Sometimes, I’m not sure what’s worse, products named after the designers child, or an obtuse numbering sequence?

Oh well, look at what Elon Musk named his kid. Weird car names are sure to follow. All kidding aside, these new Canton floorstanders barely tip the scale at $3,495 a pair, and they won’t need a pair of stands.
The last time we had a pair of Canton speakers in, about ten years ago, they were unmistakably bright and forward, but the current Chrono’s you see here have a much more realistic tonal balance. They are slightly forward, but nothing offensive. The evaluation begins with the Bad Brains self-titled debut album, which is compressed and crunchy. If anything will turn you off to a speaker, it’s this record. Even on great speakers, it’s not a sonic masterpiece. One more silly but fun track, Sigue Sigue Sputniks’ “Hey Jane Mansfield Superstar,” is nearly as dreadful in the recording department as the Bad Brains.

You might think it madness and oh, so “un audiophile-y” to listen to naff music when evaluating components, but sometimes how speakers perform with marginal material tells more about them than pristine, audiophile tracks. Patricia Barber and Diana Krall are low hanging fruit. Seriously, even if you can’t stand those two, do you ever recall hearing a demo with those tracks that sounded awful?

Digging right in

The Chronos come out of the gate strong, doing a great job on everything, with a little help from our new reference amp, the McIntosh MC1502 (which is slightly on the warm side, and a nearly perfect match for the Chronos). Switching the program material to something smoother and more meticulous in production, Ella Fitzgerald and Louis Armstrong doing “It’s a Lovely Day” really shows off these speakers to create a broad soundfield, and a fairly wide dynamic swing.

You can only get so much speaker for four grand a pair, and Canton does a nice job at achieving a high level of balance. There is no particular aspect of their sonic or visual presentation outshining the rest. Made in the Eastern Bloc (Czech Republic) the cabinets offer a few clicks more luxury than the typical Chinese product that is similarly priced. The corners are slightly more complex and finshed to a cleaner standard. The finish is extremely smooth, deep, and orange-peel free. All of the plastics used on the front of the drivers is high quality, and the size of the trim rings is kept to an understated look as well.

Underneath is a solid base/plinth that maintains the proper distance for the bottom firing bass port, eliminating the guess work in setup. Spikes are supplied (and suggested), but should you not be able to use them, you won’t alter the low end characteristics of the speakers. Nice. Giving the Chronos a proper workout, a full electronica playlist starts with Nicole Moudaber’s “Her Dub Material,” and ends with probably too much Massive Attack. At this point, we’ve got the pair of 6.1-inch titanium coned woofers using all of their excursion. They cross over to a similar sized titanium coned midrange driver at 300 Hz, and then on to the 1-inch ceramic dome tweeter at 3,000 Hz. If you like music that is somewhat in the “bass heavy” side of the spectrum, you will not be disappointed with the Chronos.

Quick and easy set up

Canton does not claim a sensitivity spec, but the Chronos are very easy to drive with modest power, tube or solid-state. They even turn in an excellent performance with our recently re-capped Marantz 2220B vintage receiver. This important because anything that sounds good with a budget, low-power vintage receiver is probably going to sound good with any entry level amp you might have on hand, or thinking of purchasing to go with.

That bottom firing bass port not only offers a smoother bass response than a number of rear ported designs we’ve auditioned, it also makes placing the Chronos in your room a lot easier. If your décor dictates that you have to keep your speakers a little closer to the wall than you’d like, you won’t get the weird bass anomalies that a rear facing port can cause. Their footprint is small at 9.1” wide (this is the base width, the speaker itself is only 7.5” wide) 11.8” deep (ditto, only 11 inch by itself) and 39.4” tall. Tasteful black grilles are also supplied, but the dome tweeter is behind a grille, so these are very enviro-friendly speakers.

The rest of the setup process is straight forward. Where previous Cantons were so strong in the high frequency range, they almost had to be placed straight on, the Chronos allows for a bit of toe in, which helps evening out the low frequency to upper bass range. In both our small and large rooms, they were making good music in five minutes, and dialed in fully in about 15 minutes total. The Cantons are very user friendly, and even if you aren’t a speaker setup wizard, you’ll get good sound with minimal effort.

For those that care, the Chronos are bi-wireable, arriving with gold-plated jumpers. We pretty much don’t bother with that aspect of speaker cables anymore, so I can’t tell you if that makes an improvement. What did make a tiny improvement in the upper mid to treble range was swapping out the factory jumpers for some Tellurium Q Black Diamond jumpers. That was an improvement, so if you don’t have speaker cables already terminated for bi-wiring, consider a premium pair of jumpers from your favorite cable manufacturer.

Further listening

Going through a much wider range of program material, I found no shortcomings. The Cantons strike a nice balance (there’s that word again) of resolution, and imaging without harshness or fatigue. This is tougher to achieve at the $4k/pair price point than you might realize. There are a number of speakers at this price that offer up more precise imaging, or go down deeper. But the Cantons really excel at doing everything very well.

There’s no music that will be off limits to the Chronos, and while they will light up the room with 30 watts per channel, if you’ve got 100-200 watts per channel, they play incredibly loud before distortion creeps in.

The sound field these speakers create will depend in part on the quality of the upstream components. Again, a slightly more immersive experience was had with tubes, but switching back to the Boulder or Nagra amplifiers provided more impact. Neither was uninvolving, and it’s realistic to say these speakers are both resolving and chameleon-like to be a real team player in the context of your system.

Should you care to make these part of a larger 2.1 system or a multichannel setup, Canton does offer a full line of Chrono speakers, as well as matching subwoofers. Those that like everything to match visually as well as sonically will be able to execute this aspect of building their system with ease. Kudos to Canton for keeping the choices minimum – gloss white or gloss black. More finish options means higher cost, and you know the dealer will have every finish but the one you want when it’s time to press the go button. Keeping it simple makes it easier for everyone.

At the end of the day, Canton has made a great speaker in the Chrono SL582.DC. The model name won’t roll off the tip of your tongue, but they sound great, and will easily blend into your environment – that’s the most important thing.

www.canton.de

Peripherals

Analog Source Luxman PD-171 turntable/Kiseki Purple Heart cartridge

Digital Source dCS Vivaldi ONE, T+A CD2500, Naim ND555/PS555

Phonostage Chord Huei

Amplification Boulder 866, PrimaLuna EVO400, McIntosh 1502, Nagra Classic

Cable Cardas Clear, Tellurium Q Black Diamond

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

After living with the Brinkmann Bardo turntable for about six months, the much awaited RoNt II vacuum tube power supply arrived, and as anticipated, it took the Bardo to a higher level of performance.

In the case of the Bardo, adding the RoNt II to the table adds just over $4,000 to the MSRP, making the total package about $14,000. Ironically, this is what it used to cost without the upgraded power supply before Brinkmann streamlined their US operations. This is a major win for analog enthusiasts.

Now, with a year of using the Bardo under my belt, the relationship keeps getting better. This table never ceases to amaze me on all levels. As a visual person, I love the clean, uncluttered look of the table – it is the essence of visual simplicity. Some of you might not think or care about it, but just like cars, some turntables look dated after they’ve been on the rack for a while, but the Bardo feels more like it should be in a museum or a mid-century modern furniture store between an Eames lounge and a Barcelona chair.

The RoNtII delivers an equal level of aesthetic ethos, with sleek good looks, easy tube access and a small piece of granite, precisely fitting the RoNt’s footprint. It looks too good not to display prominently on your rack, however, place it so you can easily access the rear panel, that’s where the power switch is.

Good looks are useless without the performance to back it up, and the Bardo delivers the goods in this department as well. It has been remarkably easy to use and set up, with the Koetsu Onyx Platinum cartridge I used for the bulk of the review still in place. The Bardo is a high performance daily driver that I’m always happy to use.

Adding the RoNt II

For a bit of history, click here to read my full review on the Bardo. It offers a great combination of dynamics and musicality along with the rock-solid speed accuracy that only a direct drive turntable can provide. This speed stability provides an additional benefit: tremendous low-level detail retrieval. For those that haven’t been following my analog path, it began in the mid-70s with the Technics direct drive SL-1200. Today, my rack is sporting the current SL-1200, the Bardo/RoNt combo and the Grand Prix Audio Monaco 2.0. All direct drive tables.

This doesn’t mean your belt drive table is irrelevant. (I still have a few of those that I love.) However, just as staff member Jerold O’Brien prefers driving an Audi and I prefer a BMW, after coming full circle I’m solidly in the DD camp these days.

Too much of this is never a bad thing and replacing the Bardo’s solid state supply with the RoNtII makes an instant difference. The best thing about this upgrade is that you can hear it immediately – there’s no waiting 400 hours for it to break in, all the while psyching yourself out, wondering if you truly hear it or not.

The minute the tubes warm up in the power supply, and you spin a record (I suggest listening to something you are very familiar with on the old supply, then doing the swap) you’ll grasp what the RoNtII adds to the presentation. I couldn’t resist spinning the recent remaster of the Led Zeppelin ZoSo (or Led Zep 4, or whatever you refer to it as) and playing “Stairway to Heaven.” Call me sentimental, or cheesy, but it just felt right. Adding the RoNtII, gives John Bonham’s legendary drumming more force, more oomph, more attack, while Jimmy Page’s notes hang in the air with a greater sense of purpose than when I listened to it just a minute before, sans upgraded power supply.

While I’m not a geeky measurements guy by any stretch of the imagination, a few more album sides of acoustic music and I could swear that the Bardo’s fantastic pitch accuracy was even better with the new, upgraded supply. Breaking out a test record and Feickert’s iPhone App instantly reveals the minuscule amount of speed variation with the stock supply is even lower with the RoNtII in place.

Those of you that listen to a lot of acoustic music, primarily selections with piano, violin and such will probably notice an even greater improvement in musicality, than someone like me that still listens to Kiss without regret. Admittedly, the Roland Space Echo effect in the drum solo of “100,000 Years” is even spacier with the upgraded supply.

So why tubes?

Herr Brinkmann takes an ingenious approach to everything he builds, and the RoNtII is no exception. With a pair of PL36 Pentodes as voltage regulators and a 5AR4 rectifier, the tubes isolate the AC mains from the turntable motor, essentially acting as a power conditioner in addition to providing the final 24 volts DC to power the turntable.

There is only one caveat that you need be aware of – the rectifier tube. Where the two NOS triodes used in the power supply are deemed bulletproof from a longevity standpoint, the 5AR4 rectifier is a weak link, as current Chinese models are not terribly robust. This is not a knock at  Brinkmann; it’s just what the tubes are today. You can do one of two things; keep a spare or two of the standard issue tubes on the shelf, because you know Murphy’s law, or call Kevin Deal at Upscale Audio and buy the best NOS replacement he suggests. This might set you back $100 or so, but one of those tubes might just outlive you. When the rectifier tube goes, it takes the power supply fuse with it, so ask your dealer for a couple of spares and file them where you’ll remember them.

Is it worth it?

I feel the increased level of resolution, and dynamic range that the RoNtII offers is worth the price asked. I’ve certainly spent more going up a grade or two in phono cartridge and received less improvement. It’s worth mentioning that this power supply also works with the Brinkmann belt drive models, and I’ll stick my neck out and guess that it offers just as much if not more performance gain. I suspect that we’ll be auditioning an Oasis in the future, so we’ll revisit this option at that time. Again, I think it is very thoughtful of Brinkmann to build one component like this that will upgrade multiple models, keeping proliferation to a minimum. Makes it easier for the end user.

The Bardo by itself is one of the best values going in the $10,000 table range, and the upgraded Bardo/RoNtII combo is certainly one of the best performing tables I’ve experienced in the $15,000 range. It’s like going from a 3-series BMW to an M3 or an Audi A4 to an S4; once you experience the higher level of performance, you might not be able to go back. I know I can’t. The RoNtII has proven an essential upgrade to my Bardo, and I can’t recommend it highly enough.

www.brinkmannaudio.com

Knowing that a quartet of EL-84 tubes lurk under the hood of the iFi Retro 50, I knew it was time to break out the JBLs – and it was good. Just as with the Dynaco SQA-35 and even the Manley Stingrays, there’s just nothing like the sound of a pair of JBL L-100s driven by an EL-84 amplifier. Those little tubes have a soft-spoken magic about them that can’t be duplicated by the EL-34 or even an SET amplifier. And the slightly soft character of this output tube goes miles towards taming the upper register of the L-100s.

Listening to the bongos bounce around the listening room during the opening of Curtis Mayfield’s “Pusherman” is delightful, and when his voice folds into the mix, it comes across much larger than life. If I didn’t know better, I’d swear the Retro 50 was something that has been in a box for 50 years, the dust just shaken off. It really does groove, with an abundance of musical detail as well – it doesn’t just round all the transient attack off to sound groovy. The sound is just more saturated throughout.

Regular readers of TONEAudio know that we’ve given iFi’s compact DAC and phonostage rave reviews. They pack major performance in a small form factor and keep the price down as well. So far, we’ve seen no downside to any of their products that we’ve sampled. The Retro 50 has both of these and a great headphone amplifier – all on this compact chassis, encased in a bamboo enclosure. Now that’s something you never saw on a vintage receiver from the ’70s!

The Retro 50 comes packaged with a pair of iFi’s Retro 3.5 speakers for $1,995. Unfortunately at this time, you must buy the combo; the Retro 50 is not available by itself.

Investigating those little speakers

iFi calls the speakers accompanying the Retro 50 “Retro 3.5” in homage to the legendary LS3/5A BBC monitors. The similarity to the LS3/5A ends with the form factor. They don’t really suck, but they don’t really rock either. Judicious use of the tone controls and signal processing at your disposal on the front panel of the Retro 50 mitigates this, but they perform much better in a desktop system than out in the listening room. Sold alone, they carry a retail price of $795 – forget about them at this price, but as part of the Retro 50 system, not bad.

Fortunately, the Retro 50 is so undervalued, even if you throw the speakers out, it is still more than worth the $1,995 that’s asked. $1,500 for the Retro 50 alone would be the audio bargain of the 21^st century, maybe forever!

Even after a lot of break-in time, the Retro 3.5 speakers still sound small. Discerning use of the tone controls and the 3D sound processor help tremendously, yet using them in a room much larger than 11 x 14 feet for anything more than background fill is not suggested. Nearfield in my small second listening room is pleasurable, but the speakers still sound overly polite, without having the body that a real pair of LS3/5As possesses.

The best place for the Retro 3.5s proves to be on the desktop, flanking a 27-inch computer monitor, with a slight tip-up. A bit of toe-in goes a long way, looking for a balance between soundstage width and bass reinforcement. iFi makes it painless for the audio enthusiast to get down to business with audio, USB and speaker cables included in the box. Obsessed audiophiles will want to upgrade these later, and the Retro 50 responds well to a premium wire upgrade.

No matter how you enjoy music, you’re covered

Whether digital, analog or wireless, the Retro 50 can handle your source components. In addition to a cracking MM/MC phonostage and DAC, there is an antenna to stream digital files via your smart device, too. For the foreseeable future, the Retro 50 is “obsolete-proof.”

The Retro 50 is capable of decoding both DSD and DXD files, and this was the only part of the Retro 50 that I did not explore. With all the rage surrounding this, I just can’t get conned into buying my favorite music again. But for those of you who are new to the game and investing in these files, you are good to go. If the 24/192 performance of the Retro 50 is any indication, you will not be disappointed with DSD reproduction.

The coaxial and optical digital inputs accommodate files up to 24/192, while the USB input goes all the way up to DSD 512. With 24/192 files, it is virtually a dead heat between the inputs in terms of sound quality, so whatever strikes your fancy will work well. The gadget geeks in the audience will appreciate the digital input logo changing color with file resolution, just like AudioQuest’s Dragonfly. iFi’s choice of the aptX codec is a great move, so those using other than Apple iDevices will be very happy. Streaming from a Galaxy phone over Bluetooth is stunningly good with Tidal, and for this writer, all I’d ever need on a desert island are the Retro 50, a pair of JBL L-100s and a Galaxy phone with a Tidal subscription (along with good reception, of course!).

Inputting via analog sources works equally well for those feeling more traditional. The phono section of the Retro 50 is identical to that of the iPhono that Richard Mak reviewed here. It’s worth noting that separate MM and MC inputs with 50 and 62 dB of gain are offered, proving perfect for the AVID Ingenium turntable with two tonearms – one utilizing an Ortofon SPU cartridge and the other a vintage Ortofon VMS20 Mk.II. As Mak found in his review of the iPhono, this phonostage is quiet, dynamic and tonally correct. I also had excellent luck with the Denon 103r, Ortofon 2M Black and Grado Statement cartridges. Unfortunately, the Retro 50’s phonostage does not offer the gain and loading adjustments of the iPhono, but only so much can fit on this small chassis. Regardless, it provides an excellent avenue for your vinyl journey.

Further listening

The Retro 50, regardless of input, is dead quiet. Even with ears placed right against the tweeters, there is no noise or tube rush coming from the speakers. Though the Retro 50 claims 25 watts per channel, considering that most other amplifiers designed around a pair of EL84 tubes produce about 15–17 watts per channel, I’m guessing the numbers here are slightly optimistic.

What is important is the quality of the sound that the Retro 50 does produce. Regardless of speakers used from the $88,000/pair Dynaudio Evidence Platinums all the way down to my JBL L-100s, the extended high end and LF control is surprisingly good. By contrast, a vintage Dynaco SCA-35 (also using a pair of EL84s per channel) sounds extremely soft and much noisier. Because the iFi uses a more modern implementation of the circuit and a beefier power supply than my SCA-35, it sounds louder, even though both hit the same sound pressure level. Remember, volume is the difference between loud and quiet, so while the Retro 50 may not actually produce 25 watts per channel, because it is incredibly quiet, it sure sounds like it puts out that kind of power.

This amplifier is all about quality and delicacy. Regardless of the speakers you choose, the Retro 50 conjures up a soundfield that is both wide and deep. Tracking through Neu! is an amazing exercise in trippiness, with cool sound effects all over the room as if you were nestled in between a six-foot-tall pair of headphones.

The Retro 50 doesn’t so much color the lush midrange as maximize texture and tonal saturation. This amplifier is perfect for listening at low to moderate levels.

Acoustic guitars have an extra dash of ambience and thickness about them. Listening to the snap of the acoustic guitar on the title track of Michael Hedges’s Aerial Boundaries is simply breathtaking. And, of course, solo female vocals are incredibly sexy as well.

Perfect for personal fidelity

Auditioning a small cache of headphones also proves the Retro 50 fabulous. Thanks to its 3D holographic image processor (with three settings) and XBass processor, you can fine tune your headphone experience. The Audeze and OPPO phones sounded the most natural with no processing applied, but with some lower end Grados and a few in-ear phones, the option for extra bass really came in handy. The 3D processor was fun, but it felt more like a slight sampling of an illegal substance rather than realistic. And for some that will be a good thing – sample to taste. Fortunately the Retro 50 gives you plenty of options, along with a very useful bass and treble control.

Whether you find joy in this ability to alter your system’s playback with loudspeakers is up to you, but it is wonderful that iFi has included them, especially at this price. The only thing lacking a bit is the aesthetics. The bamboo casework is a home run, but the front panel, printing and control knobs are slightly cheesy, reminiscent of early Chinese hifi – and not a reflection of the sound quality inside the box. I’d happily pay an extra 100 bucks for an upgraded front panel, but that’s my inner interior designer screaming for order.

Like every other iFi product we’ve used or reviewed, the Retro 50 screams high performance and high value – more than worthy of one of our Exceptional Value Awards for 2015. Whether you use the speakers or give them to a friend, the Retro 50 is one of the greatest combinations in the audiophile world today. I can’t think of a better place to start your high end audio journey.

iFi Retro 50

MSRP:  $1,995 (with Retro 3.5 speakers)

ifi-audio.com

PERIPHERALS

Analog source	AVID Ingenium turntable w/SME 3009 and 309 tonearms    Denon 103   Ortofon SPU     VMS Mk. II cartridges
Digital source	OPPO 105 (as transport) MacBook Pro
Speaker	JBL-L100    Dali Rubicon 2    Dali Epicon 8    GamuT RS5
Cable	Cardas Clear Light

While gadgets aren’t always fashionable, a properly set up turntable is always in style.  And what better way to adjust tracking force than with a digital scale?  We’ve tried some of the cheapie, Chinese-made digital scales in the $40–$60 range, but they have all had relatively short lifespans.

Clearaudio’s Weight Watcher is excellent, but starting to tip the price scale at $300 these days –– so think of that model as the S-Class Mercedes of digital scales.  Ortofon’s DS-1 is made in Japan, easy to use, and thanks to its smaller paddle, makes it more versatile with a wider range of cartridges than the Weight Watcher. At nearly half the price, it makes this accessory accessible to a wider range of audiophiles.

Ortofon DS-1 Digital Scale

$167

www.musicdirect.com

British hi-fi buffs know Roksan Audio as a company that offers extraordinary value and sonics that challenge far pricier competitors. The company, located just northwest of London, takes a complete-system approach, with analog and digital sources, amplification, speakers, cables, and power supplies among its product lineup—and it is currently making a push into the North American market.

Roksan has several lines that cater to different needs: The Oxygene line strips away everything to the basics, with modern design and functionality; the Kandy line offers higher performance; and the Caspian line is the top of the hill. All Roksan products have a simple but appealing aesthetic and are known for high reliability.

The subject of this review—and the first Roksan component that has been in my system—is the Kandy K2 BT integrated amplifier, which retails for $1,900. The K2 BT is one of the more feature-rich integrated amplifiers that we have reviewed, equipped with a phonostage, five line-level inputs, a tape loop, remote control, and Bluetooth connectivity—the latter of which is what the BT designation represents. (The standard, non-Bluetooth K2 retails for $1,700.) The unit’s power output is 120 watts per channel into 8 ohms.

Roksan says it uses the highest-grade parts available and that the K2’s output stage is based on that employed in the Caspian series. The company pays special attention to circuit layout and especially power supply, with the sonics coming first. The result is a product that makes for a sound investment, which has helped build Roksan’s reputation since its founding in 1985.

The Basics

The casework on the K2 BT, while not extravagant, is solid, nicely put together, and commensurate with the price point. In terms of appearance, the unit is available with either a black case and silver faceplate or the reverse.

Installing the K2 is straightforward, with connections made and sound emanating from speakers within minutes of unpacking. The amp easily drives a pair of Gallo A’Diva Se satellite speakers with a Gallo TR-3D subwoofer, and it makes light work of the Harbeth Compact 7ES-3s sans sub. (See end of article for additional full list of peripherals.)

The review sample has decent mileage on it, so only a few days are needed to get it up to optimal performance—and it does not take long for the K2’s personality to shine. It flows music to the speakers in a velvety smooth, seductive, and effortless manner, even with the relatively inefficient Harbeths. The amplifier never breaks a sweat, delivering gorgeous, dare I say, tube-like tone and imaging that is wide, deep, and always involving.

Down to Business

Nick Cave’s 2013 recording Push the Sky Away is transportative through the K2. The open, spacious mix and Cave’s superbly recorded voice are perfect for the amp to show off its way with nuance, instrumental timbres, and timing. Cave always imparts some sort of drama and tension in his songs, and on this collection he does so with more subtlety than usual. Here, the K2 lets the tension build and ebb so as to spotlight the performance, with all things “hi-fi” taking a back seat. This is truly a music lover’s amplifier.

On a lighter note, streaming a variety of recordings by lounge-pop revivalists Pink Martini is great fun, with the K2 keeping pace with the free spirit of the band’s whimsical, intoxicating sound. Such albums as Sympathique, Hang On Little Tomato, Splendor in the Grass, and Get Happy are a gas—and the Kandy is up to the task. Whether cycling through jazzy standards, French lullabies, tangos, Chinese folk songs, or Turkish pop, this amp keeps the party going, never missing a beat.

With higher-resolution digital files, the K2 pays big dividends. The 96-kHz download of Chicago’s album II is excellent, and the Kandy brings back the summer of 1972, showcasing the quality of the legendary band’s interplay and songwriting. It makes tracks like “Poem for the People” and “In the Country” sound vibrant and fresh.

The K2 not only unravels complex music but also lays out simple pleasures, like Chuck Berry’s monumental 1950s Chess recordings, with ease. Trying to resist tracks like “Little Queenie” or “Back In The U.S.A” proves futile, as the Roksan takes these mono recordings and renders them with natural authority; and the pacing is sublime. I am continually reminded that this amplifier effortlessly gets out of the way, always drawing attention to the music and not to itself.

The K2 clearly has a wonderful way with digital sources, regardless of program material or sampling rate. I put it through its paces further with a little analog via some pre-recorded, commercially released 7.5-ips reel tapes played back on my vintage Sony deck. The results are stunning, with the Kandy providing a clean, quiet background and excellent detail retrieval. It ups the ante on the musical involvement that tape lovers find so intoxicating.

Final Score

Ergonomically, the K2 is a dream. It offers plenty of volume steps, even with the remote, which can be a sticking point on amplifiers in the $2,000 price range. The front panel is easy to navigate and the amp is dead quiet, running cool as a cucumber. All this adds up to maximum enjoyment and flexibility.

After spending an extended period of time with the K2, listening to it with a wide variety of music and gear, I become curious about a complete Roksan system. Perhaps we’ll see a full-system review in the future.

The only area where I find that the K2 comes up short is its Bluetooth capability. The sound quality is excellent, but the connection in my system proves a bit unreliable with both an iPad Air and and iPhone 5. When the Bluetooth works, it is fun as heck, but it’s annoying when the connection is marginal. (Our publisher doesn’t experience issues with the Bluetooth. See Further Listening below.)

Roksan has rightly earned a reputation across the pond as a music-lover’s manufacturer. The K2 BT is a special component. Paired with multiple sets of speakers, sources, and cables, it never disappoints sonically. Aside from the shaky Bluetooth connection I experienced, there is nothing to quibble about. You get the complete package here, including good looks. At just under $2,000, this is an easy recommendation for those who want a full-function integrated amp that works equally well with both analog and digital sources. The Roksan Kandy K2 BT is clearly a benchmark for its price point.

Further Listening

By Jeff Dorgay

Andre sums up the essence of the Kandy K2 BT perfectly—though, lacking a turntable, he wasn’t able to comment on the phono section, which I find to be excellent, especially for a $1,900 integrated. As vinyl continues to enthrall new users, and with so many people dipping their toes in the water, a high-performance phonostage is a wonderful addition to an integrated amp, allowing maximum system flexibility.

Most people purchasing an amplifier and speakers at this level will probably be using a turntable in the $100-to-$1,000 range, and they will not be disappointed. The Kandy’s phonostage is easily on par with any outboard phonostage we’ve auditioned costing $300 to $500, so for price matching most of my listening is with the $95 Shure M97 cartridge and the $295 Rega Elys 2—both MM designs. Just to push the envelope, I use the $700 Ortofon 2M Black and have good results. This is definitely an integrated amp that an analog owner can grow with.

Where most budget solid-state phonostages are flat, two-dimensional, and relatively sterile, the Kandy’s phono section performs admirably, giving up more height and depth than is usually associated with a relatively inexpensive onboard unit. Playing the MoFi remaster of Los Lobos’ Kiko, the Roksan renders this rock classic with an extra-large sonic image, especially with the Ortofon 2M Black. Brian Eno’s Small Craft on a Milk Sea proves highly involving, with the subtle environmental textures not fading too far into black.

Interestingly, I had zero issues with the Bluetooth receiver in the Kandy, so those who may be using it in an area with a lot of wireless connectivity in the vicinity should consider a test drive to see if this part of the gear is right for you. I can see where this would be a deal-breaker if it doesn’t work properly in your environment.

I can easily proclaim that the Kandy is an incredible bargain for under $2,000, but it’s even a better deal when you take the phonostage into account. Anyone looking for a great system anchor should give this baby a test drive. We are happy to award the Roksan Kandy K2 BT one of our Exceptional Value Awards for 2014.

Kandy K2 BT Integrated Amplifier

MSRP: $1,900

www.roksan.co.uk (manufacturer)

www.rutherfordaudio.com (North American distributor)

PERIPHERALS

Speakers	Harbeth Compact 7ES-3    Anthony Gallo A’Diva SE satellites    Thiel CS.24 floorstanders
DAC	Bryston BDA-1    Denon DA-300USB
Sources	Simaudio MiND 180D Streamer    Sony TC-350 reel-to-reel tape deck
Cables	Transparent Wave speaker cables    Darwin    Kimber Kable    Stager    DH Labs interconnects

Back in the mid 1970s, the idea that a preamplifier could provide “straight wire with gain” was an elusive goal. The idea that such perfection could be achieved from a valve model seemed even more unlikely. Yet when the $595 SP-3 preamplifier arrived on the scene in 1972, many audio reviewers proclaimed that such perfection was well within reach. The SP-3 wound up being one of ARC’s most popular products ever, and they sold thousands and thousands of them until the model was discontinued in 1976.

Until just a few years ago, you could buy an ARC SP-3 preamplifier in fairly good condition for $400 or $500. Unfortunately for bargain hunters, the legendary status of this all vacuum tube preamp has been revived and a unit in perfect working order with excellent cosmetics can now cost upwards of $1200 to $1400. Our SP-3, supplied by Kurt Doslu at Echo Hi-Fi in Portland, had been recently serviced by Audio Research and was a particularly pristine example. The cosmetics, however, were straight out of the ’70s—a boxy design with plenty of knobs and plastic buttons. (Compare this to the solid-state SP-4, which still looks like it could be part of the current lineup.) The six 12AX7s and 2 12AX7 LN tubes, easily spotted through the top mesh plate of the case, also seem a little strange in comparison to modern designs that feature only three or four valves at most.

I plugged this 35-year-old into a fairly heady system including the Conrad-Johnson Premier 350 power amplifier, Harbeth Monitor 40.1 loudspeakers and the new McIntosh MCD500 CD/SACD player. My goal was to investigate those lofty old claims of near-perfection to see how much the bar has moved in the last 35 years. Surprisingly, it hasn’t moved as far as you might think – we were all impressed at how good this preamp sounds.

The first thing I noticed about the SP-3 was how quiet it was. When I’ve dealt with vintage amps and preamps in the past, there’s always a bit of noise that reminds you that you’re listening to something old, something tubed. This wasn’t the case with the SP-3. I was genuinely amazed at the utter silence, even with the volume knob turned way up. Once I started playing music, I was instantly treated to a warm, wet and slightly liquid presentation. While this sounds like a more typical description of vintage tube amp sound, I also noticed no loss of resolution and detail. In many ways, the SP-3 sounded very close to some of the finer contemporary tube preamps I’ve had in my system over the last couple of years.

I played a wide variety of musical selections with the SP-3 including Holly Cole, Thom Yorke, Primus and Midori. I even pulled out the soundtrack of Born on the Fourth of July, the one John Williams score that doesn’t overwhelm me with that Spielberg-like sense of false wonder and awe. The SP-3 excelled at spreading the string orchestra out in a panoramic manner, letting me hear separate groups of instruments interact and support the main theme of the lone, plaintive trumpet. With intimate jazz and chamber music, the SP-3 provided all of the transient detail and tonal accuracy I’ve come to expect of the finest equipment available today.

Where the SP-3 falls short (which you can probably surmise from my “intimate jazz and chamber music” comment) is in projecting deep, textured bass. The SP-3 ran out of juice when it came to delivering the lowest registers of Tony Levin’s Chapman Stick on the title track of Paula Cole’s This Fire. On “Black Swan” from Thom Yorke’s The Eraser, bass lines felt a little chunky and two-dimensional, especially when the volume was cranked up. Much of this information was successfully retrieved once I substituted a more modern and much more expensive preamplifier (our publisher’s Conrad-Johnson ACT 2/ Series 2) back into the system.  Still, the SP3 was very impressive and highly musical at all times.

Still, I can’t think of a single preamplifier in the $1000 to $1500 range that offers such a natural, involving and seductive sound. In fact, there aren’t a lot of new preamplifiers in this price range anymore since most audiophiles start to consider integrated amps once they drift toward this price point. Even at an asking price that’s now two or three times its original cost, the SP-3 is still quite the bargain. It also speaks volumes about ARC quality that this particular unit is running as strong and as sure as the day it was made. With more and more audiophiles turning to Chinese products in order to save a few dollars, it makes much more sense to go with a proven winner like the SP-3.  –Marc Phillips

With an 11-year production run that ended in 1993, the Nakamichi Dragon epitomized cassette-deck technology, and to many enthusiasts, it was considered the Holy Grail of what could be accomplished at 1 7/8 i.p.s.   A three-head deck with discrete heads for recording, playback and erase, it used Nakamichi’s NAAC auto azimuth correction to optimize playback azimuth on any tape played.  While some other Nakamichi models used an adjustable record azimuth, the Dragon concentrated on the playback domain.  This resulted in a Nakamichi deck that could play back tapes recorded on other manufacturers’ machines as well as doing a great job with pre-recorded tapes.

Alas, the Dragon ceased to be at the end of the analog age.  Soon after its introduction, the Compact Disc would arrive on the scene and shortly thereafter become the ubiquitous format of choice.  Either way, with a list price of $2,499 in 1982, this was truly a high-end machine.  I always wanted a Dragon, but its spell eluded me until just recently.

These days, the toughest part of keeping any tape machine running smoothly (or any piece of vintage gear for that matter) is finding a good tech.  With Nakamichi decks, there are no new parts being produced because the company disappeared into bankruptcy in 2002 after being acquired by a Chinese firm.  Fortunately, plenty of parts decks remain for sale on the internet, and there are a few acknowledged masters who keep the Nakamichi flame burning brightly.

Thanks to a suggestion from a friend, I found Willy Hermann of Willy Hermann Services.  You can find him on the web at:  www.willyhermannservices.com .  A life-long Nakamichi technician who also owned a few high-end retail stores, he now concentrates on Nakamichi and Krell repair.  Mr. Hermann was very helpful on the phone and gave me perhaps the best tip of all: “Pick one up that doesn’t work. They almost all need repair anyway, so don’t pay a premium price for a used Dragon.”  Fortunately, the person from whom I purchased the deck on eBay for $410 was willing to ship it straight to Hermann, after a little convincing that I wasn’t trying to pull an eBay scam on him.

Hermann’s service came to just under $600 and required six hours of his labor and about $40 worth of parts.  As it turned out, I had bought pretty much a basket-case deck; the record and play heads needed repair as well as most of the transport assembly. But I’ve heard of people spending more-than twice this much on a deck that still needed a going over.  If your heart is set on a Dragon, plan on spending $1,200 – $1,600 by the time you are done.  If you aren’t as adventuresome as I am, look for a deck on Audiogon that has been recently serviced by Hermann, and make sure they have all the paperwork.  It’s a lot like buying a vintage Porsche 356; you’re going to have to spend the money one way or another if you want it to run right.

A classic transformed

Hermann sent me a note when the Dragon arrived, and since I was buried with my duties here, told him not to rush the job.  Two weeks later, it arrived on my doorstep, packed way better than it did when it left the Nakamichi factory.  As I saw the care that was taken in packing this machine, any doubts I had about its performance began to fade  away.  After all, it was a little chancy to buy a relatively expensive tape deck from a stranger, ship it to another stranger, pay them both and hope all would turn out well.

But that’s what happened.  Once the photos were taken for this article, the deck was installed in my main system and connected directly to the single-ended outputs of the Audio Research Reference Phono 2 with the Oracle Delphi V/SME iV.VI/Koetsu Urushi Blue combination, and I recorded a few tracks.  The result was breathtaking.  On many levels, it rivaled open-reel performance.  Granted, when comparing the same track to my J-Corder Technics 1500 recorded at 15 i.p.s., the compact cassette gave up a little ground, but not much, especially with metal tape. The open-reel deck may have more image depth, but the Dragon has more-even bass response and remarkably smooth, extended highs.

I dug out a few pre-recorded tapes from my collection and cued up some Tangerine Dream, recorded on Cr02, and I was amazed by the results.  A number of non-audiophile friends couldn’t believe I was listening to a lowly cassette, and a pre-recorded one at that.  Our resident HMEC (human musical encyclopedia & collector) Tom Casselli sent me a MoFi recording of Dark Side of the Moon. “Dude, if you have a Dragon, you should be the keeper of this tape.”   Yeah, it was cool and now the hunt for a few more MoFi cassettes is on.

But making mix tapes is still the most fun thing you can do with a cassette deck.  A good music server makes this somewhat redundant, but if you have a substantial vinyl collection, it’s a great way to spend an evening with a glass of your favorite adult beverage and a pile of albums, figuring out just how many tracks you can fit on one side of a TDK SA 90.  If you’re really good, you can run music right to the end of both sides of the tape.  Just the way we did it back in the late ’70s.

A visit worth taking

In the past, cassette decks have left me cold, trading convenience for ultimate sonic performance. But the Dragon is in a class of its own.  I truly wish I had sprung for one when they were introduced instead of buying the CD player that my local HiFi dealer convinced me was the wave of the future.

Even though music servers have all but made the mix tape obsolete, there is still something special about planning out a few custom tapes that you create yourself.  If this sounds like fun to you, watch eBay for the Nakamichi you desire (I highly suggest a Dragon) and give Willy a call.  You’ll be glad you did.  -Jeff Dorgay

During high-end audio’s early days, power from AC lines was never suspected of gremlins. But like every other aspect of music reproduction, it, too, came under scrutiny. In the mid 70s, rumblings suggested the best sound could be had late at night—after most everyone had gone to bed.

Now, fast-forward a decade to the mid 80s, when Tice Audio power conditioners were considered state-of-the-art. However, for the most part, they were nothing more than high-capacity isolation transformers that solved some issues plaguing the AC line. Indeed, it was PS Audio that actually approached the problem from a different angle, but not until another decade later.

Instead of merely filtering the AC line in a passive mode, the company’s P300 takes the AC power and regenerates fresh AC by way of a DSP oscillator coupled to a high-current amplifier that essentially operates at one frequency. Utilizing high negative feedback—generally, a no-no for a wide-bandwidth power amplifiers but fine in this application because of the narrow bandwidth—results in freshly generated AC that, in comparison to what emanates from the outlet, remains relatively free of distortion. It’s a novel approach, especially considering that the P300 delivers balanced AC power known to minimize hum.

When introduced in the late 90s, the P300 had a maximum output capability of slightly over 200 watts. It was unable to work with a large power amplifier, or really any amplifier, for that matter. But if you plug your preamp and CD player (DACs or phonostages work too, as long as they have low-current demands) into the P300, the results are impressive. The change is akin to cleaning the picture window in your living room the morning after your uncle smokes his way through family game night.

Of course, the P300 sucks power. It’s like constantly leaving on a 300-watt light bulb. Still, there’s an unmistakable upshot in sound quality for source components. Just don’t overtax the P300, or it automatically shuts down. Connected to my vintage Audio Research SP-10 mk.2 preamplifier, the P300 delivers the goods. The noise floor is lower, with less grain through the audio range. The cumulative effect is similar to going from new, inexpensive Chinese tubes to a handpicked, matched set of NOS Telefunkens. Not bad for $500.

PS Audio continues to improve and upgrade the Power Plant series of power conditioners, and publisher Jeff Dorgay has its top P10 in one of his two reference systems. The newest design claims enough current capacity to run a large power amplifier, and plenty of additional features make it a dream to use, and our review is in progress.

But the P300 is where it all began. My pristine example cost $500 from San Diego’s Blackbird Audio Gallery (www.blackbirdaudiogallery.com) and is typical of the price a very clean P300 fetches on the used market, a testament to PS Audio’s build quality and product philosophy.

I always look forward to the arrival of houseguests.  And, as far as visitors go, the Sonus faber Venere 3.0 speakers make a great first impression—even before the music begins.

With these speakers, priced at $3,498 per pair, Sonus faber made some compromises, but did so without losing brand cred.  To achieve the speakers’ reasonable price, Sonus faber moved production offshore to China, in a factory closely resembling its Italian facility.  The 3.0s are the flagship of the Venere series, which abandons the classic Sonus faber look, borrowing instead the lyre-shaped cabinet of the company’s top-of-the-line Aida speakers.  The 3.0s are available with a glossy finish, in either black or white, as well as with a walnut-wood finish for an extra $500 per pair.

After escorting the speakers up to my listening room and unboxing them, I feel under-dressed in my T-shirt.  My review speakers feature white side panels, complemented by a black top and front.  I’m tempted to ask the speakers if they prefer their martinis shaken or stirred—the cocktail party music would soon follow.

You Look Maaaaarvelous!

Sonus faber describes the speaker as having a “lyre shape.”  I describe it as being shaped a bit like a pear when looking at it from above, with the narrow part at the back raised slightly.  The speakers are squared off at the front to create a flat plane for the drivers.  Ultimately, this combination of angles, curves and lines gives them a sculptural aesthetic—or perhaps a look similar to those of the robots in Bjork’s “All is Full of Love” video.  But let’s stick with the former descriptor.

The Veneres are sizeable floorstanders: about 4 feet tall, with enough room to house a silk dome tweeter, a 5-inch midrange driver and two 6-inch bass drivers, plus a rectangular port at the bottom.  The base is made of strong glass with aluminum connectors at the edges, where you affix the tapered, spiked cone feet.  This combination provides a solid anchor for the Veneres, but take note that the spikes are quite sharp at the business end; they will easily pierce carpet or leave noticeable scratches on your wooden floor—or your foot.  Consider yourself warned.

Two sets of binding posts facilitate bi-wiring or bi-amping, and the included jumpers make it easy for those of us with only one set of speaker cables.

Strike a Pose

Eager to see if the speakers’ sonic capabilities match their good looks, I begin the setup process.  The Veneres are fairly easy for one person to move.  I appreciate their 47-pound weight (as does my back) after having lugged my reference Piega P10 speakers out of their usual position, which is where the Veneres’ placement process begins.  After trying to fine-tune their placement in my 17-foot-by-20-foot listening space, I find that the starting point ultimately offers the best acoustics—about 4 feet from the back wall, 2 feet from the side wall, and about 8 feet apart.

After some toe-in experimentation, I determine that the Veneres require only a small amount for best imaging.  Like two polite and conversational party guests, the speakers are not too finicky about where they stand, and their oration inspires active listening.

The Best Of Chesky Classics & Jazz & Audiophile Test Disc offers some helpful tracks for speaker setup, demonstrating the ways in which surround sound can be simulated using a pair of speakers.  In one example, David Chesky walks around an omni-directional microphone tapping on a tom-tom drum.  In another example, the experiment is simulated using digital-processing technology.  When placed well, good speakers can make Chesky and his drum appear to travel a circular path around the listening room.  Very good speakers placed optimally can make it seem as if Mr. Chesky is walking behind the listening position, which is especially noticeable with the digitally processed track.  The Veneres prove very capable of this auditory illusion.

Start the Show!

Once optimized, I’m exciting to fire up the speakers—and am quickly impressed.  It’s clear that Sonus faber put its biggest investment into the Venere 3.0 where the money belongs: the sonics.

First of all, these speakers do a shockingly good job of extending the perceived width of the stage on which the musicians are playing.  Aimee Mann’s “One,” from the soundtrack to P.T. Anderson’s 1999 film Magnolia, starts very simply, with her voice front and center, which the Veneres render very well.  Later, with the onset of additional instruments, the song explodes out to each side of the soundstage.  The speakers manage to bring those bits of music around the edges of the room into the listening area.  The same is true with larger orchestral pieces, like Vivaldi’s “Four Seasons” concertos.  These speakers incorporate that broader stereo image seamlessly into my listening space, with sound floating beautifully around the room.

I will say that the front-to-back depth of the speakers’ perceived stage is limited, as one might expect from any speaker in this range.  Live at Luther College, from Dave Matthews and Tim Reynolds, is a great test for this, as individual audience members shout various requests and comments toward the musicians.  Elements in the distant of the recorded space seem pushed forward toward the plane provided by the Veneres.

While tight and tuneful in the bass registers, the Veneres do not dip below 38 Hz, according to Sonus faber’s specs, which is confirmed by my own test tracks.  Madonna’s “Drowned World/Substitute For Love” offers some very low notes, which are barely audible through the Veneres.  But for most people, especially those living in small spaces or condos, limited low frequency be a desirable characteristic to reduce late-night complaints from sleeping neighbors.  Those seeking very low, foundation-rattling bass punch may find the Veneres a bit light for their tastes.  For most types of music, the bass of the Veneres balances well with the overall mix.

I enjoy Portishead’s “Cowboys,” but the vocal effects in this recording can make Beth Gibbons’ voice quite fatiguing on an overly revealing system.  The song illustrates the Veneres’ extended but forgiving highs.  The speakers let the overall musical experience shine through, as opposed to drawing the listener’s attention to a single, hard vocal edge.

While some more expensive speakers reproduce more nuances, the Veneres tend to take the high road, as if you are sitting further back in the auditorium, where each onstage pick of the guitar, draw of the bow across the cello strings or squeak of the saxophone diminishes sonically over a distance.  For example, Beck’s “Lonesome Tears” features a single triangle strike with an extended ring; some of the immediacy, sparkle and ambient decay is lost with the Veneres’ reproduction, but they still do a mighty good job of it.

Here Come the Papparazzi

It’s obviously nor fair or helpful for you, the reader, to compare the Veneres to my Piega P10s, which start at $9,500.  In absolute terms, the Veneres give up some transparency, realism and detail compared to higher-end speakers.  But for $3,498, the level of balance these speakers offer is stunning.

Sonus faber’s voicing choices for this speaker are well thought out, being more musical than analytical.  The Veneres are well balanced for many types of music, including rock, classical and jazz, as opposed to exceling only at one genre.  They reproduce vocals wonderfully, bringing them to the front instead of recessing them into the mix.  The bottom line is that the price is right and the speakers provide countless hours of listening pleasure.

It’s very exciting to experience wonderful products like these, which can fit realistically into many audiophiles’ budgets.  It’s hard not to give the Venere 3.0 speakers an enthusiastic recommendation.  A few compromises aside, they offer very impressive audio performance.  Combining this with their attractive, modern look and bargain $3,498 price tag makes these a stellar value and very much worth your audition.

Additional Listening

By Jeff Dorgay

After spending some quality time with Sonus fabers flagship Aida, I found it very intriguing to see just how much of this lineage could be achieved in such a reasonably priced speaker.  All of the style cues suggest that this new speaker has come from the same brain in terms of style.  For those not intimately familiar with the top of the Sonus faber range, you’d be hard pressed to tell the Venere 3.0s were made in a Chinese factory—they are that good.

Instead of trying to make the speaker cover a wider range while sacrificing quality, Sonus faber settled for a bit less ultimate bass weight to help keep the range in top shape.  Unless you are playing Deadmau5 at club levels in a big room, I doubt you will find these speakers lacking.

The Venere not only has a heavy dose of Sonus faber heritage, it is also a nice balance between the warmer, more forgiving SF of old and the resolution that the Aida brings to the table.  The Venere’s 90-dB sensitivity rating makes the speaker an excellent match for just about any amplifier, tube or transistor with more than 25 watts per channel on tap.  Whether I mated the Veneres to the PrimaLuna ProLogue Premium power amplifier recently in for review, (35wpc/EL34 tubes) or my vintage Pass Labs Aleph 3 (30wpc/solid-state Class A), I couldn’t find myself ever requiring more power than this within the 13-foot-by-16-foot confines of room two.

This combination of beautiful sound, timeless visual style and high build quality wins the Sonus faber Venere 3.0 speakers one of our Exceptional Value Awards for 2013.  These are top performers in their price range.  Those wishing for a wood cabinet can step up to a walnut wood finish for $3,998 per pair.

The Sonus Faber Venere 3.0

MSRP:  $3,498/pair  (gloss white or black)

$3,998/pair (walnut wood)

www.sonusfaber.com (Factory)

www.sumikoaudio.net (U.S. distributor)

Peripherals

Speakers	Piega P10
Amplifier	Mark Levinson 335
Preamplifier	Coffman Labs G1-A
Digital Sources	Audio Research CD3 MKII    dCS Purcell processor    EAD 9000 MKIII DAC   Genesis Technologies Digital Lens
Analog Source	Marantz TT-15 with Clearaudio Virtuoso Cartridge
Cables	Jena Labs Valkyrie and Symphony interconnects    Jena Labs Twin 15 speaker cables
Power Conditioner	Running Springs Audio Haley
Power Cords	Cardas Golden and RSA Mongoose
Accessories	Mapleshade SAMSON racks and shelves    ASC TubeTraps    Cathedral Sound room-dampening panels

Space-conscious listeners love integrated amplifiers because they can route and amplify sound signals from a single box. And while audio purists often devoutly believe that separate preamps and power amps constitute the one true path to great sound, the distance between separates and integrateds has audibly narrowed.

Founded by Herman van den Dungen, a CEO with an extensive audio pedigree, PrimaLuna (“First Moon” for non-Italian speakers) entered the tube-gear scene in 2003. It currently merges sophisticated Netherlands design with cost-conscious Chinese production. Now, before you “Chinese audio products suck,” know that van den Dungen and company marketing executive Dominique Chenet demand quality.

Prima la Luna, Poi la Musica

The $2,299 ProLogue Premium integrated amplifier falls between ProLogue and  Dialogue integrateds. The “heft means quality” principle is operative, as witnessed by the 45-pound snatch-and-grab needed to lift the unit out of the triple box carton. Fit and finish are superb. From the silver facade (black is also available) to the attractive cage keeping the hot tubes safely away from curious fingers to the automotive-grade paint job on the transformer covers, this baby exudes class.

The front panel sports a volume control, source selector, and operation lights. A power switch resides on the left-side panel. On the right sits a tube selector switch for EL-34s, allowing 35 watts per channel (per the review sample) or 40 watts per channel with KT-88 tubes. The rear panel hosts speaker terminals for 4- or 8-ohm operation, four line inputs, one home-theater pass-thru, and a power receptacle/fuse holder. A slender but solid remote handles volume, source selection, muting, and playback for a PrimaLuna CD player.

Considerable coolness resides beneath the warm tube sockets housing four EL-34s and four 12AU7s. The Adaptive AutoBias, or AAB, circuit keeps tubes from misbehaving and protects the output stages. Additionally, there’s the BTI, or “bad tube indicator,” that detects tube malfunction, flags the offender, and powers the unit down until said tube gets replaced. A PTP, or “power transformer protection,” stops the party if the output power transformer overheats. This device is coupled with an OTP, an output transformer protection circuit. Given the wing-and-a-prayer security offered by some audiophile equipment, the ProLogue Premium is a component you could surely take into a hurt locker. Plus, for vinyl heads, PL offers an optional easy-to-install moving-magnet phonostage for $199.

Low-Frequency Slam, Dynamics, and More

Plug-and-play equipment is great in concept. Unfortunately, many such high-end adventures resemble trips down the Amazon after the local guide falls overboard and drowns. In this regard, the ProLogue Premium marks a refreshing return to civilization.

After removing the foam surrounds from the tubes, I hooked up my peripherals and speakers, and plugged everything in. Wait. Is that the sound of silence? Not to worry. PrimaLuna subscribes to an aptly named SoftStart feature that powers everything up very safely, but very slowly. Red panel lights give way to green panel lights and, in less than two minutes, it’s ready to go.

For the purposes of this review, the ProLogue Premium drove Totem Mani-2 Signatures, fortified with Nordost Frey bi-wire speaker cable. Sound sources included a PS Audio PerfectWave Transport and Mk II DAC, a Logitech Squeezebox Touch with USB drive, and an Oppo BDP-95 universal player. In my 15’ x 10’ x 8’ room, I settled back in an easy chair about eight feet away from the Totems, which rested on lead-filled Target stands.

After a week of break-in, I popped Mark Levinson’s demo Live Recording from Red Rose SACD into the Oppo. Enter “In a Sentimental Mood” flowing from Chico Freeman’s mellow sax and George Cable’s funky piano. Having sat in the same Red Rose show room where these performances were recorded, I assure you that the ProLogue Premium faithfully renders the music’s immediacy, right down to the reed movement on Freeman’s mouthpiece.

A high-res 96 kHz/24-bit download of Cat Stevens’s Tea for the Tillerman places the visceral guitar from “Wild World” right in my face and exposes the slightly veiled character of Stevens’ distinctive voice. Speaking of vocals, Diana Krall’s well-recorded Live in Paris contains a very, very good rendition of “A Case of You.” Krall’s sensual huskiness comes across convincingly, thanks again to the ProLogue Premium.

Larger-scale music arrived courtesy of a 176.4k/24-bit Reference Recording of Rachmaninoff’s Symphonic Dances, performed by Eiji Oue and the Minnesota Orchestra. The ProLogue Premium conveys the first movement’s low-frequency slam without running out of gas. Moreover, Bach’s Gigue Fugue, from the ultra-demanding Pipes Rhode Island, more than amply fills my modest-sized room with the dynamic sounds of the English Renaissance organ in St. Paul’s Church in Wickford, RI.

Is it Moon Glow or Memorex?

When comparing the ProLogue Premium with my reference unit, the Class A Pass INT-30A, the worlds of tubes and transistors seemingly converge. The Pass sounds non-solid-state and the Prologue Premium non-tube-like. The evaluation also shows how power ratings can be misleading, especially given the nominal five-watt output difference between the two amps. In recordings with heavier bass passages, like the Rachmaninoff disc, the Pass brings out more low-end oomph and overall space. In voice reproduction, a critical issue for testing audio gear, the ProLogue Premium behaves well, yielding little, if any, ground in warmth to the Pass.

The ProLogue Premium performs well beyond its real-word price tag. A hale and hearty pentode pumper, it’s well up to the task of keeping content my Mani-2 Signature speakers. Of course, before opting for such an amplifier rated on the lower side of the power curve, careful consideration must be given to room size, speaker sensitivity, and listening habits. Remember, 35 watts per channel can’t do everything.

Still, compared with other similarly priced products, the ProLogue Premium is considerably overbuilt. The onboard protection circuitry gives considerable ease to my concerns about tube equipment. Better yet, none of the proprietary protection circuits entered the picture during my evaluation, which should reassure any prospective owner that the integrated claims the reliability of most solid-state gear. Further reassurance against field failures comes via PrimaLuna’s tube selection. On average, the company rejects 40% of manufactured tubes—not due to defects but because they don’t meet the company’s high standards. The ProLogue Premium definitely meets mine.

Additional Comments

By Jeff Dorgay

Attention vacuum-tube amplification newbies and all other concerned parties: My first PrimaLuna Product, the ProLogue One integrated amplifier, is still going strong after almost nine years of constant play. It’s had an interesting trip, going from TONEAudio’s headquarters to our first music editor’s office (where it was rarely turned off) to my niece’s living room, where it still plays eight-to-ten hours a day. Other than a new set of EL-34 output tubes installed in 2010, it has run faithfully without as much as a hiccup.

Where the original ProLogue has a warmer overall sound overall, the Premium features more extension at both ends of the frequency range and more immediacy—thanks to the updated circuit and larger transformers. Having exchanged the EL-34s for KT88s and 6L6s, I prefer the tonality of the EL-34. In a modest-sized room with a great pair of mini monitors (I used the outstanding Penaudio Cenyas for my listening), this amp is all you need to rock the house.  Should your tastes veer more towards Van Halen than Vivaldi, the ProLogue Premium will please you.

Based on my 2004 review for the magazine, the original ProLogue received a Product of the Year Award from The Absolute Sound. The new Premium version costs more, but still offers an audio experience unmatched for the price. I’m happy to grant this integrated an Exceptional Value Award for 2012. Like the legendary tube amplifiers from McIntosh and Marantz, it’s an amplifier you can hand down to your family members through the years.

PrimaLuna Prologue Premium Integrated Amplifier

MSRP: $2299 (USD)

PrimaLuna USA

www.primaluna-usa.com

PERIPHERALS

Digital Source	Logitech Squeezebox Touch    PS Audio PerfectWave Transport/DAC (Mk  II)   Oppo BDP-95
Speakers	Totem Mani-2 Signature     Silverline Audio Minuet Supreme
Power Conditioner	Running Springs Audio Elgar
Cables	Nordost Valhalla    Nordost Frey
Power Cords	Nordost Valhalla    Nordost Brahma    Nordost Vishnu

When Peachtree Audio brought out their Decco amplifier/DAC combination three years ago it was an amazing product for $800.

It featured a 50wpc integrated amplifier with a tube in the input stage to add a little bit of warmth to its basic 16/44 DAC smoothing out some of the digital grunge. It featured a slot on the back for a SONOS controller and a decent headphone amp on the front panel. Anyone wanting a basic system only needed to add a digital source, some inexpensive speakers and voila! Instant HiFi. The sound quality was excellent for the price point but if you moved up on the speaker food chain, you could hear the limitations of the Decco pretty quickly.

The guys from Peachtree didn’t let the initial success go to their heads with their sophomore effort the NOVA. At first glance it looks almost identical to the Decco, but it has been improved in every way. This is a serious piece of HiFi gear, folks.

The amplifier’s power has been upped to 80 watts per channel and they kept the tube in the preamplifier, offering you the option to switch it out of the circuit, running the amplifier all solid-state. It uses a single 6922 and for the life of me I wouldn’t know why you would want to do remove it from the signal path, because it still adds a welcome touch of warmth and body. If you swap that 6922 for a vintage NOS Mullard, the NOVA takes another big step in the musicality department and one exotic tube won’t break the bank. But the switch it is a very cool convenience feature, if you just happen to blow a tube late one evening and don’t have a spare you can just push the button on the remote and you are back in business. A very nice touch.

The outer case of the NOVA is available in a gloss black, rosewood or cherry finish. Our review sample came in cherry and was very attractive. When powered up, the NOVA’s power button glows red until warmup, then becoming blue, with whatever input you’ve selected pulsing with a blue glow until the signal is playing. The buttons have a damped feel to them, but the volume control feels somewhat benign. Of course none of this will matter if you use the handy remote control, and at this price level, I’d rather see a manufacturer scrimp in the feel department to maximize the sonic capabilities and that’s exactly what has happened in the NOVA.

Very versatile, plenty of inputs

The NOVA has three sets of analog inputs, with one of them switchable as a HT pass through, a pair of RCA S/PDIF digital inputs, a pair of Toslink digital inputs and a USB input. There is a fixed level output and a variable output, which allows you to use a powered subwoofer with the NOVA or just use it as a preamplifier, feeding a different power amplifier. There is one pair of speaker outputs, with the standard Chinese plastic coated binding posts. I’m not a fan of these but on a $1,200 integrated I can certainly live with them.

The slot for a Sonos still exists and I can’t think of a better match for a Sonos system than the NOVA. This has to be the most painless way to ingrate a music server into a 2-channel system. The front panel features a standard ¼-inch headphone jack and offers first class sound. I had the opportunity to use the new Sennheiser HD 800’s and was very impressed with the NOVA’s performance on a pair of headphones worth more than the NOVA itself! For the headphone listeners in the audience, I had no problems driving my Grado GS1000’s, Sennheiser 650’s and AKG K701’s; the NOVA’s headphone amplifier is very versatile.

However, the NOVA’s digital versatility was what impressed me the most. Using the budget Pioneer 563 and a Marantz Pearl K1 CD players as transports, I also had the Wadia 170i and a Mac Book Pro connected to the NOVA to give it a thorough workout.
The NOVA has taken the biggest step up from the Decco in the DAC department, now featuring the ESS 9006 chips from SabreDAC, the company that supplies McIntosh with the 9008 chips used in their MCD 500. Those expecting the performance of the Mac for $5,000 less will be disappointed, but if you are looking for a very musical DAC with an integrated amplifier thrown in, you will be pleasantly surprised.

Thanks to the analog inputs, I spun some records as well, adding the Cambridge Audio 640P and my modded Technics SL-1200 to the mix, again proving what an excellent all around achiever the NOVA is. Thanks to this flexibility, the NOVA should be able to cover any future expansion plans you have for your system.

The Sound

I started my listening sessions with the NOVA with my recently acquired set of Spica TC-50’s because they offer incredible performance for the dollar (If you can find an unmolested pair) and possess a degree of resolution that you’d be hard to match with today’s’ budget mini monitors under $1,500 a pair.

If you’ve been around the HiFi world for a long time, you might remember when the NAD 3020 integrated amplifier hit the scene. For about 200 dollars, it was amazing in it’s ability to offer serious high quality sound for such a low priced amplifier and held its own with separates costing a lot more. Perhaps the (highly overused, these days) phrase “giant killer” came from reviewers listening to that famous little integrated. The NOVA does well to hold up this tradition.

To round out the review, I used a number of monitors from KEF, Snell, ProAc and Harbeth to investigate the amplifiers’ performance with more upscale speakers before the NOVA ended up in my living room system, paired with the ZU Essence speakers. The Zu’s are a little unfair because they have a sensitivity of almost 100db, so most anything can push them to way more than adequate levels, but they are an excellent reference because they are so detailed and offer great midrange tonality. If an amplifier is going to fall down, the Zu’s are merciless at revealing its shortcomings. Again, I was highly impressed with the combination and pairing the NOVA with the Zu’s provided incredible dynamic range. The NOVA is much cleaner sounding throughout the range than its predecessor and the extra power goes a long way to make it compatible with a much wider range of speakers.

The NOVA worked particularly well with ERA’s D5 mini monitors (also available from Signal Path International) and at $995 a pair, makes a pretty unbeatable combination. There’s no way you can get close to this level of sound quality at a mass market shop for $2,000. Watch for an upcoming review of the D5’s.

After extensive listening, all of the NOVA’s sins are those of omission. It could certainly use more refinement in the highs and control in the lows. But then it would cost $4,000. The difference between the NOVA and the higher priced gear is in the fine details. When listening to solo piano or violin recordings, the extreme highs became somewhat brittle and the level of tonal richness that you would expect with higher priced gear was absent.
Also, overall soundstage shrunk compared to the MCD 500 or the Marantz Pearl. This was expected though, as these players are $6,000 and $3,000 respectively.

When comparing the NOVA with an inexpensive transport to a number of CD players in the $800-$1,200 range, it was consistently as good or better. The minute you switch to Pearl Jam or Yello, your worries will disappear.

Well worth the pricetag

And remember, you are getting a preamplifier, headphone amplifier, power amplifier and DAC for $1,200! I dare you to come even remotely close for twice this amount of money with separate components.

While the NOVA was an exceptional performer no matter which way I used it, I think the killer application is as the hub of a computer based playback system, because the NOVA’s USB implementation is excellent. I enjoyed this amplifier the most when playing uncompressed WAV files from my Mac Book Pro. With the low price G4 Mac Minis are fetching on eBay, you could build a complete music system that you could control from your iPhone for peanuts. A Squeezebox would also be an excellent choice.

Playing within its abilities, the NOVA will never cease to amaze you.

The NOVA is an outstanding value

The Peachtree NOVA offers so much performance and versatility for $1,195 that it is more than worthy of one of our Exceptional Value awards for 2009.

Whether you are an audiophile on a budget, need a great second system or are sending your kids off to college; anywhere you need high performance audio without a stack of components, the NOVA is the best suggestion I can make. I’ve never used the word best in TONEAudio’s history, but this is one of the best budget HiFi components I’ve  had the pleasure of using. – Jeff Dorgay

The Peachtree Audio NOVA

MSRP: $1,295

Manufacturers Information
Signal Path International
909-309-4884
www.peachtreeaudio.com

Peripherals

Digital Sources Pioneer 563, Marantz Pearl K1 CD player, McIntosh MCD 500 CD player, MacBook Pro, Squeezebox, QSonix music server, Wadia 170i

Analog Source Sound HiFi Technics SL-1200, Cambridge Audio 640P, Sumiko Blackbird

Speakers Zu Audio Essence, Harbeth Monitor 40.1, ERA D5, Spica TC50

Cables Audience AU24 S/PDIF digital cable, Zu Libtec Speaker cables, ED 422 interconnects

Accessories Shunyata Hydra 2 power conditioner, Shunyata Venom power cord¬¬¬¬

A common view among some more senior digital audiophiles (those that remember the CD spinners of the 90s) is that newer delta-sigma (single bit) chips can’t reproduce the rhythmic impact and dynamics of their multi-bit forerunners.

Mention multi-bit in the right company and words such as ‘analogue’ and ‘smooth’ get bandied around.  A surge in delta-sigma implementations means that such multi-bit DACs are beginning to fade from mainstream consciousness.  Whilst the audible magic isn’t just in the chip itself – there’s power supply and output stage to consider – there might be some truth to the superior ‘rightness’ to DACs that sport, say, a Philips TDA1541 or a Burr-Brown PCM1704.

A New Player in the Digital Arena

Kowloon-based Audio-gd might be new to some readers. They are one of several emerging Chinese manufacturers who have taken the slow boat to reputation building.  The design ethos of chief engineer He Qinghua (“Kingwa”) is empathically ‘old-school’.  Pop the lid on any one of his products and you’ll be exposed to the work of man obsessed with power supply quality.  He’s also a keen proponent of the decoding chips of yesteryear.  Texas Instruments’ PCM1704 forms the nexus of his higher-end (<US$2000) designs.  Despite a brief flirtation with ESS Sabre models, Audio-gd’s cheaper DACs (<US$1000) rotate around a Wolfson WM8741 axis.

Audio-gd’s (8 x PCM1704) flagship Reference 7.1 DAC still wows with snap-attack micro-dynamics and tonal beauty; something that often eludes many delta-sigma designs, especially at sub-$1000 price points.  Delta-sigma chips are presumably chosen by manufacturers for their lower production-cost impact and on-silicon extras (e.g. up-sampling, filtering, volume control).  Audio-gd has infiltrated this space also. In Australia at least, Kingwa’s NFB-2.x has long been seen as the go-to digital decoder for five hundred bucks.  A crown that has only been recently challenged by Schiit’s Bifrost.

The Reference 10.2 DAC/head-amp/pre-amp is new for 2012. It runs with four slabs of PCM1704 multi-bit silicon. Two per channel for a fully balanced topology.  Right off the bat, this unit’s panache with pace, timing and rich tonal colours (as per the Reference 7.1) is easy to pick. However, with an absence of (fixed) line-out connectors, pre-amplifier and DAC stages are fully inter-twined to feed *variable* single-ended or balanced outputs as well as Audio-gd’s own current-domain ACSS connectivity.

A switch on the rear allows the use to specify linear (70 steps) or exponential (99 steps) volume attenuation as well as volume setting memory; useful if you have sources of varying loudness.  The pre-amplifier adds a maximum of 13db gain with 0db points are located at 46 (out of 70) or 65 (out of 100); useful for running in DAC-only mode.

The brushed aluminium chassis is as deep as it is wide, rounded corners being the only aesthetic concession to lift it beyond the rudimentary. You’re not paying for exotic casework here.  Neither are you paying for a deluxe remote control – it’s a fairly standard aluminium billet. Peeking inside: an R-core transformer feeds each of the three fenced-off subsections: left channel, right channel and digital (which bowls down the middle). The Altera Cyclone II chip handles digital filtering (“DSP-1, Version 5”), data re-clocking and – therefore – jitter minimisation. Connected to this CPU-esque square are jumpers for setting over-sampling options (2x, 4x, 8x or NOS).  A DIR9001 receiver board handles S/DPIF inputs of up to 24/96 but the TE8802 receiver board from Tenor is the new star of the digital input show: it’s asynchronous, USB Audio Class 2.0 and handles up to 24/192 – but drivers for both OS X and Windows are a must. Prior to installation on a Snow Leopard-y 2010 MacMini audio consistently crapped out after 10 seconds of playback, Once installed, audio ran seamlessly from both the aforementioned MacMini and 2011 MacBook Air (Lion)

Multiple Inputs

All too often with boxes like this USB ends up playing second fiddle to a good quality S/PDIF feed. For many multi-input DACs even a modest USB-S/SDIF convertor will best the sound quality of the in-built USB port can muster.  Improvements usually present as a more effortless presentation and less evidence of ash-tray grey in the treble.  Whilst the Reference 10.2 is no exception, the Tenor board is a sign that in-built USB (done right) can get close to its neighbouring S/PDIF input. In a broader sense it’s encouraging to see a manufacturer taking USB seriously.

However, end users of even this Audio-gd unit are still advised to go with a good USB-S/PDIF convertor if they want to drag the VERY best from their source PC/Mac. In my listening tests either a JKSPDIF MK3 and Empirical Audio Synchro-Mesh were required to juice the most vivid presentations of Lampchop’s Mr. M from MacMini and Squeezebox Touch respectively.  Both set-ups bested the Tenor USB implementation with jumpier micro-dynamics and broader believability.

My world vs your world. With a fresh copy of Music On Vinyl’s 180gm re-issue of Bowie’s Heathen on the turntable, a digital vs vinyl stand-off was set. Could the analogue-fancier’s favourite DAC chip hold a candle to a most modest vinyl rig (Ortofon Blue + Rega RP1 + PSAudio GCPH)? The latter was hooked into the first of two line single-ended inputs on the rear of the Audio-gd.  An Empirical Audio Synchro-Mesh and Squeezebox man-handled the FLAC rip.  Chris Sommovigo’s Black Cat Morpheus interconnect and Silverstar digital interconnect stitched it all together.
The digital take on opener “Sunday” is emphatically more dynamic, wider of staging and more three dimensional.  Conclusive winner? Not quite. On vinyl, this emotionally-detached Bowie album comes across as softer and more supple of musical joint. The Audio-gd pre-amplification injects a soupçon of effervescence into the RP1, which can at times sound top-end-neuterered when heading source-direct into the Audio EL34 amplifier.  Think Audion single malt with a squirt of Audio-gd soda.

Comparisons

What about digital vs digital in the headphone space?  As a standalone DAC/head-amp, the CEntrance DACMiniPX’s sound is shinier, more chrome-polished than the Chinese unit.  The American serves up more room ambience and transients run with more bite.  The Audio-gd doesn’t wear such flashy pants.  Instead, it takes the listener by the hand through darker, smokier rooms. That’s not to say it is at vague with detail retrieval.  It isn’t.  Typical of other multi-bit/delta-sigma DAC showdowns, the Audio-gd is more unassuming; it doesn’t shout about what it’s found.  Quick-switch A/B comparisons between CEntrance and Audio-gd might lead the more impatient listener to favour the former.  The Audio-gd demands more time – only after several weeks of listening do it talents begin to unfurl. Think of the darkest chocolate demanding a more mature palette for better appreciation of its higher cocoa (and less sugar) content.

Working as a standalone decoder, the DACMiniPX line-out was then lassoed to the second line input of the Audio-gd DAC/Pre-amp. A predictable sonic half-way house was reached: the DAC detail sparkle of the American mixed infused with the richer-flavoured Chinese headphone stage.  Kingwa’s power supply delineation – one R-core for each of channel and one for the digital stage – is exceptional at this price point. This is not not to downplay what Michael Goodman achieves with 19V of switch-mode juice but to marvel at what can be achieved with a dedicated Chinese production facility aiming for a sticker of under US$2K. It’s abundantly clear why both companies have a formidable reputation amongst more seasoned head-fi-ers. I could live with either unit as daily headphone amplifier.  Both handle AKG K-702s with aplomb – something you can’t say about many rival all-in-one units.

Consider the Audio-gd if your current headphone experience borders on the overly-bright or if you want to dig deeper into the mix with a balanced connection. Having said that, the balanced topology of this amplifier means even quarter-inch-ers benefit.  Furthermore, if you’re op-amp reluctant or have cans that are a more challenging drive, the Reference 10.2 could also be for you. This fully discrete headphone stage’s output is specified as furnishing 6000MW into 50 ohm, 3500MW into 100 ohm, 1200MW into 300 ohm and 600 MW into 600 ohm. The Reference 10.2 combines the bleach-clean signature of Audio-gd amplification with the caliginous detail trawl of their top-of-the line DAC. A classic car augmented with go-faster stripes. Sound incongruous? Nope. What we hear is neutrality that’s not tainted by synthetic glare. A digital swiss-army-knife front-end that sounds anything but artificial.

It’s easy to be impressed with trophy hifi. Or showroom demo theatrics. Audio-gd won’t allow for either. I’ve yet to hear a multi-bit-chipped DAC that I didn’t enjoy.  With knockout power regulation as much a part of the recipe, the Reference 10.2 is no exception. It gently nods to the empirical rumblings and ramblings of old timers. That Kingwa can bundle in fully-balanced preamplifier and headphone amplifier for less than $2k renders this black box a serious contender from the fringes of mainstream choices.  If you can live with the prosaic casework and have no need for home theatre bypass it offers a genuine alternative to the ESS Sabre-chipped offerings. Furthermore, Audio-gd’s promotional copy is free from unfulfillable jitter-destruction promises.  It puts its sound where its promotional mouth should be and it scores pretty much every time you listen.  -John Darko

Pub Note:  For more of John Darko’s insightful audio reviews, visit his site – Digital Audio Review

The Audio-Gd Reference 10.2

MSRP:  $1,850 (USD)

Manufacturers Information:

www.audio-gd.com

Peripherals

2010 MacMini / 2011 Macbook AirSqueezebox TouchEmpirical Audio Synchro-MeshJKSPDIF MK3Rega RP1PSAudio GCPHAudion EL34 Sterling power amplifierCEntrance DACMiniPXZu Omen bookshelvesProAc Tablette Reference 8AKG K-702

Cabling

Black Cat Silverstar digital interconnectBlack Cat Morpheus interconnectGrave Science speaker cableQED USB cable

Cheaper DACs usually come with a slightly bitter spoonful of compromise. Manufacturer budget constraints mean less-effective jitter immunization or weaker power-supply regulation. Such shortcuts frequently tinge a DAC’s sound with a metallic edge, most easily heard on the decay of a cymbal strike or lilt of a piano. That natural shimmer present via more expensive models just isn’t there. In ultra-budget conversion boxes, soundstaging shrinks or inner-detail retrieval doesn’t plunge as deep. One must find the compromise with which they can live.

The Bifrost is the first of three DAC models coming from California’s Schiit Audio. Co-founders Mike Moffat and Jason Stoddard already weathered heat in audio forums due to their DAC’s FAQ page, on which they opine that USB-fed digital audio is McDonald’s in a world of healthier burger choices.

That said, they’ve taken the time to create a unique USB board for the Bifrost. It offers asynchronous transfer and handles up to 24/192. USB connectivity on the $349 baseline Bifrost is a $100 option at time of ordering, or $150 at a later date. And Schiit’s modular design approach means that any forthcoming DAC board upgrades can be retroactively fitted.

Inside, there’s no sample-rate conversion in the conversion recipe, and the chip choice—AKM 4399—is none too common. As evidenced by its established range of headphone amplifiers, Schiit takes pride in doing things its own way. Mavericks that dig the humor in flippancy? Perhaps.

My experience with numerous budget DACs mirrors the duo’s mirth toward USB audio transmission. All other things being equal, a budget DAC’s USB implementation isn’t as nourishing as its S/PDIF neighbor. Given both choices on a rear panel, I’ll run with the latter every time, even if doing so means spending additional dollars on an alternative transport or DDC. USB connectivity is little more than a handy convenience.

The Bifrost shows an even temperament across the frequency range; nothing stands out. It leans towards warmer sonic climes. Contrary to its tundra-evoking name, this new Schiit is more chili than chilly. Simple, clean cymbal strikes close each verse of The Rakes’ “Retreat,” but by way of the Bifrost, the music comes on as flavorful British indie-rock without the aluminum aftertaste. And a thicker mid-bass guitar and bass mulch keeps “Strasbourg” chugging, while Alan Donohoe’s boorish delivery never overbears during the shouty chorus.

Compared to my current king of the entry-level hill, the Audio-gd NFB2.1, Schiit’s debutant fares surprising well. It’s much easier to listen to for longer periods than its Chinese rival. The American contestant also wins on aesthetics and overall build quality—proving it’s possible to make something good, and for cheap, without having to off-shore the manufacturing process.

Under the Schiit’s command, pebbled smoothness underscores the languid seduction of Lana Del Rey’s debut EP. Indeed, the Bifrost is distinctly more laidback than the Audio-gd. On “Video Games,” the NFB-2.1 pushes a hint of caffeine into the upper registers of Del Rey’s mostly laconic delivery, translating into crisper transient definition of her inhale/exhale.

Schiit’s presentation also shows more connective tissue than the NFB-2.1; there are fewer spatial cues. If this DAC stand-off took place in the amplifier space, the Schiit would likely represent a tubular faction. Greater congeal means more forgiveness of poorer recordings and greater overall body. The thick synth lines underpinning Phones’ remix of The Rakes’ “Retreat” impact with more squelch than via the Chinese entry. The two units are pretty much matched for detail retrieval, with the Audio-gd stealing the lead with ambient decay.

Going back-to-back against the Schiit using Bjork’s “Hyperballad,” the NFB2.1 occasionally loses upper-mid composure. The Bifrost is kinder, warmer, softer. It also digs deeper into the lower bass notes. The Audio-gd box displays keener momentum, but is hampered by a tinge of brittle harshness when handling Bjork’s enthusiastic vocal turns. If the Audio-gd channels Jayne Mansfield, Schiit mainlines Marilyn Monroe. The former’s edginess is more arresting, the latter’s curvaceousness more seductive.

With a JKSPDIF MK3 turning USB into S/PDIF during these listening sessions, the latter still bests Schiit’s bespoke USB implementation. No shame in that. To their credit, Stoddard and Moffat narrow the quality gap between said input options. Performance disparity—transparency, tonal density, instrumental separation—between USB and S/PDIF (coaxial) isn’t as wide as with my other daily unit (a Rega DAC). The Rega’s sound connotes ectomorphic physique: lean, sharp, alert. The Schiit takes an endomorphic approach: rounded through the waist with a more obvious rear-end (ooh, matron!). The Bifrost’s treble errs more toward humid summer morning whilst the Rega’s cooler, damper autumn afternoon might be better suited to those already running tubes further down the line. The Rega works honeycomb crunch at its chocolate center, the Schiit yields praline and caramel.

For listeners that enjoy a warmer musical bath or whose setup is already (over)-enthusiastic at the top end, the Bifrost could well be the DAC to obtain. It doesn’t suffer the usual—and sometimes predictable—sonic compromises commonly found at its price point. Moreover, it isn’t better or worse than the Audio-gd; just different. And this distinction is a strong selling point.

As such, Schiit’s Bifrost concisely reveals there’s more than one route to happiness on the budget DAC trail. Additional applause goes to Stoddard and Moffat for making it all happen at a USA-based manufacturing facility. Excellent work, chaps.

You can read more insightful reviews from John Darko here:

The Schiit Bifrost DAC

MSRP:  Starting at $349

www.schiit.com

In an audiophile world where individual components have five (and sometimes six) figure price tags, the concept of being able to get a preamplifier and a pair of 200-watt mono amplifiers that use discrete circuitry instead of just being Class-D for under $1,200 is refreshing. You may have guessed that such components are manufactured offshore and sold direct to you from the manufacturer; both methods are necessary to keep costs down to this level. However, due to the high praise that greets Emotiva products, it appears that the company makes quality control a main priority.

The USP-1 preamplifier fetches $499 while the 200-watt-per-channel UPA-1 monoblocks cost $349 each. Popping the top on both components reveals beefy power transformers, large capacitor banks, and tidy construction throughout. No massive film capacitors, fancy wire, or mega-expensive binding posts—simply well thought-out components that are consistent with their design goals.

Both pieces also sport no-nonsense features. Each has more than adequate inputs and outputs, along with 5-12v. trigger inputs for remote access, etc. The power amplifiers have two sets of reasonable binding posts while the preamplifier boasts a decent headphone amplifier, internal LF crossover for use with a powered subwoofer of your choice, and a phonostage capable of MM and MC operation.

Subwoofer and HT-Ready

The UPA-1s had more than enough power to drive any of the speakers at my disposal, and the USP-1 preamplifier comes with an adjustable low-pass and high-pass filter for those using smaller satellite speakers that have limited LF capability. This can also prove handy for listeners wanting to use a powered subwoofer with a lower-power tube amplifier with their main speakers. I followed that very scenario with the CJ MV-50C1, which I used to power Polk Audio TL-3s and Paradigm Millennia One speakers (both currently in for review). Rolling off the output at 100Hz and passing that to the CJ relieved the tube amplifier of heavy lifting. I passed the LF information to a MartinLogan Grotto i subwoofer, making for an incredible sub/sat system.

I came away highly impressed at the preamplifier’s versatility. In addition, the USP-1 also offers a pair of bypass outputs for use in a multichannel home theater system. So, if you don’t currently operate in the multichannel realm, you won’t have to eliminate the USP-1 to integrate your two-channel system should you expand at a future date.

Easy Listening

Talk about a quick and easy setup. Using AudioQuest Columbia interconnects, Rocket speaker cable, and a set of Shunyata Venom 3 power cords, I was rolling in about 15 minutes. The rear panels of all three components are well labeled, so you should have no trouble hooking everything up sans the assistance of the well-written manual.

While the out-of-the-box sound was good, the system sounded smoother after being powered up for 24 hours. Once power cycled for 48 hours, the UPA-1 required about an hour for the sound to fully stabilize. As it was barely warm to the touch, I kept the trio powered up at all times to net the best sound. Those feeling slightly more environmentally conscious may want to consider leaving the amplifiers off between listening sessions. The preamplifier only requires 30 watts, so it’s worth leaving on.

Aces the Fundamentals

To stack the deck against the Emotiva combination, I began my listening sessions with the B&W 805Ds. These moderately efficient 2-way speakers are heavenly but highly resolving. The diamond tweeter reveals any inadequacies in equipment that drives them. The 805Ds made such a great match with the Emotiva components that, after experimenting with a few other speaker systems, I kept them in the system for the duration of the review. The UPA-1 amplifiers drove all of the other speakers we hand on hand for our budget gear issue (Issue 38), including the power-hungry Magnepan MMGs.

While not the equal of my reference Burmester 911 mk. 3 monoblocks, the UPA-1s did a respectable job driving the $150,000 GamuT S9s—very impressive for a $700 pair of amplifiers. Playing “Baltasaurus” from D.F.A.’s 4^th at a fairly high level, as well as “Euthanasia Waltz” from Brand X’s Livestock, I was instantly struck by the Emotiva’s ability to keep the pace intact while playing complex musical passages at moderately high listening levels. When pushed too hard, the UPA-1’s quickly soundstage collapsed. Still, the volume was quite high, and the GamuTs only have 88db sensitivity. With more efficient speakers, you should be able to rock out to your heart’s content before running out of amplifier power. Those needing brain damage levels would be wise to consider Emotiva’s 500-watt monoblocks.

Taking a Spin

The USP-1 offers an onboard MM and MC phonostage, which is somewhat unbelievable given its price. Remember, these days, $500 will get you a mid-grade power cord at many other places. Doing some quick comparisons with the Rega RP1 turntable and its associated performance pack upgrade yielded great synergy. And as switching to my Cambridge 640P and NAD PP3i revealed, the USP-1’s onboard stage is easily the equivalent (and perhaps slightly more resolving) of these $200 standalone counterparts.

While most vinyl enthusiasts will probably opt for a MM cartridge that stays within the parameters of a budget system, the USP-1’s MC performance ranks above average. The somewhat low output (.25mv) Denon DL-103R proved an excellent match.  There is only one loading option (240 ohms) and gain is fixed (no level specified), but it should work just fine for most available entry-level MC cartridges. Both inputs offered a quiet background and enough dimension that one could still hear a meaningful difference between analog and digital with comparably priced source components.

More Comparisons

My experience with acoustic and vocal music found it fairly well reproduced, yet these are areas where big-bucks gear leaves budget stuff in the dust. Listening to TONEAudio cover girl Keren Ann’s latest record, 101, it became obvious that there were textures and that prized third dimension that the Emotiva gear couldn’t bring to the table. These shortcomings were the combination’s only real limitations and, again, at this price level, tradeoffs are a reality. A PrimaLuna ProLogue integrated will give you more midrange depth and texture, and the Rega Brio-R possesses more resolution, but these amplifiers are 40 and 50 watts per channel, respectively. Obviously, 200-watts-per-channel allows for a much wider range of speaker choices.

Even when using the Klipsch Heresy IIIs, the difference in sound quality between the Emotiva triplets and Simaudio Moon 600i (reviewed last issue) wasn’t subtle; the Moon gear claimed a clarity that the budget separates could not match. But a quick comparison to a $1,200 Yamaha integrated amplifier purchased from Best Buy proved the opposite. The Emotiva gear won out on all levels, providing a much more lifelike perspective of the music than the comparably priced mass-market box.

The UPA-1s always mustered a lot of grunt on the low end as well. The amplifiers admirably captured the weight and texture of the bass lines in “Dragonaut” from Sleep’s Holy Mountain, as well as some of my favorite Snoop Dogg tracks, controlling the woofers in whatever speakers I employed. Such music really demands extra amplifier power, and the UPA-1s did not disappoint.

Musically Engaging

After putting the Emotiva USP-1 and UPA-1 through rigorous listening sessions, I have to admit that the set comprises some of the most musically engaging amplification I’ve heard for around a thousand dollars. And if you aren’t as impressed with it as me, Emotiva offers a 30-day return policy. It’s impossible to go wrong.

Okay, you’ll either love or hate the blue glow, but beyond that, there’s nothing to complain about. This gear offers up neutral tonality, great dynamic range, plenty of power, and an abundance of truly useful features. If I were starting again from the beginning, the USP-1 and UPA-1 would serve as my system’s core. Add your favorite $500-$1,500 pair of speakers, a $500 turntable, a DAC, and you’ve got a system that rocks for a few thousand bucks. (I’m really looking forward to listening to Emotiva’s flagship monoblocks; if the company can turn out a product of this caliber for $350, what they can do for $1,000?)

I can’t stress it enough: This combination does not make a single misstep. Sound quality is excellent, and the pricing is amazing. Ten years ago, Chinese-made audio carried a stigma of poor build quality, shoddy finish, and subpar sound. About eight years ago, PrimaLuna came on the scene and set the gold standard for Chinese manufacturing with its line of vacuum-tube amplifiers. After listening to these components, it’s safe to say that Emotiva is well on the way to doing the same with solid-state electronics.

No, $1,200 won’t get you a $60,000 Burmester amplifier and preamplifier. But what you do get is solid build quality and great sound. Just as I was ready to award the USP-1/UPA-1 combo one of TONEAudio’s Exceptional Value Awards for 2011, a glance at the company’s Web site yielded yet another pleasant surprise in the form of a temporary price drop: The USP-1 currently sells for $399 and the UPA-1 monoblocks for $299. Factor free shipping into the equation, and there’s not a better entry point into high-end audio.

Emotiva USP-1 Preamplifier and UPA-1 Amplifiers

MSRP:  USP-1, $499 (currently $399); UPA-1, $349 each (currently $299)

Manufacturer:  www.emotiva.com

Peripherals

Analog Source            Dual 1219 w/Grado Red cartridge, Rega P3-24 w/Denon DL-103 cartridge

Digital Source                        BelCanto CD2

Speakers            Klipsch Heresy III, Magnepan MMG, Magnepan 1.6, MartinLogan ElectroMotion, B&W 805D, GamuT S9

Cable            AudioQuest Columbia I/Cs, AudioQuest Rocket Speaker Cables, Shunyata Venom 3 power cords

Accessories                        Running Springs Elgar Power Line Conditioner

When Peachtree Audio brought out their Decco amplifier/DAC combination two years ago it was an amazing product for $800. It featured a 50wpc integrated amplifier with a tube in the input stage to add a little bit of warmth to its basic 16/44 DAC smoothing out some of the digital grunge. It featured a slot on the back for a SONOS controller and a decent headphone amp on the front panel. Anyone wanting a basic system only needed to add a digital source, some inexpensive speakers and voila! Instant HiFi. The sound quality was excellent for the price point but if you moved up on the speaker food chain, you could hear the limitations of the Decco pretty quickly.

The guys from Peachtree didn’t let the initial success go to their heads with their sophomore effort the NOVA. At first glance it looks almost identical to the Decco, but it has been improved in every way. This is a serious piece of HiFi gear, folks.

The amplifier’s power has been upped to 80 watts per channel and they kept the tube in the preamplifier, offering you the option to switch it out of the circuit, running the amplifier all solid-state. It uses a single 6922 and for the life of me I wouldn’t know why you would want to do remove it from the signal path, because it still adds a welcome touch of warmth and body. If you swap that 6922 for a vintage NOS Mullard, the NOVA takes another big step in the musicality department and one exotic tube won’t break the bank. But the switch it is a very cool convenience feature, if you just happen to blow a tube late one evening and don’t have a spare you can just push the button on the remote and you are back in business. A very nice touch.

The outer case of the NOVA is available in a gloss black, rosewood or cherry finish. Our review sample came in cherry and was very attractive. When powered up, the NOVA’s power button glows red until warmup, then becoming blue, with whatever input you’ve selected pulsing with a blue glow until the signal is playing. The buttons have a damped feel to them, but the volume control feels somewhat benign. Of course none of this will matter if you use the handy remote control, and at this price level, I’d rather see a manufacturer scrimp in the feel department to maximize the sonic capabilities and that’s exactly what has happened in the NOVA.

Very versatile, plenty of inputs

The NOVA has three sets of analog inputs, with one of them switchable as a HT pass through, a pair of RCA S/PDIF digital inputs, a pair of Toslink digital inputs and a USB input. There is a fixed level output and a variable output, which allows you to use a powered subwoofer with the NOVA or just use it as a preamplifier, feeding a different power amplifier. There is one pair of speaker outputs, with the standard Chinese plastic coated binding posts. I’m not a fan of these but on a $1,200 integrated I can certainly live with them.

The slot for a Sonos still exists and I can’t think of a better match for a Sonos system than the NOVA. This has to be the most painless way to ingrate a music server into a 2-channel system. The front panel features a standard ¼-inch headphone jack and offers first class sound. I had the opportunity to use the new Sennheiser HD 800’s and was very impressed with the NOVA’s performance on a pair of headphones worth more than the NOVA itself! For the headphone listeners in the audience, I had no problems driving my Grado GS1000’s, Sennheiser 650’s and AKG K701’s; the NOVA’s headphone amplifier is very versatile.

However, the NOVA’s digital versatility was what impressed me the most. Using the budget Pioneer 563 and a Marantz Pearl K1 CD players as transports, I also had the Wadia 170i and a Mac Book Pro connected to the NOVA to give it a thorough workout.
The NOVA has taken the biggest step up from the Decco in the DAC department, now featuring the ESS 9006 chips from SabreDAC, the company that supplies McIntosh with the 9008 chips used in their MCD 500. Those expecting the performance of the Mac for $5,000 less will be disappointed, but if you are looking for a very musical DAC with an integrated amplifier thrown in, you will be pleasantly surprised.

Thanks to the analog inputs, I spun some records as well, adding the Cambridge Audio 640P and my modded Technics SL-1200 to the mix, again proving what an excellent all around achiever the NOVA is. Thanks to this flexibility, the NOVA should be able to cover any future expansion plans you have for your system.

The Sound

I started my listening sessions with the NOVA with my recently acquired set of Spica TC-50’s because they offer incredible performance for the dollar (If you can find an unmolested pair) and possess a degree of resolution that you’d be hard to match with today’s’ budget mini monitors under $1,500 a pair.

If you’ve been around the HiFi world for a long time, you might remember when the NAD 3020 integrated amplifier hit the scene. For about 200 dollars, it was amazing in it’s ability to offer serious high quality sound for such a low priced amplifier and held its own with separates costing a lot more. Perhaps the (highly overused, these days) phrase “giant killer” came from reviewers listening to that famous little integrated. The NOVA does well to hold up this tradition.

To round out the review, I used a number of monitors from KEF, Snell, ProAc and Harbeth to investigate the amplifiers’ performance with more upscale speakers before the NOVA ended up in my living room system, paired with the ZU Essence speakers. The Zu’s are a little unfair because they have a sensitivity of almost 100db, so most anything can push them to way more than adequate levels, but they are an excellent reference because they are so detailed and offer great midrange tonality. If an amplifier is going to fall down, the Zu’s are merciless at revealing its shortcomings. Again, I was highly impressed with the combination and pairing the NOVA with the Zu’s provided incredible dynamic range. The NOVA is much cleaner sounding throughout the range than its predecessor and the extra power goes a long way to make it compatible with a much wider range of speakers.

The NOVA worked particularly well with ERA’s D5 mini monitors (also available from Signal Path International) and at $995 a pair, makes a pretty unbeatable combination. There’s no way you can get close to this level of sound quality at a mass market shop for $2,000. Watch for an upcoming review of the D5’s.

After extensive listening, all of the NOVA’s sins are those of omission. It could certainly use more refinement in the highs and control in the lows. But then it would cost $4,000. The difference between the NOVA and the higher priced gear is in the fine details. When listening to solo piano or violin recordings, the extreme highs became somewhat brittle and the level of tonal richness that you would expect with higher priced gear was absent.
Also, overall soundstage shrunk compared to the MCD 500 or the Marantz Pearl. This was expected though, as these players are $6,000 and $3,000 respectively.

When comparing the NOVA with an inexpensive transport to a number of CD players in the $800-$1,200 range, it was consistently as good or better. The minute you switch to Pearl Jam or Yello, your worries will disappear.

Well worth the pricetag

And remember, you are getting a preamplifier, headphone amplifier, power amplifier and DAC for $1,200! I dare you to come even remotely close for twice this amount of money with separate components.

While the NOVA was an exceptional performer no matter which way I used it, I think the killer application is as the hub of a computer based playback system, because the NOVA’s USB implementation is excellent. I enjoyed this amplifier the most when playing uncompressed WAV files from my Mac Book Pro. With the low price G4 Mac Minis are fetching on eBay, you could build a complete music system that you could control from your iPhone for peanuts. A Squeezebox would also be an excellent choice.

Playing within its abilities, the NOVA will never cease to amaze you.

The NOVA is an outstanding value

The Peachtree NOVA offers so much performance and versatility for $1,195 that it is more than worthy of one of our Exceptional Value awards for 2009.

Whether you are an audiophile on a budget, need a great second system or are sending your kids off to college; anywhere you need high performance audio without a stack of components, the NOVA is the best suggestion I can make. I’ve never used the word best in TONEAudio’s history, but this is the best budget HiFi component I’ve ever had the pleasure of using. – Jeff Dorgay

The Peachtree Audio NOVA

MSRP: $1,295

Manufacturers Information
Signal Path International
909-309-4884
www.signalpathint.com

Peripherals

Digital Sources Pioneer 563, Marantz Pearl K1 CD player, McIntosh MCD 500 CD player, MacBook Pro, Squeezebox, QSonix music server, Wadia 170i

Analog Source Sound HiFi Technics SL-1200, Cambridge Audio 640P, Sumiko Blackbird

Speakers Zu Audio Essence, Harbeth Monitor 40.1, ERA D5, Spica TC50

Cables Audience AU24 S/PDIF digital cable, Zu Libtec Speaker cables, ED 422 interconnects

Accessories Shunyata Hydra 2 power conditioner, Shunyata Venom power cord¬¬¬¬

If you love tubes as much as I do, you know the lure of finding great NOS tubes.  There aren’t that many lurking in garage sales anymore, so the chance of finding a cache of Mullards or Telefunkens for five bucks is slim to non-existent.  Even the old ham radio operators know about eBay now and price their booty accordingly.

The designer and end user face the same dilemma; where to get the good tubes without breaking the bank.  Many love the sound of the old Telefunkens, Mullards and Phillips 12AX7s, but the best examples can fetch 200 – 300 dollars on the right day.  Just like buying parts to restore a vintage Porsche 356, there are only so many NOS parts to go around and those remaining get more expensive by the day.  Fortunately all but the very best 12AU7’s are still below 100 dollars each, but again as supply goes down and demand goes up, the end result is inevitable.

New New Stock

Having had excellent luck in the past with the TJ Music 300B’s, I was anxious to try their small signal tubes and was pleased with the results.   The folks at Grant Fidelity are now the North American importers for these tubes and you can see their full selection at www.grantfidelity.com  These are brand new tubes, manufactured in Tianjin City, China.

Both the 12AX7 and 12AU7’s are 55 dollars each and for an extra 10 dollars per tube you can get the standard 30-day warranty extended to 12 months.  If you listen to your system fairly frequently, I suggest spending the extra 10 dollars, as tubes will usually fail around 1000 hours if they do not exhibit immediate defects.

First test: Phono

The low noise requirements of a moving coil phono preamplifier seemed like the best place to start with the TJ’s, if they could pass this test, I figured they would probably ace serving as driver tubes.  Unfortunately, my Nagra VPS phono stage uses a 12AX7 and a 12AT7, so I’m going to keep my fingers crossed that TJ comes out with a 12AT7 (and a 6922) soon.

The Nagra VPS is a rare component that does not respond well to tube rolling.  I’ve yet to use a vintage NOS tube that has done a better job than the standard, handpicked EH tubes that Nagra chose for duty in this preamplifier.  Swapping the EH 12AX7 for a very expensive Telefunken just muddied up the midrange and switching to a Mullard slowed down the presentation and increased background noise.

The TJ was a much different story, this tube showed an improvement across the board.  Dynamics were increased, with extension at both ends of the frequency scale, without any harshness.  I dragged out a few favorite warhorses that I’ve heard quite a few times to make the judgment as easy as possible. Right from the first record, Dire Straits Communique, I was impressed.  My copy of this is just an average pressing that you can purchase in any used record store for about $5 and is somewhat compressed.  Just swapping in the TJ 12AX7 gave this record much more impact and I was hearing some low level detail throughout the record that I had to strain to hear before.  Moving on to the second Chicago album (the current Rhino remaster) had the same result.  When using the stock 12AX7, the horns in “25 or 6 to 4” seemed to be on the same plane as my MartinLogan CLX’s, but with the TJ 12AX7, the horns jumped out of the speaker plane and were right in front of me, with the image having much more front to back dimensionality.

Second test:  Driver

The next step was to pop a pair of TJ 12AX7’s and 12AU7’s in one of my Prima Luna Dialogue 7 monoblocks while leaving the other one as it came from the factory.  This time switching to the Harbeth Monitor 40.1’s, I played a handful of Classic Records recent mono jazz releases and switched back and forth between the left and right channels, both receiving the same mono signal, leaving no doubt to the change.

In case you are not familiar with the Prima Luna amplifiers, they are somewhat on the warm, lush side of the tonality scale, which is more often than not a good thing.  You can get a slightly more modern tube amplifier sound by swapping the KT88’s for some NOS Tung Sol’s or similar, but those tubes are fetching upwards of 250 dollars each these days.  That shakes out to almost half the original purchase price!

Fortunately, you can get very close to the same effect with the TJ’s.  If you like the more vintage sound of the Prima Lunas, stick with the stock tubes, but if you would like more punch, this is a great investment that won’t break the bank.

TJ’s for me!

The only thing that can’t be verified at this time is how long these tubes will last.  My experience with current stock Russian and Chinese tubes has shown a lifespan of about 3000-4000 hours with a failure rate of about 25%, so this will remain a question mark for now.  I’ve been running the 12AX7 in my Nagra VPS, which sees about 12 hours a day duty and my trusty Radio Shack stop watch is up to about 1400 hours with no problems so far.  I’ll be sure to report back in about a year, when I’ve run the clock beyond the 5000-hour range.

For now, the TJ’s are highly recommended if the tonal changes I’ve mentioned sound like a plus to you.  I’ve always had great luck with the folks at Grant Fidelity, so you can shop with confidence.

http://www.grantfidelity.com

This premium power cord offered noticeably better performance than stock power cords, and at $220 for a 2-meter version they won’t break the bank. We found that upgrading to the Red Wave provided about the same amount of sonic improvement as moving from cheap Chinese tubes to “spendy NOS equivalents” on our favorite valve amps.¨Ü After everything else is dialed in, the Red Waves can be “damn good!”

Dragged Marc Phillips and our lovely art director down to the Portland Art Museum to see the Devil Music Ensemble tonight.

In the best silent film tradition, these three guys who are all Berklee graduates have composed and perform a soundtrack while the acieent Chinese KungFu movie Red Heroine plays in the background.

Because the film is the only one left of the series remaining and was pretty badly deteriorated, there was probably only about five shades of grey in the movie! The talent of the DME carried through and was very imaginative, however by the end I was ready to call it a night.

I would definitely check them out again though, especially if they can get their hands on a bit better movie. While it was admirable that they picked this classic, I don’t think the movie was up to their level of talent.

They are about half way through a 45 city tour, so if you are in the mood for the ultimate art school experience, check them out. You can get their tour information and more information about the DME here.

http://www.devilmusic.org