dCS Vivaldi Digital Playback System

Spending four days with the Aston Martin DBS a few years ago was an enthralling experience to say the least—and beyond definition to say the most—but a brief time in the company of something outside of your means can often skew your perspective. When I return the silver beauty, a good friend who actually owns an Aston told me, “Yeah, she’s a beauty, but wait until the first oil change: $800. And let’s not even talk about the first major service…” Two years later, said friend ended up buying the Boxster S that I told him to buy in the first place—but that’s another story for another day.

Just like an Aston, Bentley or Ferrari, most mega-bucks hi-fi products have a way of seducing you that standard-issue gear does not. Unfortunately, the review process does not always make it feasible for a manufacturer to leave a six-figure component in someone’s hands for longer than a reasonable honeymoon, and this is why at times these reviews seem overly enthusiastic: The reviewer never gets a chance to move past the honeymoon phase.

So let’s talk about a $110,000 digital player—that’s not a typo. I thought I had lost my mind when I purchased the dCS Paganini four-box system a few years ago (and I felt equally crazy when buying the Naim CD555 a few years before that); yet, after even a few months it was very obvious that the Paganini performed well beyond anything I’d ever experienced. And it just got better the longer I listened to it with an even wider range of music. So how much better could a player costing almost twice as much as the Paganini be? As it turns out, quite a bit better.

A Brief Tech Brief

In the past year, much has been written about the Vivaldi’s technical prowess via Stereophile, The Absolute Sound and others, so if you’re looking for a more geeky perspective (and even if you aren’t), I suggest reading Michael Fremer’s and Robert Harley’s takes on this player. Should you be investing at this level, read everything you can and do some serious listening—one doesn’t want buyer’s remorse on a purchase like this.

Instead of focusing on the technical aspects, we’re going to concentrate more on the Vivaldi experience. What’s it like to truly live with a player like this for a whole year? Is it still exciting? Is it a fling or a long-term love affair?

To make an incredibly long story shorter for those not familiar with dCS, the British manufacturer takes a modular four-box approach to its top digital players, (separating the most critical parts of the playback chain as they see it: a CD/SACD Transport, DAC, system Master Clock, and what they see as the system hub, the Upsampler) with separate sections for the transport (which plays CDs and SACDs), DAC, master clock, and upsampler. This allows the user the ability to build a dCS stack one box at a time, starting with the DAC alone if you so desire, or to eliminate the transport entirely for those not using discs.

Where so many DACs rely on off-the-shelf hardware, the Vivaldi, like all other dCS products, utilize the company’s own “Ring DAC” technology, which is based around field-programmable gate array chips and the proprietary, discrete digital-to-analog converter circuit that runs dCS decoding software and gives the DAC its name. What does that really mean? On one level, it means that when dCS learns something new in the lab, your player can be reprogrammed with the latest software with ease, like having the software in your car’s ECU upgraded for more horsepower. Having gone through a couple of software upgrades with the Paganini, I can tell you that it is an exciting process. Each time, I felt as if I had purchased an entirely new component, with the updates providing a significant performance upgrade at no additional cost. I merely had to insert a disc, upload the data, and voila, I received a much better player than I had before.

Not only does the Vivaldi offer this same functionality, but because the gate array on the new digital main board only uses about 30 percent of its total processing power, there is plenty of room for whatever future upgrades the brainiacs at dCS come up with in the years to come. This future-proof approach goes a long way in terms of consumer confidence when writing a six-figure check.

The Vivaldi is capable of playing all file formats from 16 bit/44 kHz to full DSD, with the option of playing all files natively or upsampling to any higher data rate, as well as upsampling to DSD or DXD. Check the dCS website for all the fine details. Suffice it to say that the Vivaldi will play virtually any music format you throw at it with no issue, and as new formats become commercially relevant, upgrades are a snap.

Inputs, Outputs and Cables

As a four-(unit/box) system, the Vivaldi plays everything but Blu-ray Discs and DVD-A (however my MSB transport connected to the stack allows playback of these formats, giving me a fully functioning digital Death Star). The Vivaldi does play every known digital audio format, including DSD.  John Quick, of dCS North America, brought me a hard drive loaded with DSD files; however, comparing these files to the SACDs in the Vivaldi transport, the optical disc always comes out on top in terms of clarity and a natural presentation. For this reviewer, DSD files continues to be a major non-issue, but the Vivaldi is fully equipped to handle the format.

With a full bevy of every input you can think of, the Vivaldi accepts digital signals from every source imaginable, including iPods, iPhones, and iPads (because the Vivaldi is Apple approved). Even the 320-kbps feed from Spotify sounds amazing—never better, in fact—when played through the dCS stack, especially when upsampled to DSD.

The key to maximum performance is proper setup and connection, and making sure that all three boxes (transport, upsampler and DAC) are all properly set to talk to the master clock. If this is done incorrectly, the clock does not lock all four pieces of the stack together and playback suffers dramatically. On the subject of upsampling, many will argue that imaging and timbre suffer from this approach, but I will tell you that the dCS nails this without any sign of artifacts.

A total of 13 cables are required to connect the Vivaldi stack together, not counting four AC power cables. Like changing the spark-plug wires on a 12-cylinder car, do it one at a time, should you decide to upgrade the complete set of included stock cables (see sidebar). Better yet, have your dCS dealer, who will probably sell you the cables anyway, make a house call.

Are You Experienced?

The Vivaldi is not a plug-and-play device. After getting through the somewhat daunting process of connecting all the boxes together, and getting them all synchronized with the master clock, there are still choices. As all filtering is done via software, you have about six different digital filters to choose from. Like the Paganini, after months of driving myself crazy, I settled on the default settings. Those with ADD/OCD issues will go slightly mad here, because there are so many possible combinations—which leads us to the question of upsampling.

While I rarely hear much difference when upsampling high-resolution files to DSD, 16/44 files (especially MP3 files) benefit tremendously from upsampling, having more air and life overall. There are no instances where I prefer going straight 16/44 all the way through to output.

Should you be using a source like a Meridian digital-music server, which does not offer a word clock input, the proper adjustments will have to be made on the Vivaldi so that the system is not running unlocked, causing effects similar to tape dropout. When using my Meridian server, I go into its menu and disable internal upsampling (which normally yields a 24/88 output) and force it to output CDs at native resolution and let the Vivaldi do the rest.

Serving It Up

Instead of using an external server for delivering digital files, the way to really roll with the Vivaldi is using a NAS drive and the dCS application. You can also access files directly via an external USB drive (or thumb drive) plugged directly into the Vivaldi’s USB port. This provides the clearest, cleanest signal path and a major step up in reproduction quality over any of the servers I have on hand, which makes perfect sense. For my initial review of the Vivaldi, dCS had not fully sorted out the app, but now it is working rather nicely, and in addition to cataloging your music collection, it works as a giant remote control for the DAC and Upsampler, with the ability to control the entire stack in the works in an upcoming software upgrade.

As a music server, the dCS app gets a 7 for convenience (sorry, there still isn’t a server out there that can beat the Meridian for ease of use and speed), but an 11 for sound quality, so take your pick. Personally, I like the simplicity of having it all on one remote, but it is nice to know that if you purchase a Vivaldi, you won’t have to buy or configure an additional streamer—just plug an Ethernet cable into the Upsampler, find your NAS with the App, and roll.

All Digital? Forget the Preamp

While dCS’s digital volume control is excellent in the Paganini, it still sounded more lifelike going from the line-level outputs, with volume control set to its maximum level, to a great linestage. The Vivaldi closes this gap such that, if you are an all-digital music listener, you really don’t need a separate linestage, thanks to the increased low-level linearity of its volume control and the transparency of its output stage.

We put the Vivaldi through its paces with a wide variety of power amplifiers, from the $2,000 VanAlstine Ultravalve all the way up to the $88,000-per-pair Pass Xs 300 monoblocks, which are my current reference. Comparing playback with and without a linestage—including the ARC REF 5SE, Burmester 011 and Robert Koda K-10—we found that, while the Vivaldi doesn’t reveal more music without a linestage in the path, using one does not diminish the presentation either. So if you’re taking the “less-is-more” approach, I’d forget the linestage if you are going all digital. The Vivaldi can be set via its menu to deliver 2-volt or 6-volt output through balanced XLRs or standard RCAs and it will easily drive two systems.

In a Word: Natural

Granted, the price of digital perfection is not cheap, but the dCS Vivaldi achieves it. The Paganini was fantastic, but switching to analog playback via the AVID Acutus Reference SP (with either the Clearaudio Goldfinger or Lyra Atlas cartridges) still stole the day. This always left me thinking, “That’s damn good for digital,” but the Vivaldi offers playback on a completely different level. I don’t love analog any less than I used to, but 12 hour days listening to the Vivaldi instead of a turntable is never a problem. And after myriad comparisons of analog to digital files with various resolutions, not only can I easily live with the Vivaldi, half of the time the Vivaldi reveals more music than analog does in my system.

Listening to some high-resolution files of Neil Young’s Harvest, supplied by Quick, illustrates this succinctly, when compared to the recent Chris Bellman remaster (which is excellent). Young’s acoustic guitar intro is bigger and bolder and has more tonal richness. As the drums and piano enter the track, they have a more distinct space via high-resolution digital, and the sparse bass line and banjo are locked down into their own separate spaces in a way the LP just can’t match. Yet, on Peter Gabriel’s “Lay Your Hands on Me,” via digital and the 45-rpm Classic Records box set, the vinyl takes the lead for all the same reasons, though the full digital recording is still quieter.

Time after time, it’s easy to fool analog-loyal friends by spinning the LP and playing the Vivaldi at the same time, claiming to be playing vinyl. They would all chime in proclaiming analog’s superiority. But when the truth was revealed, they were shocked that they were in fact listening to digital—oh, the horror.

For those with world-class analog front-ends, the digital part of your music collection no longer has to take a back seat to your analog collection. And that’s the highest compliment I can pay the Vivaldi. If you don’t have analog, you don’t need it with this player. I am keeping it as my new reference digital component—and now that I’m 55 years old, it may be my last.

Minor Nits

After a full year, the only complaint I have with the Vivaldi (and the Paganini suffered the same problem) is its human interface. While the new display screens on the Vivaldi are much easier to read, the writing above all of the buttons on the silver-faced units like mine are nearly impossible to read by anyone over 30. If I had to do this again, I would opt for the black version with the white type, only to be able to read the buttons better.

Fortunately, once you get used to the Vivaldi and get it configured the way you want it, you shouldn’t be doing much more in terms of fiddling. And controlling the stack via an iPad and the app does make it much easier.

Line in the Sand

Bottom line: If the office ever burns down, I’ll buy another Vivaldi and forget about rebuilding my record collection. It’s that good. After an entire year of 12- to 16-hour listening sessions daily, I’m still pinching myself over the level of performance this player achieves—and now even more so with the built-in app and server capability.

The dCS Vivaldi becomes more engaging the longer you listen to it and the more of your music collection you can experience with it. It is one of the precious few systems at any price that completely disappears and lets you fully enjoy the music.

Much like an Aston Martin DBS or Ferrari 458, the dCS Vivaldi delivers a level of elegance and performance that is unmatched by lesser players. But unlike with the four-wheeled toys, you can build a Vivaldi system one box at a time. And should you not require a disc spinner, the $68K price of a three-box Vivaldi is almost a steal for the performance it delivers, especially if you are an all-digital listener and can ditch your $10K-to-$40K linestage as part of the upgrade.

If you can afford a dCS Vivaldi, take it for a test drive; you won’t regret it. The most exciting part of adding this player to my reference system is that it remains enthralling after a year of intense listening and it definitely reveals substantially more music than the excellent dCS Paganini that it replaced. This is definitely a long-term love affair, not a fling.

The Vivaldi digital playback system

MSRP:

Transport: $39,999

Upsampler: $19,999

Master Clock: $13,499

DAC: $34,999

www.dcsltd.co.uk

PERIPHERALS

Preamplifier Robert Koda K-10
Power Amplifier Pass Labs Xs300 monoblocks
Speakers Dynaudio Evidence Platinum
Cable Nordost Frey 2
Power IsoTek Super Titan

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Nakamichi PA-7 Amplifier

Nakamichi is synonymous with high-performance cassette decks, but not everyone is as familiar with the rest of its electronics. The company’s first attempts at amplifier and preamplifier design, the 400 and 600 series, were nonetheless popular as they followed the tenets of the day with excellent measured ability albeit somewhat compromised sound.

When the compact disc became ubiquitous in the late 80s, demand for Nakamichi cassette decks declined. Still, the manufacturer developed another series of electronics that included the power amplifier you see here as well as a lower-powered model, the PA-5 (100wpc), and a few receivers, all incorporating Stasis technology licensed from Nelson Pass.

Introduced in 1988, the PA-7 retailed for $1,595, a bargain compared to the Threshold S-350e that cost twice as much and sported a rated power output of only 150 watts per channel. Nakamichi’s scale of manufacturing made it easy to grab one of Pass’ best designs at a very reasonable price. Today, clean PA-7s can be found on the used market for $600-$700. According to Pass, the original PA-7 (not the PA-7 series II) is “the one you want.”

If you troll the Internet in search of a unit, insist on seeing pictures and deduct heavily for cosmetic damage. Replacements are unavailable and greatly diminish the resale price should you decide to resell at a future date. Run away screaming from an amplifier that has been “modified.”

Circuit Overview

The PA-7 delivers 200 watts per channel, uses no overall negative feedback (a Pass trademark), and boasts the Stasis section, which consists of a low-power voltage amplifier coupled to the current mirror bootstrap output stage to do all the heavy lifting required for high-power output.

Back in 1989, when Stereo Review featured the PA-7, writer Julian Hirsch measured the PA-7’s output at 253 watts into an 8-ohm load, 400 watts into a 4-ohm load, and 650 watts into two ohms. A quick look under the hood reveals why. A large 700 VA toroidal transformer and a bank of power supply capacitors totaling 132,000 µf proves the PA-7 means business. Such a setup made the PA-7 a perfect choice for demanding loudspeakers and, like the Threshold Stasis amplifiers, it ended up in many systems based around electrostatic speakers or Magnepans. I once used one to drive a pair of Magnepan Tympanis to excellent results.

As a single-ended amplifier, the PA-7’s rear panel is sparse, with a pair of RCA input jacks, an IEC socket for your power cord of choice—little did Nakamichi engineers know that in the 21st century, power cords would cost much more than the original price of the PA-7)—and relatively standard binding posts for speaker output.

A Budget-Conscious Steal

Irresistible at $500, and on display at Portland hi-fi dealer Echo Audio, my newly acquired PA -7 is in great shape. Serving duty in a system consisting of a pair of Magnepan 1.6s along with an Audio Research SP-9 vacuum tube preamplifier (covered in issue 24), the PA-7 has no issue driving the Maggies to sufficient levels with all but the heaviest music.

Putting the amp through its paces with a number of different speakers, and often at high volume, it became warm to the touch, but not as warm as a pure class A amplifier. Much like the Adcom GFA-555, which Pass also designed, the PA-7 features a pair of front-panel LEDs to indicate clipping. When driving the Vandersteen 2CE Signatures or my JBL L-100s, I couldn’t push the speakers hard enough to get the LEDs to illuminate. Switching to the Magnepans, however, verified that the LEDs still worked.

The sound is free of harshness and grain, but a bit veiled when compared to Pass Labs’ current designs. And, as can be expected, the PA-7 lacks the three-dimensionality of the best amplifiers. But for $500, it’s a solid anchor for a budget-minded high-performance system and far superior to what you might purchase new for a similar price.

ALO Audio Studio Six Headphone Amplifier

Let’s get right to the point, Motown style, and put the hit on the first track.  The Studio Six from ALO Audio redefines what headphones are capable of delivering, from the least expensive to the most exotic cans in your collection.  Even the modest Grado SR-80is turn in a head turning, or perhaps head banging, performance when using the Studio Six to provide the signal.  And that’s immediately after powering it up, fresh out of the box.  About 50 hours later, it improves even further, with still more frequency extension, delicacy and low level detail available.

Yes, $5,000 is a lot of money for a headphone amplifier, but the Studio Six delivers a level of performance well beyond all of the headphone amplifiers in the $2,000 – $5,000 [1] range that we have auditioned.  Don’t give this one a listen unless you’re ready to plunk the gold card down on the table.  It will spoil you for anything else.  On the bright side, compared to what high-end two channel separates cost these days, with world class separates commanding five- and six-figure price tags, the Studio Six truly is a bargain, delivering the best your headphones are capable of.

To assure top quality source material, the $110,000 dCS Vivaldi digital player was used for digital files, and the AVID Acutus Reference SP turntable with TriPlanar tonearm and Lyra Atlas cartridge via the Indigo Qualia phonostage provided equally primo analog tracks, making it easy to get down to serious listening.

A wide range of music from reggae to classical, and everything in between was sampled to find out exactly where the rocks in the road are, or aren’t.  About 15 pairs of headphones from the Grado SR-80i to the Audeze LCD 3 put the Studio Six though its paces, along with the notoriously difficult to drive HE-6 phones from HiFi Man.  Nothing in our headphone collection presents a challenge to the Studio Six, which delivers stellar performance with whatever is plugged in.

Out of the can

“Natural” describes the Studio Six in one word. I am typically not a headphone listener (though at last glance I do have 15 pairs of reference headphones) because of that cooped up, claustrophobic feeling – not unlike putting on a motorcycle helmet – that always keeps me away from this experience.  Yet from first listen, I’ve been hooked on the Studio Six; this was so much more exciting than my previous headphone experiences that it was easy to just get into the music.  The funky intro to Curtis Mayfield’s “Pusherman” from the SuperFly sound track, with bongos floating around the soundstage, punctuated with horns, guitar and fiery cymbal shots is truly mind expanding.  This amplifier becomes addicting as the listening sessions continue, often late into the evening.

Just as I would suggest that serious analog listeners have a solid foundation and purchase the best turntable and tonearm they could possibly afford, upgrading the phono cartridge as their budget allows, I submit you do the same with your headphone collection – buy a great amp first as the rock to your system.  I’d rather listen to the Studio Six with a pair of budget Sennheiser HD 414s than my Audeze LCD 3s with a modest amp.

Though about 20 pairs of phones were plugged into the Studio Six during the review period, every one gave its top performance in comparison to every other amplifier we’ve had the privilege to use.  Where many headphone amplifiers, both tube and solid state, tend to favor one type of headphone design, the Studio Six delivers top fidelity with everything.  Phones you thought previously tough to drive (the HE-6, some AKG models, etc.) sail through without issue.

Thanks to the four output jacks on the front panel, you can even drive them all at once.  A group listening session, using the AKG-701, HE-6 and LCD-3 all playing simultaneously proved effortless for the Studio Six, with no difference in sound quality as the other phones were plugged in.  Truly amazing.

It’s all in the details

Listening to a six-figure reference system on a regular basis spoils one for low level resolution, and while often donning a pair of headphones reveals an additional level of low level resolution, it does so at losing the glorious sense of soundstage and three dimensionality that a big pair of speakers in a big room provides.  Utilizing the Studio Six goes further to convince me that I’m doing just that, without resorting to any kind of channel crossfeed circuitry that is starting to become commonplace with other headphone amplifiers.

This is a great tube amplifier, executed to perfection.  The amplifier delivers one watt of pure SET power, with output transformers capable of delivering about 20 watts of power, had they been utilized in a standard amplifier circuit.  Who knows, maybe ALO will venture into another direction in the future?  A low powered amplifier based on this circuit would be equally enticing.

Revisiting well-worn tracks continuously delivers previously unnoticed gold.  Berlin’s “Sex (I’m A…)” is a treat; the additional layers of cool synthesizer and vocal information now on tap combined with a seemingly endless amount of decay gets you further into the music than you might have thought possible – and makes it so easy to forget you actually have headphones on, that you might not notice until you get up and realize you are, in fact, tethered.  This is headphone listening at its finest.

Regardless of whether you are listening to Daft Punk or Miles Davis, your music collection becomes a new world again, and this is what makes the Studio Six worth the price asked.  Vocals take on incredible clarity, and the massive soundstage now available goes well beyond the normal confines of the head space.  Richard Thompson’s vocals on The Old Kit Bag come through solidly placed out in front of the listening position, with backing vocals creeping in softly from the outside edges of the soundstage, just behind your head, while the drum and bass tracks remain firmly anchored – those worshiping the concept of pace and timing will have found a new haven with this amplifier.

The Studio Six not only provides big bass, essential to those listening to a steadier diet of electronic music, but a level of control and texture, again usually limited to high-end speaker systems driven by stellar electronics.  The amount of control provided is impressive, whether listening to deep synth bass or acoustic.  You may actually hear for the first time what your phones are truly capable of.  Again, we were constantly surprised at how much bass detail even modest phones could provide with the Studio Six driving them.  There’s plenty of speed on tap, too – the title track of Stanley Clarke’s If This Bass Could Only Talk features bass runs that are quicker than most lead guitar players, punctuated by Gregory Hines tap dancing in the background as percussion.  Both are reproduced with stunning accuracy.

Last, the sheer dynamic range of this amplifier goes a long way in eliminating that last bit of sensation that you are listening to headphones instead of speakers, and is an area in which so many others fall short.  Again, because this headphone amplifier is built more like a power amplifier to drive loudspeakers, it has drive to spare.

Robustly designed to last a lifetime

As good as the Studio Six sounds, it looks like a premier audio component inside and out.  Precisely hand wired, with a combination of point-to-point and PCB topology, it follows in the tradition of classic gear from McIntosh and Marantz, with everything overbuilt.  Top quality parts are used throughout, with an impressive amount of good taste, paying homage to current and classic design cues.  The somewhat large, jeweled power lamp speaks old school, yet the rounded corners on the casework and the laser-cut volume and input knobs are firmly rooted in the 21st century.

The complement of glowing tubes on deck make this a pleasure to look at as much as listen to, but again, it all follows function.  A 5AR4 tube rectifier and pair of OB2 gas regulators add additional delicacy to the presentation and provide an organic soft start function as well.  The amplifier circuit utilizes a 6SN7 driver tube, powering a pair of 6V6 output tubes.  While this tube will be more familiar to the guitar players in the audience, here it provides a level of drive and cleanliness, rather than the crunch that might normally be associated with it.  But the best news is that this tube is readily available, and at reasonable prices.  You could tube roll until your ADD gets the best of you, but rather than chase the rabbit, I suggest you just enjoy the Studio Six as it comes from the factory.

This attention to detail and numerous circuit revisions over the last two years before settling on the design you see here underline the commitment that went into this product.  When pestering ALO’s Ken Ball for a review sample for the last year, he would calmly say, “It’s almost there.”  The end result has been well worth the wait.

While not an issue for this headphone user, the lack of a balanced headphone output may raise an eyebrow for some.  For most, it should only be a matter of affixing a different cable to your favorite phones, as I did with my HE-6s.  I did not  consider this to be a shortcoming – the sound quality and incredibly low noise floor (actually, make that nonexistent noise floor) never had me wanting for a balanced option.

It’s made a headphone lover out of me.

I’ve always been lukewarm about headphone listening – until the Studio Six entered my reference system.  Completely floored by how much resolution and musical accuracy can be extracted from even the least expensive headphones, I’m convinced that these qualities make the Studio Six a true destination amplifier as the foundation of a headphone system that should never need replacement.

Its ability to drive every type of headphone also makes the Studio Six an incredibly versatile tool as a reference component, so expect to hear more about this landmark product in the issues to come as it will be my reference amplifier by which to evaluate all other personal audio gear.  -Jeff Dorgay

ALO Audio Studio Six

MSRP:  $5,000

www.aloaudio.com

Peripherals

Digital source dCS Vivaldi stack    Sooloos Control 15    Aurender S10
Analog source AVID Acutus Reference SP Turntable w/TriPlanar arm and Lyra Atlas cartridge
Phonostage Indigo Qualia
Power IsoTek Super Titan
Headphones HiFi Man HE-6    Cardas EarSpeaker    Grado GS500, GS1000, RS-1   Koss Pro  Audeze LCD 2 & LCD 3    Sennheiser HD 414, HD 650 (w/ALO Audio cable), HD 700    AKG 701

PS Audio Power Plant P300

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.

Revox A77 and B77

Along with the boom in killer headphones and headphone amps, the past few years have turned up another unexpected revival. It was clear to all – upon hearing the insultingly poor ear-buds supplied with iPods – that there was an opportunity to revitalize a moribund audio sub-genre. Stand-alone DACs, bad-ass Japanese direct-drive turntables, and a few others are enjoying rebirths, too. But who would have predicted a comeback for reel-to-reel tape?

It never was a populist format, however often magazines like Playboy featured them in “bachelor pad” layouts in the 1950s and 1960s. They were owned mainly by the hard-core audiophiles of the day, those with 1) enough money to feed them open-reel tape, which never was affordable in the manner of the later cassettes, let alone CD-Rs, 2) no aversion to a conscientious handling regimen as irritating as that of LPs, and 3) an appetite or need for the ability to record. And costly pre-recorded open-reel tapes were always of limited appeal.

As for the comeback, it is primarily a high-end phenomenon. Opus 3’s astonishing pre-recorded tapes cost as much as 10 CDs or four audiophile LPs. Rebuilds and upgrading from specialists like Gold Sound and United Home Audio are serious investments. Finding blank tapes is such a chore now that even used tapes, to record over, have value: I saw a vendor selling used 10½in Maxells for $10 each at the recent AudioJumble in Southern England.

When tape recorders moved from tubes to solid state, the bulk and the weight reduced slightly, though the size of the tape reels a machine could handle determined how small it could go. But the cooler running and quieter operation made open-reel decks a shade more attractive, and the genre survived well-past the arrival of the cassette. But by the 1990s, you would see reel-to-reel machines mainly in systems belonging to those with vast libraries of tapes, or to anachrophiles who simply prefer archaic means of sound reproduction.

Among the most popular – and deservedly so – of the solid-state open-reel machines were the Revox A77 and B77. Like the equally coveted all-tube G36 that it replaced, the A77 launched in 1967 falls under the heading of “semi-pro,” and was equally popular at home and the studio. Pros loved them because they were compact and relatively portable.

A77s and B77s arrived in time for hi-fi’s period of greatest desirability, the mid-1960s to the late 1980s, and were the decks of choice among European audiophiles They vied mainly with Tandberg, Grundig, Uher or Ferrograph, while Americans had a greater affinity for Crown, Ampex, and select Japanese models from Sony, Dokorder, TEAC and Technics.

For most, though, Revox was the Rolex Oyster of tape decks, in every sense of the analogy: ruggedness, functionality, and exclusivity, but without insane pricing. Note that last bit: its status was not a matter of cost, as prices of upscale open-reel-tape decks were close from brand to brand, the main exception being the always-dearer Nagras. In 1986, for example, a B77 Mk II at $1999 was similar in price to a Sony or TEAC with 10½in spool capability.

As for Revoxes in retrospect (and as is the case with different versions of any vintage item), you will find not only factions for either A77s or B77s, you’ll even find those who prefer Mk I B77s versions over Mk IIs and vice versa, or A77 Mk IIIs over Mk IVs. As both A and B are closely related, the smart money would be placed on the later B77 as the model that may be the nicer to use in the modern era.

What the A77 delivered of its tubed predecessor, in addition to electronic instead of mechanical switches, silence and cool running, was a superior three-motor, direct-drive tape transport system. Its innovations included a capstan motor to drive the tape at constant speed, with the other two motors overseeing the tension of the feeder spool and constant tension for the take-up spool. Rewind and fast-forward speeds were exceptional, too, the winding was admirably smooth, and braking was electromagnetically servo-assisted.

Depending on your needs, pro or domestic, Revox offered quarter-track or half-track formats, and speed choices of 3¾ips/7½ips, or the high-speed 7½ips/15ips configuration. Variants also included half-track, quarter-track and slow-speed versions 1 7/8ips. Details included precise relay controls; accurately calibrated and illuminated VU meters; a four-digit tape counter; photo-electric end-of-tape switching; easy access to the heads for adjusting, cleaning or de-magnetizing; plug-in circuit boards for easy maintenance or upgrades; separate output for headphones with dedicated volume and balance controls; switchable EQ (NAB for recording and both NAB and IEC for playback), plus special features for editing. Inputs included switchable high/low Mic, Radio and Auxiliary.

Specs were remarkable for a machine measuring only 15½x16x7in, compared to console types found in studios. The signal-to-noise ratio was stated as better than 58dB at 7½ips and 56dB at 3¾ips, with crosstalk better than 45dB in stereo undistinguished by today’s standards, but a recent listen to master tapes on a mint B77 proved it to be more than good enough for “high end” usage.

FROM A TO B

After the A77 ended its run with Mk IV status, Revox unleashed the B77 in 1979/80. It was smoother to operate, better-sounding, more generously equipped, and more reliable. Revox built the B77 around an aluminum die-cast chassis. Like the A77, it housed three AC asynchronous motors, the capstan controlled by a tachometer head that read a series of pulses created by the teeth on the circumference of the motor, their rate compared against the frequency of an internal oscillator. This ensured superlative speed accuracy, while reducing wow and flutter. The A77’s relay controls were supplanted by transport controls overseen by solid-state logic.

A three-head machine like the A77, the B77 also had space to accept an optional fourth head, enabling the unit to be compatible with for slide-projector synchronization. Also provided by the B77 were sound-on-sound, adding echo or reverb to an existing track, “Duoplay” when both recorded tracks are used simultaneously but to play back different material, and “Simuplay” for synchronizing music on one track with speech on another. The Revox B77 also provided a splicing block with built-in cutter fitted to the front panel, audible tape shuttling and, in the Mk II, built-in vari-speed control +/-10%, equal to a pitch change of two semi-tones.

Slightly larger than the A77, it still occupied a space of only 17¾x16¼x8¼in. Performance gains over the A77 affected every area, from wow-and-flutter to crosstalk to S/N ratio. As far as I can gather, only one functional sacrifice was made when the A77 morphed into the B77, in that customers purchased the B77 with either NAB or IEC equalization, not both.

REVOX B77 IN THE 21st CENTURY

Like any vintage open-reel decks, all have suffered the ravages of time and wear; besides checking out the electronics, tape decks have mechanical elements that need replacing, and tape head wear is a primary concern. What makes the Revoxes so appealing is that they shared much with their Studer-badged professional siblings, so they’re more rugged than most. And sonically, they are among the most domestically-acceptable open-reels – by that, I mean in terms of price and dimensions – that can ape the brilliant sound that keeps so many exhibitors at recent hi-fi shows demonstrating with open-reel tape.

Some might think that there may be a US-vs-Europe divide at play, and I appreciate that many brands use hot-rodded TEAC/TASCAM or Technics reel-to-reels at shows. Conversely, a number use Nagras, which – like the Revoxes – are as Swiss as William Tell. Comparing eBay.com with eBay.co.uk reveals similarities in pricing, too: parts donors from under $100 to good, median buys for $500 and perfection for $1000.

Revox users are well-supported by specialist repair services, particularly for spares. Dedicated web sites can provide information ranging from servicing, such as www.revox.freeuk.com, to hot-rodding, as well as sourcing fully-refurbished machines beyond those you might find on eBay. We heartily recommend a few evenings studying the lore on www.taperecorder.co.uk and www.reeltoreel.de/worldwide/B77.htm before you go crazy with eBay.  Pub. Note: For our Stateside readers, I suggest perusing www.tapeheads.net as well.

Whatever route you might pursue, the Revox’s style, reputation, build-quality, smooth operation, configuration options, and ergonomic brilliance, and – it must be added – sheer “Swissness,” captured the hearts of many thousands of aficionados. Enjoy one for an evening and you’ll hear why. -Ken Kessler

Pass Labs Aleph 5

The Aleph 5 amplifier probably won’t win any beauty contests. It’s a basic black cube surrounded by heat sinks, and the only indication that it’s operating (aside from its temperature after it’s been on for a while) is a single blue LED. This retired model is a far cry from what you could purchase from Pass Labs today. I suppose the nearest amp in the current Pass lineup is the comparatively gorgeous XA60.5 monoblock. Both the 60.5 and its forebear deliver 60 watts per channel of pure Class A power into 8 ohms.

But isn’t the older model just what angry audiophiles clamor for? Internet forums are filled with people bashing high-end audio companies for making beautiful-looking amplifiers with expensive casework. “I don’t want to pay for all that. I just want good sound—and it want it cheap.” Well, Mr. Audio Curmudgeon, step right up. The Pass Aleph 5 is the perfect amp for you.

Passing It On

I honestly can’t think of a single person who has done more to probe the limits of solid-state amplification than Mr. Nelson Pass. Since the inception of Threshold Corporation back in the 1970s, he’s been on a continual quest to perfect the art and science of solid-state amplifiers. Threshold was one of the first companies (if not the first) to manufacture a truly refined solid-state amplifier. The company quickly rose to the top of the heap with pure Class A amplifiers like the 400A, as well as with its various patented Stasis designs. Threshold products were built with care, looked good and sounded great.

After Pass retired from Threshold, he rethought amplifier design—and the seeds for Pass Labs were sown. In 1991, he released the first Aleph product, the Aleph 0, to widespread acclaim. This and subsequent Aleph models were unusual looking, but they won the press and dealers over by virtue of their outstanding sound quality. I remember visiting a number of high-end retailers in the ’90s and seeing these Aleph products on display while sales people raved about the sound.

The subject of this column is the Aleph 5, which is a single-ended Class A effort that succeeds on virtually every level. The design brief for this product is as ambitious as I’ve ever seen for an amplifier design. The output section is a patented design, which is exceptional for its simplicity in that there are only two gain stages. Typical solid-state designs have four or five gain stages. Remember, every stage takes a toll on sound quality. The Aleph 60 offers absolutely no adjustments, and neither bias nor DC offset can go out of whack unless something catastrophic happens—hardly likely given the robust character of the amp’s power supply, which uses a 600-watt toroidal transformer and filter capacitance totaling 120,000 uF. This is a robust amp indeed. And for such a compact cube, it’s quite heavy.

Hooking up the Aleph 5 is easy. The back panel features the AC input socket, the on/off switch and a set of gold-plated binding posts, plus single-ended RCA and balanced XLR inputs. I chose to run the amp balanced throughout my listening sessions.

One word of caution: this amplifier runs HOT! Give it plenty of ventilation and breathing room. Pass recommends that, if you have one of these or happen upon one that hasn’t been looked over by either the factory or a good technician, you do so in short order. Thankfully, Pass offers full support for all Aleph products.

Ready, Set, Go

After giving the amp about an hour of warm-up time, I play my usual compilation discs just to make sure that everything is operating as it should. It quickly becomes apparent that, following the warm up, this amplifier gets to the music’s essence without delay. I find myself with a total lack of “yeah, buts” as I go through the initial listening phase.

Every selection I play has a harmonic integrity and an overall richness of character that reminds me of the better tube amps I’ve heard. However, there is a level of grip in the low bass and a linearity in the mud bass (my phrase) that a lot to tube amps just can’t correctly handle. The Aleph 5 also exhibits the vaunted midrange bloom that tube amps are noted for, but it does so with a bit more speed and gusto. The high-frequency region is smooth yet offers as much detail as one could possibly want.

As I listen at length, all of my audiophile selections sound fabulous and have air and space, as well as wonderful bass and shimmering highs. But these recordings bore the heck out of me, and so I quickly realize that I need to take off the audiophile hat and start enjoying myself. This amplifier basically says to me, “Stop analyzing and start with the head bobbing,” which is not to imply that the amp exhibits any kind of coloration; it simply makes music. This should be a fun hobby, right?

Since prog and fusion are what pushes my buttons the hardest, that is the sonic sea upon which I eventually set sail. First up is the DVD-A recording of King Crimson’s album Red. This is the best version I’ve heard of this masterpiece and, with the Aleph 60 in play, I’m able to hear Bill Bruford’s unique snare drum tuning with all of its dynamic punch. On the live selection “Providence,” John Wetton’s signature bass sound is captured intact. The same goes for the self-titled first album from Emerson, Lake & Palmer. The big, fat and tactile Hammond organ is right there in all its majestic fullness.

I’m a big fan of moe., and so I thoroughly enjoy the band’s album The Conch. On “Wind It Up,” the interplay of the two guitar soloists is especially revealing in that it shows not only the style of playing but also the slightly different sound each player pours out.

One of the most under-appreciated guitar players out there today is Derek Trucks. I honestly don’t know why. I’ve followed him for quite a while and he keeps getting better and better. My favorite album by him is Songlines, which is a fascinating collection of excellent compositions. It’s not the greatest recording, but with the Aleph 5 delivering the music, who cares? Every bass line, every cymbal crash and every biting staccato guitar run is perfectly portrayed.

Just as I finish up my time with the Pass, the newly reissued version of Freddie Hubbard’s Red Clay LP shows up on my doorstep, giving me a chance to fire up the turntable and feed the Aleph 60 some analog goodness. The track “Delphia” never sounded so good as it sounds here. I’m especially pleased with the way the Aleph presents Lenny White’s cymbal work, which is sweet and detailed.

In the same package as Hubbard’s album is Rory Gallagher’s self-titled album, his first after his time with the band Taste. I push the Aleph 5’s limit with some of the songs on this record. Here, and only here, the lone shortcoming of the Aleph 5 shows up: The amplifier clips—but I’m encouraged by the fact that it doesn’t fall apart. Rather, it behaves like a tube amp in that it becomes soft and compressed instead of ragged and distorted. This is something I could live with long term.

As my speakers have a sensitivity of 90 dB and as I have a relatively large room, the Aleph 5 is sufficient for 95 percent of my listening. However, if your speakers are in the 84- to 87-dB range and you listen loudly in a large room, some extended demo sessions should be in order before purchasing this amp, which listed for $3,800 about a decade ago.

Analysis Aside

This review may sound decidedly non-audiophile to you—which it is. I don’t waste much time trying to deconstruct every small nuance of the various recordings I play through this amp, because it sounds so compelling that I forget about all of that analytical nonsense.

Every once in a while, you’ll stumble upon a product that at first seems unlikely to turn your crank. The Pass Aleph 5 is just one of those products. It’s not going to win any beauty contests, but it’s technically sophisticated and thoroughly accomplished.

Quad ESL Loudspeakers

Expectations have changed over the decades.  In the 21st century, we demand amplifiers that deliver copious amounts of power with ease.  Loudspeakers?  We insist on dynamic range unimagined in the 1950s—beyond even what the horns of the day could deliver.  Levels?  100 dB+ capability is the minimum.  Bass? We expect our sound systems to loosen brickwork.  And yet a speaker that could do none of those things, let alone handle an amplifier willing to feed it 30 or more watts, remains a permanent fixture in every knowledgeable audiophile’s Top 5 of the Greatest Components in History.

At least, it does for those who have heard the British marvel, even if they weren’t around when the original Quad ESL went out of production in the early 1980s, to be replaced by the equally miraculous ESL63.  But the Quad ESL—aka the ’57 by its fans, if not by Quad itself—remains the milestone, despite the ’63 reaching down lower and going louder.

One has to be in his or her early 70s to be able to recount the impact the Quad ESL had when it first appeared nearly a half-century ago.  The finest speakers of the day—the still-with-us Klipschorn, the nascent AR range, the best of Tannoy—were and are fine performers, but the Quad did something that had nothing whatsoever to do with power handling, bass extension or maximum SPLs:  It sounded real.

It remains, for many, the most natural-sounding speaker ever produced, a full-range electrostatic designed in the mono era, but which made the transition to the stereo era with such ease that there are those who today find it hard to better.  My dear friend David Chesky, who knows a thing or three about recording, cherishes a pair he had rebuilt by one of the many specialist firms who keep the Quads alive long after the company itself stopped servicing them.  They remain his standard, positioned next to a baby grand in his living room.  I believe Art Dudley of Stereophile is a devotee.  And the first time I met Gayle Sanders, the co-founder of MartinLogan, some 25 years ago, he told me that the Quad was his yardstick.

I certainly will never part with mine.

Styled to look like a room heater, the metal-grilled Quad, from about 80 Hz or 90 Hz on up, delivers neutrality that remains uncanny to ears that have learned to tolerate coloration, however minuscule or even euphonic.  Many thousands of the 54,000 sold still survive, so one doesn’t have to search far to hear them.  Any collective of like-minded music fanatics will number at least one who has a pair.  The experience is unforgettable.

Their influence, despite being a full-range electrostatic and therefore not something easy to imitate, is widespread.  In addition to inspiring Sanders, they surely must have been in the back of the designers’ minds when the Dahlquist DQ-10 was taking shape—and that’s a dynamic speaker, not a panel.  Mark Levinson used stacked pairs as the basis for his HQD, which employed a pair of Quads per channel, mounted vertically, with the sound augmented by a cone woofer and ribbon tweeter, a speaker one maven tells me has yet to be bettered. And if that’s not enough, Quad 57s in quantity provided the sound in SME’s Music Room, until their successor, the ESL 63, arrived.

Why?  Because they can sound so open and transparent as to redefine neutrality in an audio context.  They reveal all a system has to offer.  The price you pay is in the lack of level and extension.  But, as the designer Peter Walker always maintained, like Rolls-Royce and its horsepower figures, the performance was always “adequate.”

As the first commercially and sonically successful full-range electrostatic loudspeaker, the Quad was so radical and so far ahead of its time that one must marvel at the perspicacity of many of the 1950s audio critics who recognised this from the outset—which is not to say that it was an immediate hit, certainly not at £52 each (or roughly £2,200/$3,450 in today’s money).  But many embraced it, even though it was, in the context of the period, a freak.

Because the Quad ESL was unique, Walker recalled that, “It just competed against other loudspeakers, and it wasn’t as loud, so people who wanted to shake the windows didn’t buy a Quad electrostatic speaker.”  This affected sales, especially in the USA, where rooms were larger.  But, as Walker also noted, “It wasn’t very good with American high-powered amplifiers, which would just bust ‘em, spark ‘em to bits.”

When stereo arrived, it gave the Quad a boost, because it meant that the task of filling a room was shared by two speakers.  For stereo, it proved a revelation, suffering less of a hot seat than most dynamic speakers.  The performance was (and remains) so convincing, despite its bass and level constraints, that the original ESL stayed in production until 1985, overlapping with the Quad 63 introduced in 1981.

Difficult to manufacture, easy to destroy with too much power, the Quad ESLs need the same gentle handling one would apply to driving a pre-WWII automobile. Used properly, with a mind-set appropriate to the era, the Quads will delight.  I suppose one could buy multiple pairs, say six or eight panels per channel, if one was desperate to hear them delivering high levels, but a subwoofer à la the HJQD would still be required.

For people like Chesky, Dudley and a legion of devotees, a simple pair will do the trick.  You just keep the levels down, and feed them something with which they synergize to perfection—better than the Quad IIs of the day are the Radford STA15s or STA25s.  Set them a third of the way into the room. Close the door, sit in the apex of the triangle and play whatever you like, though Walker will be looking down from heaven with a scowl if it’s anything other than unamplified classical music or maybe jazz.

In my experience, nothing matches them for vocals.  The closest I’ve heard to their sense of realism are Apogee’s Scintilla, the BBC LS3/5A and the Stax electrostatic speakers, especially the F81.  The Quads deliver pinpoint imaging, and they truly “disappear” within the soundstage they recreate.  The spread is so seamless that one is hard-pressed, with eyes closed, to locate them in the room. Treble is sweet, transients fleeting, textures palpable.

Even if you have no desire to own a pair, do try to hear them.  If one were to create a list like those ‘50 Things To Do Before You Die,’ then the Quad ESL 57 would figure on ‘50 Hi-Fi Components You Must Hear Before You Die’.

When asked in the 1990s how he would he have improved the speaker, Walker admitted that he was limited by the technology of the day, and that he did the best he could at the time.  “Would I have made it bigger?  Well, then it would have upset a whole lot of people who wanted a small speaker.  Would I have made it smaller?  No, because then you wouldn’t have enough bass.  It was roughly the right size.”

Which is a typically understated, entirely English way of describing a frickin’ masterpiece.  -Ken Kessler

ORIGINAL QUAD ESL SPECIFICATION:

Frequency Response:                 45 Hz – 18k Hz

Impedance:                                 15 ohms

Mains Consumption:                  6W

Dimensions:                               33x25x3in (WHD)

Weight:                                      35lb

Original Price:                            £52

Numbers produced:                    54,000

Ken Kessler is the author of QUAD: The Closest Approach, the official history of the company.

First Watt J2 Power Amplifier

The First Watt J2 is an absolute honey of an amp. Hooked up to my Zu Essence speakers, the sound isn’t merely spectacular; it regularly keeps me up long after I should have gone to bed. The J2 is sublime, but I don’t think this point can be made often enough: when a reviewer says an amp is “great,” what he’s really saying is that it’s great with the speaker (or speakers) he’s auditioned it with. The same logic could be applied to speaker reviews because you can’t listen to speakers without listening through an amp. So it’s really the combination of the two – speaker and amp – that we hear. Sure, the rest of the system, namely the preamp, sources and cables, all play their parts. But the interactions between amp and speakers can make or break the sound – and with the high efficiency Zu’s it’s a winner.

The First Watt J2 and Zu Essence are both made in the United States. Zu is a new wave, youthful audiophile company. First Watt is a Nelson Pass enterprise, and he’s the founder and CEO of Pass Laboratories. In the 1970s, his first venture, Threshold, broke new ground in solid-state designs, and he’s still advancing the state-of-the-art. First Watt exists because Pass wants to explore a variety of amplifier-design strategies in what he thinks of as “neglected areas:” amplifiers that might not fit into the mainstream and are probably not appropriate for Pass Labs.

The J2 is a stereo power amplifier rated at 25 watts per channel into 8 ohms, and 13 watts into 4 ohms. The clean, compact design measures 17 by 5.5 by 16 inches, and it weighs about 25 pounds. It has a two-stage circuit and operates in pure single-ended Class A mode, with signal JFET devices forming the input stage and power JFET devices for the output stage. What’s that, a JFET output stage? That’s special. Every solid-state amp you or I have ever heard used bipolar or MOSFET transistors in the output stage. The J2 sports JFETs, and that’s way cool.

Yes, I recall that Sony and Yamaha made JFET amps ages ago, but then power JFETs were MIA. Now they’re back. Pass heard that SemiSouth Corporation of Missouri had started making new power JFET transistors with high voltage, current and power capabilities – as high as 1,200 volts, 30 amps, and 273 watts. These new JFETs were designed for very fast switching in solar-power and electric-car applications. Pass bought a few of these JFETs and found they had a very low distortion characteristic. Compared with MOSFET-type power transistors, JFETs can achieve 10 to 20 dB improvements in distortion performance. So a JFET doesn’t need as much feedback to keep distortion low. It’s low from the get go.

Pass aims to design what he calls “simple circuits” because, as he once so eloquently put it, “Complexity tends to be the nemesis of musicality…” As he refines a design, he listens to how individual parts – capacitors, resistors, semiconductors, etc – change not only what he can measure but how they put their “signatures” on the sound.

Low-power, singled-ended tube amps have been popular with some audiophiles, especially those with highly efficient speakers, so you might assume Pass was trying to build a solid-state amp that would appeal to that crowd. But that’s not the J2’s mission. It doesn’t sound like tubes; it’s not warm, mellow, romantic or lush.

The J2 is all about purity and exceptional transparency. It’s a colorless device. Low-level resolution of recording-room sound or added reverberation are reproduced with startling fidelity. If you want romance, look elsewhere. Play a nasty-sounding recording, such as  Arcade Fire’s recent The Suburbs CD, and it will sound hard, grainy  and ferociously compressed. Gorgeous recordings, such as Ella Fitzgerald & Joe Pass’ Sophisticated Lady CD, will be a feast for the ears. Ella’s voice, from a whisper to a full-on wail, takes center stage, and Pass’ fleet-fingered fretwork is not too shabby! The feel of the sound is tangibly live, and the anything-can-happen excitement of the 1983 Tokyo concert was perfectly resurrected by the amp and speaker. Sophisticated is my favorite Fitzgerald album, precisely because it gets me closer to the live event than anything else.

The J2/Essence combination is dynamically consistent from bass to treble, so the sound feels right. There is a definite tunefullness, a toe-tapping, engaging quality that brings music to life. Bass is quick and nimble, but it won’t bowl you over with room-shaking, pants-flapping low-end. If you want that, get a subwoofer.

After an hour or so, the J2’s heat sinks and the entire chassis get pretty warm, so you wouldn’t want to rest your hand on it for more than a few seconds. The power switch is on the amp’s rear panel, which might be a tad inconvenient if you want to put the J2 in a rack or cabinet. Then again, considering how much heat this amp generates, proper ventilation is a must. I put the J2 out on the floor between the Essences, so it was easy to reach around to the power switch. The warranty runs three years, but Pass claims that in more than eleven years, he’s never had a single First Watt product returned for a warranty claim.

Comparing the J2 with my Pass Labs XA100.5 100-watt monoblocks was a study in contrast. The big amps’ power advantage was obvious, and that manifested itself in sheer gravitas and a richer, fleshier tonal balance. The XA100.5 soundstage was deeper and broader, but the J2 was just as transparent. Low-level resolution and transient speed were on par the XA100.5. And the big amp is four times as expensive as the J2.

The little amp’s 25 watts uncorked the full measure of Booker T & the MGs prodigious funk. Healthy doses of the band’s Time Is Tight three-box CD set proved the amp has what it takes. Duck Dunn’s supple bass lines made all the right moves, and Steve Cropper’s tasty guitar tricks were finger-lickin’ good. Then again, Booker T’s Hammond-organ grooves are the music’s bedrock, and he was always adding just the right flavor to the mix.

The live tracks from Cream’s Goodbye LP may not have had the same sort of unstoppable mojo as the Booker T sides, but played at a satisfyingly loud level, Jack Bruce’s fat bass riffing off Eric Clapton’s stinging guitar leads were beautifully rendered. Ginger Baker’s heavyweight drumming had tremendous impact, so any concern that the little amp’s 25 watts per would inhibit my style were soon forgotten.

The Cream record isn’t by any stretch an audiophile recording, but I loved the way the J2 decoded the texture of Bruce’s bass and Baker’s drum kit. They were more dimensionally present than I ever recall hearing from the Mobile Fidelity Goodbye gold CD. Same could be said about Still Life, a live Rolling Stones LP from their 1981 tour. I’ve never really liked this LP, but it clicked over the J2, and it made me think about how much better the Stones were when bassist Bill Wyman was still in the band. “Start Me Up” was a highlight; the band still had a bit of their youthful power, but that was almost 30 years ago!

I also put the J2 through its paces with Anthony Gallo Acoustics’ new and improved Reference 3.5 speakers. It’s not a super-efficient design (only a moderate 88 dB/1 watt), but the impedance stays around 8 ohms before it drops like a stone around 20 kHz. I really love this new Gallo for its remarkably open quality and its transient speed. Soundstage depth and low-level resolution are superb, and the J2 handily exploited all of those strengths. But power was an issue, so if you like to listen loud, the J2/Reference 3.5 combo won’t float your boat.

The Hifiman HE-6 planar-magnetic headphones (similar operating principal as Magnepan speakers) can be hooked directly to any power amp, so I couldn’t help but try the headphones with the J2. Wow, the sound was oh-so transparent, definitely on par with Stax electrostatic headphones. But the J2/HE-6 combination was vastly more dynamic and the bass kicked harder than any ‘stat phones I’ve ever tried. The HE-6 is one of the most open-sounding headphones around, and the J2 only seemed to enhance that quality. Soundstage width and depth on Brian Eno’s Small Craft on a Milk Sea CD were truly expansive. My only reservation was the bass. Other amps generated gutsier drive and more low-end oomph than the J2 did with the HE-6.

The J2 doesn’t sound like a tube amp, but its musicality with my Essence speakers was spectacular. So if you have a Zu, horn or any high-efficiency speaker, the J2 could do the same for you.

Additional Listening:

More Power!

By Jeff Dorgay

Should the J2 not be quite enough juice for your speakers, consider the First Watt M2.  Rated at an equivalent 25 watts per channel, the

M2 is a push-pull design whereas the J2 is single-ended Class A. The M2 produces 40 watts per channel into a 4 ohm load, where the J2 produces only 13 watts per channel.

Bottom line, the M2 amplifier should be able to drive most speakers to adequate sound-pressure levels.  I’ve been a fan of Nelson’s Class A designs all the way back to the Threshold 4000A, but everything that Steve has described in the J2 is available with slightly more power in the M2 model. The M2 is slightly less expensive, at $3,600.

Removing the $60,000 pair of Burmester 911 mk. 3 monoblocks in my reference system, the M2 held its own, with even slightly more inner detail than the German monster amps.  This amplifier was able to take hold of the GamuT S9’s with enough control that a few casual visitors didn’t even know the Burmester amplifiers were no longer in the system!

Watch for a full review shortly when I have time to peel the smile off of my face.  Nelson Pass has done it again.

First Watt J2 Power Amplifier

MSRP: $4,000

www.firstwatt.com

Peripherals

Analog Source VPI Classic turntable with van den Hul Frog cartridge
Digital Sources Ayre C-5xe MP Universal Player    Oppo BDP-83 Special Edition Blu-ray player
Electronics Parasound JC 1 preamp    JC 2 power amp    Pass Labs XA100.5 amp   First Watt J2 power amp    Whest 2.0 phono preamp
Speakers Zu Essence    Zu Soul Superfly    Dynaudio C-1    Mangepan MG 3.6/R
Headphones Hifiman HE-6
Cable Zu interconnects and speaker cable    Audioquest Sky interconnect    Analysis Plus Silver Oval interconnects and speaker cables    XLO Signature-3 power cords

Decware Zen Head headphone amplifier and Phiaton MS400 headphones

Decware, Decware.  Aren’t those the guys who make the Zen tube triode SET amplifiers?  Yes, they are.  But what are they doing creating something like this slick little package?  According to chief designer Steve Deckert, they wanted to make a great-sounding small headphone amplifier that had the same kind of voicing as their tube amps.  Sounds hard to believe that you could do that for a mere $350 (factory-direct price) and offer a lifetime warranty to the original owner.

It may be innocuous-looking, but there’s a lot lurking within the shielded and machined aluminum chassis that makes this little box sing. The latest Burr Brown op amps are employed along with polypropylene caps, precision resistors, high-quality switches and a very linear audiophile-grade precision volume pot. What’s more, the amp is powered by a single nine-volt battery contained within a damped enclosure for super-quiet operation. The battery will provide up to 50 hours of listening.  That’s a lot of goodness packed into a pocket-size wonder.

Operation couldn’t be simpler.  The front-panel layout is really simple with the source input on the left and headphone output on the right flanking the volume pot, a green led power indicator and on/off switch.

There are user-adjustable switches on the circuit board, one for normal/high gain operation and one for cross-feed on/off.  I left the gain setting at normal and the Cross-feed on. With Cross-feed engaged, I heard a more-stable presentation throughout my listening sessions.

Listening to music on headphones creates an issue: headphones are directional all the way down to the bass frequencies due to their direct coupling into the hearing canal. Therefore, the listening experience is different fromwhat was originally intended and what the user is accustomed to hearing with loudspeakers, which become less directional as you go down in frequency. Cross-feed sends a little bit of left-channel information to the right channel and a little bit of right-channel information to the left channel.

So how did it perform?  Wonderfully, to say the least.  As a source, I used an iPod Classic with either lossless files or full wav files.  I also used the supplied 12-inch,  3.5mm patch cord to connect the iPod to the Zen Head.  In keeping with everything being compact, I first tried a pair of Shure SE310 in-ear headphones for my evaluation.  Wow, for those accustomed to ear buds being directly driven by compact music devices, the quality of sound coming from the Zen will be a total revelation.  There is absolutely no glare or strained quality to the sound, bass is extremely detailed and powerful, and the “image” in your head is just right, not exaggerated or out of proportion.  Most importantly, the treble quality was really sweet and almost tube-like in presentation, which is not surprising if you consider the whole aim of this product.

Whether I listened to a jazz trio, a rock group or a classical orchestra, the Zen provided excellent-quality music reproduction and never missed a beat. As the basis for a compact traveling system or as the centerpiece for late-night musical entertainment, the Zen Head is all gain and no pain.

Upping the ante a bit, I next tried two different pairs of over-the-ear phones made by Phiaton. This is a relatively new name in the headphone universe, but you’ll be hearing a lot more from them in the future. Phiaton’s parent company, Cresyn, is an OEM manufacturer of headphone parts, speaker parts and various headsets for home and commercial use.

The first model I tried was the MS-400, which is probably the coolest-looking set of headphones ever made. Probably the most prominent feature of these phones is the rigid carbon fiber enclosures, which greatly reduces resonance. Couple that with the ear cushions and head-band cushion, which are really soft and comfortable and bright red in color, and you get an impressive high-tech twist on a rather familiar form. So impressive, in fact, that these won the prestigious International Design Award last year for their category. But do these design flourishes make for a product that is all show and no go?  Hardly; they sound as good as they look.

Handily, the connector is a two-piece affair that gives you the option of using either a 3.5 mm mini plug or a traditional quarter-inch phone plug.  I plugged the mini into the Zen Head and fired up the iPod.  Those not familiar with headphones of this quality will be immediately struck by an eerie absence –  an absence of shrieking treble, an absence of midrange distortion and an absence of bass bloat.  Instead, what you’ll find is a neutral and linear sonic presentation. No portion of the music is exaggerated at the expense of another.

This kind of presentation makes for extended and non-fatiguing listening sessions.  Add the fact that the MS 400s weigh only 6.5 ounces, and the listener can enjoy them for hours on end without any kind of strain.  In addition, the earpieces fold flat, making them more compact for storing or traveling purposes.

The MS 400s enabled me to hear once again the strength of the Zen Head. And unlike using the in-ear Shures, I could hear further into the recording and pick out small details that had been slightly masked before. On acoustic bass, the roundness and resonance that one expects are present and accounted for; male vocals are accurate and non-chesty; and you can hear the recording engineer’s small tricks and cues plain as day.  This is probably the result of the Cross-feed circuit doing its thing.

For another $50 ($299),  you can step up in the Phiaton line to the PS 500.

This model is part of the “Primal Series,” but the only primal aspect I could find here was the covering of the enclosures, which was a mock crocodile-skin finish. The driver diaphragms are the same 40mm size as the MS 400s, but they are in a larger enclosure which gets the listener 4 dB more sensitivity (102 vs. 98) and greater power-handling (2000mW vs. 1000mW).   In addition, they are coated in vaporized titanium, which makes them very light and very stiff.  The only downside to the PS 500 might be that it  weighs 2.6 ounces more than the MS 400. I honestly never noticed the additional weight during my evaluation process.

The sound of the PS 500 is at once more-detailed and more-refined than that of the MS 400. It was also more extended at both ends.  The detail does not come at the expense of irritation or annoying tizziness; there’s just more to hear in terms of the shimmer and decay of cymbals, the ringing of guitar strings and the overtones of a violin.  The midrange was more open, which was especially noticeable on live recordings of small jazz ensembles.  Finally, the bass dug deeper with more detail and punch.  Low-register slap bass sounded powerful and quick, and bass drum had a more detailed impact.

On a lark, I decided to try the PS 500 with a Musical Fidelity X-Can V8 tube headphone amplifier. What I heard was a more-open soundstage and more separation of instruments.  But it didn’t have the clarity of the Zen Head in the bass region.  Nor is it at all portable. The beauty of the Zen is that you can enjoy its attributes just about anywhere.

The Decware Zen Head and the Phiaton headphones are welcome new products for headphone lovers. The Zen Head’s portability and super high-quality sound put it in some (if you’ll excuse the pun) heady company, and the Phiaton products’ great sound, unique cosmetics and good build quality make them another great choice for satisfying private listening.  — Richard Colburn

Decware Zen Head headphone amplifier and Phiaton MS400 headphones

www.decware.com

www.phiaton.com

Peachtree Audio novaPre and Peachtree220

Peachtree Audio burst on the scene in 2007 with its Decco integrated amplifier with built-in DAC and onboard USB input, which was somewhat of a novelty at the time but has since become ubiquitous.  It also has another fun feature: a vacuum tube in the preamplifier section that is visible through a glass window on the front panel, which breaks up an otherwise plain-looking case and combines design elements from audio’s past and present.  The success of the reasonably priced Decco—Peachtree sells refurbished versions of the original Decco for $499—led to a broader product line and contributed highly to the viability of a new renaissance of integrated amplifiers with built-in DACs.  Here, Peachtree was clearly a trendsetter.

Peachtree’s products combine stateside engineering and design talent with overseas manufacturing efficiencies.  It has grown its initial dealer-direct model to include an extensive dealer network to help support the company’s expanding product line.  Two of the newest additions to the lineup are the $999 novaPre and the $1,399 Peachtree220 power amplifier reviewed here.  The company has also moved further upmarket with its Grand series, which thus far comprises an integrated amplifier and a preamplifier.  We’ll explore these at a future date.

A Quick Tour

The novaPre features four digital inputs and an analog input, so those wishing to incorporate an analog source are not left out in the cold.  There are two single-ended RCA outputs, both with variable peak levels so that a powered subwoofer can be used, which is particularly useful for those employing a sat/sub system.  The Peachtree220 is a powerful Class-D amplifier, with 220 watts per channel into an 8-ohm load that almost doubles to 400 watts per channel when going into a 4-ohm load.  The review samples arrived with a beautiful rosewood finish.  (They are also available in high-gloss-black and cherry-wood finishes. Cherry is standard, rosewood and black a $100 upcharge.)

Fit and finish is impressive and build quality is at the top of the chart, with perhaps the only inconvenience being that the RCA jacks are a bit close together, which limits your choice of interconnect cables to ones with svelte connectors.  My reference cables from Kimber and Transparent just made it, but some others with large plugs may not.  Setting up the Peachtree combo has a low degree of difficulty.  Eschewing the stock power cords for a pair of Shunyata Venom cords adds a cost-effective bump in sound quality.

The novaPre’s digital inputs feed an ESS Sabre DAC capable of handling 24-bit/192-kHz data.  One of the digital inputs is the ubiquitous asynchronous USB, along with S/PDIF coaxial and TosLink inputs.  The novaPre’s optical input is limited to 24-bit/96-kHz data, while those from most others handle 24-bit/192-kHz data.  In addition to the variable line-level outputs, there is a headphone jack on the front panel.  The tube in the window remains, but now a 6N1P replaces the 6922 of the original Nova, and can be included in or out of the circuit with the flip of a switch.  In this case, it acts as a buffer stage—handy when a bit of tube warmth is really needed.  The 6N1P is a very reliable tube, but does not encourage tube rolling, as there are few variations on this one.  Oddly, the novaPre only features single-ended RCA outputs, while the companion power amplifier has a pair of balanced XLR inputs.

Good First Impressions

The Peachtree gear breathes life into familiar reference tracks as well as new favorites.  Marc Johnson’s latest ECM collaborative album with pianist Elaine Elias, called Swept Away, is a perfect example.  The natural elegance of the arrangements is reminiscent of Bill Evans—full of tonal color and richness.  Piano and acoustic bass are always tough to reproduce convincingly, especially on an amp and preamp with a lower MSRP than a pair of premium interconnects.  Particularly impressive was the Peachtree combo’s ability to control the lower frequencies, rendering the full-bodied, woody texture of Johnson’s bass lines, with no overhang into the midrange.  This only improves as the gear racks up listening hours.

Staying in the ECM groove, next up is Anouar Brahem, the Tunisian master of the oud, which is a Middle-Eastern variation on the lute.  Brahem’s recordings vary in texture, with accompaniment including saxophone, accordion and flute.  The Peachtree pair exhibited an overall smoothness and pace in capturing these exotic melodies and rhythms, which became simply hypnotic the longer I listened.  When mixed in with the other exotic instruments, the oud provides a true test of resolution that the Peachtree gear easily passed.

While I was drawn to recorded acoustic music, I also wanted to give the Peachtree gear a chance to rock out.  Texas singer-songwriter Ryan Bingham just released his fourth album, Tomorrowland, which is a more straight-ahead rock effort.  His previous outings were laced with Southwestern flavors, country and blues.  Bingham lets loose on this new self-produced and self-released recording.  He is pissed off and he wants you to know it.  The politically charged lyrics are perfectly underscored by the Stones-esque hard-charging backing.  The Peachtree duo did not falter in any way, providing plenty of the necessary drive and energy.

I Believe by the great ’90s band Spain was the last disc that crystallized what the Peachtree combo is all about: nuance.  The band’s music is filled with deep emotional content, played at downbeat tempos, and finely textured.  The Peachtree gear allowed all the emotion in these beautifully layered compositions to shine through brilliantly, especially on tracks like “She Haunts My Dreams” and “Born To Love Her.”

Moving on, now using the novaPre as straight preamplifier, with a Marantz CD player connected to the Peachtree’s analog inputs, I heard much of what I heard with sources connected to the digital inputs.  I found the novaPre to be rather straight up, with bad recordings not at all flattered.  Mumford & Sons new album Babel is somewhat brittle sounding, which is exactly what comes through the novaPre.  On the other hand, U2’s classic track “Please,” from the band’s Pop album, is big and bold, with plenty of drama and a warmer overall sound that the novePre rendered with equal fairness.  Regardless of musical choice, the novaPre neither embellished nor detracted from familiar music.

This writer preferred keeping the tube in the signal path, so I kept it engaged most of the time. The difference is subtle but obvious.  Engaging the tube adds an organic ease and additional harmonic complexity to the presentation.  Of course, your preferences will vary depending on your taste and the rest of the system, but it’s nice to have the option.

Born for Each Other

Both units worked flawlessly in my system during the review period.  My only complaint is a minor one:  I wish the volume steps at the lower settings were more nuanced via the remote control.  One tap brought it from conversation level to total silence.  It would have been nice to have a wider gradation, as with the volume control on the front panel.

The integrated amplifier with onboard DAC is a category that continues to become more popular as more music lovers turn to their computer as a source component—and the novaPre is a prime example.  Mating it to the companion Peachtree220 power amp makes for easy one-stop shopping.

Additional Listening

By Jeff Dorgay

With an admitted bias against Class-D amplifiers, I was smitten with the Peachtree220 when I first heard it early this year at the Consumer Electronics Show, where the Peachtree folks were using a pair of Aerial 7T speakers to showcase their latest products.  For those unfamiliar with the Montis, this is not a particularly easy speaker to drive, as it presents relatively low impedance at high frequencies, which more often than not throws both tube and Class-D amplifiers a curve.

The Peachtree combo proved a formidable partner for the Montis, and I would have easily believed Peacthree front man David Solomon if he had he told me that these two boxes cost twice as much.  They gripped the Logans with aplomb, casting a huge soundstage combined with a smooth high end—impressive.

Before sending these two pieces to Andre for review, I made it a point to try both the 220 amp and novaPRE here with the variety of different speakers that I have at my disposal—and they passed all tests with flying colors.  Even a couple of the more difficult speakers in my arsenal (the B&W 802D and the Magnepan 1.7) were no problem, so whatever you might be using, rest assured, the Peachtree220 will be up to task.

The novaPre proved equally flexible, whether using the Sooloos music server, Mac mini or an old Denon CD player as a digital source, with everything from MP3s to the latest offerings from HDtracks.

Two words sum up this combination: value and refinement.  In a world full of five- and even six-figure components, these separates from Peachtree offer mega performance at a modest price, allowing the creation of great music system on a tight budget.  I am happy to award them both one of our Exceptional Value Awards for 2012.

Peachtree novaPre and Peachtree220 power amplifier

MSRP:  $999 (novaPRE); $1,399 (Peachtree220)

www.peachtreeaudio.com

Peripherals

Streamer Squeezebox Touch
DAC Musical Fidelity V-DAC II
CD Player Marantz CD5003
Speakers Boston Acoustics M25
Integrated Amplifier McIntosh MA6600
Cables Transparent MM2 Plus    Kimber Hero Ag    QED Genesis Silver Spiral   Shunyata Venom

Robert Koda Takumi K-10 Preamplifier

My favorite way to initially experience any audio component is to listen to a record I’ve heard hundreds of times, regardless of fidelity. A recording you intimately know serves you well when trying to get a read on the sound of something new.

Until the K-10 arrived, my system hadn’t undergone any changes for nearly a year. When my chosen LP, an early mono copy of Big Brother and the Holding Company’s Cheap Thrills, hit the turntable, I wasn’t prepared for the amount of sensory input delivered to the auditory part of my brain. It’s similar to going from excellent digital to the most sublime analog experience. Or perhaps, moving from a standard violin to a Stradivarius.

In Japanese, the word “takumi” has a few translations. The one corresponding to the Kanji character imprinted on the preamp’s front panel means “artisan.” I can’t think of a component I’ve reviewed more worthy of the title. More than just richness, or an increase in tonal saturation, the K-10 provides an almost infinite upsurge in resolution. Think of it as such: When increasing the magnification of a photographic image on your computer screen, a point is reached wherein everything is reduced to pixels and falls apart because of the maximum capacity of the screen’s resolution. However, with the K-10, even after months of critical listening, there seems to be no limit as to how far you can peek into a recording.

Similar effects occur with a Japanese pressing of Bruce Springsteen’s The Wild, The Innocent, & The E-Street Shuffle. The horns and vocals breathe with life, with new surprises everywhere on a record to which I’ve been listening for nearly 40 years. Much like the Sonus faber Aidas reviewed this issue, the K-10 takes you somewhere you’ve never been—and that’s exciting.

Simple, Yet Simply Amazing

The cost of this experience? $31,000. Plus the price of a remote. The K-10 does not include one. A purist design, this solid-state preamplifier achieves greatness via extreme refinement, not so-called proprietary this or that. No part of the K-10 receives less than punctilious attention to detail. And although it’s solid-state, nearly everything is wired point to point, with only two tiny internal PCBs. Koda says the latter feature gold placed over thick copper tracks, and one enjoys point-to-point silver wiring.

The audio circuit and power supply are not only separated from each other, they are each built into their own sub-enclosures inside the chassis. The choke power supply is encased in a magnetic vault comprised of 2mm-thick soft iron; the preamplifier circuit is inside a mu-metal case, within a copper compartment and again the whole preamplifier is again encased in a copper chassis. To minimize switching noise, the model only uses two diodes and a zero-feedback discreet voltage regulator.

The attenuator uses exotic, precision carbon composition resistors specifically designed for audio use (Koda stresses that these parts are only used in audio applications). An L-Pad design means there are never more than two resistors in the circuit at any given time. This, compared to that of a ladder design with multiple resistors and solder joints.

Interestingly, the K-10 doesn’t respond to additional tweaks or attempts to further control vibration. It is built like a bank vault. Its robust power supply makes it one of the only components we’ve reviewed that does not really react to upgrades in the power path. (The other is the Naim CD-555.) Swapping power cords proves fruitless, and the K-10 doesn’t sound much different when plugged directly into the wall or a variety of expensive power line conditioners.

Such perfection is not easy to achieve. Every aspect of the K-10 is hand-assembled. Each unit takes about a week to assemble. At almost 60 pounds, it weighs as much as many of the power amplifiers we’ve reviewed. My ARC REF 5SE and Burmester 011 feel lightweight in comparison!

Relax and Listen

Going without a remote control forces you to sit and listen, and realize the benefits of your favorite music. The K-10’s Zen-like tranquility sneaks up slowly, and after becoming fully acclimated to its presentation, I find myself programming sessions by album sides and whole albums—how I used to listen before becoming spoiled with remotes. I love it.

Initial listening—described at the beginning of this review—was conducted via my Linn LP-12 and a Shure V15vmxr. Yeah, the experience was that compelling. I wasn’t ready for how much more information the AVID Acutus Reference/Lyra Atlas/Indigo Qualia brought to the system. It’s like driving a high-powered 12-cylinder car for the first time. The staggering resolution is initially intoxicating and over-stimulating. Mark Mothersbaugh of Devo put it best in the inner sleeve of Duty Now For The Future: “Add a third dimension to your 2D world.”

Yet it’s even more.  Everything played through the K-10 possesses extra dimension and resolution; it’s as if music now possesses a fourth dimension. Much as I love great digital reproduction, the K-10 reproduces things in a continuous tone manner, like rotogravure printing or high-speed open-reel tape. The flow of musical notes and space between them bring you even closer to the illusion of feeling you’ve brought performers into your listening room.

Aimee Mann’s voice gently floats between my speakers when listening to “Invisible Ink.” Major space between her vocal pauses and guitar accompany bass that rises up from the floor, folding into the mix. Miniscule environmental sounds on the title track to Lost In Space float like fireflies, buzzing past your head.

If You Need to Rock

Make no mistake, the K-10 has a rock-solid foundation and plays highly dynamic selections with equal ease. Jimi Hendrix’s classic Are You Experienced? comes through in a thunderous manner, his groundbreaking distortion effects more exciting because of the additional resolution. And Van Halen II never sounded better. Yes, distorted rock recordings can even achieve exalted status on a high-performance system.

The ultra-low noise floor always feels like it plays a few db louder, another bonus when playing acoustic music. Guitars, drums, and percussion explode in a way that hasn’t happened before in my system, regardless of amplifier model or type employed. Leading and trailing transients occur with immediacy, possessing no overhang on either end, and abolishing listener fatigue in the process. Music lovers that appreciate string quartets and small-ensemble music will be shocked by the realism.

Really? No Tubes?

Out of respect to Mr. Koda, I did not pop the inner covers to photograph the K-10’s insides. While a few audio buddies insist it’s a vacuum tube preamplifier, this component is in a category by itself. The combination of the K-10 and Burmester 911 mk. 3 or Pass XA200.5 monoblocks is eerily quiet. With the volume control up to the fullest degree, nothing emanates from the speakers, even with my ear solidly against the tweeter.

All this translates into an anchor that extracts the maximum amount of music from your sources and does so inclusively. The K-10 underscores the ideal that a truly fantastic music system sounds wonderful, regardless of the music in your collection. Granted, the most pristine pressings have offer more, but even the most mediocre records on my shelves sound enticing played through a system based around the K-10. There is so much information to discover, you will want to listen to all of your music again.

I have one complaint: a wish for finer gradation in the steps of the attenuator. Every amplifier I tried had a point at the upper range of the control that always felt as if it could use an intermediate step between settings. However, as I adjusted to not having a remote control, I quickly adopted to any gradation shortcomings, which were much easier to deal with on the digital side since the dCS Paganini allowed fine-tuning via its excellent digital volume control.

Ins and Outs

Thanks to more than 10v of maximum output and an extremely low output impedance, (75 ohm balanced, 37 ohm x 2 single-ended RCA), the K-10 works well with every power amplifier at my disposal and has no trouble driving 20-foot interconnects via single-ended or balanced outputs.

Three RCA inputs, and one XLR input are neatly arranged on the rear panel. Two sets of RCA and a true balanced XLR output is also available. I noticed no difference in sound quality between inputs or outputs. Mr. Koda notes that in order for the XLR output to be a true balanced output, this option must be selected with the rear panel switch.

A circuit breaker-protected power switch also resides on the back, and is not lit, again emphasizing the design’s utter simplicity. The owner’s manual suggests the preamplifier not be powered on for extended periods of time. Unlike many other solid-state preamplifiers I have used, it stabilizes from being cold in virtually no time.

What an Experience

The individual parts, the resistors, capacitors, and switches comprising an amplifier, preamplifier, or other component all affect the final sound. And often, active components—primarily solid-state or vacuum tubes—feature a characteristic sound. Reviewers and consumers usually refer to transistors as having a more analytical sound, while tubes are generally characterized as having a warmer, more organic sound.

Rare, however, are components that have so little coloration and lack of a “sound.”  The Robert Koda K-10 preamplifier is the finest example of this trait I’ve experienced. If you can’t bear to live without a remote control, the K-10 is not the best choice for you. If you are prepared to let go of convention and immerse yourself in pure sound, I suspect you will love the K-10 as much as I do.

To be sure I’m not dreaming, Mr. Koda has agreed to grant me a long-term loan on the K-10. I will produce a follow-up review at end of 2013, after the preamp has been used as a reference component with a wider variety of power amplifier and source combinations.

Robert Koda Takumi K-10

MSRP: $31,000

Peripherals

Analog Source AVID Acutus Reference SP    TriPlanar arm    Lyra Atlas Cartridge   AMG V12    AMG arm    Clearaudio Goldfinger
Digital Source dCS Paganini stack    Aurender S10 music server
Phonostage Audio Research REF Phono 2SE    Pass XP-25    Indigo Qualia
Power Amplifier Burmester 911mk.3    Pass XA200.5 monoblocks    Octave Jubilee monoblocks
Speakers GamuT S9    Sonus faber Aida

VPI Traveler Turntable

My analog journey has encountered numerous VPI turntables through the years, and they have always provided satisfying sounds and steadfast mechanical reliability, beginning with the HW-19, now out of production.  The company’s current Classic-series turntables are enjoying rave reviews around the world—our publisher is certainly enjoying his.  After I spent some time with the Traveler at this year’s Rocky Mountain Audio Fest (RMAF), it became clear that VPI has not merely created an entry-level table with a VPI badge; the Cliffwood, N.J.–based manufacturer has built a reasonably priced table with the same solid engineering and build quality that goes into the rest of its lineup.

With the resurgence of vinyl underway, there are more and more turntables being offered in the entry-level arena.  But to be honest, I have not been that impressed with many of the sub-$1,500 offerings.  Maybe it’s just the audio dinosaur in me, but many of them seem a bit spindly.  Sure, I’ve gotten them to make nice music, but I always seem to find myself left with an incomplete feeling telling me all is not right in Recordsville.

The VPI Traveler hits a different chord at this price point.  Unpacking its heavy shipping container tells you there’s more than a toy packed within.  And packed well it is.  I can’t foresee even the most ham-fisted shipper damaging the Traveler during shipping.

Parts unpackaged, the assembly process goes off without a hitch.  Those experienced with turntable setup will find Traveler’s setup a breeze.  In less than forty-five minutes, this turntable was making great sound in my listening room, with no need to tweak things further.  Beginners will find the instruction manual clear and detailed.  A little focus and Jedi patience will have you spinning your favorite LPs in no time.

High Points

This table’s level of fit and finish is of a very high order.  Machined-metal parts are smooth and polished, the paint on the plinth’s top plate is high grade and the platter feels like it’s machined from billet.  In fact, it’s made from aluminum damped by stainless steel, a great way to break up any resonances that may occur.  Spinning the platter reveals a high-quality spindle-to-bearing interface, indicating top-notch machine work.  It seems to continue spinning forever when you shut the power off.  The non-removable platter mat is made of neoprene rubber and provides additional damping.

This philosophy continues with the plinth, which is an aluminum top plate bonded to a thick acrylic base—impressive compared to the usual machined MDF or plastic that is typically used for plinths in this price category.  A set of rubber tipped cones allow for leveling the Traveler.  Combined with the solid plinth is a 10-inch tonearm instead of the ubiquitous 9-incher on most other tables, which gives the Traveler a leg up by minimizing tracking angle distortion.

The next thing one notices is the Traveler’s gimbaled design, a departure from the VPI norm, as the company usually makes unipivot tonearms.  However, VPI claims that the Traveler’s friction levels are nearly as low as the brand’s more expensive unipivot designs.  The Traveler’s arm moves smoothly and freely in both the lateral and vertical directions.  The counterweight and tracking-force adjustment is another finely machined affair and easy to operate during setup.  The tonearm is equipped with a VTA on-the-fly adjustment that works beautifully and without fuss.  Finally, the signal goes from the arm through a proprietary connector feeding a pair of RCA jacks fitted to the rear of the plinth.

VPI does not supply a dedicated tonearm cable with the Traveler, so users are free to experiment with cabling options between the turntable and phonostage.  I advise caution here, because the wrong type of cable can seriously compromise the sonic results.  If possible, try one of the current tonearm cables on the market available with RCA jacks on both ends; these cables usually make an extra effort to minimize cable capacitance, resulting in better transference of the delicate phono signal.

Taking Care of Business

Sticking with the winning formula in TONEAudio’s RMAF room, listening began with the $599 Ortofon Rondo Red low-output MC cartridge, which brings the combination of turntable and cartridge to $1,900—not exactly spare beer money, but a fine investment nevertheless.  I tried two different interconnect cables with excellent results: the AudioQuest King Cobra ($249/pair) and, for the more budget-minded, the KAB Jazz ($33/pair).  In the end, I preferred the AQ cable on most material, but the KAB is a well-made product, providing great shielding from RF and decent audio performance.

First up was Stravinsky’s The Firebird (Mercury Living Presence, London Symphony Orchestra, Antal Dorati conducting).  The Traveler/Rondo Red combination provides a convincing sense of hall ambiance, while simultaneously placing the sections of the orchestra firmly in place.  Once the music reaches full gallop, the Traveler delivers the music’s swell and crescendo with the requisite delicacy and impact, with the woodwinds sounding exceptionally natural.

Next up, in a more delicate vein, is Trio Galanterie’s Eighteenth-Century Music For Lute and Strings on AudioQuest records.  The Traveler captures the interplay of the cello, lute and violin on this recording with complete intimacy, like a concert for one.  The Traveler presents the fundamentals and overtones in a harmonically rich fashion, with strummed, plucked and bowed instruments—not an easy task, but one that is performed exceptionally well here.

Changing genres, the latest Charlie Hunter recording, Not Getting Behind Is The New Getting Ahead, is a self-released limited-edition album featuring Hunter on seven-string guitar and Scott Amendola on drums.  This live-in-the-studio outing will challenge any arm-cartridge combination with its dynamic close-miked drum sound, biting guitar and punchy, resonant bass.  Again, the Traveler/Rondo combination turns in an ace performance.

Ralph Towner’s “Piscean Dance,” from his Solstice album, is another studio jam/duel possessing great dynamic swings.  The crystalline but completely natural sound of cymbals and snare drum, while Towner’s signature twelve-string guitar weaves in and out of Christensen’s rhythmic patterns, underlines how well this modestly priced table handles complex music without losing its soul.

Both Eric Bibb’s Friends and John Mayall’s The Turning Point underscore the Traveler’s ability to combine bass weight with fundamental midrange body and tonality.  The Traveler’s rock-solid pace gives a sense of presence rarely accomplished by an analog front end at this price.

Past Meets Present

Fully impressed with the Traveler so far, I decide it’s time to try something off the beaten path.  A NOS Acutex 412 STR cartridge would put any tonearm to task, as this high-compliance cartridge usually works best with ultra-low-mass tonearms.

Set to 1.5 grams, the combination sailed through the most-difficult passages at my disposal, proving what great all-around performance the Traveler offers:  It should be just right for most MM or MC cartridges.

So Take a Trip to Your VPI Dealer!

Combining robust construction, a high level of fit and finish and an excellent sonic presentation, the VPI Traveler establishes a new benchmark for its price.  VPI left no stone unturned, from getting the basic record-playing ability right to employing clever engineering.  And you can order it in a variety of colors (for an extra hundred bucks).  Whether you are just getting into the world of vinyl, adding a second turntable to the stable or are replacing a turntable that has left you wondering if there’s more to be had for your money, I highly recommend the Traveler.  Have a few less lattes per month, or perhaps even skimp on record purchases for a few months, to make the very reasonable leap for this remarkable table.

Additional Listening

By Jeff Dorgay

I was equally curious to see how much of the essence of VPI’s more-expensive Classic One could be incorporated into the Traveler.  The Classic One is a linear step up in the VPI range and its roots are readily apparent.  The Traveler resembles the Classic much more so than it does the Scout/Scoutmaster series.  Using both tables side by side through the Audio Research REF Phono 2 SE, with matching Dynavector DV-20X2L cartridges ($850), the main differences between the two are in bass weight and low-level detail retrieval.

Listening to the biting guitars on the anniversary remaster of the Smashing Pumpkins’ Mellon Collie and the Infinite Sadness reveals more punch from the Classic, but the Traveler is no slouch for the price.  Comparing the Traveler to my late-1980s LP12 is like getting out of a Triumph TR6 and getting into a Porsche Boxster:  Everything feels much crisper and more defined overall.

The overall tonality of the Traveler is remarkably similar to the Classic, and when not playing records with ultra-wide dynamic swings, one might be easily fooled.  The DV-20X2L is an excellent match for this table, for those looking to take their analog experience a step further.  I had equally good results with the Sumiko Blackbird high-output MC, another favorite of mine in the $800-to-$1,200 range, proving that this table is not embarrassed in the least by a cartridge costing almost as much as the table.  This level of performance makes the Traveler an excellent long-term turntable choice.

We not only recommend the Traveler highly, we have purchased the review sample.  It will become a reference component in gear editor Bailey Barnard’s new system, so we can indoctrinate him in the ways of the LP.  -Jerold O’Brien

The VPI Traveler Turntable

MSRP: $1,299

www.vpiindustries.com

Peripherals

Preamplifier Coffman Labs G1-A
Power Amplifier Pass Labs Aleph 3
Speakers Harbeth Monitor 40.1
Cable  Audience Au24
Power Audience

McIntosh McAire

As I unbox the new McAire wireless music system, from that other apple of my eye—the one in Binghamton, N.Y.—the similarities between it and something from the Apple of Cupertino, Calif., are uncanny.  Mixing old styles with new styles, the McAire’s outer packaging and quick-start guide look suspiciously West Coast, but I’ve opened enough McIntosh hi-fi gear to recognize the owner’s manual instantly—and this one is pure McIntosh Labs.

A few years ago, with its F80, British manufacturer Meridian broke the price barrier for a high-performance compact audio system.  Now a serious American brand offers an alternative to the Bose Wave radio, and the McAire is equally as intriguing as the F80, both in terms of performance and aesthetics.

McIntosh’s Ron Cornelius says, “It’s expensive for a dock, but it’s a really affordable McIntosh system. The McAire retails for $3,000

It’s Heavy and It Rocks

While the McAire is an amazing wireless player for your iPhone, iPod or iPad, it’s so much more than that.  This 31-pound one-piece system features the same titanium tweeters and inverted-dome midrange drivers with NRT magnet structures found in the brand’s flagship XRT speakers.  In the McAire, McIntosh couples these to a pair of 5-inch slot-loaded woofers that produce formidable bass.  The system features Class-D amplification, but McIntosh doesn’t list a specification for power output.  Suffice it to say the McAire really rocks.

I begin the audition with “Who,” the lead track from the new David Byrne & St. Vincent album Love This Giant, which instantly establishes the bass response of the McAire.  The tabletop quakes, as the big, blue McIntosh meters swing merrily to the beat.  This thing fills the room with sound!

Next up: “Hail Bop,” from the self-titled Django Django album.  With so much spacey, synthesizer sounds, twangy guitars and ethereal harmonies, this track shows the McAire’s ability to set a gigantic soundfield—doing so on our art director’s desktop.  The sound is so big that she takes control of the remote to slow the pace down a bit, switching to some classic Michael Hedges.  The McAire proves equally adept with acoustic guitar, before we take a walk on the wild side with Marc Ribot’s Silent Movies, a record full of empty space, feedback and distortion.  I end the first of many listening duals with AC/DC’s “Rock ‘n’ Roll Damnation,” leaving everyone in the office impressed with the McAire.

Well Connected

The McAire is Apple-certified, so you can connect any iDevice via USB cable or wirelessly via AirPlay.  The initial setup is straightforward, requiring just your device and the small supplied remote.  The Ikea-like quick-start guide walks you through the process in a few minutes.  Those not wanting to have their device floating around on the tabletop, or in their pocket, can take advantage of the McIntosh ST-1 stand (sold separately; $50), which fits any of Apple’s portable devices.

You can stream music to the McAire using your home’s Wi-Fi network and iTunes on your Mac or PC—but why bother when you can utilize the McIntosh app for your iPhone or iPad?  Using the app gives you similar functionality to iTunes, but turns the screen of your device into yet another McIntosh blue meter!  What could be cooler than that?

An auxiliary audio input on the back panel lets you get really wacky if you want, by connecting a turntable or other source unit to your McAire system.  We didn’t take things that far, but we did plug in a vintage McIntosh MR-71 FM tuner.  This requires a bit more shelf space, but the tube tuner is a nice addition to the system, if you’re listening to FM radio.

For seasoned McIntosh aficionados, or those discovering the brand for the first time, the McAire compact system is an excellent idea for adding high-performance audio to any room in the house.

McIntosh McAire

$3,000

www.mcintoshlabs.com

Audio Electronics Nighthawk

Unless you’ve been in the audio community since the early 90’s, chances are you haven’t heard of Audio Electronics by Cary Audio. Audio Electronics (AE) was created in 1993 as a way for Cary to reach out to budget minded music lovers and audiophiles. AE offered award- winning products that are still highly regarded to this day. In 2009, Cary Audio put Audio Electronics into hibernation concentrating on their core brand. Today, Audio Electronics is back – offering new products with a focus on sleeker designs, smaller footprints, and superb performance still at an affordable price point as in the past. The first product to hit the streets is the Nighthawk headphone amplifier – at $1,199.

The Nighthawk is considerably larger than the average portable headphone amplifier at 14.5” L x 8.5” W x 4” H, but don’t let the size scare you. It is well designed and easy-to-use featuring only the basic neccessities – inputs, output, power.  A silky smooth volume control, and a rock solid ¼-inch headphone jack adds to the feeling of quality, but an additional 1/8-inch jack would have been good for added flexibility, especially considering how many phones are showing up on the scene with the smaller plugs.

There are two pairs of outputs on the rear panel, one of them a pass through.  The five second soft start/mute circuit is a nice touch – nothing worse than hearing a headphone amp make a loud click when you have your phones on!

Unlike the more expensive Cary HH-1 headphone amplifier ($1,595) which is a hybrid design, utilizing a pair of 6922, the Nighthawk uses a Class-A solid state circuit with no feedback.  We’ll be revewing the HH-1 at a future date for comparison, but the Nighthawk proves no slouch with a wide range of headphones.

Test drive

A Mac Mini serving up CD rips through the McIntosh C50 preamp/DAC was used for all source files.  Even after three solid days of 24 hour operation, burning in another pair of headphones for another report, the Nighthawk remains cool, generating less head than my iPhone.  A great thing for those keeping their headphone systems in tight quarters.

Listening with everything from entry-level cans to the higher end models like the Denon D7000, Beyerdynamic T1, the Nighthawk proves clean and natural, adding no discernable flavor to the sound. However, system synergy is everything in headphone world, and with some phones more difficult to drive than others, the Nighthawk is not a perfect match with the Sennheiser HD800s.  A much better match is my reference Lehmann Audio Black Cube Linear – similarly priced but totally different sound.

The Nighthawk pairs well with the mid priced phones in my stable.  The AKG K550, Sennheiser HD600 and Pioneer SE-MJ591 all proved a breeze to drive.  Synergy rears its head again, with the AKG 550s a sweet match.  I went back to these phones repeatedly and have never had a better experience with the K550.  Natalie Merchant’s Ophelia album proved highly satisfying with rich vocals and well controlled bass response, yet no hint of bleeding into the vocals or background instruments.

This versatility makes the Nighthawk a perfect choice for the budding or seasoned headphone enthusiast.  Even my $99/pair Sony MDR-XB600 (Extra Bass) phones that sound mediocre at best with my iPhone really came to life with the Nighthawk.  A playlist of Deadmau5 favorites showed how well controlled and powerful the bass response could be even with budget phones.  All I wanted to do was turn it up!

Pub note:  Those with Audeze LCD-2 and LCD-3 phones can also rest assured that the Nighthawk is an excellent match with these planar favorites, which can be tough to drive.  -Michael Liang

The Audio Electronics Nighthawk

MSRP:  $1,195

www.caryaudio.com

M2TECH hiFace Two

A lot can happen in two years in the world of digital audio.  Back in early 2010, USB-to-S/PDIF converters for the masses were a bleeding-edge concern.  Italy’s M2TECH changed all that when it introduced the hiFace, a $185 digital-audio interface not much larger than a standard USB thumb drive.  This nifty little device transforms one’s computer into a digital-audio transport by giving users a simple and seamless way to deliver high-resolution music files from their computer to their playback system.  With the advent of the original hiFace, M2TECH effectively brought the benefits of USB data clocking out from the cold and into hands of computer audiophiles everywhere.

Since then, the hiFace’s existence has been more than justified.  The sonic performance of most budget USB DACs doesn’t even come close to that of the hiFace, when feeding it a steady S/PDIF diet.  A comparison between many models offering a direct USB connection and the hiFace will unmask the direct USB as relatively lifeless and anemic.  This is often the reason that newcomers to digital audio complain that their incoming computer rig doesn’t compete with their outgoing CD player.  We call this jitter: timing errors in the digital data flow that, in this instance, aren’t corrected by the USB DAC—sometimes the USB DAC itself is what introduces these timing errors.

A few DAC manufacturers, including Lenehan Audio, Metrum Acoustics, Eastern Electric, have wised up to the inherent weaknesses of more-vanilla USB receiver chips and are now employing M2TECH’s USB technology in their newer models.  Meanwhile, the number of USB-to-S/PDIF converters coming to market has expanded considerably in the past two years:  Anedio, April Music, Bel Canto, Channel Islands Audio, Halide Design, Human Audio, KingRex, Lindemann, Musical Fidelity, Quad, SOtM and Wavelength Audio now all offer models around the $500 mark.  M2TECH itself also offers an Evo version of the hiFace ($499) that can be tricked out with optional battery PSU ($499) and master clock ($499)—but purchasing all three of those units puts you in the financial territory of Empirical Audio’s beastly $1,299 Off-Ramp USB DAC.

The original hiFace’s wide user base can likely be attributed to its agreeable retail price.  But clocking devices are as important as the DAC itself, particularly at the budget end of the DAC market, where sophisticated jitter-rejection circuits (found at the high-end) are precluded by the manufacturer’s intended street price.  Adding a $1,500 USB converter to a $500 DAC might not make intuitive sense to many people—adding a $200 device does.

USB-to-S/PDIF converters don’t just convert one digital-transfer protocol to another.  They seek to better clock the data and thus minimize jitter.  Some take an axe to the detrimental effects of EMI/RFI by deploying improved power-supply regulation and galvanic isolation.

As 2010 tipped over into 2011, I recall the audible improvements brought by the original hiFace as being small: a shade more definition here, a little more soundstage focus there.  It wasn’t until Ireland’s John Kenny infused the hiFace with battery power that this reviewer really sat up and took notice.  Exposure to the Audiophilleo1 and Audiophilleo2 drove the need for a USB converter home, took it inside and made it a nice cup of tea.

Another annoyance with the original hiFace was its need for proprietary drivers, which introduced a small lag into the audio-playback chain that meant video would run slightly out of sync with audio and dialogue running through the hiFace.  This was a deal-breaker for some users.

M2TECH has eliminated this issue with the hiFace Two.  Based around an XMOS receiver chip, it complies with USB Audio Class 2.0 (UAC2) and therefore works with native-mode USB audio drivers.  This allows plug-and-play operation for Windows, OS X and Linux operating systems.  (As it’s not UAC2-compliant, Windows requires additional drivers to handle anything above 24/96.)  Like its predecessor, the new hiFace Two parses data up to 24/192 with each sample rate family—44.1/88.2/176.4 and 48/96/192—which is handled by its own oscillator.

For the hiFace Two, M2TECH has moved the shell cover from white to black, held the recommended retail price at $185 (dropping the price of the original unit to $150) and made coaxial and BNC models available.

The Setup

The thumb-drive sized unit is 10 cm long and suspends somewhat precariously when plugged into a vertically situated USB port on the back of a Mac mini.  The connection to a MacBook Air’s horizontal USB port allows one’s shelf or desk to better support the hiFace Two’s 50-gram weight (as well as the additional weight of the coaxial cable).  That said, neither host computer dropped audio due to physical conditions.  Even the Mac mini held fast during the review period.

The Sound

Experience has taught me that one of the key signs of jitter minimization is bass propulsion and definition.  Tonally, if a straight USB feed into the Audio-gd NFB-2.1 is a watercolor and the Audiophilleo is a portrait in oil, the hiFace Two paints somewhere between the two.  That’s commensurate with its pricing, as it’ll run you less than half the cost of the Audiophilleo2 ($579).  You get what you pay for and you pay for what you get.

Listening to this new model is reminiscent of spending a week or two with Musical Fidelity’s original V-LINK: a small improvement over the USB implementation found in the Peachtree iNova, but not as musically emphatic or engaging as Philip Gruebel’s little grey box.  The Audiophilleo also scores another point over all the competition by negating the need for (and expense of) a digital coaxial cable.

Once you accept the halfway-house nature of the hiFace Two solution, the fun begins.  Meandering through Leonard Cohen’s much-underrated 2001 “comeback” album, Ten New Songs, a sense of player space is more apparent with the new M2TECH device than without.  Better clocking (i.e. less jitter) takes the listener deeper into the music.  Even at this less-expensive end of the USB-converter market, improvements can be heard in terms of micro-dynamics and vitality—Cohen’s aging croak simply sounds more human.

Switching to something of an edgier ’80s mastering job with R.E.M.’s Green exposed an over-enthusiastic lower treble in brighter systems.  This was easily dialed back, thanks to Hannes Fricke’s adjustable tweeter gain on his WLM La Scala floorstanders, but the titanium dome tweeter in a pair of (vintage) Celestion Ditton 11 required a more creative solution.

The Splitter Cable and the Battery

Elijah Audio’s $105 BPM (battery-powered module) splits the input to any USB device such that data and power are fed independently.  The BPM cable nixes the 5-volt host computer feed and only allows the data to reach the piggybacking hiFace.  For this review, I hooked the BPM’s 20-cm tail into KingRex’s rechargeable U Power Li-on battery module ($189).

Sonically, this amended hiFace setup took the music a step backwards into a pool of warm water, eradicating that lower-treble glare.  In the context of digital-audio tweaks, this one rated as substantial—so much so that I had a friend stop by to corroborate my findings.  He agreed that the BPM/U Power appendage massaged the tense shoulders from VCMG’s bleepy Aftermaths EP and Depeche Mode’s Violator.

The Wrap

Hearing the benefits of adding battery power to the hiFace Two, it’s easy to see how John Kenny arrived at doing the same for his all-in-one solution.  So, with the cost of these modifications running past the $400 mark, why wouldn’t you just opt for his roughly $420 JKSPDIF USB-to-S/PDIF battery-powered converter?  Two reasons: Linux compatibility and audio lag.  The former will be of keen interest to Squeezebox Touch users who have installed the Enhanced Digital Output app, which it turns the USB input on the rear into a digital-audio output.  But that’s a story for another day…

For the cash-strapped computer audiophile the hiFace Two is a suitably priced intermediary that will wipe away some jitter between you PC/Mac and budget DAC. -John Darko

M2TECH hiFace Two

MSRP: $185

www.m2tech.biz

Unison Research Phono One Valve Phonostage

Vinyl lovers have no lack of choices these days when it comes to purchasing a phonostage.  Whether you’re an analog beginner or a veteran, your needs are covered from the entry-level price point all the way to the mega-buck region.  But when narrowing down the characteristics and features that are of particular importance, the choices start to thin out a bit: outboard power supply, check; great build quality, check; great cosmetics, check; tube based, check; good cartridge-loading options, check; Class-A zero-feedback design, check; Italian, check.  Italian?  If you’ve checked all of those boxes then you’ve arrived at Unison Research.

The $3,295 Phono One is a rather attractive product from the Italian firm.  Unlike the usual aluminum box, this beauty features a black-powder-coated steel case, along with a wood front panel and a sculptured wood accent panel on the top—which gives the phonostage a unique look and provides damping.

The power supply is housed in a separate enclosure, which an umbilical cord connects to the main chassis.  This separation is very critical in phono applications where the signal is delivered at such low levels; in a tube-based product it becomes even more important.  Using an external power supply is not the cheapest way to build a phono preamplifier, but it insures low noise and prevents the delicate phono signal from being contaminated by power-supply noise.

Peeking inside the main chassis reveals nicely laid out circuit boards populated with quality parts.  The board containing the tubes is separate from the RIAA EQ section, and isolated from the chassis via four rubber grommets—a nice feature that reduces any sort of vibration coming from outside the unit, and damps any possible microphonics coming from the tubes themselves.  The five tubes in this section are new production Tung Sol 12AX7s.  I did all my listening with the supplied tubes, eschewing my usual enthusiasm for tube rolling, because all of my favorite matched 12AX7s are quads!

Easily Adjustable

The back panel of the main chassis offers gold-plated RCA connectors for input and output, along with DIP switches for cartridge loading.  MC-resistive loading options are set at 20, 50 and 100 ohms, which is enough to cover most of today’s MC cartridges.  For moving magnet, the ubiquitous 47k ohm is the only option, though capacitance can be set at 100, 200, 320 and 420 pF.  An Ortofon MC 20 Super 25th Anniversary and a recently restored Lyra Clavis provide the basis for most of my MC listening, with a NOS Acutex 412 STR and a tried-and-true Shure V 15 Type IV for MM duties.

Beginning with the Lyra Clavis loaded at 100 ohms proves palatable (even though this cartridge usually requires a higher load) in concert with the latest Audience Au24SE phono cable, which is a favorite here at TONEAudio.  This cable is optimized for cartridges with low internal impedance, such as the Lyra and Ortofon.  When I switch to the Shure and Acutex MM cartridges, I use an AudioQuest King Cobra cable from the tonearm to the phonostage, achieving outstanding results with both setups.

The first LP on deck is Nina Simone’s Pastel Blues.  The song “Chilly Winds Don’t Blow” showcases her distinctive voice, which can be irritating unless everything in the chain is near perfect.  In this case, her generally high-pitched tone comes through in great detail but with a welcome smoothness in the higher registers.  The Ortofon proves best at the 20-ohm setting, but both of these extremely low-output MC carts expose the noise floor in the Phono One—our publisher has better results with MC carts in the .5-MV range.  (See “Additional Listening” below.)

Next up is The Soundtrack of Our Lives, with “In Someone Else’s Mind” from the Behind the Music album.  This Pink Floyd-ish tune features double vocals that the Phono One easily unravels and separates in the sound stage, with background percussion and droning sound effects placed way back, even behind the music.  Peter Gabriel’s debut solo album, a Direct-Disk Labs reissue of the original Atco Records release, again proves that the Phono One is a natural performer.  The phonostage easily handles the soaring crescendos at the end of “Humdrum,” separating the various instruments and studio effects while keeping the vocals completely intelligible, even at the highest levels.

Act Two

When I switch to my MM cartridges, the Phono One really starts to shine.  I don’t know whether the MM stage received extra attention during the engineering phase or whether my MC cartridges simply did not have complete synergy with the product.  In any case, the big bang comes from the lowly Shure cart for the rest of the evaluation period.  As in all things vinyl, you never know what’s going to sound best until you’ve run down all the options.

Esperanza Spalding’s Junjo begins the second round of evaluations in earnest.  On the leadoff composition, “The Peacocks,” the Phono One presents the instruments in space and in a beautiful front-to-back fashion.  The drum kit exhibits tremendous attack, while the cymbals show intricate detail without distracting from the rest of the mix.  And, of course, Spalding’s bass lines are muscular and clearly delineated.

Anne Bisson’s album Blue Mind serves as the obligatory female vocal demo.  The song “Camilio” is a mournful, quiet ballad.  The Phono One conveys the full emotion of the song through Bisson’s breathy voice, which floats exactly between the speakers, while the phonostage presents the acoustic bass as a strong foundation.  If you’ve had the chance to hear Bisson sing up close and personal at any of the recent hi-fi shows, you’ll recognize this instantly.  My final choice is Steve Miller’s Born 2 B Blue album.  The tune “Ya Ya” is a wonderfully recorded affair and sounds fantastic through the Phono One.  The highest compliment I can pay this phonostage is to say that it will allow you to take off your audiophile hat and let you just get into the music—no chin-stroking analysis required here.

The inner tweakazoid in me experiments with a few power cords at the end of the evaluation, just to see if more performance can be wrung from this Italian beauty.  After four tries, I settle on the Crystal Cable Ultra, which provides the best combination of speed, dynamics and musicality.  After getting used to this combination, I switch back to the stock cord, and quickly realize that a good power cord is a worthy upgrade for the Phono One.

With so many phonostages vying for your dollar, the Phono One is at the high side of the price range for what it offers; but, with an excellent electrical and physical design, the Phono One is a wonderful alternative to another stamped-out black box.  And now, with Colleen Cardas added to the dealer network as the U.S. importer, this Italian wonder is easier than ever to experience outside of a hi-fi show, and that’s a good thing.

Additional Listening

By Jeff Dorgay

I was instantly drawn to the visual style of the Phono One, but then I’m a sucker for all things Italian.  And the price doesn’t put me off either; I’ll always pay a few extra bucks for style points.  That’s why I drive a Fiat Abarth instead of a Hyundai Veloster.

Following Mr. O’Brien’s lead, I try a handful of MC cartridges with slightly higher outputs.  Sticking with Ortofon, the Cadenza Bronze MC, with its neutral tonal balance and .4-MV output, proves perfect in room two; I mount the Cadenza on an SME 10 turntable with SME V tonearm (and this cartridge works incredibly well when loaded at 100 ohms).  The Rega Apheta MC, which works best at lower loading, provides incredible synergy loaded at 20 ohms via the Phono One, which delivers what is perhaps the best performance I’ve ever experienced with this cartridge.

The Grado Statement 1 also proves fantastic with the Phono One; its .5-MV output and 47k loading requirements are no problem at all, underlining the fact that you can mate this phonostage with a premium cartridge in the $2,000-to-$3,000 range.

Finally, swapping the factory tubes for a full set of EAT tubes transforms this great preamplifier to an exceptional one:  Dynamics improve and noise drops, so I’ll go out on a limb and suggest tube rolling with this one—just make sure you get five matched tubes.

The Phono One is certainly good enough to be purchased for our ever-growing fleet of phonostages, so we will report back towards the end of the year, with a long-term follow-up, after it has been used with an even wider range of phono cartridges. – Jerold O’Brien

Unison Research Phono One Valve Phonostage

MSRP: $3,295

en.unisonresearch.com (Factory site)

www.colleencardasimports.com (US Importer)

AVA Ultravalve Vacuum Tube Amplifier

The finger snaps on Thomas Dolby’s “The Ability to Swing” hang in midair between the speakers, as Dolby’s highly processed yet ethereal vocal enters the mix.  “It isn’t worth a bean, if you haven’t got the ability to swing,” he declares.

Indeed, the six-figure system assembled in room two is in full swing right now, but the amplifier powering the Sonus faber Guarneri Evolution speakers is the humble AVA Ultravalve, not the $65,000 Octave Jubilee monoblocks I’ve been using for some time.  This is truly an amazing amplifier.  If I powder-coated the chassis a certain shade of blue-green, slapped an Air Tight badge on the front panel and told you I paid five figures for this little jewel, you’d believe me—it’s that good.

With so much excitement about the vinyl resurgence of the last few years, some of you have forgotten how popular vacuum tubes have also become lately.  Yet, in the midst of these newer products sprouting up, it’s easy to forget some of the players that have been around for quite a while.  Audio by Van Alstine (AVA) is that “other” amplifier company in Minnesota—Audio Research is located nearby—and it is a perfect example of a manufacturer that has quietly gone about its business making great products without a ton of fanfare.  And you rarely see products from AVA for sale on the secondary market.  The company obviously has a legion of loyal customers,

No matter how much time I spend with mega-dollar power amplifiers, I always love a variation on the Dynaco Stereo 70 theme.  While I’ve never heard one that I didn’t like, there are big differences between them.  Some have a softer, warmer presentation and definitely embellish more than others; the original ST 70 is the prime example of that voicing.  With these types of amps, your best recordings don’t sound much better than your worst, but everything sounds somewhat liquid and dreamy—not a bad place to hang your hat if you have a modest system, or a lot of MP3s.

Tube Through and Through

Frank Van Alstine has been at this game for a long time.  He started out modding and repairing Dynaco electronics 30-plus years ago, and revamped the ST 70 circuit so much over the years that it is now truly his own design now.  The Ultravalve is still based on a pair of 6CA7 output tubes (EL34 or KT77 tubes can be used as well), but it does not have a switch for triode mode, fancy power output meters or anything that distracts from the amplifier’s performance.  And its price is right: $1,999 puts one in your hot little hands.

Like the original ST 70, the Ultravalve uses a 5AR4 rectifier tube and a pair of more readily available 6GH8A small-signal tubes in place of the now long-obsolete 7199 tubes in the ST 70, which is fetching premium prices online.  The Ultravalve is one of the first power amplifiers I’ve listened to with which I just don’t feel the need to roll tubes.  It sounds just fine as is, and a little bit of research shows that there aren’t a lot of variations on the 6GH8A tube anyway.  Perusing Mr. Van Alstine’s board on the AudioCircle forum shows him to be a practical man, so I just enjoyed the amp’s stock tubes.

I do upgrade the power cord to a Cardas Clear cord for my review, only because that’s what I use with everything else and we value consistency here.  The Ultravalve does benefit slightly from the upgraded power cord and from being plugged into a Running Springs Dmitri power conditioner.  But keep in mind that none of this is necessary to enjoy the Ultravalve.

Removing the bottom panel of the highly polished stainless steel chassis reveals tidy workmanship throughout, again showing that AVA sticks to the basic layout of a ST 70: driver circuitry on a well-thought-out PC board and the rest of the amplifier wired point to point.  There is a switch on the rear panel to float the ground, as well as three binding posts for 4-, 8- and 16-ohm speakers; this is my only gripe with the Ultravalve.  It really could use some beefier binding posts for those of us with bigger speaker cables.  My solution is just to re-terminate with bananas plugs.

Ace of Bass and Dynamics

Bass control is a big part of the equation here.  The original ST 70 has a puny power supply and it shows up in the playback, with the bass response lacking dynamics and sounding wild and wooly.  An original Conrad-Johnson MV50 isn’t much better.  An original Marantz 8B has a more liquid midrange but still falls short down under.

As brilliant as the Sonus faber Guareri Evolution speakers are, like any high-performance Italian product, they are a bit picky about what you feed them.  Just like my Fiat Abarth getting grumpy when filled with anything less than premium gas, the Evos need current and control to give a stellar performance and sound as big as they should.

And when delivering Nine Inch Nails’ “Help Me I Am in Hell,” the Ultravalve sounds big. I move the amp out into room one, with the KEF Blades (with their 90-dB-per-watt sensitivity), and it sounds damn big, with guitars floating around the soundstage and the heartbeat at the end of the track filling the listening room.  Upping the game with a much more densely recorded track, “Mr. Self Destruct” from NIN’s album The Downward Spiral, I find that the Ultravalve not only keeps the groove of the driving synth bass well intact, but it also does not lose the focus.  The amp starts and stops on a dime as Trent Reznor brings the music to barely a whisper, only to audibly assault us again and again with a huge ball of sound and dynamics.

It’s still hard to believe I’m listening to a $2,000 amplifier.  For those of you in the audience thinking that it’s sheer insanity to put an amplifier like this in a system like this, I submit that it’s the only way to see what its performance envelope truly is.  Daft Punk’s Homework lights up the Blades and I can turn the volume up to the point where I feel like I’m back in New York at Fashion Week.  All that’s missing is the catwalk.

The Ultravalve carefully follows Stanley Clarke as he rips up the fretboard on “Bass Folk Song No. 7,” clearly demonstrating its ability to keep the Blade’s 9-inch woofers in control.  The amp reveals Clarke’s delicate touch on the fretless bass, and it never gets sloppy, slow or wooly.

It’s also Got Top

The Ultravalve is ultra quick, even when playing a less-than-superb recording, like The Stooges self-titled album, on which the amp keeps its composure, provided you don’t turn the volume past the point of soft clipping.  Rather than getting harsh, like many other low-powered tube amplifiers we’ve auditioned, the Ultravalve begins to suffer from a collapsed soundstage.  This degradation is slow at first, but the amp then quickly slides into the same flat, brick-walled sound that plagues many of today’s digital recordings.  But if you keep the Ultravalve within its comfort zone, you’ll be handsomely rewarded.

Miles Davis’ “Diane,” from Steamin’ with The Miles Davis Quintet, proves open and spacious, with Philly Joe Jones’ brushwork on the drums exquisitely rendered, as Davis floats through the soundstage.  This amplifier becomes more convincing the longer you listen; about an hour is required for it to open up completely, but it is still damn good two minutes after initial turn on.

Perhaps the only stretch for the Ultravalve while paired with less than highly efficient speakers comes when asking it to reproduce large-scale orchestral pieces or electronica at club levels.  Prokofiev’s suite from The Love for Three Oranges taxes the Ultravalve as the large kettle drums reach full throttle, requiring listening at less than what might be considered a live level—but how often do you do that?

Back to Earth

Using the Ultravalve with similarly priced components is highly rewarding.  It is fully capable of anchoring a modestly priced but high-performance system.  Mating the amp to a Conrad-Johnson PV-12 preamplifier (with CJ’s recent capacitor updates), an Oppo BDP-105 universal player and the Rega RP6 turntable, with a pair of KEF LS50 speakers, proves breathtaking—especially for a relatively inexpensive system like this one.  But you’ll be surprised just how damn good the Ultravavle sounds as part of a no-holds-barred system.

While the 35 watts per channel of the Ultravalve may not be enough juice for everyone, if that much wattage will work for you, I cannot recommend this amp highly enough.  The level of resolution, tonality and bass control this amplifier offers for $1,999 is unmatched by anything I’ve ever experienced at this price point.  I am very proud to award the Ultravalve one of our Exceptional Value Awards for 2013.  I’m keeping this one!

AVA Ultravalve Vacuum Tube Amplifier

MSRP: $1,999

Audio by Van Alstine (AVA)

www.avahifi.com

Peripherals

Analog Source SME 10 turntable    Sumiko Palo Santos cartridge    Aesthetix Rhea phonostage
Digital Source dCS Vivaldi stack    Oppo BDP-105
Preamplifier Conrad-Johnson PV-12c1    Nagra Jazz    Robert Koda K-10
Speakers Dynaudio Confidence C1    KEF LS50    KEF Blade    GamuT S9    Sonus faber Guarneri Evolution
Cable Cardas Clear

Zu Soul Superfly

High-end companies like to claim that they create speakers that don’t sound like other audiophile speakers. Usually, such assertions are just talk. But Utah-based Zu Audio breaks almost every rule of speaker design. What’s more, its American-manufactured designs kick ass, and play nice and loud without raising a sweat. And since all Zu models feature a 10.3″ full-range driver that covers bass, mid, and well up into the treble range, they don’t use a complex crossover network. This almost direct-coupled approach yields major sonic dividends in the critical midrange region.

In Zu’s Soul Superfly, the main driver extends slightly beyond 10khz, and is augmented by a supertweeter that uses a Polish-made 1″ composite dome tweeter mounted in a beautifully machined aluminum-flared horn. Most tweeters on two- or three-way designs are crossed over much lower, typically between 1.2—4kHz. Zu’s technique makes for a dramatic difference in the way the speaker puts sound in the room. Boy, does it ever!

Big Brother and Little Brother

The Soul Superfly is a hot-rodded version of the Soul, and the models sport a few key differences. The Soul is internally wired with Zu Mission cables; the Superfly is cabled with Zu’s silver alloy B3. While the Soul uses ERSE Pulse-X audio grade polypropylene capacitors, the Superfly utilizes Mundorf Silver/Oil capacitors inline with the tweeter. The Superfly’s cabinet is internally coated with a layer of QuietCoat Composite paint, with the MDF bonded with a penetrating binder; the Soul is untreated MDF. The Superfly employs a Cardas copper speaker wire clamping connector forged to the internal cable harness; the Soul uses traditional five-way binding posts. The Superfly can be custom ordered in any finish; the Soul is only available in Zu Smooth Matte black.

A Modest-Sized Speaker, Served Best with Tubes

Zu designs are super-efficient, and the Soul Superfly is no different, boasting a very healthy 101dB @ 1 watt spec. So it can rock the house with just a handful of watts. Don’t worry, power handling hasn’t been slighted; this bad boy can handle 300 watts. The Soul Superfly’s 16 ohm impedance favors tube amps, so I used three: the Miniwatt N3 with 3.5 watts per channel; the Jolida FX10 with ten watts per channel; and a Luxman SQ-38u 30-watt integrated. The Superfly’s high impedance also makes for a splendid match with OTL (output transformerless) tube amps from Atma-Sphere, Transcendent Sound, and Futterman. Zu claims that solid-state amps won’t be the best matches with the Soul Superfly, but the company produces a few models that work equally well with solid-state amplification.

As far as space demands are concerned, the Soul Superfly isn’t that big. It measures 38″ high and 12″ square at its base, while the sloping side panels meet at the 9.5″ square top panel. The MDF cabinet feels solid, and the speaker weighs 50 pounds. Build quality is excellent, and the model is available in three standard textured finishes: Chocolate, Cosmic Latte (beige), Cosmic Carbon gray. Zu also offers extraordinary custom-finish options, albeit for a whopping $2,000 extra. The fee is based on 20 extra hours of labor and the cost of expensive paints. But the charge is worth it. That metallic lime green Soul Superfly I spotted at the 2010 Rocky Mountain Audio Fest? Absolutely stunning.

Class Comparisons

Sonically, the Soul Superfly is tonally rich and solid, and possesses a weight that few other speakers anywhere its price range muster. Credit the 10.3″ driver’s air-moving power, dynamic punch, and near full frequency bandwidth for the gravitas. The sound is not as transparent as Magnepan’s spectacular MG 1.7 panel speaker ($1,995/pair) I reviewed in Issue 30, but the 1.7 can’t match the Soul Superfly’s tonal richness. If you want both—transparency and soul—be prepared to drop more dough.

Zu’s Essence is a larger speaker, and utilizes a ribbon tweeter, making for a more refined-sounding experience. Still, I’m partial to ribbon tweeters. The Essence sounds bigger, with more air, resolution, a deeper soundstage, and more bass definition than that of the Soul Superfly, all for a higher price.  The Essence doesn’t even match the Magnepan’s walk-through transparency, but like the 1.7, Zu’s speakers march to a different beat.

The Soul Superfly’s big attraction? The way it unleashes dynamics. You’d be hard pressed to find another box or panel speaker anywhere near the Soul Superfly’s size or price that touches it. In this sense, the speaker sounds more like a horn speaker, but without the usual horn (cupped-hand) colorations.

Amplifiers As Soul Food

I never thought Philip Glass’ music had a wit of soul until I played it on these speakers. I liked the idea of Glass’ music, but it often sounded cold, mechanical, and uninviting. The Soul Superfly changed my longstanding opinion once I played Glass’ Glasspieces LP. Whoa. The music’s rhythms and grooves had me going, big time. The Soul somehow uncorked more of the music than I’d heard before. This was material that, after all, was once performed by living, breathing players, and it’s the hi-fi’s job to bring them back to life. The Soul did just that.

Early 1970s Columbia LPs tend to sound thin and hard, but that wasn’t the case with Al Kooper’s I Stand Alone when played through the Luxman SQ-38u integrated amp. The record’s strings and brass, bathed in reverb, were a treat, and Kooper’s elastic vocals seemed more humanly present than I’d previously experienced. The Soul Superfly projected a large soundstage, with fairly sharp focus. Not bad for an LP purchased for 99 cents at Princeton Record Exchange.

Switching amps, the Jolida FX10 did a fine job goosing the Soul Superfly into action with the Black Keys’ raunchy blues. The duo’s latest, Brothers, is a low-down romp, with massively distorted guitar and pummeling drums, and is best enjoyed with the volume cranked way up. The FX10 obliged, though the Luxman coaxed even more grunt from the mix. In addition, the Luxman delivered considerably more meat on the bones, but the FX10’s sound was immensely satisfying on its own. Brothers sports the best batch of tunes from any Black Keys album, and the Soul Superfly only increased my love for the record.

The designation of the tubiest-sounding amp in the listening chain fell to the Miniwatt N3, a single-ended design that utilizes a single ECC83 twin-triode tube feeding one EL84 output tube per channel. The N3 delivered a healthy 3.5 watts per channel to the Superflys, and they loved it. Sure, it looked almost comical: A teensy 5.25″ wide and 6″ deep amp next to the Souls. But those 3.5 watts were sweet and clear, with a truly gorgeous midrange and pleasantly full bass. Tone color and dimensionality were absolutely yummy, and textures came through with utmost transparency. The Miniwatt N2 sells for just $378, but I could happily live with it and the Soul Superfly.

As might be expected, the Luxman SQ-38u integrated tube amp (review in the works) proved the best overall mate with the Soul Superfly, yielding more holographic imaging and a very un-hi-fi, yet totally musically convincing sound. Instruments sounded more natural, and after three different amplifiers, I became convinced that the Soul Superfly was designed for tubes. Why? There’s a rightness to the sound that my solid-state amps can’t match. Bass doesn’t go subwoofer deep, but it’s generously proportioned.

The solid-state Pass Labs XA100.5 monoblock amps exerted a profound sense of control over the Soul Superfly, the sort of difference that could be definitely felt when a drummer really whacked his kit. The big solid-state monoblocks offered more slam and dynamic contrast, but the overall tonal balance shifted to the cooler side. While this never appeared mechanical or harsh, it was easier to forget about the gear when I had a tube amplifier in the chain.

Blow Out the Candles

Zu just celebrated its 10th anniversary in 2010, and it seems like the company has only begun what will be a long run. The Soul and Soul Superfly are the latest additions to a promising product line and should be perfect fits for those with low-to-moderate-powered tube amplifiers that want something out of the ordinary.

Zu Audio Soul Superfly

MSRP: $2,600 a pair

www.zuaudio.com

Peripherals

Analog Source VPI Classic turntable with van den Hul Frog cartridge
Digital Sources Ayre C-5xe MP Universal Player    Oppo BDP-83 Special Edition
Electronics Parasound JC 1 preamp    Whest 2.0 phono preamp    Parasound JC 1   Miniwatt N3   Jolida FX10    Luxman SQ-38u    Pass Labs XA100.5    First Watt J2
Speakers Dynaudio C-1    Zu Essence    Mangepan 3.6
Cable Zu interconnects and speaker cable    XLO Signature-3 interconnects, speaker cable and power cords    Audioquest Sky interconnects

Bel Canto e.One FM1 Tuner

We live in an era of audio contrasts. Digital disc players and music servers coexist with vinyl playback systems like lions and lambs. Reel-to-reel and cassette tape decks appear headed for white elephant status. FM radio, the only other major analog holdout, remains under siege from satellite and Internet broadcasting. So why bother with a new analog FM tuner?

I posed the question to John Stronczer, CEO of Bel Canto Design. A self-confessed FM fancier, he sees the creation of the FM1 as a “challenge,” a device that applies his company’s advances in digital-signal processing to taming the occasionally wild analog FM signal. Stronczer wisely resisted the temptation to “throw in” HD Radio because of its inferior compressed sound.  He’s convinced that there are enough audiophiles who will appreciate the fruits of Bel Canto’s labor and prefer the superiority of honest analog FM sound. The performance of the FM1 should prove him correct.

The Wonderful World of FM Radio

My long love affair with FM radio started with a Dynaco tuner in the 1960s and was fueled by stations like Chicago’s WFMT. Leaving the city’s bitter cold for Augusta, Georgia’s humid heat, I found that my FM options had also gone south. To fulfill the need for high quality cultural programming, I turned to two local public radio stations.  Unfortunately, they reside in the low rent district of the FM band. Their weaker signals led to the acquisition of quieter, more sensitive FM tuners—including those from Magnum Labs, Fanfare, Day Sequerra—and supporting them with excellent antennas.

Of course, listening habits change over time. After discovering digital music servers, I started spending more time with Internet radio and less with my beloved analog FM tuner. The good news about digital music servers is that they access thousands of radio stations that cover all genres. The bad news: highly compressed signals (usually 128 kbps or lower) that reduce frequency response and channel separation. While I didn’t miss analog FM’s snap, crackle, and pop, I missed its air and dynamics. Enter the FM1, Bel Canto’s first serious foray into the world of analog FM tuners.

FM1 Crosses My Threshold: The Magic Box

Aesthetically, the FM1 shares the compact, understated façade of its e.One stable mates.  A multifunction knob selects broadcast mode, station frequency (call letters and program data when available), and signal strength. The supplied remote can store 10 preset channels and controls other compatible Bel Canto equipment. Pushing the “tuner” button enables forward and reverse channel selection, operation display, and forced mono for noisy stations.

On the back, the rear panel is cleanly laid out. From left to right, there is a power switch; an input for the basic outboard power supply or optional VBS1 (virtual battery) and LNS1 (line power supply); XLR or RCA analog ouputs; an antenna input; an RS-232 control port; and bank of digital outputs (SPDIF/BNC, Toslink, and AES/EBU). The “magic” in this little box comes from its sophisticated digital signal processor (DSP) that massages the raw FM signal. After digital processing, the signal can be routed to analog or digital outputs (as a 96kHz/24-bit data stream). This onboard technology is an offshoot of Bel Canto’s extensive DSP research. I listened through both balanced and unbalanced analog outputs feeding my Pass preamp, and through the digital coaxial outputs into a PerfectWave DAC.

The most critical and time-consuming part of setting up the FM1 is described in the concise user’s guide under the heading “Choosing Your Antenna.” The supplied wire antenna is intended to ensure proper functioning of the FM1, but not for critical listening.  As my housing subdivision falls between rural and urban in terms of broadcast signal strength, I followed the company’s recommendations to the letter. I also placed a Magnum Labs Signal Sleuth between the antenna lead-in and the FM1. The Sleuth greatly aids the cause of public radio stations found at the far left of the FM band.

The Listening Sessions: The Sounds of Silence

It took nearly two hours to set up my two antennas. A Fanfare FM-2G antenna took turns with a Winegard multi-element Yagi, the latter as ideal for single-family homes as the former component is for apartment dwellers. The FM1 is more sensitive to antenna selection, orientation, and placement than just about any tuner I’ve used. I regretted not being able to use an oscilloscope to assist in the tedious but essential process of antenna adjustment. Fortunately, the FM1’s signal strength display readout on the front panel offers considerable help with antenna orientation.

Greater Augusta sports 18 analog FM stations that have Internet counterparts, enabling a direct comparison of both broadcast methods. The Fanfare whip antenna retrieved 12 stations suitable for listening; the Yagi got all 18 and was used for most of the critical sessions. While the FM1’s signal strength indicator ranges from 0 to 100, a reading of at least 40 is needed to prevent the tuner defaulting to Blend (reduced channel separation) mode. With either antenna, only 8 stations hit the necessary target: My two public radio favorites and six popular music stations.

FM noise, the Achilles heel of analog stereo broadcasts, was minimal for the strongest stations. Bel Canto’s latest design is the quietest tuner I’ve ever heard. Public radio stations sounded better than their pop counterparts that typically EQ their signal for “boom and sizzle” aimed at car and portable radios. The FM1 mercilessly exposed such differences in broadcast techniques, just as a good tuner should.

My “aha” moment came when comparing Internet broadcasts from a Logitech Squeezebox Touch connected to a PerfectWave DAC. The analog broadcasts had a slight hiss, but their air, imaging, and warmth easily bested that of the highest-quality digital stations. Voices sounded more natural on the FM1 and lacked the pervasive tubiness of many Internet sources.  After many A/B comparisons, I was hard pressed to detect a consistent difference between the FM1’s digital and analog outputs—both sounded excellent. Best overall sound came from balanced operation.

To further experiment, I retrieved my old Fanfare FM-1A from storage. After hooking it up to the same antennas and playing it through balanced outputs, the tuner picked up all of the stations that the Bel Canto unit captured. The Fanfare did a creditable job with dynamics and imaging, yet its noise level, even on the best stations, registered noticeably higher than that of the Bel Canto and intruded on my enjoyment of the music.

Signing Off

Like a first date, many of us fondly remember FM radio as a gateway to new life experiences. The top FM stations had the best sound and programming capacity that went far beyond that of our home music libraries. These stations also served up rare recordings and live concert broadcasts.

So, before you conclude that $1500 is too steep an admission price, consider that it’s a one-time cash outlay compared to the ongoing and rising expense of annual digital subscriptions with high-speed Internet portals. And, in the end, remember, you’re footing the bill for lower fidelity.

Bel Canto’s FM1 is evolutionary in its handling of FM noise. It breathes new life into your stereo system, regardless of its vintage or price point. Analog FM remains a viable audio option, and will be around for the foreseeable future. If you live in a metro area blessed with strong, clear FM stations and highly varied programming, the FM1 presents one of the best modern arguments in support of the radio medium that I’ve ever heard.

Bel Canto e.One  FM1  FM Tuner

MSRP: $1,495

www.belcantodesign.com

Peripherals

Digital Sources Esoteric P-03    D-03    G-Orb    UX-Pi    Logitech Squeezebox Touch     Meridian Sooloos   PS Audio PerfectWave
Analog Sources VPI HRX w/12.7 arm, Rim Drive    VPI Aries w/10.5i arm, flywheel, SDS Controllers
Phono Cartridges Clearaudio Goldfinger v.2    Clearaudio Stradivari
Phono Preamplifiers Pass XP-25, XP-15
Preamplifiers Pass XP-20    Lexicon 12HD-B
Power Amplifiers Pass XA-100.5    Pass X-3
Speakers Martin Logan CLX, Stage, Script-I, Descent-I (2), Descent (2)
Interconnects Nordost Odin and Valhalla
Speaker Cable Nordost Odin
Power Cords/Conditioning Nordost Odin and Valhalla    Running Springs Audio Dmitri and Maxim
Vibration Control Black Diamond Racing
Room Treatment Echo Buster, Corner Busters, Bass Busters, Double Busters

Red Wine Audio Ginevra LFP-V Edition Phono Preamplifier

When “Perfect Sound Forever” debuted in 1983 in the form of the CD, I doubt that anyone seriously imagined the LP would still be with us in 2011. The compact disc immediately ignited an analog/digital debate among hardcore audiophiles, and while true believers on each side are still holding tight, it’s the CD, not the LP, whose future remains uncertain. No wonder many analog loving audiophiles continue to upgrade their turntables, tonearms, cartridges, and phono preamplifiers.

If you happen to be in that group, Red Wine Audio’s luscious new Ginevra LFP-V Edition Phono Preamplifier should be on your short list. It’s a fully discrete Class-A FET gain stage/buffered tube output, passive RIAA equalization network, and battery-powered design. And that makes the Ginevra the first tube design I’ve seen that doesn’t work off AC power. That said, it’s not all that tubey, and there’s no overt electronic signature. Indeed, the Ginevra’s sound is totally organic. It has substance and weight, so it sounds like live music.

Intriguing Design and Construction

Red Wine founder Vinnie Rossi favors the 6922 (E88CC) dual-triode vacuum tube, and uses it in most of his designs. If you like to experiment with “tube rolling,” feel free to try some 6DJ8/ECC88, 7308/E188CC, 7DJ8/PCC88, 6N23, 6H23, 6N11 or 6GM8 tubes. Since the Ginevra uses just one tube, it won’t break the bank to keep a few tubes on hand, allowing you to change the sonic flavor when the mood strikes.

Moving-magnet cartridge gain is spec’d at 40dB and loaded with 47k ohms. Moving coil gain, at 60dB, is moderate, so owners of really low-output coils may not have enough juice; Rossi recommends using a step-up transformer if you need more gain. Moving-coil loading options are 75, 82, 90, 100, 350, 500, 1k, and 10k ohms, settable via internal DIP switches, and load sockets for individual resistors are provided for owners that prefer custom loads. While separate connectors for moving magnet and moving coil cartridges are provided, the owner’s manual cautions against connecting both types of cartridges at the same time.

It should be noted that Red Wine doesn’t just pack the Ginevra with a bunch of “D” cells and call it a day. No, the preamp boasts state-of-the-art 25.6-volt “Lithium Iron Phosphate” (LFP) battery technology. These low-impedance battery packs are exclusively manufactured for Red Wine Audio and designed for long life. The battery pack includes a built-in, custom-designed cell management board that balances individual battery cells, both optimizing reliability and battery pack performance. The pack is also user-replaceable, and doesn’t require any soldering to install.

Best of all, the Ginevra completely operates “off-the-grid,” meaning the preamp is electrically decoupled when it runs off the battery supply. A full charge lasts approximately eight hours, but for all-night parties or background music, you can run the Ginevra off the AC power supply. The battery charges whenever you play the preamp with AC power and when you switch off the Ginevra.

The Ginevra’s nicely machined, anodized black front panel is the preamp’s most interesting design feature—it’s a very plain-looking black box. The unit measures a scant 12″ wide, 9″ deep, and 3.5″ high. Sans the separate battery charger, it weighs 8 pounds. Giving a determined nudge to the power button triggers an internal relay that disconnects the charger’s negative and positive AC feeds to the preamp. And the “piezo” switch, with a rated cycle life in the millions, is made in Israel with aircraft-grade aluminum.

Let the Listening Commence

I listened to the Ginevra with a few tubes: the standard JJ Electronic Russian 6922, which possess a sweet demeanor; a similar-sounding Holland-made Amperex 6DJ8; and a significantly more aggressive Sovtek 6922. A $225 EAT ECC88 tube that comes with an attached red anodized heat sink upped the resolution a notch or two over the others, but Rossi’s stock tube is very listenable.

With my VPI Classic turntable and van den Hul Frog low-output moving-coil cartridge at the ready, the Ginevra’s gain definitely proved lower than that of my Whest TWO phono preamp. Still, I never felt like I needed more gain. The Whest is no slouch, but it’s distinctly cooler-sounding and leaves a lot of music on the floor. The Ginevra is grainless, sweet, and beguiling—this preamp is not the sort that dazzles with displays of audiophile “speed,” “detail,” or “resolution.” It’s much more musically honest. Treble is purer, better, and more natural than I’ve heard from most SACD and DVD-A discs. Moreover, the Ginevra is very quiet in battery mode; switching over to AC raises the noise level. Hence, I ran with battery juice most of the time.

The importance of power supply design in phono preamps also can’t be overstated. Rossi’s battery pack delivers pure DC current just perfectly, which is crucially important when amplifying miniscule voltages generated by phono cartridges. Since the preamp automatically decouples from the AC line when operating on battery power, Ginevra owners will never be tempted to buy pricey power cables or power-line conditioners.

With the Ginevra, record surface noise, clicks, and pops are not necessarily lower in level, but they recede into the background more than they did with my Whest. And the Ginevra’s deft portrayals of the quieter parts in music are remarkable in their own right; dynamic shadings and expressive nuance really shine through. In short, music sounds more natural and less like hi-fi. Always a good thing.

I also love the way the Ginevra allowed the sound of Egberto Gismonti’s guitar on his Duas Vozes to radiate in three dimensions. Each pluck and every strum fill the studio space to holographic effect. In addition, Nana Vasconcelos’ evocative vocalizations and palpable percussion accents populated a broad and deep soundstage.

In listening to the Persuasions’ We Came to Play, the Ginevra absolutely nailed the ensemble’s a capella sound. I hung around these guys at a few Chesky recording sessions, so I have a good fix on their individual voices and group vibe. I closed my eyes and the Persuasions simply appeared—voices, foot shuffles, thigh slaps, finger snaps, the entire package. This session record led me to The Intimate Ellington, which starts off with Duke talk/singing “Moon Maiden” and gently playing a celeste keyboard. I’ve spun this LP countless times, and this much I know for sure: Hi-fis rarely get this close to sounding so expressive and downright human.

Making a Tangible Musical Connection

Moving on to more contemporary recordings, like Tom Jones’ all-analog, live-in-the-studio Praise & Blame, put a big smile on my face. Jones is no youngster, but his pipes are in great shape, the bluesy, gospel-infused record is loaded with great tunes. By comparison, the Cowboy Junkies’ Trinity Revisited sounded cooler, brighter and, well, more modern. Its more upfront nature, sparkly treble, and tighter, more direct-sounding bass stood in sharp contrast to the older, all-analog LPs in my collection. Don’t get me wrong. The Junkies’ record is nice, but the Ginevra’s sweet temperament didn’t smooth over the differences.

Paul Simon’s brand-new So Beautiful or So What is likely a digital recording (the LP comes with a free 96/24 download), but it’s a delight nonetheless. The material is wonderful, and the sound clear and clean, with the musical connection on LP is a wee bit stronger than what I gleaned from the high-resolution file. The Ginevra also lit up the English Beat’s stellar I Just Can’t Stop It LP. The ska revivalists’ beats are as nimble as they come, and the band’s tunes are tops. Bass definition was excellent, tuneful, and rich.

I couldn’t stop putting LPs on the platter. Giorgio Moroder’s dense synthesizer tapestries drifting through the Cat People soundtrack kept me up late at night. The record’s high-frequency shrieks and sputtery flourishes floated high above the rest of the soundstage, and I couldn’t get enough of the throbbing beats and eerie whooshes. All so 1982! Those were the days, before the CD came onto the scene.

Satisfaction Guaranteed

If you’re in the market for a phono preamp that’ll get you closer to the by-the-number sound of the better solid-state alternatives, the Ginevra probably ain’t it. But if you’re like me, you might be in love at first listen. And while the LFP-V is sold factory-direct with a 30-day satisfaction guarantee, I can’t imagine many customers ever sending their units back. -Steve Guttenberg

Red Wine Audio Ginevra LFP-V Edition Phono Preamplifier

MSRP: $3,000

http://www.redwineaudio.com/

Peripherals

Analog Source VPI Classic turntable with a van den Hul Frog cartridge
Digital Sources PS Audio PerfectWave DAC & Transport    MSB Technology Platinum DAC & Data CD Transport    Oppo BDP-83 Special Edition
Electronics Parasound JC 2 and Pass Labs XP-20 preamps    Whest TWO phono preamp   Pass Labs XA100.5 and First Watt J2 power amps
Speakers Dynaudio C-1    Mangepan 3.6    Mangepan 3.7
Cable XLO Signature 3 interconnects and speaker wire     Zu Mission interconnects   speaker cable     Audioquest Sky interconnects

Burmester 088 Preamplifier

Comparing my Burmester 011 preamplifier to the company’s new 088 preamplifier reminded me of two other German high-performance machines I’ve sampled: Audi’s 430hp eight-cylinder R8 and its new 525hp 10-cylinder model. Both cars are outstanding and from the outside, look virtually indistinguishable. Much as you want to convince yourself that 430hp is enough, all it takes is a quick spin around the block and suddenly, you can’t live without the extra performance. The Burmester 088 is equally exciting—the minute you hear it, your perception is similarly altered.

The 088 is the latest edition to Burmester’s Top Line of electronics. While the latter is one level beneath its Reference Line, everyone that doesn’t hold an American Express Black Card can safely consider it reference gear. The $28,995 088 arrives with either a DAC module or a phono preamplifier stage installed. Our review sample came fitted with the DAC, the very same upsampling module fitted to the Reference Line 077 preamplifier. Interestingly, when connected to my MacBook Pro, system settings in the control panel displayed “Burmester 077.”

At first glance, the 088 looks identical to the 011, with the input selector on the left and volume control on the right. The current preamplifier allows more set-up capabilities on the front panel, as well as switching between SPDIF and USB digital inputs. For listeners that don’t need an onboard DAC or phonostage, the 088 can be configured with an additional unbalanced (RCA) high-level input. At press time, pricing was not available for this configuration.

If you’ve never had the Burmester experience, know that the company’s products are electrically and mechanically built to an incredibly high standard. Front panels are machined to a “jewlers finish” and are of the finest quality we’ve ever experienced. Even when photos of Burmester’s metalwork get zoomed to 400% on a 30” Apple Cinema Display, it appears completely smooth. It’s like chrome-plated glass. If you are even the slightest bit obsessive compulsive, chances are you’ll be using the remote to keep the chrome free of fingerprints—even though it’s easy to clean.

Fortunately, the sound is as exquisite as the casework. The new 088 represents a significant step up from the 011 preamplifier it will replace. (For now, the 011 remains in the Burmester lineup but will disappear in the near future.) While the 088 incorporates a number of evolutionary changes, the biggest difference relates to the incorporation of Burmester’s latest X-Amp 2 gain modules. The latter are used in all of the Reference Line components, as well as the 100 Phono Preamplifier that we recently reviewed. Note: These modules are hand-built with matched discrete components throughout; no op amps are used in the amplification chain.

System Compatibilities

While older preamplifiers like the 011 boast a few unbalanced inputs and a pair of unbalanced variable outputs, the 088 is balanced throughout and utilizes XLR inputs and outputs. This may prove inconvenient for some. Unless you have a studio tape recorder, the tape outputs will require an XLR to RCA adaptor, easily sourced from your Burmester dealer.

The XLR pin out is also different on Burmester gear. Almost every other hi-fi manufacturer follows a standard formula in which pin number one is the ground (as it is in pro audio gear), pin two positive, and pin three negative. Burmester is just the opposite, with pin two being negative. If you mate Burmester gear with other manufacturers’ components, doing so requires a special XLR adaptor, custom cables, or switching your speaker leads from positive to negative to make up for the phase difference between components. Intuitively, the 088 has a phase switch on the front panel. So, when using the ARC REF 2 phono preamplifier, a flick of the switch achieved absolute phase throughout the system.

The 088 offers five balanced inputs and, for those wishing to integrate the 088 in a multichannel system, a surround pass through. A single set of variable level XLR outputs is the only shortcoming. Anyone with a powered subwoofer will have to resort to some kind of “Y” adaptor or purchase different speakers. Hopefully, this limitation will be remedied once a mark II version of the 088 becomes available.

Illusion Nears Closer to Reality

Having lived with the 011 preamplifier and 911 Mk.3 power amplifier for the past two years, the combination’s natural sound became burned into my memory. But after the 088 was powered up for two days and fully stabilized, the difference was immediately noticeable—and all for the better. From its entry-level Rondo Line up to the Reference Line, all Burmester gear has a similar tonality. Still, a higher level of performance exists in four specific areas: increased dynamics, added bass weight, lower noise floor, and greater overall resolution.

With the 088 as quiet—if not more so—as the 011, the unit’s increased dynamic impact revealed itself on “Take It So Hard,” the first track off Keith Richards and the X-Pensive Winos’ Live at the Hollywood Palladium. Decidedly not a record with an audiophile pedigree, the drums are nevertheless miked incredibly well, something I noticed on a recent jaunt in editor Bob Gendron’s car. I also forgot how much fun this record can be. Through the 088, the drums exploded out of my speakers. By comparison, they were noticeably more subdued when I returned to the 011.

Bass detail also stood out from the 011, with the 088 claiming more weight and control. Rock, jazz, and classical music all equally benefited. After queuing up Kanye West’s recent My Twisted Dark Fantasy, the title track’s beats went straight to the gut in a way they never did before. On first listen, even with the 011, West’s album felt fairly dense. Yet the 088 unraveled the layers of texture with fantastic results. This upshot remained consistent with everything auditioned. Moderately dense and compressed recordings sounded more open than I could’ve imagined, and great recordings became sublime.

In projecting an expansive soundstage well beyond the boundaries of the GamuT S9s, the 088 helped the six-foot-tall speakers disappear, as if they were a pair of mini monitors. With such depth, there’s just no need for surround sound! And honestly, there’s no need for vacuum tubes, either.

Burmester’s new preamplifier throws a larger soundstage in all dimensions than any tube preamplifier I’ve tried. If you want enormous, reach-out-and-touch-it sound and do not want to worry about hand-matching expensive NOS tubes, the 088 will painlessly take you there. After living with the 088, it’s tough to believe that it’s “only” Burmester’s Top Line preamplifier, as yet another level of greatness is available in its Reference Line.  (However, moving up requires spending more than double the cost of the 088.)

Resolving low-level detail and texture constitute the most interesting aspects of the 088’s incredible performance. A few of my favorite vocal records instantly brought such traits home. Regardless of playback volume, my system achieved a new level of overall clarity. Digital now sounded almost as grain-free as analog did with the 011. And the analog presentation? Delicious. Spinning Mobile Fidelity’s reissue of Frank Sinatra’s Nice ‘N’ Easy clearly illustrated the 088’s marvelous capability, as it not only succinctly defined the room size, but perfectly reproduced the illusion of height—putting Sinatra front and center with his voice where it would be if he were standing eight feet from my listening position. Such an accomplishment is rarely be achieved when playing music back through electronics, yet the 088/911 combination achieved it with ease.

I’ve never heard Sinatra live, but I have had the privilege of hearing the Fleet Foxes up close and personal. On the 088, the group’s “Tiger Mountain Peasant Song” possessed sizeable body and depth. At this point, the illusion neared much closer to reality. Even after full-day listening sessions, the 088 never ceased to amaze, especially with records often as test tracks, regardless of resolution. Even Rhapsody tracks were more palatable to the senses.

A Capable DAC

The 088’s internal DAC is an upsampling 24 bit/192khz design that upsamples all incoming data to 24/192. While some may shy away from this approach on principal, Burmester’s implementation is one of the most transparent I’ve experienced.

Feeding the DAC section with both the Sooloos via SPDIF and a current iMac running Pure Music nearly finished in a dead heat, with a slight nod to the SPDIF input in terms of overall musicality with 16 bit/44.1khz tracks. When I switched to high-resolution files, the USB input fared better.

The Simaudio 750D ($12,000) and Burmester 089 ($28,995), along with the four-box dCS Paganini ($55,900), offered higher performance than the onboard DAC. Nonetheless, the 088’s digital capabilities should be a great addition for anyone getting started with computer audio. It provides performance that’s on par with the best DACs I’ve heard in the $4,000 – $5,000 range. (And remember, there’s no power cord or interconnects to buy.) It could also prove excellent for vinyl listeners that only occasionally listen to digital. Those that listen to analog and digital with equal enthusiasm will be best served with an outboard albeit higher-performance DAC; Burmester’s 089 is the obvious choice.

A Destination, Not a Journey

While the Burmester 088 preamplifier costs nearly a third more than the 011, the model it’s replacing, the unit is definitely worth the price. Sure, $30k is a healthy sum to pay for a single component, but this is a hand-built, high-performance preamplifier with performance equaled by few preamplifiers at any price.

Because it’s massively overbuilt, the 088 should be a destination that you will never leave. To those always in the hunt for the latest thing, be forewarned: Refrain from trading it in before you’ve really had the chance to realize what the 088 can do. Should you be a music lover that wants to cease the tiring practice of upgrading and simply enjoy nirvana for a very long time, the 088 has the potential to become a family heirloom.

Burmester 088 Preamplifier

MSRP: $28,995

www.burmester.de (factory)

www.burmester-northamerica.com (US and Canada)

Peripherals

Analog Source AVID Acutus Reference SP w/SME V and Koetsu Urushi Blue    Audio Research REF 2 Phono    Burmester 100
Digital Source Burmester 089    Simaudio 750D    dCS Paganini (4 box)    Mac Mini   Sooloos Control 15
Power Amplifier Burmester 911 Mk. 3
Speakers Gamut S9
Cable Shunyata Aurora    Cardas Clear
Power Running Springs Dmitri and Maxim power conditioners

dCS Debussy DAC

Computer audio has grown exponentially in the last few years, its orbit quickly accelerating over the past 18 months. Since they provide many ways to serve CD and high-res digital files, DACs have become the center of this universe. Once headed towards extinction, they’ve become a primary component in many systems, vinyl-centric or not.

An abundance of sub-$1,000 DACs currently exists, similar to the plethora of turntables in the same price range. But, just like in the analog world, if you want cutting-edge sound, there’s a price to be paid. While some argue that with so much evolution, the $11,495 price on the dCS Debussy is a bit much, I beg to differ.

Again, using analog as the benchmark, things become spellbinding as you hover around the $10-$15k mark. It’s where the distinction between the digital and analog worlds blurs—especially for those building a serious collection of high-resolution music files.  Even five years ago, there wasn’t much digital available at any price that sounded natural. Technology trickle-down is solid, albeit not at a level at which every audiophile can participate.

As a four-box dCS Paganini owner, to me the Debussy seems like a bargain, especially if you no longer spin silver discs. And even more so if you haven’t any need for an analog front end and use the Debussy as a control center, eschewing a line-level preamplifier. A prodigious system can be built around the Debussy, a pair of $10,000 speakers, and suitable power amplifier, which is precisely what I did.

The Debussy spent half of its evaluation in my reference system in direct comparison to the Paganini (with and without the Paganini Master Clock) to explore the ultimate limits of its performance. The other half of the review involved the Verity Audio Rienzi speakers ($10k/pair) and Conrad Johnson MV-50C1 power amplifier. Adding a pair of Cardas Clear Light interconnects, speaker cables, two Shunyata Venom 3 power cords, and a Running Springs Elgar power conditioner made for a highly impressive system that came in just under $25k.

Ins and Outs

The Debussy boasts five digital inputs:  an RCA SPDIF, BNC SPDIF, USB, and pair of balanced AES/EBU inputs. All accept 24/96, and the USB and Dual AES interfaces are 24/192 capable. (A single-wire 24/192 software-only update is in development.) The balanced AES inputs can be used in single or dual configuration. The FireWire input of the Paganini is absent but should not be an issue for most users.

Aesthetically, dCS forgoes the mirror finish of its two top line systems in favor of a matte silver finish with black writing that is far easier to read than the markings on the Paganini. After living with the mirrored-surface Paganini, I’d have picked the silver had it been an option. It shows off the Debussy’s smart, curved design, yet it’s more resistant to fingerprints.

The learning curve on the Debussy is less daunting than that on the Paganini, which has more buttons than Sebastian Vettel’s steering wheel. Here, we get power, input, mute, volume+/-, and two DSP filter choices—linear phase with pre-ringing or non-linear phase without pre-ringing. Which is optimum? Log onto an Internet forum and knock yourself out.

As in all dCS DACs, the Debussy uses its proprietary Ring DAC, ultimately oversampling all incoming data to 2.822 or 3.07MHz with a 5-bit depth. When touring the dCS factory, I learned all the DACs share a common “motherboard.” The basic chipset and layout are the same, with more functionality as you go up the range. Such a strategy keeps manufacturing streamlined and designs future-proofed. All updates can be executed via software, further ensuring the unit’s longevity.

These benefits were the paramount reasons I chose dCS for my reference system. With so much change in the digital world, knowing my DAC could stay current by merely downloading new software made it that much easier to write a big check.

Should you use the Debussy as a preamplifier/control center, the digital volume control works brilliantly, with no degradation to the sound even at low listening levels. A switch on the rear panel offers the choice of 2V or 6V output. I can’t imagine anyone needing 6V, and would prefer to see the choices as 1V or 2V, especially with today’s amplifiers having so much gain.

Touring the dCS Factory

Earlier this year, I visited dCS’ new factory in Cambridge. The bigger facility condenses all manufacturing to one level, greatly streamlining build and test processes.  Company principal David Steven and Sales Manager Rav Bawa were great hosts, showing off how much dCS grew since I toured the previous facility in 2010. Bawa explains that “assembly centers around a kit of parts, so that a box can be easily followed from beginning to end with one operator. In the old building, we had to go up and down stairs. You can imagine how nerve wracking that got, considering how heavy some of our components are.”

dCS sources mechanisms from Esoteric and keeps a substantial cache of spares on hand in the unlikely event one fails. Casework is machined and anodized nearby, with all engineering, assembly, and testing done in-house. dCS employs around 20 people and ships digital hardware to over 40 countries. When we walked through the shipping department, almost 100 boxes were on their way to dealers worldwide.

All dCS DACs use the same basic circuit board, with different software loaded for various iterations of the final product. Various assembly stations build and test, and the complete unit is tested yet again when complete. Ironically, because of the virtually nonexistent distortion and jitter in its products, dCS must design and build all of its test equipment.  Finished components are burned-in for 48 hours and run through rigorous tests before final packing and shipment.

Proof is in the Listening

Due to its popularity, I figured the new Bon Iver record a perfect place to begin listening.  “Holocene” possesses a wide soundstage with guitars panned to the left and right in the mix. Comparing the CD to the LP proved a close heat, with the Debussy doing an excellent job at keeping what little front-to-back dimension that exists intact. Black Country Communion’s first, self-titled album duplicates the experience. The vinyl sounds decent but not overwhelming, and much like when paired with the first Fleet Foxes record or Tom Jones’ Praise and Blame, the Debussy gets the nod in terms of providing a more liquid presentation, with more extension on the top and bottom ends of the tonal scale.

As with the Paganini, the big surprise arrives when listening to fairly dreadful digital recordings. The Debussy pulls tons of detail from recordings I believed completely lacking such information. Yes, my Japanese copy of Kiss’ Alive! sounds better than ever. Quite possibly the most highly compressed CD in my collection, the self-titled album from Glenn Hughes and Pat Thrall, now leaves me astonished that air actually lurks on the disc.

However good the Debussy is at untangling dense recordings, it does not embellish tonally to either side of neutral. If you’d like a bit of warmth added to the sound of digital files, look to one of the more popular players featuring vacuum tubes in the output stage. But my experience has been that these players give up resolution and transient clarity in return. The Debussy gives you the truth, like it or not.

Like the other players in dCS’ lineup, the Debussy is not harsh or clinical. The best  digital recordings in your collection will sound virtually indistinguishable, if not better, than favorite analog files. Charlie Haden’s The Private Collection (Naim) is excellent for comparison purposes since it is manufactured to an equally high level in analog and digital formats. And now, you can purchase it as a 24/96 download.

Comparing the high-res file played through the Paganini gives the advantage to the dCS stack in terms of sonic dynamics and overall cleanliness. The Debussy comes close, and with the addition of the dCS Paganini Master Clock (an additional $8,000), takes the lead in overall musicality. While I consider myself a devoted analog fan, it’s easy to lose sight of the fact that a lot of records are poorly produced, no matter the generation.

Making similar comparisons between MoFi’s recent remaster of Beck’s Sea Change and the high-resolution files available from HD Tracks uncover revealingly indistinguishable results. The sources are even more similar in sound when I contrast a digital copy I made from the MoFi pressing, recorded to a 24/192 file via Nagra’s LB studio recorder. Even friends with canine-like hearing have a tough time determining the analog pressing from the high-resolution digital copy.

As it does in my Paganini stack, the Master Clock offers extra tonal ease and pace. An early British pressing of Elton John’s Goodbye Yellow Brick Road put against to the latest HD Tracks download shows the digital file again yields more music. The gulls in the background of “Sweet Painted Lady” possess a previously absent palpability, and the bass line stays firmly anchored compared to its somewhat nebulous position on LP.

dCS also offers nearly bottomless bass grip when playing my favorite Deadmau5 and Thievery Corporation tracks. The deep bass on these albums doesn’t come through well on LP, and if it does, no matter how good your turntable might be, at club-level volume, feedback intrudes on the party and greatly diminishes the effect.

I don’t plan on getting rid of my turntables anytime soon, but it is wonderful to know that this level of parity is attainable. Thanks to dCS and a few other great combinations I’ve heard, my analog agnosticism is put to rest. Granted, $10-20k is not a casual purchase for most carbon-based life forms. But a similar investment in the analog domain is necessary to get maximum performance. Digital has matured far beyond the point where your average turntable outperforms a high-dollar digital front end. As always, the recording quality will determine which source gets the nod, but you’ll never have to “settle” for digital with the Debussy.

Fantastic

The dCS Debussy equates to a triumph, bringing world- class digital performance to a price point previously out of most audiophiles’ reach. But don’t listen to the Master Clock unless you are ready to press the “buy now” button. Once you’ve had such insight, it’s tough to go back to listening without it.

If one could exchange their CD and LP collection for high-quality, high-resolution files, this would be an easy choice to make.  But it’s not that easy. Yet. For those that already have a substantial collection of 16/44 digital files, whether ripped on a hard drive or from CD, the Deb makes it easy to not only enjoy them like never before, but to obtain the necessary amount of air and warmth that you enjoy from analog sources. The experience allows you to listen for hours without fatigue. And I can’t give a source component a higher recommendation than that.

dCS Debussy $11,495

Data Conversion Systems, Ltd.

www.dcsltd.co.uk

dCS North America, LLC

www.tempohighfidelity.com

Peripherals

Preamplifier Audio Research REF 5
Power Amplifiers Audio Research REF 150    Conrad Johnson MV-50C1
Speakers GamuT S9    Verity Audio Rienzi
Cable Cardas Clear    Shunyata Aurora
Power Running Springs Dmitri and Maxim    Elgar PLCs

Audience Au24e Tonearm Cable

The impedance and capacitance lurking in the short run of cable joining the phono cartridge to the phono preamplifier interface are important albeit often overlooked aspects. Some might argue that breaking the signal path with a connector compromises signal integrity. Yet, if there ever was a link in the audio chain that benefits from a few better strands of wire, this is it.

Analog and its associated tweaks continue to rise, yet, so do the number of users frustrated by the medium. Once the initial fever settles, that new turntable starts to feel like a slightly worn chew toy. The trinket still squeaks, but your tail doesn’t wag like it did when you tore the plaything out of the wrapper.

Relax. It’s not your fault. Audience’s Richard Colburn says the company’s inspiration for the Au24e tonearm cable came from the phono signal, “taking the cable out of the compromise is what it’s all about.” When the interface is compromised, fine detail, high-frequency response, and microdynamics get sacrificed. He also stresses that this approach should not be confused with cartridge loading, which is a “completely different issue. This is optimization for the impedance characteristic of the cartridge itself.”

A Choice of Cables

Three basic Au24e models comprise the line. The Low Z is optimized for cartridges with an internal impedance of 30 ohms or less; the High Z matches cartridges in the 30 to 100 ohms range; the MM is for 47k moving-magnet cartridges. Those using VPI turntables, or another brand with RCA jacks for the phono output, can save a few hundred bones since they don’t require a more expensive (and more labor-intensive) DIN plug. Colburn suggests opting for the lower-impedance version if your cartridge is on the fence at 30 ohms.

The 1m version of the MM version is $479 with RCAs, and $729 with DIN; the MC versions are $1,095 with RCA plugs at both ends, and $1,295 with the DIN plug. All are made by hand and hand-terminated with Audience’s latest Au24e cable, termination, and connector technology. As with all Audience cables, each is cryo-treated upon completion.

Down to Business

I’ve been enamored with the sound of the highly musical Denon DL-103R cartridge and its variants for some time. I currently use the Zu Audio version, potted in a metal body with the AVID Volvere SP turntable and SME 309 tonearm, feeding an Audio Research REF Phono 2.

It’s easy to get lost in cable comparison and freak yourself into thinking that you either hear a much bigger difference than is actually happening or, that you aren’t able to hear anything at all. The miniscule signal present from a moving-coil cartridge only compounds matters. Even listeners with canine-quality hearing can get caught up in swapping a tonearm cable in and out of a system, and there’s always the chance of knocking something out of alignment, corrupting the results. Fortunately. with another identical AVID Volvere ‘table set up on the same rack, it’s simple for me to make meaningful comparisons.

Benefits of Optimization

Switching back and forth between the two decks, the immediacy the Audience cable brings to the ‘table (pun intended) is not subtle. The layer of grain I’ve always found present in the 103 becomes greatly reduced, underscoring the Au24e’s abilities as an incredible transducer.

Vide, the quietest passages in the Egberto Gismoti/Nana Vasconcelos collaboration Duaz Vozes now possess more air and space, and it feels as if the recording studio has grown larger. Both the leading and trailing edges of the attack on Vasconcelos’ percussive excursions sound cleaner and more realistic.  An identical experience comes via “Sun Song” on the Sheffield Labs pressing of Dave Grusin’s Discovered Again.

Listening to other records I’ve spun extensively begets the same conclusion: There’s a level of cleanliness now available that wasn’t present before, and it’s easy enough to go back to the control ‘table and hear enough of a difference to justify the expense.

Remember, a great analog front end is a work in progress and always a cumulative proposition. I’ve found precious few things that are truly transformative, but every step in the right direction adds resolution without sacrificing in other areas. The Audience Au24e tonearm cable belongs in the latter category. Once I spent enough time between the two identical ‘tables to confirm the difference, I moved the cable to a few other arm/combinations with equally positive results.

While this cable is not inexpensive, at $1,100, it’s not crazy money, either. I’m keeping it as a reference in my AVID Volvere SP/Funk Firm FX•R/Denon DL103R combination; it’s that spectacular. Watch for a follow-up on the MM version in the near future.  -Jeff Dorgay

Audience Au24e Tonearm Cable

MSRP:  $479-$1,295 (depending on configuration)

Manufacturer:  www.audienceav.com

Peripherals

Turntable AVID Volvere SP/SME 309/Zu Denon 103 (premium grade)
Phonostage Audio Research REF Phono 2
Preamplifier Audio Research REF 5SE
Power Amplifier Octave Jubilee Monoblocks
Speakers GamuT S9
Cable Cardas Clear
Power Running Springs Dmitri    Maxim PLCs
Accessories Furutech DeMag & DeStat    Audio Desk Systeme RCM

Update: NYC Show

I certainly had a lovely time at this years HiFi Show in New York City…

Put on by the Chester Group, the same folks that sponsored last years show, things went incredibly smoothly for the UK based firm, considering they overcame a few major hurdles. First, there was a lot of hotel construction that was in progress, that no one expected during show week, when it was being organized almost a year ago, and there were a few water and power failures that necessitated some major jackhammering during the day on Saturday as well as some tenant evacuations on Sunday evening.  Yikes.

However, the show was not only well attended, it was a diverse crowd, perhaps the most diverse crowd I’ve seen at an audio show in the US.  Montreal and Munich do an excellent job at attracting kids and women to the party, but the US shows tend to be more often than not, a high percentage of beard tuggers.

It was nice to see a few groups of younger people, like the ones pictured in the VPI Industries room, not only grooving on the music, but asking to “turn it up…”  It was also nice to talk music and audio with some of our female readers and get their feedback on things.

The Chester Group and their US liasons, Sally Goff (formerly the face of McIntosh) and Christina Yuin (our director of sales) made an excellent effort to bring some seminars and events that were a lot more music centric, and wider ranging than I’ve seen in a long time.

SoundStageDirect and The SoundOrganisation, along with PMC Speakers contributed with their “Studio to You” series of lectures, bringing in some famous recording and mastering engineers, to discuss their part of the process.

And, speaking of music, this was the first show in memory that also did not consist primarily of audiophile standards. I did avoid a couple of rooms (still) playing “Keith Don’t Go,” but by and large, it was a much more musical show overall.  The Rutherford Group was rocking everything from Swedish House Mafia to Elvis on acetate, AudioArts NYC had a wide range of jazz, classical and blues, on vinyl, and Johan Coorg of KEF was a mixmaster – spanning a very wide range of music as well.

Rounding things out, Stereophile’s Michael Fremer was there, with his turntable setup seminar, and Art Dudley (also of Stereophile) and I held a spirited panel discussion about vintage hifi, which I am told by the folks at the Chester Group, had the highest attendance of all the seminars.

Again a thanks to the Chester Group for performing above and beyond the call of duty, and all of you that attended.  I hope to see you again next year.

For those of you craving more room by room coverage, stop by Stereophile’s website, where they have done their usual concise job.

Meridian Audio’s Explorer

Desktop audio and portable audio have been two of the fastest growing segments in the audio world for the past few years.

For every twentysomething who’s bought a turntable recently, 100 have bought a pair of headphones.  While outboard USB DACs have been gaining popularity, there really haven’t been any that handle 24-bit/192-kHz files with gusto—and with more and more online vendors offering these higher-resolution files, a quality outboard USB DAC is a must.

Bob Stuart, the man behind Meridian, was demonstrating the Explorer at this year’s Consumer Electronics Show in January to a limited audience, and it was obvious that this is a pet project of his. Of course, the sound is fantastic, but the big surprise is the price: This portable Meridian 24/192 DAC (and headphone amplifier) is just $299.

“Now you can have the Meridian experience everywhere you go,” says Stuart with a wily grin, “from your Range Rover equipped with Meridian sound, to your home with one of our systems, to wherever your laptop takes you.”

Beauty on the Inside and the Outside

Made at the Meridian factory in Cambridge, England, the Explorer is a marvel of miniaturization and a shining example of design elegance, from its clean circuit-board layout to its machined-aluminum outer shell.  By not following the USB-stick form factor, Meridian eliminates problems that could result from repeatedly plugging and unplugging said item from your laptop and the resulting damage—a clever move.

“We are trying to avoid the twisting of the USB socket in the computer that headphones plugged into a USB stick risks,” adds Stuart.  “Also, having a USB cable, short or long, gives flexibility on the desk.  A longer USB cable allows the audio to happen nearer the point of use.”

Three pale-white LED lights alert you to the Explorer’s sampling rate:  One indicates standard 16/44.1 files, one indicates 24/88 or 24/96 files and the third lights up when taking advantage of the highest resolution 24/176 or 24/192 files.

Jumping in Headfirst

Heading straight for the files I couldn’t play with any of my other portable DACs, I go first for Neil Young’s Harvest in 24/192, which quickly tells me almost everything I need to know about this jewel.  The piano intro from “A Man Needs a Maid” floats gently between my ears through the Audeze LCD3 phones.  This $2,000 pair of headphones truly reveals just what the Explorer can do.  Equally breathtaking results are achieved with Grado SR500, Sennheiser HD 650 and HiFiMan HE-400 phones, proving that the Explorer is equally competent as a headphone amplifier.

The 24/96 version of “Don’t Let it Bring You Down” (from Neil Young’s Live at Massey Hall 1971) lays bare the fine tonal gradation the Explorer is capable of.  It paints an accurate picture of this famous hall’s sonic signature as much during the track as at the end, when the applause comes up—the depth is incredible.  This no longer feels like budget digital; the Explorer is a serious contender.

Start Your Digital Journey Here

Those looking for a great portable DAC and headphone amplifier in a sleek, stylish case will love the Explorer’s performance, but using it as the digital hub in a home-playback environment is equally impressive.  Combining the Explorer with a laptop or desktop and feeding its 2V fixed line-level output to your amplifier is an audibly rich experience.  But don’t plug your headphones (or a power amplifier) into this output, as there is no volume control!

Though I still treasure my vinyl, there’s just no way you can achieve anywhere near this level of sound quality with a budget turntable or with discs purchased from your local audiojumble—forget it.  Get your hands on an Explorer, load up some high-res files and mothball the budget turntable.  This is miles ahead in every way.

Even those loving high-resolution digital audio on a major system now need not be without a fix for great sound—you can take the Explorer anywhere.  Thanks to being self-powered by your computer’s USB port, you never need to worry about losing (or having the wrong) wall wart to power it.  The only thing that could make the Explorer more intriguing is if M fitted one with a laser.  Who knows, maybe we’ll see the Explorer in the next Bond movie—it’s certainly that cool.

Plugging the Explorer into a more traditional system (via the line-level output) consisting of the Burmester 011 preamplifier, 911 power amplifier and a pair of Dynaudio Confidence C1s, the Meridian DAC still holds its own.
Switching the program from rock to some classical, jazz and primarily acoustic titles underscores the level of sophistication available here for 300 bucks.  The Explorer is un-digital to the extent you’d expect from a serious four-figure DAC.  Whether listening to Herbie Hancock’s “Dolphin Dance” (from the Maiden Voyage album) or Keith Jarrett’s The Köln Concert, the sound now possesses a sophistication that bridges the resolution gap at such a high level that you can forget about the equipment.  The attack of stringed instruments, as well as decay and sustain, are all highly convincing through the Explorer.

Excellent, Regardless of Sampling Rate

Don’t think that you need high-res files to enjoy the Explorer:  CD resolution files (16/44.1) are equally marvelous.  Bass is tight and snappy, while the upper registers come through with an unmistakable cleanliness and lack of grain.  No doubt, the lack of a small, switching power supply (that accompanies many budget, sub-$1,000 DACs) helps here.

Revisiting the Beatles mono remasters, with “Good Day Sunshine” from Revolver, is a treat.  The big, weighty vocal textures, which are lovelier in mono, have so much texture and depth through the Explorer that you’ll mistake them for stereo, provided you have a highly resolving system.  A number of my audiophile friends were fooled into thinking I was using a much more expensive DAC than the Explorer.

The Crash Test Dummies’ “Just Chillin’,” from the band’s Give Yourself a Hand disc, is a torture test for budget players, thanks to the song’s layered vocal tracks and myriad synthesizer and sound effects.  A mediocre DAC flattens this to the point of sounding like XM radio, but yet again the Explorer recreates a wonderful, three-dimensional soundstage, with overblown guitars feeling larger than life and lead vocalist Ellen Reid’s voice sounding equally haunting.

Pushing the Envelope

Most of you will buy the Explorer, plug it in to your computer and enjoy it.  The enthusiast fringe can do two things to extract more performance from the Explorer:  Get the Pure Music software and get a higher-quality USB cable.

I can’t suggest highly enough that Macintosh users that don’t already have it should download the free 15-day demo of Pure Music (the full version is $129) and investigate the multiple playback options available.  Remember, this is geek extra credit.  Playing tracks directly from the memory of your computer bumps the believability index even higher, peeling one more layer of grain from the overall presentation.  And while the debate over whether or not upgrading to a higher-quality USB cable truly improves digital playback, we’ll stick our collective necks out and vote for this inexpensive upgrade.  The $99 Wireworld Starlight USB cable added as much palpability to the midrange presentation of the Explorer as did switching from iTunes to Pure Music.

Revisiting the Neil Young tracks from the beginning of the review, quickly swapping the cable in and out of the system, proved convincing to everyone taking the time to listen—from experienced audiophiles (perhaps the most skeptical audience of all) to uninitiated music lovers.  One thing they all agreed on was the amazing experience that the Explorer provides.  Meridian Audio couldn’t have picked a more appropriate name for this amazing little device:  Regardless of where you are in your digital audio journey, the Meridian Explorer will serve you well.

Progress in the world of computer audio is advancing briskly, but for the moment, Meridian is at the top of the heap.  The Explorer offers the most versatility, reveals more music than its competitors and possesses the most stunning industrial design—a more-than worthy recipient of one of our Exceptional Value Award for 2013.  It’s an exciting time to be a music lover.

The Meridian Audio Explorer

MSRP: $299

www.meridian-audio.com

AVID Ingenium Turntable

In the world of racing, lighter is better and anything not contributing to getting across the finish line first is deemed useless, but in the world of turntables mass is usually considered an asset.

We’ve seen a proliferation of tables that merely just chunk on the weight – adding massive platters and enormous plinths, (often eschewing real engineering in the process) chroming everything along the way to justify a high price. This has never been the mantra at AVID.

AVID designer Conrad Mas continues to refine his design in the hope of making a table in the highly competitive price range occupied by the Rega RP6, VPI Traveler (and a few others) without compromising the engineering and performance principals that make an AVID an AVID.

AVID has always taken a more intelligent approach, using mass where needed to get the job done along with a highly tuned suspension to extract the maximum amount of information from those delicate grooves.  Their highly successful Diva and Diva IISP turntables use the same W-shaped plinth, derived from the original Acutus design, forming the critical bridge between the tonearm and the turntable bearing, with a simplified elastomer based suspension.  The Ingenium’s MDF platter, bearing, spindle and clamp are directly off the Diva II assembly line; but its plinth uses a simpler, rectangle-shaped part, keeping CNC time to a minimum.  It also allows the user to see the spindle rotate during playback – kind of cool for technology lovers. The elastomers are a different shape than those of the Diva series tables, but made of the same material and to the same tolerance.

This configuration brings AVID performance to a wider range of customers. If AVID’s Volvere turntable is a Lotus Elise, think of the Ingenium as a Caterham 7; distilling the AVID concept as far as it can go, but no further.

Would you like some fries with that?

Setting the tonearm down on War’s “Lowrider” reveals the signature AVID sound – big dynamics and rock solid bass. You can’t have a Diva IISP for $1,350 but you do get a lot more than you bargain for at this price, and the Ingenium succeeds brilliantly. The big question is how to configure your Ingenium.  The table is available without tonearm, drilled for a Pro-Ject Carbon arm for $1,300, 9-inch SME arm for $1,350 and a 12-inch SME for $1,550.  It can also be purchased in a dual arm configuration for $1,950 – the model we have here.  The entry level Ingenium is available with the Pro-Ject arm already installed (and it is a great arm, also featured as standard equipment on the Oracle Paris) and can be ordered with or without the AVID clamp, again an effort at keeping cost to a minimum with performance at maximum.

Mr. Mas and I have gone back and forth about the validity of a dual tonearm setup (he’s against it, I’m for it), so his catering to the true analogaholic and offering this option is highly commendable. I am convinced that this functionality, usually limited to some of the world’s most expensive turntables, is an essential feature to fully enjoy analog, whether you use that second tonearm for a mono cartridge, a budget cartridge for playing rough records, or an alternate tonal balance at the ready.

Spending a ton of cash in the context of a dual arm Ingenium isn’t necessary to reap the benefits.  With so many used SME, Rega and other arms on the market, that second arm is well in reach.  For this review, the SME 309 arm ($2,250 new, usually around $800 on the used market) and the new Ortofon TA-110 ($1,495 new) offer the best of both worlds – both having removable headshells, with the Ortofon using a more universal headshell, compatible with the vintage SME 3009 and the Technics SL-1200 tonearms.  The Ortofon arm is easy to install, streamlining the process for those loving to mix it up with their cartridge collection.  The majority of my listening was done with the Shure V15mxVr, the Ortofon MC Vivo Blue and the Zu Denon 103 – all cartridges in a range of about $400 – $600.

I modified an Ortofon arm adaptor from the Volvere SP, but AVID should have these available shortly as a regular item for the Ingenium.  Should you be as impatient as I am, the threads can be gently drilled clean with the aid of a drill press to keep the holes perpendicular to the board, allowing the threaded screws supplied with the Ingenium to clamp the board down.  This is the opposite of the other AVID turntables.

A joy to listen to

Tracking through the Art of Noise’s Who’s Afraid of the Art of Noise? reveals a wide and deep soundstage, with all the minute synth bits and vocal echoes floating all over the room, well beyond the speaker boundaries – the mark of a great turntable. (or hallucinogen) The bass line in “Moments in Love” stays solid, never lacking weight or focus at the expense of blurring the musical information in the rest of the track.

The combination of layered vocals and multi-instrumental talent on Egberto Gismonti and Nana Vasconcelos’ Duas Voices, again highlights how well the AVID/SME combination retrieves inner detail and preserves transient attack.  This album is full of lightning fast acoustic guitar runs and explosive percussion – Vasconcelos’ specialty. The degree of texture present with the bongos here is enlightening, and the rich decay of each guitarist’s hands as they slap against their guitar bodies adds to the dimension of realism that this table offers.

More great guitar licks abound on Ry Cooder’s Into the Purple Valley, with a plethora of layered vocals here too.  This densely packed record is a torture test for low-level detail and tracking ability – if everything isn’t sorted, it just sounds like an AM radio. Another test easily passed by the Ingenium.

Basic functionality

The rock solid bass and image detail can be chalked up, in part to the excellent speed stability of the Ingenium.  The Feickert analog tools reveal the Ingenium spot on in terms of speed and when monitored over time, unwavering.  AVID deviates from the standard practice of most other belt drive turntable manufacturers using a low torque motor to drive the platter, choosing a high torque, high power motor instead – feeling this offers better control over the platter and minimal effect from stylus drag.

The Ingenium starts up with the sheer spin of a direct drive table, at full speed almost immediately. The only odd bit about the Ingenium is the power button; instead of being built into the plinth or in an outboard enclosure, it’s merely a rocker switch incorporated into the AC cord.  Be sure to route the cable accordingly so that it can be easily accessed.  A small sacrifice indeed, for this level of performance.

The basic elastomer suspension works well to isolate the table from the room. Acoustic feedback was nonexistent at high volume, and arbitrary raps near the Ingenium on the equipment rack barely came through the speakers. Not as effective as the suspended AVID tables, but way better than the non suspended tables in my collection.

Fantastic results

At the end of the test, mounting an identical SME 309 tonearm on the AVID Acutus Reference SP table confirms how well the entry level table stacks up against AVID’s finest, with the Zu Denon cartridge affixed to each arm, using the Aesthetix Rhea phonostage as a conduit to my reference system.  The Ingenium provides stellar performance in the context of a Journeyman level system (Electrocompaniet integrated, a pair of KEF LS-50s and the AVID Pellar phonostage), and it is no slouch in my reference system.  Compared to AVID’s top table, the lineage is clearly confirmed.  The Ingenium shares all of the same virtues of the Acutus Reference SP, just in a smaller dose.

True to the AVID design brief, each table up the range consistently reveals more music than the one before it. Having owned or reviewed every AVID table in the range except the Sequel, I can say this with 100% confidence.

Because our test Ingenium is fitted with a tonearm costing nearly twice as much as the table itself, even cursory comparison with the Rega RP6 and VPI Traveler isn’t fair. However, it is to AVID’s credit that this table performs so well with the 309, offering the prudent enthusiast a major glimpse at what high end analog is really all about without spending five figures.  We will get a standard edition Ingenium without clamp and featuring the Pro-Ject arm to investigate further very soon.

Utilizing the second tonearm configuration proves a ton of fun. The Ortofon arm makes it a cinch to go through my collection of cartridges mounted on the standard Ortofon headshells, swapping one for the other at will.  Though slightly retro, the Ortofon SPU is another heavenly match for the Ingenium.  Substituting the Lyra Kleos Mono, normally used on the Thorens TD-124 extracts a great performance from my mono Beatles and Stones records.  Grado, Ortofon and Denon (to name a few great examples) all offer fantastic mono cartridges in the $200 – $300 range, so you can take full advantage of this functionality without going broke, I just happened to have the Kleos on hand.

Even those with a modest collection of mono LP’s, will be surprised at how much more lifelike they sound played back with a proper mono cartridge.  The Shure M97xe also proves a great match for the AVID table/Ortofon tonearm combination and provides a budget alternative as a starter cartridge, it’s excellent for tracking through questionable yard sale finds, or favorites that are warped.  In some instances, the thrift store specials sound better with a low budget cartridge.

This level of performance, convenience and style makes for an award winning product.  We awarded the Ingenium one of our ten Publishers Choice awards for 2012, and feel that this table is at the top of the $2,000 turntable category in every way. But just as in racing, the competition is always in your rear view mirror.  The good news for analog lovers is that we all benefit from this competition.

The AVID Ingenium Turntable

MSRP:  $1,350 – $2,560 (depending on configuration)

www.avidhifi.co.uk

Tonearm Ortofon TA-110, SME 309, SME 3009
Cartridge Ortofon Vivo MC Blue, Zu Denon 103, Shure V15mxvr, Ortofon SPU, Grado Master 1
Phonostage AVID Pellar, Decware Zen, Aesthetix Rhea
Amplifier Electrocompaniet ECI 3
Speakers KEF LS50, Dynaudio Confidence C1 II
Cables Cardas Clear
Accessories Furutech DeMag, DeStat, GIK acoustic treatments

Red Wine Audio’s Ginevra LFP-V

When “Perfect Sound Forever” debuted in 1983 in the form of the CD, I doubt that anyone seriously imagined the LP would still be with us in 2011.

The compact disc immediately ignited an analog/digital debate among hardcore audiophiles, and while true believers on each side are still holding tight, it’s the CD, not the LP, whose future remains uncertain. No wonder many analog loving audiophiles continue to upgrade their turntables, tonearms, cartridges, and phono preamplifiers.

If you happen to be in that group, Red Wine Audio’s luscious new Ginevra LFP-V Edition Phono Preamplifier should be on your short list. It’s a fully discrete Class-A FET gain stage/buffered tube output, passive RIAA equalization network, and battery-powered design. And that makes the Ginevra the first tube design I’ve seen that doesn’t work off AC power. That said, it’s not all that tubey, and there’s no overt electronic signature. Indeed, the Ginevra’s sound is totally organic. It has substance and weight, so it sounds like live music.

Intriguing Design and Construction

Red Wine founder Vinnie Rossi favors the 6922 (E88CC) dual-triode vacuum tube, and uses it in most of his designs. If you like to experiment with “tube rolling,” feel free to try some 6DJ8/ECC88, 7308/E188CC, 7DJ8/PCC88, 6N23, 6H23, 6N11 or 6GM8 tubes. Since the Ginevra uses just one tube, it won’t break the bank to keep a few tubes on hand, allowing you to change the sonic flavor when the mood strikes.

Moving-magnet cartridge gain is spec’d at 40dB and loaded with 47k ohms. Moving coil gain, at 60dB, is moderate, so owners of really low-output coils may not have enough juice; Rossi recommends using a step-up transformer if you need more gain. Moving-coil loading options are 75, 82, 90, 100, 350, 500, 1k, and 10k ohms, settable via internal DIP switches, and load sockets for individual resistors are provided for owners that prefer custom loads. While separate connectors for moving magnet and moving coil cartridges are provided, the owner’s manual cautions against connecting both types of cartridges at the same time.

It should be noted that Red Wine doesn’t just pack the Ginevra with a bunch of “D” cells and call it a day. No, the preamp boasts state-of-the-art 25.6-volt “Lithium Iron Phosphate” (LFP) battery technology. These low-impedance battery packs are exclusively manufactured for Red Wine Audio and designed for long life. The battery pack includes a built-in, custom-designed cell management board that balances individual battery cells, both optimizing reliability and battery pack performance. The pack is also user-replaceable, and doesn’t require any soldering to install.

Best of all, the Ginevra completely operates “off-the-grid,” meaning the preamp is electrically decoupled when it runs off the battery supply. A full charge lasts approximately eight hours, but for all-night parties or background music, you can run the Ginevra off the AC power supply. The battery charges whenever you play the preamp with AC power and when you switch off the Ginevra.

The Ginevra’s nicely machined, anodized black front panel is the preamp’s most interesting design feature—it’s a very plain-looking black box. The unit measures a scant 12″ wide, 9″ deep, and 3.5″ high. Sans the separate battery charger, it weighs 8 pounds. Giving a determined nudge to the power button triggers an internal relay that disconnects the charger’s negative and positive AC feeds to the preamp. And the “piezo” switch, with a rated cycle life in the millions, is made in Israel with aircraft-grade aluminum.

Let the Listening Commence

I listened to the Ginevra with a few tubes: the standard JJ Electronic Russian 6922, which possess a sweet demeanor; a similar-sounding Holland-made Amperex 6DJ8; and a significantly more aggressive Sovtek 6922. A $225 EAT ECC88 tube that comes with an attached red anodized heat sink upped the resolution a notch or two over the others, but Rossi’s stock tube is very listenable.

With my VPI Classic turntable and van den Hul Frog low-output moving-coil cartridge at the ready, the Ginevra’s gain definitely proved lower than that of my Whest TWO phono preamp. Still, I never felt like I needed more gain. The Whest is no slouch, but it’s distinctly cooler-sounding and leaves a lot of music on the floor. The Ginevra is grainless, sweet, and beguiling—this preamp is not the sort that dazzles with displays of audiophile “speed,” “detail,” or “resolution.” It’s much more musically honest. Treble is purer, better, and more natural than I’ve heard from most SACD and DVD-A discs. Moreover, the Ginevra is very quiet in battery mode; switching over to AC raises the noise level. Hence, I ran with battery juice most of the time.

The importance of power supply design in phono preamps also can’t be overstated. Rossi’s battery pack delivers pure DC current just perfectly, which is crucially important when amplifying miniscule voltages generated by phono cartridges. Since the preamp automatically decouples from the AC line when operating on battery power, Ginevra owners will never be tempted to buy pricey power cables or power-line conditioners.

With the Ginevra, record surface noise, clicks, and pops are not necessarily lower in level, but they recede into the background more than they did with my Whest. And the Ginevra’s deft portrayals of the quieter parts in music are remarkable in their own right; dynamic shadings and expressive nuance really shine through. In short, music sounds more natural and less like hi-fi. Always a good thing.

I also love the way the Ginevra allowed the sound of Egberto Gismonti’s guitar on his Duas Vozes to radiate in three dimensions. Each pluck and every strum fill the studio space to holographic effect. In addition, Nana Vasconcelos’ evocative vocalizations and palpable percussion accents populated a broad and deep soundstage.

In listening to the Persuasions’ We Came to Play, the Ginevra absolutely nailed the ensemble’s a capella sound. I hung around these guys at a few Chesky recording sessions, so I have a good fix on their individual voices and group vibe. I closed my eyes and the Persuasions simply appeared—voices, foot shuffles, thigh slaps, finger snaps, the entire package. This session record led me to The Intimate Ellington, which starts off with Duke talk/singing “Moon Maiden” and gently playing a celeste keyboard. I’ve spun this LP countless times, and this much I know for sure: Hi-fis rarely get this close to sounding so expressive and downright human.

Making a Tangible Musical Connection

Moving on to more contemporary recordings, like Tom Jones’ all-analog, live-in-the-studio Praise & Blame, put a big smile on my face. Jones is no youngster, but his pipes are in great shape, the bluesy, gospel-infused record is loaded with great tunes. By comparison, the Cowboy Junkies’ Trinity Revisited sounded cooler, brighter and, well, more modern. Its more upfront nature, sparkly treble, and tighter, more direct-sounding bass stood in sharp contrast to the older, all-analog LPs in my collection. Don’t get me wrong. The Junkies’ record is nice, but the Ginevra’s sweet temperament didn’t smooth over the differences.

Paul Simon’s brand-new So Beautiful or So What is likely a digital recording (the LP comes with a free 96/24 download), but it’s a delight nonetheless. The material is wonderful, and the sound clear and clean, with the musical connection on LP is a wee bit stronger than what I gleaned from the high-resolution file. The Ginevra also lit up the English Beat’s stellar I Just Can’t Stop It LP. The ska revivalists’ beats are as nimble as they come, and the band’s tunes are tops. Bass definition was excellent, tuneful, and rich.

I couldn’t stop putting LPs on the platter. Giorgio Moroder’s dense synthesizer tapestries drifting through the Cat People soundtrack kept me up late at night. The record’s high-frequency shrieks and sputtery flourishes floated high above the rest of the soundstage, and I couldn’t get enough of the throbbing beats and eerie whooshes. All so 1982! Those were the days, before the CD came onto the scene.

Satisfaction Guaranteed

If you’re in the market for a phono preamp that’ll get you closer to the by-the-number sound of the better solid-state alternatives, the Ginevra probably ain’t it. But if you’re like me, you might be in love at first listen. And while the LFP-V is sold factory-direct with a 30-day satisfaction guarantee, I can’t imagine many customers ever sending their units back.  -Steve Guttenberg

Red Wine Audio Ginevra LFP-V Edition Phono Preamplifier

MSRP: $3,000

http://www.redwineaudio.com/

Peripherals

Analog Source: VPI Classic turntable with a van den Hul Frog cartridge

Digital Sources: PS Audio PerfectWave DAC & Transport, MSB Technology Platinum DAC & Data CD Transport, Oppo BDP-83 Special Edition

Electronics: Parasound JC 2 and Pass Labs XP-20 preamps, Whest TWO phono preamp; Pass Labs XA100.5 and First Watt J2 power amps

Speakers: Dynaudio C-1, Mangepan 3.6, Mangepan 3.7

Cable: XLO Signature 3 interconnects and speaker wire; Zu Mission interconnects, speaker cable; Audioquest Sky interconnects

The Peachtree Nova

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.NOVA web rear

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.NOVA web overhead

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.NOVA web remote

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¬¬¬¬

Burmester 100 Phono: Perfect Blend of Analog and Digital

It’s been a long time since Burmester has produced a phono stage.

Their last model, the 838, was produced in the 80’s.  However, with vinyl making such a comeback, Dieter Burmester felt the time was right to build a phono stage that was worthy of his current Reference Line components.  And in typical Burmester fashion, it addresses every aspect of the analog domain – it can even be ordered with a studio quality ADC (analog to digital converter) on board, so that any vinyl enthusiast migrating to the high quality digital world has all of their bases covered.

Occupying the same amount of rack space as my reference Burmester 011 preamplifier, the sleek casework and mirror finished front panel makes for a perfect aesthetic match. When viewed under studio conditions on a bright white background, you might think the Burmester gear “too shiny,” but when it is in place in your listening room, it mirrors your environment and disappears – a pleasing aesthetic illusion.

Your final configuration determines the price: The 100 Phono outfitted with two phono preamp modules, (sans the ADC and Burmester’s Burlink interface card) has an MSRP of $22,995.  The base model with one phono card and no ADC or Burlink specs out at $16,995. This probably isn’t going to be your first phono stage, but it could very well be  the last one you will need to purchase – thanks both to Burmester’s legendary build quality and their commitment to product upgrades.  Like other products in the Burmester range, the 100 will never become obsolete.  Think of it as an investment in your vinyl future.

Ultimate flexibility

The 100 can be configured to your specification with your choice of one or two inputs.  Either input can be designated as MM (moving magnet) or MC (moving coil), but once the choice has been made, the 100 must be sent back to your dealer for one of the inputs to be changed.  The MM gain can be adjusted in six steps from 37 db to 52 db and the MC stage (also six steps) from 57 db to 73 db, so even the lowest output cartridges can be accommodated.   Capacitance can be adjusted on the MM side from 68 pf to 400 pf and MC input loading has six options:  33, 75, 220, 390, 1000 and 47k ohms.  MC purists may be put off at the odd choices, but I had no problem using cartridges that I would normally load at 100 ohms with the 75-ohm setting or the 390-ohm setting for cartridges that I would use 500 ohms on another phono preamplifier.

The subsonic filter worked well with a few older, more warped records that have not had a session with the Furutech flattener yet and I was unable to hear any difference in low frequency output.  If the wide range of gain settings still isn’t enough, the 100 has the ability to boost the output by an additional 6db, so there should never be a situation where the 100 Phono does not possess enough gain.

Burmester’s “auto adjust” feature, when used with the supplied test record, will make up for channel imbalance in your phono cartridge. It compares the left and right channel signals, adjusting the level between channels to .2db, able to make the compensation up to 6db, though I can’t imagine a premium phono cartridge having this much channel error.  The only thing missing is a mono switch.

Setup

The Model 100 sounded slightly flat out of the box compared to my other Burmester components that have been powered up for over a year now, but because there are no capacitors in the signal path, there is no long drawn out break in with this preamplifier.  It opens up dramatically after a few days of constant play, and after it’s been on for about a week, you’re 100% there.  If you don’t have 12 hours a day to spin records, I highly suggest a Hagerman Technologies Reverse-RIAA between your CD player and the 100.  Leave it on repeat 24 hours a day for a few days to speed up the process. If you are one of the audiophiles that pooh-poohs component break in/stabilization, play your favorite record on the 100 straight out of the box and then again after a few days of burn in and you will be stunned at the improvement.

All controls are easily available on the front panel and clearly marked, so finding the proper loading and gain settings for your cartridge couldn’t be easier.  If you have multiple turntable/cartridge owners will be instantly at ease with this flexibility that few other phono stages match.

For those incorporating the 100 into a non-Burmester system, there is a phase reversal switch that works with the RCA outputs as well as the balanced XLR outputs.  This is particularly important because Burmester uses pin 3 for signal positive and 2 negative, while most other manufacturers do just the opposite.  A quick flip of the switch keeps everything in phase.

Burmester feels that keeping the signal path balanced all the way through, so the 100 only has balanced inputs.  This will require cable retermination or using the supplied XLR to RCA adaptors.  Considering the additional benefit to running a phono cartridge balanced, I would highly suggest having your tonearm cable terminated for balanced operation.  I used a Cardas Clear Phono cable and the Burmester Silver Balanced Phono Cable ($1,595) The Burmester cable was perhaps a bit too revealing for my taste, but again like any other cable, this is a tone control that needs to be fitted to your taste.

The Sound

Having used Burmester amplification as my reference for almost two years now, I’ve become very familiar with the “Burmester sound” or perhaps lack of it.  A year ago, I proclaimed the 911 mk. 3 power amplifier “The best power amplifier I’ve ever heard” and I still feel that way.  Dieter Burmester has managed to design and build electronics that bridges the gap between solid-state and vacuum tubes, offering the known advantages of both with the disadvantages of neither.

Burmester electronics have always offered a tonal richness that is usually associated with vacuum tubes, yet has an equal helping of dynamic contrast and weight that normally can only be achieved with the best solid-state gear.  If you are an analog lover, it’s much like the difference between hearing a master tape and a great pressing of your favorite record – the tonality has not been altered, but there is an ease, an extra level of naturalness that the record doesn’t have. If you haven’t heard the master tape you don’t know what you are missing, yet once you have, the difference is easy to discern. This is the ease in which Burmester electronics present the music.

Listening to the current Chris Bellman remaster of Van Halen II brought the first major strength of the model 100 to the front – impact.  This recording now has a lot more punch, and some serious low-end energy and the model 100 was able to capture every bit of Eddie Van Halen’s guitar harmonics.   It was also much easier to hear the differences between Eddie Van Halen and Michael Anthony singing harmonies on “Women In Love.”  Most excellent.

Classical and ambient music lovers will appreciate the subtlety of the subsonic filter.  When auditioning the vinyl edition of Brian Eno’s Small Craft on a Milk Sea, which features incredibly low synthesizer tones, I was able to play this record considerably louder than I could with the subsonic filter out – yet it never felt like there was any less bass energy on the record.  Granted, this is something you probably won’t need often, but a nice feature to have available. In combination with the GamuT S9 speakers and a pair of Burmester 911 mk. 3 amplifiers, I was able to achieve sound pressure levels that you would expect to hear in a club without strain – and without a touch of acoustic feedback.

High frequencies – sublime.  Again, when listening to your favorite acoustic music, the speakers just melt into the room and allow you to forget about the gear.  Spinning at least half a dozen of the latest Blue Note remasters from Music Matters Jazz I was always taken back at how natural cymbals and drum heads were sounding; always with perfect attack and smooth decay.  The true sign of an exceptional piece of gear, the 100 did not favor any particular type of music.

A few things always stand out with the Burmester experience beyond perfect tonality; ultra low noise, massive weight and lightning quick dynamics.  The 100 stays true to the rest of my Burmester gear.  Spinning the latest ORG pressing of Joni Mitchell’s The Hissing of Summer Lawns and their latest remake of Tom Petty’s Damn the Torpedoes revealed even more detail than I was used to with these two perfect pressings. This ultra quiet background always made for huge dynamic swings on records that had the scale, but also revealed a stunning amount of low-level detail as well. The 100 is one of those rare additions to your system that will offer a further look into recordings you thought you knew intimately.

This realism is further enhanced by the 100’s ability to start and stop instantly.  It exhibits lightning fast response during the attack phase of a musical transient, but exhibits no overhang, stopping instantly as well.  This contributes to the 100’s complete lack of fatigue when listening for long periods of time.

A few quick comparisons

To keep the playing field level, I captured some tracks at 24/192 files with my Nagra LB pro digital recorder, as I do with the other phono stages I’ve used in the last year.  This offered an  for an indirect comparison to the ARC REF Phono 2 and the Boulder 1008 to the 100 Phono.  While this does not reveal 100% of what each of the respective phono stages can do, it’s a great way to compare phono stages past, without relying on memory alone.  When comparing the high res digital samples of Hissing of Summer Lawns, it confirmed what I suspected: The Boulder offered slightly more bass grunt, and my ARC REF Phono 2 had slightly less than the Burmester. When comparing the REF to the Burmester in real time, the Burmester was definitely an order of magnitude quieter – quite possibly the quietest I’ve ever heard.

The order was reversed when listening for that image depth; here the vacuum tubes in the ARC offered a bit larger musical image with the 100 seeming to make the room a bit smaller, with the Boulder now in last place. The 100 exceeded the other two in terms of dynamic contrast and the lowest noise floor. Considering adjustability, ease of use and the thought of never having to search for vacuum tubes, makes the 100 the big winner in my book.  Keep in mind that the order of magnitude we are discussing here is very small – indeed much of these differences could be minimized by cartridge choice.

When listening to Andrew Bird’s 2005 release Andrew Bird & The Mysterious Production of Eggs, I was consistently impressed by the low level detail and clarity presented. If you value a wide soundstage where images are painted in a very specific place across that sonic landscape, the Burmester is at the top of this category as well.  While I haven’t had the privilege of listening to all of the top $30k – $60k phono stages yet, the Model 100 is at the top of my list in regards to everything else I’ve heard in the 10-25k range.  And we still haven’t discussed the ADC…

The deciding factor in choosing the 100 over something else up in the stratosphere of phono stages will boil down to the sound you prefer and synergy with the rest of your components.  Of course if you have an all Burmester system, just write the check, it doesn’t get any better or any easier.

And now for something completely digital

If you’ve been curious about high quality digital capture and are either thinking about digitizing some of your favorite LP’s for a music server or just archival purposes, the extra $2,995 spent on the ADC module is a bargain.  Capturing files via USB and my MacBook Pro was fairly straightforward, (as I’ve been doing my fair share of this with other tools lately) though the instructions are fairly cryptic.  Those completely new to digital capture will probably be lost, so insist that your dealer give you a good run through on this part of the process.

All digital captures taken with the 100 feature 24-bit resolution, with a choice of 48khz, 96khz or 192khz sample rates.  Obviously the 24/192 files were of the highest quality, but the 29/96 files were not far behind and the 48 khz files were probably the most impressive, because they still offered excellent playback.  Even using the Burmester 088 CD player as a DAC, the difference between these and the original vinyl was minimal.

Though my Nagra LB digital recorder is easier to use and more user friendly than the Burmester, the Burmester offers a significant jump in recording quality. If you have ever thought about adding this functionality to your system, the Burmester does a fantastic job. Unfortunately, you will have to transfer your files somewhere and transcode to 16/44.1, should you want to burn any of these digital files to a CD.  Again, I would have liked to see this as an option in the ADC, so as to not have to perform yet another option in the digital domain.

Conclusion

If you only require one phono input and do not possess an all Burmester system, the 100 Phono is probably a bit on the high side of the price spectrum, but it becomes more reasonable (at least as reasonable as a $20,000 + phono stage can be…) as you add the second input and even more so if you make the ADC part of the bargain.

Nervous audiophiles that swap gear gear fairly often may not appreciate what makes the Burmester components such a great long-term value.  They are built with the precision of a Porsche engine and placed inside casework that is fitting of the best Swiss watches.  If you are someone that desires high quality audio equipment that you will live with for years to come, the Burmester 100 Phono will sound as great in 20 years as it does today.  And that, on many levels is its highest value.

The Burmester 100 Phono

MSRP:  $16,995 – $22,995 (depending on configuration)

Manufacturers Information:  www.burmester.de

Peripherals

Turntables                        Spiral Groove SG-2 w/Triplanar, AVID Acutus Reference SP w/SME V, AVID Volvere SP w/SME 309 and Rega P9/RB1000

Cartridges                        Dynavector XV-1s, Koetsu Urushi Blue, Grado Statement 1, Lyra Skala, SoundSmith Sussurro Paua

Preamplifier                      Burmester 011, McIntosh C500

Amplifiers                      Burmester 911mk. 3 monoblocks, McIntosh MC 1.2kw monoblocks

Speakers                         GamuT S9

Audio-gd Reference 10.2 DAC…And More!

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

Acurus Returns

The Aragon and Acurus brands were originally owned by Mondial, founded by Paul Rosenberg and Anthony Federici.

Dan D’Agostino, former CEO and Chief Designer of Krell, was involved in the design of the Aragon 4004 amp.  The high performance, but more reasonably priced Acurus A250 debuted in 1993.  In 2001, Klipsch bought the brands intending to offer custom electronics to match their loudspeakers, but a few years later they shifted their strategy away from electronics, sticking with the core speaker lines and mothballing a great brand.

Ted Moore and Rick Santiago, who had been leading electronic design groups at Klipsch, left the company in late 2008 co-founding Indy Audio Labs, LLC.  They bought both brands from Klipsch and began working with a select group of talented engineers to bring the products back to market.  The goal was to keep the great sound of the originals, while updating the look and adding some innovative new features – Aragon models are forthcoming with the “value branded” Acurus amps now available, leading the way.

Built With Pride

The Acurus name stands for “Accuracy from the U.S.”, and Indy Audio Labs is proud that their products are built and assembled in the U.S. The metalwork is done here as well, with much of the chassis work done by a machine shop in Indianapolis that makes precision parts for Indy racecars. The torodial transformers and power supply capacitors are still made by some of Mondial’s original suppliers, and even the circuit board assembly and final construction are done by a local company in southern Indiana.

Overall construction is simple and elegant.  The front panel is black, brushed aluminum featuring a single round power button, with a lighted surround ring.  The rest of the casework is simple but elegant with an intriguing rear panel featuring an off white powder coated finish.  This makes it easier to see connections and labels in lower light conditions typically encountered in home theater racks and listening room AV shelving units, along with being highly durable.

The input connectors are high-conductivity, gold-plated, isolated RCA jacks, and are arranged near their corresponding output connections.  The outputs are discrete, 60-amp gold-plated binding posts with anti-touch protective clear housings.  All posts are color-coded with red and black rings for + and – speaker polarity and, each pair is spaced to accommodate dual banana jacks.  Each pair is also angled to make it easy to feed large speaker cables and relieve strain, even in a tight rack unit.

Highly Compatible

Indy Audio wanted these amps to be an ideal choice for those building a serious surround or home theater too, so all models are THX Ultra 2TM certified.  The full range is fitted with a proprietary new “Network Module” that allows the amplifiers to be Ethernet controlled.  The module features a standard Ethernet jack with a “Network Active” LED, a 3.5mm, 12-volt trigger jack along with an RS-232 port.

The A2002 is a 2-channel amp in a 3 RU enclosure and weighs 29 pounds, with 5 and 7 channel versions available in a 5 RU configuration for multichannel applications. It is biased high enough to operated in Class A at low power, shifting into Class AB at higher levels.  It produces 200 watts per channel into an 8-ohm load, with 300 watts per channel available into 4-ohm loads.

When power is connected, the ring around the power switch lights red, indicating “standby mode.”  When activated by the power switch or any of the other Network Module inputs, the surround turns blue. The faint click of the power relays is the only sound coming from the A2002; it was free of electrical or mechanical noise.  When powering my MartinLogan Summit speakers, which dip to 1 ohm at high frequencies, the heatsinks never rose above lukewarm – even during long bouts of high decibel listening.

Those intent on monitoring operating temperatures more closely can access the amplifier via the Ethernet connection on the rear panel. Typing the amplifiers IP address into your web browser reveals everything you might want to know about the A2002: temperature and protect status of each channels, mute buttons, enabling Ethernet and serial controls and an “about” section on the amplifiers other parameters.  You can even adjust the brightness of the power button!  While this functionality might seem trivial to the two-channel listener, those with large multichannel, remote applications will find this very handy.

A Change for the Better

The first few days were as much burn in time for my ears, as the amplifier.  Having lived with a vintage, Class A power MOSFET amplifier for some time, the A2002 has a different sonic signature that won me over fairly quickly.

Being a recording and live sound engineer, a home stereo system always leaves me longing somewhat for the sound of live drums, often aided by a giant concert sound system.  The increased clarity and punch of the A2002 eliminated the previous upper bass muddiness I was experiencing, allowing the Summits LF trim controls to be boosted slightly.  Now the kick drums in my system had some serious kick.  Snare and toms both had more impact and definition, with cymbal crashes now lifelike and full of character that was not present – possessing more authority on initial attack and decaying much longer into total silence. Very impressive.

I also am a reverb and effects fanatic.  I like well-produced albums with believable sound spaces.  I was hearing drum sets in their respective spaces, well placed and not jumbled with effects of other instruments and vocals.  One example is the HD Tracks version of Bob James Urban Flamingo.  Tracks like “Niles Ahead” feature a simple arrangement, but incredible side stick snare and just the right room sound on the drum kit.  “Bobary Coast” adds more synth and vocals, but the drum sound is still tight and right up front.  Bass always has to compliment the drum sound, and again on “Niles Ahead”, the upright bass that sounded alright before, was now defined, crisp and downright punchy – more like a live performance.

The 96K/24 bit HD version of Spyro Gyra’s In Modern Times album offers a cornucopia of great percussion sounds.  “The River Between” has shakers, snaps, triangles, slide, whistles, little bells, ahs, and gahs.  The fantastically recorded flanged fretless bass and sax duet, nylon string acoustic, electric guitar, piano and synths were almost overwhelming by the increased stage width and depth that the A2002 brought forth.

Another go to reference is the unique sound of Michael Franks voice. “Feathers from an Angel’s Wing” from the Time Together CD opened up in a way I hadn’t heard before.  It was easy to hear fretting on the electric guitar, layers of percussion building throughout the song, a spacious synth pad, and stereo acoustic guitars that were well outside the speakers along with a haunting doubled vocal in the chorus, previously buried in the mix.

I auditioned to many other vocalists, male and female that now sounded much truer to life than before.  The tune that stunned me the most though was the new HD Tracks recording of “Where is the Love” from the Roberta Flack and Donny Hathaway S/T album.  I’ve been listening to this album since my teen days on cassette in my car and on every combination of gear since then.

Value Indeed

Indy Audio Labs has indeed held up their end, when they say that Acurus is a “value” brand.  At a mere $2,499, I can’t recommend it highly enough to those with a reasonably priced system, where budget still is an object – yet great sound is a priority.  The build is solid, and an exercise in elegant simplicity.  The sound of the A2002 has really put my modest system into a whole new category, making it a lot of fun to listening to both old and new music in my collection all over again.

Additional Listening

Running the A2002 through its paces with a number of different loudspeakers after the photo session proved this amplifier unflappable.  With enough juice to comfortably drive the Magenpan 1.7s, everything else from the Harbeth Compact 7ES-3s to the B&W 802D and the new Sonus Faber Ellipsa SE was a great match.

The A2002 was equally preamplifier friendly, working equally well with all of the tube and solid-state units at my disposal.  This amplifier is incredibly neutral and dynamic, performing much better than I expected for the price asked – just as the original models did in the 80s. Both the Aragon and Acurus amplifiers were often referred to as “the working mans Krell” by enthusiasts.

This adds up to an Exceptional Value Award for 2012, and I’m looking forward to hearing the Aragon amplifiers as soon as they are available. – Jeff Dorgay

The Acurus A2002

MSRP:  $2,495

Manufacturer Info:  www.acurusav.com

Peripherals

Analog Source             Technics SL1200/SME 309 arm and Sumiko Blackbird Cartridge

Digital Source              Benchmark DAC1 USB, with MacBook Pro

Preamplifier                Manley Jumbo Shrimp

Phonostage                  EAR 834

Speakers                      Martin-Logan Summit and PMC db1i

Cable                           Tetra, Shunyata, AudioQuest

Power                          Running Springs Haley

Adding the HRS Platform to the AMG V-12 Turntable

We’ve been living with the AMG V-12 turntable for some time now, and it sounds as exquisite as it looks. If you are looking for a turntable that is devoid of bling, that you can set up, forget it and just enjoy your record collection, it’s tough to do better than the V-12.

Exquisitely machined in every sense, this table is truly a work of fine art.  Garth Leerer, the president of Musical Surroundings feels that “With a table as high performance as the AMG, what you place it on will impact the ultimate performance.”

The AMG manual suggests placing the table on a granite slab for best results, so what better way to go than the current MX3-1921-AMGV12 platform from Harmonic Resolution Systems designed specifically for the AMG?  Machined from billet aircraft aluminum and incorporating a polished black granite surface, this platform is is load matched specifically to the weight of the AMG. It is priced at $2,650.

After listening to the AMG for a few weeks without the HRS, getting it under a proper platform made for a substantial jump in performance.  Having just played a few familiar tracks and then slipping the base underneath, it was evident that the upper bass tightened up and there was a larger spatial perspective on the music.  To make sure I wasn’t second guessing myself, I recorded the three before and after tracks on my Revox B-77 at 15 i.p.s. to see if I’d actually hear that difference, side by side.  Even on tape, it was still there, and at high volume I noticed the woofer cones on the GamuT S9’s did not have as much random movement (indicating acoustic feedback) providing a visual confirmation that the HRS platform was indeed getting rid of unwanted vibration.

Watch for our full review of the AMG soon, in the Analogaholic section.

The VPI Classic 1 Turntable (originally featured in issue 46)

It’s easy to compare turntables to vehicles, and for good reason: They share a related sense of implementation and involvement. Much like vehicles of the two- and four-wheeled persuasion, a turntable requires more knowledge and guardianship than just turning a key to achieve a rich experience.

Rather than like eye-catching European automobiles to which high-end turntables are often contrasted, the VPI Classic 1 is more akin to an unmarked mid-90s Ford Crown Victoria Police Interceptor, recently decommissioned and returned to service as a street car. Casual observation yields few clues to what lurks under the hood, but careful scrutiny reveals a very purposeful vehicle. Everything, including the engine and suspension, is calibrated for high-speed performance.

The VPI Classic 1 boasts analogous aspects. In today’s world of superfly, bling-laden turntables, it’s easy to pass by the Classic 1 from an aesthetics standpoint—just like every teenager that has sped right past an unmarked squad car. Don’t be fooled by the basic wood trim and lack of plating. The Classic 1 is purpose-built. There’s no fancy casework, external power supply, or exotic wiring. It doesn’t have a dust cover or tonearm cable.

An output pod with RCA jacks and a grounding terminal lurk at the rear corner of the plinth. There’s a quick-release connector, meaning tonearm wands are easily interchanged and cartridges effortlessly swapped. And since Lyra’s Kleos and Kleos mono cartridges possess identical bodies and parameters, the switch between stereo to mono is a snap.

While it flies in the face of convention, the Classic 1 differs from VPI’s other ‘tables given that its AC synchronous motor is mounted to the plinth (rather than the motor housed in a separate enclosure). Thanks to careful mounting and fine-tuning, no vibration creeps into the presentation. Yes, the Classic 1 boasts a big sound. Al DiMeola, Paco deLucia, and John McLaughlin’s acoustic guitars seemingly appear out of nowhere as the stylus travels the grooves of ORG Music’s recently remastered A Night In San Francisco. Wonderful guitar tones linger, applause swells from the soundstage, and the percussive thud of feet stamping on the stage leaps from the speakers.

The Soul of a Much Bigger Turntable

The Classic 1’s distinctiveness relates to its build and ability to extract musical soul from an LP in a way few under-$10k record players can muster. I’ve unboxed too many $3,000 turntables that my dog could chew to bits in a matter of seconds. VPI’s robust construction puts any such fears to rest. The unit weighs 60 pounds, nearly a third of which is concentrated in the solid aluminum platter.

Playing through the new Audio Research REF Phono 2 SE, the Classic 1 ably cruises through recent Music Matters Blue Note remasters. Comparing the playback on “Scrapple From the Apple” (From Dexter Gordon’s Our Man In Paris) between the Classic 1 fitted with the Kleos cartridge to Lyra’s flagship mounted to my reference AVID Acutus Reference SP with TriPlanar arm reveals the Classic 1’s ability to cover the basics—rhythmically and dynamically. Of course, the AVID/TP combination offers a larger dynamic swing, but the Classic 1 always captures the essence of the performance, with Dexter Gordon’s tenor sax escaping out into the room in a manner it doesn’t via lesser turntables.

In the context of a system comprised of the factory-rebuilt CJ MV-50 amplifier, Coffman Labs preamplifier, and Harbeth Compact 7ES-3s, the Classic 1 paints a larger musical picture than one might think could sprout from such diminutive speakers. The Classic 1’s tonal body will thrill you when listening to vocal-dominant material. Whether you prefer Johnny Cash, Dusty Springfield, or Diamanda Galas, the ‘table’s weightlessness will leave you swearing you’re listening to something with a much higher price tag.

Such advantages should keep classical and hard rock aficionados equally happy. A quick spin of the recent Black Keys LP demonstrates the Classic 1’s capabilities. The grungy guitars, only part of a large noise ball on an entry-level ‘table, now have well-defined space and texture. It feels as a wall of amplifiers is in the room. A recording that always feels too densely packed, Fear’s self-titled album now offers more bloom. Singer Lee Ving’s vocals are no longer drowned out by raging guitars on “Let’s Have a War,” and the saxophone lead on “New York’s Alright if You Like Saxophones” is truly discernible.

Increasing the volume to near concert-hall levels reveals a total absence of acoustic feedback—especially impressive for a non-suspended turntable. With the volume control on the ARC REF 5SE at 70, the woofers of my GamuT S9s remain controlled, no matter the program material. Plus, the Classic 1 generates a prodigious soundfield in both dimensions. All of the twinkly bits on Jean Michel Jarre’s Equinoxe float around like funnel clouds.

What You Don’t Get

The world’s finest turntable/tonearm combinations require no sacrifices on the part of the listener. They feature enormous dynamics, a wide tonal palette, incredibly low noise floors, and virtually perfect speed accuracy. All are prerequisites if and when one is asked to spend crazy money on a record player. The Classic 1’s strength stems from its balance. No single parameter is given priority, and because no area is deficient, the resulting blend allows you to concentrate on the music. It’s a tough balance to achieve at any price.

No, you don’t get any excess aesthetic touches. This is a record-playing machine, not a piece of fine jewelry. However, the product’s honesty is refreshing.  Founder Harry Weisfeld’s son, Mat, emphasizes that VPI’s business philosophy and attention to the bottom line are responsible for the Classic 1’s amazing price. Not only is the Classic 1 made in America, all VPI turntable components are produced locally. “This keeps costs way down and minimizes the shipping expenses necessary to get parts to the factory,” says Weisfeld. “My Dad always kept an eye on the bottom line, allowing us the ability to offer a great product at a fair price, so everyone can earn a living.” The Classic 1 shares the same 600 RPM drive motor with the Classic 2 as well as other key components that are purchased in bulk.

Which Model?

VPI’s new Classic 4, with two tonearms, is catnip to this analogaholic. While it is the ultimate expression of the Classic concept, the $10k ‘table isn’t as stealthily priced as the entry-level Classic. Other models in the Classic lineup offer more performance and versatility, albeit at higher cost. The Classic 2 ($3,495) provides the ability to set VTA (vertical tracking angle) on the fly, which needn’t be a concern to those relatively monogamous with cartridges.

Thanks to a more massive plinth and the addition of VPI’s Ring Clamp, HR-X weight and 300 RPM motor, the almost twice-as-expensive Classic 3 ($5,995) presents serious sonic upgrades over the 1 and 2. For better rigidity, the 3 also upgrades from aluminum to stainless the armtube on the JMW 10.5i tonearm. Additionally, the copper tonearm wire is upgraded to Nordost’s legendary Valhalla.

Overwhelmed? Begin with the Classic 1 and just start playing records, dammit. The Classic range is fully upgradeable, so you can take a Classic 1 all the way to the Classic 4 level, should analog madness get the best of you.

Keeping Perspective

Remember, analog is about flavor. The Classic 1 might not be for you, but it turns me on. And while I won’t be putting my reference AVID decks on the auction block, listening to the Classic 1 is so enjoyable, it’s easy to forget about high-zoot hardware. Some days you want to drive the Porsche, some days you want to drive the police car.

Listeners that don’t want a harem of analog playthings, take note: Match the Classic 1 with a great phonostage, a solid cartridge (I suggest the Lyra Kleos), and relax. Price be damned, the Classic 1 is one of the most engaging turntables I’ve had the pleasure to use. For $2,750, it’s a steal.  Sure, more performance can be had, but it will cost you at least $5k-$10k, whether or not you move to a different platform or upgrade within VPI’s ranks.

The Classic 1 is highly deserving of our Exceptional Value Award. It exemplifies the concept.

VPI Classic 1 Turntable

MSRP:  $2,750

Manufacturer:  www.vpiindustries.com

Peripherals

Cartridges                  Lyra Kleos, Kleos Mono and Titan i, Sumiko Pearwood and Palo Santos, Grado Statement 1, Dynavector DV-20xl, Rega Apheta

Phonostages             ARC REF Phono 2 SE, ARC PH8, Manley Chinook

Preamplifier                ARC REF 5 SE, Burmester 011

Power Amplifier        ARC REF 150, Burmester 911 mk. 3, Coffman Labs PR-01

Speakers                   GamuT S9, Sonus Faber Ellipsa SE, Harbeth Compact 7 – 3

Cable                         Cardas Clear

Power                         Running Springs Dmitri and Maxim

Accessories               Furutech DeMag and DeStat, Audience Au24e phono cable, AudioQuest LeoPard phono cable, Audio Systeme Deck record cleaner.

Penaudio Cenya Speakers

Reporting on the Porsche/Burmester event for Issue 46’s cover story put me at a dinner table with a new group of writers. Instead of the usual cronies from high-end audio, I encountered a pack of automotive journalists. A staff member from Automobile magazine commented that, on a recent outing with a handful of incredibly wealthy car collectors, he asked everyone the same question: What is the most fun car you own? He became fascinated to discover that, even though the owners all possess stables of exotic machinery, five of the six respondents named the Mini Cooper S Convertible.

Many of my audiophile buddies express a similar sentiment concerning loudspeakers. There’s something enchanting about a pair of small speakers in a modest-sized room. Often, the famous LS3/5A enters the conversation. However, as magic as it is when paired with small-scale music, that speaker does not rock. But greatness is possible in a small box. Modern drivers, computer analysis, and crossover technology make such a goal all the more attainable.

Enter the Penaudio Cenya. Taking up only half a cubic foot (6.4 x 11.2 x 12.6 inches/163 x 280 x 315mm) of space, the tiny two-way uses a 6-inch Seas Excel woofer and 3/4-inch Seas soft-dome tweeter in a ported enclosure. Don’t be scared by the $4,000 price. Small enclosures and understated elegance are Penaudio hallmarks, and the cost is warranted.

For those seeking wife-acceptance factor, look no further. The Cenyas integrate with practically any décor. Yes, getting the best bass response requires a pair of stands with high mass, and placing the tweeters near ear height is essential. A pair of sand-filled Sound Anchors stands works perfectly in both my listening rooms. My smaller 11 x 17-foot living room provides slightly more bass reinforcement, but surprisingly, does not offer the big sound of my dedicated room.

Simple Setup

Setting up the speakers by ear resulted with the speakers landing in the classic equilateral arrangement. In my 16 x 25-foot listening room, the Cenyas are almost seven feet out in the room on the long wall, and seven feet apart. Approximately 15 degrees of toe-in yields the best balance between imaging and high-frequency smoothness, and yes, the Cenyas boast excellent off-axis response. Placed well away from sidewalls, these speakers image like panels. With the last octave of bass response diminished, the Cenyas are easier to position, particularly since they don’t excite room resonances in the manner achieved by a speaker that goes down to the mid-20hz region.

In terms of matching, the 30wpc Unison Research S6 tube integrated amplifier and its deep, rich presentation complements the Cenya’s large soundstage. Unlike the Penaudio Serenades I used for a few years, and which never really matched with a tube amplifier, the Cenyas perform admirably with glass. Given their 86db sensitivity rating, I suggest a minimum of 30wpc, although an amplifier in the 45-70wpc rating is even better. Select tube amplifiers at my disposal from CJ, Audio Research, PrimaLuna, and Grant Fidelity all reveal a warm, friendly sound via the Cenyas, with excellent bass control and supple high end.

However, power rules the day with these mighty marvels, and the heavens part upon inserting an Audio Research REF 150 into the system. Remember, though, that power alone doesn’t get the job done. Think quality. Trying a few budget, high-powered Class D amplifiers makes for a lifeless presentation. The Cenyas claim a very neutral, natural, and lifelike tonal balance—but also offer high resolution. Hence, distinctions between different source components are readily discerned.

Switching between the ARC REF 150, Burmester 911 mk. 3, and Octave Jubilee monoblocks, it’s as effortless to pinpoint the particular characteristics between these top-tier amplifiers as it is when they’re feeding speakers that cost considerably more. Clearly, something special is going on in Finland. Chalk it up to Penaudio designer Sami Pentilla, who loves to rock out. You’ll never hear Patricia Barber in his room at a hi-fi gathering. At this year’s Consumer Electronics Show, as we listened to Rammstein loudly in his space, he smiled and said, “My speakers must have natural sound, but they have to rock.”

Mad Bass Skills

Don’t be thrown off by that small woofer. Given the size of the speaker from which it emanates, the bass line in the title track from Big Head Todd and the Monsters’ Sister Sweetly album produces enormous bass of almost-shocking dimensions. No one-note wonder, the Cenya does equally well with acoustic bass. Scott LaFaro’s bass playing on Bill Evans’ classic Portrait in Jazz provides elegant lines that often feel more like lead runs than backdrops. The Cenyas excel at capturing the texture, as well as the body, of the acoustic bass parts.

Torturing the Cenyas via the massive beats in Madonna’s latest MDNA prove fruitless until the mighty Burmester 911 amplifier starts working up a sweat. With 350 watts per channel on tap, I was able to produce that awful bottoming sound from the woofer cones. Note, however, that this came at beyond-prudent volume levels. Big synth bass from The System’s “Don’t Stop This Groove,” as well as from a few other 80s favorites, is also rendered with so much weight that you won’t hanker for a subwoofer. Ok, maybe when you blast Daft Punk’s Tron: Legacy Revisited, it’s not a bad idea to grab one. Fortunately, the JL Audio Gotham in-wall subwoofer seamlessly mates with the Cenyas, making for a rather stealthy system.

Mighty Mids

Dandy as the Cenyas show with varied program material, midrange remains the mini-monitors’ strong suit. Emphasis is focused on defined placement of musicians and instruments within a soundstage. Ry Cooder’s I, Flathead features a live feel. When Cooder briskly strums his guitar on “My Dwarf is Getting Tired,” you can hear the drumheads rattle. These speakers reproduce the midband in such a transparent way, you’ll forget about your visions of ESLs. And I say this as a happy owner of Quad 57s; the Cenyas have the juice.

All the best audiophile clichés apply to these Penaudio speakers. They paint an enormous sonic canvas extending well beyond the speaker boundaries. Yes, you’ll swear you are listening to larger speakers. Vide, Mobile Fidelity’s brilliant new remaster of Gram Parsons’ GP. The Cenyas capture the pace and air present within this sparse recording. The original CD is flat and lifeless, but the decay-rich MoFi disc feels lush. Vide, the baritone sax on “Cry One More Time For You” leaps right out in front. And, heard via the Cenyas, Parsons and Emmylou Harris’ duet on “We’ll Sweep Out The Ashes in the Morning” gives equal weight to both singers. Lesser speakers leave Harris’ voice fading into the mix.

Dazzling Dynamics

The 24/96 file of Elton John’s Madman Across The Water sounds stunning through the Cenyas. When the barrage of horns kicks in at about 1:37, I got pinned back on the couch, amazed at the drive they muster. Wow, these speakers rock. Transitioning from the slower first half of Jack White’s “Take Me With You When You Go” from Blunderbuss to the song’s raucous second half is painless. White’s signature guitar sound is also reproduced with plenty of grit and texture.

Thanks to the Cenyas’ wide dynamic contrast, the worst recordings now become much more palatable. Even Don Johnson’s Heartbeat sounds pretty good. (Fess up. I know you still have that CD from the 80s.) Getting down with the self-titled Grinderman album, these speakers give up the good stuff the second you hit “play.” The first track, “Get it On,” opens with Nick Cave barking over a larger-than-life distorted guitar out of phase with the rest of the instruments. The Cenyas don’t lose their poise even when cranking this record. The louder you play it, the better it sounds, with the mad guitars burrowing their way into your soul.

Indeed, the speakers deliver an abundance of dynamic contrast and low-level detail, making them just as easy to listen to at low volume. And, as I mentioned earlier, they possess a very natural tonal balance. Violin, banjo, and acoustic bass remain distinctly separate on the title track of Steve Martin’s The Crow: New Songs For Five String Banjo, retaining all the textural properties that make these stringed instruments unique. The violin is particularly tough to get right, yet the Cenyas handle it with aplomb.

Get On Board

The Penaudio Cenya is an absolute delight, no matter the source material. These speakers are limited only by the quality of the electronics with which you mate them. Granted, the Cenyas are not merciless. Your system won’t suck with a $600 integrated amplifier if that’s what you can afford. However, the speakers will constantly improve with better gear, should you jump on the high-speed train to audiophilia.

Fuel the Cenyas with the best electronics you can afford, and you will not be disappointed. It’s not unlike handling a high-performance turbocharged car. If you put low-octane gasoline in the tank, the experience will still be good, but the engine-management system will cut the amount of horsepower delivered to the rear wheels.

Penaudio Cenya Loudspeaker

MSRP:  $4,000

www.penaudio.fi (Factory)

www.tempohighfidelity.com (US Importer)

Peripherals

Preamplifier Burmester 011

Power Amplifier Burmester 911 mk. 3, Audio Research REF 150

Digital Source dCS Debussy DAC/Paganini Clock

Analog Source VPI Classic 1/Lyra Kleos/ARC REF Phono 2

Cable Cardas Clear

Accessories SRA Scuttle rack, Furutech DeStat, DeMag, Audio Desk Systeme record cleaner

Carver VTA180M Tube Monoblocks

Throughout his career, Bob Carver has made several legendary products and, like most great artists, stirred up controversy in the process. His new line of tube amplifiers aren’t just brilliant, they’re reasonably priced. For those wanting the “Made in America” badge, these crimson beauties—along with every other Carver amplifier—are built by hand in Lexington, using point-to-point wiring techniques.

The VTA180M features a simple and honest design. Its basic, open chassis configuration adds to the vintage feel and keeps costs manageable. You won’t mistake these units for a pair of megabuck tube amps machined from solid billets of aluminum. Well, not until you turn them on. Then, be prepared to be pleasantly surprised.

Having sampled many great tube amplifiers over the last few years, I was immediately impressed by the VTA180M’s level of detail and grunt provided by the 200 watts-per-channel reserve. Vide, Bombay Dub Orchestra’s 3 Cities. This record serves up big, synth-bass beats that challenge any amplifier driving full-range speakers. The Carvers reward my GamuT S9s (that have a -3db point of 17hz) with solid, texture-laden bass and subterranean extension.

They also require little warm-up time. With just a half hour on the clock, the amps piqued my interest when playing Chemical Brothers’ “Galvanize” from Push The Button. The assault of bombastic bass waves encouraged me to twist the volume control to nightclub-like levels. As the GamuT S9s’ six 11.5-inch woofers pumped, I felt like the guy in the Maxell chair, with the system moving major air sans strain or distortion. The amps sound enticing even after the first five minutes, but require 45 minutes to thermally stabilize and reach full bloom. Once there, an enormous, three-dimensional soundfield awaits. Vacuum-tube newbies will experience an entirely different sonic landscape.

Midrange Options

Reach-out-and-touch-it midrange is almost always a given with tube amps; the extra airiness draws music lovers to vacuum tubes. The VTA180M lets you pick a preferred presentation, offering two feedback settings: 11db (contemporary amplifier) and 20db (classic amplifier) that affect the upper bass/midrange presentation. According to the concise instruction manual, Carver leans toward the classic setting, and it’s nice to have the option. Plus, you can switch the setting on the fly without suffering any annoying or potentially harmful pops.

The extra feedback provides a warmer, more saturated sound, much like many beloved vintage tube amplifiers. Meanwhile, the 11db setting possesses a punchier sound and tighter bass response. It’s also great for fine-tuning an amplifier to speakers. So, even if your taste in speakers changes, your amplifier can remain in the system. This is a great way of making the VTA180Ms obsolete-proof. One note: Should you have a pair of speakers that already have a bump in the upper-bass/lower-midrange region, a romantic-sounding tube amplifier can be too much.

In addition, you can use the feedback switch as a tone control. Regardless of your system’s overall tonal balance, if you listen to a fair amount of MP3s via MOG, Spotify, or another online service, extra tonal warmth supplied by the VTA180M in the classic amplifier mode goes a long way towards making harsh digital sources more listenable.

For Those About to Roll

Tube rolling with the VTA180M is effortless. Its open casework allows easy access. The stock tubes sound awfully good, so your degree of OCD will determine whether they constitute the equivalent of a quick jaunt down the bunny hill or a Double Black Diamond run. Should you swap them out, you will need a dozen power tubes—not for the faint of checkbook. A set of Gold Lion reissued KT-88s imparts a less grainy feel, and sacrifices nothing in the top and bottom ends of the frequency spectrum. Just be sure to check the front-panel bias meter and adjust accordingly when fitting a different set of output tubes. Again, the Carver manual goes into great detail explaining the process and makes it all simple.

Experimenting with the 12AX7 input and the 12AT7 pre-driver tubes offers a wider range of tonal change than fiddling with the output tubes. With only one of each tube per monoblock, it’s a basic exercise. While NOS 12AX7s can soar as high as $300 each (for super high-zoot Mullards and Telefunkens), Mullard 12AT7s rarely top $30.  The 12AX7 is the tonemeister: Changing it affects overall tonality as much if not more than the feedback switch. Or, you can just leave the VTA180M stock and enjoy as is. Or can you? Decisions aside, Carver offers an impressive one-year warranty on the factory tube set and seven-year warranty on the amplifier.

The Whole Enchilada

Tube amplifiers live and die on the top and bottom of the audio spectrum. Some offer a dreamy, creamy, albeit slightly rounded off high-frequency response, a trait especially attractive to digital music collections. Other units put forward a very refined, extended, clinical sound that gets so close to the character of solid-state gear, one ponders why valves were ever chosen.

The VTA180Ms provide excellent overall tonal balance, regardless of feedback setting. Low-end extension is particularly healthy. Tube amplifiers rarely possess great bass texture, yet the VTA180M excels in this region. Tom Petersson’s bass on Cheap Trick’s self-titled album enjoys alluring growl. The opening bass riff on “Mandocello” bites and feels natural. As his hand slides up the instrument’s neck, it sounds like you’re standing in the front row of a small venue peering right at a big Ampeg bass cabinet. A similar experience occurs with an early British pressing of the Beatles’ Revolver. Even at high volume, Paul McCartney’s bass line stays solid and easy to follow, with plenty of definition.

Things are equally good up top. Without surrendering any tonal saturation, the VTA180M provides a clean, resolute high end. Cymbals are portrayed with plenty of air and texture, feeling neither rolled off nor exaggerated. Switching back to a few vintage amplifiers on hand from Dynaco and Marantz reveals similar tonal saturation, but to the point of obvious coloration and grain, particularly when listening to Joe Sample and Co. on The Three, an incredibly well-recorded direct-to-disc LP. Shelly Manne’s drumming loses the air present via the Carver, through which the percussion sounds like real cymbals.

When spinning Revolver, the background handclaps in “And Your Bird Can Sing” are not as prominent as it is with the best amplifiers at my disposal. This slight loss of ultimate low-level resolution, in comparison to that delivered by big-dollar gear, is the VTA180M’s only apparent weakness. But these cherry-red monoblocks do everything else so well, you won’t notice it.

The VTA180Ms feature a single-ended RCA input and work flawlessly with the handful of on-hand preamplifiers from Audio Research, Conrad Johnson, Burmester, McIntosh, and the new Coffman Labs model currently under review. Thanks to 2-, 4- and 8-ohm output taps, the Carvers show no problem driving the MartinLogan Montis speakers and even produce enough juice to drive the Magnepan 1.7s to fairly high levels.  If you are nervous that the rated 230 watts-per-channel isn’t enough for your Magnepans, Carver’s VTA305M monoblocks should get you there.

Award Winning Performance

I am very excited about the VTA180M amplifiers. Designed by a legend, they offer a no-nonsense approach, with money spent in the right places. We could talk in circles about parts and topology choices, sure. But in the end, these amplifiers do everything well, volunteering a sensory experience that normally commands a higher price.

Indeed, this is a tube lover’s pair of amplifiers. They provide more than enough power to drive all but the most inefficient speakers, and boast an extraordinary level of refinement. The ability to drive low-impedance loads, as well as the option to change feedback and alter the amps’ character to suit personal tastes, are bonuses.

If there’s a better pair of 200-watt-per-channel tube amplifiers out there for this kind of money, I haven’t heard them yet. The Carver VTA180M monobocks richly deserve an Exceptional Value Award for 2012.

Carver VTA180M Monoblock Power Amplifiers

MSRP: $7,400/pair

www.bobcarver.com

Peripherals

Analog Source             AVID Acutus Reference SP/TriPlanar/Lyra Atlas

Digital Source              dCS Paganini 4-box stack, Sooloos Control 15

Phonostage                  Audio Research REF Phono 2SE

Speakers                      GamuT S9

Cable                           Cardas Clear

Accessories                 Furutech DeMag, DeStat, Audio Desk Systeme RCM

We Review the Bose 901…


Part One

“No highs, no lows, it must be Bose.” And so the story goes in the wubbulous world of high-end audio. Other than using a green sharpie to get better CD sound, or that guy that calls you on the phone and osmotically makes your system sound better, no greater myth exists in audio today than that of the Bose 901 speakers. Much like Bigfoot, have you even seen a pair of Bose 901 speakers or, better yet, heard them?

Lately, I’ve had several positive encounters with Bose products. My Fiat 500 Sport has a Bose sound system, and yes, it possesses admirable bass extension (so there!) and a wide stereo image from the driver’s seat. I also experienced Bose on a recent trip home from Spain, where I sampled the new Burmester sound system in the latest Porsche 911 Cabriolet, and Porsche was kind enough to fly me home first class. The latter experience came with a pair of Bose Noise Canceling headphones (another product I’d never actually used, but about which I heard plenty of scuttlebutt). I must say, the noise-canceling effect works incredibly well; the first six episodes of “Californication – Season 5” flew by.

The ‘phones claimed decent sound quality and, compared to the little bit of ultimate fidelity they gave up to my $600 IEMs, were worth the noise-canceling effect. I’m thinking of investing in a pair before my next European trip. So that’s two strikes in Bose’s favor.

As TONEAudio is currently running a contest to identify the biggest audiophile myths, I began pondering: How do Bose 901s actually sound? My last memory of the speakers harkens back to a jazz club in my hometown of Milwaukee that actually had the speakers installed into the ceiling by their pedestal bases and powered by a Marantz 4300 quad receiver. Another area venue had their ceiling-mounted 901s powered by a large stack of McIntosh gear. Both systems were pleasant. Not to be outdone, another bar owner installed Magnepan MGIIs from the ceiling, which, coincidentally, ended up being destroyed by a ruckus started by the Milwaukee Rugby Club after a hearty victory. And so it goes.

Double Standards

Good memories aside, if you ask any audiophile, they will unequivocally tell you how much Bose speakers suck, and give you a million reasons why the speakers they own are much, much better. If you dig deep enough, chances are good at least one of these opinionated individuals owns either a pair of Rogers LS3/5as that don’t produce much bass or even a pair of smaller Magnepans. Sure, I love my Maggie 1.7s, but they don’t produce a lot of bass, either, and really need a lot of juice to give their best performance.  And don’t even get me started on single-driver Lowthers. Been there, done that, too.

Now, to further the conversation, ask such expert audiophiles if they have actually heard a pair of contemporary 901s. Are you thinking mythbusting? Me too.

This multi-part article will be a standard review in the sense that we will listen to the Bose 901 speakers in a few different rooms and use a wide range of amplification— from a Pioneer SX-424 vintage receiver all the way up to a full stack of Audio Research Reference components—just as we would with any other speaker evaluation.

And conspiracy theorists, take note. I bought a random pair of 901s via the Web for retail price. I initially tried to contact Bose to see if we could get a review pair, but no one at the PR department would return my call. Hence, there will be less historical data accompanying the review, which is unfortunate, as the speaker is now on its sixth iteration of development and changed somewhat since its introduction in 1968.

Seeing that Bose is a $2 billion-per-year company, it’s doubtful any manufacturer other than perhaps Vandersteen or Magnepan has produced more quantities of a same speaker model. Unless we get a phone call, this will remain an unresolved question.

Service:  Ambiguous to Excellent

A quick call to the Bose store at the local mall reveals that the 901s are “not a regular stock item.” But the sales person tried his hardest to switch me into a top-of-the-line Wave Radio, telling me “no one has big speakers in their home anymore.” He then acquiesced. If I must have a pair of 901s, I can special order them or go directly to the Web site. I do the latter, and about 90 seconds after getting to the home page, a pair of walnut 901s with pedestal bases is on its way. Six days later, the 901s arrive on my doorstep, safe and sound.

So far, so good. The speakers look to be in perfect shape and their fit and finish is excellent for $1,400. At the moment, Bose rates an A+. Next, the listening begins. Will the speakers fall off their pedestals? Stay tuned for Part Two.

Part Two

Setup and Installation

My pair of 901s is set up in the classic fashion on the cool, black metal pedestals that resemble something from the Herman Miller furniture catalog, circa 1960. An Eames lounge chair and an old copy Playboy is all that’s required for the full-on Austin Powers effect. Groovy, baby!

At 35 pounds each, the speakers are easy to manage. However, using them with the metal bases requires wood screws. While the holes are predrilled, you probably won’t utilize them more than a couple times without causing permanent damage to the speaker base. I can’t imagine a company as large as Bose wouldn’t be able to add threaded inserts without raising cost.

The binding posts allow for any kind of speaker cable. Yet if you are considering using your 901s with any kind of upgraded cable, don’t permanently attach the bases until you make a cable commitment. I employed Radio Shack’s 16-gauge speaker wire for the majority of listening sessions.

I used two systems to evaluate the speakers. The first consists of a vintage Pioneer SX-424 with a stock SL-1200 turntable/Grado Red cartridge and a third-generation iPod Classic, modded by Red Wine Audio. The second involves the Sooloos Music Server feeding Wadia’s new 121 decoding computer to the Unison Research S6 vacuum-tube amplifier. At the very end of the sessions, the Pass Labs XA200.5 monoblocks were employed to see just how loud the 901s could play.

Speaker Placement

Much like a pair of Klipschorns, the Bose 901 lends itself to corner placement. Because the majority of the drivers face rearward, placement is the key to fine-tuning the imaging performance.

Putting the speakers closer to room corners exaggerates the reflection and yields the overblown stereo image that perhaps contributed to the popular misinformation associated with Bose. If you are used to the sound of traditional box speakers, 901s—when tightly placed in room corners—sound much larger than life and boast an exaggerated soundstage. They feel like the remnants of a hallucinogenic experience. The 901s’ modest size encourages experimentation, which proves equally successful in my smaller 11 x 17-foot living room as well as in my 16 x 25-foot dedicated room.

My favorite listening position with the 901s seems counterintuitive albeit more traditional in an audiophile sense. Placed about eight feet apart, eight feet from a couch, and about five feet out into the listening room appeared perfect, and allowed the sound from the front-firing driver to anchor the presentation. Exactly like every panel speaker I’ve used in the room, the 901s were much more interesting on the long wall.

The EQ Box and The Moment of Truth

Because the Bose 901 makes use of nine full-range drivers, it takes advantage of an inline equalizer to make the speakers sound the way they are intended. Traditionalists, before you cry foul, think of the popularity of DSP-based speakers these days. Bose achieves a similar, if less sophisticated and considerably less-expensive effect with a passive EQ.  The manual states the EQ can be used with series V 901s, but earlier models require the proper box.

If you are using a receiver, the EQ must be placed in a tape-monitor circuit, or between amp and preamp if you have separates. The supplied pair of three-foot RCA patch cords gets the ball rolling. The EQ features a two-position button: position one offering a flatter response, and position two adding a slight bass bump, not unlike the loudness button on a 70s receiver. Finally, there are two sliding controls for mid-bass and mid-treble, the latter claiming the most control over the overall tonal balance.

Slightly Rolled off Highs and Pretty Solid Bass

When set up like a conventional pair of smaller monitor speakers, the 901s produce a sound much like the original Magnepan MGIIs. Fortunately, audio pack rat and contributor Jerold O’Brien still has a mint pair of MGIIs to which I listened for direct comparison. Sure enough, they enjoy a softer, more relaxed high-frequency response, just like the 901s. The current MMG we reviewed possesses a bit more treble extension than the original MGIIs, but does not throw as large a soundfield. And, both Magnepan models need a ton of power to get up and go.

Where in semi-nearfield the 901s produce a wide soundstage, they also cast an excellent stereo image. A suite of Joni Mitchell tunes from Court and Spark, Hissing of Summer Lawns, and Don Juan’s Reckless Daughter captures her voice in the same approximate place as it’s found in my reference system. Sampling a wide range of solo vocalists reveals the importance of the mid-treble slider. Push too much for treble brightness and the vocals become grainy—not unlike when adjusting toe-in with a conventional speaker.

Thanks to their wide dispersion and massive soundstage, the 901s excel playing live-recorded music. Ted Nugent’s “My Love is Like a Tire Iron” from Intensities in Ten Cities equates to an impressive experience when cranked to brain-damage levels.  Nugent’s band is spread-out between and beyond the speaker boundaries, and never diminishes in intensity when I get up off the couch to grab another beer. These speakers rock.

Those questioning the bass, look no further than the Stereophile test CD.  50hz tones were reproduced solidly, with plenty of energy on the 40hz track, though things dropped off pretty significantly beneath 40hz.  A quick listen to a handful of bass heavy tracks from Pink Floyd, Genesis and Yello proved highly convincing and again, way more powerful than a number of small stand mounted speakers that I’m very familiar with.

Advantages of a Single Speaker Design

The essentially crossoverless design gives the 901 an unmistakable coherence, the model’s greatest strength. Its incredibly wide dispersion comes in a close second. The Bose 901s sound great anywhere in the room, and what you might give up in terms of ultra-focused, sweet-spot listening, you’ll gain in spades when you have a room full of people. These could very well be one of the world’s three or four best party speakers.  Again, compromise: Would you like a pair of speakers that you just listen to in your listening chair for private sessions, or do you do most of your listening in secondary mode while hanging out in the house cooking and entertaining?

No doubt, some graininess sneaks into the midband because the EQ box isn’t chock full of Mundorf capacitors. That said, have you ever taken a peek at the crossover of your choice $1,400 speaker? Precious few include components sporting any better quality.

After extensive listening, the Bose 901s strike me as being damn good. They have some limitations, but don’t all $1,400 speakers? For that matter, what $10,000 speakers are perfect? I’ve heard a handful of speakers that check a couple more audiophile boxes than the 901s, but I’ve heard many more that sound much worse. Much as I hate audiophile clichés, the “sins of omission” has never been truer than with these speakers.  They are so smooth and musical, it’s tough to freak out about the missing detail.

And that’s the area in which the 901 lacks: reproducing low-level detail and microdynamics. When the keyboard enters the first verse of Joni Mitchell’s “Trouble Child,” it’s subdued, as are the bongos at the beginning of “Jericho.” Again, I suspect information is lost in the EQ and through the stock cables. What the 901s sacrifice here, they make up for on a broader scale via the ability to play really loud and without strain.

The 901s cruise while being played at volumes well beyond those that would reduce mini monitors to rubble. Turning up Ace Frehley’s “Genghis Khan” from Anomaly at a level that hits 100 db peaks proves effortless.

Am I Nuts?

For those that think I’ve lost my marbles, I’ve played in every corner of the audiophile sandbox. Other than plasma tweeter designs, I’ve had my hands on almost everything over the past 35 years. Long-time TONEAudio readers know I have a soft spot for panel speakers (full range ESLs, in particular) and single-driver/SET systems. The 901s share many of the similarities that make enticing the latter types of speakers, and come with few of the limitations. Quad 57s are more beguiling through the midband, the MartinLogan speakers carry more extension at both ends of the frequency spectrum, and the Magepans lie somewhere in between. But they cost more and present greater challenges to a room and system.

Like any other “audiophile” speaker, the Bose 901 provides less-than-optimal results if setup is executed without care. I found the most lifelike sound came via a configuration slightly counterintuitive to that suggested by the manual.

The Bose 901s are equally highly musical and easy to listen to for hours without fatigue, characteristics many other speakers fail to deliver. Indeed, my audiophile buddies that I bribed into my listening room with IPAs are still shocked at just how good the 901s sound. As my wife likes to say, “What if Bigfoot is really a nice guy?” Consider this myth busted.

To make this conclusion as perfectly clear as possible and stave off any confusion: A handful of speakers in the $1,400 range reproduce music more accurately than the Bose 901. But—and like Pee Wee Herman likes to say, “Everyone has a big but”—the 901 gets the essence of the music right. The crossoverless design does a fantastic job with pace, which is what always draws me to single-driver and full-range electrostatic designs.

The ease with which it yields solid results makes the Bose 901 very attractive to both the normal music lover and budding audiophile. Mix the Bose 901s, a $150 vintage receiver, and an iPod, and you’ve created a rocking system. Add a better source and substitute a great tube integrated, and you’ll be shocked at the sheer musicality of the combination.

Yes, every speaker design involves compromise. Considering that this model is aimed more at the mass market than the audiophile, the 901s possess more than enough virtue to be considered an excellent value. They are certainly one of the most fun speakers I’ve had the pleasure to hear. Isn’t that what this is all supposed to be about?

The third and final installment to this trilogy will include listening results with alternate cable placement, changes to the reference system and speaker placement options.  So forget all the folklore you’ve heard about the Bose 901s, these are serious speakers. I’m seriously considering keeping the review pair for my beach house – they will fit right in with the Eames Lounge chair and Noguchi table.

Part 3: Epilogue

After listening to the Bose 901s for a couple of weeks, I remain convinced they offer good value for the price and are incredibly user-friendly. But how do they respond to the usual tweaks applied by audiophile to practically every other speaker?

Premium Components

While the 901s offer a more diffuse soundfield than many speakers, they have enough resolution to tell the difference between a vintage or mass-market receiver—as well as more upscale units, though, at a certain point, the contrast becomes fruitless. For example, it’s very easy to note the variation between the Pioneer SX-424 and Cambridge 740 amplifier, as well as the distinction between tube and solid-state amplification.

Stepping up the cable quality from standard Radio Shack 16-gauge wire also pays dividends in upper-midrange clarity and high-frequency extension—both priorities. Swapping the 16-gauge wire for a $199 pair of AudioQuest Rocket 33 speaker cables, and the supplied RCA patch cords for two pairs of $39 AudioQuest Copperhead interconnects, brings greater focus to the overall presentation.

Ah, the Pedestals

Even if the Bose 901s do not use a tweeter, per se, it’s to your advantage to get them up higher for critical listening than the height provided by the standard 18-inch pedestals; the manual specifies 18-36 inches as optimal. Again, just as a traditional speaker benefits, the 901s profit from solid speaker stands that are spiked at the bottom.

A few spots of blu-tack between the speakers and a pair of 24-inch Sound Anchor stands up the game, yielding tighter and more resolute bass response as well as a greater sense of pinpoint imaging across the soundstage. The Sound Anchor stands also make it much easier to take advantage of upgraded speaker cable, as it must travel down the center of the Bose pedestals. Those planning on using audiophile-vetted cable will have to get handy with a large drill bit to modify the stands. There’s no way you can pair Nordost Odin speaker cable with the 901s and the stock pedestal stands. Don’t even think about it.

Backwards Listening

A number of Bose enthusiasts enjoy listening to 901s “in reverse,” allowing the eight drivers mounted on the rear of the cabinet to face the listening position. My spirit of investigation encouraged this tact, but it was not my favorite position. There’s slightly more HF extension, but the big, expansive soundfield that makes the speaker so enticing simply disappears.

Final Thoughts

That’s my adventure with the Bose 901. These speakers have been a blast to listen to with every kind of music. While they yield decent performance with a low-budget receiver, they are worthy of journeyman-level components and a modest cable upgrade. Advanced hobbyists could probably uncover even more performance by modding the EQ’s passive components, but doing so is well beyond the scope of this review and definitely voids the warranty.

Bigfoot may still be lurking in the shadows (the rumor suggests he is in upstate Washington somewhere near the Canadian border), but the Bose 901 speakers are only a couple of mouse clicks away. Do it.

www.bose.com

AVID’s Diva II and Diva II SP Turntables

Perusing the Car Configurator on Porsche’s Web site is daunting. Options abound, and prices get wacky in a hurry. Sure, you can get in the game for just under $50k, but the top end of the range demands about $150,000 from your savings. Your first instinct is to get more power—because, after all, that’s the testosterone-fueled thing to do, right? Yet just how much performance does an entry-level car possess? Can you still get the Porsche experience with the base Boxster?

It all reminds me of the time I sat across the table from race-car driver Hurley Haywood and discussed the perfect Porsche for everyday use. He looked me straight in the eye and said, “There are probably eight people in the world that can drive a Porsche 911 to 100% of its capability and you’re looking at one of them.” It’s hard to argue with the man that won the prestigious 24 hours of LeMans for Porsche three times, and secured more endurance racing titles than just about anyone else. “Just get the Boxster. It will do everything you need it to do, with no sacrifices in performance in day to day driving.”

A similar case can be made for the AVID Diva II and Diva II SP turntables. If the company’s $20,000 Acutus Reference SP isn’t in the budget, think of its entry-level ‘tables as the equivalent of a Boxster and Boxster S, incorporating priorities that make the top-end ‘tables fantastic—just in a slightly smaller, more compact packages. Both models embrace a healthy amount of Acutus Reference DNA at a fraction of the cost. The $1,995 Diva II is bettered by the $3,995 Diva II SP, which offers increases in sonic performance concurrent with the price, though each look relatively similar to the naked eye.

Techie Bits

Where some manufacturers begin their product line at the bottom, deriving higher performance by refining initial offerings, AVID takes the opposite approach by utilizing the Acutus as a starting point. Designer Conrad Mas builds as many aspects of the Acutus into other ‘tables as economically possible. All models are centered around a W–shaped sub-platter design, which provides high structural rigidity without extremely high mass. The sub platter is cast with variable density aluminum that acts as a conduit to drain vibration energy away from the tonearm mount and main bearing. The results? A turntable line with a signature sound free of resonance-induced coloration. Resolution and dynamics improve as you move up the range.

AVID’s top ‘tables utilize precisely wound coils for suspension. Yet the Diva versions use elastomers, made from an extremely high-grade Sorbothane that, according to Mas, does not degrade. The Diva II shares the same sub chassis and motor with the SP model, incorporating a DSP-controlled power supply and two-belt drive system. Many belt-drive turntables use a low-torque motor to spin the platter, yet AVID takes an uncommon approach via a high-torque motor, yielding low wow and flutter and great speed accuracy. Both ‘tables measure 33.3RPM out of the box. The Diva II is the only AVID model that does not require a motor swap when upgrading to the SP version.

The platter is the most visible difference between the models. While a cork mat covers each, the Diva II uses a less-expensive composite MDF platter than the massive, machined aluminum edition on the SP. Both ‘tables arrive with the sub chassis pre-drilled for an SME arm.

However, most popular arms (Rega, TriPlanar, Dynavector, and others) can be accommodated with an adaptor plate available from AVID dealers. Comparison listening between the Diva II and II SP came courtesy of identical SME 309 tonearms, each fitted with Dynavector DV20x2L phono cartridges and Furutech ag12 tonearm cables. Feickert Analogue’s Adjust + software assured identical performance from both setups.

With direct comparisons complete, further listening with the Rega RB1000, TriPlanar Vii, and the Funk Firm FX•RII yields excellent results, proving these ‘tables mate easily with the tonearm of your choice. A particularly synergistic albeit decidedly old-school match is achieved with a rebuilt SME 3009 and Ortofon SPU cartridge. The Audio Research REF Phono 2 boasts more than enough resolution to hear the differences between the two ‘tables.
Regardless of the arm, both models can be optimized in less than 15 minutes. Operation is smooth and simple, taking advantage of a machined aluminum clamp to tightly hold the record to the cork platter mats. The large motor also provides quick startup and enough torque to effortlessly work with foam-pad record brushes.

While I’m a longtime fan of SME tonearms, I suggest the Funk Firm for audiophiles more monogamous with cartridge choices. The FX•RII/Diva II SP combination produces some of the most lifelike sound I’ve experienced in the $6,000 range. The addition of a $379 Denon DL-103R equates to a well-rounded package that capably handles all types of music. The SME 309, or another tonearm featuring a removable headshell, will better serve listeners juggling multiple cartridges as well as those that enjoy changing cartridges. (Read my review here for more info on the Funk arm.)

Compare/Contrast

The Diva II and SP share a neutral tonal balance and low mechanical noise prevalent in the Acutus. Theirs is a lively sound, possessing a weighty bottom end that never comes across as overdamped. Listening to acoustic music reveals bass notes possess enough warmth, resonance, and overhang to sound convincing. The opening bass line from “Tea in the Sahara” from the Police’s Synchronicity maintains Sting’s trademark smoothness—and the necessary acceleration to capture the mood. Both ‘tables have a similar weightiness (the SP wins out, however), and the SP is more expressive due to the presence of additional tonal shading.

The two models are most similar throughout the midrange. Should your musical tastes range towards smaller-scale music, you may be hard-pressed to distinguish any differences. Listening to Beethoven’s String Quartet No. 12 in E-flat Major, which lacks huge dynamic swings and major bass excursion, makes it almost impossible to distinguish the Diva II from the Diva II SP. Only when switching to full-scale orchestral music, or Rammstein, does the extra dynamic range become readily apparent.

Speaking of Rammstein, both ‘tables are highly resistant to acoustic feedback when blasting “Ich tu dir weh” at high-volume levels. Yes, the AVID decks will satisfy hard-core metalheads in addition to everyone else, regardless of musical taste. This is not a feat aced by all turntables.

The II SP comes into its own with more complex music by furnishing more detail in all three dimensions. Santana’s self-titled debut showcases pinpoint imaging, with drums and percussion retaining distinct places within the studio-created soundfield. The Diva II does an excellent job decoding spatial cues and placement, and finite characteristics remain closely within the speaker boundaries. The II SP brings Santana’s guitar playing out in front of the imaginary boundary between the speakers, and the smallest percussion bits are more distinct and focused.

While both ‘tables admirably function with some of my best recordings, the II SP’s higher resolution uncovers more treasure on mediocre, densely packed recordings. The II SP also offers a bigger performance gain when paired with a premium arm and cartridge. The gap isn’t as vast with a Rega RB 300 arm as it is with the SME 309 or Funk Firm FX•R arm. I concur with Mr. Mas, who feels like the ‘table and arm are critical to an analog playback system, and that one can achieve better overall performance with a great turntable/arm setup and modest cartridge than the other way around.

The more time I spend concurrently listening to both ‘tables leads me to love the Diva II SP the most. However, in all fairness to the standard Diva II, the difference between the two represents a linear progression. You don’t get 85% the performance of the Diva II SP for half the price in the Diva II. A brief comparison with the $5,500 Volvere SP confirmed the same conclusion; the Volvere experiences a similar increase in performance when put head-to-head with the II SP.

Both decks are excellent. If I were writing the check (and I purchased a Diva II SP half-way through this review), I’d pair the Diva II with something like the Rega RB 250/300/301, leaving the higher-priced arms for the SP. Much, of course, depends on your other components’ performance. More system resolution favors the better table and arm combination.

AVID Diva II and Diva II SP Turntables

MSRP: $1,995 and $3,995, respectively (both without tonearm)

Manufacturer’s Information

www.avidhifi.co.uk

Peripherals

Preamplifier Burmester 011

Power Amplifier Burmester 911 mk.3

Phono Preamplifier Vitus Audio MP-P201

Tonearms SME 309, TriPlanar Vii, Rega RB1000, Rega RB 300, Funk Firm FX•R, SME 3009 (rebuilt)

Cartridges Sumiko Pearwood, Lyra Skala, Grado Signature 1, Rega Apheta and Exact

The Unison Research Giro: Simple, Pretty, Different

It goes without saying that stepping up to the $4,000-$5,000 range in turntables provides a significant boost in performance over $1,000-$2,000 turntables. An increase in resolution, accompanied by a bigger, more dynamic presentation—and the ability to extract more musical information from higher-performance cartridges—are the most obvious benefits. The aesthetically pleasing Unison Audio Giro offers all this and more.

Close inspection reveals similar styling cues to current Clearaudio designs—and for good reason. The Giro is built at the Clearaudio factory. However, it is not merely a rebadge of an existing model. Giovanni Sacchetti, founder and designer at Unison Research, had for years been working on a turntable design. Yet tool-up costs to make a single ‘table remained prohibitive. Approaching Clearaudio proved fruitful. The latter produced the Giro for Unison and maintained the integrity of Sacchetti’s design.

The biggest difference between Clearaudio and the Unison model resides with the latter’s main bearing, which utilizes an inverted steel shaft (coupled with a ceramic sphere) rather than Clearaudio’s anti-magnetic type. The isolation feet are also more complex than the standard Clearaudio designs, and there’s also the presence of wooden sections, oriented via grain pattern to control resonance on the acrylic plinth.

The $3,995 Giro can be ordered with its UN1 MM cartridge for an additional $550. While this is a great way to start, the Giro provides a platform capable of working with more resolving cartridges. Hence, it’s a ‘table you can enjoy for years. You will be able to make significant cartridge upgrades before the Giro becomes the limiting factor in your analog front-end. For many listeners, it will be the last turntable they need.

Assembly by the Numbers

An enclosed instruction manual proves a tremendous help with turntable setup, yet it omits one critical step—adjustment of anti-skate. The Clearaudio Universal tonearm shares the same anti-skate mechanism, modulated by an adjuster that decreases the amount of anti-skate force applied by moving it in towards the turntable pivot. You can download the Universal instruction manual here: http://www.clearaudio.de/download/tonarme/universal_de_en.pdf

The motor electrically plugs into the plinth via a connector that looks like an RJ-45 Ethernet plug. And it’s encased in a separate pod, eliminating vibration caused from being directly attached to the plinth. Everything is hidden by an attractive magnetic cover that enhances the unit’s sleek design.

Aesthetically and sonically, the wood-bodied Sumiko Pearwood II ($2,499) MC cartridge proves an excellent match for the Giro. A second Pearwood II made it easy for me to compare the Giro to two slightly pricier competitors: the AVID Diva II SP with SME 309 arm (about $6,000) and the Rega P9 with RB 1000 arm ($4,995). The fixed tonearm cable on the P9 and Giro was the only minor difference preventing a 100% direct comparison between the three models.

Meanwhile, the Feickert Analog suite of alignment tools kept this trio of turntables perfectly matched to each other. (It’s also worth noting that speed accuracy of the Giro was spot on out of the box, and that changing speed between 33 1/3 and 45RPM was easily changed from a control on the plinth.)

Nimble

The Giro’s very lively presentation jumps right out between the speakers and will never be mistaken for anything but pure analog -it is devilishly quiet, with a silkiness that makes the music feel as if it simply rises up between the speakers. The Giro zips through musical details with a level of finesse that far outstrips anthing in the $900-$1,500 range. There’s more of everything: more weight on the bottom, and a combination of smoothness and resolution on top. This solid performer is worth the asking price. Listeners graduating from lesser ‘tables will experience a fair share of “it feels like I have a new record collection” moments.

“Master Sigh,” from Andrew Bird’s Useless Creatures, immediately showcases the Giro’s prowess for revealing inner detail. Bird’s harp floats in the air with great attack as he plucks his violin, fading out with the right amount of gentleness in the decay. Similarly, Lol Creme and Kevin Godley’s Consequences avant-garde exercise features layers of buried details that are disappointingly rendered on a lesser deck. But here, the multiple vocal overdubs on “Lulu From Honolulu” scattered between the speakers, with even the most infinitesimal sound effects preserved. The duo’s “The Flood” depicts someone running water and brushing their teeth. While an odd choice for a hi-fi demo, the track’s timbre and spatial information are perfectly captured. It seems as if a person is directly located behind the speakers, brushing their teeth and sloshing mouthwash!

A Music Lovers Turntable

Sound effects are great fun, but rest assured, the Giro does a fantastic job with every kind of music thanks to its natural tonality. Herbie Hancock’s piano on the Blow-Up soundtrack is exquisitely depicted, never lost behind Freddie Hubbard’s trumpet or in the way of Ron Carter’s anchoring bass. The title track on Shelby Lynne’s Just a Little Lovin’ reveals the difference between the Giro and the other two on-hand ‘tables. The Giro lends a bit of extra tonal warmth, where the P9 is slightly more neutral, though lacking the AVID’s additional weight and drama. These are not huge differences by any stretch. Think of the Giro as having more of a classic vacuum-tube-like sound; make your system choices accordingly.

Swapping the Sumiko cartridge (also on the slightly warm side of the tonal spectrum) for the SoundSmith Sussurro Paua (which has a faster, somewhat forward tonal balance) instilled a completely different feel to the overall sound—proof of the tonearm’s ability to resolve fine detail. A series of heavy tracks from Megadeth, Slayer, and Audioslave confirms the Giro can play loud rock music with composure and sans acoustic feedback—important when you crave high decibels. My favorite hip-hop 45s can’t even rattle its composure. Rest assured this Italian stunner is not finicky.

Sitting on the rack between the Rega P9 and the Linn LP-12, the Giro possesses warmth of character. Combining German precision with Italian style is brilliant, and while it doesn’t necessarily make the Giro a better record player, the ‘table’s cool factor will tug the heartstrings of those that demand mechanical performance and style points.

The Unison Research Giro

MSRP: $3,995 (without cartridge) UN1 MM cartridge, $550

http://en.unisonresearch.com (factory)
www.colleencardasimports.com (US Importer)

Peripherals

Preamplifier: ARC REF 5

Phono Preamp: Vitus Audio MP-P201

Cartridges: Sumiko Pearwood II Celebration, SoundSmith Sussurro Paua

Power Amp: ARC REF 150

Speakers: GamuT S9

Cable: Cardas Clear

Accessories: RSA Dmitri and Maxim power line conditioners, Furutech DeMag

PS Audio’s P10 in for review…

PS Audio has come a long way since the end of the 90s’ when they introduced their first Power Plant PS300. Where many power line conditioners use extensive filtering schemes to scrub the noise and distortion components from your AC mains, the P10 regenerates new, 120 volt (or 220 for European customers) power, eliminating the noise and distortion from the power feeding your gear. We’ve just finished the photography on the P10 you see here, so watch for a review soon. We will be posting comments here and on our FB page, so feel free to ask questions and interact with us along the way!

Heavy Metal:

Everything Hans-Ole Vitus makes is heavy. Really fucking heavy. Break-your-back heavy. But those who possess the strength to lift his SM-010 monoblocks out of the boxes will be rewarded with fantastic sound. That said, it’s become very popular of late, at least in the United States, to take shots at the wealthy and, in particular, at luxury goods. So if the idea of a $40k pair of amplifiers seems offensive, let fly the invective and take a pass.

While my bias leans towards vacuum-tube gear, the finest Class A solid-state amplifiers (like the recently reviewed Pass Labs XA160.5s) offer equal palpability and don’t require having to regularly forage for tubes. Heat is the only drawback to Class A units. They are power-hungry animals, but wildlife worth feeding.

Vitus gear not only feels powerful, it looks powerful just sitting on the rack. Also available with massive red-, gold-, or black-anodized front panels, our SM-010 review samples were anodized in a stunning shade of dark gray. I’d love to see more manufacturers adopt this trend. Apologies to the Oakland Raiders, but haven’t we had enough silver and black?

Beneath the SM-010’s top panel lurks a masterpiece of modern know-how—a tidy circuit layout revealing clean electrical and mechanical design. Top-grade parts are used throughout. An enormous power transformer, custom designed for Vitus, is a work of art in its own right—and not the usual toroid that exists in most other amplifiers. Individual amplifier boards, connected directly to the circuit boards to keep signal paths as short as possible, are to the left and right of the power supply.
A solitary XLR input, along with the standard IEC power connection and two speaker outputs to facilitate bi-wiring, makes it easy to integrate a pair of SM-101s into any system. These beasts can be used as 100-watt-per-channel amplifiers in Class-AB mode or 40-watts-per-channel amps in Class A mode. With every speaker, save the Magnepan 1.7s, Class A mode yields enough power for all but the most intense listening.

Flick of the Switch

The SM-010s power up in AB mode but can easily be switched into Class A via the remote control or front panel. Yes, my inner Homer Simpson loves any adjustments that can be done from the comfort of a listening chair—it really does make the evaluation process easier. When switched to Class A, the change in the amplifiers’ performance is slightly more than subtle, acting as a tube amplifier does when switching from pentode to triode mode. Unlike all the tube amplifiers I’ve auditioned that offer this function (and make a loud ker-chunk sound when altering modes), the Vitus effortlessly and silently switches between A and AB, making sonic inspections all the more interesting. And while engaging triode mode with a vacuum-tube amplifier usually bestows more midrange lubricity, it comes at the expense of bass control. The SM-010s require no such sacrifice.

Again, like a tube amplifier, the SM-010 needs a solid hour or two for the slight initial haze to dissipate. While not green in practice, if you want to experience the best it has to offer (especially in Class A mode), leave the amps on for a day before you begin critical listening. However, prepare to see a bump in your electric bill the following month!

Listen to This

On “Hear My Train A-Comin’” from Jimi Hendrix’s recent Winterland compilation, the Vitus’ deliver the virtuoso’s distorted guitar in spades and Noel Redding’s bass playing in a way I’ve never experienced. Textures in the latter blend with the distortion, the mix growling as if emanating from the band’s vintage Ampeg amplifiers. Metallica’s so-called “Black Album” offers similar revelations when cranked up. The plucked bass line in “Nothing Else Matters” flaps my pants leg as it does at a Metallica concert. All six of my GamuT woofers work strenuously and, yet, stay controlled. I’ll trade all the string quartets in the world for five minutes of this experience, and the Vitus amplifiers grant my wishes. After a full day of seriously heavy music (that, admittedly, to the disappoint of editor Bob Gendron, did not include any St. Vitus albums), these amplifiers cannot be broken. Moreover, while they got extremely warm, their sonic character did not change.

Big solid-state power normally promises stout bass response, and the SM-010s prove no exception to the rule. Yet these amplifiers’ innate ability to unveil layer after layer of musical performances melts brain cells. If you have speakers as equally revealing as the SM-010s, you’re in for a fatigue-free experience—no matter how high or low the listening level.

Indeed, classical music aficionados will relish the delicacy with which the Vitus’ render string and wind instruments. My GamuT S9s feel like big headphones when I listen to the oboes in the Netherland Wind Ensemble’s Beethoven Wind Music. For me, texture and nuance are the chief characteristics that turn listening sessions into musical events. With the SM-010s in my system, I’m still going to great lengths to listen to records I’ve heard hundreds of times to see if I can mine new aural data.

Great amplifiers also magnify differences between mediocre recordings and standout efforts. Score another victory for the SM-010s. Used extensively in TONEAudio’s Pink Floyd coverage for Issue 40, the Vitus’ exposed subtle nuances between various Dark Side of the Moon pressings as if merely presented with apples and oranges.

Whether in AB or A mode, the SM-010s exhibit dead-quiet backgrounds with zero noise when used in conjunction with the equally silent Vitus preamplifier. When mated with my ARC REF 5 and REF PHONO 2, there’s a slight bit of tube rush—but nothing from the Vitus. This makes for a dynamic presentation, and contributes to the amplifiers always sounding much bigger than you’d expect 40-watt monoblocks to sound. They actually remind me of my favorite amplifiers from the 80s—Mark Levinson ML-2s—but boast healthier depth and detail.

The SM-010s also excel at precise acceleration and deceleration, never blurring transients. Vide, Morris Pert’s lightning-fast percussion runs in “The Poke,” from Brand X’s Masques. The amps’ perfect pace separates the percussion from the rapid-fire drumming, each keeping control of its own space. Such ability to instantaneously start and stop significantly contributes to the SM-010’s non-fatiguing sound.

Other Synergies

Partnered with my reference GamuT S9s, the SM-010s are in many ways the equal of my reference Burmester, Pass Labs, and ARC amps but, nonetheless, retain their own sonic signature. While each amplifier has its own virtues and near-faultless performance, the Vitus amplifiers thrive in their ability to resolve great detail without ever becoming fatiguing—even after full-day listening sessions.

While mixing and matching, I discovered a few synergies to be unmistakably good. For example, the B&W 802 Diamonds are completely different speakers when used in concert with the SM-010s. Normally, the 802 is very revealing and, when married to an amplifier that is either harsh or forward, mirrors the amp’s presentation. With the 802s, the Vitus sounds particularly tube-like in the upper registers, replete with the slam and control you expect from a powerful solid-state amplifier.

Heard through this combination, Keith Jarrett’s Shostakovich: 24 Preludes and Fugues, Op. 87 possesses extra depth and decay, sounding more realistic than I recall—especially on the opening “Prelude & Fugue No. 1 in C Major.” While Shostakovich is traditionally a forceful composer, this piece assumes a wistful delicacy through lesser amplifiers, as Jarrett’s light touch becomes lifeless and flat. The ultimate test? Play the composition at the low volume it demands. The Vitus passes with proverbial flying colors.

B&Ws aside, the oddest albeit most interesting combination I experienced with the SM-010s occurred with the compact Penaudio Cenya speakers. Most people would not mate a $40k pair of amplifiers with a $4,000 pair of speakers, but hey, why not give it a try? The Cenyas sounded supercharged, disappearing in the room as never before, almost as if a subwoofer entered the equation.

Not Just Another Brick in the Audio Wall

Some audiophiles argue that speakers are everything to a system, while others, maintaining the garbage in/garbage out theory, believe the source the most important link in the chain. I feel every part is equally important. But I’ve also seen plenty of astonishing speakers and fantastic source components humbled when lacking proper amplification. Truth be told, I’ve heard modest speakers deliver performances I never thought possible when a standout amplifier drives them. So, at the end of the day, I’m an amplifier guy.

A pair of Vitus SM-010 amplifiers will present no compromise to your system no matter the quality of your other components. These behemoths may even inspire you to make a few improvements once you get used to their abilities. While the price is high, it’s commensurate with the level of build and sound quality. Think of the SM-010s as an ultimate audio destination—desert-island tracks optional.

Vitus Audio SM-101 Monoblocks
MSRP: $40,000/pair
Manufacturer Information: www.vitusaudio.com

Peripherals

Analog Source AVID Acutus Reference SP/SME V/Koetsu Urushi Blue

Phono Preamplifier ARC REF Phono 2

Preamplifier ARC REF 5, Burmester 011, Vitus SP-101

Digital Source dCS Paganini Stack, Sooloos Control 15

Speakers GamuT S9, Verity Amadis, B&W 802 Diamond, Magnepan 1.7

Power Running Springs Dmitri, Maxim PLCs, RSA Mongoose Cords

Cable Shunyata Aurora SP

Accessories SRA Scuttle Equipment rack, SRA Ohio XL equipment bases, Furutech DeMag, Loricraft LR-4 record cleaner

Simaudio 600i vs. 700i (and the i7 too!)

Following up a highly successful product always presents audio manufacturers with problems. No matter how long a product’s life happens to be, when a change occurs, someone is going to be crabby because they just bought the “old” box and now there is a “new” box on the dealer’s shelf. Somehow, with a certain segment of the audiophile population, all reason goes out the window. For those of you that own a Simaudio Moon i-7 integrated amplifier, take a deep breath and relax. Your amplifier is just as good as it was the day you bought it.

Now that we’ve cleared the air, let’s move on. Having just finished work on its Moon 850P Reference two-channel preamplifier and highly regarded Moon 880M monoblocks, Simaudio engineers added more to their knowledge base and redesigned the top end of the company’s integrated amplifier range. Where the 150 watts-per-channel i-7 once represented Simaudio’s peak integrated, the manufacturer now offers the 600i and 700i, with 125 watts per channel and 175 watts per channel, respectively. Priced at $8,000 and $12,000, both models are also pricier than the former i-7.

A Solid Case for An Integrated

Mimicking the example set by the i-7, the 600i and 700i are dual mono designs, with gigantic toroidal power transformers under the hood. And both amplifiers have an elegant, understated look and feel. But the second you pick up either of them, the message is clear: these are serious amplifiers.

While some hardcore audiophiles always look down on the integrated amplifier concept, these days, it’s nothing to sneeze at. The Simaudio amplifiers offer the flexibility and performance of comparably priced separates, and best some of the latter in their respective price class. For the music lover that doesn’t necessarily want a gigantic rack full of gear and cables yet still craves high performance, an integrated is the way to go. Since Simaudio has its own in-house 5-axis CNC machining center, these amplifiers have the visual appeal of the world’s finest and most expensive components. They will look right at home in a design-conscious environment and are available with silver, black, or a combination of black and silver anodizing.

In the end, however, it’s about performance. Having both the amplifier and preamplifier on the same chassis eliminates not only at least one set of interconnects and one power cord, it presents the ultimate in system synergy. With an integrated, you’ll never again agonize over whether you picked the perfect cable to go between your amp and preamp.

Ins and Outs

Because of the dual mono design, both amplifiers feature mirror images of the inputs and outputs on the respective side of the chassis rather than having them grouped together. It’s a different approach than that taken by many other manufacturers, but once you get used to it, everything works fine. Both amplifiers have four sets of RCA line level inputs and a single balanced input; the 700i has tape monitor inputs and outputs. And, in what makes for a nice touch, both offer a variable level output (RCA only) to drive an additional amplifier or powered subwoofer.

The heavy-duty WBT binding posts will handle even the most massive speaker cables, but those utilizing really monstrous cable will have to work to get the posts to the level snugness they might desire. An RS-232 port, IR port, and 12V trigger (SimLink) ports also reside on the rear panel, so either amplifier can easily be put to use in a home automation system. Overall, along with great ergonomics, the rear panel features an adequate amount of inputs and outputs.

Since it’s a fully balanced differential amplifier, my only complaint with the i-7 relates to the absence of two or three balanced inputs on the rear panel. As Simaudio makes fully balanced phono preamplifiers and CD players, it makes no sense to not take advantage of connecting to the amplifier in balanced mode. Like the other Simaudio products we’ve reviewed, the 600i and 700i require at least a few hundred hours on the clock before sounding their best. Out of the box, they definitely sound stiff. These amplifiers get approximately 60% of the way to their ultimate sound quality within the first 48 hours of play, and the rest takes time—a situation that mirrors that associated with many high-powered solid-state amplifiers. While not a green solution, I suggest running your 600i or 700i 24 hours a day (with signal passing through) for the first few weeks of ownership. During the course of our tests, we left them on non-stop.

I placed the 600i and 700i on a Finite Elemente Pagode Signature rack, and used Simaudio’s 750D DAC/CD player as a primary source component. The AVID Acutus SP Reference with SME V tonearm and Koetsu Urushi Blue cartridge via the Audio Research REF Phono 2 served as my primary analog source. The whole system was cabled with Cardas Clear interconnects and speaker cables. To ensure that neither of the amplifiers’ performance would be compromised, I employed my $150,000 GamuT S9 speakers—the anchor of my reference system, normally powered by $100k of Burmester electronics—to compare all three Simaudio amplifiers.

600i vs. 700i

Each new Simaudio unit is a stellar example of an integrated amplifier providing a worthy alternative to separates. They both have lightning-fast transient response along with a healthy amount of control, whether reproducing the higher-frequency transients of a cymbal strike or controlling the thwack of a bass drum. While some solid-state amplifiers offer too much detail, the 600i and 700i achieve the balance of high detail without being harsh or fatiguing—a minor miracle on its own.

On paper, there are a few main differences between the 600i and the 700i. The 700i has its own dedicated power supply for the preamplifier, while the 600i shares its power supply with both sections. The 700i also features a considerably larger power transformer with greater reserve capacity. While both amplifiers offer a “no overall feedback” design, the 700i takes it a step further, incorporating Simaudio’s LYNX design. This utilizes a four layer gain board design, that puts the gain and output sections in closer proximity than they would be otherwise, making a significant improvement in the 700i’s utter transparency.

Listening tests back up claims made in Simaudio’s white papers. DCC’s remaster of 10cc’s The Original Soundtrack, with that radio classic you’ve heard a million times, “I’m Not In Love,” sounded wonderful via the 600i. It kept the vocal track well in front of the heavily layered mellotron intro, and the hints of acoustic guitar well in the lower back of the sound field. Quickly switching to the 700i and playing the track again became a stunning experience, especially after the first chorus, when the female vocalist whispers, “big boys don’t cry.” On the larger amplifier, her voice almost lept into my lap, possessing more dimension, space, and realism.

Along with a neutral, clean tonality, both amplifiers have considerable dynamic punch and headroom that go beyond their power ratings. While the GamuT S9 and B&W 805Ds are very easy to drive, the Magnepan 1.6s are another story. The latter usually require hundreds of watts to really rock. The 600i had no problem handling big bass drum that opens the title track of the Drive-By Truckers’ recent Go-Go Boots, complete with sufficient weight and texture. And the 700i, well, it went one louder. Highly impressive showings from both models.

The key word here? Refinement. Such welcome polish makes it easy to believe you are listening to separate components. But do you want a 330i or an M3 Sport? That’s a question only your checkbook can answer. The tonality of both amplifiers is identical, but the extra oomph offered by the 700i is hard to forget once you’ve experienced it. Horsepower is always intoxicating.

Living In the Past

My impressions of the new amplifiers were extremely positive, but I was also very curious to compare them to the i-7. Reviewed in Issue 16, the latter received high marks for transparency, tonality and dynamic punch; a pretty awesome package for $6,000. We purchased the review sample, and it has been staff writer Mark Marcantonio’s reference for the last two years. He and I were more than a little jumpy when we sat down on a weekend to compare the two newcomers to the faithful standby.

If you find one used, the i-7 still sells on the secondary market for about $5,000. With many components being blown out the door for half of their list price only months after purchase, such residual value speaks volumes the i-7. So, should you ditch your i-7 and trade up? It depends. Starting our comparison by listening to Adele’s recent 21 left us thinking that the older model was the way to roll, as it claimed a warmer overall tonality than that of the new models. 21 is somewhat compressed, with a slightly bright tonal balance. So, we brought out a few new Audio Wave Blue Notes and Sheffield Labs favorites to get a better feel for acoustic performances. That’s when the tables turned in favor of the current crop.

Once the program material featured more dynamic range, the additional bass grip delivered by the new amplifiers made such sonic elements more decisively known, and the higher level of resolution provided a more natural musical experience. Whether we listened to Black Sabbath stomp through “Iron Man” or Dexter Gordon blast out “Tom Cat,” these amplifiers had a natural ease along with a lightning-fast attack and equally quick and clean decay that allowed for long listening sessions without any trace of fatigue.

Spinning vinyl further widened the gap, with the differences between analog and digital being much greater through both new amplifiers than they had been with the i-7. Listening to the new remaster of Boogie With Canned Heat proved trippy, staying true to the original psychedelic vibe with an incredibly big sound. The extra resolution and three dimensionality allowed the analog pressings to breathe in a way they didn’t when played through the i-7, which, via comparison, sounded warmer and slightly slower. However, in all fairness, if your music collection is primarily comprised of digital and/or newer, more compressed recordings, you might favor the older i-7. Such extra warmth goes a long way to tame digititus.

Spending Other People’s Cash

It’s always easier to spend other people’s money, so rush right down to your Simaudio dealer and buy the 700i. According to the gloom-and-doom messages we seemingly encounter on a daily basis, the world’s economy is going to collapse sooner rather than later, so you might as well have an awesome stereo before the world ends.

All kidding aside, these are both great amplifiers and easily the equal—if not the better—of any comparably priced separates I’ve heard. The 700i possesses even more refinement than the 600i, and its extra power will drive more speakers. However, you can almost put your hands on the 600i and its companion CD player/DAC, the 650D, for the price of the 700i. After side-by-side listening, the progression between the two amplifiers is fairly linear. It’s not as if you get 85% of the goods with the smaller amplifier and pay a premium for the bigger one. Your room and speaker choices will be determining factors. The more volume you crave, the more you will probably be pushed towards the higher-powered 700i. And, it’s worth noting that even at modest volume levels, the 700i reveals more musical information and offers a larger presentation in all three dimensions.

If nothing else, the decision to buy the 700i over the 600i may be determined by your system expansion plans. The 600i is certainly no slouch, but might leave you craving down the road, where the 700i likely has a higher chance of staying in your rack for a longer period. Me, I’d eat mashed-potato sandwiches for a few months and buy the bigger amp.

Simaudio 600i and 700i integrated amplifiers

MSRP: $8,000 and $12,000, respectively

Manufacturer information:

www.simaudio.com

Peripherals

Digital Source
Simaudio 750D CD player/DAC w/Sooloos Control 15

Analog Source
AVID Acutus SP Reference w/SME V and Koetsu Urushi Blue, Audio Research REF Phono 2

Speakers
GamuT S9, B&W 805D, Magnepan 1.6

Cable
Cardas Clear I/C and Speaker

Power
Running Springs Maxim, Mongoose and HZ power cords

Consonance XBB Turntable:

It’s a great time to be a vinyl enthusiast. Despite all the excitement over five- and six-figure turntables, many audiophiles are not spending that kind of dough on record players. There are a lot of music lovers exploring vinyl for the first time and getting their feet wet with a $300 to $500 table-and-cartridge combination, but if you really want a stronger dose of analog magic (and remember, digital keeps getting better all the time), you need to spend some more money.

How much money you ask? I’ve always felt that about $1,500 to $2,500 is an excellent plateau for a turntable and phono-cartridge combination. If you can increase your budget to this range, you’ll get a much more substantial analog experience than an entry-level table has to offer without heading off to never-never land. Of course, this number is not in stone, but this is where I’ve always felt you can really enjoy the subtleties that make analog fantastic. For the time being, I’m assuming that you already have a phono stage built into your preamplifier or have a suitable outboard phono stage already on hand. If not, budget about another $1,000 here and you will be well rewarded.

If you can afford to make this kind of investment in an analog front end, there are a plethora of choices when shopping for a new turntable. There are some bargains to be found on the web occasionally, but more often than not, used-turntable transactions end up with a frown instead of a smile because precious few people take the necessary care to pack a turntable so that it reaches its destination in one piece. So for now, let’s talk new.

The competition

There are some great tables in the $1,000 to $2,000 range from Rega, VPI, Pro-ject and a few others, not to mention the outstanding Clearaudio Concept we reviewed just recently. Add one more to your list: the Consonance XBB is the real deal, and it takes a different approach than the others in its immediate price range, making it very intriguing.

Ian and Rachel at Grant Fidelity have been importing some great gear from China over the past few years combining high performance with some very reasonable prices, and their customer service has been exemplary. We just reviewed their Shugyuang Premium EL-34 tubes last issue and they are fantastic. And well-worth mentioning, their customer service is second to none. So I was very excited to receive their latest turntable, which has an MSRP of $1,465 with the standard nine-inch tonearm. For an additional $210, you can add a 12-inch arm tube that will require configuring the turntables’ base differently so you can achieve the proper spindle-to-pivot distance required for the 12-inch tonearm.

Construction

The XBB is a plinth-less design that goes together quickly. Once you remove the metal bars that make up the base and lower the one-inch-thick acrylic platter onto the bearing surface, the only remaining step is to attach the unipivot arm and dial it in with your favorite cartridge. And what a cool tonearm it is! The long, carbon-fiber shaft is somewhat reminiscent of the one featured on the Well Tempered Arm, with a quick disconnect so that additional arm tubes can be easily substituted. Once exposed, the main bearing can be filled with the supplied oil to damp its movement.

The Consonance arm uses a threaded tube that allows you to set the VTA easily for any cartridge, which is a rarity at this price point. Once you snug down the two round washers on top and below the arm mount, there is a 4mm Allen bolt in the turntable base to snug the tube the rest of the way. Fail to take this last step and low bass will suffer.

The other side of the tonearm connector has a short pair of unshielded leads that connect to a pair of RCA jacks, allowing you the flexibility of choosing your own phono interconnect. While convenient in theory, this was my only complaint with the table. With these just hanging loosely from the tonearm mount, I see this as an area that could be problematic for someone who accesses this on a regular basis, changing cables. You could very easily bump the counterweight and send the tonearm bouncing across a record. Set-it-and-forget-it types will be fine, and in all fairness, I’d still rather see this arrangement than have such a good turntable be handicapped by a mediocre tonearm cable that is hardwired in place.

When unpacking the Consonance turntable for the first time, be careful not to misplace the belt; it is a very fine, monofilament material (much like fishing line) wrapped around a tiny paper bobbin. It does not stretch at all. So again, caution is the word when installing it.

Cartridges and setup

Once assembled, a quick speed check with the Acoustic Sounds test record and my digital multimeter revealed that all was well. The 1000 Hz track played at exactly 1,000 Hz right out of the box.

The Consonance arrives sans cartridge, but I did try a range of cartridges in the $400-$1,000 range, settling on the Clearaudio Maestro Wood MM. I was able to achieve excellent performance with the Lyra Dorian as well, but staying with a moving-magnet design really kept with the ethos of not getting too carried away with the checkbook on this setup. If you already have a MC preamplifier, a great MC cart in the $1,000 to $2,000 range will not embarrass this table.

Cartridge setup is straightforward, but if you’ve never used a unipivot arm before, the “floppiness” at the pivot point is somewhat unnerving until you get accustomed to it. When setting the azimuth, it’s critical to have the half-moon shaped counterweight perfectly level or you will have some serious channel-balance issues. You will spend a bit of time going back and forth between optimum tracking force and perfect azimuth adjustment, but your cartridge will be much better off for it. Anti-skate is set with a small hanging weight, as is common on many of the Pro-ject arms.

The table was auditioned primarily in my second system, consisting of the McIntosh C500 preamplifier and MC 1.2kw power amplifiers driving a pair of B&W 805D speakers with JL Audio Gotham Subwoofer. Near the end of the review period, it was transferred to my main system to provide direct comparisons with my reference table/cartridge combinations.

Sound

I was immediately struck by the openness of the presentation with the Consonance and spent an uncharacteristically long time listening to female vocalists. When listening to K.D. Lang’s All You Can Eat LP, there was a wealth of inner detail that is not normally present to this degree on similarly priced tables. It seems like Consonance and Clearaudio have both raised the bar substantially for turntable performance in the $1,400 range. I noticed the same effect with Fleetwood Mac’s self titled remaster on Mobile Fidelity; as Christine McVie’s voice faded out on “Warm Ways,” there was a longer gradation between the softness in her voice than that delivered by my trusty Technics SL-1200 on input 2. This is indicative of a solid-bearing design, not letting the finest details get lost in the noise floor. And just like the Clearaudio table, the DC motor responds very well to battery power, giving this table even better low-level resolution. But that’s an article for another time.

In fear of mellowing out too much, AC/DC’s 12-inch 45 maxi single of “Let’s Get It Up” was the next selection, and if you are an AC/DC fan, searching one of these out is a must. Although the album on which this track is originally featured (For Those About to Rock) is somewhat compressed, spreading this track out on a full side of vinyl spinning at 45 rpm is a tour de force of rock dynamics, giving you a tremendous insight into what a wall of Marshall amplifiers really sound like. Make no mistake, this table can rock and even though the Consonance is a suspensionless design, it is relatively impervious to acoustic feedback, even at high SPL.

While the battery power will increase the resolution of this table, the parameter that might drive you crazy is making the choice for a mat. The table comes supplied with a 2mm thick, spongy rubber mat. Ian told me that the table’s designer prefers to use the table with no mat, but that was a bit too harsh for my taste. If you have a cartridge possessing a more lush tonal balance, this may be just perfect. Experimentation on the mat is a worthwhile endeavor and will help you fine tune the table to your liking.  For now, the standard issue, Rega felt mat is my favorite and easily removable arm wands make it easy to use multiple phono cartridges.

Conclusion

Add the Consonance XBB to the very short list of fine turntables in the $1,500 to $2,000 range. It offers everything that an analog lover would want (great sound, ease of setup and a tweekable upgrade path) with no downside at a very reasonable price. This one is joining our long-term turntable fleet.

www.grantfidelity.com

New CD Player and Integrated Amp from Primare…

CD22 CD Player

The CD22 is the successor to and upgrade for the successful CD21 CD Player.  It is housed in Primare’s signature heavy alloy chassis, designed to provide strength, rigidity, and isolation, while also damping vibrations from external sources.

The internals include a switchable sample rate converter (44.1/48/96/192kHz), single Burr-Brown PCM1792 DAC with active MOSFET transistor, and SMD technology that keeps the signal paths isolated and as short as possible.  Also befitting its audiophile credentials, the CD22 contains no capacitors in the signal path: a DC servo takes care of any DC offset present in the circuit or from the DACs.

The display of the CD22 is isolated from the audio circuits and is dimmable in 4 steps (when connected to the I22 via IR, the CD22 and I22 display brightness can be matched). RS232 is included for connection to a larger home automation system.

INPUTS: USB, IR 3.5mm, RS232, Trigger 3.5mm

OUTPUTS: 1pr x RCA (analogue), 1 x S/PDIF (digital), 1 x optical (digital), RS232, IR, Trigger

The CD22 is available in black or silver finish for immediate shipment at a US retail price of $1695.

I22 Integrated Amplifier

The I22 is a 2 x 80wpc Class D Integrated Amplifier that utilizes Primare’s proprietary UFPD power technology.  It is designed to provide high power output with very low distortion as well as system control for the new 20 Series range of separates.  The I22 is proud to be “green”, as its Class D design makes it extremely efficient without generating excessive heat, and its standby mode only consumes 0.3 W.

Inside the heavy alloy chassis are two discrete UFPD amplifiers, with the preamp section fed by its own dedicated power supply.  All signal paths are as short as possible and all signal controls (source selection, volume, and channel balance trim) are performed purely in the analogue domain.  Volume and balance controls employ a single LM1972 attenuator; source selection is via high performance relays.

ULTRA FAST POWER DEVICE (UFPD) TECHNOLOGY

The use of switch mode power electronics is gaining in popularity as the result of its lower energy consumption and as a way to squeeze more amplifier channels into smaller spaces.  Unfortunately Class D amplifiers and their switch mode power supplies have traditionally deserved a reputation for poor audio quality, characterized by rising THD with frequency. Primare’s UFPD (Ultra Fast Power Device) technology, however, provides for the possibilities of a full-range ‘audiophile’ Class D design. It features a consistent 26dB feedback loop gain across the entire audio bandwidth and is stable way beyond the audible frequencies. This is quite easy to achieve in conventional linear ‘continuous signal’ amplifiers, but much more difficult in ‘non-continuous’ high speed switching amplifiers.

Rather than have the amplifier and then the filter as discrete stages, the UFPD design integrates the two, making control with feedback much more immediate and accurate.  The UFPD amplifier actively adapts the loop gain to keep the total loop stable during start-up, clipping, and current limit.  It senses the changes to the filter output and compensates by applying the precise amount of feedback.  This adaptive pole control allows for several more dBs of constant loop gain across the audio band and maintains performance irrespective of load (impedance) variations.

The UFPD treats all signals equally, regardless of frequency or slew rate, and has the ability to suppress the filter resonance entirely.  Consequently THD is kept very low at all frequencies.  With this very wide “load independent” frequency response, UFPD is able to drive any speaker while maintaining control and accuracy.

In conjunction with UFPD, Primare uses an isolated PFC (Power Factor Control) technology in the power supply, which controls the current from the mains voltage so that it is a pure sine wave with the same frequency and phase as the mains voltage.  The isolating stage of the converter works in a ZVS mode and as a result, the switch flanks contain a lower quantity of harmonics, providing lower EMI and a clean environment for the amplifiers to work in.

OPTIONAL DAC BOARD

An optional retailer-installed DAC board is available for the I22, allowing not just the connection of an existing CD player but also the streaming of music files from PCs and Macs.  Three digital inputs are included: isochronous USB-B (16-24bit/44.1-96kHz), optical (16-24bit/44.1-192kHz), and S/PDIF (16-24bit/44.1-192kHz).

The DAC consists of two chips: Analog Devices’ AD1855 and TI’s PCM1792A.  And although the I22 uses a conventional USB input, it is non-standard, exhibiting reduced jitter and improved clock performance by using TI’s USB streaming chip TAS1020B.

SPECIFICATIONS

Output Power            2 x 80wpc at 8Ω, 2 x 160wpc at 4Ω
Analogue Inputs        4 pair RCA

Optional DAC Board        1 x USB-B Input
1 x Digital Optical Input (TOSLINK)
1 x Digital Coaxial Input (RCA)

Input Impedance        15kΩ
Analogue Record Out        1 pair RCA
Pre Out            1 pair RCA
Output Impedance        RCA 94Ω
Frequency Response        10Hz – 20kHz, -0.5dB
THD + N            < 0.05%, 20Hz – 20kHz, 10W at 8Ω
Signal-to-noise            -95dB
Power Consumption        Standby: 0.3W, Operation: 19W
Net Weight            10kg

The I22 is available in black or silver finish for immediate shipment at a US retail price of $1695.

The optional DAC board for the I22 is also available immediately at a US retail price of $595.

Nick Mason discusses the Immersion box sets

“Who Is Interested? Well, I Am”

A Conversation With Pink Floyd Drummer Nick Mason

By Bob Gendron

Pink Floyd’s forthcoming reissue series may represent the final time that a major artist’s full catalog receives the deluxe treatment in the manner of enhanced CDs, multiple box sets, redesigned packaging, and auxiliary analog reissues. In an era where most significant artists already witnessed their output re-released in remastered form, and where record labels are increasingly reluctant to manufacture box sets or invest in fancy physical media, EMI is celebrating the British group’s legacy with an exhaustive project that has few peers.

Going well beyond that of EMI’s excellent Beatles remasters series, Pink Floyd’s rollout features reconfigured sound, artwork, inserts, and more—as well as various multi-disc sets that include scads of unreleased and/or rare audio and visual footage. While the reissues don’t street until late September, drummer Nick Mason—the band’s only contiguous member—recently talked with editor Bob Gendron about various details, memories, and procedures related to the massive campaign. In clarifying truths and recalling history, his insightful comments will likely surprise even the most diehard Floyd fans and committed audiophiles.

B: You’ve heard Pink Floyd’s studio records countless times. What jumps out at you when you listen to the new remasters?

N: The thing that strikes me is not so much the quality, although that is interesting and improved. But [the pleasure] really comes from listening to things that I’ve forgotten about. For all of our career, we never really ever revisited old demos or leftover material. The tendency has always been to put that to one side when the record is finished or when we’ve moved on and started doing other shows. Sometimes, you come across ideas that are still quite fresh or interesting, and while they were superceded by some new idea, they still have validity in their own right.

B: Is there anything specific you heard that you feel the band should have revisited?

N: The one that astonishes me that we didn’t pick up on is a version of “Wish You Were Here” that has [violinist] Stephane Grappelli playing on it. First of all, it was just a delight to hear because I always understood that it had been recorded over and we had no record of it. But also, when I did hear it, I was astonished. And I haven’t done so yet, but I must ask Roger and David if they can remember why on earth we didn’t use it. It’s still incredibly powerful.

B: Having had the chance to survey the catalog again, what is the single piece of music  closest to your heart?

N: A version of “On the Run,” recorded long before we actually put it together on the record with the VCS3 tape loop, where it’s played as sort of a jazz piece. It has a rather uptempo drum thing. I listened to it and thought, ‘Good lord, is that me playing?’ I hardly recognize the band, the style, or anything else. That sort of surprise is terrific.

B: Take me through some memories conjured up by the bonus material.

N: It conjures memories of touring in the early to mid 1970s, and putting on those shows. If you looked at the concerts now, you’d just think they were quaint—that’s the word for it. They are so small compared to not what we later did, but to what everyone does now. Virtually every artist today would expect to do quite a lot of staging and music production wherever they are playing. It’s that thing of remembering—the very early cherry pickers, for instance. Hydraulic towers with mounted lights. They are tiny now, but at the time, it was a really groundbreaking idea that you actually carried all of this stage lighting with you and made it part of the show.

B: Would you deem The Wall production “quaint” as well?

N: Quaint is the right word. The Wall came later, but if you look at, for instance, the Ummagumma sleeve: There is a picture of our touring crew and all of our equipment laid out. Well, most people have that in their back room now. It all fits into a small van. But at the time, it seemed like a gigantic amount of stuff. The Wall is interesting because the version that Roger is doing now is a fantastic leap—not so much musically because he’s adhered very rigorously to the original parts played on the record—in terms of the movie parts that have been added to the show. It’s fantastic, and absolutely 30 years further down the line.

B: Speaking of visuals, do you recall being associated with the visual content that’s now included on the box sets?

N: The visuals divide into different periods. There are three major periods: The stuff we originally did for Dark Side of the Moon, which was done by various people. There was an animator named Ian Eames who did a particular series of clocks that have stood the test of time. And then there was a second wave of film done by Hungarian film director Peter Medak. And then, finally, the Gerald Scarfe film that was done for Wish You Were Here. The interesting thing with his stuff is that some of it moved on; it was the forerunner of what got used in The Wall. I’m so used to computer animation now. The actual technology is quite clunky, but the visuals are stunning.

B: To what extent was the band involved in the visual design of the album artwork?

N: There’s no easy answer to that. Not unlike the way the music was put together, it was very different from image to image. The most famous one, the prism, by Storm [Thorgerson], arrived at the studio as five different rough ideas. Within an instant, all of us agreed that the prism was absolutely the right thing, and to go with Storm’s idea. We just rubber-stamped it immediately. There are other visuals where we went backwards and forwards, and in a few cases, there were ideas that initially came from the band and then, Storm developed them. Generally those ideas were less successful—I think Storm would back me up on that. [Laughs]

B: What’s your take on the reissue redesigns?

N: Terrific, because I’m of an age where I really do see physical records disappearing and regret that [trend]—and regret all of the artwork that goes with them. This is maybe not the very last chance, but very late on for Storm to really have another look at things, decide which is best, and add some new bits and pieces. For me, that’s one of the great attractions of the reissue project. We can make sure that every piece of visual art we’ve done, plus a bit more, is made available and there for the record, so to speak.

B: How long has the reissue project been in progress?

N: It’s been in the works for a couple of years. Of course, what happened is that the idea was mentioned two years ago and a lot of the push came from the record company, EMI, which said, ‘You know, you really ought to do this.’ We were initially very lukewarm. We felt that we’d done virtually every version of the catalog that we possibly could. But as the first year went by, we started unearthing more product that could go into it. And then we found ourselves becoming interested in it. It began to make more and more sense. For me, it was the realization that I actually [explore] with other artists. Like with jazz albums; I’ll go out and buy an eight-album John Coltrane box set, which is full of outtakes. And you think, well, ‘Who is interested?’ Well, I am. So if I’m interested in it with an artist, it makes sense to let our fans have access to such material.

B: Is the rare footage coming from personal or record label archives?

N: Most of it has come from EMI’s archives rather than our own. The only things that I’ve turned out have been some very early demos that we made before we were even signed, which contains some very nice Syd Barrett songs. But for the most part, it’s been EMI. The company has very extensive vaults and pretty good cataloging. But what happened this time is that there was a much more concerted effort to look through the archives. The trouble is that, like most archives, there are always a few things that have been miscataloged or haven’t been properly checked. This time, quite a lot of stuff was brought up from the vaults, listened to, and checked. That is how, for instance, the Grappelli version of “Wish You Were Here” got discovered.

B: The multichannel options seemingly parallel the unreleased material in that they represent new horizons for the listener. Do you think surround makes for a better experience?

N: I’m fond of the 5.1 and so on. I think it gives an extra depth to the music. But we’re all coming to terms with the fact that the embracing of the digital revolution wasn’t entirely satisfactory. It’s really interesting how many people are talking about going back to vinyl. You know, when I say ‘a lot of people,’ I mean a tiny percentage. I don’t think it’s really going to catch on. But there is still enormous enthusiasm for that warm, particularly odd sound you get from vinyl. And it’s not the cleanest, most accurate sound. But it does have this quality that people really like. To some extent, it will be really interesting to see the feedback. I’m not sure in this day and age how many people still have stereo sets capable of giving them the full effect. I was just talking with some people at breakfast this morning about the technical side of the reissues, and I said, ‘Maybe we should put a sort of health warning and say it is not advised to buy this record unless you have speakers that require at least two men to carry them into the room.’ [Laughs]

B: Regarding sonics, were you conscious when you were recording albums—especially Dark Side of the Moon, Wish You Were Here, and The Wall—that they would be, more than 30 years on, be used as references by producers, engineers, and audiophiles?

N: No. It’s astonishing in some ways. I think anyone who went into rock and roll in the 60s or early 70s entered into it with the belief that it was rock and roll and it was ephemeral and that it would be all over. Anything that you produced would last around a year, and in your working life, you’d be lucky to get five years. Of course, it changed. It became a completely different thing. The point I would like to get across is that if the quality of some of this stuff is so good—and I believe it is—it’s a testament to Abbey Road and the people that worked there and the systems they had in place in the 60s, where the kids joined as apprentices and really learned the trade of making records and miking things up and going for the highest standards of loading the tape.

B: It’s shocking to hear you admit that, even in the wake of The Piper at the Gates of Dawn, Pink Floyd believed it would disappear without a trace within a few years.

N: [Laughs] We’re all very privileged and lucky to have had a 40-odd-year career out of it. Obviously, after the first 10 or 15 years, you realize it’s not likely going to go away. But initially, in the late 60s, when we kicked off and had no idea where this would lead or end up, it’s what we thought.

Burmester 100 Phono:

It’s been a long time since Burmester has produced a phono stage.  Their last model, the 838, was produced in the 80’s.  However, with vinyl making such a comeback, Dieter Burmester felt the time was right to build a phono stage that was worthy of his current Reference Line components.  And in typical Burmester fashion, it addresses every aspect of the analog domain – it can even be ordered with a studio quality ADC (analog to digital converter) on board, so that any vinyl enthusiast migrating to the high quality digital world has all of their bases covered.

Occupying the same amount of rack space as my reference Burmester 011 preamplifier, the sleek casework and mirror finished front panel makes for a perfect aesthetic match. When viewed under studio conditions on a bright white background, you might think the Burmester gear “too shiny,” but when it is in place in your listening room, it mirrors your environment and disappears – a pleasing aesthetic illusion.

Your final configuration determines the price: The 100 Phono outfitted with two phono preamp modules, (sans the ADC and Burmester’s Burlink interface card) has an MSRP of $22,995.  The base model with one phono card and no ADC or Burlink specs out at $16,995. This probably isn’t going to be your first phono stage, but it could very well be  the last one you will need to purchase – thanks both to Burmester’s legendary build quality and their commitment to product upgrades.  Like other products in the Burmester range, the 100 will never become obsolete.  Think of it as an investment in your vinyl future.

Ultimate flexibility

The 100 can be configured to your specification with your choice of one or two inputs.  Either input can be designated as MM (moving magnet) or MC (moving coil), but once the choice has been made, the 100 must be sent back to your dealer for one of the inputs to be changed.  The MM gain can be adjusted in six steps from 37 db to 52 db and the MC stage (also six steps) from 57 db to 73 db, so even the lowest output cartridges can be accommodated.   Capacitance can be adjusted on the MM side from 68 pf to 400 pf and MC input loading has six options:  33, 75, 220, 390, 1000 and 47k ohms.  MC purists may be put off at the odd choices, but I had no problem using cartridges that I would normally load at 100 ohms with the 75-ohm setting or the 390-ohm setting for cartridges that I would use 500 ohms on another phono preamplifier.

The subsonic filter worked well with a few older, more warped records that have not had a session with the Furutech flattener yet and I was unable to hear any difference in low frequency output.  If the wide range of gain settings still isn’t enough, the 100 has the ability to boost the output by an additional 6db, so there should never be a situation where the 100 Phono does not possess enough gain.

Burmester’s “auto adjust” feature, when used with the supplied test record, will make up for channel imbalance in your phono cartridge. It compares the left and right channel signals, adjusting the level between channels to .2db, able to make the compensation up to 6db, though I can’t imagine a premium phono cartridge having this much channel error.  The only thing missing is a mono switch.

Setup

The Model 100 sounded slightly flat out of the box compared to my other Burmester components that have been powered up for over a year now, but because there are no capacitors in the signal path, there is no long drawn out break in with this preamplifier.  It opens up dramatically after a few days of constant play, and after it’s been on for about a week, you’re 100% there.  If you don’t have 12 hours a day to spin records, I highly suggest a Hagerman Technologies Reverse-RIAA between your CD player and the 100.  Leave it on repeat 24 hours a day for a few days to speed up the process. If you are one of the audiophiles that pooh-poohs component break in/stabilization, play your favorite record on the 100 straight out of the box and then again after a few days of burn in and you will be stunned at the improvement.

All controls are easily available on the front panel and clearly marked, so finding the proper loading and gain settings for your cartridge couldn’t be easier.  If you have multiple turntable/cartridge owners will be instantly at ease with this flexibility that few other phono stages match.

For those incorporating the 100 into a non-Burmester system, there is a phase reversal switch that works with the RCA outputs as well as the balanced XLR outputs.  This is particularly important because Burmester uses pin 3 for signal positive and 2 negative, while most other manufacturers do just the opposite.  A quick flip of the switch keeps everything in phase.

Burmester feels that keeping the signal path balanced all the way through, so the 100 only has balanced inputs.  This will require cable retermination or using the supplied XLR to RCA adaptors.  Considering the additional benefit to running a phono cartridge balanced, I would highly suggest having your tonearm cable terminated for balanced operation.  I used a Cardas Clear Phono cable and the Burmester Silver Balanced Phono Cable ($1,595) The Burmester cable was perhaps a bit too revealing for my taste, but again like any other cable, this is a tone control that needs to be fitted to your taste.

The Sound

Having used Burmester amplification as my reference for almost two years now, I’ve become very familiar with the “Burmester sound” or perhaps lack of it.  A year ago, I proclaimed the 911 mk. 3 power amplifier “The best power amplifier I’ve ever heard” and I still feel that way.  Dieter Burmester has managed to design and build electronics that bridges the gap between solid-state and vacuum tubes, offering the known advantages of both with the disadvantages of neither.

Burmester electronics have always offered a tonal richness that is usually associated with vacuum tubes, yet has an equal helping of dynamic contrast and weight that normally can only be achieved with the best solid-state gear.  If you are an analog lover, it’s much like the difference between hearing a master tape and a great pressing of your favorite record – the tonality has not been altered, but there is an ease, an extra level of naturalness that the record doesn’t have. If you haven’t heard the master tape you don’t know what you are missing, yet once you have, the difference is easy to discern. This is the ease in which Burmester electronics present the music.

Listening to the current Chris Bellman remaster of Van Halen II brought the first major strength of the model 100 to the front – impact.  This recording now has a lot more punch, and some serious low-end energy and the model 100 was able to capture every bit of Eddie Van Halen’s guitar harmonics.   It was also much easier to hear the differences between Eddie Van Halen and Michael Anthony singing harmonies on “Women In Love.”  Most excellent.

Classical and ambient music lovers will appreciate the subtlety of the subsonic filter.  When auditioning the vinyl edition of Brian Eno’s Small Craft on a Milk Sea, which features incredibly low synthesizer tones, I was able to play this record considerably louder than I could with the subsonic filter out – yet it never felt like there was any less bass energy on the record.  Granted, this is something you probably won’t need often, but a nice feature to have available. In combination with the GamuT S9 speakers and a pair of Burmester 911 mk. 3 amplifiers, I was able to achieve sound pressure levels that you would expect to hear in a club without strain – and without a touch of acoustic feedback.

High frequencies – sublime.  Again, when listening to your favorite acoustic music, the speakers just melt into the room and allow you to forget about the gear.  Spinning at least half a dozen of the latest Blue Note remasters from Music Matters Jazz I was always taken back at how natural cymbals and drum heads were sounding; always with perfect attack and smooth decay.  The true sign of an exceptional piece of gear, the 100 did not favor any particular type of music.

A few things always stand out with the Burmester experience beyond perfect tonality; ultra low noise, massive weight and lightning quick dynamics.  The 100 stays true to the rest of my Burmester gear.  Spinning the latest ORG pressing of Joni Mitchell’s The Hissing of Summer Lawns and their latest remake of Tom Petty’s Damn the Torpedoes revealed even more detail than I was used to with these two perfect pressings. This ultra quiet background always made for huge dynamic swings on records that had the scale, but also revealed a stunning amount of low-level detail as well. The 100 is one of those rare additions to your system that will offer a further look into recordings you thought you knew intimately.

This realism is further enhanced by the 100’s ability to start and stop instantly.  It exhibits lightning fast response during the attack phase of a musical transient, but exhibits no overhang, stopping instantly as well.  This contributes to the 100’s complete lack of fatigue when listening for long periods of time.

A few quick comparisons

To keep the playing field level, I captured some tracks at 24/192 files with my Nagra LB pro digital recorder, as I do with the other phono stages I’ve used in the last year.  This offered an  for an indirect comparison to the ARC REF Phono 2 and the Boulder 1008 to the 100 Phono.  While this does not reveal 100% of what each of the respective phono stages can do, it’s a great way to compare phono stages past, without relying on memory alone.  When comparing the high res digital samples of Hissing of Summer Lawns, it confirmed what I suspected: The Boulder offered slightly more bass grunt, and my ARC REF Phono 2 had slightly less than the Burmester. When comparing the REF to the Burmester in real time, the Burmester was definitely an order of magnitude quieter – quite possibly the quietest I’ve ever heard.

The order was reversed when listening for that image depth; here the vacuum tubes in the ARC offered a bit larger musical image with the 100 seeming to make the room a bit smaller, with the Boulder now in last place. The 100 exceeded the other two in terms of dynamic contrast and the lowest noise floor. Considering adjustability, ease of use and the thought of never having to search for vacuum tubes, makes the 100 the big winner in my book.  Keep in mind that the order of magnitude we are discussing here is very small – indeed much of these differences could be minimized by cartridge choice.

When listening to Andrew Bird’s 2005 release Andrew Bird & The Mysterious Production of Eggs, I was consistently impressed by the low level detail and clarity presented. If you value a wide soundstage where images are painted in a very specific place across that sonic landscape, the Burmester is at the top of this category as well.  While I haven’t had the privilege of listening to all of the top $30k – $60k phono stages yet, the Model 100 is at the top of my list in regards to everything else I’ve heard in the 10-25k range.  And we still haven’t discussed the ADC…

The deciding factor in choosing the 100 over something else up in the stratosphere of phono stages will boil down to the sound you prefer and synergy with the rest of your components.  Of course if you have an all Burmester system, just write the check, it doesn’t get any better or any easier.

And now for something completely digital

If you’ve been curious about high quality digital capture and are either thinking about digitizing some of your favorite LP’s for a music server or just archival purposes, the extra $2,995 spent on the ADC module is a bargain.  Capturing files via USB and my MacBook Pro was fairly straightforward, (as I’ve been doing my fair share of this with other tools lately) though the instructions are fairly cryptic.  Those completely new to digital capture will probably be lost, so insist that your dealer give you a good run through on this part of the process.

All digital captures taken with the 100 feature 24-bit resolution, with a choice of 48khz, 96khz or 192khz sample rates.  Obviously the 24/192 files were of the highest quality, but the 29/96 files were not far behind and the 48 khz files were probably the most impressive, because they still offered excellent playback.  Even using the Burmester 088 CD player as a DAC, the difference between these and the original vinyl was minimal.

Though my Nagra LB digital recorder is easier to use and more user friendly than the Burmester, the Burmester offers a significant jump in recording quality. If you have ever thought about adding this functionality to your system, the Burmester does a fantastic job. Unfortunately, you will have to transfer your files somewhere and transcode to 16/44.1, should you want to burn any of these digital files to a CD.  Again, I would have liked to see this as an option in the ADC, so as to not have to perform yet another option in the digital domain.

Conclusion

If you only require one phono input and do not possess an all Burmester system, the 100 Phono is probably a bit on the high side of the price spectrum, but it becomes more reasonable (at least as reasonable as a $20,000 + phono stage can be…) as you add the second input and even more so if you make the ADC part of the bargain.

Nervous audiophiles that swap gear gear fairly often may not appreciate what makes the Burmester components such a great long-term value.  They are built with the precision of a Porsche engine and placed inside casework that is fitting of the best Swiss watches.  If you are someone that desires high quality audio equipment that you will live with for years to come, the Burmester 100 Phono will sound as great in 20 years as it does today.  And that, on many levels is its highest value.

The Burmester 100 Phono

MSRP:  $16,995 – $22,995 (depending on configuration)

Manufacturers Information:  www.burmester.de

Peripherals

Turntables                        Spiral Groove SG-2 w/Triplanar, AVID Acutus Reference SP w/SME V, AVID Volvere SP w/SME 309 and Rega P9/RB1000

Cartridges                        Dynavector XV-1s, Koetsu Urushi Blue, Grado Statement 1, Lyra Skala, SoundSmith Sussurro Paua

Preamplifier                      Burmester 011, McIntosh C500

Amplifiers                      Burmester 911mk. 3 monoblocks, McIntosh MC 1.2kw monoblocks

Speakers                         GamuT S9

Peachtree Nova

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.NOVA web rear

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.NOVA web overhead

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.NOVA web remote

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¬¬¬¬

The Boulder 1008 Phono Preamplifier

Introduced in 2002, the Boulder 2008 phono preamplifier caused quite a stir and was considered the top of the analog mountain by many. With three inputs and variable EQ options for older recordings, it left no bases uncovered. It still remains king to many people, but at $33,500 out of reach for all but the most well heeled audiophiles.

In November of 2009, Boulder announced their 1008 phono stage at a price point of $12,000. While not a budget component by any means, the 1008 is on par with similar offerings from ARC, Aesthetix and a number of other players in the $10K realm. Utilizing a lot of the technology from the 2008, it features a single chassis design and only two inputs, with the additional EQ functions already built in. The low cut filter only has a 20hz option (where the 2008 is switchable between 5hz, 10hz and 20hz), but the 1008 is still balanced from input to output. In addition to the EQ and low filter selectors, there is also a mono button on the front panel for use with mono recordings. The Boulder 1008 is ready for anything you can throw at it, if it’s on vinyl.

Boulder web-full viewA peek inside the box reveals Boulder’s meticulous construction and outside, their flawless casework. Though light by Boulder standards at 32 pounds, the 1008 is a bit more manageable than it’s larger brother, but equally potent. (And it still weighs as much as some power amplifiers I’ve reviewed.) A one-chassis design, the 1008 still features dual mono construction throughout and heavy duty shielding on the power transformer to isolate it from the rest of the circuitry. Thanks to 70db of gain, and a noise floor that redefines quiet, you should be able to use any phono cartridge available, no matter how low the output with no issue. The MM input features 44db of gain, and allows for adjusting the capacitive load as well, so the 1008 is infinitely configurable to suit your needs.

The 1008 offers two pairs of balanced outputs as well, so that the 1008 can not only run into your linestage, but the second set of outputs can drive your choice of recording device. I used the 1008 with my J-Corder/Technics RS-1500 open reel deck and made some superlative copies of my favorite analog tracks. At 15 i.p.s., the result was dead quiet, capturing almost all of the magic of the original. Digital captures with the Nagra LB were also fantastic, going from balanced out of the Boulder into the balanced inputs of the Nagra and this has proven a great way to get more of my vinyl collection into my Sooloos digital music server.

Setup

Operating the 1008 is very straightforward, thanks to Boulder’s well-written and illustrated instruction manual. I wish more manufacturers’ would follow their lead, offering some decent color photos. I have no bigger pet peeve in the audio world than purchasing a component with a five-figure price tag that has a cryptic instruction manual.

As my review sample came straight from booth duty at this years’ Consumer Electronics Show, it did have some hours on the clock, and while it sounded fantastic out of the box, did continue to improve for the next 100 hours or so.

Boulder web-Pers cardOther than placing the 1008 on my rack and plugging it in to a Running Springs Dmitri power conditioner (with Shunyata Python CX power cord, as all of my other low level components are), the only setup necessary was changing the loading on input two to low gain via a switch and unsoldering the 100 ohm resistor from the removable “personality card”, so that I could investigate the moving magnet and moving iron cartridges in my collection from Clearaudio, Grado and Soundsmith. The other cartridges used on input one were the Lyra Skala, Dynavector XV-1s and the ZYX Omega, reviewed in issue 28 of TONEAudio. I briefly auditioned the Clearaudio DaVinci, but found its slightly forward presentation not to my liking with the 1008.

Because the inputs of the 1008 are also balanced, it is to your advantage if you can have your favorite tonearm cable re-wired to a balanced configuration. Like headphones, a phono cartridge can be connected in a true balanced configuration, and though I had excellent results with the supplied Boulder XLR>RCA adapters, (you must use the Boulder adapters to keep phase correct on the inputs), going all balanced offered even a little more “blackness” to the backgrounds.

Massive, like a boulder

Boulder electronics are known for dynamics and resolution, and the 1008 is worthy of the name on the front panel. Not expecting much out of the Boulder, five minutes out of the box, still (literally) ice cold from the UPS truck, I had just thrown a copy of Supertramp’s Crime of the Century on the Raven TWO with the ZYX cartridge. I was not prepared for what I was about to hear; while the volume was down fairly far for the opening track, I cranked up the volume somewhat and the first sax blast on “Bloody Well Right” set me back in the couch. With dynamics like this on a garden variety album, I couldn’t wait to get some hours on the clock to really see what the 1008 was capable of.

Though the larger Boulder phono stage, the 2008 is held in awe by most people, reviewers and mere mortals alike, I’ve never been fortunate enough to get a great demo of this piece, so I had no preconceived notions with the 1008. However, once it was on continuously for a few days, it just kept opening up further for another week.

Where my reference Nagra VPS/VFS with Red Wine Audio Black Lightening is no slouch, and with accessories approaches the price of the Boulder, I firmly believe they will appeal to different listeners. Even with the battery supply, the Nagra gets to about 95% black in backgrounds but the Boulder goes slightly further. When listening to large-scale classical music, this preamp really has a lot of grunt.

Much like a race car with massive brakes, what surprised me about the 1008 was it’s ability to stop on a dime. It handles the swing of a kettle drum perfectly, reproducing just the right amount of air and resonance after the strike, yet coming directly to a full stop without sounding bloated. As my knowledge of classical music is mostly confined to the tried and true warhorses, I won’t bore you with my selections, but suffice to say that tonality is spot on with the 1008 and that should you purchase one of these, you will not be disappointed.

Boulder web-rear viewMoving back into my comfort zone, I revisited the Supertramp album that I began my evaluation with and was impressed at how much bigger the sound had grown in all three dimensions, very impressive. Next stop, the recent remasters of the Kraftwerk catalog. The driving beats in Tour De France were pounding, and at extremely high level, starting to shake my building. Thanks to that 20hz low pass filter, I was able to drive my system to discothèque levels without a hint of feedback. This also came in handy with moderately warped records. With a system that extends to 20hz, recorded anomalies that were not a problem when my system bottomed out at around 30hz now are front and center. The filter worked well without diminishing the subterranean bass drive of the system.

Yet light as a feather

I’ve noticed that some gear capable of tremendous dynamic swings can sacrifice weight for detail. While this can be very exciting in the initial listening sessions shortly after bringing said gear home from the dealer, it can soon become exhausting if not outright annoying.

This is another area that the 1008 does not disappoint. Good out of the box, once fully broken in and stabilized, I was always surprised at how much low level detail and low level texture was always on tap. Interestingly, this is what had me listening to more classical and acoustic music for this review than in many of my past articles. That extra bit of resolution on tap just made classical music so much more enjoyable, that I found myself actually buying some new classical albums to listen to during the review period!

The 1008 was also able to recreate an uncanny sense of height when listening, and this is one of the toughest things for a system to get right, or even achieve at all. When switching back to the EAR 834P (one of my favorite affordable phono stages), everything just seemed to line up laterally, with all energy coming from the soundstage at the same height. I noticed this very distinctly while listening to Steve Earle’s Townes LP. Instantly upon switching from the EAR to the Boulder, not only did each instrument get it’s own, very distinct space, the banjo felt as if it was slightly higher off the ground than the guitar and Earle’s voice was placed right between the two.

Of course, the Boulder costs almost ten times more than the EAR, but the point is that this 12 thousand dollar phono stage is not a case of spending a lot of extra money, only to get a fancy case and a modest improvement in sound. The improvement is huge. If the rest of your system is up to the task, the Boulder will offer performance concurrent with its price tag.

The 1008’s tonal balance is as near perfect as I’ve had the chance to experience. Where my reference Nagra adds just the slightest drop of body to the sound (not that that’s a bad thing for 99% of my record collection), the Boulder neither adds nor subtracts anything. At the same time it does not commit the ultimate audiophile sin in my book of overdamping everything at the expense of transient attack. Acoustic bass sounded just right, and electric bass had the right amount of bounce. While some may describe this as clinical, I prefer to call it neutral. Again, if you’d like a drop of warmth that can certainly be adjusted by your choice of cartridge.

Additional functionality

If you are using a high-end MM cartridge or a Moving Iron cartridge from Grado or the Soundsmith, the 1008, will extract every bit of detail the cartridge is capable of. I happened to have all three on hand and was amazed at how much these cartridges were able to deliver. My current favorite, the Clearaudio Maestro Wood, mounted on the Technics SL-1200 with Sound HiFi mods and SME 309 arm consistently amazed listeners with its big sound through the Boulder preamp. What’s the point of having a second phono input if you don’t take advantage of it?

Boulder web-eq closeBoulder rounds off their design with a few extra touches that make the 1008 a great choice for the real vinyl connoisseur. There is a separate EQ selector for early Columbia and EMI records as well as the early Decca ffrr recordings. While I don’t have many of these records in my collection at present, should the 1008 become part of my reference system, I would no longer shy away from them in the future.

Conclusion

The Boulder 1008 does everything right and nothing wrong. If you think you need vacuum tubes to get depth and delicacy in a top shelf phono stage, think again. You can say goodbye to tubes forever and not miss a molecule of music with the 1008. In anything but an extremely forward sounding system and all but the most harsh phono cartridges, it should be a perfect match. Personally, I think those of you in the audience with a cartridge on the slightly warm side of the tonality equation (DV XV-1s, Koetsu RSP, ZYX Omega, etc) will be in vinyl heaven, able to get the body you are used to, with an extra dose of slam and dynamics thrown in for good measure.

Boulder web-input closeFor the vinyl enthusiast that dreams of owning a Continuum table and Boulder 2008 phono preamp, but will never be able to scratch together $200k, trust me, combine the Boulder 1008 with your favorite $25k table, arm and cartridge and go to bed with a big smile on your face.

The Boulder 1008

MSRP: $12,000

Manufacturer: Boulder Amplifiers www.boulderamp.com

Peripherals

Turntables Spiral Groove SG-2 w/Triplanar, TW Acustic Raven Two with SME iV.Vi and SME 309 arms, Acoustic Signature Analog One Mk. III with SME iV.Vi arm, Technics SL-1200 (with Sound HiFi mods) and SME 309 arm

Cartridges ZYX Omega, Lyra Skala, Clearaudio DaVinci, Dynavector XV-1s and 17D3, Sumiko Blackbird, Grado Statement, Soundsmith “The Voice”, Clearaudio Maestro Wood

Preamplifier Burmester 011

Power Amplifier Burmester 911 MK.3

Digital Source DCS Paganini stack

Speakers GamuT S-9

Cable Shunyata Aurora (interconnect), Shunyata Stratos SP (speakers), Furutech Silver Arrow and AG-12 (tonearm)

Power Running Springs Dmitri and Maxim power conditioners, RSA HZ and Mongoose power cords, Shunyata Python CX power cords

McIntosh MR88

Sometimes, one longs for the hi-fi simplicity of the 1970s. Back then, FM radio functioned as the prime source of listening for many a music lover. AOR FM was in high gear, and people just tuned into any number of stations to get a music fix. Those with audiophile leanings often invested in a separate tuner to optimize the FM sound quality. Often, a manufacturer’s top-of-the-line tuner represented the best and most highly engineered product in its whole line. Companies such as Yamaha, Pioneer, SAE, Kenwood, Sansui, Marantz, Technics, Sony, and McIntosh waged a high-stakes tech war to see who could develop the king of the airwaves: A tuner with clean, clear reception coupled with good sound.

MR65B, MR71, MR74, MR78…MR88?

At first glance, I mistook the MR88 for a classic McIntosh model, with the stellar MR65B and MR74 coming to mind. The $4,000 unit’s cosmetics are distinctly retro. A tuning knob connected to a flywheel, a glass tuning dial, and an illuminated dial pointer reinforce the traditional McIntosh appearance. But any analog suggestions are instantly dispelled upon power up: A window displays station frequency, shows station call letters, and scrolls RBDS text when the unit is switched on.

The MR88 is basically an all-digital DSP device that uses every manner of technological wizardry to deliver terrestrial or satellite signals in crystal clear, noise-free fashion. It even has an spdif digital out that can be sent to your favorite DAC, via a coax or Toslink cable. Various other provisions make the MR88 a thoroughly modern, future-proof component. An RS232 port is at the ready for communicating with an external control device; a service port allows for firmware upgrades; an IR input, power control input, and output for receiving and sending trigger signals to and from other McIntosh components round out the prudent touches.

Master of the Frequency Domains

Once installed and warmed up, the MR88 was put through its paces as an analog-only tuner. A default receiving mode will automatically select the HD feed from many stations, but setting it to receive the non-HD signal is easy. I connected the unit to my preamp using the greatly appreciated balanced outputs; an outdoor antenna was connected via an F-connector located on the back of the tuner.

While my standby Kenwood KT-8005 grabs about 15 stations with a strong low-noise and low-distortion signal, the MR88 claimed 18. A local jazz station, KMHD, came in strong and clear, as did KQAC, the local classical station. Both provided many hours of pleasurable listening through the MR88. Its ability to throw a convincingly deep and wide soundstage fooled more than a few listeners into thinking a CD was playing. However, the tuner’s greatest strength lies elsewhere.

Switching to back the default Auto receiving mode, the listener will hear a blending of the analog and digital signals that provides the best sound quality. Stations with HD broadcasting capability come in with noise-free clarity. The user also gets a much wider bandwidth with HD. Compared to the analog signals, bass extension goes lower and high frequencies extend further. iBiquity Digital Corp., the purveyor of HD technology, touts the sound as CD quality. A slight exaggeration, as the signal is basically an audio compression codec combined with an enhancer called SBR (spectral band replication). The latter replicates higher frequency content by transposing harmonics up from the lower and mid-frequencies at the decoder. Theoretically, SBR is based on the principle that the psychoacoustic part of the human brain tends to analyze higher frequencies with less accuracy, thus any harmonic phenomena associated with the spectral band replication process needs only be accurate in a perceptual sense, and not technically or mathematically exact.

Such myriad handling of the signal yields a slightly artificial aspect to the sound that owes to the nature of the format, not the MR88. Purist audiophiles might not fully endorse the sound, but average listeners should be quite pleased, especially considering the added content currently available on HD. As you move up and down the dial with the handy remote, you can hear the tuner first grab the analog signal and then switch over to the HD broadcast. Once the transfer occurs, one instantly perceives the increase in clarity and bandwidth. Moreover, there’s a dramatic reduction of noise on marginal signals. Employing this mode, the number of listenable stations in my area rose to 35 due to the HD2 and HD3 broadcasts.

AM, XM: The MR88 Does It All

Fans of Howard Stern and Major League Baseball broadcasts, rejoice. The MR88 is also XM Satellite Radio enabled, further increasing the content options and variety. As with AM and FM, the MR88 allows users to program up to 20 preset XM channels.

Want more? The MR88 also does wonders with the AM band. News, weather, talk, and sports are here for the taking. And AM reception quality is no afterthought. An innovative AM antenna deemed the RAA2 connects to the tuner via 20 feet of network cable, enabling optimum antenna positioning and mounting. Aficionados will recognize the approach as a far cry from foldout ferrite rods, ubiquitous on the back panels of most old-school tuners.
Speaking of the old school, adding more digital to the mix often yielded poorer sonics. While I experimented by using the digital out to my DAC, and comparing the sound quality with the balanced analog out signal, results were mixed. The most satisfying overall sound was obtained through the analog output stage.

Can streaming audio on the Internet replicate what the MR88 accomplishes? Some might be tempted to think so. But the MR88 is a different animal. From the comfort of a sofa, you can enjoy favorite FM broadcasts, listen to HD Radio content, dive into XM Radio, and get the weather report without moving so much as the remote control.
Indeed, the MR88 is a substantial audio component that’s steeped in McIntosh tradition. Sturdily built with a giant power supply, great fit and finish, wonderful looks, and excellent performance, it offers a thoroughly modern and forward-looking take on the traditional AM/FM tuner.

MSRP: $4,000

McIntosh Laboratory, Inc.
2 Chambers St.
Binghamton, NY 13903-2699
(800) 538-6576
mcintoshlabs.com

Vitus Audio SS -050 Amplifier

vitus-openingThe Vitus Audio SS-050 is a very high performance, yet minimalist integrated amplifier. Tipping the upper end of the price scale at $26,500, this is another destination product, and with one XLR and one RCA input, must be made part of a system that has only two sources. I imagine that this should pose no problem for the average person who has an analog source and a digital source.

Make sure your rack is adequately braced, as the SS-050 weighs 90 pounds. It’s a very compact yet dense piece of hardware with a huge power supply and some fairly massive heatsinks. Identical in appearance to the SS-010 amplifier, which produces 25 watts per channel in pure class-A mode, the SS-050 only remains class-A for the first few watts, going on to ultimately produce 100 watts per channel. Judging by the warmth of the sound and touching the outer case, it might be biased closer to class A than designer Hans Ole Vitus cares to admit.

An equal, if not higher amount of attention to detail is paid on the inside of the amplifier as well. Starting with the highest quality parts is only the beginning. Every resistor, capacitor and transistor is hand sorted and matched to assure only the best of the best exist in the Vitus amplifier. When I talked to Hans-Ole Vitus at this years CES show, he smiled and said, “You should see what we don’t use!”

Setup

With two inputs and an IEC power cord socket, it doesn’t get easier than this. I made it a point to feed the SS-050 with a dedicated 20 amp circuit, while the Naim CD555 was connected to a different AC line and the Nagra VPS/VFS phono stage remained battery powered. As the Nagra sounds best through its balanced outputs and the Naim does not have balanced outputs, these two high quality sources were a perfect match of the SS-050.

vitus-overheadAs with any solid-state amplifier that has been in transit for some time, the SS-050 took about 48 hours to open up, stabilize and sound it’s best, though it was more than pleasant out of the shipping carton. After spending a few weeks with the amplifier and going through regular power cycles, it takes about 30 minutes to fully stabilize in normal play.

The high current delivery of the SS-050 was a perfect match for my MartinLogan CLX speakers, however the lack of a preamplifier output, did not allow me to use my Gotham subwoofer with the SS-050, ultimately eliminating the CLX or the YG Acoustics Anat II’s that also required a high level output to drive its powered subwoofers. Keep this in mind if you have this requirement; if you love the Vitus sound, you will need one of their separate preamp/power amp combinations for this application.

Fortunately, the GamuT S-7’s were in for review at the time and these proved to be a fantastic match with the Vitus amplifier, as did the Harbeth Monitor 40.1’s. Those with a high performance full range loudspeaker will enjoy the powerful delivery the SS-050 offers. I’ve never heard the big Harbeth’s sound better than they did with the Vitus amplifier.

The sound

The highest strength of the SS-050 is the inner detail and lack of grain it presents. While some might prefer the somewhat dreamier, more romantic presentation of the SS-010 monoblocks, they are only 25 watts of pure Class-A power, somewhat more limiting in speaker options. 100 watts per channel just offers more opportunity to mate the SS-050 with different speakers.

This amplifier is solidly on the top of the mountain with the worlds best; one of a small handful that sounds like neither solid state nor vacuum tubes. On one level, it has no sound at all; merely presenting the music it’s fed in a completely honest way. Of course, the downside to all this honesty is much will be required of your source components.

vitus-rear viewI just happened to be listening to the complete set of the current AC/DC remasters on vinyl, so the first track I played on the Vitus based system was “Live Wire” from the High Voltage album. The guitar lead-in on this piece instantly struck me, as I could hear the speakers in whatever cabinet Angus Young was using to record with rattle, much clearer than ever before. Next up was “Night Prowler” from Highway to Hell. Again, I was impressed with not only the weight, but also the subtle texture and roundness of the opening bass riffs in this track. When I turned this up, perhaps too loud, the placement of the snare drum remained rock solid, just in front of the soundstage on the right side, and did not fall back into the mix. However, when I went back to my early stamper originals, it was plainly obvious that these records were produced from digital safety masters; another layer of detail was now available.

While AC/DC can’t be the ultimate judge of fidelity, it does reveal whether an amplifier has grunt fairly quickly. If an amplifier can’t really rock, what’s the point? I suppose for those of you in the audience that aren’t metal heads, a similar amount of stimulation would be necessary from your favorite large orchestral piece from Mahler or perhaps Shostakovich.

I’ve been in somewhat of a Mussorgsky mood lately, and one of my favorite demo tracks is “The Warrior Captain” performed by the Netherlands Wind Ensemble. While starting out very delicately, when the thunderous solo vocal enters the mix, it is tough for less refined amplifiers to retain the airiness of the wind instruments, while keeping the vocals out in front. The SS-050 passed this test with ease.

So how about some Monkees in the midst of all this? Much as I love the Monkees, most of their music is poorly recorded, but this is always a great test to see how well a very resolving piece of gear does with a terrible recording. I must say that the Rhino remaster of the Monkees’ Headquarters never sounded better. Thanks to all the inner detail of the Vitus amplifier, I heard some great overdubs on “The Girl That I Knew Somewhere.” The point here is that while the SS-050 possesses a high level of resolution, it will not be limited to the 20 “audiophile pressings” in your collection to give its all. Of course, the best recordings will be spectacular, but even the average recordings in your collection will reveal more than you’ve heard before. A tough challenge to meet, indeed.

Though it is a somewhat worn out audiophile cliché, that is often overused, the SS-050 is truly an amplifier that adds or subtracts nothing (or at least very precious little) to the recording; it just pulls everything that is available out so you can hear it. If you’ve ever compared the sound of a very dirty record, to one that you’ve just spent time meticulously cleaning, this is the effect the SS-050 will have on your music collection.

High frequencies are delicately rendered, without a hint of graininess. Overtones sound clean, with cymbals and percussion sounding correct without being overdone. Acoustic bass again has the correct amount of natural resonance without being loose and whumpy, yet without making the mistake of being overdamped. This is a trap that many solid-state amplifiers make and while this may appeal to a segment of audiophilia that is looking for really tight bass, is not what an upright bass sounds like in a room. All the way through the frequency spectrum, the SS-050 always retains a delicacy that many think solid state is not capable of producing, and was only reserved for vacuum tubes.vitus-front 34

The Bottom Line

The only limitations of the Vitus Audio SS-050 amplifier are in terms of flexibility. If you require more than two inputs and need to integrate a powered subwoofer into your system, you will have to pass on this amplifier. However it’s sound quality is without peer. I put the SS-050 up at the pinnacle of solid-state amplifier design that in many ways surpasses the best vacuum tube designs I’ve heard, yet having none of the inconvenience associated with tubes. This amplifier will sound just as good 25 years from now as it does today. And when you consider that over that period of time, you will have bought about 10 sets of 6550 output tubes, the SS-050 becomes a much more practical investment.

If you are looking for the anchor to an ultimately minimalist system, this amplifier should be at the top of your list. And it is available in silver and black as well as the bright gold you see here.

The Vitus Audio SS-050 integrated amplifier
MSRP: $26,500
www.vitusaudio.com

Peripherals

Digital Source Naim CD555/PS555

Analog Source Nagra VPS/VFS

Turntable Spiral Groove SG-2/Triplanar/Dynavector XV-1s
Cable Shunyata Aurora interconnects, Shunyata Stratos SP speaker cable

Power Running Springs Dmitri and Maxim power conditioners, RSA Mongoose power cords

Speakers MartinLogan CLX, Harbeth Monitor 40.1, GamuT S-7