old cabinet aesthetic, but I’m the guy that brings a new BMW home from the dealer and removes all of the badges. Truth be told, I miss the curvier shape of Ferraris and Ducatis past.

Let’s listen

What track to play on a new pair of Sonus faber speakers is always an engaging proposition, but the go to track after a few days of warm up just had to be Prince’s “International Lover,” from the 1999 album got the nod. Though there isn’t a molecule of acoustic instruments present on the track, it’s a relatively dense track with a lot of hidden treasure. Speakers with limited resolution portray a flat experience, yet speakers offering a lot of resolution bring this track to life, revealing layer upon layer of vocal overdubs, synthesizers, and a wide soundstage. And there’s that major scream at the end – if your system can’t deliver the goods, this will fall horribly flat.

The Guarneris sail right through this torture test, thanks to the boundless power reserve of the Pass XS300 monos, producing the usual SF magic here and on every other track in multiple listening sessions. The Evolutions turned in an equally engaging performance in my main listening room with a similar setup about two years ago. While the Guarneris can carry a big room, I love them in a modest size room. This will provide a more coherent three dimensional musical picture and offer a bit more room gain, enhancing the LF response nicely.

Sonus faber speakers have been undergoing a slight metamorphosis over the last two generations. Keeping the tonal saturation that has made them famous, the current speakers offer more extension at the frequency extremes, with the ability to resolve more low-level detail as well. Impressive.

Final Set Up

Placed in room 2 (13 x 15 feet) the Guarneris produce the best balance of LF extension and big soundstage. Slightly more mid bass warmth is available on the short wall, but at the sacrifice of maximum image depth. You know what you like better, so proceed accordingly. I’m the panel guy that loves an immersive soundfield. The tweeter level is a bit high, just over 40 inches, but the finely threaded spikes on the stands will help you nail perfect placement.

As Sonus faber is part of the Mcintosh group now, the chances of you hearing them at your favorite dealer with McIntosh or Audio Research electronics is really high, so after verifying that they work well with a number of other choices from Pass, PrimaLuna, Esoteric and Conrad Johnson, the majority of our listening was done with ARC and Mac. Why not? We lined up current and vintage of both. The ARC REF 75SE is here for review, as is the McIntosh MAC7200 receiver. On the vintage side, a freshly rebuilt ARC D-79 and older generation MC275 make for a nice compare and contrast. All configurations were interesting.

Without boring you with paragraphs of audiophile babble, we’ll cut to the chase. While the REF75SE reveals more detail with the Guarneris, the MAC7200, with 200 watts per channel, is damn good. And at $7,000, provides a complete situation with DAC, phonostage and tuner built in. Add a turntable and cables and this makes for an incredible system well under $30k. Motorcycle money. (more thoughts on that here)

Once you’ve achieved the perfect room balance, sit back and relax like the cool guy in the Sonus faber ad, you’ve earned it. The opening keyboard riff in the Afghan Whigs “The Spell” cuts through the mix, pushed right in front of my face, keeping perfect pace as Greg Dulli’s gravely voice folds in, slightly left of center, with layers of violins way beyond the speaker boundaries. This is what high-end sound is all about.

Of course the critical midband is glorious – this is Sonus faber after all.

Thanks to the slim front panel profile of the Guarneris, they offer a level of coherence not unlike a panel speaker and are the essence of what audiophiles call “pin-point imaging.” Real or not, it sure is fun. No matter what kind of music you enjoy, the Guarneris will keep you engaged. The balance of Elise LeGrows sultry voice and piano in her recent Playing Chess is particularly engaging. And acoustic instruments are reproduced with that little extra something that has been a Sonus faber trademark.

Another fantastic Guarneri

Hundreds of listening hours later, this is a Guarneri through and through. While the old timers in the audience will lament that they like the older ones better (much like Porsche guys complaining that the new water-cooled models are nowhere near as good as the old air-cooled models) this is a fantastic pair of speakers that is priced right.

What’s not to love? They look beautiful, sound beautiful and have a lower price tag than the last model. That’s never gonna happen at the Apple store or the Ducati dealer. But as I said at the beginning, being that this model has a bit more modern sound, if you will, than the last Guarneri, I guess I would have called this one the Evolution and the last one Tradition. What’s in a name anyway?

The Sonus faber Guarneri Tradition

$16,500/pair

www.sonusfaber.com

Audiophiles love to argue the merits of moving magnet vs. moving coil cartridges. Come to think about it; they love to argue about nearly everything.

However, the MM/MC debate gets sketchier as the price goes up and the line blurs between top-level MM and moderate level MC cartridges. Having owned a Clearaudio Goldfinger for a few years, it is not only their top cartridge but arguably one of the finest cartridges in the world. It’s undoubtedly my favorite, though the $16k price tag always made me jumpy. One wrong move, bam!

Clearaudio’s new Charisma V2 is their statement MM cartridge, taking advantage of cantilever technology from the Goldfinger, with a new, re-designed magnet structure and a wood body. As you might expect, the wood body adds a slight bit of warmth to the overall sound, and in this case, the result is lovely.

Queuing up Jean-Michel Jarre’s trippy Zoolook, the Charisma V2 makes an incredible first impression. Adjusted to perfection with the Analog Magik software suite and Smart Tractor protractor, 2.5 grams of tracking force is where everything comes together. Taking advantage of the MM section of the Bandwidth Audio Kascode One phonostage, the presentation is full of drama – the kind of drama you’d expect out of an MC. Which brings us back to the MM/MC argument.

What’s the diff?

MM fans love the immediacy and punch of their breed. I’ve always felt that the best MM carts are the muscle cars of the cartridge world, full of push and horsepower, but not so subtle in the tight turns. MC fans love the delicacy and inner detail retrieval that their favorite offers. Their delicate coils, sometimes only a few turns of wire, dig down deep to the most minute musical bits.

The Charisma V2 at $2,000 comes the closest to offering the best of both worlds I’ve yet experienced. For all but the most obsessed analog enthusiasts, this is serious coin for a cartridge, and for many, it is a final destination purchase. Another potential advantage of the MM design is that it does not require a step-up device, or high-gain phonostage to integrate into your system. This presents another minor dilemma. The Charisma is so good; it beckons to be used with a premium phonostage. No one said this was going to be easy.

Pairing the V2 with the new Technics SL-1200G turntable proves a heavenly and synergistic match. This $6,000 combination leaves nothing out of the presentation with the Bandwidth phonostage, as well as the ARC PH9, and the Pass XP-17 that we just reviewed. With the Pass tipping the scale just over $4,000, these three make for an incredible analog front end. As I said, this cartridge delivers a serious analog presentation. Moving a bit downscale a bit, using the V2/SL-1200G combo with a few lesser phonostages, leaves me wanting to go back to the big boys. This cartridge deserves it.

Further listening…is wonderful!

After about 20 hours of listening, a quick touch up to the initial setup and the V2 settles in for the long haul. This cartridge truly bridges the gap between MM and MC sound. Subtle acoustic guitar bits are rendered with a massive soundstage, powerful attack while retaining the delicacy of Al DiMeola, Paco DeLucia and John McLaughlin in their famous San Francisco concert.

Most MM cartridges are fantastic if you are a heavy rock fan, and sometimes they do a better job at capturing the weight of a grungy group of guitars. Kiss Alive!Is pretty magical on a Shure M44, but loses its intensity on a Lyra Atlas. More isn’t always better. The V2 walks a fine line, delivering a visceral performance regardless of musical selection.

Somehow, mounting the V2 to our Technics SL-1200G kept drawing me back to music from my past like a time machine. Skipping Alive!moving right to Destroyerproves fruitful. The initial banter and automobile sound in the background of the intro of “Detroit Rock City” and the segue into the track is awesome, full of the power that Kiss deserves.

With spring on the horizon here in the Pacific Northwest, still deep in the retro/vintage thing, it was time to shake the dust off of John Klemmer’s Straight From the Heart, and turn up the volume for “Arabesque,” ushering the sun in, hopefully, to stay. Admittedly, kind of audiophile-y, this track has incredible dynamic range, clearly illustrating how versatile the V2 truly is. Klemmer’s blaring sax, captured straight to disc is complex to track, yet this MM feels just like a great MC.

Winding up the journey with the way back machine with a Japanese pressing of Dire Straits Communique, the V2 again proves its mettle at being a fantastic all-around cartridge. Whether the music selected is simple or complex, the V2 navigates the grooves flawlessly, creating a sonic landscape that is huge in all three dimensions, with an immediacy that keeps you spinning disc after disc. The big soundstage pulls you in, yet the powerful bottom end rivets you to your chair.

No weaknesses

Clearaudio’s Charisma V2 is so good at its task; if you didn’t know it, you might think it was an MC. But thanks to a 3.6mv output, and 47k loading requirement, it will mate well with nearly any phonostage you might have on hand. It’s high resolving power deserves to be mounted in an equally good turntable and paired with a top phonostage to show off all it is capable of, yet if you can’t afford the entire enchilada right now, it’s an excellent anchor to build the analog front end of your dreams around.

If you’ve been agonizing over MM or MC, the Clearaudio Charisma V2 is the top example of MM design that we’ve had the pleasure to audition, and it is highly recommended. While it proves an excellent destination cartridge in the context of a $5,000 – $15,000 analog front end, it also makes a great daily driver for those of you with stratospheric setups. If you don’t want to put too many miles on your Goldfinger with modest or unknown pressings, the Charisma V2 will pay for itself in this position, especially if you have multiple tonearms. Save the Goldfinger for your most cherished pressings and use the V2 for daily vinyl chores. You won’t be disappointed either way. We think the argument is over.

The Clearaudio Charisma V2

$2,000

www.musicalsurroundings.com

Peripherals

Turntable                    Technics SL-1200G

Phonostage                 Pass Labs XP-17

Amplifier                     Pass Labs INT-60

Speakers                     Dynaudio Anniversary 40 w/2-REL t.7i

Cable                           Cardas Clear

Power                          IsoTek Aquarius

Setup                           Analog Magik, SmartTractor, Clearaudio Weight Watcher

Listening to a 24bit/192khz file of Jeff Beck’s There and Back, the tiny AE100s instantly impress with a massive soundstage and incredibly good dynamic range. Thanks to their wide dispersion, the AE100s sound great, no matter where you’re sitting, making them versatile performers. Paired up with a vintage PrimaLuna ProLogue One and a modest pair of Tellurium Q Black speaker cables (about $20/foot), I’ve built a hell of a core system here.

Initial listening has my little 35-watt per channel PrimaLuna running out of juice before the AE100s do, so switching to their HP Premium integrated (nearly 100 wpc with KT150 tubes) really lights these speakers up in a way that the lower powered amplifier did not. Should you be considering a pair of AE100s, and like to crank it up now and then, don’t be shy with the power. Equally excellent results were had with the new IN-100 integrated from Gold Note.

Small speakers are always a no brainer for a small room, and the AE100s excel in a modest size room, yet they are not at a loss in my 16 x 26-foot main listening room. About ten feet apart on 24-inch stands, the AE100s produce a big sonic picture and perform admirably, holding on to the bass groove in the Pretenders “Waste Not, Want Not.” Letting ROON wander as it’s known to, the next track up is AC/DCs “Evil Walks.” A major twist of the volume control produces incredible results – this relatively dense recording just comes to life and I’m not hunting for a subwoofer. And we’re talking loud. A few friends that managed to experience the AE100s were, shall we say, thunderstruck. Ok, crappy AC/DC puns finished.

Finding the sweet spot

Unlike a panel speaker where the window for good listening is narrow, these speakers wide dispersion eliminates this issue, but you’ll need to find the perfect alignment to achieve stunning bass response. Should you place the AE100s on a stand perpendicular to the floor, they will sound small, flat and thin.

The key is to get a few degrees of upward tilt, so seek out stands with feet allowing for some adjustment. Proceed with care, going a half turn at a time and you’ll catch the sweet spot. You’ll know when you hit it (roughly around 4-5 degrees upward tilt) because it sounds like someone added a subwoofer. You’ll only need a few bass heavy tracks to find it and when you go too far, everything disappears, bass and treble.

More than woof and tweet

Just the frequency extension and dynamic capability of these speakers would be more than enough for them to earn their keep. In addition to a very uncolored midband, the soft dome tweeter is resolving and never harsh. Moving the AE100s to the main system, they render enough fine detail to hear differences in fairly expensive phono cartridges, though not at the minute level that my reference speakers do. Keep in mind this is a test many $1,000 speakers can not pass.

Plugging back in to my Focal Sopra 3/REL 212 reference, I’m instantly reminded of what the AE100s aren’t capable, yet these little speakers nail so much of the fundamentals, you’ll never feel left out of the music. Should you be a newcomer to the world of audio and make the AE100s the anchor of your system, you’ll be spending a lot more on speakers come upgrade time. If and when you do, this is a pair of speakers you should hold on to forever.

Quite the accomplishment

Entry level audiophiles complaining that all the good choices cost megabucks, look no further than the AE100s. These small monitors will only set you back about $495 a pair and deliver stunning performance. Combining a 4-inch paper cone woofer and 1-inch dome tweeter, Acoustic Energy claims these to be “small speakers capable of high output.” They fulfill this promise and more.

It’s easy to get spoiled listening to top line gear every day, and easy to lose track of what things cost. Though we make it a point to seek out sub-$1,000 components in this column offering higher performance than you might expect, the AE100s are more than worthy of one of our Exceptional Value Awards. Beyond that, these are the most impressive pair of $495 speakers I’ve had the pleasure of listening to, in nearly 100 issues of producing this magazine. The fun factor the AE100s offer is off the chart.

Bravo.

The Acoustic Energy AE100

$495/pair

www.acoustic-energy.co.uk (factory)

www.soundorg.com(US Distributor)

Starting this speaker review as I do with nearly every other one with Aimee Mann’s “This is How it Goes,” I’m pretty excited about the Classic ESL 9  from MartinLogan.

To be fair to those of you that might be tuning in for the first time, I love the character of electrostatic speakers. I’ve owned, reviewed, or auditioned nearly every one over the past 30 years, and have spent a fair amount of time in the listening chair with Magnepan and Apogees. My current reference ESLs happen to be the current Quad 2812s (and don’t even get me started on the legendary Quad 57) which are priced at about $10k/pair, and we recently reviewed the $14,995/pair of ML Impression ESL 13A speakers.

Everyone likes something different, but the smooth, slightly diffuse, fill the room character of an electrostatic is tough to ignore. They paint a big, broad, sonic landscape in your room, provided you have enough space to let them breathe. One of the shortcomings of an electrostatic speaker is they tend to paint a vivid, yet small spot for optimum listening. MartinLogan has gone a long way at minimizing this with their curved electrostatic panel, (CLS X Stat to be exact) which broadens the sweet spot beyond what a flat panel can achieve.

MartinLogan’s early CLS from the mid-80s is where my journey with the brand began, and shortly after that a pair of hybrid Sequels took over when my listening room was downsized. The original Sequel (and later Sequel 2) cemented MartinLogan’s reputation as an audiophile speaker and to so many music lovers and audio writers alike became one of the products often referred to as a “giant killer.” They did not have the extension of a massive pair of floorstanders, yet they gave so much more of a window into the music than Magnepans of the day did, while being far more amplifier friendly than the fussy, full ribbon Apogee speakers were.

Past to present

The small (for MartinLogan) Sequel featured a 10-inch ESL panel and a 10-inch woofer in a cabinet nearly six feet tall. The original Sequels were $1,995 and the final Sequel 2, $2,495. A cursory glance at an online inflation calculator reveals that $2,495 in 1987 is about $5,500 in todays wallet. Considering the improvements made in 31 years, I deem the ESL 9 a major bargain and worthwhile upgrade for $6,495.

Pinching a pair of Sequel 2s from a close audio bud reveals a solid foundation to the original. The guys from Kansas were truly on to something back then. And as now, the sound from a MartinLogan speaker does a special something with the mids that is awfully tough to get unless you are spending a boatload of money, thanks to the absence of the box itself. If you care to read what we had to say about the Sequel in depth back in issue 68, click here.

Interestingly, the Sequel was nearly a foot taller than the ESL 9, yet thanks to the ML “Microperf”panels and a much more streamlined frame, the current speaker is stronger and disappears into the room far better than its ancestor did. Where the Sequel had a crossover point of only 120 hz, the ESL 9 crosses over to its pair of 10-inch woofers at 370hz, yet the transition between woofers and panel is far better than it’s ever been. No doubt this comes from MartinLogan’s extensive subwoofer experience, applying the same aluminum cone technology from their subwoofers here.

A vocal treat

The background vocals in Elvis Costello’s “Still This House is Empty Now” clearly occupy their own space, almost hiding behind Costello’s lead; an aspect of music reproduction that the panel really shines at. Yet segueing from Aimee Mann’s “Frankenstein” to Edgar Winter’s “Frankenstein,” the ESL 9s don’t miss a beat, handily driven by the Pass XA200.8 monoblocks.

Good as these tracks are, densely packed musical selections shine through the ESL panel. All of my favorite Crosby, Stills, and Nash records are a particularly tough trial, as these classic rockers all tend to sing at about the same level. Each of them has a distinct voice when rendered through the ESL 9s. Don’t even get me started on the Monkees. Returning to music of this century, the lead vocal in Greta Van Fleet’s “Highway Tune” not only takes center stage in the mix, the ESL 9s define lead singer Josh Kizka’s voice well enough, that you now easily know he’s not Robert Plant. Lesser speakers blur this line considerably.

Baby wants to rock

When I reviewed the MartinLogan Summits back in issue 13, their ability to deliver a major dynamic swing proved impressive. Finally there were some panels that could deliver enough oomph, providing a visceral enough experience to play rock music at a respectable level. The ESL 9 fully embodies this tradition, with a level of refinement that the earlier model did not have.

Goosing the level on Cheap Trick’s “When I Wake Up Tomorrow” is truly impressive, as is a recent vinyl remaster of their classic In Color. There’s no need to give up the dynamics that your favorite records require to get the transparency offered by an ESL. Where some manufacturers (speaker and otherwise) try to reinvent the wheel every few years, MartinLogan has stayed on a steadfast path of refinement.

Their legacy products are still excellent, even by today’s standards, underlining the strength of their initial design brief. The Sequel and Summit still sound great, and you can still get them repaired – another attribute of a real high-end company. But going through the ranks with familiar tracks quickly reveals the sonic gains that have been achieved. Much as I love my Quads, they are considerably more limited in terms of what they can play and what they can play loud.

Tracking through a playlist of Rage Against the Machine tracks convinces even further that these speakers can be pushed, punished and still deliver the goods without fatigue. The low distortion factor that the ESL 9s deliver can be misleading though and because of the focused dispersion, it can be a little too easy to twist that volume control too far. The flip side to this is that the ESL 9s don’t make as much noise off axis as a cone speaker does, so you can probably play them louder without capturing the attention of your neighbors and perhaps the police. Bonus.

Choices, choices

If you like the sound of MartinLogan speakers as much as I do, the tough choice is going to be deciding between the $6,495/pair ESL 9s and the $9,995/pair ESL 11s. What to do, what to do. If you’re like my daughter, you won’t listen to me anyway, but I’ll give you my two cents worth. Those of you having a room with a lot of leeway for speaker placement will probably be well served with the ESL 9s. However, if your speaker positioning options are somewhat limited and you’ve got the extra dough, the advantage to the 11’s is their utilization of powered woofers coupled to Anthem Room Correction. (ARC™)

If either you can’t put your Logans exactly where you need to for optimum sound, or you completely lack speaker set up skills, go with the 11s. If you are a speaker setup Jedi, save the extra bucks and go for the 9s. You’ll do whatever you want to do. That’s free will. Either way, these are amazing speakers for the money. But I’m giving them an Exceptional Value Award for 2018. They rock.

The MartinLogan Classic ESL 9

$6,495

www.martinlogan.com

Peripherals

Analog Source            Technics SL1200G/Hana SL cart

Digital Source             Gryphon Kalliope DAC with dCS Bridge

Amplifier                     Pass Labs INT-60, PrimaLuna HP Integrated, Esoteric F-07

Cable                           Cardas Clear

Power                          PS Audio P20

A new discovery is exciting, even after hundreds of reviews – when you think you’ve heard nearly everything. Open baffle speakers have always been that little blinking light in the corner of my eye at various audio shows, but our paths always crossed, until recently.

If you remember reading our review on the Whammerdyne Truth 2A3 amplfier (link here), their designer Pat Hickman is a huge fan of the Pure Audio Project speakers. When you’ve only got a couple of watts you have to make great use of them, and Hickman uses the PAP speakers at his place, where I’ve been able to give them more than one good listen.

I’ve always liked the purity of low powered amplifiers, whether solid-state or tube. Other than a few exceptions, like the massive Boulder 3000 series amplifiers, simpler circuits have the potential for a clearer window to the music. The big dilemma with amplifiers under 20 watts per channel is the meager selection of high sensitivity, high quality speakers suitable to match up with them.

Crazy good choices

The PureAudioProject Trio15 is the solution to the high efficiency/high quality situation. But be aware, there are multiple choices – and they are all great. PAP Principle Ze’ev Schlik has not only built a speaker that sounds incredible, it gets my personal thumbs-up for being the most fun speaker I’ve ever had the pleasure to use. Even though the review samples were poorly packed by the last reviewer and nocked up a bit (though still working perfectly), it only took a few hours of listening to move the Trios from the want column to the need/system reference column in that big Excel spreadsheet that is my life.

A pair of 15-inch woofers made by Eminence to PAP specs (and upgradable to four woofers should you so desire) and a compression driver with a beautiful wood horn is merely the starting point. Thanks to multiple crossover taps, the ability to easily swap crossover components, and a choice of five different HF drivers (Horn, Voxative, ESS AMT, Beyma, TB-W808) you can fine tune the Trios to your room, amplifier and ultimately, personal taste.

Should you be disposed to ADD, the Trios might not be for you. All of these great choices could drive you crazy. Or maybe just buy all five combinations and switch them out. Thanks to the super reasonable $7,490/pair price of the Trio/horns, you could probably investigate all five options and still be under $15k/pair. Much as I love the horns, in the pursuit of knowledge, I will be picking up a set of Voxatives in the near future, as well as investigating an active crossover.

Did I forget to mention that Nelson Pass makes a custom active crossover for these? When have you ever had this much fun with your speakers? It’s like buying a BMW M car with the turbo six, but being able to bring it back to the dealer whenever you want and have the high strung 333hp normally aspirated six dropped in, or the 400+hp V8. And just drive away with a totally different car. I can dream.

Because of the gentle crossover slope and 2 way design, the urge to try substitute a vintage Audio Research EC-2 electronic crossover proves irresistible. As Schlik suggests a 550hz crossover point, and the EC-2 only offers a 500 hz setting, I proceed with caution and keep the levels down. This nearly 50 year old component has potential, allowing the ability to mix and match amplifiers, but it definitely adds a syrupy, slow, vintage sound to the overall presentation. Perhaps a trip to Mr. Hinkman and a call to Mr. Pass will have some more options available.

Finally, there are multiple options for connecting the drivers. Our review sample came with the upgraded Reference Audio Foils ($690/pair) but with nothing to compare them to but some basic Monster Wire hanging around, they are certainly worth the asking price. The foils offer a much higher level of resolution and clarity over standard wire. Samples from Cardas and Tellurium Q are in the works, so count on another article here as well.

Drive with ease

Only needing 2-5 watts per channel to have party central opens up a world of amplifier choices. I easily auditioned a dozen things and will be looking at more in the future. Much like my original Quad 57s, the Trios work “pretty well” with everything, but I did find a couple of standout combinations. My original PrimaLuna ProLogue One, with only about 25 watts per channel is not a bad entry level integrated, if you can find a used one. The Dynaco Stereo 70 also was warm and inviting, though lacking detail.

Of course being a big Pass fan, we tried them with the mighty XA200.8s (way overkill), the INT-60, the XA25 and the First Watt SIT-2. The INT-60 is lovely, but the XA25 mated to the Koda K-10 solid state amplifier proved mind bending, as did the Audio Research D-79. These two combinations offered the deepest bass response as well as the deepest soundstage. The Nagra 300P came in a very close second. Bottom line, you will have an amazing journey finding the “perfect” amplifier for these speakers – they reveal so much musical information, it might take you a while to find your slice of heaven.

Stop fiddling and listen

Tough as the thought of exploring all of these choices is, our main purpose is to listen to music. Once you find a combination that you love, settle in and listen. The Trio’s ability to simultaneously capture the dynamic power and delicacy of the opening cymbal shots in Brand X’ “Nightmare Patrol,” is riveting. Great as these speakers sounded at Hikman’s house, I was still expecting that pinched horn sound. None is present in the Trios – zero.

Having just spent a fair amount of time with vintage and current Klipsch speakers, the effortless dynamics offered by a horn/semi-horn/high efficiency speaker is compelling. Headroom and dynamics are just as important to me in terms of what we might all call fidelity. Tonal accuracy is wonderful, but experiencing lifelike dynamics is equally compelling.

The PAP website lists the Trio’s sensitivity at “94-96db/1 watt,” but they feel more efficient than that. The Nagra 300P amplifier that produces 20 watts per channel, and offers power output meters barely ever moved past the .5 watt mark. And that’s not a misprint. When using the Audio Research D-79, which is very conservatively rated at 75 watts/channel, it was nearly impossible to get the power output meters to budge from their rest stops, no matter how loud we played the music.

Hours pass by and on many occasions, what begins as an afternoon listening session, lingers far into the night hours – even with daylight saving time in full effect. A wide range of music proves highly engaging and exposes no flaws in the Trios. They play everything you can imagine with ease.

Much like the way a big pair of Magnepans or the MartinLogan CLS reproduce bass, the open baffle design has a similar level of detail, texture and definition, yet with more dynamic punch in the Trios thanks to the cone woofers. Because these woofers have such little excursion, there is no cone breakup either. Just as an automotive engine requires either displacement or more rpm to make power, woofers either need sheer size or excursion to move more air.

PAP lists a LF spec as somewhere between 29-32hz, and they work well in both of our listening rooms large (15 x 26 feet) and small (13 x 15 feet). Even in the smaller room, where they are staying, bass down to 30hz is easily achieved. For those of you raising your nose at “only going down to 30hz,” the LF detail will get you. Especially if you listen to a lot of acoustic music. The sheer texture on tap, listening to a cello or standup bass is exciting. The Trios are by no means a “1-note bass” speaker, and for some, it may take getting used to the lower register detail.

The Trios wide dynamic range makes it easy to achieve high SPLs with minimal power, but it also makes for engaging low level listening. These are one of the most exciting speakers I’ve had the pleasure of listening to at low volume levels, making them perfect for someone living in a condo or apartment situation.

Defying definition

Enjoyable as these speakers are, you need to hear them. Their clear, dynamic sound reminds me of so many aspects of other speakers that I truly love. They disappear in the room and provide pinpoint imaging when required like a great mini monitor, yet, they paint a vast, diffuse landscape like my Magnepan Tympanis, all the while, having the sheer sonic punch of the Klipsch LaScalas.

Those wanting a more traditional box speaker may not be able to work with the ultra modern aesthetic of the Trios, but as someone who loves the modern thing, I love them. There are so many variations on color and finish, and when you’re sitting in the listening chair, you don’t notice the lack of cabinet anyway.

The high resolution of the Trios puts a world of source components at your disposal, but because you don’t need a ton of amplifier power, I’m guessing you can build an amazing system around the Trios on a reasonable budget, yet should you get the urge to upgrade, these speakers will keep revealing more music, even with 5-figure amplification and source components.

The highest compliment I can pay the PureAudioProject speakers is that I purchased the review pair and will be using them as a permanent reference speaker in room two. I’ve never had this much sheer fun with a pair of speakers. In addition to being a great reviewing tool, they are going to be the vehicle for a number of audio journeys I’m planning, so count on hearing more about them in the months to come. It’s easy to award them one of our Exceptional Value Awards for 2018. Again, I can’t suggest checking a pair of these out for yourself, should you be attending an audio show this year.

Finally, I’m doing the final edits on this review at the Munich HiEnd Show, so we only have the single picture at the top for now. The PAP Trio 15s will be featured in issue 88 of TONEAudio, due out in about a week, so please stop back and see some more exciting photos of these beautiful speakers.

The Pure Audio Project Trio 15 Horn

www.pureaudioproject.com

$7,490/pair

Peripherals

Preamplifier        PrimaLuna DiaLogue, Pass XS Pre, Robert Koda K-10

Power amplifiers    Audio Research D-79(restored), Audio Research REF 75SE, Pass Labs XA25, First Watt SIT-2, Nagra 300P

Digital Source        Gryphon Kalliope w/dCS Bridge

Analog Source        Avid Volvere SP/TriPlanar/Lyra Etna, Conrad Johnson TEA-1

Cable             Cardas Clear

PureAudioProject Reference Audio Foils, and Crossover Cable Upgrades, made by Verastarr.

One of the toughest hurdles to overcome in a small to medium sized listening environment is where to put the speakers.

So often, we’d love big speaker sound, but don’t have the room, and sometimes that rules out a subwoofer or two as well. Emily Duff’s “Needledrop Blues” kicks off the Avanti audition and these speakers immediately impress with their range and clarity.

Cabinet speakers are always at war, fighting physics, on multiple levels. You need a big woofer to move air, but a smaller front panel minimizes diffraction and helps to make the speaker disappear in the room – hence the popularity of mini monitors. Some manufacturers (Audio Physic included) work around this issue with side mounted woofers, yet I always find this configuration a bit tough to optimize. The Avanti solves this problem brilliantly with the 8-inch woofer integrated in it’s own cabinet inside the speaker that fires sideways but breathes downward thru the narrow opening at the bottom of the front baffle.

The usually loose, whumpy bass line in the opening of Anja Garbarek’s “Her Room” is solidly locked down, while Garbarek’s wispy vocals enter the mix, with violins and electronic ambient sounds everywhere. The killer is when the ProTools induced record scratches come in, they sound eerily real – and this nearly always sounds fake. Much like the complex percussive texture of hand claps, record surface noise is tough to fake. An odd test; but revealing of the Avanti’s capabilities.

Segue to setup

After a quick unbox, all that is needed is to attach the feet. Being that our listening rooms are concrete slabs with rugs over the top, the spikes are easy to use and make minute adjustments to get the rake/time alignment just perfect.  

The Avanti’s only take up about a 12 x 16-inch footprint (this includes the dimension of the base) and weigh only 52 pounds each, so you should have no problem moving them about in your listening environment. Thanks to that internal woofer, the Avanti’s were up and rolling in about 20 minutes. Starting in the spot where most speakers tend to sound good in room two, a slight bit of fine tuning rake angle and toe-in had us diving into the music quickly. These speakers have wide dispersion thanks to the soft dome covered cone tweeter. They even sound great way off axis, so all can partake in hi-fi goodness, you don’t have to be locked in the sweet spot.

AP lists the Avanti sensitivity at 88db/1 watt along with nominal 4-ohm impedance, yet on all the tube amplifiers we tried but the Audio Research REF 75SE, they performed their best with the 8-ohm tap, so feel free to experiment for best results. You can’t get it terribly wrong, but the difference between the 4 and 8-ohm taps will show up as better upper bass solidity and slightly more dynamic oomph with the perfect match.

Running a wide gamut of amplifiers from the 20 watt per channel tube Nagra 300P to the Pass XA200.8 monoblocks, there were no rocks in the road. Tubes or transistors both prove an excellent match as well as the stunning PS Audio Stellar S300, which is a class A/class D hybrid amplifier. Unless you need to play music at earsplitting levels, 25-60 watts per channel in an average sized room should be all you ever need. Again, emphasis on quality over quantity, because of the level of detail these speakers can serve up. A single pair of binding posts makes connecting to any cables a breeze.

Those needing extra details on the tech bits, please click here.

https://vanaltd.com/collections/audio-physic/products/avanti

Lack of listener fatigue

These speakers tip the scales at $8,500 – $9,000, depending on finish, makes use of AP’s latest generation their proprietaryhyper-holographic midrange and tweeter, previously reserved for their top range speakers, with the appropriate tweaks done to the crossover makes for incredible clarity without any harshness or fatigue. AP claims to have lowered overall distortion dramatically with these changes, and they are certainly non-fatiguing.

Our review samples arrived in the rosewood high gloss finish, which got major style points from everyone that had a chance to audition them. Until you run the back of your hand across them in person, the photos don’t do justice to how stunningly smooth the finish is. I wish the paint on my BMW was half this good.

An enveloping soundstage and low distortion make for a pair of speakers that keep you glued in your listening chair. Some speakers are great for a short test listen, but are easy to lose interest in. The Avanti’s are weekend speakers. The Avanti’s are whole-album speakers. They strike such a nice balance of resolution, natural tonality, and low distortion, it’s a breeze to just play the whole album, rather than bounce around a playlist. Even when streaming from TIDAL, queuing up the entire album, or swimming in a particular artist for hours is wonderful. An extended superset of Neil Cowley’s delightful piano lasted well after the sun went down, as did a long day of Miles Davis. I suggest Loud, Louder, Stopand Bitches Brew, respectively to really show off what these mighty yet compact speakers can do.

Ticking the rest of the boxes

The Avanti’s resolution plays the analog card perfectly – helping you to see way into your favorite recordings. Tracking through Anne Bisson’s Four Seasons in Jazz: Live at Bernie’sis a superbly clear contemporary jazz recording, and having heard Ms. Bisson sing live a few times, the combination of the Avanti’s and her recent vinyl release is incredibly close to the real thing. Especially for a pair of speakers at this price. This is the kind of clarity you’d expect to pay much more for.

An about face back to some early Thievery Corporation, it’s clear there is no lack of deep bass, and a quick barrage of test tones confirm that the Avanti’seasily hit their lower frequency limit of 32hz with ease and strength. The Avanti images like a top-shelf mini monitor, yet offer more than enough bass extension to play any music with ease. And you won’t have to buy a pair of stands! Rounding out the picture, there are a wide variety of colors and finishes, making it easy to incorporate a pair of Avanti’sinto any environment, from traditional to ultra-modern.

Sheer audio ease

The Audio Physic Avanti’s have quickly become a favorite around here. Other than the last bit of super deep bass, which requires you to spend way more than the $8,500/pair asking price, they offer a level of clarity and resolution found in the world’s finest speakers at any price. The Avanti’s can work well as a building block or as a destination. Their only real limit will be the quality of components you use to drive them. They will deliver very good results with something as modest as a $900 Rega Brio amplifier and OPPO 205 disc player driving them, yet they will provide world-class sound with a stack of five-figure components.

If that’s not exceptional value, I don’t know what is. Consider the Avanti’s duly awarded for 2018. And one of my personal favorites. This is a pair of speakers I could certainly live happily ever after with.

The Audio Physic Avanti
$8,500 – $9,000/pair (finish dependent)

www.vanaltd.com. (North American Distributor)

www.audio-physic.de.  (Manufacturer)

We’ve just started to audition the Gold Note IS-1000 integrated amplifier and it’s amore from the start.

Featuring an integral phono stage, based on the circuitry of the PH-10 that we already love, a built in DAC and streamer and a 125 watt per channel power amplifier that doubles down to 250 watts per channel into 4 ohms, This $5,000 beauty is a perfect solution for those wanting high quality, maximum versatility (did we tell you it has six digital inputs) and a convenient form factor. The only question left is black or silver.

The only thing Gold Note makes that we haven’t sampled is their speakers, but I’m going to stick my neck out and guess they are pretty good. Everything else we’ve heard from GN has been at the top of its class – turntables, phono cartridges, phono preamplifiers and now the IS-1000 integrated (which stands for integrated streaming). All good.

The high power AB amplifier section begs for a pair of Magnepans, so that’s where we started listening, both with the current .7s and a vintage pair of Tympani 1Ds The IS-1000 has power, soul, and control, taking charge of the big Maggies with ease. Settling into duty with my Focal Sopra no.3s is also a perfect match. Thanks to the Sopra’s 92db sensitivity rating the GN/Focal combination plays at discotheque levels without a hint of strain, distortion, or fatigue.

Initial listening with both the phono and digital sections appear excellent. For our full review, we’ll compare the onboard phono to the PH100, try some different speakers, and move more digital files through the IS-1000. Best of all, it’s Roon Ready, so all you need to enjoy the world’s premier streaming software, is merely connect an Ethernet cable into the supplied port and fire up your phone or pad. Rounding out the picture is a wireless antenna, so you and your friends can share your favorite music via phone at your next party.

More to come, but the initial impression of the Gold Note IS-1000 is that we have another winner on our hands!

The Gold Note IS-1000
MSRP: $5,000

www.goldnote.it

If you live in a somewhat compact listening environment, Triangle’s Theta is a perfect quality vs. quantity proposition.

In my 13 x 15 foot listening room, driven by the precise Nagra 300p amplifier, the 90db/1-watt sensitivity rating is more than enough to deliver room filling sound. With the Nagra’s legendary Modulometer hovering around the .2 watt per channel level, bouncing occasionally up to the 2 watt mark, punching me in the chest with the opening drum riffs of Black Sabbath’s “Fairies Wear Boots,” from their Paranoid album.

Forget about how stunning these speakers look for a minute. Well, maybe it is time for an ADD moment and just take a quick flyby. Maybe more than that. If I hadn’t known better, I might have mistaken the Thetas as a product from those guys we all know in Italy that make some of the world’s most beautiful speakers ever. Fit and finish on the Thetas is that good. The cabinet has a curvy, flowing shape, sporting a smooth finish that would be right at home on your favorite hypercar. Our review sample sports a deep, lustrous, red mahogany lacquer (10 coats) finish, but gloss white and gloss black are also available. As a huge fan of white speakers, I really like the white grille on the white speaker.

The stand mounted offering in their Signature line, the Theta is a two-way system with what looks like a 6-inch woofer (all the tech stuff is only available online in French, so I have no idea) and a modified dome tweeter inside a waveguide. Theta claims a 45hz LF limit for the Theta, but they manage to pick up a bit of room gain, nearly 10 feet apart with a bit of toe-in.

It’s like headphones, kind of

Cars, potential mates and loudspeakers share one thing. If they don’t make a bold impression right away, they usually don’t hold my interest. The Thetas present a deep, three dimensional image that’s like a fine tapestry. There’s layer upon layer of detail, that redefines the audiophile cliché of “pinpoint imaging.” Even at modest level, you’d swear that you have one of the world’s best pairs of headphones on – you just float around in the music. Truly amazing for a $4,200 pair of speakers.

Some minimonitors (say that ten times as fast as you can) sacrifice sheer sonic power for pinpoint imaging. The Thetas give you both, again exceeding expectation for price and cabinet size. There’s a level of refinement here, provided your system is equally capable, that’s usually attached to a five-figure price tag. They also offer a sense of height. The opening triangle in Tears for Fears “Woman in Chains” floats in mid-air, just above tweeter level, yet when the lead vocals enter the mix, also create an illusion of two guys right out in front of the couch. The more you listen, the more nuance you hear.

These small cabinets play much bigger than most comparably sized minimonitors. Swapping the Nagra power amplifier for the mighty Audio Research D-79, cranking up Aerosmiths “Eat the Rich” has the Thetas moving a lot of air during the pounding bass drum opening riff. I doubt in a small to moderate sized room you’ll be even thinking about a subwoofer, though Triangle does offer one of those as well if you just have to have more bass.

Even music with a driving low end like HVOB’s “Pay as you go Mobile Phone” has a locked down beat, with a forceful enough groove that you’d swear you were listening to much larger speakers. All the while, the wispy lead vocals in this track keep the pace, floating just behind the line of the speakers, equally blended in with the electronic elements present. The Thetas do not compress and feel congested, even at listening levels that are higher than prudent.

Simple use and setup

24-inch, filled Sound Anchor stands (with a bit of blu-tak to complete the interface) proved the best way to mount the Thetas. As with other high performance stand mounted speakers, this is critical to getting the best imaging and most solid bass response from the Thetas. Mounting them on a flimsy pair of stands will compromise these speakers to enough of an extent that they may not deliver the impressive performance described here. The Thetas are so beautiful, you may want a more aesthetically pleasing stand than the Sound Anchors, but don’t scrimp on the mass or the sticky stuff to keep them seated in place.

Because they throw such a large image, our experience was that they could handle a wider distance between them than some small monitors, allowing them to be a better choice for room filling sound, than only being able to enjoy them in an extremely nearfield mode. Should you choose to take that route, the massive three-dimensional sound they offer, is even more of a headphone-like experience. It’s nice to have a choice.

Finally, the Thetas worked well with every amplifier we connected them to, even the 9 watt per channel Coincident SET proved a fantastic match at moderate levels. Incidentally, the Thetas offer a pleasing musical experience at these levels, so if you aren’t someone who really needs to rock the house, a high quality 10 to 30 watt per channel amplifier will serve you well. This opens up a tremendous amount of possibilities for system building.

Simple, elegant, sonic excellence

I’m guessing our European readers know more about Triangle than our American readers, but they are working very hard to change that in the months to come. If you’d love a gorgeous pair of standmount speakers in this price range, and looking for something a bit different than what everyone else might be listening to, seek out the Thetas. They stand out in the crowd.

The Triangle Theta speakers

$4,200/pair

www.triangle.fr

Peripherals

Digital Source                         dCS Rossini Player and Clock

Analog Source                        AVID Volvere SP/Rega RB2000/Ortofon Cadenza Bronze

Amplifier                                 Pass Labs INT-60

Phonostage                              Conrad Johnson TEA 1

Cable                                       Cardas Clear

Power                                      PS Audio P20

About a year and a half, on a visit to the VPI factory, Mike Bettinger had just joined the staff and was hard at work on what would become the Voyager phonostage.

A true old-school perfectionist, Bettinger probably drove VPI principal Mat Weisfeld crazy fine tuning the finished product. Company owners want to sell stuff and engineers keep wanting to refine things; it’s probably been that way since the caveman days when they first started carving wheels out of stone. Yet even what I heard then was incredibly good.

Everybody wants some

Resisting the urge to put this in a really fancy box and charging crazy money, VPI is offering the Voyager for $2,500. This is an interesting price point, because there are a number of high performance/high value phonostages around $1,000 and up beyond $5,000 to about $10,000. But there aren’t a ton of offerings in this price range. The only product that gives the Voyager a run for its money is the Musical Fidelity NuVista (also in this issue) at $2,999. And even at that rate, we’re talking different instead of strictly better. But that’s another review for another day.

No offense to VPI turntable owners, but I love the Classic 1. VPI makes some of the best performing tables in their respective price points, but the Classic 1 is my favorite $3,000 turntable because like the good doctor in Star Trek: Voyager, it performs way beyond its original programming. There are a lot of decent turntables for the same price as the Classic, but none offer a level of engagement, musicality, and synergy (I’d call it magic) that this table does. It’s like jumping out of a BMW M5 and getting into a Golf GTi. Yeah the $120k Bimmer is better, but the $30k VW is so damn good, and so damn fun, after about 10 miles you not only don’t notice the difference, but you’re having such a great time you find yourself not even missing the big bucks ride anymore. The Voyager offers the same experience.

Could this be magic?

From the second the stylus was dropped on the surface of the recent MoFi Santana Abraxas, the magic light went off on the dashboard inside my head. I didn’t feel like I was listening to a great $2,500 phonostage, I felt like I was listening to a great phonostage period. I’m not going to put my CJ TEA-1 on Audiogon tomorrow, but it might be a while before I plug it back in.

Trying to objectify the Voyager better than just saying it’s “magic,” the first thing you’ll experience is major low frequency grunt, with an equal helping of low frequency definition. The grungy, distorted bass line in Ani DiFranco’s “Sasquatch” sets you back in the listnening chair Maxell man style. In addition to my own Classic One, the AVID Volvere SP with Rega RB2000 arm and the new Technics SL1200G turntables were used, with a wide range of cartridges from the $70 Shure M44 all the way up to the $10,000 Koetsu Jade Platinum. All were an excellent match.

Or could this be love?

Engaging as the Voyager is out of the box, cold, it stabilizes in about 24 hours, delivering an even warmer, smoother, more delicate sound. There’s not a hint of solid-state glare anywhere. With no massive Teflon coupling caps inside the box, it won’t take 600 hours to sound right and that’s awesome.

The fit, finish, and feature set put the Voyager over the top. As someone said elsewhere, “it has everything you need and nothing you don’t.” Vinyl malcontents will complain (as they always do) that the Voyager could use a wider range of gain and loading options, or balanced inputs/outputs. Shut up. This phonostage reveals so much music, that stuff would have just jacked up the price. There are plenty of cartridges that work with 100, 500 and 1000 ohms.

Oh yeah, Voyager doesn’t give you a MM and a MC input, it gives you two inputs, with either configurable as MM or MC. A number of $10k phonostages don’t do that. Even better, all the gain, loading and MM capacitance settings are accessible from the front panel. Additional coolness. Note: you must hit the mute button before making said changes, or grungy, potentially tweeter damaging stuff will come out. Don’t say I didn’t warn you.

Eruption

Enjoyable as using the Voyager with a range of premium MC carts, I wasn’t prepared for the unexpected. Mounting up a budget Shure M44 MM cartridge ($70 from our buds at Needle Doctor) on the Technics SL1200G to perfection with Richard Mak’s Analog Magik software suite seemed a bit overkill at first,but pulling a 12-inch single of George Michael’s “I Want Your Sex” is incredible, with the massive bottom end described earlier in this review, and a sheer velocity and punch that has to be experienced. An equally exciting but slightly mellower rendition was offered with my Classic One.

Is this musical reproduction at its finest? Probably not. Just as a famous cheesesteak at Philly’s Gino’s isn’t haute cuisine, I’d rather eat a cheese steak than steak tartar. If that’s you, consider grabbing an M44 for your table to mate up with the Voyager – that extra input is just begging for a 1200 and a DJ cartridge.

Fun and dynamic as the Voyager is, it offers high performance across the spectrum. With 62 db of gain, it will accommodate nearly all MC cartridges that you might want to mate with it. It’s low end punch will grab you, but closer inspection reveals a balanced frequency range throughout, and a delicate, nuanced high end as well. And the tonal balance presented is as close to perfectly neutral that you’ll find this side of a Boulder. It neither adds nor subtracts tonally, which makes it such a great match for whatever you might want to install in your headshell. Want a warmer presentation? Go for a Grado or Koetsu. Want more neutral? Think about Lyra, Ortofon, or something in that vein. Truly, the only thing that’s somewhat off limits are the handful of cartridges with incredibly low output in the .2mv range. Again, there’s plenty of choices in the .4 – .6mv range, so stop making excuses.

Best of both worlds

Everyone has their own set of hot buttons. I will always sacrifice functionality for performance if I have to choose. I’d much rather have basic, well thought out functionality and awesome performance than the other way around. VPI’s Voyager is off the chart good. And, you’ll never have to hunt for tubes, or drive yourself crazy hunting down NOS tubes at ridiculous prices. Plug it in, turn it on and dive into yummy analog goodness. Make that greatness.

This is the easiest Exceptional Value Award I’ve ever awarded. Buy a VPI Voyager before Mat and company put this in a pretty box and start charging $6,000 for it. -Jeff Dorgay

The VPI Voyager Phonostage

$2,500

www.vpiindustries.com

Peripherals

Turntables VPI Classic One, AVID Volvere SP, Technics SP1200G

Cartridges Shure M44, Ortofon 2M Bronze, Grado Statement, Hana SL, Koetsu Jade Platinum

Amplifier Pass INT-60

Speakers Raidho X-1 w/2-REL T7i subwoofers

Cable Cardas Clear

Power PS Audio P20

A few years ago, we reviewed the original Alta Audio speakers and came away very impressed at the integration of woofer and ribbon tweeter – a tough engineering feat.

Great as they sounded, the amorphous shape left me a bit cold from an aesthetic perspective. But as a guy that used to drive a bright lime green Saab 99, an off-center shape has never kept me from something that accomplishes its task.

Today, we have the Rhea in a much friendlier, rather unique bell-like shape, finished in rosewood (and custom colors – lime green, even!) only weighing 40 pounds each. This two-way system sports a slightly smaller ribbon tweeter than the flagship speaker, and a seven-inch woofer. Black grilles are supplied, but the Rheas look so attractive without them, I can’t imagine wanting to leave them on.

The deep bass groove in Beck’s “Little One” immediately convinces me of the Rheas room-filing sound. While they work well in my smaller, second room (13 x 15 feet) they require a bit more fiddling to achieve a perfect balance of deep and upper bass, the spacious sound in room one (16 x 25 feet) proves they can fill a room with ease. And the lovely integration of ribbon tweeter and LF/MF driver in Altas larger speakers has not been lost at a $4,495 price point.

Nearly all evaluation was done with the Pass Labs XA200.8 monoblocks, which have way more than enough juice to power the moderately sensitive (87.5db/1-watt) Rheas, but don’t let the specs lead you to a false conclusion – they are easy to drive, even with a modest amplifier. You won’t blow the windows out of your living room with a Rega Brio, or small PrimaLuna amplifier, but you can achieve more than adequate volume levels. Those requiring “turning it up to 11” will need at least 100 watts per channel to inflict ear damage.

One pairing we found that proved excellent and won’t break the bank is the new PS Audio Stellar amplifiers. The $2,995/pair M700s though excellent, was almost too much power for these speakers, but the $1,495 S300 combined with your favorite preamp or DAC will put you in the drivers’ seat for way less than $10k. Even if you spend a few bucks on a tasteful audio rack, some decent cable and a turntable. Not bad. Read Rob Johnson’s review of the Stellar S300 here.

Space and resolution

First impressions rarely lie, and even though speakers need to play for a few hours to reach their ultimate sonics, lousy speakers still sound lousy after 500 hours of “break-in.” Consequently, good speakers sound fine out of the box, becoming more refined with age. The Rheas are in the latter category.

The Rheas resolution and low-level delicacy hits you the minute you fire them up, even if they are not correctly placed – another great sign. Where this speaker will really challenge you is to fine tune the mid-bass tubbiness out of them. Plan on spending a couple of hours to make minute adjustments. If your Rheas feel just a bit constricted and flabby, you haven’t found the spot yet. Stick with it.

Whatever musical generation you happen to love, choosing a playlist full of tunes with elaborate studio craftsmanship will keep you glued to your listening chair. The Rheas construct a highly detailed, focused soundstage – though they are better at left to right than my other ribbon reference, the Raidho X-1s. While it is somewhat apples to oranges, the Raidho is a bit more three dimensional, but the Rhea is more expansive left to right. This stays consistent regardless of amplifier choice, though your favorite tube amp might just offer a little more image depth. The vibes throughout It’s Time For Dave Pike had me freaking out at times they sounded so big. The overall tonality of the Rheas might be goosed just a bit, but it’s in a way that serves the music and certainly not way overblown like a big pair of Magnepans can be at times.

Excellent throughout the range

Balance is the key with the Rheas, and they do not disappoint, regardless of program material. Like every modest sized speaker, there is a spot beyond which the Rhea can be pushed no more and at that point, compression sets in pretty quickly. This is not as noticeable with music having a wide dynamic range as much as popular music with a limited dynamic range. Cranking up UFO’s Lights Out was a little too much for the Rheas, but switching the program material to Elise Legrow’s Playing Chess (with considerably more dynamics) makes for enjoyable listening, even at fairly loud levels.

I’ve always been biased towards full range electrostatics and big panels, valuing top to bottom coherence; that’s my cross to bear. Next on the list is a well-executed two-way. The Rheas do a fantastic job convincing you that you are listening to a single music source, not a woofer crossed over to a tweeter. They disappear into the room handily, and that’s top on my list.

The Rheas also do an excellent job at pulling the small, quiet details out of less than fantastic recordings, and this will endear them to audiophiles on a budget. Rolling through a long playlist of generally lousy recordings, the Rheas still shine. U2’s All That You Can’t Leave Behind is dreadfully flat throughout, yet it proved engaging through the Rheas, exposing minute details and faint background vocals that are tougher if not impossible to hear on a handful of more expensive speakers we’ve auditioned. This perhaps is their best strength. That smooth ribbon is gonna get you every time. Its complete lack of grain and the subsequent fatigue that accompanies it is lovely.

What’s missing?

Much as I hate the cliché, the Rheas minor sins are those of omission. They don’t play as big, loud and dynamic as Alta’s larger models, but that’s what you write the bigger check for. The level of balance that they do offer has only been matched by a few other speakers in this price category. Where some manufacturers concentrate on bowling you over with a single aspect of music reproduction, the Rheas excel at doing everything to a high standard. And if you miss that last bit of low bass, get a couple of subs – you’ll still be way ahead of the game.

The level of clarity and resolution that the Rheas offer is what really sets the Rheas apart from many of their competitors. If this is your hot button, you’re really going to enjoy these speakers. And don’t forget, they do come in lime green.

The Alta Audio Rhea Speakers

$4,495/pair

www.alta-audio.com

For their 40^th anniversary, Dynaudio endeavored to make something very special. Their team faced a choice: design a new flagship speaker or make a top-shelf bookshelf at a price point accessible to many more music fans. Fortunately for budget-conscious audiophiles worldwide, Dynaudio chose to pursue the latter. At a price of $3,000 for the pair, the Special Forty speaker defies its modest price tag in every way.

Revelations out of the box

Unpacking the speakers is a joy in and of itself. After digging one’s way through the sturdy cardboard and foam packing materials, a white cotton bag represents the last barrier between the speakers and the new owner’s eyes. What lies underneath is breathtaking. While photos of these speakers showcase the beauty of the speaker finish, they have trouble doing it true justice. The gloss-coated grey birch – or the vibrant red birch finish of our review sample – demonstrate just how beautiful speakers can be.

While largely traditional in shape, the cabinets feature a slight taper from the front to the rear of the speaker, rendering the front face about an inch wider than the ported rear panel. A single set of gold-plated binding posts on the back make connections easy for speaker wires with a spade, bare wire, or banana termination.

As a bookshelf speaker, the Dynaudios require stands putting the tweeters at ear-level. Dynaudio does sell matching stands which are designed to complement the inherent beauty of the speaker cabinets and give the speakers a rigid base to optimize their voice. For those with a tight budget though, a more modest and less attractive pair of aftermarket stands can solve the immediate need.

More than the sum of its parts

Beyond their attractive facades, a lot of new technology lies within these two-way speakers. A newly-developed silk dome tweeter dubbed the “Esotar Forty” offers low resonance and increased airflow. Woofer-wise, trickle-down technology from Dynaudio’s higher-end Evidence and Confidence speakers help lower the Forty’s distortion and increase power handling through their proprietary hybrid magnet system. Unlike any other speaker drivers outside the Dynaudio factory, an in-house developed Magnesium Silicate Polymer material offers the tenuous balance of rigidity and dampening which result in a more organic sound.

Accompanying the advanced drivers resides a freshly-designed crossover too. Design goals included better impedance and phase alignment which help ensure only the relevant frequencies get routed appropriately for tweeting or woofing.

The sum of these elements certainly puts the “special” in the Special Forty’s namesake.

Music to our ears

After many hours of break-in time, the speakers reach their full sonic potential. When they do, brace yourself for a wonderful ride. As a cohesive whole, the Special Forty’s drivers and internals truly sing.

Overall, the Special Forties offer a refined and natural sound on the polite edge of neutral. They are by no means overly-romantic in their musical portrayal, just a tad polite. This deliberate voicing choice gives the speaker a chameleon-like ability to mate with many upstream components.

The silk dome tweeters offer a high level of detail but do not overly-accentuate sibilance or stridency inherent in some less-stellar recordings. On tracks like Dave Brubeck Quartet’s “Take Five” the complex harmonics of cymbals render with an organic-sounding strike, shimmer, and decay. Saxophone retains all the woodiness one expects to hear. Piano notes offer a high degree of realism. Both low and high notes seamlessly transition among the Dynaudio drivers creating a single, very cohesive picture.

The combination of drivers creates a convincing soundstage with immense breadth, height, and depth. The sound seems to emit from everywhere around the speakers, independent of the physical speaker bodies. Enjoying Pink Martini’s “Dansez-Vous” the track features a variety of instruments which accompany multiple vocalists. Percussive elements dance around the room contrasting the solidly-imaged saxophone. “Lilly” also showcases the way the Special Forties place lead vocals front and center layered among piano, trumpet, drums, and more. To my ears, various Dynaudio speakers always do a great job with voice reproduction, putting it up front and center. The Special Forties are no exception. They provide China Forbes’ marvelous voice the range and realism it deserves.

One cannot expect a bookshelf speaker to deliver kidney-rattling, low-end bass notes. However, the small Dynaudios do pack a surprising punch. Down to the low end of their audio frequency specification — around 40Hz — bass remains tight and tuneful. Listening to “Bulls on Parade” by Rage Against the Machine demonstrates the Dynaudios’ ability to rock. Rendering of Zach de la Rocha’s voice demands attention commensurate with its edged emotion. Bass, guitar, and drums pull no punches. Sound is dynamic and energetic.

Sampling several decades of Funk music, the Special Forty’s voicing gives Stevie Wonder’s “Superstition,” Terence Trent D’Arby’s “Dance Little Sister,” and “Uptown Funk” by Bruno Mars a very engaging quality and overall musically-satisfying experience, making it difficult to sit still in the listening seat.

Summing up

These speakers do so much so well at their price point I am hard-pressed to offer major criticisms. Yes, speakers like Dynaudio’s flagships take the sound experience to another level by offering an increased prowess reproducing musical nuance, refinement, detail, depth of soundstage, and deep bass recreation. Of course, those characteristics and enhancements come with a much higher price tag.

The Dynaudio Special Forty speakers are an absolute bargain for their beguiling looks, great sound, and the pedigree of the company’s 40-year history building stellar speakers. If Dynaudio did not handle every aspect of design and production in-house, the speakers would cost significantly more.

If you seek a new set of speakers in this price range, be sure to put the Dynaudio Special Forty on your audition list. I offer sincere kudos to Dynaudio for putting this level of sonic performance, build quality, and beauty within the financial reach of so many who prioritize music in their lives. Given this benchmark of performance, I cannot wait to hear what Dynaudio has up its sleeve to celebrate their golden anniversary a decade from now!

Additional Listening:  Jeff Dorgay

Most Danes are fairly modest people. This was the experience I had when visiting the Dynaudio factory in Skanderborg, Denmark last fall. While there was much excitement about their new wireless products (which were indeed incredible) new in-wall LCR custom install products, and of course their top range Evidence Platinum speakers, when my attention turned to the small 40^th anniversary model, the Dynaudio personnel were somewhat coy. “Oh would you like to listen to the 40s?” Would I?

Moving them out into the middle of the main listening room which was about 20 x 30 feet, all in attendance were taken back. Except for less ultimate low bass power, they felt like the $100k/pair Evidence models. When they finally arrived here, I did the same, putting them front and center, squarely in the middle of my 16 x 26 foot listening room, powered by a big stack of Pass Labs gear and the dCS Rossini Player/Clock combo.

Watch for another full review in the Audiophile Apartment section shortly, when I’ve had more time to try them with a few different, more reasonably priced amplifiers. I’ll have plenty of time, I bought the review pair. The Dynaudio Special Forty’s set a new standard for me in the $3,000 price point. They’ve got bass response that fools you into thinking you’ve got a pair of floorstanders. My Confidence C1s did the same thing, but they were nearly $10k/pair.

Combine that with a level of delicacy, tonal accuracy and resolution that you’d expect to pay $10k/pair for and you can see why I’m so excited. And happy to award them one of our Exceptional Value Awards for 2018. And, they come in a very cool grey too…

Dynaudio Special Forty Speakers

MSRP: $ 3,000/pair

www.dynaudio.com

PERIPHERALS

Analog Source.         SME Model 10 with SME V and Model 10 tonearms. Dynavector 17D3 and Denon DL-103R cartridges

Digital Sources         Mac Mini, Roon Music Service, Simaudio MOON 780D DAC, Oppo BDP-103

Amplification           Conrad-Johnson ART150

Preamplification     Coffman Labs G1-B

Cables                       Jena Labs

Power                       Torus AVR 15 Plus, RSA Mongoose, and Cardas Clear power cords

Accessories              ASC tube traps, Mapleshade Samson audio racks, Coffman Labs Equipment Footers, AudioQuest Jitterbug, Atomic Audio Labs Mac Mini stand

HiFi reviewers and enthusiasts often talk about “analog magic,” but that term is seldom if ever used when discussing digital gear. Considering the progress made in the digital arena, it’s somewhat puzzling. I submit the Brinkmann Nyquist has magic, in spades.

Joni Mitchell’s voice (and self-backing vocals) in her classic “Car on a Hill” are smooth and scrumptious. If I didn’t know better, I’d swear I was listening to vinyl – and that’s the point.

Some of us have been arguing about the validity of digital versus analog for about 35 years now. Granted, those first compact disc players sounded pretty harsh, but things have come a long way since then. Despite the sniping of analog aficionados, digital designers keep improving the breed, and though often fashionable to bash digital, it’s pretty damn good.

On one level, who better to make an incredible digital to analog converter than a man who makes great turntables? Helmut Brinkmann is that man. I’ve been using his Bardo turntable (with optional RoNT power supply) for over a year now and couldn’t be happier with it – deciding to purchase the review sample took all of about 30 seconds worth of listening.

Mr. Brinkmann’s DAC is equally engaging and impressive, even more, when the tubes stabilize thermally – usually about 30 minutes. Prepare to be impressed. Really impressed. The Beatle’s “Penny Lane” begins this magical mystery tour, as it’s a well-worn demo favorite. McCartney’s bass line comes through with an unmistakable strength – the pace is fantastic. The sonic picture presented is so natural, it reminds me of the Bardo/Koetsu Jade Platinum combination, which offers an equally organic experience. The music escapes the speakers with a level of depth, texture and ease not reached by the other digital hardware in my three listening rooms.

Say What?

I’ve been intrigued with mega-digital playback for over a decade now, and as much progress continues to be made in the analog world, I’m equally stunned at what the world’s finest audio engineering minds continue to extract from the 16/44.1 files that we’ve all been told are unacceptable. DSD and high res PCM files are certainly intriguing when the content lives up to the hype, but really, how many albums in DSD format do you own? 50? 100? 3?  Me too. The few hundred albums in high-resolution format reside on my NAS, still compete with about 12 thousand CDs ripped over decades, and thousands more streaming from TIDAL.

The Nyquist unfolds MQA files and is a ROON endpoint, so there is no digital scenario you are unprepared for. There’s nothing worse than a five-figure component requiring excuses. None are necessary with the Brinkmann Nyquist.

The Nyquist does a fantastic job decoding high resolution, audiophile files. If that is your quest, you will not be disappointed in the least, but if you are a music fan wanting maximum musicality out of your legacy digital collection, I suspect you’ll value the Nyquist even more.

The ins and outs

The Nyquist offers inputs for every digital source imaginable: Toslink optical, RCA/SPDIF, XLR-AES/EBU, USB, and Ethernet. With a combination of a Mac Book Pro, OPPO 205, dCS Rossini and even a Sony PlayStation, rest assured the Nyquist works well with anything you can throw at it. After auditioning a number of transport options, the bulk of my listening was done via the Ethernet connection and a 12TB QNAP NAS.

Again, thanks to the Nyquist being Roon compatible, it makes combining the digital files in your library, with anything you’d like to seek out via TIDAL (or whatever music streaming service you happen to use) a seamless experience. Thanks to the Nyquist being a single box solution, a plethora of extra cables aren’t required. Balanced XLR and single-ended RCA outputs are also available and have no issues driving 30 feet of interconnects so that you can place the Nyquist on a rack with the rest of your gear, or in a remote location with ease.

A wide range of inputs and outputs is one thing, but there’s more. The Nyquist is a modular DAC so that it can be easily upgraded as technologies change, and in essence, future proof. This is an excellent thing when you are spending $18,000 on a DAC. For my money, there are too many expensive DACs built around a fixed architechture. The Nyquist’s modular design is field-upgradable, making  it a much safer bet as a long term digital investment.

Finally, the Nyquist has a level control to help match its gain to your other sources, and it acts as a full volume control for the built-in headphone amplifier. More on that later.

The MQA issue

Some will (and have) argue that the Nyquist lacks the final few molecules of resolution that the top dogs from dCS, Gryphon, and MSB offer. That may be true, and again this is a complete matter of personal taste. None of these other DACs are rubbish in any sense, yet the Nyquist has a way of pulling you in just a little bit further, allowing your fussy audiophile gland to shut off that much quicker. It’s almost hard to describe this complete lack of fatigue that the Nyquist offers.

There is a fairly high amount of vitriol in the discussions surrounding MQA these days, so I tip my hat to Mr. Brinkmann for including MQA capability on the Nyquist. Grooving on David Byrne’s latest, (In MQA) American Utopia sounds inviting, though I have no non – MQA file to compare it to. Unlike a few DACs I’ve tried that make audible clicks, or pause when switching between resolutions, the Nyquist fluidly skates between formats effortlessly, with no audible glitches. Personally, I fear that the MQA format is misunderstood, (and that’s all the further I’ll go down this rabbit hole) so as a big TIDAL/Roon user, I’m glad I can stream MQA on the Nyquist. All of the MQA files played sounded fantastic.

Awesome 16/44.1 performance

Thanks to what amounts to a separate DSD decoding section, DSD files are not converted to PCM in the Nyquist. DSD and high-resolution PCM files are handled separately and with equally high fidelity, as you would expect with an $18,000 DAC. But again, cool as that is, the Nyquist does such an incredible job with standard CD-quality digital files, this is what will keep you in the listening chair for days on end.

CD quality files played through the Nyquist offer the same analog-like ease and presence that high-resolution files do. So much so, that it was tough to tell at times what I was listening to. I can’t think of higher praise for a DAC. Taking this approach a step further, streaming performance of low-quality 320kb/sec files sound better than they have a right to. The lack of air, dynamics, and tonal richness inherent in these files is well managed in the Nyquist.

Finishing touches

The Nyquist would stand on its own, even if it were just a premium DAC for $18k, but it’s streaming capabilities make it an incredible value proposition. Mr. Brinkmann takes this further, including a massive granite base to place under the Nyquist as well as a high-quality power cord – the kind you’d probably pay a third-party vendor at least a thousand dollars for. Brinkmann suggests plugging the Nyquist directly into the AC line, eschewing power conditioning. He’s never steered me wrong in the past, so that’s how we played it for this review; directly into the AC line with zero regrets.

Personal audio fans will appreciate that the Nyquist includes a top-notch headphone amplifier as part of the package. We’ve been reviewing a number of top headphone amplifiers; and feel the one built into the Nyquist delivers such a high level of performance you will never need an outboard headphone amplifier.

Finally, this all comes wrapped in a single box solution (other than the outboard power supply) which doesn’t require a loom of cables to go about its business. If you have room for a two-four box design that a few other manufacturers offer, no worries, however, if you want high performance only requiring a single rack space, the efficiency of the Nyquist cannot be ignored. Oh yeah, it has a transparent glass top too, so those of you that appreciate the sheer beauty of the internal design can bask in it, daily.

Keep in mind for your reference; my own bias is for overall system balance to be ever so slightly on the warm/natural/neutral side of straight-up neutral. I like as much detail as I can get without the overall presentation getting harsh, yet I crave as much warmth as possible before things become slow, or sloppy. Tracking through the original Chicago Transit Authority, the enormous sonic landscape painted is tremendous, with a smoothness to the layers of drums and percussion incredible.

So it goes with Brinkmann’s Nyquist; named after the famous digital engineer Harry Nyquist. This elegantly built DAC has a sound, unlike any other DAC I’ve heard – it’s more analog. Using a pair of new old stock Telefunken PCF803 tubes for the output stage, which Brinkmann claims “were built to last ten years in color TV applications,” should last even longer in the Nyquist. A quick search on eBay reveals these tubes to be very inexpensive, so I’d suggest buying a matched set from your Brinkmann dealer so that you are prepared. Long life be damned, we both know you’re going to lose a tube on Friday night, just when you planned on a weekend’s worth of listening. Be a good Eagle Scout, buy a spare set and rest prepared.

If after all these years, digital has still left you slightly cold, I assure you the Brinkmann Nyquist will not. It offers top digital performance for about what you’d pay for one of Mr. Brinkmann’s Bardo turntables with a top phono cartridge. But you never know, a few days listening to the Nyquist and you might not even want to be bothered spinning those black discs! It’s that engaging.

The Brinkmann Audio Nyquist DAC

MSRP:$18,000

www.brinkmann-usa.com

Peripherals

Preamplifier                Pass Labs XS Pre

Power Amplifier         Pass Labs XA200.8 monoblocks

Speakers                       Focal Sopra no.3 w/(2)REL 212SE Subwoofers

Cable                             Cardas Clear and Tellurium Q Black Diamond

Vibration                     Grand Prix Audio Monaco Racks

Canadian audiophiles from the Kelowna/Vernon side…

HiFi Attic will be hosting a music demo with B&W, AudioQuest and Bluesound this Friday the 13th at their Vernon store from 3:00 – 9:00pm, with lots of music and prizes. They are located at 3108 30th Ave in Vernon. They will have a similar event the following day at their Kelowna store, located at 1292 Ellis Street.

Stop by, take a listen and tell them we sent you!

In my other job in the 2-channel world at TONEAudio magazine, I’ve put the MartinLogan Motion 35XT’s through their paces, and they are fantastic speakers. Taking the concept further, we have the SLM range of speakers you see here.

The X3 is the most expensive of the range at $999, but it uses three of MartinLogan’s Folded Motion transducers and six, 4-inch woofers, squeezing a left, right and center channel in a sound bar that is just a shade over 6 inches high, 48 inches wide and only 2 inches deep. Available in white or black, the SLM X3 should fit into any décor easily.

In addition to the ease of integration, kudos to MartinLogan for offering a pair of small feet that can screw right into the SLM X3, so that in case you live in an apartment that frowns upon you permanently mounting things into a wall, it will just sit right up on a tabletop. Ms. Bubble and I also found this super handy in this mode, transporting the SLM X3 from living room video system to bedroom system. Both have small, powered, wireless Paradigm subs, so this is a breeze, and it’s nice for apartment dwellers on a budget, allowing great sound wherever you are. The rest of you can either buy a second one for the other system and mount via standard anchors to your wall.

It might be an issue for some that the SLM X3s are not powered, but I love the fact that they are not. Considering MartinLogan’s expertise at speaker building (and just like the Motion freestanding speakers) the combination of high-quality drivers and crossover network components inside the cabinet will blow you away with the sound quality – so you’re not limited by the electronics in the box. You can build your audio/video system with simple electronics, and as your system improves, you won’t have to upgrade the speakers.

Borrowing a pair of 35XTs from a friend and using my Paradigm MRX520 surround sound receiver with Anthem Room Correction and a small Paradigm subwoofer makes for a fantastic theater system with little effort. If you haven’t used Anthem’s ARC, it’s a treat and gives great sonic result without agonizing terribly about “where to place the speakers.” With the SLM X3 beneath my 70” LG TV, the 35XT’s back behind the couch as rear speakers and the sub hidden in the room corner, I was rocking in about 30 minutes.

As the SLM X3s only go down to 120hz, you will need a subwoofer. Again, I suggest ML or Paradigm because you can get all the bits from the same dealer, (Gotta love one-stop shopping!) and they will work swimmingly together. Finally, having front, center and rear speakers using the same tweeters gives a more cohesive overall sound.

Though the SLM X3 has a very similar sonic signature to the rest of the Motion range, listening began using the soundbar just as front speakers, with the sub off in the corner. Even if this is all you can muster to begin with, it will dramatically increase your television enjoyment. The monsters in Game of Thrones are much more convincing, and the spacy sound bits in Rick and Morty were a blast. Not to mention gaming is way more fun with big sound.

Remember, MartinLogan cut their teeth decades ago building some of the worlds finest speakers for 2-channel audio enthusiasts, so the SLM X3 delivers the goods in a way that most soundbars don’t. Using just the left and right channel of the SLM X3, on the dresser with subwoofer augmentation makes beautiful music. Stepping up to the Esoteric F-07 integrated we recently reviewed, the SLM X3 does not disappoint. Thanks to the 93db/1-watt sensitivity rating, you’ll be quickly evicted no matter what you are powering the SLM X3 with if you aren’t prudent!

Stereo imaging is big, bold, and wide, regardless of musical choice and these speakers provide luscious tonal capability. Vocal tracks come alive, and thanks to the lightening quick response of those Folded Motion tweeters, drums and percussion are incredibly realistic. Even if you never use the center channel, the SLM X3 and a small subwoofer make for a great, albeit compact stereo music system, which has infinite potential for expansion.

Moving to a full multichannel system is spectacular, and if you don’t want stand mounted speakers behind you, there are two smaller models to the SLM lineup that can be mounted vertically. This would be the way I’d roll if in a compact space, to keep things tidy.

Though priced at the upper end of the soundbar spectrum, the SLM X3 is a premium solution. It’s like three high-performance MartinLogan speakers, tailor-fit into a compact housing. They refer to it as an “Ultra-Slim Folded Motion speaker. This is a premium product from one of audios finest companies. Highly recommended.

The MartinLogan SLM X3 Speaker System

$995

https://www.martinlogan.com/motionSeries/models/ultra-slim.php

I became an audiophile during the period when digital playback began to make its first attempts to address the shortcomings plaguing the new medium. Despite the BS “Perfect Sound Forever” marketing hype heaped upon the unwitting music consuming public, we all knew something was wrong-really wrong with digital sound. Audiophile inspired components from companies like Wadia, Krell, Mark Levinson and its protege Proceed rallied to address the lack of musicality as defined by the flat, sterile, and edgy sound of the standard one box CD players of the day.

A Rotel CD player would first take up position to feed a Wadia X-32 out-board DAC. Soon after the krell SPB-32X DAC gave it a try. These add on DACs helped clean up the sound a bit but in retrospect they were really incremental improvements rather than the major musical overhaul we all were searching for. After giving these DACs a shot I moved back to all in one players. The  Krell KPS20i was my first really high end player. But it wasn’t till the arrival of the Linn Sondek CD12 which to my ears was the first high end CD player that delivered a sound that even hard-core analog enthusiasts could get behind. I started to get the feeling there was real hope for digital sound after all.

It’s 20 years down the road from my last out board DAC and boy has digital come a long way. Far better DAC chips are available at lower cost and component manufactures have gained much understanding of how to implement these devices. Along with the advancements in Chip technology came an understanding of the importance of power supplies and over all circuit design when creating a musical digital device. Getting the best from digital has also included exploring Up-sampling rates, differing mastering and decoding schemes ranging from the failed DVD Audio, the withering SACD on to the latest entry, MQA. Up till now I have dabbled in all but MQA and always end up in the same place. Well engineered standard 44.1 kHz Redbook can be very good. As can SACD, as could DVD audio, DSD and HD audio etc. It is all so recording and mastering dependent that it becomes a swiftly moving target when trying to pin an absolute conclusion on why any given version of a recording sounds great, or bad for that matter.

Audio Research has been in the digital game since 1995 with the introduction of the CD1.This CD player has gone through several upgrades and its current form the CD6 has done remarkably well in the market place. With the DAC9, Audio Research serves the Audiophile who has streaming, computer audio and/or transport sources at a price that while not inexpensive, undercuts the reference level components out there that can reach well into the tens upon tens of thousands of dollars.

The DAC9 was fed a stream from the McIntosh MB50 Streamer with Spotify and Tidal providing content. The system includes the Dan D’Agostino Momentum preamp, Pass Labs XA200.8 mono amplifiers seated on the lovely Bassocontinuo carbon fibre and leather amp stands.Speakers included  the Sonus Faber Lilium and Lansche Audio 4.1. All cabling was the outstanding MIT Oracle Reference.

In 20 years of reviewing I have never owned or reviewed an Audio Research component. I have heard them dozens of times be it amps and preamps along the way and have always enjoyed them. With a vivid highly resolved sound, music through Audio Research components can in a couple words can be described as “involving” and “vivid”.

The New Audio Research components enjoy a fresh look from the mind and hand of Livio Cucuzzo, Chief Designer for Audio Research and Sonus Faber. With one foot in the past al-la the sculpted rack mount handles on the face plate and one foot in the future via the large display window and seamlessly integrated flush mounted buttons, The DAC9 still projects a form follows function look while managing to feel totally fresh and modern.

My only concern is the thin perforated metal, highly resonant top cage. This approach bumps up against my love of massive over built chassis elements. Based on the sound however, this may not be as much of a concern as I might have thought. But I still wonder what a more rigid structure would yield.

5 digital Inputs include RCA, AES/EBU, BNC, Toslink, USB. Two 6H30 tubes caress the analog circuitry and you can hear it. Below the display is a row of six pushbuttons: Power, Menu, Option, Enter, Input, and Mute.The DAC9 uses the Burr-Brown/Texas Instruments PCM1792A chip in a quad configuration.

Some components need a little time to open up and ripen to find their voice and blossom. The DAC9 impressed me immediately-as in first note immediately. After about a half hour I had a very good handle on what the DAC9 was all about. While it did get better over time, its essential strengths were there from the beginning. I don’t want to give the impression there is any one or two things that stand out in the DAC9’s performance. The sonic performance of the DAC9 is extremely well integrated and broadly balanced. So in no particular order, here we go. Starting with tonality, the timbre of instruments and voices are so right, so natural and un-diminished in any way, it pleads a very strong case that digital is now neck and neck with analog as they streak towards the checkered flag. Compared to digital of even 5 years ago, that older sound might as well be an exhibit in the museum of sonic history. The DAC9 is the embodiment of thoroughly modern high end digital sound. There is a directness and vividness, a hallmark of Audio Research sound, that by its nature shows how any form of past digi-titus has been hunted down and extinguished. Color, texture, bloom all come together in a seamless singularity representing a recreation of a time and place that is totally believable.

Another amazing quality of the DAC9 is the ability to render layered depth. Images are placed with three a dimensional presence that is surrounded by air allowing for great separation and a front to back precision that keeps individual instrumental timbre distinct and untangled. The accuracy of front to back distances or layering goes back, all the way back with stunning clarity. Orchestras are mapped out to the performer. All the modern studio recordings I sampled benefited greatly by the hologram like presence put forth by the DAC9 and holds true to the reputation Audio Research has earned over the years.

Across the frequency spectrum the DAC9 maintains its great neutrality and natural seamless integration creating a single flowing musical garment. As the music expresses the entire frequency spectrum, there are no holes, no missing mid bass information that connects the bass to the midrange, no anomalies in the upper midrange that sticks out mucking up integration with the treble.  There may be more sheer resolution available in the treble via an ultimate reference but it will certainly come at a much higher price. The same could be said of the low bass. Its power and resolution give away little and always presents the music in a totally believable way. Power and impact are soul satisfying. My torture test remains “I’m Home Africa” from Stanley Clarks East River Side Drive. The driving pounding back beat has been rendered by countless devices over the years and the DAC9 keeps up with the very best I’ve heard. Some have presented the bass with a bit more tightness and sheer slam but that was accompanied by a dryness and lack of color and nuance. Any improvement beyond the DAC9 would surely come at a severe premium. I will lay my reputation on the line and say there is very little need to look further if profoundly enjoying music is your goal.

Late in the game I took possession of the Analog Domain Isis integrated amplifier. With the DAC9 in the chain the sound was just glorious. Tactile yet incredibly smooth. We are really on to something with this combination of the McIntosh MB50, the DAC9 and the Analog Domain Isis integrated . Listening to Aaron Nevilles “It Feels Like Rain”, A track I have heard at least a thousand times on a wide variety of gear, the DAC9 continues to provide such a confident, powerful bass giving the music a stable foundation upon which Aaron’s voice simply soars. The whole soundstage comes to life with the background singers subtle contribution taking on greater significance due to a high level of resolution and low noise floor allowing them to bloom in the mix a bit more. Very compelling.

Testing the upsampling feature was a breeze as it can be selected by the DAC9’s fantastic solid  metal remote. My MacBook Air was tethered to the DAC9 via the excellent MIT Matrix USB cable. With the music up sampled on Boston’s “Smokin’”, I found the upsample a bit smoother on top with a bit a bit less glare. Hard wired with the MIT Matrix, I also found the music a bit more vibrant than the wireless streaming mode. The Hardwire approach is the overall better performer. This conclusion played out over many recordings and was especially welcome on inherently brighter mixes. Listening to Tidal MQA recordings sounded just phenomenal at the CD9’s 384kHz upsample rate. John Coltranes Giant Steps was noticeably fuller in tone and more dynamic with greater body and presence. I could pick it every time in comparison to its down sampled version during a blind test conducted by Josh Dellinger Experience Director of the World Of McIntosh Townhouse.

The DAC9 came to the system soon after the Macintosh MB50 steamer that I found so musically satisfying recently. I stand by my conclusion that all on its own, the MB50 delivers a very satisfying musical presentation.

The question is at what price does finding a substantial improvement of the MB50 come? With the Audio Research DAC9, that answer is exactly $7,500. The addition of the DAC9 makes the music closer, becoming more vibrant and tactile, a quality enhanced by its tubed configuration no doubt. The DAC9 lights up the stage and casts a vivid glow around the images creating full rich sound. Ultimately the DAC9 expands the picture in all dimensions in a way that the musical MB50 can’t quite muster on its own. For a shade under 10K, the MB50/DAC9 is an absolutely killer combo of gear. Throw in a Macbook Air and a great USB cable like the MIT Matrix for Hi-rez digital at its best. This is digital the way it was meant to be. Looking back on when perfect sound forever was just a promise made, With the DAC9 It is finally a promise kept.

The Audio Research CD9

$7,500

www.audioresearch.com

Though the 1200 is the world’s most ubiquitous turntable, with legions of followers around the world, ask many a 1200 fan/owner/aficionado what turntable they most covet and the answer will be “An SP-10.”

Like everything else cool, vintage, and in short supply, used SP-10s are climbing up the chart as fast as air cooled Porsche 911s. If you want the Singer Porsche equivalent in SP-10 world, look no further than the folks at Artisan Fidelity. Their rebuilds combined with plinths that are out of this world gorgeous, will impress you if an SP-10 is your grail.

But some of us don’t like vintage, no matter how well executed. Some of us want brand new. Two years ago, when the new versions of SP-1200s were introduced, (and I bought two of them) there were whispers in dark hallways that perhaps an SP-10 replacement was in the works as well.

The future is here turntable lovers. And it’s beautiful beyond expectation. But don’t expect to see one soon. We were lucky to have an hour listening session, courtesy of the folks at Audio Vision San Francisco, before their guests were to arrive for the evenings festivities, with Technics.

Yes, yes, we can all play the “it’s not my system, so I can’t hear things properly” card, or we can get down to listening. After all, if someone flips you the keys to your favorite car or motorbike and tells you to have a go for an hour, you don’t refuse? Do you? And besides, Antonio, Randy, and Chris always have great sound in their rooms, so it’s no big.

Flipping through a handful of tracks from current MoFi tracks, including the spectacular Elvis Costello/Burt Bacharach collaboration, all the way to a super clean copy of Ohio Players’ Honey, via a new Ortofon A90 cartridge, it’s easy to get a read. Yes, it’s incredibly good. The sound is massive, as you would expect from a great direct drive table, yet elegant and full of nuance in a way that the 1200G is not. That’s what you pay the extra $14,000, for.

The new SP-1200G and the less expensive GR are both fantastic turntables at $4,000 and $1,600 respectively. The SP-10R is a fantastic turntable period, and this writer feels it’s a major bargain at $18,000, with tonearm. Especially compared to most of the tables in the $20k range. The SP-10 will also be available without plinth, and the ability to use up to three tonearms. We’ll post more as soon as we know final details.

Beyond the big, weighty, ultra-quiet sound, this table is a work of art. I’d buy one just for the impeccable build quality, even if I never played a record on it. But like the Magic Bus, I can’t have one. The backorders are piling up, and AVSF’s Antonio Long (one of the US’ largest Technics dealers) told us, “I’ve got four on order already and I might not get them all when the first shipment arrives in the US.”

While the design aesthetic is very similar to the original SP-10, the result is similar to the SL-1200. Place a Mk.II next to a new 1200G and the new one not only looks bespoke in comparison, but futuristic and retro all at the same time. It’s like those wacky episodes in Star Trek where the new Enterprise faces down the old one at the opening to a spatial anomaly.

If this table piques your interest as much as it does mine, get to your Technics dealer and place an order. Now. Hopefully, you will get one before the end of the year. I know I’m probably looking at a mid 2019 date on one for me. Crazy.

www.technics.com

www.audiovisionsf.com

Stop by tomorrow, Thursday, to AudioVision San Francisco to oogle and audition the new Technics direct drive flagship SP-10. It truly is a feat of engineering to behold. The event will also have people on hand from Nordost, YG Acoustics and Bel Canto.

See you there! Festivities start at 7:30pm

Klipsch speakers are such a big part of audio’s history, and such a big part of American audio history, the first round of listening had to be all-American. Just because.

Taking full advantage of a custom made VPI Classic One turntable, Eminent Technologies tonearm and the latest Statement cartridge from Grado, the gorgeous walnut Forte IIIs went front and center in my listening room, powered by a full Pass XS front end, funneled through Cardas Clear cables and a freshly rebuilt Audio Research D-79 power amplifier. So we had a bit of vintage, current and custom all in the mix, but American hi-fi to the core.

The Klipsch Forte speakers have been around for decades, but the current model III has a number of updates that you can read about here (link) on the Klipsch website. Our review samples arrived in American Walnut (which is my personal favorite) but distressed oak, black ash and cherry are also available. Just like my LaScalas, built in May of 1976, each Klipsch Forte is hand assembled in Hope, Arkansas. All Fortes feature book matched veneers and upon completion, are signed off on by the person completing final testing, as they’ve always done.

Are you ready?

Queing up Kiss, Alive! only seemed appropriate. Thanks to a 99db/1watt sensitivity, this combination nearly blew the windows out and “Firehouse” never sounded better or, shall we say more alive? Staying with the live vibe, and moving from the Motor City to the City by the Bay, the legendary Friday Night in San Francisco, featuring Al DiMeola, John McLaughlin and Paco de Lucia is next. In addition to the frantic fretboard activity, you can almost feel the tension in the room between these three guitar greats as they streak through “Short Tales of the Dark Forest,” with the audience clapping, cheering and gasping in the background as the music swells and fades.

With so much discussion in audiophile circles about holographic imaging, pinpoint focus and the like, the fourth dimension is dynamics, or the lack therof. While the Forte IIIs don’t image like a pair of minimonitors, they paint a large, lifelike sonic picture that doesn’t subdue the wide dynamic swings you get when attending a live performance. Besides, when was the last time you went to a concert, rock or otherwise and heard “pinpoint imaging?” What the Forte’s do, incredibly well, is recreate a sense of size and spatial correctness that few speakers match.

Next on the list, Jeff Beck’s “Bigblock” from Live at Ronnie Scotts. This track opens with a low, growling bass line that fills the room, and throughout the album, it’s easy to hear the spatial cues that let you know you’re in a small club. As Jeff Beck’s signature Stratocaster screams in and out of the mix, the extra headroom that the Forte’s offer helps take things to 11. These speakers do an incredible job at keeping the presentation clean at moderate to high volume, yet even when played more softly adding the extra liveliness to keep the listener engaged.

Chilling it out

Thanks to a 99db/1watt sensitivity rating, you can use the Forte IIIs with small tube amplifiers and get great results. As good as the Fortes are at pinning your ears back, their wide dynamic range makes for an incredibly open presentation at low levels. Substituting the 20 watt per channel Nagra 300p amplifier drives these legendary speakers more than loud enough, but at low to medium levels provide a heavenly experience. If you want to keep it inexpensive, fun and tubes, think a restored Dynaco Stereo 70 like Klipsch shows on the website.

If you can imagine listening to Led Zeppelin at a modest volume level, the Fortes show off another side of their personality. The bass line in “No Quarter” is simply stunning, revealing perfect harmony between the rear-firing, 15” passive radiator and the front-firing 12” woofer. There is a low level clarity and linearity here that makes the Fortes just as much fun to listen to at a modest level as an Earth shattering one.

Reluctantly, a suite of female vocal tracks are investigated, because that’s part of the audiophile drill, but when your neighbor flips you the keys to his Hemi Charger, the minute you get out of his sight, you don’t head for Starbucks, you head for the nearest stoplight and do the biggest burnout you can muster. That’s how fun the Forte’s are. You could listen to Ella Fitzgerald, but you play Betty Davis. Which is exactly what I did, though Ella sounds lovely through the Fortes too. Listening to her snarl through “If I’m in Luck, I Might Get Picked Up,” illustrates the grit in this funk icon’s voice loud and clear.

Simple set up

As mentioned, with the high level of sensitivity the Fortes offer, pretty much any amplifier will get you started on your journey, but make no mistake, these speakers offer a high level of resolution to go with their wide dynamic range. The better your components, the more finesse they are capable of. Much like my vintage LaScalas, I’ve heard Klipsch pooh-poohed by the audiophile crowd, because they’ve only heard them driven by a mass market receiver at Best Buy. My Sonus faber speakers and Focal speakers sound lousy under the same conditions.

Even though the Fortes can pretty much be thrown in your room and sound ok, paying attention to getting the speaker to rear wall distance right plays huge dividends. First, what you probably perceived as boominess from this speaker when you heard a mediocre demo was the rear firing passive radiator fighting the woofer. Get the Fortes spread out in your listening room where the stereo image is how you like it, then move them back and forth in relation to the rear wall, first in 6-12 inch increments. Pay careful attention to the upper bass response and the blend with deep bass.

When you nail it, the Fortes disappear in the room, and not only will you get much smoother bass, the stereo image opens up tremendously. Then fine-tune the toe-in the same way. When you’re right there, the sound just washes over you without sounding harsh. A little too much and the Fortes will squawk at you, not enough and they sound lifeless and diffuse. Then crank it up and enjoy.

The best party guest

For $3,500 a pair, the Klipsch Forte IIIs are tough to beat. They exude old-school style, combining it with present day passion and quality control, resulting in a speaker that’s easy to live with, and works well with nearly any amplification you can pair them up with. I bought the review pair. You need em too!

The Klipsch Forte III

MSRP: $3,500/pair

www.klipsch.com

Peripherals

Analog Source                        VPI Classic One/ET 2.5 arm

Digital Source                        PS Audio DirectStream DAC and Transport

Amplification                         Pass Labs INT-60

Speaker Cable                       Cardas Clear

A recent TONE Facebook post had a number of people pissing themselves in anger over a $5,300 Louis Vuitton record case that’s not even available anymore.

They all screamed “stupidity,” because after all, who would spend $5,300 on a box that holds only 50 records? (to be fair it does have an extra compartment for some CD’s and “accessories.”

Would I buy one? Probably not at $5,300, but I might for $2,000 – it is pretty cool. For those interested, LV will still make them through their custom shop, but that’s not the point.

There’s always been a disheartening angst for things outside of our budget. So many are so easy to dismiss things that don’t make sense financially to them. As Stewie Griffin on Family Guy is fond of saying, “whatever gets you through the night, bitch.” However, by this definition, more than half of the stuff in our world is stupid because it is non-essential. Everything that is above the baseline of what we need to get by is not required and therefore open to ridicule.

Geez. Those of us that enjoy hifi live in a world of non-essential stuff. Really? You’re going to sit there straight faced and tell me your non-essential stuff is more worthy than my non-essential stuff?

Let’s put this in context. Your neighbor buys a new Ducati Panigale-V4 Speciale, tipping the scales at pretty close to $40,000. You think he or she is a God. (And I must admit I’m pretty envious too…) Said neighbor is probably only going to put a few thousand miles a year on that beauty, so it might translate into about an average use of an hour a day, spread out over the course of a year.

Yet neighbor number two that just spent $40k on a hifi system that they will probably use 4-10 times that much, is an idiot. Even more, God forbid, they spent $40k on a pair of speakers or a turntable. And it’s not like that Ducati is going to get you to the emergency room.

Don’t get me wrong – I’m a gearhead to the core. I’ll be the first one across the fence slapping my neighbor on the back when they are out in the driveway admiring their latest acquisition. But this is how I see hifi – motorcycle money. There are plenty of people driving nice cars and nice motorcycles that aren’t terribly wealthy people – they’ve just decided to spend a (perhaps) disproportionate amount of their income on something that brings them joy for whatever reason.

So, if you’re wondering why hi end audio attracts neither new people nor women to the ranks, this is why. Who wants to be part of that? Think about it.  – Jeff Dorgay

Article and Photo by Michael Corsentino

Record cleaning never looked so damn sexy! Meet the Levin record cleaning brush and its matching case. Handcrafted in Germany using centuries-old brush making techniques, the Levin brushes are made with hand-pulled horse or Chinese goat’s hair, for bristles that remain in place and provide years of use. Models for both wet cleaning and dry dust removal are available in a variety of exotic wood finishes ranging from bog oak, root wood, Karelian Birch Maser, pear wood, walnut or POM. Bristles are also offered in both white or black. I chose the Karelian Birch dry cleaning brush for its visual appeal and white bristles to easily see when they require cleaning. The natural hair bristles are gentle on your records and can be easily washed using soap and a damp cloth as needed.

Not your average brush

Levin brushes range in price from $99 to $175, with cases starting at $79. That’s not cheap, and it took a minute for this vinyl enthusiast to wrap their head around the cost; even a sexy, best in class product like this. I confess I hate spending money on record sleeves, cleaning fluid, brushes, etc. I’d rather spend that money on more records. But these purchases fall squarely into the necessary evil category; I grin and bear it because I know how important it is to take great care of your records.

Once you hold the Levin brush in your hand, the quality and care in its construction is evident. Fit and finish are outstanding. The matching wood and metal case strikes the perfect balance between form and function, calling to mind the goodies you find at the MoMA Design Store. Objet d’art meets record cleaning brush, cool!

Levin claims the combination of natural goat or horse hair, with the wood and aluminum used for the brush’s handle interact with your hand to create an antistatic effect. I concur with the manufacturer, it does as claimed, reducing static as it picks up the day to day dust on records. Even if you are using an excellent record cleaning system, some dust still builds up and using the Levin brush will extend the time between full cleanings.

Every time you lower the inch long bristles onto your records, you are reminded of the quality – there’s nothing flimsy about these brushes. The Levin brush is near twice the size of other brushes I’ve used and easily outperforms the AudioQuest and Mapleshade brushes I’ve used in the past. The Levin is in a league of its own.

The perfect addition to your daily ritual

My record cleaning brush is the one tool I use every day interacting with my record collection and is an essential part of my record care toolkit. It touches every single side of every record that I play. That’s a ton of use. In that light, the value of a great record cleaning brush takes on a new significance. Based on build quality, and the ease of cleaning the Levin brush, it’s a long-term investment that will easily deliver ten years of use, maybe more. The ultimate litmus test for any product, especially one replacing an existing solution, is “does it do a better job than the product it’s replacing?” In the case of the Levin record cleaning brush, the answer is a definitive yes.

There are a few minor quibbles regarding the brush’s case I’d be remiss if I didn’t share. I love being able to store the brush in a dust free environment when not in use, an amenity missing with my other brushes. However, the way case opens makes me a little nervous. The cover, partially clad in aluminum with sharp edges, nests into the base of the case, making operation a bit clumsy; it could easily slip out of your hand and scratch your record or rack.

Rather than being free floating I’d love to see the case’s cover hinged at the corner so that it opened like a straight razor, so open it carefully and away from anything prone to scratching. If you have even slightly oily skin, the finish on the aluminum case cover is a fingerprint magnet, so if you are on the OCD side, be prepared to keep the case clean as well. With cases costing anywhere from $79 to $145 the little things matter.

While not as sexy or “must have” as the record cleaning brush Levin’s offers a companion stylus cleaning brush and matching case which are sure to appeal to completists like me who enjoy owning the entire kit. I ended up buying both – of course!

At the end of the day

The Levin record cleaning brush may not be everyone’s cup of tea due to its cost, but keep in mind that the brush and its companion case may be purchased separately as budget permits. However, if you value the best tools touching your precious records, and you love beautiful objects as much as I do, you’ll be hard-pressed to find a better looking or performing record cleaning brush to add to your record cleaning tool kit.

Pricing: Wet & dry brushes $99+, case $79+, stylus brush w/matching case included $79+

www.audioskies.com

Listening to the intricate harmonies in Crowded House’s “You Better Be Home Soon,” European Audio Team’s E-Glo S (named for its glowing vacuum tubes jutting out of the casework) offers up a sound that is mellow, defined, and dynamic.

You rarely get that out of five-figure phonostages, much less one for $2,995. With phono preamplifier prices reaching the stratosphere, what is the performance minded analog lover to do? European Audio Team’s Glow S, is incredible and we’ll do our best to tell you why in the next thousand words. But it certainly makes an outstanding first impression.

EAT principle Jozefina Lichtenegger is the driving force behind the company. All of her company’s products from their turntables, to the E-Glo S pictured here, to the packaging for their premium line of vacuum tubes project elegance backed up by performance. We’ve had excellent luck with their tubes as well as the turntables we’ve lived with in the past. The E-Glo S is not only a perfect match to her tables, it will look great wherever it is placed. We love manufacturers that can wrap style into the package, and even more so at such a reasonable price.

A single 18-volt wall wart takes care of keeping the low-level circuitry away from the power supply, further helping to keep noise at bay. The rear panel only offers a single set of RCA jacks for input and output – a model of simplicity.

Accommodating Indeed

Some phonostages require removing the top panel, or taking the unit out of the rack to get to the underside, the E-Glo S lets you adjust MC gain, (45, 50, 55, 65 and 70 db) loading (10, 30, 50, 90, 100, 1000 and 47 Kohms) and capacitance (50, 150, 270, 370, 520, 620 and 740pf) easily from the three switches on the top panel, with LED indicators on the front panel to keep track of your progress. If you are a monogamist when it comes to phono cartridges, just living with the same one until the end of its lifespan, none of this matters. However if you have multiple tables, tonearms, or armwands with different cartridges – lack of access to the gain, loading, and capacitance settings can become tedious.

Using the E-Glo S with a VPI Classic Two and multiple tonearm wand/cartridge combinations is a breeze. Swapping from MM to MC and the required adjustments from Grado Signature 1 to Denon 103r and back, effortless. Even if you don’t use multiple cartridges, the ability to fine tune your cartridge with minimal effort goes a long way to make the analog experience convenient.

The additional fourth switch is for a subsonic filter. We found this handy when using the E-Glo-S in the main system, equipped with a pair of REL 212SE subwoofers and listening to our favorite hip-hop and EDM tracks. It has a very gentle rolloff and no effect on low bass performance that we could tell. It might be pretty handy if you have wobbly floors too.

Running the gamut

While there are a number of intriguing phonostages in the $1,000 range, stepping up to the five figure models reveals a level of tonal sophistication that the lesser models do not. Of course, you need a system capable of resolving the detail, and for many analog enthusiasts, this is overkill. Comparing the E-Glo S to a number of top range phonostages we have on hand from Simaudio, Audio Research, Conrad-Johnson and Pass, the EAT is an excellent balance.

The E-Glo Sis like one of my favorite cars, the BMW M2. It doesn’t offer the ultimate level of performance of an M4 or a Porsche 911, but at real world driving levels, the experience is unmatched. Ditto for the E-Glo S. If you’ve got a mega system, with a top line turntable and you’re running a Goldfinger, Atlas or similar cartridge, you will need more performance than the E-Glo S has to give. (Though even in that context, you will be impressed at just how good it is). VANA’s Nancy Weiner suggests we take the larger E-Glo ($6,995) for a spin, so watch for a future review on this.

Acoustic instruments and complex musical selections really come to life via the E-Glo S. The speed of fast plucked acoustic guitars, or a gently bowed violin has the necessary delicacy to immerse you in sound. Yet there is also enough resolution to discern the difference between a Marshall stack and a stacked pair of Fender cabinets.

The low noise floor makes for great dynamics. Drums sound particularly lifelike, both on attack and decay, whether listening to the tubby drum solo of “In-na-gadda-da-vida” or the intricate work of Neil Peart. And it’s tough to beat tubey goodness for small ensemble and vocal pieces; the amount of texture and breath that the E-Glo S contributes is impeccable.

If you’re working within the context of a well-crafted system, and looking to put together a great analog front end in the $6k-$12k range, that includes the table, cartridge and phonostage of your choice – you will be hard pressed to find anything more revealing than the E-Glo S. The only qualifiers here are a single input, will RCA inputs and outputs work in the context of your system, and do you prefer tubes over transistors.

Speaking of tubes

JFets in the first gain stage keeps the noise lower than can be achieved in an all tube design. Even when placing my ear right up to the horns in the Pure Audio Project TRIO15s used for most of the listening in this review, the tiny bit of noise coming through is almost non-existent. Part of this can be attributed to the high level of quality present in the premium EAT tubes that are supplied with the E-Glo S.

The two supplied ECC83 tubes are a 12AX7 equivalent, and because the supplied EAT tubes are so good, I doubt you will even want to bother tube rolling – another bonus. While many manufacturers are using $10 tubes in their wares, these are premium tubes – a $400 upgrade on their own. Taking this into consideration, the E-Glo S is an even bigger bargain. For those of you that aren’t familiar EAT makes their own vacuum tubes, and you can watch a short video on their home page. Good stuff.

Swapping to run of the mill tubes, takes the noise up and the musicality down, so stick with the EAT tubes when the day to re-tube is finally upon you. For those of you with a secret stash of Telefunkens and Bugle Boys, there may be a few extra molecules of performance to be had, but you know what that costs!

A True analog champion

Running the E-Glo S through its paces with about a dozen different phono cartridges and hundreds of varied musical selections, it confirms its excellent first impression. This is a fantastic phonostage that is without compromise at its price. It’s easy to award this beauty one of our Exceptional Value Awards for 2018.

The EAT E-Glo S Phonostage

MSRP:  $2,995

www.vanaltd.com (NA Distributor)

www.europeanaudioteam.com (Manufacturer)

French speaker manufacturer Triangle has just announced the release of the latest reference of the Esprit range – The Australe EZ.

We’ve been very impressed with what we’ve heard from the Triangle speakers we’ve reviewed so far, but the new Australe EZ promises even more, utilizing their DPS (Dynamic Pulse System) technology, previously only in their flagship Magellan range of speakers. It utilizes a second tweeter at the rear of the speaker, helping to add more depth and spatial information. As a further benefit, the sweet spot from the listening position is wider, thanks to the additional dispersion.

The Australe EZ also takes advantage of new woofer technology, centered around a new composite cone material made of wood pulp and carbon fiber. The resulting woofer cone is more rigid and lower in mass, guaranteeing fast and powerful bass response.

Every other aspect of the speaker has been reworked too, from the cabinet to the crossover network. Even the glass pedestal now has a perforated rubber plate bonded to it to eliminate vibration.

Visit your Triangle dealer to see, better yet, give a listen to their newest creation. We anticipate a pair for review soon.

www.triangle-fr.com

McIntosh just announced the release of their new MCT500 SACD/CD transport.

This is great news for those of you still committed to the shiny disc. With the ability to play SACD and CD discs, the MCT500 offers TOSLINK, RCA/SPDIF and AES/EBU digital outputs.

Owners of select McIntosh products with their proprietary MCT input will be able to take advantage of the full SACD bitstream as well, via the MCT output on the 500’s back panel.

Of course, the MCT500 shares the aesthetic of previous MAC components, so it will look right at home amongst a rack full of blue and green. $4,500 at your McIntosh dealer now.

www.mcintoshlabs.com

It’s an interesting journey to experience a manufacturer’s product in a gradual fashion. Beginning with Gold Note’s excellent Vasari MM cartridge, comparing to their Donatello and then Machiavelli cartridges, and finally the PH-10 phonostage, a solitary voice comes through.

There’s a relaxed, yet highly involving nature to the sound of their products, much like comparing the ride of the new Alfa Romeo Giulia to a BMW M4. Both cars are equally quick, yet the Alfa feels more elegant, more tactile. There is a certain charm the Italian car possesses that the German car never will. (And I say this as a very happy BMW owner.)

The same can be said for their top of the range Mediterraneo turntable. While it can be yours for $5,973 with a black or white base, I highly suggest going for the $1,000 upcharge to get the gorgeous Tuscan walnut base featured in our review sample. Starting as a 60mm block, that has been aged for 8 years and stabilized in a thermal control autoclave at exactly 7% humidity to achieve structural stability, it is carved into the curvy shape you see here. Not having the standard, polymer based table here for comparison, I can’t honestly tell you the wood sounds better or worse. But it is so gorgeous, I can’t imagine the Mediterraneo without it, any more than I can imagine a BMW M4 without the carbon fiber roof.

Immediately engaging

Miles Davis’ Bitches Brew is first on the list. Digging into the anniversary pressing, the Gold Note table paints a lush picture immediately. Taking advantage of the synergy with it and the Machiavelli cartridge, first through the Gold Note PH-10 phono, and then through my reference Pass XS Phono, the character does not change, it merely gets bigger, deeper and more involving. The sonic character reminds me of a perfect mix of the Rega P9 (speed), the AVID Volvere SP, (inner detail and LF slam) and my mid-80s Linn LP-12 (all kinds of mellow) in one package.

Many talk about the “analog magic,” that only vinyl can provide. Again, it reminds me of the difference between everyone else’s solid red and the red that bathes an Alfa, Ferrari, or Ducati. that’s a red you can lose yourself in, it’s so deep. This is the presentation of the Mediterraneo, and with some cartridges, it may be too much – unless that happens to be your “just right.” I prefer just a touch of warmth, so that dynamics and resolution don’t get lost in the mix. Swapping the Machiavelli cartridge for the Grado Statement 2 was a little too much for my tastes, a little bit too lush. Yet the Gold Note cartridges, the Ortofon Cadenza Black and Bronze cartridges and the Hana SL all proved a lovely balance.  Of course the rest of your system will determine your mix.

Regardless of musical choice, the Mediterraneo delivers a big presentation. Playing the remaster of XTC’s classic, Skylarking is enlightening. The bongos in “The Man Who Sailed Around His Soul” are anchored off to one side of the soundstage, as do the fingers snapping in the other channel, as the rest of the instruments fold into the mix, with the bass line well defined. This table is a master of keeping the musical pace intact. Again, the more densely packed the music selected, the more you are seduced by this turntable. It has zero fatigue factor.

This solid musical foundation makes the Mediterraneo a hit with any genre of music. We played more than our share of heavy rock and electronic selections along with the usual audiophile suspects. Of course, your favorite, flawless records will shine, but the Gold Note table digs deep into the grooves and is highly resolving as well. Even those average pressings in your collection will shine, so this isn’t a finicky “audiophile table” only suited to your 20 best pressings. A well-worn copy of Black Sabbath’s Paranoid carried the day, delivering blistering lead guitar lines, and crushing bass to boot.

Charm that doesn’t fade

While first impressions can be great, they sometimes fade after a while, and not every turntable (or romantic interest) remains a great party guest. We’ve had the Mediterraneo here for nearly six months and have played every kind of music imaginable through it, with nearly a dozen different combinations of phono stage and cartridge. It remains a favorite. This is a table that you can listen to from morning until night and not get tired of it.

The exquisitely machined tonearm with integral head shell is so easy to use and delicate yet firm in action, it’s a joy to use. Again, this is an area where some tables’ fall down. They are either too complex to use, or not terribly well implemented in their design, and their initial bloom fades. This table is a fantastic combination of art, design and science. The only complaint we are unanimous in, is the dust cover. While functional, it does not live up to the aesthetic of the table. This should be upgraded to a molded, single piece cover, as the current one looks as if it can be easily damaged. Consider this a minor blemish, as most people I know rarely use the dust cover on their tables, however if you happen to be someone that spends a lot of time with the dust cover in play, it may aggravate you. But hey, the convertible top on my Alfa Spider always leaked a little bit, and that never dulled my enthusiasm.

Easy to roll

Unlike my LP-12, the Mediterraneo is easy to set up, and better yet, it stays set up. A cursory check for speed accuracy reveals the Gold Note table to be spot on. If measurements aren’t enough, play your favorite violin piece; you can hear the steadiness instantly. It’s belt drive design is simple, elegant, and gets the job done. But don’t let the old school look fool you. There’s a 3mm stainless steel plate sandwiched between the 60mm wood base and the acrylic top to keep resonance to a minimum. Combined with a 45mm Sustarin platter (a highly stable co-polymer material) the bearing and spindle assembly are also made to the strictest tolerances. The end result is a dead quiet table, contributing to it’s incredible detail retrieval. Discs featuring heavily layered tracks keep the mix clear and clean. Whether you’re listening to the multiple overdubs in the first Boston record from the 70s or Gaga’s latest, you’ll be surprised at how many details you might have been missing before.

It’s worth noting that Gold Note offers an excellent instruction manual, something not all turntables offer. And the table comes well packed. Once removed, the Mediterraneo should take you about 10 minutes to assemble; install the platter on the spindle assembly, string the belt and then fine tune the tonearm for your cartridge. Tracking force is straightforward, and anti-skate is adjusted with a small weight on a string. This table is easy to work with, falling into place quickly. Even analog newcomers should have no problem setting it up quickly and easily.

Simple, beautiful, effective

Because Gold Note has been making gear for so many years, they bring considerable manufacturing expertise, offering products that show considerable refinement. While we’ve been impressed by everything they’ve sent us, the Mediterraneo is truly something special. If you want a turntable that does more than just play records, that is truly a work of analog art, this is the one for you. It deserves to be put on a pedestal and enjoyed while listening.

The Gold Note Mediterraneo Turntable

$5,973 ($6,973 with wood base)

www.goldnote.it

Peripherals

Cartridge Gold Note Donatello & Machiavelli, Ortofon Cadenza Black & Bronze

Phonostage Gold Note PH-10, Pass Labs XS Pre, Conrad-Johnson TEA-1s2

Preamplifier Pass XS Pre

Power Amplifier Pass XS 300 monoblocks

Speakers Focal Sopra no.3 with (2) REL 212SE subwoofers

Cable Cardas Clear, Tellurium Q Black Diamond

Racks Grand Prix Audio Monaco

I’ve never been to Portugal, and I had no idea they made amplifiers there. Our first experience with Audolici was earlier in the year with their AVP-01 phonostage, which proved lovely.

Staffer Rob Johnson spent a fair amount of time with the amplifier you see here, and his GamuT RS3s with only so-so results. I had a similar result with my Quad 2815s; ok but not enthralling the way you expect a tube amplifier to be. Oddly enough, the I50 is a dream combination with original Quad 57s. In the middle of all this, the new Martin Logan ESL9s arrived, as well as the Raidho X-1s. In addition to the Graham LS3/5s and the new Focal Kanta speakers already on hand, these four speakers are a major home run with the I50. To be fair to Audolici, (as it is with most tube amplifiers), the secret is in the synergy. Some speakers just don’t pair up as well as you’d like.

But when it’s right it’s really, really, right. Pairing the I50 with the MLs and the Raidho’s redefines the audiophile cliché “holographic.” Compared to my usual tube go to’s, the I50, with a quartet of KT120 power tubes create a multi-dimensional sound field, awash in size and nuance. This is the “tube sound” at its best. Now that the ECM catalog is available on TIDAL, tracking all the way through Keith Jarrett’s Sun Bear Concerts is a complete joy with the I50. It was amazing how fast six hours went by, sitting on the couch, editing photos. The ease by which this amplifier renders music is addicting.

The magic is in the details

Listening to a group of demo standards, the low-level detail revealed through the ESL9s is simply staggering. The sax in Soft Machine’s “Blind Badger” blares way out in front of the speakers with the drums flailing in the background and a rock-solid bass line. This amplifier does a fantastic job at keeping the musical pace intact; offering wide dynamic swings at the same time.

This refinement isn’t inexpensive. The I50 Swing will set you back $8,750, yet after extensive listening with a number of different speakers, it gets my nod of approval. There are a few other great tube amps for less money, but they lack the level of resolution that the Swing offers. Going back and forth repeatedly between my reference PrimaLuna DiaLogue HP Integrated, the Audio Research VSi75 and a Conrad Johnson Classic 62 paired with an updated PV-12, the CJ pair came the closest to the I50, but will set you back more dough and require more rack space. The PrimaLuna is the value/performance king, with more versatility, tube options and more raw power (93 watts per channel with a set of KT-150s), where the ARC and CJ offer different voices, different variations on the theme. It’s like trying to decide whether you want to buy an Audi, BMW, Mercedes, or Lexus. All good choices, but all unique in their own way.

Regardless of program material, the I50 keeps drawing me in with detail and resolution. Where some tube amplifiers win you over with a bit of euphony, making everything sound “pretty good,” the I50 treads into a territory that I feel is occupied by the worlds finest components in the sense that it offers high resolution without sounding harsh – that’s a narrow beam to traverse.

Further Listening

Corny as this might sound, what the I50 does best is its ability to extract more detail from a familiar recording than you are used to, enough to get you to that magical, a-ha place. It does it in a subtle way, allowing more of your favorite records that you thought didn’t sound great, actually do. The little things that add up, like the way the castanets in The Acid House King’s Music Sounds Better With You have their own space instead of being buried in the mix. My favorite Monkees tracks sound way better, and Skinny Puppy really rules through this amp. The list goes on and on – the I50 is one of those unicorn products that keeps you up way after hours, listening to one more track, then another, then another. Is there a measurement for that? I don’t think so. The more time you spend with the i50, the more you will appreciate its virtues.

In addition to a lovely midrange, incredible imaging, and outstanding detail, the bass extension and control that the I50 offers is spectacular. Tube amplifier aficionados know this is not an easy task for these amplifiers, and if there is a place where tube amplifiers fall flat it’s in the lowest register of the musical spectrum. Much fun as I was having revisiting my favorite Soft Machine tracks, the kettledrum in Aimee Mann’s “You’re a Mean One, Mr. Grinch” has spectacular punch and control as well.

There are two other versions of the I50, the Jazz, producing 40wpc with EL34 tubes or KT88 tubes, and the Blues producing 25 watts per channel with 6L6 tubes. I’ll stick my neck out and guess that these amplifiers are similar in result, yet produce more of a sonic signature in keeping with the respective output tubes. Unfortunately, the Swing does not have the option to swap output tubes. This is one area that I prefer the PrimaLuna. If you want to custom tune your amplifier’s personality, keep this in mind. However, if you are more monogamous in your sonic tastes, and don’t feel an incessant need to switch, hanging your hat on one of the i50 models will be just fine.

By the book

Keeping the design simple, the i50 uses solid-state components in the power supply, a pair of Russian driver tubes and two KT120s per channel. Driven in this configuration, tube life should be long, and not pushing the power tubes to the max, adds to the grain free sound. The i50 also uses an auto-bias configuration, so you will not have to worry about that aspect of vacuum tube operation either.

Front and back panels keep it clean and simple. Up front, there is a power switch, volume control and a push button that selects one of the two available inputs. Around back, we have a pair of single ended, RCA high level inputs, IEC power receptacle and a pair of those annoying plastic covered binding posts (for our safety, of course) that so many manufacturers have had to adopt for certification purposes. If you have speaker cables with large lugs, I suggest re-terminating to bananas – this will make your life a lot easier.

While our review sample was bathed in a nice tomato red color, those not that aesthetically adventuresome can also get their i50 in standard audiophile black and white. I say bravo for offering the more stylish choice. No remote here, so you’ll have to get up and add a few steps to your daily routine controlling volume. (Or if you’re a Roon user, you can just cheat and control the volume from your iPad.)

The Audolici i50 is an excellent amplifier and we’ve enjoyed the time spent auditioning it. While at the higher end of the price spectrum for a 50-wpc tube amplifier, it offers style and sonic refinement in keeping with the price asked.

www.soundconsultant.com
(US Distributor)

www.audolici.com
(Factory)

Starting from humble roots as a watchmaker in 2012, Detroit’s Shinola has come a long way in five years, consistently expanding its product lines in new and different ways, emerging as a major lifestyle brand.

Today, the company produces clothing, bicycles, bags, and more, including audio gear. As with its other products Shinola taps industry experts to help with their designs and production. The Shinola Runwell turntable we reviewed a few months back was designed and delivered in partnership with VPI Industries. The company adds another quality product to their roster with their new active bookshelf speakers.

Unpacking

Shinola ships the speakers nestled inside some of the most attractive packaging one will encounter. A suitcase-sized black cardboard box with embedded plastic handles on the sides makes for easy lifting. Lifting the lid, the first thing a new owner sees is the massive quick start setup poster with concise illustrations. Beneath it a considerable cushion of foam shields the pair of speakers individually wrapped in fabric bags. The few accessories hide neatly in another small cardboard box.

With unpacking complete, expect to admire what you have uncovered. While the speakers are nondescript and traditional in their boxy physical shape, the sides offer an attractive oak composite finish. A black finish is also an option. On the speaker front, the non-removable black grille covering the drivers sports a tiny, subtle gold-colored lightning bolt, Shinola’s logo. There no bombastic branding demanding the owner’s attention and interrupting the clean facade.

Under the hood

In this active speaker design approach, the two speakers are inherently different. One speaker contains the amp and requires the power cord. Inside that enclosure resides an efficient 60-watt Class D amplifier, paired carefully to get the most from Shinola’s drivers. The other speaker is purely passive, connected by a supplied length of speaker cable, making it easy to place.

A toggle on the powered twin offers the choice of designating it as either the left or right channel helping its owner to place it nearest to a power outlet. The brainier, amplified speaker also houses a pair of RCA inputs, an 1/8 inch mini-jack, and a volume knob. A few inches away, a rocker switch brings the speakers to life. Once powered up, the volume knob pulls double-duty as a standby switch when the speakers are not in use. By twisting the dial past the lowest volume setting, a tangible click activates a “standby” mode in which the amplifier sips minimal electrical current to remain warmed up for the next listening session.

With modest dimensions, these speakers house a custom-made 5.25-inch woofer with 20-ounce magnet nestled within an aluminum basket. A 1.5-inch cloth dome tweeter handles the high frequencies. Together, these drivers reside in a 12”x 8”x 9” cabinet. The amplified speaker tips the scale at 13.5 pounds, while the passive side weighs two pounds less. Given the small size, stands or a shelf are mandatory to elevate the speakers to ear-level for optimum sound. A rectangular port on the rear of the speaker body helps achieve robust bass response and serves as an unofficial handle to help carry each speaker to wherever you decide to place them.

Setup

Once on stands, installation takes minimal effort. Five-way binding posts facilitate connection of the single speaker wire between the twins regardless of cable termination type. After connecting the amplified speaker to the wall with a power cord, all one needs to do is connect the sources of their choosing. It would be ideal if Shinola included a second pair of RCA jacks for those with multiple sources. If a Runwell turntable occupies the single set, a listener must either use the mini-jack input for an alternate music source or be prepared to swap cables physically between them. Potential owners should also note there is no remote control for volume adjustment. Those who prefer to surf their digital music collection without using a “volume-leveling” setting, should expect much walking for adjustments as various recordings come up to bat. Perhaps it is time to give in and reconsider the relaxation power which digital volume leveling can offer.

Shinola includes an instruction manual offering helpful speaker placement tips. They suggest staging the speakers seven feet apart, two feet away from the back wall, two feet from the side walls, and nine feet away from the listening seat. First, owners should try listening with the speakers facing directly forward. After that, experiment with about 15 degrees of toe-in toward the listening seat. Shinola suggests the latter angle can improve stereo imaging, but of course, everyone’s mileage will vary. Each room has its sonic challenges, so consider their recommendations a good starting point in your effort to achieve ideal placement in your listening area. Keep experimenting!

Listening

After a few days of break-in and identifying ideal placement options, the Shinola speakers sing. They manage with aplomb the tenuous balance between detail-centric retrieval and a slight warmth of character, making long listening sessions pleasurable. Even on older or less-refined recordings, the speakers do a great job of transforming the music into a beguiling experience. Be careful, because you may find many enjoyable hours evaporating from your schedule once you get locked into the listening chair.

From an imaging standpoint, time spent on proper speaker placement rewards the listener with musical elements extending beyond the speaker bodies in all directions. Many speakers can project to the far right and left edges of the room, but fewer demonstrate skill to cast a perceived image in front of, and well behind, the speakers. The Shinolas do have that capacity, defying the physical plane of the speaker drivers. On live recordings like Dave Matthews’ Live at Luther College, audience applause sits well behind the speakers at the back wall, while his vocals take an extra step toward the listening seat. The Shinolas give well-recorded music a three-dimensional quality, rather than collapsing it into a much-less-inspiring two-dimensional experience. Those who crave every possible sonic detail emitting from a guitarist’s fingers sliding across a fret or the subtleties of each vocalist’s inhale, should not expect the Shinolas to mine that deeply – these speakers paint the sonic image with a slightly broader stroke.

This speaker’s overall voice is one of neutrality, never accentuating any particular part of the musical spectrum. The natural rendition these speakers offer make for long, fatigue-free listening sessions.

Shinola’s specifications suggest the speakers reproduce frequencies from 40Hz to 22kHz, with robust and tuneful bass response for an enclosure their size. Vocals prove another Shinola strength. Even with sopranos, the speakers perpetrate no edge, sibilance or stridency when paired with quality components upstream. Listening to well-recorded albums like Ben Harper and the Innocent Criminals’ Burn to Shine tracks like “The Woman In You,” reveal the nuanced uniqueness of Harper’s voice.

For a speaker of this size and price range, the Shinolas demonstrate themselves as quite adept. The last bit of resolution they lack, will cost a lot more to achieve, and what they serve up is done very well.

Conclusions

With so many high-quality products in their lineup, Shinola evades any attempt at being labeled a one-trick pony.  Establishing their audio prowess among a crowded and established market of component manufacturers is no easy task, yet they are excelling. Their watches and turntable have been put through their paces with long-term use by the TONEAudio team, and prove themselves as unique and high-quality offerings. Similarly, the Shinola active bookshelf speakers are well-built, musical performers. It remains apparent the team in Detroit took great care with the release of their first speaker offering as they have done with everything else they touch.

Shinola’s speakers face a competitive “sandwich” at their $1,500 retail price. For a lesser investment, active speakers from companies like Kanto and Vanatoo offer very good sound at their price points in the sub-$500 range and exceed the Shinola’s feature set. Vanatoo T1s include a built-in DAC, USB input, a subwoofer output, and the option of Bluetooth connectivity. The Kanto YU6 speakers facilitate a Bluetooth connection too and come standard with a remote control. If one can stretch their audio budget to $2,000, Dynaudio XEO4 or KEF LS50 active speakers offer an excellent combination of features, pedigree, and performance for the money.

However, like the rest of the Shinola line, their speakers exude much more of an almost bespoke style that their competitors lack. You either dig this, get it, and want it, or you don’t. That will be the deciding factor as to whether you pull the trigger.

That said, Shinola’s speakers do offer great sound, practical features, and they fill a need for dedicated enthusiasts seeking an aesthetically and sonically capable partner designed from the ground up to match Shinola’s fantastic Runwell turntable. You do not need a turntable to get a lot from these speakers, however. They are easy on the ears, and not too hard on the wallet. Plus, they are backed by a three-year warranty. If the Shinola’s feature set, build quality, and sonics appeal to you, be sure to check them out. Shinola has released another winner.

Shinola Active Bookshelf Speakers

$1,500

www.shinola.com

Let’s cut to the chase, our first experience with RHA is fantastic. Their $39.95/pair S500 in-ears are incredible for less than a pair of Apple ear buds. You need to go no further to start to get the audiophile bug.

The construction quality alone will floor you for just under 40 bucks. And, the S500s offer a mic for those of you using a smartphone so equipped. As we tend to be more music listeners than multi-taskers, we’ll be concentrating on the music experience in this review. Popping the S500s out of the box is a first-rate affair – again, the level of quality in the packaging at this point shows tremendous attention to detail. Impressive.

Starting the listening with an iPad and streaming selections from TIDAL, the first impression is a good one, playing Rick Springfield’s angst-filled Songs For The End of The World. Springfields’ vocals go from trippy to overprocessed, and the S500s do a great job chronicling the changes in mood.

The other half of the first impression is a high-frequency response that is much better behaved than you’d expect in a $40 set of IEMs – better than you’d expect from a $100 pair. Thank the scads of r&d that goes on at RHA. Even at this price point, the 140.1 driver used is a custom unit, not merely something off the shelf that was appropriated to hit a price point. Combine that with the machined aluminum body, and the S500 exudes class all the way.

Skating through a wide range of rock and jazz tracks, nothing throws the S500s a curve. They play loud and clean enough that you should be careful. You’ll be able to crank the S500s up high without distortion so that you can do some damage. Public service announcement taken care of, a bit of AC/DC’s Dirty Deeds Done Dirt Cheap proves entertaining. The S500 keeps the Young brother’s lead and rhythm lines well sorted, instead of just blurring together like one fat guitar (as every inexpensive phone we’ve ever heard does).

The refinement again comes through listening to Neil Young’s Live at Massey Hall. Revisiting his younger self, singing classic tracks like “A Man Needs A Maid,” and “Heart of Gold,” the S500s deliver a smooth, undistorted clarity, making these time-worn tracks fresh again.

Heading Upscale

To this point, an iPhone 7 and iPad have been used for playback, with excellent result. The S500s work well with off the shelf hardware, yet even these modestly priced phones respond well to moving to an outboard headphone amplifier. Road warriors that take portable headphone amp/DACs with them will not be disappointed. Used with iFi’s new i-Micro Can SE, the S500s take a serious step up in fidelity, revealing enough music, to make them worthy of using in this matter.

Just for giggles, we plug the S500s into the $9,500 Octave V16 that is our reference headphone (when not using the Sonoma Model One) amplifier; they produce even more music. Though you probably aren’t going to go for this pairing, it does show off the ultimate ability of these modestly priced phones. With a pair of last generation Apple Ear Buds, they start out flat and stay flat, no matter what you feed them.

Final Points

The S500s do an excellent job keeping ambient sound out of the listening experience. Though not active noise canceling phones, they performed well on a couple of short plane trips, filtering the screaming baby in 22A out of my mobile listening session.

The RHA 500s are top shelf in every way. Sound and build quality is phenomenal, well beyond the price asked. For $40, you should buy five pairs and hand em out to your non-audiophile friends – if this doesn’t get them hooked on stepping their audio game up, nothing will. And if you live in an affluent neighborhood, buy 50 pairs and hand them out next year for trick or treat!

The RHA S500

MSRP: $39.95

www.rha-audio.com

It’s tough deciding what to name something. Taking the short cut and choosing a mere number is still daunting as one culture may see a number as auspicious, while another sees it as perilous.

Nothing less can be said for the name “Kanta.” In Croatian, Kanta means bucket, while in Sanskrit, it means desired, or beautiful. I’m guessing the latter is more what the Focal product development team had in mind.

The Kantas certainly sound beautiful listening to Adrian Belew’s Inner Revolution, with his signature elephant-like guitar wailing all around the room. If you happen to be a Focal fan, and have been following their progress with beryllium tweeters, every generation is better than the last. Just as Focal did with the Sopra tweeter, the new IAL 3 tweeter in the Kanta not only resolves more fine detail, it’s a touch warmer than the Sopra tweeter. This is neither good nor bad, but it is a different presentation. Do you usually order your car with the sport suspension upgrade? You might prefer Sopra. Do you like a slightly softer ride? You might prefer Kanta. Keep in mind, this is not a huge difference we are talking about here and there’s no wrong choice.

Another part of the Kanta sound is the Flax Sandwich Cone material used in the other drivers. Again, this offers a slightly different tonal rendition than Sopra or Utopia. You can read the details here.

A quick look around the speaker cabinet reveals the same level of quality construction and finish present on the $220,000/pair Grande Utopia EM. The smooth paint finish is like liquid glass, and the perfection of all joints, combined with beautiful machining on the bases and feet makes for a premium product. This is a speaker you will really enjoy living with and looking at, as much as listening to. Thank the team of experienced craftspeople at Focal for this – a visit to their factory reveals only the right people, tools and process for the task. Things that can be done better with a CNC machine or a computer are produced that way. When something requires hand finishing, it is done that way.

At this year’s Rocky Mountain Audio Fest, during the introduction of Focal’s latest masterpiece, there were smiles all around, but I had the biggest smile, knowing a pair of Kantas would be waiting for me when I got home. The other surprise was the cool blue color of my review samples, reminding me (fondly) of the pale blue on a family friend’s Renault Dauphine. So much for the yellow they promised me. Of course, white, black and wood finishes are also available for those less adventurous in their interior taste. Personally, I think it’s very cool that Focal is offering some more fashion forward choices, says the man with orange Sopras.

Childhood memories aside, the Kantas are not vintage in any way. They incorporate all the latest technolological advances from Focal’s engineers. From the new polymer material used in the cabinet, to the new driver designs (more on that here at the Focal website) to the front port, making them even easier to set up than my reference Focal Sopra no.3 speakers. Where the Sopra is particular about getting the rake and toe-in just right for the best performance, Kanta is slightly more forgiving. The Kanta is also more listener friendly right out of the box. The Sopras needed about 50-100 hours to level out, the Kantas were rocking from the first hour.

Speaking of set up

Tipping the scale at just under 80 pounds each, the Kantas are extremely manageable. Only 44 inches tall and slightly more than 12 inches wide, they will be at home in all but the tiniest of rooms. Like any speaker, a little extra room to breathe is always a good thing, but the Kantas deliver excellent results in even our smallest listening room, measuring only 11 x 13 feet. Thanks to one of the two ports being front firing, this speaker is easy to place for optimum coupling to the room.

Quickly optimizing for even bass response, fine tuning the rake for your listening position is a breeze, thanks to the finely threaded feet. This allows you to go slowly and catch the perfect spot where the Kantas disappear in the room like a pair of panel speakers. Incredible. As I’ve mentioned before, fine tuning your speakers to the last degree is much like when you achieve the perfect VTA setting on your turntable, there’s a pocket where the music just flows and loses that sense of being transmitted by a mechanical device. You should be able to take your Kantas from great to transcendental in about an hour or two – less if you have a patient friend.

Comfortable with any musical choice

Tracking through Throbbing Gristle’s 20 Jazz Funk Greats, and Autechre’s Anti, the sheer level of low frequency grip these speakers offer is evident. If you listen to a steady diet of this type of music, you may want a larger amplifier with more current reserves to dig down as far as the Kantas can go. Should your taste be more to the middle of the spectrum, anything else will do.

The sparse arrangements in Belle and Sebastian’s “The Everlasting Muse” shows the other side of the Kanta’s character, locking down the pace of this track, easily rendering the delicate vocals, yet swelling up towards the end of the track, easily negotiating the volume and density as it increases.

In perspective, if you consider the rendition of the Sopra as natural/neutral, the Kanta is one or two slight clicks to the warmer/laid back side, almost akin to putting a pair of great NOS 12AX7s in your preamplifier instead of the stock ones, or switching from a Lyra cartridge to a Koetsu.

Focal has always had an excellent reputation for precise imaging, thanks to their beryllium tweeters and this is another exceptional aspect of their performance. Whether listening to an orchestra, a jazz quartet or a well-crafted studio performance, the Kantas produce a large and precise stereo image in all three dimensions. When you have your Kantas optimized, they will disappear in the room like a pair of ESLs.

A Team Player

With a sensitivity rating of 91db/1 watt, a ton of power is not required for a highly musical experience, especially in a smaller room. As with the Sopra, Kanta works well with tube or solid-state electronics, and in the small room, we made it a point to pair them up with PrimaLuna, Rega, Pass and of course the Naim Atom, which is now the room 3 reference. Those requiring reasonable listening levels, wanting a maximum of flexibility will be well served by the Atom, with 40 watts per channel. And the chances of picking one up at your Focal dealer is high, making it a breeze to do one stop shopping.

As someone who prefers to fall in love with a pair of speakers, building and perhaps eventually upgrading around them, the Kantas are a perfect place to begin the construction of an ultimate system. Even starting with a vintage receiver from the 70s, they deliver great sound. As you update your amplification and sources, they will only get better. And you’ll have to spend six figures before you outgrow the Kantas. That’s value and performance.

Can’t stop listening

Wonderful as the Kantas are, these are not fussy, audiophile speakers that can only shine with the best recordings. That tiny drop of warmth in the tonal balance, combined with their incredible resolving power extracts so much musical information from even the worst recordings, (especially if you’ve gone the extra mile and optimized the setup) nothing is out of bounds. Great as they are with your best recordings, the Kantas do a fantastic job at delivering the utmost from marginal to poor recordings. Favorite recordings that don’t always sound the best on a hyper resolving speaker are very palpable through the Kantas, and for most of us, that’s great news.

Where the Sopras are remarkably fatigue free, the Kanta has a slightly lower amount of distortion and increased clarity, that you won’t notice if you don’t have the opportunity to hear them both side by side. In case you might be wondering “why would I want the Sopras then?” the Sopras generate a larger, weightier sense of scale with more ultimate dynamics in a larger room with massive amplifiers driving them. If you need to really rock the walls down, the Sopras still give you more of this, albeit at a higher cost.

The similar voice and tonality of the entire Focal line is by far one of their most impressive aspects. As you go up the range, their speakers reveal progressively more music, resolving more detail and dynamic drive. Even in this area, the Kanta shares the ability to resolve wide tonal contrast, doing an incredible job with music full of hard, quick transients.

One of the most impressive things about Focal, is that their speakers all have a similar voice and tonality, but as you go up the range, progressively more music is revealed in terms of dynamics and fine detail resolution. But not everyone can afford $60k for a pair of Maestros or $20k for Sopras. $10k for a set of Kantas isn’t inexpensive, but by the time you add an amp, source and cables, marvelous sound can still be achieved for way less than a decent sportbike. Think of all the money you’ll save on speeding tickets!

If you’ve read this far, you know I’m a big Focal fan, and the new Kanta exceeds all expectation. They combine sound and build quality with fantastic dealer service and support, world wide. If you’ve enjoyed the sound of the bigger Focal speakers, but desire these sonic attributes in a slightly smaller package, the Kanta is for you.

The Focal Kanta no.2

MSRP: $9,995/pair

www.audioplusservices.com (NA distributor)

Peripherals

Analog Source GPA Monaco 2.0/Triplanar/Lyra Etna

Digital Source dCS Rossini DAC and clock

Preamplifier Pass XS Pre

Power Amplifier Pass XA200.8 monoblocks

Phonostage Pass XSPhono

Cable Cardas Clear, Tellurium Q Black Diamond

Racks Grand Prix Monaco

Celebrating 40 years in business, Conrad-Johnson released their special edition flagship amplifiers, the ART150, which is a single chassis stereo version and the monoblock ART300s. According to C-J, the amp represents the culmination of all their design expertise to date, and they will produce only 250 of them. For those needing more power, C-J also offers the new ART300 monoblocks. Like their smaller stereo sibling, production is limited 250 pairs.

C-J’s entry-level tube amplifier, the Classic Sixty-Two SE (reviewed here in issue 84) offers marvelous sound and represents an amplifier I could live with happily. That said, the ART150 defies expectations, delivering an extraordinary musical experience that few components in my personal experience have.

Creating a classic

Like all recent C-J gear, the new ARTs are available in gold anodized finish only. All the components reside within a 16.3”D x 19”W x 8.75”H metal chassis, resulting in an overall weight of  80 lbs. The ART’s aesthetics adhere to the style brief set by current Conrad-Johnson designs. As with all C-J products, the ART is a collaborative effort of Lew Johnson, Bill Conrad the rest of the C-J team.

The hefty base serves as the amplifier’s foundation, with custom power and output transformers shielded in a black metal enclosure jetting upward from the rear. A rounded Lucite frame with tube-sized holes in it protects the semicircle of three 6922 tubes up at the front face. Between these two functional structures rests a protective metal cage, with a front panel also made from clear Lucite. The resulting “window” makes it easy to admire the row of four KT150 driver tubes from a distance. The most recent offering from Tung-Sol, the elongated egg shape of the KT150 gives the ART amplifier more of a space age flair.

The front of the ART is a model of simplicity. A single, quarter-sized power button resides toward the right side, illuminated by a subtle amber LED when activated. When depressed the amp warms the tubes slowly, helping extend tube life. You might hear a few pings and pops through the speakers while the tubes warm up, but once the ART achieves optimal voltage and temperature one’s ear must be very close to the woofer or tweeter to detect audible hiss.

Mining for the best parts

As old wisdom suggests, “It is what’s inside that counts.” In the case of the ART150, careful component choices result in staggering performance. C-J sought the best possible parts for the new ART, right down to the type of internal wiring, with the wide-bandwidth output transformers and Teflon capacitors being custom-made solutions. Also under the hood are laser-trimmed metal foil resistors chosen for their high levels of performance in the sensitive signal path. As a single ended design, the ART accepts only RCA interconnects from a preamplifier. The high quality gold-plated input terminals offer both excellent electrical transmission and a secure grip on cables.

A set of metal five-way binding posts on the back of the unit facilitate connection of spade, banana, or bare-wire cable terminations with ease. Spades used in my case secure quickly and very firmly under the posts. For those without muscular fingers, a 7/16-inch plastic binding post wrench fits over the nut correctly, allowing extra leverage. If you elect this route, consider an approach of gentle assertiveness, remembering you are not bolting together a skyscraper’s support beams.

The Conrad Johnson design philosophy has always centered around meticulously executing simple circuit designs – a big part of why they don’t produce balanced circuit designs. Taking the simplification mantra further in this amplifiers, a single pair of KT150 output tubes per channel replaces four KT120 tubes per channel in the original ART amplifier, with the new design producing 150 watts per channel, up from the 140 per channel available in the original.

Swift set up

The tubes are carefully packed inside the tube cage, so this will need to be removed to fit power and driver tubes. Each tube box is wrapped in black tissue paper giving the unpacking process an extra touch of class.

Like every other C-J power amplifier, the user must manually bias the power tubes after installing them. The process is surprisingly easy, using a simple plastic screwdriver included in the ART150 package. After a new set of tubes are socketed, twist the biasing screw just enough to extinguish the small yellow LED next to each tube. C-J suggests doing this again after an hour or so of use, and again every six months to extend the life of the tube set. When re-tubed, the biasing process should be repeated.

The ART requires significant break in due to the custom Teflon capacitors and other electronics within. C-J completes a 5-day burn-in before ART amplifiers leave the factory. During that time, the C-J team can ensure no component inside the amp fails before shipping, and do a listening test. I gave the ART150 another 200 hours of play time to ensure it reached its full sonic potential, and the sound did gain improvement during that period.

It is best to shut down the amp when not using it. Doing so will help maximize valuable tube life. ART warm-up time from a cold start is a scant 15 minutes, so the wait for optimal sound is never a long one. Absence makes the heart grow fonder, right?

Jewelry for the eardrums

C-J’s tagline “It Just Sounds Right” is not just marketing hype. In this case, those four words may comprise the shortest product review ever written. However, quantifying “Right” requires quite a few more words because a lot is right with this amp.

With the ART150, C-J did not just jump over the high bar set by the Classic 62. Instead, it seems they used a ten-foot pole to vault over it. The Classic 62 is a fantastic amp by any measure. However, the ART exceeds the Classic 62’s capability in every way.

With the ART150, my entire listening room becomes part of its huge projected soundstage. Music extends well beyond the left and right speaker boundaries, wrapping around the edges of the space. When music dictates it, spatial cues place instruments and vocals above, below, behind, or well out in front of the speakers. Imaging presented by the ART remains not only precise and defined, but almost tangible. Instruments and vocals layered over one another retain independent space rather than collapsing into one another. The three-dimensional nature of the music experience proves immersive, and time evaporates while listening to song after song. Even with familiar tracks, subtle sound effects are much easier to discern, offering details few components retrieve so exceptionally. Occasionally, music freed by the ART will surprise me, as if sneaking up next to my listening seat before revealing itself. Even older recordings reveal a few surprises. For example, engineered vocal effects in “By My Side” by INXS extend the background voices, well… right by my side. Alternately, the bar chime sounds in Depeche Mode’s “Everything Counts” seem to leap forward to a point a few inches from my ears. To have an audio component capable of detailed projection that catches me off guard like this is equally rare, eerie, and thrilling.

The ART will reveal every nuance of a song for better or worse. Great recordings sound quite realistic. However, on less-than-stellar tracks, the ART exposes any shortcoming too. For instance, listening to Santana’s Supernatural, the level of compression is evident. Cymbals lack both the splash of impact and a lingering decay. In contrast, extremely well-recorded albums like Johnny Cash’s American IV: The Man Comes Around provide the honest illusion of Cash sitting in the room. Few amplifiers I have experienced offer this degree of revelation. The ART represents quite an achievement indeed.

Despite the level of detail, this C-J’s purposeful voicing choices offer organic, natural, and forgiving sound. Even with some strident or sibilant recordings, ear-twitching spikes lose their sting and seem much more refined through the ART. C-J manages to capture every detail within a song but accomplishes the trick of making edgy sonics more enjoyable.

Forget any pre-conceived notion that this tube amplifier might generate watered-down or mushy bass. The ART150 rides the perfect balance between bass depth, punch, and naturalness. Similarly, high notes offer a welcome sparkle. Both male and female vocals glide through this amp’s circuitry, providing the listener a lush and luxurious musical experience as they emerge. Regardless of music genre, the ART never failed to deliver fantastic music, exceeding my expectations for an audio component.

Go for the gold!

Reaching audio heaven comes with a cost. Retailing at $19,500 for the limited edition ART150 and double that for the ART300 monos, either choice represents a significant investment. However, considering the extensive research and design process, no-compromise electronics, and the stellar sound this amplifier produces, one should expect a component of this magnitude to have a price commensurate with its performance level.

Those familiar with any piece of tube gear know they need replacement over time, so unlike solid-state amps, an ART owner should budget for planned maintenance. C-J suggests the ART’s tubes have a longevity of two or three years depending on usage. KT150s cost around $90 each and prices for 6922s can range widely depending if they are modern production or new old stock. Budget at least $500 every few years for a complete re-tube. The ART300 monos, each of which is essentially an ART150 optimized for a single channel, would double that tube cost.

Yes, I am utterly stunned by the ART150’s sonic prowess. Among amplifiers I have had the pleasure of evaluating at home for an extended period, the ART deserves a place on a tiny list of amps I would enjoy for the long haul. We will have to wait and see what C-J creates for their appropriately-golden, 50^th anniversary! For now, the ART earns a place among those scarce components that offer such an outstanding level of performance it could halt one’s long journey in pursuit of better gear. Kick off those worn-down trekking shoes, relax, and just enjoy the music.

I am giving the ART150 amplifier my highest praise: I purchased the demo unit as a reference component. If you are seeking a flagship amplifier to enjoy for many years to come, do yourself a big favor and head to your local Conrad-Johnson dealer for a demo. Like me, you may find you cannot walk away from the ART150. Grab one before these limited-edition units are gone!

Further Listening: Jeff Dorgay

Even though Conrad-Johnson has been refining their designs for decades now, they’ve made some pretty incredible tube amplifiers over the years. Audiophiles the world over still discuss many of their Premier designs in hushed conversations, with reverence.

Not only is the ART 150 one of the most musical revealing amplifiers I’ve heard, the combination with C-Js flagship GAT 2 Preamplifier has me squeezing my adjective gland for some new superlatives. I can not find them. If you already have one of CJ’s top preamps, the ART 150 will take you somewhere rare and special. If you don’t, you’ll be shopping. I won’t taunt Rob with the GAT until he recovers from the ART 150 purchase.

Everything Rob points out about the ART 150, is heightened even further when paired with the GAT 2. It’s worth mentioning that the ART 150 is no slouch with an ACT 2 either, so even if you have one of these on your equipment rack, it is a worthy partner for an ART 150.

As a friend pointed out recently, we are really living in an exceptional period for audio, no matter what your budget might be. With so many of the industry’s top designers benefitting from decades of experience, creating their best work. It’s often said that it takes 10,000 hours to master something. 40 years of refining greatness results in the ART 150 power amplifier. More often than not, tube power amplifiers give you musicality/tonality, inner detail, or massive imaging prowess, but rarely all three. The ART 150 does that and more – adding major dynamic swing and bass control. This level of resolution, delicacy and freedom from fatigue is what makes the ART 150 so special. That is why it is our Amplifier of the Year for 2017.

The Conrad-Johnson ART 150 Stereo Power Amplifier

MSRP:  $19,500

PERIPHERALS

Analog Source: SME Model 10 with SME V and Model 10 tonearms. Dynavector 17D3 and Denon DL-103R cartridges

Digital Sources: Mac Mini, Roon Music Service, Simaudio MOON 780D DAC, Oppo BDP-103

Amplification: Conrad-Johnson Classic 62, Burmester 911 Mk3

Preamplification: Coffman Labs G1-B

Speakers: GamuT RS3i, JL Audio Dominion Subwoofers

Cables: Jena Labs

Power: Torus AVR 15 Plus, RSA Mongoose power cords

Accessories: ASC tube traps, Mapleshade Samson audio racks, Coffman Labs Equipment Footers, AudioQuest Jitterbug, Atomic Audio Labs Mac Mini stand