Listening to PrimaLuna’s new tube phonostage begins with an audiophile cut for a change. If you haven’t had a chance to hear Earth & Wood on Yarlung Records, this is an incredible piece of music exquisitely captured. The tone and dynamics are out of this world good. Seeing the EVO 100 Phono has a 50-ohm setting for MC loading, Rega’s Apheta 2 mounted to a Rega P9 is the toughest cartridge to drive on hand. The Apheta cartridges often get a bad rap at being thin and strident sounding, but nearly all the time they are loaded at too high of an impedance setting. 25-50 ohms is the key to unlocking the speed and transparency that this cartridge offers, and the EVO is a perfect match.

Next up, the SME 20 with a Lyra Helikon reworked by Ana Mighty Sound delivers a completely different voice. Not quite as contrasty from top to bottom, the Lyra has considerably more inner detail and front to back depth. Tracking through a handful of Blue Note remasters delivers a luxurious, texture filled presentation, that brings these classics to life.

Going off on a different tangent, the Technics 1200GR with Luxman LMC-5 is the last choice, again, we’re talking about different and subtlety, rather than hit you over the head differences, but you should know that the EVO 100 possesses more than enough resolution to let all of these different cartridges shine.

A long time in the making

PrimaLuna fans have been asking Herman van den Dungen at PrimaLuna when they would make a killer phono stage offering a level of performance and value to match their award winning amplification products for some time now. They’ve produced a CD player and recently a DAC – both upholding the PrimaLuna traditions of value, performance, and execution. (Staffer Sean Zloch owns the DAC and loves it, btw.) You have to hand it to Mr. van den Dungen for keeping a poker face, he’s never even hinted that they were actually doing this project.

Well, it’s here and it’s fantastic. Though it’s commonplace today to spout superlatives at every turn in the audio reviewing world, the EVO 100 Phono gets highest praise, as I own a handful of great $10k-ish phonostages from ARC, Backert Labs, BAT, Pass Labs, and VAC. The 20k-ish Nagra Classic Phono is also here for listening, so when I say that the EVO is one of the best deals going in a $3,700 phono and delivers performance you’d expect to pay more for, it’s not empty praise. It’s been compared to several great phono stages, with a wide variety of cartridges.

PrimaLuna has been around for 20 years now, and their components stand the test of time. Check your favorite internet forum, EBay, or Audiogon. There’s rarely many used PrimaLuna components for sale. People tend to keep em. For those of you that haven’t heard me say this often, I still have my ProLogue One integrated that I reviewed for The Absolute Sound 20 years ago. Just over 2,500 components have come through the door as TONE approaches its 19^th birthday, and this one’s still delivering the goods. So, this is a product you can buy with total confidence.

Break it down again

The EVO 100 Phono uses a half-sized chassis, like the original PrimaLuna integrated amplifiers, the current EVO DAC and the EVO 100 series products. The physical design and styling match all PrimaLuna products, with the familiar dark blue metallic chassis, black or silver matte front panel, and the Coney Island Hot Dog warmer tube cage. It also comes triple boxed to make sure it is not damaged in transit, and a pair of gloves so you don’t smudge it when installing. If this is your first go around with PrimaLuna, you’ll be impressed with how well their products are packaged.

Though the EVO 100 Phono offers MM and MC capability, there is only one phono input on the rear panel. This is the only real complaint I have with it, and it’s unfortunate that they couldn’t have at least gone the route of having a separate MM and MC input, allowing you to use two turntables, or even using an external step-up transformer with the MM input. A single pair of RCA outputs are also supplied for output to your preamplifier or integrated of choice. With a pair of 6922 tubes for the MC stage, the main gain and MM stage each use a pair of 12AX7 tubes. And all the gain tubes have those vintage coolio metal cans to keep noise down.

Space the final frontier

Even though people are still arguing about analog versus digital, the spaciousness that analog brings to the listening experience is always exciting. Side one of Earth & Wood features Lou Harrison’s 1940s “Canticle No. 3.” Performed by the Smoke and Mirrors percussion ensemble, this track features a steel guitar and a number of vintage percussion instruments. The closest comparison would be to some of the Mickey Hart Drumming at the Edge work. The spaciousness of this recording through the recently installed Peak Consult Sinfonia speakers is massive.

Moving back to more familiar territory, Paul Weller’s first solo album proves equally engaging. Though this record feels digitally mastered, that feeling of a nearly endless soundstage is incredibly cool, revealing fine details not as easily discernable in the Japanese CD version. Isn’t that what vinyl is all about? Uh huh, oh yeah.

The vinyl version of Kruder & Dorfmeister’s The K&D Sessions is perfectly suited to this turtable/cartridge setup, and the tonal saturation that the PrimaLuna adds to the Rega makes for a Technicolor/Superscope presentation. The bass hits hard, and the tinkly bits float around the room. This all-tube design is a master of rendering three dimensional space, precisely the thing I gravitate towards tubes for.

MM and MC

While Chris did not achieve incredible synergy with the EVO 100 and the MM cartridges he had on hand, the Technics 1200G and Concorde Silver (basically a higher performance Ortofon OM40 in a Concorde body) used here was perfection, as well as our other MM reference, the Clearaudio Virtuoso Wood. Both delivered the dynamics you associate with taking the MM path. My least favorite matchup with the EVO 100 on the MM side, was the Linn LP-12 Basik, sporting their Adikt II cartridge. Sometimes it’s just how the planets line up, but this combination is already somewhat on the romantic side, so this might just be a bit too much of a good thing. And remember, I’m the guy on the staff that leans to the warmer side of things.

An interesting aspect of the EVO 100 Phono is the all-tube design – no step up transformers, Op amps, or solid-state gain stage anywhere. A pair of hand-picked 6922s are hidden around back, in a sub enclosure (behind a little door) with the circuit board suspended from the main chassis. You simply remove a small pair of posts to remove the door for tube access. This only delivers 60dB of maximum MC gain, but also adds a level of circuit purity and tonal saturation that others do not. The medium and low gain settings are 56dB and 52dB, handy if you have a high(er) output MC that ranges from .9mV to 2.5mV.

It’s slightly on the low side for something in the .25 – .30mV range, like a Denon 103 if you have a preamplifier/linestage with low to moderate gain. However, when feeding the Pass XS Pre and the conrad-johnson ART88 (in for review) we had no problems with lower output cartridges. And it’s a perfect match for an all PrimaLuna system. If you have a MC cartridge in the .4mV – .6mV range, you will be fine regardless. The EVO offers loading at 50, 100, 200, 500, and 1000 ohms for MC and two capacitance settings of 47pF, and 100pF for MM.

Many different system configurations were tried, however most listening was done with the Pass gear and Peak Consult speakers. While the EVO 100 lacks the ultimate level of resolution of the $10-$20k phonostages on hand here, (as it should) to coin an old audiophile cliché, they are only sins of omission. Yet dynamically, the EVO leaves precious little on the table compared to some of the industry’s finest thanks to the enormous power supply with tube rectification handled by a pair of 5AR4s and regulation from a pair of EL34s. It’s like getting out of a Carrera GTS and getting into a standard model 911. After about half an hour, you don’t really miss that extra 50 horsepower all that much.

I have to confess to not being much of a tube roller, but considering the luck I have had with PrimaLuna pre and power amplifiers, I’m guessing those of you that want to invest in some premium NOS tubes for this phonostage can probably wring even more performance from it. This is not to say it is necessary to enjoy the EVO 100, but the most fanatic among you can probably take it a click or two further, should you choose to experiment.

There was a time that almost four grand was crazy money for a phonostage. Today not so much, but for many analog enthusiasts this is still a major commitment of resources. To that effect, the EVO Phono is more than worthy of an Exceptional Value Award for 2023. I know I could live with one of these forever – and with shopping season around the corner, i still may purchase one. Highly recommended.

To get a better handle on how it stacks up to something much more in the same price neighborhood, I sent it over to Chris’ house for a while as he has been listening to the Modwright 9.0 SE (now with X mods) for some time. Here’s his take on the two.

Additional listening; Chris Harr

For several months, I’ve been thoroughly enjoying ModWright’s PH 9.0 phono stage ($3,500). So much so, I recently returned the unit to ModWright for the “X” upgrades (+$1.250). While the “X” mods are entirely positive, they don’t transform the PH 9.0 into an entirely different phono stage. For that reason, it seemed obvious to compare it to the $3,695 PrimaLuna Evo 100 Tube Phonostage.

For initial listening, the PrimaLuna Evo 100 Phonostage is paired with an Avid Volvere SP with a Kuzma 4 Point 9 tonearm. The phono cartridge selected is an Ortofon Cadenza Bronze modified by Andy Kim at the Needle Clinic with a boron cantilever and micro ridge stylus.  Listening to the Evo 100 phono stage, I’m quickly struck by a smooth, liquid and well-layered midrange while listening to Clementine on Halsey’s (Ashley Nicollet Fragipane) Manic album. Make no mistake, Halsey is a pop singer/songwriter of a special quality. Her voice carries a textured emotional depth and the PrimaLuna allows that nuance to be clearly heard. Contrasting overdubbed vocals emerge from a space behind the main vocal rather than blending with the primary vocal. The effect is haunting, in a good way, as though we’re hearing a bit of raw emotional desperation.

Later, listening to “Little Death” from The Beths’ debut album Future Me Hates Me, I’m greeted with the expected crystalline triangle-type sound at the beginning of the track followed by a rapid, light cymbal tap before the song transitions into wall of electric guitars over the top of galloping drums. The Evo 100 keeps the dense instrumentation well-separated and clearly placed in the soundstage.

Next, a ProJect X8 with a Nagaoka MP-200 cartridge (4mV MM) and Cardas Cygnus phono cable is plugged in to assess the PrimaLuna’s MM input. I found the overall combination to be excessively weighted toward the bottom octaves and relatively dark sounding overall. This same configuration is warm through the ModWright also, but very satisfying especially with recordings which tend toward being “hot” in the upper midrange and treble.

Finally, a Rega RP6 with a Dynavector 20x2H (2.8mV HOMC)is substituted. The sound is clear and well balanced, if not as intense as I was accustomed to through the PH 9.0. Overall, I am left with the impression that the Evo 100’s MM stage is best paired with livelier, brighter sounding MM cartridges. I’m sure some of this could be changed by a little tube rolling in the MM section.

My evening concluded by switching back to the Avid and listening to Phantogram’s Eyelid Movies. Phantogram recordings fall into a special category of electronic rock/dream pop with sequenced beats. They’re intense, fun albums but are far from being “audiophile” quality recordings. Despite the average recording quality, I was again struck by the smooth, textured clarity of vocals through the Evo 100.

While the majority of Phantogram’s songs are sung by Sarah Barthel, the occasional track is sung by guitarist and producer Josh Carter. His voice often falls back into the mix, lacking nuance. Through the PrimaLuna, he emerges in a convincing, textured manner not experienced before. Very impressive.

A major difference between the ModWright to the PrimaLuna is how differently they present dynamics. The Evo 100 builds from the bottom-up, whereas the ModWright builds top-down from a higher average intensity level. High frequency dynamic details emerge from the Primaluna, as though someone were turning up a dimmer switch in a darkened room. From the ModWright, the ambient light level is higher, and the color temperature changes instead.

The ModWright PH 9.0X presents dense rock and pop recordings in a stable, lively manner with tighter, punchier bass and equally extended low frequencies. Paired with the Focal Scala Utopia Evo’s powered by a Parasound JC5, The lower octaves and overall tonal balance are more satisfying through the ModWright with rock, pop and electronic recordings, the types of music I listen to most often.

To my ear, The PrimaLuna Evo 100 Phonostage is the warmer, more organic sounding phono stage, excelling at presenting a comparatively more layered midband, remaining unflustered when complex passes occur and remaining sweet in the top octaves.

An audition of the PrimaLuna would be easy to recommend, especially to vinyl enthusiasts who gravitate toward acoustic and vocal based recordings.

$3,695

Primaluna-usa.com

Not only did Rob Base and DJ E-Z Rock’s “It Takes Two” make hip-hop history, the 1988 smash and pop-culture staple espoused a philosophy that mirrors a long-held high-end audio doctrine: Separate components (two) reign superior over their integrated brethren (one), unless the latter commands a far, far higher price tag than the comparable pieces.

From a technological angle, the tenet remains difficult to argue. Two pieces of gear, each dedicated to a primary function in the audio chain and free of the compromises that often need to be implemented to merge preamplification and amplification duties under one roof, seems, on paper at least, to carry the day. What usually goes unspoken is that the arrangement generally requires more thought put into system synergy (especially when different brands are involved) as well as more money and more space. The audiophile industry also counts on such tradition to boost demand for associated categories—cables, interconnects, racks. After all, the more equipment you have to link, the more wire you’ll require, and the more shelves you’ll need. Everything adds up, and quick.

For decades, the approach has simply been accepted and considered the price of entrance. Like many assumptions, experience supported it—and the audio press and marketplace dutifully reinforced it. By and large, two (or, for everyone running dedicated mono amps, three) boxes offered a higher magnitude of sonic enticement than one-box affairs. But, in the words of Bob Dylan, times have changed.

Fueled by leaps in technology, the practicality of high-resolution streaming, and the limitations associated with small living spaces, listeners increasingly appear bent on simplifying their setup without sacrificing on sound. Akin to dialing up practically any album on your phone and wirelessly sending it in better-than-CD quality to your hi-fi, the prospect of marrying such accessible convenience with seductive fidelity faced myriad roadblocks not so long ago. As evidenced by the Luxman L-590AXII integrated amplifier—a model whose predecessor, L-590AX, TONE publisher Jeff Dorgay cites as one of the five of the thousands of audio products that have crossed his doorstep that he wishes he never let get away—those blockades have been eradicated.

They Still Make ‘Em Like They Used to Do

The co-flagship of the five integrated models in the manufacturer’s line, L-590AXII broadcasts its signature calling card by way of two amber VU meters—a color designation the brand reserves for high-current Class A designs. Whether you’re new to high-end audio or a dyed-in-the-wool aficionado, Class A remains the summit to which amplification technologies aspire. As with nearly every choice in life, the approach touts advantages and disadvantages. When it comes to next-to-zero distortion, even-order harmonics, and linearity, Class A rules with an iron fist. The drawbacks: Some designs run extremely hot and many tout efficiency on par with the gallons-per-mile consumption of a 1967 Lincoln Continental. Plus, Class A tends to translate into a higher price tag due to expenses associated with production.

At $9,495, the Japanese-made L-590AXII doesn’t come cheap. Yet even before you begin counting the dollars you’ll save on extra cables, the value proposition of L-590AXII becomes clear the moment you open its shipping carton. Ready to withstand the in-transit abuses thrown its way by UPS or FedEx, the 62.6-pound unit arrives triple-boxed. Unpacking it bestows the sensation of uncovering a series of Matryoshka dolls. Once you unwrap the protective padding from the amplifier, the stalwart construction of L-590AXII manifests itself. The old adage “you get what you pay for” transforms into “you get what you pay for, and then some more.”

Furnished with gorgeous steel and aluminum casework that extends to its bead-blasted, clear anodized finish and screw-free exterior, L-590AXII lures eyeballs with a thick top plate complete with a pair of vents for heat dissipation. The front panel continues the visual feast. The attractive VU meters, extremely responsive in operation, center an array that finds an input selector on the left and volume knob on the right. Riding above the bottom edge: A power button, small monitor button, six more selector dials, two more small buttons, and a headphone jack. In standby mode, a faint honey-colored indicator glows between the meters. When active, a powder-blue light blushes above the Operation button, an orange LED signifies the chosen input, and the meters prepare to dance. Consider the effect stately, not showy.

If you’re a hands-on type of person, know that it’s impossible to overstate the tactile feel of the silver-matted controls. They convey a confidence, prestige, and durability you only get from handmade craftsmanship and the implementation of premium-grade materials. Ironically, L-590AXII’s metal remote boasts similar solidity, But even it cannot replicate the sensation engendered by the panel. The differences go beyond the fact L-590AXII trades in metal rather than plastic or composite. They point to a faculty of command, pride, and authority, as well as the privilege of piloting a purpose-based component engineered for longevity and devoted to virtuosity.

Gumby-Like Flexibility

The guts of L-590AXII subscribe to the same vision. The integrated shares much of the tech instilled in Luxman separates, not the least of which pertains to version 4.0 of the company’s Only Distortion Negative Feedback (ONDF) circuit, a LECUA1000 computerized attenuator, and a discrete buffer circuit. In another nod to L-590AXII’s worth, all three also grace C-900u, the manufacturer’s $15,000 flagship preamplifier. And each involves complexities that underline Luxman’s pursuit of purity and naturalism.

In short, ONDF benefits from a fast slew rate, three-parallel push-pull structure with three-stage Darlington, and the advantages of an open-loop circuit—sans the latter’s instability and distortion. Short for Luxman Electrically Controlled Ultimate Attenuator, the LECUA1000 utilizes an 88-step amplifier circuit and three-dimensional layout that permits the substrates to be placed in a manner that minimizes all routes—and fosters resistance to external vibration. As for the buffer, it comes mounted on preamplifier circuit output stage to preserve signal integrity and enhance the power amplifier section’s drive.

Also on board: A high-inertia power supply circuit with a high-regulation large-capacity power transformer and big block capacitor of 80,000μF independently arrayed for instantaneous power and stability; a low-resistance speaker relay in which two contacts are connected in parallel, an order that leads to a damping factor of 320 (versus its predecessor’s 240) for remarkably vibrant music reproduction; and OFC wire, beeline construction, a loop-less chassis, and gradation cast-iron insulator legs.

Functionally, L-590AXII doubles as the equivalent of a five-tool Major League Baseball star. Four pairs of line-level RCA inputs, two pairs of balanced XLR inputs, tape/record jacks, and preamplifier out and main input jacks—allowing L-590AXII to serve as a standalone preamplifier or amplifier, should you choose to do so now or later—augment four pairs of Emuden speaker binding posts. Oh, and yes, a top-notch MM/MC phono input resides here too, as well as phonostage bonuses such as a subsonic filter and mono button, furthering L-590AXII as a jack of nearly all trades. The only implement missing from L-590AXII’s toolbox? A built-in DAC. Given everything else the integrated promises, and how it makes good on those pledges, it’s a moot point.

The versatility extends to the features anathema to many audiophiles: tone controls. Those of a certain age will remember graphic equalizers that in the 1980s were as ubiquitous as the power conditioners of the current era. Cut from a related cloth but superior in that they present no damage or manipulation to the signal, Luxman’s bass and treble controls offer the opportunity to finitely tailor recordings lacking in certain areas or fine-tune your overall setup. Akin to the attenuators found on many JBL loudspeakers, they can come in handy and beg the question of why a majority of high-end gear shuns their existence. Since no room sounds exactly like another, you can’t go wrong by at least experimenting. Or, you can just leave them alone.

It Can Handle the Truth

From a specifications perspective, when taking into account its rated 30Wpc output into eight ohms (60Wpc into four ohms), the appeal of L-590AXII appears to dim. Many listeners in the market for an amplifier key in on one figure and one figure alone: watts per channel. It’s understandable. Over time, manufacturers have groomed audiophiles to associate herculean output numbers not only with fidelity, but necessity. L-590AXII, and other likeminded Class A products, tosses such logic out into the alley. A caveat: Should you own less-efficient speakers (say, anything below 88dB sensitivity, with 90dB a preferred cutoff), consider instead one of Luxman’s Class AB models, like the 120Wpc L-509X, previously reviewed in TONE.

But, if your speakers don’t require a miniature power plant, L-590AXII stands to school you in how engaging, powerful, robust, gorgeous, and dynamic 30Wpc can sound (and feel). Using it to drive a pair of Klipsch Cornwall IV towers (102dB sensitivity rating)—and matching it with a Feickert Woodpecker turntable with Ortofon Cadenza Bronze cartridge, dCS Bartok DAC, and Oppo BDP-105 universal player—proves positively electric.

Out of the box, L-590AXII performs ably. Once it registers 200-300 hours of break-in time, it finds another gear. And while touching the top of the unit after hours of operation might mirror the wisdom of Flick sticking his tongue to a frozen flagpole in A Christmas Story, L-590AXII runs warm, not broiling, thankfully avoiding the face-melting heat generated by many of its ilk. Also, while some audiophiles may opt to leave L-590AXII powered on for days on end, it reaches top speed from standby in only about 20 minutes. Translation: Be green, save on your utility bill, and shut it down when you’re done.

By the same token, plan on extended listening sessions. L-590AXII renders program material with ravishing degrees of spaciousness and body. It may not have a single tube inside, yet it plays with the corresponding warmth, body, and sweetness of its valve brethren—and without the latter’s regular hassle and finicky disposition. Machines lack emotions, but that doesn’t mean they cannot impart emotionalism to art, exactly what happens every occasion L-590AXII processes a signal. If your preferences lean towards fullness, naturalism, and roundness, and you can stand to sacrifice a hint of clinical precision and forceful slam for beguiling tonality and involving personality, L-590AXII walks your talk.

The Luxman also knows control. Challenged with a complex piece or invited to untangle knots of information, it does so without blinking. Its trademark faculties—nuance, detail, depth, weight, grip, taut bass, punchy mids, resolved highs—hold tight. Whether tested with Lana Del Ray, Bob Marley, Staple Singers, Beyonce, Judas Priest, Allen Toussaint, Accept, Leonard Bernstein, Andrew Bird, Megan Thee Stallion, Missy Elliott, Outkast, Cheap Trick, Eric Clapton, Charley Pride, Bob Mould, or Bob Dylan, L-590AXII possesses an uncanny knack for presenting the air and space around  instruments and vocals—to the extent they exist on the actual recording. L-590AXII knows where things go, assembles multi-dimensional soundstages, and helps makes music reflect live properties. The results beckon you to experience more of the recording, more of the producer’s and artist’s aims. Want truth and perspective? Come and get it.

Just as impressively, L-590AXII never sounds forced or dry. It handles graceful, delicate passages as masterfully as those prone to explosive swings or Marshall-stack potency. Fast and nimble, rich and fluid, L-590AXII conjures an overused audiophile term—effortlessness—by way of its top-shelf-whiskey smoothness and mediation-like ease. Speaking of the latter, L-590AXII’s fanciest magic arguably relates to how loud it can go without any hint of strain, harshness, glare, or distortion.

While the Cornwall IVs play a major role in the equation and harbor ridiculous power-handling abilities, L-590AXII seemingly knows no decibel boundaries. Importantly, the combination doesn’t just do loudness for loudness’ sake. Besides, achieving such a goal isn’t tremendously hard but will sound horribly unpleasant. Instead, the difficulty for any hi-fi lies in playing at booming volumes where the clarity never suffers, where the volume doesn’t ever seem deafening, and where cranking it up edges you closer, closer, and closer still to the kind of system—big, involving, transparent, crisp, vivid, sonorous, direct, in-your-chest present—you dream of encountering at a rock concert.

Built to perfectionist-minded standards and wearing a badge that in the United States still lacks the household recognition of other luxury brands—meaning you both benefit from not paying an extra premium just for a nameplate and leverage the audio expertise of a company with a 95-year history, with its first integrated dating to 1961—L-590AXII can take you there. And rest assured you’ll still have plenty of road to travel on that volume knob, which you might never twist past the two o’clock position. If the prospect of such excitement, enlightenment, fun, and involvement doesn’t grab you, you should probably find a new hobby.

Luxman L-590AXII

MSRP: $9.495

luxmanamerica.com

Peripherals

Analog Dr. Feickert Woodpecker turntable with Jelco tonearm and Ortofon Cadenze Bronze cartridge

Digital dCS Bartok DAC and Oppo BDP-105 universal player

Speakers Klipsch Cornwall IV

Cabling Shunyata Delta interconnects and power cables

Power Shunyata Hydra Delta

Additional listening – Rob Johnson

While I love my reference tube amp, preamp, and phonostage, I prefer to savor them at those times when I’m sitting down and actively listening to music. To me, there’s just no sense in burning through expensive or NOS tubes for background music while I’m working. Therefore, the idea of a solid-state integrated amp, complete with a phonostage and headphone amp, offers an incredibly appealing proposition.

After spending time at local Luxman dealer, Pearl Audio, listening to the L-590AX MkII – and borrowing one owned by a good friend to audition at home – I was smitten with it. I purchased one too. Not only is the build quality and finish superb, but its smooth and beguiling sound is also perfect for all-day, fatigue-free enjoyment. While I initially worried about a 60 watt-per-channel (4 ohms) Luxman providing enough juice for my GamuT RS3i speakers, that concern faded quickly after a few minutes of playback.

Yes, my reference tube components do exceed the Luxman’s prowess in some ways. At more than double the L-590AX’s price, they better! However, those nitpicky quibbles do not leave me longing for “more” while listening to the L-AX590 MkII. I’ve found the Luxman’s exceptional sound and versatility place it among my favorite audio components ever. It’s perfect for those seeking to simplify their audio systems without compromising sonics. Just add the analog or digital music sources of your choosing, sit back, and enjoy.

Today, there are many great-sounding pieces of gear built by relatively new companies. However, I’ve had experiences where more exotic equipment I’ve owned failed for one reason or another. With electronics, it just happens sometimes. But, in a couple of cases, it took months for the manufacturer to complete my repairs. The hallmark of a renowned brand like Luxman is not just in its ability to design and build marvelous components, but its customer service should a problem arise. Given Luxman’s legacy of 90 years in business, I know I’m in good hands.

More Additional listening – Jeff Dorgay

The most rewarding part of this job is when A: people actually listen to what I have to say, and B: when the advice proves excellent and the end user is happy with the results. Then, I have done my job correctly.

Bob Gendron and I had many conversations about him wanting to streamline his hifi system, yet not lose any performance. I tried to convince him that going to the L-590AXII would actually be a step up from what he was currently using. A tall order to be sure. “Are you sure, are you absolutely sure?” Man, we had about 20 of these conversations. I was starting to feel like Yoda arguing with Luke Skywalker in a swamp. I told Bob the same thing I’ve told countless (now) Luxman owners – the (last generation) L-590AXI was an amplifier that I’ve always regretted selling. A lot like my 87 Porsche 944 Turbo. The level of performance and style is off the chart for the price asked.

On phone call number 21, I drew the line in the sand. I told Bob that if he didn’t LOVE the 590AXII, I would buy it back from him and pay the shipping. “It’s really that good?” Yes it is. Needless to say, you’ve read his copy and he’s still thrilled with the amp. Now that Rob Johnson and his friend (along with about 6 other TONE readers since) all have 590s, it’s time for me to get another one.

As for Rob, the phone call started with a suggestion for a good friend of his. We had a similar line of conversation, but as I didn’t know if I’d be buying Bob’s 590, I couldn’t make the same money back guarantee on this one. Fortunately, his friend was equally smitten, which led to his loaning it to Rob for a weekend and convincing him in a similar manner.

The L-590AXII is one of those rare components that offers performance way beyond the sum of its parts. If you sat at a chair blindfolded and someone told you were listening to $40k worth of separates, you’d believe them – and that’s not just me using the force on you. I’ve reviewed the flagship Luxman pieces, and while they offer more power and more ultimate resolution, the 900 series amplifier only plays in class-A mode to about 12 watts per channel. At modest volume, with my Sonus faber Stradiveris, which are fairly efficient (92dB/1-watt sensitivity) it’s tough to hear the difference. Of course if you want the flexibility of separates, and need the power, you’ll need the separates.

Personally, much as I love everything else about the 590, I really love the phono section, (and the tone controls!) especially with a Denon 103r cartridge. The level of performance is incredible – it’s dynamic, quiet, and resolving. One less set of interconnects and power cord less to buy, and unless you are in the $5k-$10k cartridge club, you may find this is all the phonostage you ever need.

In the end what truly makes the Luxman L-590AXII an incredible product, and one of the few pieces of gear that I’ve talked more friends into buying than almost anything else is the level of balance it offers. Much like a sports car, if you have more stop than go, or more go than handling, or more performance than reliability, the exercise fails. The Luxman L-590II takes the systematic approach to perfection. No one section of this amplifier leaves performance on the table at the expense of the other. And, together, this amplifier gives those of you wanting a money no object, mega performance system on a reasonable budget a bigger helping of that than anything I’ve yet encountered, especially if you want on-board phono instead of DAC.

The Luxman L-590AXII is not just an Exceptional Value, it is one of the best values in high end audio in my book. #toneaudioapproved.

So, it’s time to shop for new speakers.

You set up your wish list of characteristics; Something that can sound great at both high and low volumes, Crystal clear high’s, solid low end, midrange with excellent clarity and accuracy, something that images like crazy, build quality that can last a lifetime, no sun fade, a speaker that can rock out for any party, a speaker that will let high rez files shine through for critical listening and, oh yes, your budget tops out at around $1,000, maybe a little more. Nice wish list. How close can you get these days to a speaker giving you everything you wished for?

Well, you must be quick on the order button and pay attention four days per year. The speaker is the Zu Audio Omen Dirty Weekend. Available to order only four days a year on the first day of each quarter, they sell out fast. Within a day kind of fast. But as I found out, it was worth the wait.

Get out the checkbook

Zu Audio does not provide review samples for the reviewer to request. Get in line with everyone else and wait. After attending numerous after hours events at various audio shows, I was willing to get in line. My choice of upgraded capacitors and Sangria Maple finish meant the final cost would be closer to $1,700 and a three month wait. Keep in mind the base hickory finish and standard caps will run you about $1,100 USD. The Dirty Weekends get about 600 hours of break in at the factory, so when they arrive, the heavy lifting is done. Unboxing and setup are straightforward – installing the footers is an easy task and necessary to provide breathing room for the downward ported main driver. Don’t skip this vital part of setting the Zu’s up.

Build quality on the Dirty Weekends is exemplary. This is furniture grade woodworking and finishing. Sean Casey, Zu Audio’s Founder, indicates they are built for a lifetime of use. You may need to swap out capacitors after a decade or two, but they are indeed built for the long haul. Amazing craftsmanship for $10k, but remember these start at $1,100/pair. Adding them into the system I hooked them up the Audio Research REF160S and REF6SE amp and preamp that were in for review. Source was the PS Audio DirectStream DAC and Memory Player. Vinyl was courtesy of the VPI Prime Signature with Ortofon Cadenza Bronze MC cartridge and the Moon 610LP Phono-Pre. Speaker Cables were the Silversmith Audio Fidelium’s. The DW’s are an easy load to drive at 12 Ohms so the Audio Research REF160S at 140 Wpc was way more than necessary to power them. Now you may ask do you need audiophile reference level electronics to pair with these speakers. No, but it was fun to try the combination!

Queueing up Fleetwood Mac’s Tango in the Night on vinyl, the first track, “Big Love,” the first thing I noticed was how crisp and precise the presentation was. Lindsey Buckingham’s finger style guitar work was direct and immediate. Fingers on strings were tight with the pluck of the string being clear with a delicious sense of realism. Mick Fleetwood’s drums had the well-defined attack you expect from a live performance. The song displayed excellent imaging and spatial boundary. It was a beautiful experience that presaged good times ahead with the Omen Dirty Weekends.

Moving to a digital source I chose The Talking Heads Stop Making Sense soundtrack and “Life During Wartime.” This was a specific choice as I had heard the song at one of the after-show parties as well as having heard the song live at Northrup Auditorium on the University of Minnesota campus in 1982. That was a great concert and while there I expected the balcony to come down as everyone was jumping during that song. The DW’s rocked the man-cave as I cranked the song and let the live recording loose. The energy was powerful, and the song soared. The jumping afro polyrhythms filled the room with a dynamic syncopation framing David Byrne’s vocal. It was a total blast and revealed the trade secret that Zu Audio brings to your listening room, fun! These speakers are flat out fun. Three cubic feet of party in a box.

So, I was now convinced that the DW’s would not embarrass themselves connected to $75k of gear. I had disconnected my Vandersteen Quatro CT’s to move the DW’s in. I now changed out the reference electronics for something closer to the Zu’s price point. I added in a Luxman CL-38uC tube preamp and MQ-88uC class AB tube amplifier that ran 25 Wpc. At $6k USD each these mid-level Luxman pieces are outstanding, and boy did the Zu’s like them! Staying in the vein of fun, I went to Roon and called up Oingo Boingo’s 1985 song, “Dead Man’s Party”. If this song does not get you dancing around the room at high volume, I don’t know what will.  This song has great guitar and a solid bass line that drives the tune on. It also features a great brass section. I love brass, however, at volume on a stereo they can be harsh and strident with poor quality speakers that are being pushed. The DW’s offered up high volume trumpet and trombone with the clear and correct ring of brass. At no point were the instruments distorted or harsh. Peals of tone were strong and clear. It was a great display of sonic execution that I greatly appreciated.

So, what about vocals? I moved on to Dave Matthews and Tim Reynolds Live at Luther College. “Deed is Done” has the boys’ guitars working a brilliant tandem while Dave sings. His vocals are clear and immediate as a live album should be. Imaged perfectly not only centered but with a three dimensionality that gave life to the live recording. Guitar strings are plucked and strummed and offered up that live performance feel that separates a studio recording from an event. This is a key point with the Omen Dirty Weekend speakers. If the recording has in it the ability to convey real, the DW’s will bring it. When I first heard “it” (That real sound) during some additional break in time, I did a double take. I have never heard a speaker at this price point nail “Real” the way these do.

Female vocals are also superb. An afternoon listening to Dominique Fils-Aime’s Nameless album proved the Dirty Weekends were more than up to lower volume and nuance.  Critical listener’s will be well served with these astonishing speakers. Everything I tried with them worked. You get the idea from the Zu Audio website, but I spoke to Sean Casey directly about the “entry drug” purpose of the Dirty Weekends. He agreed the hope is after experiencing them you will want to see how far down the Zu Audio rabbit hole you may want to go. Zu Audio will give the buyer a full year full value on trade-in to move up the line. The fact that a company will stand so proudly behind its entry product speaks volumes about what the customer will receive up the line. I encourage anyone in the market for new speakers to take a chance and place an order. At 36” high and 12” square they are easy to place and very forgiving on placement. At 54 lbs they are easy to move and at $1100 they will not break the bank. What is not to like? I recommend getting in line for a pair asap. You will be glad you did.

Additional Listening: Jeff Dorgay

A funny thing happened in the checkout isle. Eric had originally purchased the DWs above, but in the course of his excellent review, decided to make a change in his listening room priorities. We’ve all done it. Being that his pair already had the upgraded finish and caps, I was more than happy to take them off his hands, and back to Washington, the Zu’s flew.

Eric has done a fantastic job describing his experience with the Zu’s and I concur. However, don’t think you need mega gear to enjoy these. While I’m currently using them with the Line Magnetic 805 amplifier we reviewed here, these speakers are one of the most accessible ways to a great system, period, end of story. Going the complete budget route, four highly accessible amplifiers did a cracking job with these speakers. Adding your favorite turntable, DAC, or streamer will have you styling for under $2,500.

Going the vintage receiver route is my first choice. A Pioneer SX-525, Marantz 2215/2220, or Harmon/Kardon 330 will give you 15 or 20 great watts per channel, and that’s all you need to rock with these speakers. Most of these can be picked up for a couple hundred bucks, and re-capped by a pro for a couple hundred bucks more. If you’re a DIY kind of audio enthusiast, way less.

Those wanting a vintage tube sound need look no further than a Dynaco SCA-35 integrated. 18 watts per channel of EL84 power and a decent on-board phono stage (not to mention a tape head preamp) also will provide an incredibly rich musical experience. A nice one, even with a full refresh can still be had for under a thousand bucks.

In the 60s a number of Japanese auto executives came to America to see how we built cars. You know the rest of the story. Perhaps some of the big speaker manufacturers should visit Zu. They do it right. The level of excellence that Zu offers at this price (and I realize that they are making precious little on DWs) is unbelievable. Nothing else I’ve experienced in 40 years of hifi offers up this much music. For many, this is the only speaker you’ll ever need. It’s beyond cool that Zu makes these available four times a year.

A few months later, I’m still totally flabbergasted with these speakers. Big thanks to Bill Griffin, creator of my favorite existential pinhead for conveying my thoughts perfectly!

www.zuaudio.com

Magic isn’t always where you expect it, and sometimes conventional wisdom suggests trying combinations that you might not think will impress.

The deep synth-bass line in Jerry Harrison’s “I Don’t Mind,” (from Casual Gods) has a rock-solid foundation, anchoring Harrison’s blazing guitar bits, as the backing vocals dart in and out of his lead vocal. Even as this class-A amplifier is warming up, the sonic landscape it renders is large, becoming extra-large in about an hour. Those wanting a super-size drink will have to shell out the extra $3,000 for the larger L-590AXII, which offers a bigger power supply and 30 watts per channel into 8 ohms, vs. 20 per channel for the L-550AXII. But this is damn good.

Leaving the music selection to the ghost in the machine, ROON drags us from Jerry Harrison, through Adrian Belew’s “Oh Daddy,” to Thomas Dolby’s “Nuvogue.” Again, the complete trippiness of these selections and the ones that follow bring us closer to a super-sized presentation after all, with the 550 opening up a bit more as the clock gets closer to the two-hour mark. Though it might rub your green sensibilities a little bit the wrong way, to get maximum enjoyment from your 550, consider turning it on at least an hour before you are ready to begin serious listening. Then take a 60-minute walk and return. Now, don’t you feel better?

Coming off a fresh viewing of the new Bee Gees’ documentary on HBO, the Gibb brothers talk about how one of the keys to their sound, is their alternate lead vocals, and the interaction of their voices as a sole instrument. Even if you’re not a Bee Gees fan, you probably have a few of your own examples of this kind of vocal styling. This is the kind of aural workout that instantly reveals the delicacy that the Luxman class-A amplifier offers. The classic “How Can You Mend a Broken Heart?” does the job nicely, resolving the differences between each voice, rather than just blending them together as one big, fat voice. Subtle but great.

The dollar per watt quotient

You might be thinking $5,995 for a 20-watt per channel integrated amplifier is crazy talk. Yet, in light of amplifiers from Audio Note, Wavac and a few others, the Luxman is a steal. Another competitor, albeit from the same manufacturer is the $7,995 LX-380 tube integrated, also delivering 20 watts per channel. We’ve been promised a review sample is in the works, so this will also be an interesting comparison. But a tube amplifier is a somewhat different game.

The L-550 AXII can be summed up in one word – refinement. Everything about this amplifier, even the packaging is refined, and thoroughly executed. Many in the audio industry like to push the luxury goods moniker around, yet few components display the density of thought and the level of attention that Luxman bestows on their products.

Grated, some may be drawn towards the glowing bottles anyway, and that’s just fine. But if you’re the kind of music lover that would like 95% of the tube sound with none of the tube hassle, the 550 is the one you want. Whenever I’ve had a Luxman Class A integrated here to audition, it’s always the same hamster spinning around in my head – those last few molecules of airiness, or freedom from hunting for tubes, and agonizing over the tube choices I’ve made. Get off the rollercoaster, life is short. Forget those demons telling you that there’s no happiness with a solid-state amplifier.

A few quick comparisons

This is also a level of performance that will have you questioning the tube thing. A lot of time was spent comparing this amplifier to the Conrad-Johnson CAV 45S2. Though similarly priced, the C-J has no phono stage, no coolio output meters, and no tone controls. The glass bottles still offer a slightly more spacious presentation, but the Luxman is a quieter amplifier, with more bass control.
Pushing play on the St. Vincent/David Byrne collaboration “Who,” sets me back in the chair. Nope, tubes just won’t do that. Going back to bass heavy favorites from Aphex Twin and Kruder & Dorfmeister underline this line of thinking. This is a big part of what you’re paying for. Sure, you can get a 100 watt per channel amp from someone else for half the price of the 550, but it can’t reproduce music this. It won’t have the finesse and delicacy that this amplifier possesses. Do you want a medium sized glass of awesome or a super-size cup of mediocrity?  Think about this as the inception thought burrows in your head. Add tire and suspension choices to this kind of thing, and you know you know why I rarely sleep.

Deliberate functionality

If you’ve had the opportunity to spend any time in Japanese culture, you quickly see how everything in their world is done with purpose. This level of mindfulness permeates every aspect of the 550. At first glance, you might think the tone controls are a frivolous addition, yet they are so gentle and inconspicuous, the first time you give in and reach for them, you’ll find yourself unable to live without them. Audiophiles be damned, they work. What do you think a great mastering engineer does?

An equal level of attention is paid to the phono section and the headphone amplifier. Everything has an equally high level of performance. The MM/MC phono is dead silent, with the only drawback being fixed loading at 100 ohms. Both the Kieseki Purple Heart mounted to our Luxman PD-171 table, and the Denon 103r currently in a Technics SL-1100/SME 3009 work brilliantly, offering dynamic analog playback.

At first, you might even find the speaker selector switch unnecessary. For some of you it might be, but being in the middle of a speaker roundup, it made A-B comparisons effortless. Audiophiles enjoying more than one speaker setup will find this all too easy to get used to.

Around back, in addition to the phono input (MM/MC is switchable via the front panel), there are four RCA line level inputs, along with one XLR line level input, full tape in and tape out jacks, along with pre in and main out jacks too. The Luxman site mentions that the 550 shares the same attenuator circuit with the higher priced Luxman amplifiers and a number of overall upgrades from the original 550. You can read all of the details here at the Luxman site. It appears that the major difference between the 550 and the higher-powered L-590AXII is a smaller power supply and output stage in the 550.

Back to the sound

I must confess a bias toward Class-A solid-state amplifiers for all the above mentioned reasons. As much fun as tubes are, these devices are always in a state of degradation from the day you plug a fresh set in. Evaluating gear day to day, makes the consistency of a solid-state amplifier so much easier to deal with, though I still entertain tubes when there is no deadline on the horizon.

A comparison to the $7,500 Pass INT-25 we have on hand, which comes in right between the L-550AXII and the $8,995 L-590AXII is incredibly interesting, as the Pass amp has even more of that tubey delicacy, and is more resolving in fine detail. Taking a cue from Stereophile’s Herb Reichert, I brought out my Line Magnetic LM-805iA SET amplifier for another data point. On one level, this just brought out more confusion, as all of these amplifiers are fantastic, yet in different ways. Honestly, I could live with either of them.

While some might be averse to having an onboard phono stage, I’d really prefer that to an onboard DAC, because that technology is still changing. Today’s DAC performance will probably be eclipsed at the same price point in ten years, but a great phonostage will never go out of fashion.

If I had to have every last drop of resolution, I’d probably buy the spendier Pass amp. If I couldn’t live without the last bit of inner detail of the SET, I’d probably buy the Line Magnetic. But what makes the Luxman a perennial favorite, is that it’s the best all-rounder, wrapped in the most refined casework. 20-30 watts will only go so far, but if you have the right speakers it’s all you need.

Just as I thought this review was finished, as I wrote the above paragraph, the Zu Audio Omen Dirty Weekend speakers (97db/1-watt sensitivity) arrived. Putting those in the system was some of the most fun I’ve ever had listening to music, giving the Luxman amp so much reserve power, it made for an incredibly dynamic combination. Time to bust out the hair metal tracks. I won’t bore you with the fine details, but the Zu and Luxman combination is one of the best party machines going.

When the L-550AXII first arrived, we still had the $149,000/pair Focal Stella Utopia EM speakers in place and their 94db/1-watt sensitivity also made for a great party machine, with those big field coil woofers. However, this might be a little overkill, but it worked wonderfully. The 550 had plenty of LF control and HF resolution to make a great showing with the massive Focals, though for some reason we were playing a lot of hip hop then.

An excellent anchor

Regardless of what ancillary components you prefer, if you would like to build a $10k – $50k music system of very high quality, and you are a music lover that tends to hang on to your gear, this is an amplifier you will never tire of. Just add speakers, a DAC, and your favorite turntable. Off you go.

The Luxman L-550AXII Integrated Amplifier

MSRP: $5,995

www.luxmanamerica.com

Peripherals

Digital Sources dCS Vivaldi One, Luxman D-03x

Analog Sources Luxman PD-171, w/Kiseki Purple Heart, Technics SL-1100/SME 3009, w/Denon DL-103r

Speakers Focal Stella Utopia EM, Sonus faber Stradiveri, Eggleston Nico, Dynaudio Confidence 20, Zu Audio Dirty Weekend, Focal Kanta no.1

Cable Tellurium Q Black, and Black Diamond

Watching the delicate power level meters bounce to the rhythm of Led Zeppelin from across the room, Yamaha’s A-S3200 serves up an experience that is as visually engaging as it is sonically engaging.

Maybe it’s just being of a certain generation, but backlit power meters are fun. Whether you were there in the beginning, when Yamaha receivers were very popular, or getting on the bus for the first time, the level of design execution this amplifier offers is luxurious in every way.

If you have six to ten thousand dollars to spend on a premium integrated amplifier, there are some fantastic choices – both solid state and with vacuum tubes. For argument’s sake, let’s assume you aren’t interested in being bothered with replacing tubes and would like to stick with solid-state for now. Still plenty of choices. Yamaha’s A-S3200 is at the top of their range, and with an MSRP of $7,500 offers power, performance, functionality and style.

Flexible like Gumby

In the tradition of Japanese integrateds from the 80s, the A-S3200 offers a wide range of function, while still offering a level of sonic performance that will make even the fussiest audiophiles happy. With a pair of balanced XLR inputs, four RCA line-level inputs and a switchable MM/MC phono input, you’ll never be at a loss, even if you have a couple of tape decks.

As the A-S3200 features balanced circuitry throughout, close comparison reveals a slight performance edge to using the balanced inputs if you can. It’s not night and day, slap you in the face different, but back and forth comparisons between the two, the balanced inputs communicate more spatial information and delicacy.

If your choice of music is primarily rock, pop, or anything heavily produced, it might just pass you by. Attempting to keep it real for everyone, a long string of VanHalen, and Billie Eilish tunes were played, with no real difference discernible. Both the dCS Vivaldi and Luxman D-03x players were used with a set of 2-meter Cardas Clear Reflection cables – XLR and RCA, in the effort to keep it as apples to apples as possible.

However, switching the faire to some light classical, with an old copy of the Netherland Wind Ensemble’s performance of Beethoven Wind Music, Octet Op.103, reveals slightly more air and delicacy around these instruments when utilizing the balanced inputs. Likewise, for Michael Hedges guitar classic, Aerial Boundaries. With this record, leading and trailing transient edges have more attack. It won’t drive you to madness through the RCAs, but it is enough of a difference, that you won’t be able to un-hear it if you have the opportunity. Ah, the life of an audiophile.

Mega functionality

In a nod to the golden years of audio (i.e. the late 60s to early 80s), the A-S3200 has plenty of inputs as mentioned earlier, a front panel headphone jack, and incredible flexibility. The headphone amplifier features a trim control with -6, 0, +6, and +12db output, making transitioning from phones to speakers more comfortable. We did not spend a ton of time listening through phones, but a random sampling of available phones produced more than acceptable sound. A nice touch for the occasional, but not obsessed headphone user.

Two sets of speakers are able to be accessed via the front panel, which is incredibly handy, and tone controls. That word. Vintage amplifiers often had fairly intrusive tone controls, but the A-S3200’s controls only affect extreme treble and low bass, making them very good at making up for deficiencies in recordings, or a slight adjustment in room response. Those coolio meters mentioned at the beginning of the review can be set to respond more like traditional, weighted VU meters, or peak indicators. Normal, dimmed, and off allow you to adjust the lighting to your taste and mood too. Some purists will want them off, but why?

MM and MC

Handily, cartridge gain for MM or MC cartridges can be adjusted from the front panel. MM loading is the standard 47k, but MC is only 50 ohms. This will make cartridges needing loading between 200 and 1000 ohms sound slightly dull and lifeless, so if you don’t have a cartridge in this range, plan accordingly on your purchase for the best vinyl performance.

Rega’s Apheta performs brilliantly loaded to 50 ohms, and the Denon DL-103r also turns in a great performance between 50 and 100 ohms, the Yamaha proves a fantastic match. The Kiseki Purple Heart, also available for a test run, (and normally loaded at 400 ohms) loses enough sparkle that it is not recommended with the Yamaha’s built-in MC section, but there are plenty of cartridges that work well around 100-ohms, so there are still plenty of choices.

This phono stage is no afterthought, with all discrete components in the gain and EQ stages, and it turns in a level of sonic performance that we’d expect out of an outboard phono stage in the $1,000 – $1,500 level.  Best of all – you won’t need another set of cables. With this level of performance, this is a phono stage that a beginning music lover can be happy with, starting with a budget table/cartridge combination, yet have enough performance to keep you happy, should you upgrade your table, and start looking at $400 – $1,500 cartridges. The overall sound is neutral, dynamic and quiet.

The argument is often made that an integrated amplifier should contain a built in DAC, and while this is certainly the choice that some manufacturers make, phono stage technology does not become obsolete in the way digital technology does. Which brings up the DAC or DAC/streamer argument. This will probably be the big question you will have to answer before plunking down your credit card – would you rather have a very good phono section on board, and upgrade your DAC as times change, or potentially have an outdated onboard DAC 5 years from now? As Dr. Seuss says, “you’ve got brains in your head and shoes on your feet.”

Plenty of power

Yamaha claims the A-S3200 produces 100 watts per channel into 8 ohms, and 150 watts into 4 ohms. This has incensed some of the internet know it alls, claiming it can’t possibly be robust enough, blah, blah. However, those of our colleagues that take measurements, found this amplifier to produce between 170 and 180 watts into 4 ohms. Unable to bring myself to pry the gorgeous casework apart, as you can see from the supplied photo, there is a massive power supply under the cover of this amplifier. And it’s nicely built too – with an incredibly thick copper sub chassis to help with vibration and noise control.

As we are working on a speaker issue, more than the usual compliment of speakers are in the studio to audition with the A-S3200. With 100 watts or so per channel at our disposal, there are no issues driving a range of speakers from Dynaudio, Gershwin Acoustics, Acora, Penaudio, Sonus faber, Focal and Totem. We even tortured it a bit with the old Acoustat ESL’s – if anything will trip an amplifier up, it’s these. While Magneplanars are typically inefficient and power hungry, the old ESLs present a highly capacitive and complex load. Again, there was always enough range at our disposal to play music as loud as we wanted to without issue.

All of the speakers on hand were sensitive enough that we could not drive any of them to clipping in the 12 x 18-foot room used for nearly all of our test listening. This amplifier paints a large sonic landscape providing substantial bass drive and control. With the Focal Stella Utopia Ems still here, we could confirm that the Yamaha not only goes deep, but does a splendid job at controlling those big woofers when required.

The overall sonic character of the A-S3200 is ever so slightly on the warm side of neutral. Where the Class A offerings from Accuphase, Luxman, and Pass integrated amplifiers have a decidedly more saturated sound, the A-S3200, being Class AB, the Yamaha is a bit more neutral tonally. This isn’t a terrible thing.

Final notes

Yamaha’s A-S3200 is a flawless performer. This product is even more stunning in person than our photos or the ones from Yamaha suggest. This is a quality product in every way: great sound, rock-solid build, fantastic execution. The level of sonic quality on tap with this and a few other excellent choices in this price range is staggering compared to 5 or 6 years ago, when most audiophiles would have turned their noses up at the suggestion of a single box doing everything. All but the most obsessed can live happily ever after with the Yamaha A-S3200.

There is one thing to take serious note of, should you buy an A-S3200 for yourself. The idea of component break in is somewhat contentious, and anything dreadful out of the box doesn’t transform into wonderful 1000 hours down the road. These aren’t butterflies. However, the A-3200 is slightly dry and stiff sounding out of the box. Not a deal killer, but after about 200 hours of continuous play, it opens up tremendously. Further than I’ve experienced with other solid-state amplifiers, which makes me wonder if my test unit was up on a shelf in a warehouse for some time before it made its way here. So, my only suggestion is that when you take delivery on your A-S3200, give it a couple of weeks play time before you judge it completely.

This amplifier is towards the top of its range if you have no plans for analog, yet at $7,500 if you have analog ambitions that are somewhere in the neighborhood of a $750 – $4,000 table/arm/cartridge combination, the A-S3200 is an excellent value.

Usa.yamaha.com

Peripherals

Digital Source Luxman D-03x Disc Player, Naim 555/PS555 streamer, dCS Vivaldi ONE

Analog Source Technics GAE-1200 table/Denon 103r cart, Rega Apheta 2 cart

Cable Cardas Clear Reflection (speaker and interconnect)

Speakers JBL L-100 Classic, Eggleston Emma 2, Focal Stella Utopia EM, Focal Kanta no.1, Sonus faber Stradivari, Harbeth C7-ES3

Back in the late 1970s and early 80s, Japanese hifi manufacturer Rotel was one of the top value proposition audiophile brands. Though not possessing quite the cache of top brands like Mark Levinson and Audio Research, many a budding audiophile brought home a Rotel RA 913 or RA-2030 integrated amplifier to start their journey into the high end. Their products have always offered high build quality, a clean design aesthetic, and most of all, great sound.

Rotel has never left the audio world, but has always had somewhat of a quiet legacy, going about their business building great gear. However, in the last five years or so, they’ve been making a bit more noise so to speak, and their latest products retain all of their key values.

They join us here with two models that celebrate the current rebirth of the integrated amplifier, the standalone CD player, along with the recent passing of audio legend, Ken Ishiwata. Long known for his relationship with Marantz, Mr. Ishiwata was the most well-known of Japanese hifi designers, and always a joy to engage with at hifi shows. He was somewhat of a creative director, taking designs, listening carefully, and making suggestions to improve them further.

Unfortunately, Mr. Ishiwata passed away right before the completion of the Tribute models, but the Rotel team implemented his suggestions in the final designs, a real testament to his legacy. Even a quick listen out of the box shows that these are indeed special components, well within reach of any music lover.

The Rotel A11 and CD11 Tribute models from Rotel are the last two pieces of audio gear to bear his imprint, and like everything else he’s had a hand in, are fantastic. At $699 and $499 respectively, this 50-watt per channel integrated amplifier and compact disc player go about their business in an understated way. If you need a plethora of inputs, outputs and functionality, this may not be the combo for you, but if you want the core for a straight-ahead system that delivers the sonic goods, read on.

More than enough power

Most small to moderate space dwellers should be just fine with 50 watts per channel, and lifting the top on the A11 reveals the necessary ingredients: a hefty power supply with big power transformer, a discrete, class AB power amplifier, complete with heat sinks, and enough control facilities to add a turntable, CD player, and tuner or tape deck.

The A11 has an onboard DAC, featuring a Texas Instruments chipset, it is only a Bluetooth streamer, with no optical or SPDIF inputs. The CD11 CD player provides both an anlog RCA output as well as a coaxial output. This is the only shortcoming of what is an otherwise excellent pair. As good as their performance is, it’s a shame you can’t plug a laptop or budget streamer in to increase the functionality of these two excellent components, but it’s understandable that Rotel drew the line in the sand here.

Half of our listening was done with our reference pair of Sonus faber Lumina 1 speakers, while the rest was split between a pair of Martin Logan Motion 15i’s, the Golden Ear BRX’s, and Totem Sky’s. All excellent choices in the $600 – $1,600/pair range. There were no anomalies with any of these small speakers, and we’d suggest any one of them.

The overall sound of the A11 is natural – neither embellishing, nor subtractive in nature. Thanks to a discrete amplifier section, the tonal saturation present is more engaging than many similarly priced integrateds featuring class-d amplification. Not only is the A11 worthy of both the Rotel name, and the legacy of Mr. Ishiwata, it reminds me of another legendary integrated, the NAD 3020.

Offering great bass control, clear mids, and a smooth high end, this amplifier is destined not only to be a classic, but one that will stay in your family for years. Whether buying your first hifi system, or a second system for somewhere else in your house, the A11 provides engaging sound that you will not tire of.

The shiny disc

Much like the vinyl record, the CD is also enjoying a bit of a resurgence. Used record stores and online shops have a plethora of discs available, and at reasonable prices. For those of you that either aren’t streaming, or just enjoy the physical act of playing a disc, the CD11 does not disappoint.

Good as the A11 is, $499 in 2020 is about $88 in 1983. Those of us that were there at digital audio’s beginning know what rubbish even a thousand-dollar CD player sounded like back then. The A11 goes about its business, just playing CDs. As mentioned, there is no provision for streaming, or even a digital input to connect your laptop, so it serves one purpose only. At this price, even if you no longer have a massive (or any at all) digital disc collection, it’s much like picking up an entry level Pro-Ject or Rega table. A few days of online shopping will put you a pretty diverse collection of 50 to 100 discs in no time.

The overall sound is solid, and smooth. This is a very un-digital sounding player, that compared to a late 80s player (that we won’t name) is amazing. Truly, the only thing the CD11 lacks is a level of resolution that the big bucks digital does. However, in the context of the amplifier, and a like priced pair of speakers, it’s going to be tough to get this level of involvement out of a $499 turntable and bargain records.

Playing MoFi copies of a few Santana favorites (Abraxas, III, and Caravanserai) where the CD11 only captures the 16/44 layer is a joy. Music comes through with a lack of grain, clean top end and great dynamics.

The black disc

The A11 also includes an excellent MM phono stage. As we still had a Pro-Ject Debut with Ortofon 2M Red hanging around, and our long-standing vintage favorite Technics SL-1200mk. 5 with Shure M44, it was time to spin some records. This amplifier turns in a fantastic performance. The phono input is quiet and composed.

Having used a few Ishiwata inspired designs, I can’t help but hope he had a major say in final tweaking of the phono section. Thirty seconds in you can tell this is not an afterthought, but respectfully aimed at providing an engaging experience for the new vinyl enthusiast.

Both cartridges worked great with the A11 – the channel separation is excellent, producing a very wide soundstage, with great delineation of instruments. We even tried the Technics SL-1100/Denon 103 MC combination with a Bob’s Devices step up transformer. Again, the Rotel delivers big sonics. Playing the new Anne Bisson LP, Keys to my Heart, was absolutely dreamy. Ms. Bisson and her crew of vintage jazz cats made for a bold, engaging sound.

The phone

Though you can’t plug a laptop or streamer into either of these components digitally, you can stream your mobile device via Bluetooth to the A11. This is probably the only part of the A11 that feels a bit out of balanced, so I would almost suggest this amplifier and disc player combination to someone favoring physical media. Regardless, at least being able to stream tunes in the background, at dinner or a party via your phone is still acceptable. Again, kudos to the Rotel design team of including such a great amplifier and phono section for this price, having to add a digital input probably would have bumped the MSRP up a hundred bucks or possibly two. And, you can always add a streaming DAC instead of the CD11 if you have no need for digital physical media and still have a formidable combination.

Finally

We also need to mention a few last things. Fit and finish of this pair are way beyond par for their respective price points, but Rotel has always done a fantastic job in this department. The simple remote and the user interface are both intuitive and easy to use. It was a breeze to get these two rocking without the need for the manual without issue.

And…the A11 has tone controls. Laugh if you want, and yes, it sounds slightly more transparent with said tone controls disengaged. Apartment dwellers and those not able to put their speakers in the optimum audiophile position will appreciate a little bit of boost and cut – as will those streaming from a mobile device.

In the end, I challenge you to find a better sounding pair of components on which to anchor a good, entry level music system. The Rotel A11 amplifier and CD11 disc player are an honor to their makers. Two very honest components that do a great job at their tasks. It doesn’t get any better.

The Rotel A11 amplifier and CD11 Disc Player

$699 and $499

www.rotel.com

dCS has started a new campaign acknowledging some of the world’s greatest recording engineers, appropriately titled their “dCS Legends” series. No disrespect to the world’s most excellent engineers, but I submit the digital players from Data Conversion Systems, have become legends in their own right.

In the beginning, dCS produced high-quality analog to digital and digital to analog converters for military and telecommunications applications, then turning their focus to recording studios and pro audio. 1993 marks the launch of their model 950, the world’s first 24-bit DAC. However, dCS didn’t become a household name (at least in audiophile households) until 1996, with the Elgar DAC. A recent visit with an Elgar in our Old School column reveals the original Elgar still having world-class performance, and a definite lineage intact to current dCS products. 

I’ve also had the privilege to visit the dCS factory a few times, seeing first-hand how much goes into the construction of every single thing they make.

My own journey with dCS now spans a little more than a decade, beginning with the four box Paganini system. Though I had heard some great dCS demos at various HiFi shows, there’s nothing better than hitting the play button in your room, in your system, and being blown away. I sold a Naim CD-555 and one of my cars, with the Paganini stack staying as my digital reference for quite some time.

In nearly ten years since the Paganini review, TONE has also had the pleasure of reviewing the Debussy, which ended up living with staff member Rob Johnson for a few years, the four-box Vivaldi reference system, the two-box Rossini Player (CD only, no SACD capability) and Rossini Clock, as well as the newest model in dCS’ product line, the Bartok, which is the long-awaited replacement for the Debussy. All have been replaced by the Vivaldi One in my reference system, though the Bartok remains in my second system. Just as I have standardized on one set of tools in my photo studio, having dCS gear in both of my listening areas makes it that much easier to have a similar reference framework by which to evaluate components.

Still crazy (good) after all these months

The Vivaldi One arrived just before Christmas last year, sounding fantastic right out of the box. Really fantastic, even after many months of listening to the Rossini with the Rossini Clock, which is no slouch. Within a few days of being powered up around the clock, it completely stabilizes, electrically and thermally,offering a smoother, bigger, more engaging sound in every way.

A great demo at a show or dealer event is a wonderful thing, and the giddiness that nearly always accompanies the review period spent with components at this level, is a fantastic experience. Yet, sitting in the chair every day for a year, and still thinking “damn!” every time you push play, is living in a different universe. This is what the Vivaldi One brings every day.

But you can’t have it

There’s no real point going on and on about the sound of the Vivaldi One because they are now almost sold out, so unless you’re fortunate enough to snag one of the last available units the only way you can get one is to find a trade-in. The full Vivaldi reference system provides even more performance thanks to dedicating each critical function to a separate chassis. Past experience with every other dCS product tells me that adding a Vivaldi Clock for $15,000 is going to take the Vivaldi One a step closer to the four-box unit.

Based on my extensive experience, the Vivaldi One comes incredibly close to the sound of the four-box array, and again I’ll bet even more with the addition of the Vivaldi Clock. With space at a premium around here, a single-box solution with this level of sound quality is incredibly easy decision. The Rossini is a fantastic player, but I still wanted to play SACDs.

Limited availability aside, many in the market to buy one of these players, the individual components of the Vivaldi stack probably make a lot more sense. Those not wanting disc playback can opt for the Vivaldi DAC and buy in at less than half the Vivaldi One’s cost at $36,000. Adding the Vivaldi Upsampler is $22,000, and of course the Vivaldi Clock is $15k- but the modular approach allows you to add a box at a time. Should you want the Vivaldi transport later, they are $42,000, but dCS just introduced a Rossini SACD Transport for almost half that cost, not to mention used Paganini (and Scarlatti) transports (also offering SACD playback) show up for $7-15k once in a blue moon.

In addition to the ability to play CD and SACD discs, the Vivaldi One’s DAC can decode anything in every possible format, including MQA. dCS is the only company that’s actually written their own MQA decode and rendering code, and this custom implementation of the MQA standard, and the results validate their approach. With all the sniping about MQA playback if you happen to be both a Tidal and Qobuz customer, you know that some of your favorite tracks (and albums) are only offered in high resolution via MQA on Tidal. When unfolded and processed on a dCS DAC, audio perfection is achieved. No other DAC I’ve sampled does this great of a job with MQA files.

I don’t know nearly enough to have this argument, but I’d still prefer straight ahead 24/192 than an MQA file- but if that’s where my music lives, I want to hear it decoded to the best level it can be. For me dCS offers this. Fortunately, their players require no compromise playing both MQA and standard hi-res material. Perhaps I’ve glossed over the high level of quality that standard resolution 16/44.1 files offer up via the Vivaldi One. More than one audiophile that has visited, has mistaken 16/44.1 streamed files were high res. A few even thought I was playing vinyl!

Core competencies

The Vivaldi One, like all other dCS DACs, is built around their patented RingDAC^TM architecture. You can read more about this here at the dCS website and in nearly every other dCS review. Dramatically oversimplifying, this fundamental feature of dCS DACs does not tie them to whatever DAC chip that happens to be in vogue and the compromises made when that chip was designed.

Everything is done in software, and this allows dCS to make upgrades to the performance at regular intervals. This also makes their products more future proof than those relying on a chipset, resulting in a much higher level of consumer confidence when spending this kind of money. This also makes future updates as easy as updating the OS on your smartphone, and keeps dCS products relevant for a much longer period. Again, justifying the investment.

dCS has their own App, called Mosaic, for adjusting the unit settings and playing music, but for most of you, the Vivaldi One’s ability to be a ROON endpoint is the bee’s knees. dCS generally feels a better, cleaner signal can be derived directly from the network for file playback, so they offer an Ethernet input in addition to the traditional inputs seen on other products. It certainly makes for simpler system architecture and eliminates the need for a separate streaming device. Those with legacy devices can exhale, as inputs for USB, S/PDIF via BNC, RCA or Toslink input, and balanced AES-EBU on XLRs can also be handled. 

The Vivaldi One’s digital volume control is of such high quality, those eschewing vinyl for an all-digital playback system, can easily center the Vivaldi One around their favorite power amplifier and call it a day.

The biggest revelation

Stepping up to the Vivaldi range brings digital playback to such a natural level of clarity, ease, and freedom from coloration, that it’s no longer of the tired “It sounds good for digital.” It just sounds good. It sounds really fucking great, actually.

After using the dCS Vivaldi One in my primary reference system for a year, and having it powered up continuously- listening to close to 30,000 tracks in that period- it’s still as exciting to push “play” as it was the evening I unboxed it. Honestly, more exciting, now that I’ve had the time to listen to a vast cross-section of music. The number of revelatory moments I’ve had with it are genuinely off the chart.

The second biggest revelation

Bundled up for a line of executioners bearing flame throwers, I’ll go one step further and claim that disc play still sounds better (i.e., more natural) than files ripped to a NAS. And ripped files still sound better than streamed files via ROON, Qobuz, Tidal, and Spotify, even at the same resolution.

Unfortunately, I do not possess the technical expertise to tell you why this is so. I suspect noise, jitter, and a plethora of other factors that subtly damage the digital bitstream, degrade the sound ever so slightly between these formats. Yet, there is one, albeit thin, veil that is lifted when going to disc playback from NAS (or streaming services with) ROON.

The final revelation

This may not be the case for everyone, but after living with the Vivaldi One for so long, I’m listening to vinyl a lot less. I love analog, love turntables, and everything that goes along with the analog format. Ok, I still don’t enjoy setting turntables up. But when the planets line up, and if you have a fabulous turntable and a perfect pressing, there’s still a few molecules of extra magic in the analog world. But that’s only for those that have original Blue Notes, first stamper British, Japanese, or German this pressing, etc. etc. And if you can afford records like that, you can afford a dCS Vivaldi. Those with a pretty good table/arm/cartridge/phonostage but mediocre pressings aren’t getting close to the level of realism that the Vivaldi One offers.

It’s not that I’m saying vinyl sucks or anything like that, but the Vivaldi One sounds so natural, so engaging, and is so incredibly easy to use that if my record collection was raptured off to vinyl heaven tomorrow, I don’t think I’d replace it. How often do you get convenience and quality in the same sentence? That’s the real magic of the Vivaldi One.

No clichés apply

While I’ve tried not to exhaust my adjective gland on nearly 1000 audio reviews in the last 17 years, it’s tough not to gush over a product this good. Suffice to say that the dCS Vivaldi reference system and Vivaldi One do such an incredible job of decoding digital music files, you don’t think about them at all. That is the ultimate triumph. And that’s what legends are made of.

dcsaudio.com

Japanese cartridge manufacturer DS Audio has just raised the bar significantly on their optical phono cartridge platform.

We’ve reviewed a couple of their cartridges in the past, along with their own proprietary equalizer (necessary for use with an optical cartridge) to great result. Both Richard Mak, our resident analog master and our publisher found the DS cartridges to have a clarity like nothing they’ve experienced.

The new DS Grand Master is a third generation design, claiming to have a 50% weight loss over the previous flagship, a re-designed optical system and equalizer to go with.

DS offers a modular approach, so existing DS users can merely upgrade to the Grand Master for an increase in performance. The Grand Master cartridge by itself is about $15,500 (current exchange rate), definitely in line with the world’s top MC cartridges. Stepping up to the new Grand Master Equalizer/Phono stage will set you back about another $50k, again, certainly on par with what the top of the analog mountain requires.

Considering what a revelation the past DS models have been, we can only imagine what this will sound like, but we’re betting on excellence.

www.ds-audio-w.biz

In today’s world, and its accelerated pace, so few things are constant anymore. For this audio enthusiast, there is something soothing, about the big, blue meters that adorn nearly every component from McIntosh Laboratory, Inc.

They are an assurance of a number of things: quality – made in America quality, by a group of great people that have been doing this for decades. If you’re 40 or older, chances are some of these people made your parents McIntosh. If you’re my age, chances are some of these people made your Grandparent’s McIntosh. That’s longevity.

This generational thing with McIntosh also perpetuates a consistency in sound and aesthetic. The Mac you buy today will fit right in with the Mac gear you already own and work well, whether just recently purchased, or decades old. Finally, the sound. McIntosh has always stood for great sound, and over the years, their engineering team continues to refine their products for better sound and even better reliability. Other than a few exceptional legacy products (the MC30s immediately come to mind) today’s Mac sounds better than ever.

Our younger readers may remember their parents having a receiver. That ubiquitous audio box that did everything, handling all the formats back then; a turntable, a tape deck (or two) and a glorious FM tuning dial. Keeping with ongoing march of progress, McIntosh has replaced the tuning dial on their receivers of years past with a pair of those big, blue, awesome meters, adding a digital to analog converter that handles everything up to DSD 256.

They’ve also added a moving coil phono section to the phono stage, with its own separate input, so that you can actually run two turntables with your MAC7200 if you’re so inclined, along with an FM tuner for those of you that still have decent radio stations. And the MAC7200s built in tuner sounds lovely, just like vintage tuners from Mac’s past.

Is there anything the MAC7200 doesn’t do?

Not really, and now, it’s even a Roon tested device, so you can use it in the Roon streaming environment.

Where the MAC7200 shines, is it’s engaging, but ever so slightly relaxed tonal rendition. The MAC7200 has more than enough audiophile cred, yet those craving the last molecules of fine detail will probably go elsewhere. That’s not the point, and that’s never been the McIntosh ethos. What really makes the MAC7200 standout is the magic it brings to every recording you own. And for the other 99.99% of us that aren’t fussy audiophiles, this is what it’s all about.

Plenty of power

200 watts per channel assures you can drive anything with the MAC7200. This was the stuff of dreams back in the 70s when the war of the massive receivers reached its peak. Just to make sure I wasn’t just an old guy reminiscing, I managed to borrow a perfect vintage Pioneer SX-1980 (rated at 270 watts per channel) from a collector for an impromptu shootout. While the Mac did not have the tuning dial and tuning meters, it blew the vintage receiver out of the water in every way imaginable.

For those wondering why we might make this comparison, vintage Japanese receivers like the SX-1980 and the Marantz 2325 are starting to pass the $5,000 – $10,000 mark these days and they are 40 years old. Unless you absolutely have to have that cool 70s receiver, the $7,500 MAC7200 is a killer value and has a five-year warranty. Considering McIntosh’s reputation for build quality, and the fact that they still repair 40 – year old components at the factory, this is a major bargain. Not to mention, you’ll be able to hand the MAC7200 down to your kids in a couple of decades.

Utilizing the Autoformer technology that McIntosh has hung their hat on forever, the MAC7200 can drive even two-ohm speaker loads with ease. The output transformer keeps a constant load on the output stage, and the amplifier within comfortable parameters at all times. The result – consistent sound and better durability long term.

Most speakers will work well with the 4 or 8 ohm tap. We found the recent Sonus faber Guareris achieved optimum power transfer with the 4-ohm tap, while the Focal Sopra no.3s and Graham LS5/9s gave their best performance with the 8-ohm tap. Magnepan fans are going to appreciate that 2-ohm tap, making these speakers a lot easier to drive. Again, the MAC7200 offers crazy versatility.

Digital diversity, and no static at all

In addition to the plethora of digital inputs, the MAC7200 also features their proprietary MCT input, so those owning one of their current transports can hear their SACDs in full glory. Rather than converting to PCM, the direct DSD bitstream comes through. We didn’t have one of these for our review, but a few readers that own both pieces have reported it’s a pretty sweet combination.

Here in Portland we still have a few radio stations with decent programming and sound quality. If you are equally blessed, you’re going to appreciate the FM tuner section. Moving through the stations brings back great memories. Taking into account what a vintage Mac tuner hails these days, again you can have an entire system, that won’t need a refurb.

Should you need it, the MAC7200 even receives AM signals. Curiosity got the best of me, since I haven’t listened to AM in decades, going back to WOKY in Milwaukee, Wisconsin as a kid. The pickings are sparse these days (at least in Portland) but again, the fidelity is exceptional, considering the limited bandwidth and frequency response the AM band allows.

Lacking the multiple band graphic equalizer of a few of the McIntosh preamplifiers, the bass and treble controls offered on the MAC7200 are still more than welcome, with recordings new and old. Some recordings just sound flat, and if you can get out of the audiophile box, it’s amazing what goosing the bass or treble a touch does for your listening session. Again, McIntosh is the master of flexibility.

Satisfies your inner DJ

Whether you have a turntable with two tonearms, or are rocking a pair of Technics 1200s, the ability to connect more than one table is a major bonus for hard core vinyl lovers. Having the new Technics SL1200G (with Ortofon Cadenza Bronze MC mounted) and a 1200GR sporting a classic Shure M44, I was able to put the MAC7200s phonostage through all of its paces.

The phono section in the MAC7200 is top notch, which led to stepping up the phono game somewhat. Sticking with a known American classic just felt right, so A VPI Prime with with Kieseki Purple Heart cartridge proves the MAC7200’s phonostage is of serious quality. It possesses more than enough resolution to discern a major difference between budget and serious cartridges, so you can grow with it as your vinyl enthusiasm increases. Its super quiet output along with 50, 100, 200, 400, and 1k Ohm loading on the MC side, with 60db of gain puts all but the lowest output cartridges at your disposal.

If you want a single box solution that does nearly everything, the McIntosh MAC7200 is certainly one of our favorite choices. Whether this is your first Mac, or one in a line of many, you’re going to dig this one. McIntosh has produced a new classic.

The McIntosh MAC7200 Reciever

$7,500

www.mcintoshlabs.com

Of all the perils analog enthusiasts are faced with, the worst is breaking the cantilever on a precious cartridge.

Ask any audiophile with more than few cartridges, many of them will tell you that it is not a matter of if, but a matter when. If you handle tonearms and cartridges long enough, sooner or later you are bound to break a cartridge, hopefully it will be a Denon 103 and not a Clearaudio Goldfinger.

Thankfully, there are a few cartridge rebuilders on both side of the continent, and I have had the misfortune of trying a few that provide less than exemplary work. However, François Saint-Gérand of Ana Mighty Sound is one of the (if not THE) best cartridge rebuilders in the world today. Here’s a bit of what he had to tell me.

TA:  When did you start Ana Mighty Sound?

FSG:  I was encouraged by Thomas Schick, designer of the Schick Tonearm and personal friend, to start Cala Mighty Sound in 2012. In 2015, Xavier Delacoux joined out team together with Laszlo Szalai and Vencel Szabo. Christian Bianchi (founder of Prisme Audio in the eighties) who develops and build our Le Phono SE phono stage, also came on board.

We were originally called Cala Mighty Sound, “Cala” (Calamean) means beauty in ancient Greek, and it was also my DJ name. But the French pronunciation (spelled Calamine) basically means the dirt in a motor, and the name was also registered by another company so we decided to call ourselves Ana Mighty instead. It is referenced to my beloved wife and of course by extension to analog.

What is your background?

I have a Ph.D in speech recognition and its impact on speech theories and other linguistic fields. I’ve also taught Linguistics, Speech Theories, and Communication at the University level.

Who is in your cartridge rebuilding team?

László Szalai, chief engineer and László Vencel Szabó, his apprentice. László has worked in different audio studios (Hungarian Broadcasting Studio, Hungaroton Records, Archive of the Institute for Musicology of the Hungarian Academy of Sciences Research Center) as an audio and broadcast engineer. He made hundreds acoustic music recordings and is of course obsessed with excellent sound and HiFi. Vencel is his apprentice and assistant.

Can you tell me a bit about how the rebuilding/repair business in general?

Rebuilding cartridges involves extensive scientific research and field experience. We work with our suppliers and customers to offer dedicated and coherent solutions to our customers.

Rebuilding is actually more difficult than building a new cartridge, you have to completely unmount the cartridge and coils, with no manual or guidance. Working on a Neumann DST, for instance, is a very good example. In lieu of the manual, you must understand its construction and to feel it in your hands in order to get the best results.This is where the extensive experience of Laszlo Szalai is crucial.

Our extensive hands on experience with cartridge building gives us an unparalleled advantage on understanding the entire cartridge manufacturing and rebuilding process.  Very few people have seen the inside of as many cartridges as we have.

What are the common problems you see?

The most common problems are the broken stylus tips, snapped cantilevers, or general wear and tear over time

Specifically, what can be repaired, and what cannot?  What makes you different than other cartridge builders?

We can replace broken cantilevers, rebuild coils from scratch, change dampers, and retip the stylus. Very few people on earth can do all of these, especially rewinding coils, but we can. All rebuilds must meet four basic requirements:

– Repair a cartridge only if it is less than replacement cost.

– The cartridge body must be able to be opened without causing damage.

– Here is what makes us different. Cartridges are best repaired by not adding weight on the moving mass assembly of the cartridge. This is why we do not repair cartridges which have no cantilever shaft (like Audio-Technica and Benz cartridges). Our competitors will insert a larger aluminium tube extend the broken cantilever with glue, rather than rebuilding with a new cantilever. This produces a much larger effective mass of the moving ensemble, resulting in a lower resonance frequency for the coil mechanism, with negative repercussions in the audible range. We feel a cantilever should never be extended, but replaced.

– We cannot repair cartridges which can only be replaced by original parts.(for example AT, FR-7), which are often unobtainable.

What if you use parts different than original?

We have sources for almost all cartridge parts, and in some cases, we custom make our own components which exceeds the performance of original parts. For example, modern suspensions can be better than 30 year-old components. Small variations in parts can have a huge impact on sound. Sometimes even two new cartridges can have totally different sounds.   Our goal is to maintain sonic integrity of the cartridge after repair.

We have used newer parts on many well-known MC cartridges (Ortofon SPU, Denon 103, EMT TSD-15, Koetsu, etc…) the results obtained (both sonically and on measured specifications) were higher than what we expected and this is when we decided that this service should benefit to our customers.

How many repairs have you done?

Ana Mighty has repaired more than 200 cartridges, but László has a solid background with hundreds and hundreds of repairs from the past 40 years.

What is involved in cartridge rebuilding?

No two cartridges are identical. A repair always starts with a cleaning and a detailed inspection of the cartridge. We have a strict policy about not altering the original aspect of the cartridge (except for our highly modified version of cartridges). Once the body is open, we are able to inform the owner about all problems found. The whole process is documented by photos.

The actual repair starts with a very detailed cleaning and finishes with setting the parameters (VTF, compliance, tracking ability, etc.) of the cartridge. At the very end we test each cartridge for 3-4 hours, play them for 24 hours and then run a new set of tests to optimize the fine parameters of the cartridge again, with measurements documented.

What are the most important cartridge components?

The sonic characteristics of a cartridge is a combination of the sum of its parts, and therefore no  single component is more or less important than another. A good example of this is in the process of building coils. Very few have the capacity to rebuild coils, but we do. We can even build a coil from scratch, and at times we have to build it 5-6 times in order to have the right sound. Coils have different winding patterns; the most well-known are cross coils and square coils but we also rebuild the triangular coils unique to Neumann DST cartridges.

Do rubber dampers age over time?  What is their lifespan?

Time is a big enemy of cartridges. The life of the damper is unpredictable, but temperature and humidity does play a role. If a cartridge starts to sound distorted or grainy, it is a warning sign that the damper may need to be changed.

A problematic/damaged/old damper can change the position of the cantilever causing an uneven wear of the stylus (diamond tip). This can also damage LPs over time.  Due to technological advancement, we have better dampers than the original, such as our silicon frictionless dampers available in either single or double donuts as well as dual circular internal designs.

Do you see more wear and tear in coastal cities vs say inland USA?

Certainly yes, temperature (changes), humidity, change of air pressure, vicinity of seas or oceans (salty air), polluted air, altitude, etc. can have an effect on the components. Unfortunately, we don’t have any statistical data about it and it would be very hard to draw a definite answer.

Do you see uneven cartridge wear if Antiskating is set incorrectly?

Yes, and this applies to both entry-level and high-end turntables alike. Not only the stylus (diamond tip) wears unnecessarily and unevenly, but the record as well and while the cartridge can be repaired, the record unfortunately NOT.

Without a proper test record it is not possible to correctly set the anti-skating and this also affects the tracking ability of the cartridge. AnalogMagik is a tool which we use to set Anti-skaing.

The proper setting depends on the stylus pressure as well as on the stylus cut (shape/profile), also slightly on the length of the tonearm and tis dynamic capabilities. Last, but not least it also depends on the turntable settings (its proper leveling, etc.). Some people set the anti-skating by placing a glass disc on the rotating platter and set the stylus on its surface and set the anti-skating to keep the tonearm in position (avoid moving it away). However in this case the stylus is touching the surface of the glass at one point (on its tip), while on the stereo (test) record it touches with its 2 sides representing totally different frictional properties.

What causes bent or skewed cantilevers?

This is mainly caused by the aging of the damper. However, let’s not forget the damper assembly consists of not only a damper (rubber /silicon ring), but also a steel, copper or plastic string that is invisible from outside. The deformation or aging of these strings can also cause such problem. Bent cantilever can also be caused by careless stylus cleaning or by the cartridge dropping off from the side of the record.

What are some good cartridges you have seen, and why do you like them?

The following list is very subjective and is far from complete: Audio Note Japan (Kondo), Jan Allaerts, EMT, Ortofon SPU, My Sonic Lab, Accuphase, Lyra, Koetsu, Phasemation, Air Tight… For us some of the units of these manufacturers provide such musical experience since many years that we enjoy a lot. They have rather neutral sound, they have a relaxed sound, but at the same time they are very dynamic, analytical, precise and show a wide stereo soundstage. They are well designed and mechanically solid.

Is it true that Japan is the only country that can make a complete cartridge?

We don’t think so, however it is true that decades ago serious/excellent cartridges were coming          mainly from Japanese manufacturers. Let’s not forget though about the before mentioned famous European brands, such as EMT, Ortofon, Audio Note UK, Benz Micro, Clearaudio, Van den Hul, Jan Allaerts, etc.

Some have claimed that Koetsu differs only by body, but the cores are the same inside?

This is definitely not true.  Their models have different magnets or pole pieces, coil material can also be different, for example they use parallel wire (copper and silver) making the coil. They sort and match the components carefully, selecting the bodies to the sonic properties of the matched components. For sure this can be also valid for other manufacturers as the magnetic properties of the magnets are not always the same. The earlier Koetsu models have gained a prestigious reputation.

Is it true that only 1-2 manufacturers do all the tipping, cantilevers, and suspension in the world?

To the best of our knowledge there are only a few companies able to manufacture these, however we don’t exclude the possibility of new manufacturers entering this market.

Who are the main cartridge makers of today? Matsudaira of MSL?   Nakasutka San of ZYX?   Audio Technica? Who else do you know?

There are different type of builders and of these builders are important in thier own way :

–    Mass market like Audio Technica and Ortofon with advanced technologies and less human process implied in the building of their products. They produce thousands of MC cartridges, and represent a very small percentage of their total sales. Of course there are some exceptions like the Audio-Technica ART-1000 (of which we are proud exclusive dealers in France) which is produced at around 200 samples per year by only person… and which is also a beautiful and technically made product. Ortofon and Audio-Technica are OEM builders too.

–    Medium mass market like Excel, Benz Micro, Lyra, ZYX, MSL which also address OEM market

–    Small mass market builders like : Jan Allaerts and a lot of artisan Japanese cartridges (Sumile, Top Wing, Miyajima, Fuuga, etc…)

Main cartridge maker is not the one that sells the most cartridges but the one(s) that make the cartridges you prefer. ;)

Show us some examples?

Here is a cartridge repaired by another. You have coil wires soldered together (this is something we would never do), and an aluminum cantilever attached to the end of the original cantilever, on this Koetus Urushi Vermillion.

Here is what it looks like after the repairs with upgrades. We completely rebuild damper, coils and cantilever from the ground up.

And here, we have a modified Denon 103, with one of our body, and cartridge internals.

Closing thoughts from ANA Mighty Sound

It is important to mention that most cartridges that come to us are usually old, many of them were made many decades ago. Similar to other used equipment the aim is to repair it the closest to original condition. It is not always possible to return the cartridge to its original/brand new condition as the parts used for the repair might not be 100% the same as the originals.

With solid experience and special care most of the times it is possible to repair the cartridge very close to its original condition/sound. Many times, we received such feedback that the repaired cartridge sounded better than originally. We dare to state that in most cases changing the stylus to a modern and sharper cut as well as to change the cantilever to something more rigid improves the sound of the cartridge.

We would like to grab the opportunity and highlight here the importance of properly cleaning of the record and the cartridge’s stylus (diamond tip). If you look closely to the record and the stylus you can experience the wonder of this historical micromechanical technology. Love and respect your records, phono cartridge and all your equipment.

Closing thoughts from Richard

Does a rebuilt cartridge sounds as good as the original?  The truth lies with the pudding, and Francois provided me with a rebuilt EMT TSD15N cartridge, and asked me answer the question by listening to his cartridge.

The cartridge has been rebuilt from the ground up with 12 ohm silver coils, it has a proprietary frictionless dual donut damper, a new boron cantilever with Nude Microridge S tip (the smallest diamond tip available).  The rebuilding cost of the cartridge is €1800, but Anamighty does sell fully modified models for €3500.

At first I was skeptical given the cartridge looks a little weird, with wire leads coming out of the cartridge body instead of pins. But as soon as the cantilever dropped onto the LP, my jaw literally dropped!! The sound of the rebuilt TNT15 has the details of my My Sonic Lab Ultra Eminent BC, it has the dynamics of the Lyra Olympos and the transient attack of the ZYX Universe Optimum. Does it sound better the original EMT TSD 15N?  I cannot answer fairly   because I do not have an unmodified original for a side by side comparison. But sitting beside the some of the best cartridges in the market, this €1800 rebuilt EMT holds its own!

I give ANA Mighty Sound my highest recommendation.

www.anamightysound.com

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

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

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

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

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

Positively perky

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

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

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

Keeps you in the listening chair

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

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

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

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

Performance options

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

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

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

Parting thoughts

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

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

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

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

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

The MoFi UltraDeck+M

$2,195 w/Master Tracker MM Cartridge

www.mofielectronics.com

Peripherals

Phonostage                 Pass Labs XS phono

Preamp                       Pass Labs XS pre

Power Amps               Pass Labs XA200.8

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

Cable                           Cardas Clear and Tellurium Q Silver Diamond

Racks                           Grand Prix Audio Monaco

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

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

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

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

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

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

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

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

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

What’s the diff?

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

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

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

Further listening…is wonderful!

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

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

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

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

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

No weaknesses

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

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

The Clearaudio Charisma V2

$2,000

www.musicalsurroundings.com

Peripherals

Turntable                    Technics SL-1200G

Phonostage                 Pass Labs XP-17

Amplifier                     Pass Labs INT-60

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

Cable                           Cardas Clear

Power                          IsoTek Aquarius

Setup                           Analog Magik, SmartTractor, Clearaudio Weight Watcher

High quality integrated amplifiers are a hotbed of audiophile activity these days.

Thanks to improved manufacturing techniques, and in the case of a company like Esoteric, their ability to call upon the same engineering team that builds $50k (each) digital audio components, the $7,500 F-07 integrated amplifier makes perfect sense. Before the first track is played, this easily looks like a $20,000 component on the rack. The exquisitely machined chassis, elegant controls, and gentle blue backlit front panel all declare quality, high quality. If that doesn’t convince you, pick it up, the F-07 weighs 60 pounds.

Too enthused to read the manual or pour over all the specs, the F-07 is quickly connected to the Quad 2812 speakers for a test drive. Even from cold, this 100-watt per channel integrated entices. (it does produce 170wpc into 4 ohms, nearly doubling it’s rated power) The recent vinyl release of Crowded House’s Woodface fills the space between and beyond the boundaries of the Quads, which can be notoriously tough to drive, because of their highly capacitive nature.

Features Galore

Did I mention? The F-07 includes a built-in, dual mono MM/MC phonostage that is anything but an afterthought with a fixed loading of 100 ohms – perfect for my Zu Audio modded Denon DL-103r cartridge and the latest Technics SL-1200G table we reviewed last issue. The MM section is equally enticing, paired with the Gold Note Machiavelli cartridge. This on-board phonostage only features one input, with MM/MC selection on the front panel. Even moving up to the Ortofon Cadenza Black MC proves the F-07 up to the task, this amplifier will be at home with turntables costing as much or more! Nothing in the F-07 is an afterthought.

Digital lovers wanting an inclusive option can add the Op-DAC-1 DAC board in the accessory slot on the rear panel. This DSD capable DAC will only set you back $1,100, keeping the total package price of an F-07 with DAC under $9,500. Running through a long playlist of high-resolution tracks, the performance delivered by the F-07 is first class, and 16/44 performance equally involving. The delicate harmonies in Hall and Oates’ classic Abandoned Luncheonette are stunning, with all the elements of the recording having plenty of room to breathe. The harmonies in John Mayer’s latest, The Search For Everything prove equally enticing.

Today’s bargain DAC’s offer a level of resolution that would have commanded a five-figure sum a decade ago, but the F-07s onboard DAC has a smoothness that you won’t find with a budget DAC. No doubt, this is a result of trickle down technology from their world class Grandioso D1 DAC. Bottom line, unless you are going to drop major cash on an external DAC, I suggest just adding the card and be done.

Plenty of Power

The sonic signature of the F-07 is very natural. A well tempered, dual mono, class AB power amplifier, fed by a massive power supply makes for a dynamic presentation, that is free of coloration. The F-07 neither embellishes nor emphasizes what isn’t there. Sonically, this amplifier reminds me a lot of the Boulder amplifiers regarding “doing no harm,” but at a much more affordable price point. Bypassing the internal DAC and phono illustrates just how good the internal bits are, yet shows off what a fantastic amplifier the F-07 is.

Moving to more dynamic music and giving the volume control a major twist clearly illustrates how much sheer oomph it offers, especially now paired with the Focal Sopra no.3 speakers, with a 91.5db/1-watt sensitivity rating. Even tracking through major rock and EDM tracks, the F-07 never gets more than warm to the touch, at ear shattering volumes. An equally impressive performance is given with the current MartinLogan 13A ESLs as well as the Graham LS5/9s. 100 watts per channel should be more than enough for anyone in less than a cavernous room. And the F-07 does offer a set of preamp out jacks so you can use it strictly as a preamplifier, driving a larger power amplifier.

Regardless of the source, the F-07 is incredibly fatigue free. After many 8-12 hour listening sessions, I could always put one more record on, and that is the highest compliment I can pay this amplifier. While the majority of my test listening was done with the onboard DAC and phonostage, Esoteric’s Scott Sefton had to recall the DAC board, leaving the trusty Gryphon Kalliope ($32,000) DAC in its place. I’d be lying if I didn’t say that the Gryphon offers better digital performance, but the bigger picture is how well the F-07 responds, revealing a proportionate increase in resolution. A large slice of high-end audio heaven is yours with the F-07s internal DAC, but should the urge to upgrade still beckon, it has more than enough performance to keep you happy. Maybe the Esoteric K-07 SACD player?

In the Eyes of the Beholder

Excellent as the audio performance of the F-07 is, the level of human engineering on this product is equally great; it’s an incredibly easy integrated to live with and use day to day. The controls are well distributed on the front panel, with input and volume controls larger than the rest to command attention and secondary controls at the ready. And yes, it has a pair of tone controls that work incredibly well, only giving a gentle nudge to the opposite ends of the frequency spectrum. (+/- 12db @ 63hz and 14khz, respectively) I found these very helpful with records featuring less than optimally mastered. Audiophile purists can grouse about tone controls all they like, I’m enjoying the ones on the F-07.

The rear panel has all the inputs and outputs equally distributed, with four single-ended RCA and one balanced XLR line level inputs. Considering that you already have an on board phono and the potential for a built-in DAC, the F-07 should be able to handle any compliment of ancillary component you might have. In the best tradition of Japanese integrateds past, there are even two speaker outputs.

Last but not least, a headphone amplifier is included for those desiring personal listening sessions. Auditioning a modest cache of phones’ from Oppo, Audeze, B&W and Grado shows that like the phonostage, the headphone section is not an afterthought, either. No matter what set was chosen, the F-07 delivers a large soundstage along with the ability to control the presentation. Bass generated was excellent, the deep bass line in Prince’s “Here on Earth,” indeed impressive, with force and control.

Is it the one for you?

Whether you are a seasoned audio enthusiast, that is perhaps downsizing and would like to have the sound and functionality of a big stack of components in a more reasonable sized enclosure, or the music lover moving from a basic system, wanting to achieve the same objective, the F-07 is a winner. Having the privilege of listening to the world’s finest components daily, I must admit to looking at the F-07 after a full day of listening, asking myself, “could I just take this, a turntable and one good pair of speakers and call it a day?” The answer to that question is yes.

Everyone wants something different from their hi-fi system. And yes, there is more performance to be had from Esoteric’s flagship components. But I am a human being valuing balance above everything else. I’d rather have a new Miata than a Maserati. If that balance is your preference as well, I can’t suggest the Esoteric F-07 highly enough. Much for all the same reasons I love the Simaudio ACE integrated at $3,400; the F-07 is a similar component in the balance it offers. All of the components compliment each other and offer an equal level of performance, but the F-07 offers more in every way. I’m buying the review sample myself.

The final note on the F-07 comes in the heritage behind the company. With TEAC being the parent company, the build quality is fantastic, and there is a world-wide dealer and service network in place to assure support. This is as good as it gets. I suspect those buying an F-07 of their own, will plug it in, turn it on, and just enjoy great music for years, if not decades. I am more than happy to award this amplifier one of our Exceptional Value Awards for 2017 – it embodies all the values we hold true at TONEAudio.

The Esoteric F-07 Integrated Amplifier

$7,500, Op-DAC-1 DAC board $1,100 additional

esoteric-usa.com

Turntable                     Soulines Kubrick HDX, Rega RB1000, Gold Note Macchiavelli

Speakers                      GamuT RS5i, Focal Sopra no.3, Quad 2812, Graham LS5/9
Cable                           Cardas Clear

Power                          Equi=Core 1200

Closing the door on a Porsche 911, clicking the shutter on a titanium bodied Leica camera, that’s German engineering excellence, baby!

If you love that level of precision to go along with whatever high-performance product that suits your fancy, you’ll freak out just watching the 10.0 tonearm on the new Bardo lower ever so gently onto a waiting LP. This is such a precise, delicate action, the stylus cantilever on the Koetsu Onyx Platinum barely deflects at all. Those of you wanting to install a mega cartridge on your Bardo can rest assured it is up to the task.

As Adrian Belew’s trippy, reverse tracked, overdubbed vocals in “Big Electric Cat” go all the way from the edges of my speakers, out about seven more feet to the walls of my listening room, with detail galore, it’s easy to fall in love with this table. The Koetsu Onyx Platinum cartridge that costs as much as the Bardo puts forth a more engaging performance than it has here in any of my other reference turntables. Here, here for synergy. During the review period, everything from a Shure M97 to the Koetsu has been taken for a test drive, but the Japanese masterpiece wins the day. Everything on hand works exceptionally well with the Bardo. However, this table is fully up to the task of a $10k premium cartridge. It’s that good.

Living with Brinkmann’s direct drive Bardo for the last few months has been nothing but joy. This table is incredibly easy to set up, stays set up and is equally easy to use. With direct drive coming back in vogue these days, there are a few other DD tables on the market, but they are both considerably more expensive than the Bardo. Thanks to a change in their distribution scheme, and a Brinkmann USA office in place, the German manufacturer is now able to be much more price competitive, and that’s a great thing for analog lovers. The Bardo table/10.0 arm was still a fantastic deal at $13,500, but at $9,900, this is a straight out bargain for those wanting a world class, destination analog deck.

Should you want the benefits of Brinkmann’s direct drive expertise, but already have your favorite tonearm on hand, Brinkmann can supply whatever arm board you need. Ordering a Bardo sans tonearm will only set you back $7,000. Considering what a great job they do with their tonearm, which Helmut Brinkmann refers to as a hybrid unipivot design (and you can read more here http://www.brinkmann-audio.com/main.php?prod=tonarm100&lang=en) both mechanically and visually, it seems pointless to use another arm. But you can if you want to. To clarify the “hybrid” moniker, Helmut Brinkmann tells us that “his proprietary design uses Swiss-made gimbal bearings in the vertical plane and a bespoke unipivot in the horizontal.”

Multiple connectivity options make this beautiful table even easier to integrate into your system. Our review sample arrives with standard RCA connections going from table to phono preamplifier, but you can also opt for balanced XLR connections (this will take a little longer for delivery, as the RCA’s are standard issue), or a 5-pin DIN socket. Modifying an existing Brinkmann arm to a Din connector will set you back an additional $180. Handy if you already have a premium tonearm cable in your arsenal.

A further performance upgrade is available with the optional RoNt vacuum tube power supply ($4,190) for those wanting still more performance. A few Brinkmann owners have commented that this is not a subtle improvement, so look forward to a follow-up review sometime next year.

More music

The easier a turntable is to use, the more likely it is to get used. The Bardo takes up a small footprint and being a non-suspended table, you may want to install one of the better isolation bases, like the ones from SRA; it all depends on your room and taste. My floor is relatively inert and thanks to an SRA Scuttle rack, I felt no need to improve on the Bardo’s placement in my room.

Going way back to the obscure bin, an old favorite, Tim Curry’s Fearless is an album full of slick late 70s production, with some of rock’s favorite sidemen backing up Dr. Frank-n-Furter in his alternate career as a serious musician. The bass line in this record has always sounded somewhat vague, yet when portrayed by the Bardo, it’s rock solid. Actually, everything played on the Bardo has an uncanny sense of pace to it. The nearly $40k AVID Acutus REF SP and SME V has a little more weight in the lows and delicacy in the highs, but the Bardo is unbeatable at its price point.

Direct drive is not a dirty phrase

It goes without saying that a lot of the resolution the Bardo offers comes from meticulous build quality and attention to detail. Much of the major pace and timing accuracy this table delivers comes from the direct drive system. Utilizing Feickert’s iPhone app to check speed accuracy reveals most belt drive turntables to be relatively close to spinning at 33.33 r.p.m., but there is a fair amount of variation on the theme.

Watching the real-time speed graph for the Bardo, it’s near flat across the board. The phrase “rock solid” definitely applies here. Because Brinkmann implements direct drive the opposite way that the legendary Technics tables did, the result is much more to the liking of a modern audiophile.

Technics DD tables, initially designed for the broadcast world, used a high torque motor, hammered into speed accuracy by a quartz lock control mechanism, resulting a lot of motor “cogging.” This is what happens in the small spaces in the 360-degree rotation of the motor that don’t always have power applied. Unfortunately, this aggressive speed control did exactly the opposite of what was intended. Pulling out my SL-1200, with the excellent TimeStep power supply and a stock SL-1200, tracks played on the Brinkmann get progressively flatter in terms of three dimensionality, going back to the TimeStep equipped 1200 and then a stock one. It’s easy to see how the early direct drive tables got pooh-poohed, and I can see how easy it was to be seduced by the Oracle back in the early 80s.

Mr. Brinkman’s low torque approach, coupled to a heavy platter and world class bearing makes for smooth sailing. It takes about 8-10 rotations to get up to full speed, which is about the amount of time that it takes for the tonearm to set, and once you shut the power off, it rotates for a long time before coming to full stop. Brinkmann’s research led him to the current lead crystal platter insert in the aluminum platter, making for a major increase in resolution over one strictly machined from aluminum. Brinkmann spends a tremendous amount of time on materials research alone, and on his website, he claims this goes all the way down to the fasteners used to hold things together! The proof is in the listening; this is a very refined design.

Controlled ease

The presentation of the Bardo is indeed unique. Record after record has an ease and freedom from fatigue, again because of the excellent speed accuracy this table offers. Friends with canine hearing claiming perfect pitch that can hear a plethora of speed issues on every table I’ve ever reviewed were not only dead silent listening to the Bardo but they were also outright complimentary. Violins take on a magical realism with this table because of that speed accuracy.

You’ll probably key in immediately to how great your rock records sound, should you be a fan of this genre. The Bardo does a great job in the bass performance, but if you live on a strict diet of Zeppelin, you might not notice the subtleties of this table quite as much as the classical listener preferring soloists and small ensemble music. Sampling this fair gives the Bardo a near reel to reel tape like transparency.

Our choice for Analog POY

Here’s why the Brinkmann Bardo is our choice for 2016 Analog Product of the Year; it offers tremendous value, build quality, sound quality and ease of use. I’ve listened to my fair share of $100,000 plus turntables and have always walked away unimpressed. You can buy a pretty major hi-fi system for $100k, and I suggest if you take that path, you put the Bardo on top of your rack. Seriously, other than a few audio reviewers and a couple of hedge fund managers that got a screaming deal, who owns a $100,000 turntable anyway?

Wacky as it might sound, the $10,000 – $20,000 category is the hottest category for “destination” turntables. There are a handful of great tables costing 2-3 times this much (like the SME 30, the AVID Acutus REF SP and a few others), and they do reveal more music for sure. But again, the Brinkmann Bardo presents so much music, especially with your choice of awesome $5,000 – $10,000 cartridge, I’ll stick my neck out and say that most of us could live happily ever after right here.

If you’re currently using a table in the $3,000 – $5,000 category, you will be floored at just how much more musical information and nuance that the Bardo can shed light on, that if you have the purchasing power, this won’t be a difficult decision.

I’ve purchased the review sample and plan on spinning a lot more records on the Bardo. It’s simple, elegant, yet high-performance design has captured my enthusiasm. Should you be planning on buying a table in this price range, I not only recommend the Bardo, I sincerely hope you will audition one, and see if you enjoy it as much as I do.

The Brinkmann Bardo Turntable

MSRP:  $9,900 with Brinkmann 10.1 tonearm ($260 savings, purchasing the bundle)

http://brinkmann-audio.com

Peripherals

Phono Cartridge                    Koetsu Onyx Platinum, Ortofon Cadenza Black

Phonostage                            Pass XS Phono

Preamp                                  Pass XS Pre

Power Amps                          Pass XS 300 monoblocks

Speakers                                GamuT RS5i, MartinLogan Neolith, Quad 2812

Cable                                      Tellurium Q Black Diamond speaker and interconnect,

Power cords                           Cardas Clear

Closing the door on a Porsche 911, clicking the shutter on a titanium bodied Leica camera, that’s German engineering excellence, baby!

If you love that level of precision to go along with whatever high-performance product that suits your fancy, you’ll freak out just watching the 10.0 tonearm on the new Bardo lower ever so gently onto a waiting LP. This is such a precise, delicate action, the stylus cantilever on the Koetsu Onyx Platinum barely deflects at all. Those of you wanting to install a mega cartridge on your Bardo can rest assured it is up to the task.

As Adrian Belew’s trippy, reverse tracked, overdubbed vocals in “Big Electric Cat” go all the way from the edges of my speakers, out about seven more feet to the walls of my listening room, with detail galore, it’s easy to fall in love with this table. The Koetsu Onyx Platinum cartridge that costs as much as the Bardo puts forth a more engaging performance than it has here in any of my other reference turntables. Here, here for synergy. During the review period, everything from a Shure M97 to the Koetsu has been taken for a test drive, but the Japanese masterpiece wins the day. Everything on hand works exceptionally well with the Bardo. However, this table is fully up to the task of a $10k premium cartridge. It’s that good.

Living with Brinkmann’s direct drive Bardo for the last few months has been nothing but joy. This table is incredibly easy to set up, stays set up and is equally easy to use. With direct drive coming back in vogue these days, there are a few other DD tables on the market, but they are both considerably more expensive than the Bardo. Thanks to a change in their distribution scheme, and a Brinkmann USA office in place, the German manufacturer is now able to be much more price competitive, and that’s a great thing for analog lovers. The Bardo table/10.0 arm was still a fantastic deal at $13,500, but at $9,900, this is a straight out bargain for those wanting a world class, destination analog deck.

Should you want the benefits of Brinkmann’s direct drive expertise, but already have your favorite tonearm on hand, Brinkmann can supply whatever arm board you need. Ordering a Bardo sans tonearm will only set you back $7,000. Considering what a great job they do with their tonearm, which Helmut Brinkmann refers to as a hybrid unipivot design (and you can read more here http://www.brinkmann-audio.com/main.php?prod=tonarm100&lang=en) both mechanically and visually, it seems pointless to use another arm. But you can if you want to. To clarify the “hybrid” moniker, Helmut Brinkmann tells us that “his proprietary design uses Swiss-made gimbal bearings in the vertical plane and a bespoke unipivot in the horizontal.”

Multiple connectivity options make this beautiful table even easier to integrate into your system. Our review sample arrives with standard RCA connections going from table to phono preamplifier, but you can also opt for balanced XLR connections (this will take a little longer for delivery, as the RCA’s are standard issue), or a 5-pin DIN socket. Modifying an existing Brinkmann arm to a Din connector will set you back an additional $180. Handy if you already have a premium tonearm cable in your arsenal.

A further performance upgrade is available with the optional RoNt vacuum tube power supply ($4,190) for those wanting still more performance. A few Brinkmann owners have commented that this is not a subtle improvement, so look forward to a follow-up review sometime next year.

More music

The easier a turntable is to use, the more likely it is to get used. The Bardo takes up a small footprint and being a non-suspended table, you may want to install one of the better isolation bases, like the ones from SRA; it all depends on your room and taste. My floor is relatively inert and thanks to an SRA Scuttle rack, I felt no need to improve on the Bardo’s placement in my room.

Going way back to the obscure bin, an old favorite, Tim Curry’s Fearless is an album full of slick late 70s production, with some of rock’s favorite sidemen backing up Dr. Frank-n-Furter in his alternate career as a serious musician. The bass line in this record has always sounded somewhat vague, yet when portrayed by the Bardo, it’s rock solid. Actually, everything played on the Bardo has an uncanny sense of pace to it. The nearly $40k AVID Acutus REF SP and SME V has a little more weight in the lows and delicacy in the highs, but the Bardo is unbeatable at its price point.

Direct drive is not a dirty phrase

It goes without saying that a lot of the resolution the Bardo offers comes from meticulous build quality and attention to detail. Much of the major pace and timing accuracy this table delivers comes from the direct drive system. Utilizing Feickert’s iPhone app to check speed accuracy reveals most belt drive turntables to be relatively close to spinning at 33.33 r.p.m., but there is a fair amount of variation on the theme.

Watching the real-time speed graph for the Bardo, it’s near flat across the board. The phrase “rock solid” definitely applies here. Because Brinkmann implements direct drive the opposite way that the legendary Technics tables did, the result is much more to the liking of a modern audiophile.

Technics DD tables, initially designed for the broadcast world, used a high torque motor, hammered into speed accuracy by a quartz lock control mechanism, resulting a lot of motor “cogging.” This is what happens in the small spaces in the 360-degree rotation of the motor that don’t always have power applied. Unfortunately, this aggressive speed control did exactly the opposite of what was intended. Pulling out my SL-1200, with the excellent TimeStep power supply and a stock SL-1200, tracks played on the Brinkmann get progressively flatter in terms of three dimensionality, going back to the TimeStep equipped 1200 and then a stock one. It’s easy to see how the early direct drive tables got pooh-poohed, and I can see how easy it was to be seduced by the Oracle back in the early 80s.

Mr. Brinkman’s low torque approach, coupled to a heavy platter and world class bearing makes for smooth sailing. It takes about 8-10 rotations to get up to full speed, which is about the amount of time that it takes for the tonearm to set, and once you shut the power off, it rotates for a long time before coming to full stop. Brinkmann’s research led him to the current lead crystal platter insert in the aluminum platter, making for a major increase in resolution over one strictly machined from aluminum. Brinkmann spends a tremendous amount of time on materials research alone, and on his website, he claims this goes all the way down to the fasteners used to hold things together! The proof is in the listening; this is a very refined design.

Controlled ease

The presentation of the Bardo is indeed unique. Record after record has an ease and freedom from fatigue, again because of the excellent speed accuracy this table offers. Friends with canine hearing claiming perfect pitch that can hear a plethora of speed issues on every table I’ve ever reviewed were not only dead silent listening to the Bardo but they were also outright complimentary. Violins take on a magical realism with this table because of that speed accuracy.

You’ll probably key in immediately to how great your rock records sound, should you be a fan of this genre. The Bardo does a great job in the bass performance, but if you live on a strict diet of Zeppelin, you might not notice the subtleties of this table quite as much as the classical listener preferring soloists and small ensemble music. Sampling this fair gives the Bardo a near reel to reel tape like transparency.

Our choice for Analog POY

Here’s why the Brinkmann Bardo is our choice for 2016 Analog Product of the Year; it offers tremendous value, build quality, sound quality and ease of use. I’ve listened to my fair share of $100,000 plus turntables and have always walked away unimpressed. You can buy a pretty major hi-fi system for $100k, and I suggest if you take that path, you put the Bardo on top of your rack. Seriously, other than a few audio reviewers and a couple of hedge fund managers that got a screaming deal, who owns a $100,000 turntable anyway?

Wacky as it might sound, the $10,000 – $20,000 category is the hottest category for “destination” turntables. There are a handful of great tables costing 2-3 times this much (like the SME 30, the AVID Acutus REF SP and a few others), and they do reveal more music for sure. But again, the Brinkmann Bardo presents so much music, especially with your choice of awesome $5,000 – $10,000 cartridge, I’ll stick my neck out and say that most of us could live happily ever after right here.

If you’re currently using a table in the $3,000 – $5,000 category, you will be floored at just how much more musical information and nuance that the Bardo can shed light on, that if you have the purchasing power, this won’t be a difficult decision.

I’ve purchased the review sample and plan on spinning a lot more records on the Bardo. It’s simple, elegant, yet high-performance design has captured my enthusiasm. Should you be planning on buying a table in this price range, I not only recommend the Bardo, I sincerely hope you will audition one, and see if you enjoy it as much as I do.

The Brinkmann Bardo Turntable

MSRP:  $9,900 with Brinkmann 10.1 tonearm ($260 savings, purchasing the bundle)

http://brinkmann-audio.com

Peripherals

Phono Cartridge                    Koetsu Onyx Platinum, Ortofon Cadenza Black

Phonostage                            Pass XS Phono

Preamp                                  Pass XS Pre

Power Amps                          Pass XS 300 monoblocks

Speakers                                GamuT RS5i, MartinLogan Neolith, Quad 2812

Cable                                      Tellurium Q Black Diamond speaker and interconnect,

Power cords                           Cardas Clear

Every now and then, smaller is better.  Such is the case with a lot of the Japanese receivers from the ’70s.  Pioneer, Marantz, Sansui and the like were on a power race similar to the Cold War of the same period, releasing receivers with more and more power all the time. Some of the large models went up to and even exceeded 200 watts per channel, yet their smallest offerings had a special, almost delicate sound.

Two of my personal favorites were the Pioneer SX-424 and the Marantz 2215.  In this case, we have the later 2215B model, and while you can start a major argument on any hifi forum as to which model was better, the 2215B is still pretty sweet indeed.  Without schematics and parts count in front of me, I’ll go out on a limb and guess that with these amplifier sections, in the early days of solid state, simpler was definitely better.

In tandem with the pair of NOS JBL L26 speakers I wrote about back in issue 49, the mellow sound from the 2215B is beguiling in the sense that it’s not quite as warm as a Dynaco Stereo 70/PAS 3 combination, yet is still very smooth.  When listening to a modern 24/96 recording via the OPPO 105 disc player, the Marantz’s modest power rating is fairly easily exceeded, even at a modest listening level.  Yet, with your favorite classic rock records found in the budget bin or thrift store, played via a Shure M44 cartridge which is already somewhat warm and round in its presentation, nothing sounds bad at all.  Even the Eagles classic Hotel California (there, I admitted it) sounds pretty damn inviting, but whatever your fancy, the 2215B will never come across as harsh – even with an early-generation CD player.

15 watts per channel won’t power a pair of Magnepans, but a pair of Klipsch Heresy’s, JBL’s or even a pair of Dynaco A25 speakers makes for an incredibly pleasant system that might even have you questioning why you’re chasing the hifi grail in the first place.  Keep it simple and you’ll be well rewarded.

Blending the old and new worlds even further, streaming from Spotify, with its slightly underwhelming 320kb/sec audio quality, is definitely embellished by the lack of resolution that this vintage Marantz offers.  This makes the 2215B a perfect anchor for a dorm room, garage, office or den system.  Its bass and treble controls are especially useful, extending the capabilities of whatever inexpensive speakers you might pair up with it, and the phono section is surprisingly quiet.

The FM Tuner section, while not as good as the legendary Marantz tuners, is still quite good –– and if you live in a market where there are still good stations to be heard, the 2215B fits the bill.  Local stations with a modicum of signal strength here in the Portland area are clean and clear, with more than ample stereo separation.  Way better than what you’ll ever experience with satellite radio.

As with any piece of vintage gear, try to shop for the cleanest one you can find cosmetically, as all the trim parts are long gone –– it’s like trying to buy parts for a Porsche 356. Those vintage items that have the nice bits command a premium price, making a $50 budget find a $400 receiver in a hurry.  The example you see here fetched a price of $215 on Ebay and not only features a slew of new capacitors under the hood, but a fresh set of aftermarket LED lights, assuring that the blue Marantz glow will be intact for years to come.

– Jeff Dorgay

Wave of Industry Support for Meridian’s MQA at CES Signals Change in Music Quality for All

Meridian Audio announces rising industry support for its revolutionary MQA (Master Quality Authenticated) technology, launched last month at The Shard.

After the spectacular launch the music industry, hardware providers and content distribution companies are aligning with MQA and its assurance of supreme sound for music fans.

Following 7digital’s announcement of support in December, other companies already in advanced discussions include: Imagination Technologies and its Caskeid wireless multi-room audio IP platform; Onkyo, the Japanese electronics giant; Arcam, the British hi-fi manufacturer; and TIDAL, the high fidelity music streaming service from the Aspiro Group, currently available in US, UK and Canada. TIDAL will also be integral to the MQA demonstrations at CES, streaming MQA music files through the updated Meridian Sooloos digital media system.

Commenting on this wave of support for MQA, Bob Stuart, Meridian Audio co-founder and pioneer behind the new technology said, “We are delighted to be in discussions with such highly respected brands. We are also progressing our work with the music labels, who continue to drive forward MQA content discussions, and we expect them to make announcements in early 2015.”

Callers to the MQA by Meridian suite can experience MQA-encoded music in action, as well as meet the audio design experts behind this revolutionary music format.

http://www.meridian-audio.com

Though Mike Liang is no longer part of our staff, now that he’s gone on to be national sales manager for Woo Audio, he’s still the biggest headphone enthusiast we’ve ever met.  Between his YouTube channel, where he’s always unboxing new phones, and his own personal headphone collection of over 120 pairs, he’s a maniac.  And he’s definitely heard enough cans to have a solid opinion on what he loves.  Here’s his list.

AKG K3003

$1,499

http://us.akg.com/akg-k3003-overview-us.html

The AKG K3003 comes in two flavors, with and without Apple iOS 3-button in-line remote.  It is a reference-class 3-way design featuring one dynamic and two balanced-armature drivers in a tiny stainless steel housing.  The interchangeable sound-tuning filters (bass boost, reference sound, high boost) make these IEMs incredibly flexible.  The build quality is top notch and the sound is absolutely stunning.  The K3003 reveals more musical detail than I’ve ever heard in a universal fit IEM.  Pairing it with the Astell&Kern AK120II, I constantly ponder why I really home Hi-Fi system.

Sony MDR-CD900st

About $200

www.sony.com

Sony is not a newcomer to the world of high-end headphones, yet often their coolest stuff never makes it here to the States.  The MDR-CD900st is a perfect example.  On the outside it looks a lot like the consumer-grade MDR-v6, but don’t be fooled.  The CD900st is a completely different animal in the sound department and more comfortable than its doppelgänger.   Its sonic signature is relatively neutral.  As the saying goes, “garbage in, garbage out” – so the better your source, the more you will be impressed.  In fact, this model is a studio monitor “officially” only offered in Japan through Sony Professional Division.  But our Japanese friends on Amazon can get you a pair for around $200 USD.  The MDR-CD900st is a gold nugget in the sand – a gem that is worth digging up.

Sennheiser HD700

$799

www.sennheiser.com

Big soundstage, crystal-clear highs, tight bass, fast response, easy to drive, and extremely comfortable are all traits of the Sennheiser HD700.  Many of the design cues and materials used in this second-to-the-top model are derived from the company’s most technologically advanced headphone – HD800 (which will set you back almost twice as much).  For better or worse, the HD700 is more forgiving than HD800, meaning the low-resolution music in your collection will be a lot more enjoyable than listening through the flagship HD800. If you are on the fence about getting into personal audio, give the HD700 a listen on a good quality DAC/amplifier and you’ll see why the hobby is so strong.

RHA T10i

$199

www.rha-audio.com

Reid Heath Acoustics is a relatively new headphone company based in Glasgow, Scotland.  My first experience with their products was the MA750i; it was love at first listen, and I felt it should cost more – a lot more.  The new T10i is even more impressive for only $199 – only a slightly higher price than the MA750i.  The T10i is made from injection-moulded stainless steel which is impressive at this price point.  Another impressive feature is the tuning filters that are similar in effect to the ones that the $1499 AKG K3003 uses.  Yes, you can change the sound by changing between reference, bass boost, and treble boost filters.  This functionality makes the RHA T10i an incredible value.

Beats Solo2

$199

http://www.beatsbydre.com

The new Beats Solo2 is a completely new design from the ground up. The stereotype that Beats headphones are kids’ overpriced neck candy – with below-average sound quality – no longer applies.  The new Solo2 sounds much more natural and is greatly improved over the model it replaced: the Solo HD.  Gone is the sonic signature that dogged early Beats designs; muffled midrange and boomy bass that overwhelms the rest of the music is a thing of the past.  The Solo2 sounds clean, clear, natural, and has tight punchy bass that sounds great with a wide variety of music genres.  Give the new Beats Solo2 a try before you dismiss it.  Honestly, you may not find a better portable headphone for $199.

Audio Technica ATH-M50x

http://audio-technica.com/

$200

The M50 has been around for a long time and shares equal popularity with the Sony MDR-7506 among audio professionals.  Audio Technica took a trusted old friend and gave it the modern features users have been demanding with the new M50x.  The ear pads are upgraded for extended comfort; the cable is now detachable and comes with coiled, straight, and a short one for mobile use.  The M50x sounds much like the M50, which is a good thing for those loving the sound of the old, now upgraded with more functionality.

Focal Spirit Professional

$349

www.focalaudio.com

Focal is known for their incredible Utopia loudspeakers for the home listening room as well as a full line of studio monitors used by sound engineers around the world.   The Spirit Professional is part of Focal’s family of headphones – Spirit One and Spirit Classic.  Don’t let the low $349 price tag fool you, as the Spirit Pro shares a lot of DNA with Focal’s multi-thousand dollar studio monitors.

B&O H6

$399

www.beoplay.com/products/beoplayh6

Bang & Olufsen practically invented the concept of audio gear featuring high style, so it’s no surprise they’ve contributed heavily to a segment of personal audio often referred to as “fashion headphones.”  The BeoPlay H6 is no stranger to this world, bringing aluminum ear cups, a genuine leather headband and lambskin-covered memory foam earcups together in a sexy and luxurious design.  But the most amazing part of the equation is that the magicians at B&O pulled it off for such a low price.

All would be lost if these were just a pretty pair of phones, but they’ve got the sound quality to make them much more than “just a pretty face. The H6 may have you rethink the fashion headphones segment.

Beyerdynamic T51

$299

http://europe.beyerdynamic.com/shop/t-51-p.html

The new T51i is a closed-back headphone featuring memory foam pads for extended comfort, blocking out environmental noise while on the go. First and foremost, it’s high quality; audiophile sound comes from the Tesla drivers

that are derived from its much-pricier sibling – T5p.  The “i” signifies Apple “made for iPod/iPhone/iPad,” while MFI certification means you can control your iDevice and take phone calls right from the 3-button in-line remote.  At $299, the Beyerdynamic T51i has Hi-

Fi sound without the Hi-Fi price.

MrSpeakers Alpha Dog

$599

https://mrspeakers.com/product/alpha-dog-headphone/

Dan Clark, AKA MrSpeakers, modifies the modest $129 Fostex T50RP to a headphone rivaling some of the best headphones on the market – at only $599.  One of Dan’s modifications is replacing the ear cups with a 3-D printed housing.  MrSpeakers Alpha Dog is the world’s first 3-D printed headphone.   Dan also swaps the stock ear pads for custom lambskin pads that are extra thick and pillow-like comfy.  In fact, the only thing left from the original Fostex are the heavily modified planar magnetic drivers and the headband that holds the headphone together.  Before you spend $1K or more on a headphone, you need to give the Alpha Dog a listen first.  Thank me later by taking me out to dinner with the money you saved.

A few of my favorites:  Jeff Dorgay

While I’ll be the first to admit I’m not a headphone guy, Mike’s enthusiasm is overwhelming, and I can’t help but admit I’ve caught some of his fever.  I don’t have anywhere near the collection he has, but I do have a few of my own favorites as well.

Oppo PM-1

$999

www.oppo.com

HiFiMan and Audeze are major players in the planar magnetic headphones, but even though Oppo is a bit late to the dance, their contribution is stunning.  Like all other Oppo products, the PM-1 offers world-class performance at a reasonable price, yet no corners are cut.  This is the Oppo magic.  While the PM-1s are obviously tailored to be a perfect match with their own headphone amplifier, the PM-1s sound fab with every amp I’ve plugged them into, and they are also incredibly efficient and easy to drive from an iPhone or iPad, making an external amp an option only for the most maniacal.  A definite plus for someone who is on a plane 40 times a year.

Koss Pro 4aaa

About $50 on the secondary market

www.koss.com

Though no longer made, the original Pro 4aaa from the late ’70s is just as cool as hooking up an old pair of Advent or JBL speakers to a vintage receiver.  If you were there the first time around, grab a pair of these on Ebay, put on Dark Side of the Moon, and head back there for half and hour.  You’ll see what I mean.

Beats Solo 2 Special Edition

$249

beatsbydre.com

I agree with Mike’s take on the Solo 2s and share his respect for this brand.  Beats always gets a bum rap by snooty audiophiles, but after listening to more than a few pairs, I’ve become a staunch supporter.  And these feature a Hello Kitty motif.  What could be better, I ask you?

Sennheiser HD650

$499

www.sennheiser.com

Sennheiser’s latest HD700 and HD800 phones are definitely more resolving than my workhorse HD650s, but especially when upgraded with a better cable from your favorite headphone aftermarket vendor (I suggest the cable from ALO Audio) about half of the darkness that surrounds this model is gone, and that makes them a hell of a lot more listenable.  They lack the ultimate resolution of the HD700 and HD800, but for long listening sessions are still one of my favorites, being entirely fatigue-free.

Two amazing but radically different speakers for about 13 grand

By Jeff Dorgay

Twelve thousand dollars will buy you a really nice used car these days or a really posh weekend at the Monaco Grand Prix.  It will also buy you a great hifi system, so if you’re dropping twelve large on the speakers alone, the expectation is high.

The two speakers observed here more than fit the criteria and go about their business in a completely different way, with different design goals, aesthetics and overall sound.  Both will be equally enticing to their prospective owner, so this is not a “shootout,” as there would be no winner.  Sales 101 says “define the customer,” and there’s no better challenge than selling high dollar hifi.  It’s rarely a case of better or worse, but almost always a case of “what flavor will it be?” If you can put your finger on your priorities, the choice will be crystal clear.

One speaker hails from England, the other from Italy.  Both come from two of the top minds in speaker design.  Recently deceased Franco Serblin was the man behind Sonus faber and Peter Thomas, former BBC loudspeaker designer and principal at PMC both take a high tech as well as a high touch approach to their speakers.  Each rely on a different set of criteria and in their own way remain true to the musical presentation.

The Franco Serblin Accordo

I spent a ton of time on this review, perhaps too much, looking for that magical combination of speakers and amplification that would lead to more of a full range performance experience with the Accordos, to no avail.  The required clarity came during a test drive with the Lotus Elise.  While I wasn’t zooming around corners as fast as I could with a Porsche Boxster S or my own BMW Z4 (both cars having over twice the horsepower than the little Lotus), the communication the Lotus provides is sublime, in a league of its own.  A similar conclusion was drawn driving a new Dodge Challenger, with the big Hemi.  More powerful, yes. More interesting, more engaging, not necessarily.  To my Challenger loving friends, don’t despair, I do love this car.  Stepping out of the Challengers driver seat, with a fresh bouquet of tire smoke at my back the epiphany struck me over the head like a lug wrench – these are a brilliant pair of loudspeakers, but not everyone will get them.

Not everyone will love the Accordo, but much like the legendary Quad 57 or the original Sonus faber Guarneri, if you love what the Accordo excels at; incredible midrange definition, exquisite rendition of texture and a HF register that is smooth, distortion free with a complete absence of grain – nothing else will do.  If you liked the original Guarnari, think of the Accordo as a continuation of this philosophy.

Forget Metallica.  If you want to rock the house, buy something else.  Slipping an early Japanese pressing of Bowie’s Aladdin Sane on the turntable and listening to his discordant piano solo glide between these tiny, almost invisible transducers gave me goose bumps.  Forget a big room too.  These speakers don’t have much deep LF output to begin with, so placing them in a large room makes them work way too hard, and adding a subwoofer takes away from the design ethos. As excellent at the REL and JL Audio subwoofers at my disposal are, they just don’t quite have the delicacy required to augment the Accordos, they always sounded better by themselves, even though I wished they had more bass at times.  (There is always the Sonus faber Stradivari, considered by many to be Serblin’s masterpiece, but that’s another story for another day.)

The Accordos will not be for everyone at $12,995 a pair, but they will be everything for the right person.  Much like a Wavac SET amplifier that only delivers 9 watts per channel and has a $60,000 price tag, it’s about quality.  It’s about an exquisite rendition of sound within a range that you won’t get anywhere else unless you spend a lot more money.  These speakers are truly precious, and the longer you listen to them; the more they unravel the nuances of your recordings in a way that you may have not thought possible.

Next up, the PMC twenty.26….

Cranking Public Enemy’s “Fight the Power” to a level way beyond what I’d ever expect from a small pair of monitors causes me to redefine my mental short list for a final hi-fi system. While I routinely audition six-figure speakers (and enjoy every minute of it), the Cenya and its slightly more expensive sibling, the Cenya Signature, deliver so much music that I would happily retire with these Finnish beauties as destination speakers.

The Cenyas do everything but deliver the last octave of deep bass, and at $4,000 a pair, they leave you enough scratch to add your favorite subwoofer, should you require it. But in a small- to medium-sized room, you may not need the extra bass. These speakers are positively heavenly in my new small listening room (10 by 13 feet) powered by the Devialet 120. Penaudio speakers have always needed a little bit of juice to give their all, and the 120 watts per channel provided by the Devialet gets the job done, no matter what the musical faire. The opening bass drum beats from Led Zeppelin’s “No Quarter” are delivered solidly, without overhang. As the cymbals linger in the air and fade off into black, the sparkle remains potent, which leads me to believe that these little speakers move some serious air.

It’s worth noting that Devialet owners that are running the current firmware can now take advantage of their new S.A.M. (Speaker Active Matching) system, which offers phase alignment for a list of speakers, like the Cenya, custom tailored to the individual speaker.  S.A.M. also offers bass equalization/compensation in the DSP domain that extends the frequency response cleanly down to 25hz. This had just become available at the end of this review, so watch for a follow up when we’ve spent more seat time with it. The short story is that it works incredibly well. You’ll swear there is a subwoofer in the room!

My history with Penaudio goes way back to the Serenades that we reviewed in issue 4 and that ended up as my reference speakers for a couple years. I’ve always appreciated Penaudio founder Sami Pentilla’s ability to build speakers that combine understated good looks and natural tonality in a compact form. The tiny Cenya is no exception. It looks like a slice of the Serenade, with a 6-inch woofer and a 1.25-inch soft dome tweeter, and it is available in a wide variety of finishes.

This particular pair comes in the high-gloss white that was the rage at this year’s Munich High End show. Considering psychoacoustics, this may be the best color for these mini monitors, as it lets them disappear even further into my listening environment, which is painted Ralph Lauren Studio White. A knuckle rap demonstrates cabinet rigidity, which contributes to the speakers’ stellar bass response and freedom from cabinet-induced vibration.

Super Simple Setup

As with any high-quality pair of mini monitors, the Cenyas benefit from doing two things: placing them on massive stands and providing a solid coupling between the speaker and stand. Though not as attractive as the Cenyas deserve, a pair of 24-inch sand-filled Sound Anchor stands works perfectly, with a set of small Isonode feet ($19.95 for a set of 4; available from Bright Star Audio) providing an ideal mechanical interface.

The Cardas Clear Light speaker cables also work well with these speakers, but for those requiring a bit more zip and high-frequency extension, the Graditech speaker cables provide it. They prove a perfect match for the Conrad Johnson LP125sa power amplifier, while the Clear Light cables are a more balanced solution (for these ears, anyway) with the Devialet.

Final speaker placement takes about 15 minutes, with a bit of fine-tuning after the Cenyas have about two weeks of major break-in. Like all of the other Penaudio speakers we’ve auditioned, a good week’s worth of listening to dynamic music at moderate to high volume does the trick—though they do sound fabulous right out of the box.

Jah Wobble’s Japanese Dub leads the way into a long session of bass-heavy tracks that help define the low-frequency response of the Cenya2. The official specification is +/–3 dB from 45 to 28,000 Hz in an anechoic chamber, and thanks to a little bit of room gain, the Cenya 2s reproduce the 40 Hz test tone on my Stereophile Test CD with ease, though bass response falls off rapidly after this. For most musical material, this will rarely be an issue, considering the quality of the bass that the speakers produce. Again, this was all done without S.A.M. engaged on the Devialet.

A Nimble Performer

In a modest-sized room with first-class amplification, the Cenyas will spoil you. Thanks to their small front surface and high-quality SEAS tweeter, they throw an expansive soundstage that not only extends beyond the speaker boundaries but also past the wall boundaries.

When I revisit Springsteen’s The Wild, The Innocent & The E Street Shuffle, it’s a pleasure to hear the nuance in his young voice and, even though the recording is only mediocre, the coherence provided by this high-quality two-way speaker makes it come to life. As with the previous Cenya iteration, the new Cenya exhibits a transparency much like an ESL. The Hammond organ at the beginning of “Kitty’s Back” remains in the air, slightly above the speakers, lingering in the room as though through my Quad 57s, but with more punch and dynamics.

The Cenyas excel at keeping the musical pace intact. The rapid-fire drum beats in Blamstrain’s “Dog Song” stay solidly anchored in the middle of some dreamy synth riffs, while the deep bass line fills the listening room without blurring the spacey presentation, until the volume is turned up well beyond a reasonable level. This is the only limitation of these petite Finns: They can only move so much air, and when pushed past their limit, they compress rapidly. However, I think anyone demoing a pair of Cenyas for the first time will be surprised at just how loud this level is.

Of course, the vocal performance of these speakers is beyond reproach. Those preferring more audiophile faire will be highly satisfied at the deftness with which the Cenyas project both male and female vocals. Whether you love Tom Waits or Shelby Lynne, the speakers deliver the goods.

Compatibility

With a sensitivity rating of 86 dB, the Cenyas work better with more power, though in my small room, even the 25-watt-per-channel 845 SET amplifiers at my disposal prove adequate, albeit not able to push the speakers as far as the 120-wpc Devialet can.

Regardless, the Cenyas are very tube friendly in a way that my Serenedes never were. The McIntosh MC275, PrimaLuna DiaLogue Monoblocks and the new C-J LP120sa vacuum-tube amplifiers all work well with the Cenyas, delivering great dynamics, extended HF response and good damping of the woofer cones without issue.

The Cenyas are equally versatile with solid-state amplification, from about 35 wpc on up, proving a good match with the 35-wpc Naim Qute2, the 50-wpc Rega Brio-R and the 60-wpc Pass Aleph 5—all reasonably priced yet high-performance small solid-state amplifiers.

Surprisingly, the Cenyas are transported into another world with the 300-wpc Burmester 911 MK3 and the similarly powered Pass Xs 300 monoblocks, though it is hardly likely that someone would spend $30,000 to $80,000 on amplification for a $4,000 pair of speakers—though, if you do, these little beauties are up to the task.

The $4,000 Question

If you are looking for maximum performance with minimum footprint, look no further than the Penaudio Cenyas. They will do justice to whatever ancillary components you have at your disposal and they produce way more music than you would expect from a speaker this diminutive in size. Highly recommended.

Penaudio Cenya monitors

MSRP: $4,000 per pair

www.penaudio.fi

PERIPHERALS

Digital Source	Devialet 120    Meridian Control 15    MacBook Pro
Analog Source	Thorens TD-124    SME 3009 tonearm    Ortofon 2M Black cartridge
Amplification	Devialet 120
Cable	Cardas Clear

One of the things I’ve always admired about Gene Simmons is that he’s straightforward about being in the game for the money. Our pal Chad Kassem at Quality Record Pressings/Acoustic Sounds isn’t always quite so forthright, and I’ll cut him some slack because he wouldn’t know a great rock record if it bit him in the ass. But this is pure blasphemy. Sorry folks, I’ve been there from the beginning, and I have every pressing of Alive! around, and this one is a turd.  A $50 turd. no less, pressed at Kassem’s QRP plant.

Granted, Alive! has never been a sonic masterpiece, but the Japanese CD collection from a few years back does this classic major justice, revealing what little dynamics do exist. There’s also some halfway decent separation between lead guitarist Ace Frehley and rhythm guitar Paul Stanley’s playing, with a bit of soundstaging, to boot.

Pulling out the original Casablanca pressing to do a direct comparison, even the original, which you can usually find (albeit often well-worn) for a few bucks at used record stores, blows this remaster away in every sense of the word.

So to the very small subset of audiophiles that happen to love Kiss: If you want the best, you won’t get it here.  –Jeff Dorgay

Universal, 180g 2LP

Cars aren’t the only things being produced in Detroit these days. Earlier this year, Shinola began offering a variety of items including bicycles, leather goods and watches, all produced at its Detroit manufacturing facility. And its watches in particular caught our attention.

Named after the 1940s-era shoe polish brand, Shinola is backed by a larger Dallas-based company and has an ultimate production goal of 500,000 watches annually. Shinola has partnered with Detroit’s College for Creative Studies, which is helping to interject creative approaches in the company’s manufacturing process. And while not all the parts in Shinola’s watches are sourced from U.S. suppliers, the company hopes to bring more U.S.-based companies into the fold. As one example, a well-established watchband maker in Florida, Hadley-Roma, produces all the leather bands for Shinola’s watches.

It is not uncommon for U.S. manufacturers to buy parts from sources around the world and assemble them here. Many companies even have the entire assembly process done overseas where expertise and labor costs can make small-scale production more economical. Shinola’s manufacturing approach bucks this trend in order to create jobs locally. And Shinola’s watches have generated a strong following from those who favor the watches’ neo-retro designs.

Shinola takes special care in building its movements, which is kind of like a watch’s engine, allowing the watch to maintain time and date, and in some cases enabling stopwatch functionality. All the movements in Shinola’s current lineup are quartz-based and required the battery to be changed every few years. Companies like ETA (Swiss) and Miyota (Japanese) produce very reliable pre-built movements and are the go-to options for some U.S. watchmakers. Another large movement manufacturer is Ronda (also Swiss), and its movements serve as the basis of Shinola’s own Argonite series of movements, which Shinola assembles at its Detroit factory. Keep in mind that each Argonite movement requires 40 to 80 tiny parts.

To prepare the team in Detriot for such a large and delicate undertaking, Shinola brought in several experts from Ronda to get the process rolling and to help train the local team. A substantial amount of hands-on labor is required to build each movement—and considering the care and time that the team in Detroit puts into each Shinola watch, a price tag starting at around $500 is very reasonable. Given the quick growth and popularity of the company, it appears that many happy Shinola customers agree.  -Rob Johnson

www.shinola.com

Simaudio is one of the elite companies in the high end audio industry today with over three decades of history. The Canadian company’s MOON brand products are among those that continually impress Tone reviewing staff. Simaudio’s MOON gear is hand-crafted in Quebec, Canada, and a recent factory tour by Tone made obvious the company’s obsessive attention to detail and the pride they take in every product that gets shipped. A ten year warranty on MOON components shows a level of confidence in their design and execution.

MOON is known for it’s powerhouse amplifiers, transparent preamplifiers, and their unique and rather stunning industrial design. They recently have been getting accolades for their cutting edge digital products, including disc players with digital inputs, DAC’s, and network streamers. In for review is the MOON Neo 380D Digital to Analog Convertor. The 380D is a unique product with a dizzying array of features and enough technology to make your head spin.

It would be impossible to cover all the techie notes about the Neo 380D, but we will try to summarize. First, the unit uses the ESS Technology SABRE³² Ultra DAC / Digital Filter (ES9016) “working in 32-bit Hyperstream™”.  Simaudio goes out of their way to stress their efforts to reduce jitter with what they call their “Dual Jitter Control System” that they say is responsible for producing a “virtually jitter-free digital signal below 1 picosecond for ultra-low distortion, and ensuring compatibility with virtually any connected digital device.”

There is an array of eight digital inputs including AES/EBU, USB, Coaxial, and TosLink.  The Neo 380D handles PCM signals up to 192 Khz. Interestingly there is also digital output and a digital monitor loop. There are separate digital and analog power supplies,  The design is fully balanced, and there is a pair of XLR and RCA outputs.  Care is taken in regards to chassis resonance. The Neo 380D is available in silver, black, and two tone, by the way.  A remote control is supplied to control virtually every function.  The front panel display is large and easy to read from the listening position, displaying input selection and sampling rate.

The review sample is supplied in black, which makes for a beautiful contrast with the silver function buttons and red LED readout on the front panel.  There is much more. The Neo 380D came equipped “fully loaded” with the optional volume control, and the MIND (MOON Intelligent Network Device) module which allows for network streaming. The volume control is the same circuit found in the reference level Evolution Series, knowns as M-eVOL.  The basic Neo 380D retails for $4400, with volume control costing $600, and the streaming module adding $1200.  The total cost of the review unit is $6200. The MIND module is also available as a stand alone purchase in it is own chassis.  It should be noted the 380D is firmware upgradeable via the network. A firmware upgrade did take place during the review period, and it was seamless.

The Neo 380D is tested in my system first with fixed outputs into a passive controller, then for the majority of the review period, driving a power amplifier directly using the variable outputs.  To get things started  Simaudio’s MiND iPad app is installed, with MiniMServer and Twonky server software running on my Mac Mini, where attached drives house the music library. Plugging in an Ethernet cable into unit and selecting the Network input gets you streamed music from a remote networked computer or NAS in seconds. There is also WiFi capability as well, however the unit defaults to Ethernet on startup if a network cable is attached.

From the first few albums streamed over the network, it is obvious the Neo 380D is an exceptional  digital source component.  Recordings are rendered with an ultra natural presentation with body and a sense of natural flow. The 380D seems to extract the maximum from great recordings but does not flatter less than stellar sounding albums. The 96 Khz, 24 bit remaster of the Velvet Underground’s seminal White Light/White Heat is raw, rough, and primitive in the best possible way. The 380D lets you hear how well mastering engineer Kevin Reaves preserved what was on the original master tapes. You can practically see the tape spinning.

Another catalog getting proper remastering is the Black Sabbath 1970’s output. The Neo 380D  unleashed the mayhem found on such classic albums as Paranoid, Sabbath Bloody Sabbath, and Vol. 4.  The 96 Khz digital transfers are superb, and again the SIM creates more texture and immediacy than one would have thought possible on these thirty five year old recordings.

On more nuanced material, such as CD remaster of Miles Davis’ Seven Steps To Heaven, the 380D shines bright, presenting Davis’s horn, and the superb accompaniment from Ron Carter, Herbie Hancock, Tony Williams and others in a glorious light. The piano, bass, and drums fill the room with life like dimensionality one experiences rarely in a home system.

On large scale orchestral pieces, like the amazing Telarc CD of Stravinksy’s Rite Of Spring, the 380D creates an enormous soundstage and plumbs the depths. For fetishists who enjoy hearing the “recording space”, it was there is spades, with Telarc’s minimalist, natural recording technique paying dividends.

As a stand alone with other digital sources, the Neo 380D is beyond reproach.  Connecting my Squeezebox Touch optically yields excellent results.  The 380D also worked with the Squeezebox via USB (with Triode Applet installed).  A Jriver 19 loaded laptop also connected via USB sounds superb as well. To cover all bases,  I connected several disc transports via AES/EBU and coax and the 380D shows that all of it’s digital inputs are of a very high standard.

The Neo 380’s volume control proves to be the ace in the hole. It is utterly transparent to these ears with an excellent usable volume range and fine gradations in 1 dB steps.  This option is highly recommended if the 380D will be the only digital source in the system and you connect directly to a power amp, as is the case with our reference system.  The optional MIND module and SIM app were flawless, never failing to connect to the network. Browsing the library is a pleasure, especially one with properly tagged and with an organized folder structure.

Perhaps the only place to nit pick is the smallish, cluttered layout on the supplied remote control unit. It would be nice to have the volume control buttons somewhat enlarged. Aside from this minor complaint the Neo 380D integrated into the system without flaw, and provided endless hours of hassle free operation.

Simaudio has a real winner with the Neo 380D, especially in the “fully loaded” edition, with streamer and volume control on board. As a stand alone DAC it easily attains reference status. The 380D will remain a Tone staff reference for some time to come, and sets a benchmark at this price point. Highly, highly recommended.

Additional Listening

With so much excitement in the stratosphere of digital design, it’s easy to lose track of some of the more real world products that have benefited highly from recent technological advances.  Some might squeal that $4,400 is still a ton of money for a DAC, but in the realm of my $110,000 dCS Vivaldi, it is not.

Yes, there are a lot of great DACs in the $1,000 – $1,500 range, and they are getting better all the time, but there still is nothing we’ve heard for a grand that makes us want to forget about spinning records.  Simaudios Neo 380D, when placed in the context of a nice $20,000 system is so well implemented that all but the most hard core analog enthusiast just might want to think twice about all the vinyl bother.  If nothing else, when listening to well mastered files, you won’t be facing quiet desperation when you switch from analog to digital.  This one, like the AURALiC Vega that we’ve recently reviewed, raise the bar for musical reproduction at this price.  And they raise the bar pretty damn high.

Though I didn’t concentrate a ton on the MiND setup, I did stream a lot of files from my Sooloos Control 15 and Aurender S10 servers, with fantastic results.  While so much emphasis is put on the reproduction of high-resolution files (with good reason), what impressed me the most about the 380D is the stunning job it does with well recorded 16/44.1 files.  Let’s face it, if you have a massive music collection, I’m guessing that the majority of it is ripped at CD resolution.  And while tip-top high res performance is important, 16/44.1 performance is paramount, and this Simaudio DAC does not disappoint.  As a matter of fact, it delights.

One of the worst CDs I own has to be The Monkee’s Here and Now, The Best of the Monkees. Yet, through the Neo 380D, “Daydream Believer” makes a believer out of me.  Moving along to KISS Alive!, the same thing happens, I’m drawn into the music and my Japanese pressing of this rock classic sounds pretty damn good.  While the worst files in my collection sound great, the great ones sound sublime, and that’s what really turns my crank about the Simaudio Neo 380D.  Adding the MiND on board, just makes it so much easier to integrate your digital files into the mix, not having to add a digital cable, power cord, or take up more valuable shelf space.

This mix of sound, function and style, backed by a manufacturer known for high build quality means exceptional value, and we have awarded Sim thusly, with one of our 2014 Exceptional Value Awards.  -Jeff Dorgay

Simaudio Neo 380D

MSRP: $4400,  $6200 as tested.

www.simaudio.com

PERIPHERALS

Amplifier	Audio Research VS55
Preamplifier	Audio Research SP16L    CIAudio PLC-1 MkII
DAC/Streamer	Marantz NA-11S1    Squeezebox Touch
Speakers	Thiel CS2.4    KEF R700
Cables	Stager Silver Solids    Darwin    Transparent    Acoustic Zen
Accessories	Audience aDeptResponse ar6    Shakti Stone    Symposium Acoustics   Rollerblock Jr.

My love for British hi-fi can be traced directly to a Naim NAIT 2 that I purchased back in 1992. This little integrated amplifier, rated at between 15 and 21 watts per channel, taught me that power ratings were relative, and that a modest amp could sound more musical than the big 100wpc Japanese amplifier that it replaced. The only real flaw with the wonderful-sounding NAIT 2 was its inability to play large symphonic pieces and loud rock ‘n’ roll with any sort of authority. When pushed too far, the tiny Naim would break down, and its soundstage would collapse, sounding like an old Zenith console television.

The NAIT 3, introduced in 1993, now had 30 watts per channel so that it could be compatible with a broader range of speakers. The unit we have here is actually the 3R, a remote-controlled version, released a couple of years later. To my surprise, this 14-year-old unit could actually be controlled with our publishers R-Com remote. When it comes to promoting brand loyalty through these kinds of details, Naim is certainly a leader in the industry.

The 3R brought back a wave of nostalgia since it uses the same case as the CD3 CD player I used for over a decade.  I had a brief chuckle at the input marked “VCR” on the front panel, but I also sighed at the lack of one marked “PHONO,” which was present on my NAIT 2. (That was a killer little MM section, too.)  If your NAIT 3 was blessed with a phono stage, the AUX button was replaced with one marked PHONO.

While the phono stage uses standard RCA jacks, the rest of the inputs will require DIN cables.  Fortunately I still have some Naim DIN cables from the old days, so I could get right to listening; and I had the Shanling CD-T1500 CD player and my Lehmann Audio Black Cube phono preamplifier connected straight away.  The speaker connections only offer one choice; banana plugs. During the Vereker years when the Nait 3 was made, there was only one choice of speaker cable too.  If you didn’t hook up your speakers with Naim issued NACA5 cable, your warranty was void as this cable was one of the only ones that would properly load the output stage.  Luckily, I still had a pair of these hanging around.

I couldn’t help but crack a huge smile as the Naim logo on the front panel started glowing that familiar shade of green, and I settled in for several enjoyable listening sessions.

The NAIT 3R was made during the “old Naim” days when PRaT (Pace, rhythm and Timing) ruled the day, meaning soundstaging and imaging were a lesser priority in the name of toe-tapping rhythms and tonal accuracy. While that certainly isn’t as bad as it sounds, Naim loyalists know that in the 21^st century, you can have it all, but many still enjoy the vintage Naim sound too. The soundstage depth of the NAIT 3R was fairly shallow and sounded like my Harbeth 40.1s had been pushed against the back wall. Imaging suffered slightly, with everything sounding more blurred and forward than with my reference gear.

The NAIT 3R’s strong suit was the way it presented acoustic musical instruments, with excellent tonality.  Just like my NAIT 2, this is a fantastic amp for listening to intimate jazz and chamber music.  You can easily hear the woodiness of various cellos, and the sensation of air being forced from the chest cavity of singers during loud passages.  Hauling out my old faithful Spendor S20’s that I used to use with my NAIT 2, I noticed how the NAIT 3 could be played considerably louder before clipping set in.  Though nowhere near as authoratative as the Monitor 40.1’s, I was still able to turn up the volume without the size and scope of the music folding in on itself.

If you’re using a pair of older BBC monitors from Rogers, Spendor or Harbeth, I think that this NAIT will make an excellent mate, especially if you are a PRaT junkie and crave it on a regular basis.  It’s no secret that most of the popular British speakers offer good synergy with past and current vintage Naim electronics.

Originally selling for $1,600, the unit you see here is available at Echo Audio in Portland, Oregon for $695.  A quick check of Audiogon and EBay proves this to be right on the money for a clean Nait 3R.  While Naim gear has an excellent reputation for long term reliability, these are getting somewhat long in the tooth, so if you really love this sound, budget for a recap sometime in the next few years.  This will probably set you back about another $250, but well worth it and should give you another 20 years of excellent performance. –Marc Phillips

Publishers note:  Should you be more curious about vintage Naim gear, their website features a forum with some very knowledgeable Naim owners that can point you in the right direction.

http://forums.naim-audio.com/eve

A majority of the audio world had a facelift in the early 1980s.  The silver-faced receivers from the Japanese majors were replaced with separates here and abroad with a more modern look that could have been at home on the space shuttle.

Adcom was one of the champions of reasonably priced high end gear that played beyond its price point.  Nelson Pass was brought in as consultant for the now legendary GFA-500 series amplifiers that were designed with an austere black finish, with white and silver models available as special-order options.

The press reacted favorably to these amplifiers and they sold extremely well. This led Adcom to develop the 300, 400 and 500 series preamplifiers that had a matching design aesthetic along with their operational simplicity.  (Nelson Pass had nothing to do with the design of the Adcom preamplifiers, only the power amplifiers) The horizontal louvers running along the top of those early Adcom pieces became a visual signature for Adcom for 25 years, as distinctive as the blue McIntosh meters.

Adcom expanded the line with the GFP preamplifiers to the GTP series with built-in tuners.  These were also great preamplifiers that included a high-quality FM tuner at a reasonable price. But my favorite piece from this period was the GFP-555, which did not include a tuner.

This preamplifier had a very straightforward design, making use of control knobs with a pointer shape that left no doubt as to where they were set, along with a simple tape-monitor layout that was easy to use, as many of us still had tape decks back then.

Recognizing that budding (and some seasoned) audiophiles still wanted basic tone controls, the GTP-555 had very useable bass and treble controls that only worked at the extremes of the frequency spectrum, as well as a loudness contour button.  Low and high filter buttons were also included for those still listening to grumbly turntables or AM radio. There are even a few convenience outlets on the back panel to remind you of the days of audiophilia before power cords became a component.

555 or 555II?

A look under the hood of the GFP-555 shows it to be an extremely simple layout. Only two pairs of short ribbon wires, a blue one for each of the selector knobs, and a black pair for the phono section, and that’s it.  The simple gain-path philosophy is readily apparent. There really are not many components soldered onto the board, helping to explain the rather relaxed, non-technical sound.

The dilemma that the potential GFP-555 buyer faces is whether to purchase an original or a mk. II.  The mk. II has a beefier power supply and some signal path upgrades, but the original 555 features a low-output moving-coil phono option (100 ohm impedance) as well as variable capacitance loading on the moving magnet phono input.  Both units fetch about the same price on the used market, so choose according to your needs.

The mk. II has slightly less invasive tone controls (+/- 6db at 40hz and 15khz in the original vs. +/-6db at 20 hz and 20khz in the mk. II), though the option of bypassing the output capacitors in the mk. II has been eliminated because, Adcom claims, the high-quality caps now used do not affect the output signal.  In the earlier version, the user had the option of using the “Lab” outputs with no output coupling capacitors or the normal outputs, which had a cap in place.  Purists can still bypass the output capacitors on the mk. II, but it is a permanent move that requires jumpers and soldering iron.

Still a solid performer

The big question with vintage gear is how well it physically stands the test of time.  Almost all components 25 years old or older will probably require some or all of the capacitors to be replaced, and that should be factored into the purchase price.  The review piece did have one cap replaced about a year ago, but it was given a clean bill of health upon inspection.  The technician involved even offered to buy the unit.  The previous owner had taken good care of this preamplifier, so the buttons still worked fine and there were no scratches on the knobs or front panel.  The technician mentioned that durability of mechanical parts was a strong point of Adcom units of that era.

In the mid 1980’s when I purchased a GFP-555 for the first time, the compact disc was a new development and I had just started my career as a teacher.  One of the first 10 discs I purchased for my collection was The Who’s Quadrophenia, still one of my favorite rainy-day discs.  This certainly brought back some great memories and was the first disc I cued up.  The GFP-555’s overall mellow presentation actually helped this disc somewhat, as well as my CD copy of Carole King’s Tapestry, giving it a bit more sultry feel, like the LP that I once owned.

The phono section pared up well with my basic Technics/Grado combination.  It won’t make you abandon an out-board phono stage, but if you are shopping at this level, that’s probably not an issue.  Beginning or occasional LP listeners should find the on-board phono stage more than adequate.

While not up to the level of a CJ, Krell or ARC preamp of the same period, the GFP-555 still offers solid performance and value for about one-third of the price, just as it did when it was new.  If you are looking for the cornerstone for a mid-80s vintage system, the Adcom offers great bang for the buck, with clean, used examples going for about $175-250 on Audiogon or eBay.

–Mark Marcantonio

Those seeking more information can still download the manual here: http://www.adcom.com/manuals.aspx

Many of us have fond memories of Dual turntables.  In the mid to late 70’s, these automatic, idler drive tables were top contenders, with stiff competition coming from the likes of Thorens and Garrard.  Built like tanks, the underside was full of springs, gears and of course the big rubber idler wheel.  About this time, Linn’s LP-12 hit the scene, offering a new level of musicality along with the direct drive tables from the Japanese that both stole some of the thunder from the idler drives.  Dual would go on to produce belt (and direct) drive models before fading off into oblivion in the mid 80’s, but their legacy was definitely the idler drive tables.

With the vinyl revolution showing no sign of losing steam, many music lovers have turned to the classic turntables as an alternative to some of the budget offerings from Rega, Pro-Ject and Music Hall.  On the upper end of the price range, the classic Garrard and Thorens tables have really been making a comeback in audiophile circles, with fully restored versions easily fetching prices in the $3,000 -$5,000 range, with diehard idler enthusiasts claiming better bass response and more lifelike tonality.

If you’d like a taste of the idler sound at a more reasonable price, consider a Dual. Whether you are new to spinning vinyl, or trying to find something to play those old Foghat albums that you’ve had tucked in the closet since high school, this is a fun record player and it’s fully automatic.  Which can really come in handy if you revisit the state of mind that you were in the last time you listened to Foghat…   If you want your audiophile buddies to think that you’ve really lost your mind, grab some dollar selections from your local record store or thrift shop and stack ’em!  Who needs iTunes and Cover Flow, when you can load up five albums to play non-stop.

The two most popular models, the 1219 and the 1229 are trading on eBay between $75 and $225, but this is not the way you want to roll.  Like any fairly complex mechanism, turntables don’t respond positively to being bounced around in an adverse manner. Your chances of getting a clean example, and it not getting trashed in shipping by a non-audiophile are slim to none.

A turnkey solution

Just call Bill Neumann at www.fixmydual.com.  He’s taken his hobby of restoring these tables and turned it into a full time job, thanks to the demand and word getting around on the Internet.  He charges anywhere from about $100 – $300 to rebuild a table, depending on condition, or you can buy a fully restored model with cartridge installed for about $425, which is just what our publisher did.  While a fair price for a budget turntable, this is a testament to the staying power of these turntables, as they were $185 when new in 1970-1972.

“I’ve always got at least a few on the shelf, ready to go,” Neumann said when we talked to him.  His cartridge of choice; a vintage Shure, or the Grado Black.  As the big cheese just happened to have a spare Grado Red hanging around, that was the direction this table, a 1219 ended up taking.  Neumann added, “The major difference between the 1219 and the 1229 is the later model has a window with a strobe for the speed control.  They had to do that to keep up with Technics, but it’s really not necessary, these tables hold their speed very well.”

This is the perfect solution for the vinyl newbie, because the table arrives meticulously packed.  All you need to do is affix the counterweight and set the tracking force.  You’ll be playing music in five minutes.

Definitely a vintage sound

After the photos were taken we decided to explore the limits of the 1219’s performance envelope, before I took it home to a more “vintage” environment.  I’m sure most Dual owners won’t be hooking this baby up to a $12,000 Audio Research REF Phono 2, but it was easy to see just what the table was capable of when doing so. It is definitely as I remember them sounding, somewhat warm and wooly, yet friendly.  There is definitely something to be said for “the idler arm sound”, with a nice weight to the lower end.

Back in my batcave, hooked up to a recently restored Harmon Kardon Citation 18 preamp and Dynaco Stereo 70 driving a pair of JBL L-166’s, the sound was full and enjoyable with killer bass.  When comparing this to a Rega P2 with Elys cartridge, the Rega table definitely has a livelier sound with more midrange detail; now I remember how and why these tables were so exciting back in the 70’s when they arrived on the scene. However, I suspect that the 1219 may be severely limited by the cheapo stock tonearm cable.  My tweakazoid sensibilities might get the better of me, so don’t be surprised if you see a follow up article after I’ve played with this table a little more, experimenting with some cable options as well as a few more budget cartridges.  I’m convinced there is more performance to be had from the 1219.

I just couldn’t bring myself to use fully automatic mode, but the auto return feature was handy when I was getting busy later that evening.  Foghat never sounded so good.

www.fixmydual.com

For more product information:

http://www.dual-reference.com

MartinLogan’s full-range CLS is the speaker often cited for gaining the company a legion of fans, but if you dig a bit deeper, you’ll find another speaker with similar loyalty—the Aerius, which later became the Aerius i. Speaking as someone who’s had prolonged experience with both models, the CLS’ larger-than-life soundstage and breathtaking transparency was tough to beat, especially as vinyl headed for its sunset and many made the move to compact disc. Indeed, the CLS possessed so much resolution that it took only about 30 seconds to convince the uninitiated that the CD was no match for the LP.

When I moved to a smaller living space in the late 80s, the CLS had to go, and I temporarily ended up in the Acoustat camp. While the 1+1s were pleasant, they lacked the detail that made the MartinLogan speakers intoxicating. But then, in 1992, MartinLogan introduced the Aerius, which mated an 8-inch dynamic woofer to an electrostatic panel that was about 30% smaller than the one fitted to its larger Sequel. The Aerius was less expensive as well, costing just $1,995. The audiophile press raved; Stereophile’s John Atkinson claimed the woofer/panel integration to be “virtually flawless.”

Building on the success of the Aerius, the Aerius i came out in 1996 and remained in production until 2000. The i featured an improved crossover network, which lowered the critical crossover frequency from 500hz to 450hz and allowed the ESL panel handle more of the critical midrange frequencies. The new model was an improvement in every way, but did feature a lower minimum impedance (2 ohms with the Aerius; 1.7 ohms with the Aerius i) that made them tougher to drive with low-powered tube amplifiers.

Just As I remembered

The pair of Aerius i speakers featured here were supplied by MartinLogan for a comparison with its new ElectroMotion speaker that’s featured on page XXX of this issue. After allowing the panels to charge for a full day, the Aerius i sounded just as I remembered, featuring a smooth upper register, excellent integration between woofer and the ESL panel, and solid bass performance. While it’s been close to 20 years since these speakers were in my system, I’m as astonished by their performance now as I was the day I first uncrated them. I felt they were an amazing value for $2,000 then; considering a clean used pair fetches only $700-$900, the i makes for an excellent building block for a high-performance albeit moderately priced system.

MartinLogan’s ESL panels have a finite lifespan of about 15 years, so if you plan on hanging on to the Aerius for any length of time, budget for a panel replacement. This requires both DIY skills and between $500 and $700 for raw materials. The panels are still available from MartinLogan and are produced at their Kansas facility.  Unless the previously owned speakers you purchase are flawless, plan on exchanging the panels in the near future. Negotiate the price accordingly.

Performance the modestly powered tube amplifiers at my disposal was mixed. The CJ MV-50 and PrimaLuna Dialog 4 with EL34 output tubes (and about 35-45 watts per channel) had no problem driving the Aerius i, yet the vintage Dynaco Stereo 70 struggled, offering boomy and uncontrolled bass as well as a rolled-off high end. Note to tube aficionados: Make certain you can audition the speakers with your amplifier; the more power, the better and if your amplifier offers a 2-ohm tap, that will help.

While these speakers work well with most tube amplification, I’ve always achieved the best balance of musicality, HF extension, and bass control with a vacuum-tube preamplifier and high-current solid-state power amplifier. Should you be assembling a vintage/budget system, there’s a plethora of great amplifiers from which to choose in the $1,000-$2,000 range. But remember, these speakers are very revealing and will benefit from quality over quantity when it comes to power.

Early ESL Magic

The Aerius i had no trouble capturing the delicacy in Loudness’ “In My Dreams” from the Japanese rock legends’ Unleashed in the East album. The song features layers of phased and flanged guitars, which prove a treat for anyone that appreciates pinpoint imaging. An equally intriguing effect came courtesy of Lou Reed’s live Metal Machine Trio album, Creation of the Universe. The record’s atmospheric, edgy quality burst to life on these vintage speakers. Of course, if solo vocalists and acoustic guitarists are your bag, you will be thrilled—that’s the kind of music for which ESL panels were designed.

In fact, harder-edged rock was the only area in which the Aerius fell short. Even swapping the tube amplifiers for the formidable solid-state Burmester 911 mk. 3 failed to deliver the goods. Cranking up Triumph’s Rock and Roll Machine proved fruitless. As the volume levels approached realistic levels, the experience brought my Aerius journey full circle. I remembered why I had to ultimately move on from the pair of speakers that had been my staple for so many years. Joni Mitchell, yes; Jimi Hendrix, no.

Defying Convention

Critics told MartinLogan that a speaker incorporating a dynamic woofer and electrostatic panel couldn’t be done. Yet MartinLogan has continued to refine its hybrid ESL/dynamic woofer concept to the point where on the company’s current speakers, you can play Metallica at realistic levels, increasing the dynamic range and improving the blend between the disparate drivers. Each new model performs better than its predecessor.

But the Aeirus and Aerius i marked a turning point. They nailed the recipe, winning major accolades and loyal fans in the process. Revisiting these speakers only reinforces their excellence. Need a great anchor for a burgeoning high-end system? Look no further.  -Jeff Dorgay

Depending on when you start the counting, last year marked the 50th anniversary of the SME 3009 tonearm. Ignoring both xenophobia on the part of the British and envy on the part of everyone else, it remains the most successful high-end tonearm of all time, and is the template for superior “universal” tonearms able to handle a wide range of cartridges on an equally wide range of “motor units.”

Indeed, many audiophiles still swear by it, and with good reason: Despite it being associated, in the minds of many, with high-compliance moving-magnet cartridges because of strong associations with Shure, it was, in fact, designed with the then-dominant, heavy, low-compliance Ortofon moving-coil cartridges in the SPU series. Moreover, the first headshells used with the 3009—prior to the arrival of the familiar, drilled-out SME design—were Ortofon shells with SME badges on the front. Due to his unfailing honesty and integrity, SME founder Alastair Robertson-Aikman found it mildly disconcerting that the headshell-mounting system became known colloquially as the SME mount; Ortofon deserved the credit.

As a result of the arm’s ability to accept the heavy, low-compliance MCs we so love today, its performance is not that of a 50-year-old arm but of a still-viable contender. That’s the reason why boxed, second-hand examples in mint condition can command $500 at UK audio flea markets. The arm is simply remarkable.

It stayed in production until 2003-04, but not because the superior Series V supplanted it; both models ran concurrently for almost 20 years. The cost difference between an SME Series II Improved and a Series V kept the former in production for its value as an entry-level product. Robertson-Aikman felt the more affordable M2 was its true successor.

After four decades, total sales neared a half-million units. I trust TONE readers will immediately let me know if there’s a separate high-end tonearm that comes anywhere close to that figure. The SME 3009 was, and is, the most popular and influential quality tonearm in history. Even the near-elliptical tonearm cut-out served as the default arm aperture for countless manufacturers that supplied armless decks, from Garrard to Thorens to Technics.

Founded in 1946 by Robertson-Aikman, SME made scale models and parts for the model-engineering trade and hobbyist model builder. Robertson-Aikman, above all an engineer, was also a music lover able to construct his own system. He told me “the Series I precision pick-up arm was envisaged in the autumn of 1958. It came about because my burgeoning interest in hi-fi had reached the point where I was dissatisfied with what the market offered. At that time, the Scale Model Equipment Co Ltd, as SME was then titled, had a useful precision-engineering capability built up over the preceding 12 years. I recall going into the small tool room and asking if we had any aluminium tube.

“By the spring of 1959, a prototype was in use, and it was decided to show it to the then-Senior Technical Editor of Gramophone Magazine, Percy Wilson, a man of great enthusiasm and some useful ideas.” Asked what he thought of its commercial possibilities, Wilson replied that he and one or two of his friends would like to own one. Crucially, he told Robertson-Aikman, “Perhaps an annual turnover of as many as 1,000 pieces might be possible.”

Robertson-Aikman remembers it well: “I particularly recall this estimate because in the week of one of his visits, not so long before he died, we built 1,000 units and were averaging 750 units per week.”

After re-tooling the Series I, by then three years old, Robertson-Aikman replaced it with the Series II in 1962. Instead of a steel arm tube, the Series II used a polished, bright-anodised aluminium arm tube, 9.5mm in diameter with a wall thickness of 0.56mm. The Series II stayed in production for 10 years. “And for much of the time,” Robertson-Aikman notes, “there was a backlog of more than 2,000 units.”

In 1973, SME met the demand for an arm of lower mass than the Series II with the Series II Improved, which also offered, for the first time, a fixed headshell version. All of the same basic family ran for the next 30 years. By 1982, with the sudden burst in popularity of the moving-coil cartridge with lower compliances and higher tracking forces, Robertson-Aikman recalls that “cartridge developments precluded a ‘one size fits all’ philosophy.” It led to the creation of the even more sophisticated Series V.

Common to all are “J”-shaped arm tubes, the methods of applying tracking force, fully-protected ball-races for the vertical axis, and 0.13mm-radius knife-edge bearings in chrome seatings for the horizontal axis. Precision is such that accurate tracking force up to 1.5g can be applied without a tracking-force gauge. Two counterweights were available, of 64g and 77g, allowing the use of very heavy cartridges, up to 32.5g. SME employed a hanging weight on a thread to set adjustable bias corresponding with tracking force, via notches on a rail. One popular option was the FD200 fluid damper for the Series II and later models. Users delighted in the most coherent and thorough owner’s manuals ever seen in audio, as well as niceties such as a baseplate that allowed the arm to slide forward or back for set up with a supplied protractor. All of the arms were fitted with damped cueing devices, and VTA was easily set thanks to the adjustable arm height.

Collectors know the SME 3009 enjoyed numerous variants, especially the 3012 12-inch model. But others exist to tantalize completists. The original 9-inch 3009 is identified by enthusiasts as 3009/1 or 3009/2 to indicate which model series is which, as well as “3009 Series II Improved.” Then you have fixed headshell or removable; a Japanese version that’s 10 inches in length from pivot to stylus; gold-plated limited editions; variations in the form of cable connectors; choices of counterweights; and confusion in the US, where some called the 3012 a “16-inch” arm because it included the counterweight and headshell.

Half a century later, SME 3009 arms are cherished with an intensity matched by few other vintage components: the Quad “57” electrostatic, the McIntosh MC275, Marantz tube amps, and Revox’s G36 spring to mind. But, as Stereophile icon J Gordon Holt once said, “You never forget your first SME.”  -Ken Kessler

Official Factory Production Statistics

Series I: 1959-1963, approximately 10,000 built

Series II: 1963-1973, approximately 180,000 built

Series II Improved: 1973-2003, 260,484 built

Publisher’s Note:  For those wanting to restore their 3009 to (and even beyond) its original glory, look no further than smetonearms.com. The site has the world’s largest cache of NOS SME parts and will restore your arm with loving care.

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 21^st 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

I recently bought an original NAD 3020 integrated stereo amplifier for $66 on eBay. As soon as I hooked it up to my Dynaudio Contour 1.1 speakers, I remembered why the little amp took the audio world by storm in the late 1970s.

My first encounter with NAD came when I worked as a high-end audio salesman at New York’s Sound By Singer. We started selling NAD receivers in 1978, a year before the 3020 was introduced. Japanese-designed and -manufactured brands of the time were gorgeous, and NAD’s gray plastic faceplates weren’t winning any beauty contests. That didn’t bother my customers one bit; they loved NAD’s simplicity and glitz-free appearance. In fact, young, hip audiophiles perceived NAD as the higher-quality alternative. But the sound is what really differentiated NAD from the majors. With NAD, you could feel like the engineers were running the show.

What paired with the 3020, Snell Acoustics’ model J and K speakers, and to a lesser extent Boston Acoustic A40s, were popular with NAD customers, and there was a sprinkling of Rogers LS3/5A fan boys scooping up 3020s. And since the little amp was launched a couple of years before the compact disc arrived, the Rega Planar 2 served as the go-to turntable.

The 3020 may have been rated at a mere 20 watts per channel, but it had 3 dB of headroom. Hence, it could deliver 40 watts into 8 ohm loads, 58 watts in 4 ohms, and 72 watts into 2 ohms for brief periods of time. I doubt you can find a receiver today that safely drives 2-ohm loads.

Peter Tribeman, NAD’s US president at the time of the 3020’s introduction, recalls the original demo at the Consumer Electronics Show. He hooked the 3020 up to four pairs of floor-standing AR speakers in parallel. The latter presented an absolutely brutal load (1.1 ohms) for the 3020, but the little amp experienced no problems. Crowds were amazed, and the feat was duplicated at many other 3020 demos, which established the brand as a serious player in a field dominated by giant Japanese electronics companies like Denon, Onkyo, Pioneer, Sony, and Yamaha. A few months later, the CES demo was repeated at the New York Hi-Fi Show. I wound up with a bunch of newly hatched audiophile customers sold on NAD.

Tribeman, who currently runs Atlantic Technology and Outlaw Audio, also delights in revealing what he calls the “Benign Error,” which played a large role in the 3020’s allure. Strangely enough, it was a mistake in the layout of the original circuit board. According to Tribeman, the “Benign Error” produced unintended “L-R crosstalk,” which somehow generated more low-level detail and ambience. The “Benign Error” was eliminated in the second-generation 3020A model, and with it, some of the original’s appeal. More 3020As sold than 3020s. By the time Tribeman left the company, NAD had sold more than a half-million 3020s around the world.

The Sound by Singer staff had high hopes for the 7020, the receiver version of the 3020. But that model had serious reliability problems—as did many NAD products that followed in its wake. Early CD players sounded exceptional for the money, yet they kept crapping out. NAD became plagued with quality-control issues through the 1980s and into the 1990s. However, some of its products escaped such a fate, which is probably why the company maintained a very positive reputation.

Indeed, the biggest surprise of listening to my “new” 3020 came via the phono preamp. The sheer scale of the sound and dynamics were far beyond what I expected. It’s not the most neutral-sounding pre you’re going to find, and it’s not all that quiet. But the music’s weight and solidity make up for any transparency deficiencies. Or maybe it’s the midrange’s grainless ease that I find so beguiling—even tube-like. Tom Jones’ Praise & Blame studio LP is recorded live to analog tape, and the 3020 brings it all home. Jones may be in his 70s, but he isn’t taking any prisoners on the session. While the amp sounds sweet with CD, it really comes into its own with vinyl.

Sure, a lot of my early NAD customers eventually moved up to higher-end gear and became card-carrying audiophiles. But the 3020 was the gateway drug that fueled their addiction. I can still hear why.  -Steve Guttenberg

The Seeds of Love may not be Tears For Fears biggest commercial success, but it’s the most meticulously crafted album produced by the duo comprised of Roland Orzabal and Curt Smith. As well as it should be, having been made on a budget of one million pounds.  Combining a wide range of musical styles, The Seeds of Love has a slower, more deliberate pace than its predecessor, Songs From The Big Chair.

The gold standard is the UK Fontana pressing, but the US version is not far behind in terms of clarity and bass slam. The extra low-level information captured on the former version shows off the delicate layers of the compositional elements in a most exquisite fashion. Of course, this comes at a premium, with pristine UK copies fetching up to $75, and good-condition copies selling for about half that. The elusive Japanese vinyl appears on EBay and the like occasionally, and demands $100 and up. The US version is equally tough to find in record stores, but can usually be located on various auction sites for $15-$40. Caveat emptor.

Mobile Fidelity performed commendably on this new edition, bringing the classic to market in perfect shape for $22.95. The bottom end is well sorted and the hallmark MoFi quality is here in spades. Our test sample is flat, quiet, and centered, and features excellent reproduction of the original artwork.

As this is a Silver Label title, the original master is not guaranteed (as it is in the Original Master series), and the records are pressed on 140g vinyl. Direct comparison to UK and US originals reveal more smoothness in the upper registers, suggesting it was cut either from a high-resolution digital copy or perhaps a safety master.  This trait is most evident in the quietest passages, such as the beginning of “Swords and Knives” and “Famous Last Words.” The original vinyl sounds bigger, with more sparkle and clarity. Tunes with less dynamic range make it tougher to distinguish between the original and the remaster. So, unless you can be assured a perfect original, the Silver Label LP is the way to go. Grading these on a numerical scale, with a mint UK original at 100 and an immaculate US original 95, the Silver Label ranks 91. Pretty damn good.

Songs From the Big Chair equates to more of a toss-up. Utilizing a low-numbered US pressing for comparison, the Silver Label easily comes out on top in terms of a smoother high end, but the original has more low-frequency energy with bigger, punchier dynamics. The former sounds smoother, yet it’s a bit veiled. I still prefers the original. As it’s Tears for Fears’ biggest-selling record, you can get a clean one for about six bucks if you look hard. -Jeff Dorgay

Mobile Fidelity Silver Series LP

The Web has been abuzz for more than a year about EMI’s latest attempt to extract more oil from a well that we keep thinking will eventually run dry: the Beatles catalog. Yet the label manages to surprise us again, with a newly remastered set of vinyl.

Most retailers are discounting the new box to somewhere in the neighborhood of $350-$375, breaking the cost down to about $27 per title; single albums are forthcoming. Not crazy money in audiophile terms. These record sound much better than anything you’ll ever buy from Friday Music.

Unfortunately, Beatles lovers and audiophile collectors got thrown under the bus in one aspect, as the powers that be chose 24-bit/44.1kHz files for mastering instead of the high-resolution 24-bit/192kHz files used for editing. When the box sets reached the buying public last week, and seemingly everyone who was anyone–and a lot of those who aren’t–promptly declared it rubbish.

Of course, once completist collectors are removed from the equation, as many of them won’t take the damn things out of shrink wrap anyway, who is the real audience for these records? If you are lucky enough to have mint, low-stamper UK, German, or Japanese pressings of these classics, you already have the grail. Even if EMI had produced these new records from 24/192 masters, they would have still sucked in comparison.

Sure enough, when evaluating a few tracks from Sgt. Pepper and Magical Mystery Tour on my $100,000 analog front end, the new records fall short. This, however, is akin to comparing a New Beetle to a vintage ’67 VW Bug with 1,500 miles that’s either been lovingly restored to perfection or, better yet, is completely original and NOS. It’s a pointless argument.

Even my favorite go-to set of Beatle albums, the blue BC-13 box, now fetches a thousand bucks in mint condition–if you can find one. When judged against these, the new records still lose a bit in top-end air and ultimate bass punch. Say what you will, but I like the stereo mixes.

Taking to the streets, I scoured a few of my local record stores (we’ve got quite a few here in Portland) and found used Beatles albums in horribly disfigured condition, with tattered covers and vinyl surfaces that I wouldn’t play on a Close and Play. Average cost? About $15, some as high as $30. Most were American Capitol pressings. A rubbish situation, and you won’t do much better on eBay.

Changing it up from my megabuck system to something more real world (a Rega RP6/Exact combination, playing through the vintage Nakamichi receiver and JBL speakers we used in our room at the Rocky Mountain Audio Fest), the new records sound pretty damn good.

The physical presentation of the box also qualifies as very good. Again, we are dealing with copies of copies, and the amount of money required to print these at a level commensurate with fine art is prohibitive. Contrast is picked up and some tonal scale lost, but again, when comparing to my mint BC-13 box or a scuffed American copy in the used bin, the new box comes out ahead. The jewel is the 252-page book, offering an engaging overview of the Beatles history. The records themselves sport a mixture of Parlophone label, Capitol label, and Apple label IDs–a fun touch for those new to Beatlemania. Not historically correct, but informative.

Early purchasers have mentioned sporadic pressing problems, but the set we received for review (purchased from SoundStageDirect.com) is free of defect. Hopefully, issues remain limited to the first out of the chute. A gentle hand is required to remove the tightly fit outer slipcover, but I’m guessing that if you can’t remove it without damage, you’re not much of a hit with ladies, either.

Seasoned audiophiles, record collectors, and music lovers often forget that new people discover the Beatles and vinyl, every day. A majority of them could care less about first-stamper this or German pressing that. If you have rare, original pressings of these records, relish the fact that you own a precious part of music history. You will never be happy with these pressings.

Those of you beginning your vinyl journey, whether music lover, budding audiophile, or both, the current Beatles box will prove a great addition to your collection. Who knows, they may lead you to get caught up in all this madness to seek out a few mint originals for your collection someday.  -Jeff Dorgay

EMI, 16LP Box Set

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

If you believe that it’s possible for good things to come in small packages, then mini-monitors are right up your alley.  These little fellas warm the hearts and ears of space-constrained audiophiles everywhere.  Besides having room-friendly sizes, mini-monitors simply disappear once you toss in decent amplifiers, cables and stands.  Montreal’s Totem Acoustics has been building great compact loudspeakers for two decades.  CEO Vince Bruzzese seems to have applied Native American spirits, or some such supernatural force, to his speakers, which should not come as a surprise to the Totem true believers who have always known that Bruzzese and company were on to something.  I bought my first-edition Mani-2s in 1996 and they have graced my smaller listening room ever since.  More than a decade later, Totem has completely rethought this speaker, with the new Signature version.

House Spirits

The exteriors of the Sigs resemble those of their predecessors, but these speakers are all new on the inside, from internal bracing to crossovers and drivers.  There are two new distinctive aesthetic features: a little blue dot above the tweeter and a plaque on the rear.  Similar to the original Mani-2s, these are 4-ohm speakers that measure 16.4 inches tall, 8.5 inches wide and 12 inches deep, and they weigh 23 pounds apiece.

Each speaker features a 1-inch aluminum tweeter and two 6.5-inch woofers in an Isobarik formation—meaning that one driver faces into the cabinet and the other faces the outside world.  Each rear panel is ported and has two sets of terminals for bi-wiring.  Totem offers an optional grille, but the company openly prefers that you listen to the Sigs in their birthday suits.

After easing the Blu Tack off of my Mani-2 originals, I place the new speakers on the same lead-filled Target stands.  My room dimensions being on the small side (15 by 10 by 8 feet), I locate the speakers 3 feet from the short wall and 2 feet from the sidewalls, with 5 feet of space between each speaker.  My listening distance was 8 feet.  As the sensitivity of the Sigs is relatively low (85 dB), Totem recommends amplifiers for them that can crank out at least 40 watts per channel.  Advice notwithstanding, I have zero trouble driving them to satisfactorily clean listening levels with two different integrated amps, rated at 30 and 35 watts.

Man, Oh Mani-2

Totem suggests a minimum 200-hour break-in period and I willingly comply.  Two relatively low-powered integrated amplifiers, the PrimaLuna Premium Prologue (35 wpc) and the Pass Labs INT-30A (30 wpc) provide the juice.  A PS Audio PerfectWave Transport with MKII DAC and a Logitech Squeezebox Touch, armed with a USB drive, serve up the music.  Since extended low bass was an original Mani-2 “calling card,” I go straight to Patricia Barber’s “Constantinople” from Modern Cool (Premonition Records).  Midway through this jam session, Michael Arnopol cuts loose on his acoustic bass in jazzy yet articulate fashion.  The Sigs give a true-to-form account of this solo, right down to the resonances of the bass’s soundboard.  Continuing the low-frequency session, I go to the Pipes Rhode Island CD (Riago) for Stephen Martorella’s masterful handling of the Widor Adagio.  The low pedals on this piece prove little problem for the Sigs, whose little woofers move considerable air in my listening room.

From my perspective, voice reproduction separates loudspeaker contenders from pretenders, so I toss the Sigs Tony Bennett, in an XRCD2 remastering of The Tony Bennett Bill Evans Album (JVC).  Bennett’s slightly raspy voice has a remarkable way of drawing you into each song.  One listen to “Some Other Time” reassures me that the Sigs can really do vocals.  To add more fuel to this fire, I play Isaac Freeman and the Blueblood’s “Beautiful Stars” (Lost Highway Records).  Freeman’s deep-bass vocals resonate like the voice of God, a quality captured by the Sigs, minus the mid-range coloration often found from small speakers.

Ultimately, speakers get their cardio workouts from large-scale orchestral works.  I administer this last treadmill test with a 24-bit/96-kHz download of Stravinsky’s Firebird Suite turned in by Japanese conductor Eiji Oue and the Minnesota Orchestra (Reference Recordings).  This piece’s no-holds-barred finale has all the forces wailing away at fortissimo levels.  The next best thing to the players actually leading a frontal assault into my room is having the Sigs give me a good wallop, and they do so without a hint of strain.

The Ancestral Voices Have Spoken

In the past decade and a half following the arrival of my original pair of Mani-2s, there have been three Washington administrations, two foreign wars, and, in case you missed it, a massive market tanking.  Surprisingly, the high-end audio industry has managed to rock on.  Some companies, like Totem Acoustic, have actually flourished and expanded their loudspeaker lines.  Each generation of Totem speakers has drawn from the wisdom of its ancestors.  This makes the company’s decision to issue a second Mani-2 generation an interesting one, since many of the newer Totem speakers have been larger floorstanders.

Comparing the Sigs to their forebears shows how much the Totem design team has invested in product reinvention.  The sonic strengths of the originals, such as good imaging and bass extension, have been further improved.  The soundstage is noticeably broader, deeper and taller.  The bass is better articulated, while highs sound more natural, courtesy of the new tweeter.  Most importantly, midrange clarity, not a strength of the original Mani-2s, is dramatically better.

Midway through my review, I noted that Totem offers an accessory that, for obvious visual reasons, is called the “Beak.”  This is a custom-milled 2-inch-high aluminum cone with “micro-ribs.”  According to the product literature, Beaks are meant to “control parasitic vibrations that occur on top of a speaker cabinet.”  Totem further suggests that Beaks help produce better imaging and high-frequency performance.  They can be placed atop each enclosure, either singly or in pairs.

While I am not a big-time tweaker, I did experiment with these curious devices.  Having the Beaks on and diagonally aligned from front to back produced smoother highs and a more coherent soundstage—maybe not to a shattering degree, since the Sigs are already so good, but the result was certainly noticeable and could be reproduced on repeated listenings.

Conclusions: Is the Mani-2 for you?

So what does $5,295 (plus an additional $300 to $400 for high-quality speaker stands) get you?  It won’t get you the huge soundstage of large panels or the subterranean bass of a separate subwoofer.  It will get you compact speakers that fit easily into most listening rooms.  It will get you intensely musical sound from all the sources at your disposal.  As a bonus, you will not need monster amps to drive these guys.  In a modest-sized listening room with two integrated amps, each rated at less than 40 watts per side, I got great sound aplenty from the Sigs, although their bass response seemed slightly plumper with the Pass than the PrimaLuna.

The jungle of $5,000-plus speakers is the natural habitat for many species of widely differing designs.  Most speakers in this price range will provide pleasurable listening if mated with proper electronics, cables and, most critically, a room with the appropriate dimensions.  When it comes to getting the most sound in a modest-sized room, the Mani-2 Sigs will give you just about as much as you can hope for in terms of imaging, smooth highs, clear mids and extended bass that has to be heard to be believed.  If this is not enough to sell you, you should note that my 15-year-old Mani-2s, while clearly bettered by the Sigs, still sound pretty darn good (i.e. I’m not throwing them away), which is a testimony to the build quality of Totem speakers.

Totem Acoustic Mani-2 Signature Speaker

MSRP: $5,295 (USD)

www.totemacoustic.com

Peripherals

Digital Source	Logitech Squeezebox Touch    PS Audio PerfectWave Transport and DAC MKII
Integrated Amplifier	Pass Labs INT-30A    PrimaLuna Prologue Premium
Power Conditioner	Running Springs Audio Elgar\
Cables	Nordost Valhalla and Frey
Power Cords	Nordost Valhalla, Brahma and Vishnu

Even the most dedicated analog enthusiast might want a digital option now and then, if for no other reason but convenience.  Should you be a minimalist analogophile craving a line-level input, the Coincident Statement Phono Preamplifier will be your dream come true.  While many of the audio world’s famous preamplifiers include a high-performance onboard phonostage, the Statement takes it a step further by including a line-level input along with a world-class phono and linestage.

The Coincident offers a perfect balance of performance, elegance and simplicity that, for $5,999, won’t break the bank.  That would be a great deal for a linestage or phono preamplifier alone, but getting them both on one chassis for this price has to be one of the best audio bargains going.  And those chassis are highly polished stainless, so they will never tarnish or pit, staying beautiful forever. Don’t forget that combining both functions on one chassis eliminates the need for another expensive interconnect and power cord, sweetening the deal even further.

Mega Quality

Every aspect of this preamplifier exudes quality, but it also takes an old-school approach that suggests the people at Coincident truly savor music.  Absent is a microprocessor display or remote control, and you must adjust the volume for each channel individually, because vacuum tubes, by design, require taking things at a bit slower pace—but this is a good thing.

You’ll probably want to get this chrome-plated beauty rocking right away, but should you have the patience, remove the bottom panels from each of the two chassis for the power supply and preamplifier.  The power supply alone weighs 41 pounds, which is more than a lot of power amplifiers we’ve reviewed!  The preamplifier chassis reveals an equally enticing attention to detail, with precision attenuators, Teflon coupling caps, Teflon tube sockets and meticulous point-to-point wiring throughout.  A supplied umbilical cord that is easy to connect couples the two chassis together.

While there is only one line-level input, there are two line-level outputs, so the Statement can be integrated into a system with more than one power amplifier.  Whether your system is multi-amped or utilizes a powered subwoofer, you’ll find this to be a nice touch.

Thanks to its use of four 12AX7 tubes, the Statement should play music until the Earth cools, unlike a few other vacuum-tube designs that rely on exotic NOS tubes.  The new factory-supplied Mullard tubes work incredibly well and for all but the most fanatic tube roller these will be the only tubes you’ll ever need—much like with the current Nagra preamplifiers.  However, should you really have the itch, a set of EAT tubes or custom-matched Telefunkens will extract a few more molecules of music from this high-quality preamplifier—or it may just sound different to you.  I suggest sticking with the factory tubes and calling it a day.  I never find myself wanting to swap tubes other than for mere investigative purposes, but I’m a lazy tube roller, even on a good day

But I did use a wide range of phono cartridges to investigate compatibility with the Statement.  When utilizing a precision-wound transformer that has four loading ranges (available separately for $2,499, for those of you requiring an MC step-up)—with impedance loads of 3 to 10, 11 to 30, 31 to 100 and 101 to 300 ohms—the only high-performance cartridge the Statement was not compatible with was my Grado Statement 1 moving-iron cartridge, which possesses a 0.5 mV output, but still needs to be loaded at 47k ohms.

The sound of the Coincident Statement is unmistakably vacuum tube with step-up transformer: delicate and resolving yet ever so slightly softer in comparison to the best solid-state and hybrid designs.  And it’s worth mentioning that my solid-state reference happens to be the 65-thousand-dollar Indigo Qualia, so the Statement is in damn good company.

Neither is wrong, any more than preferring a Ferrari over an Aston Martin or vice versa, and the sound of your overall system will determine if this is a perfect match for you.  Having listened to countless Coincident demos, it’s more than safe to say that in the context of an all-Coincident system, with the company’s speakers (which are highly resolving, lightening fast and extended), the match is heavenly.  Coincident consistently presents some of the most musically revealing sound out on the show circuit.  Its gear always proves musical, dynamic and highly engaging.

Getting Down to Business

I begin listening with an old classic, Tommy Bolin’s Private Eyes, and the Statement instantly reveals the nuances lurking in the grooves of this average recording.  Even though the drums are highly processed, they have more weight and particularly more decay than I’m used to on this record.  If I had to sum up the Statement in only one word (though I have plenty of other kind words for the Statement), that word would be decay.   This preamplifier does a phenomenal job at reproducing the subtle decay present in analog recordings—much like that feeling you get when playing back a great analog tape.

Examining a Japanese pressing of Springsteen’s The Wild, the Innocent & the E Street Shuffle proves immersive.  Listening to “The 4th of July, Asbury Park (Sandy)” through the Statement puts a new perspective on this classic.  Not only does the bass line of this tune emerge from the mix, but the accordion also now permeates the track with it’s own voice and Clarence Clemmons’ signature sax floats in the space between the speakers, where it often loses its pace.  And, of course, there is more rawness and more immediacy to young Springsteen’s voice, along with a few more layers of background vocals that I swore were not there before.

I then switch program material to a more recent vintage, Low’s latest album, The Invisible Way, which the Statement renders forcefully, capturing the dynamics of drummer Mimi Parker’s big kettle drum on “Waiting” in a manner close to that of experiencing the band live.  Iggy Pop’s latest record still sounds dreadful, so the Statement will not create magic where there is none—this isn’t a vintage Mac or Marantz tube preamplifier.

What it does do highly successfully is achieve a near-perfect balance of musical resolution, without being harsh, and tonal contrast that is slightly on the warm side of neutral, yet it is never slow, rolled off or plodding.  This is a pretty tough thing to achieve, even for a five-figure preamplifier, and impossible for a $5,995 unit—until now.

The recent ORG pressing of Marianne Faithfull’s Strange Weather clearly illustrates the finesse with which the Statement handles the female voice.  Faithfull’s voice, now seasoned by years of abuse, comes alive through the Statement, this time through the Lyra Atlas cartridge, via the AVID Acutus SP Reference turntable with TriPlanar arm.  Moving to my other Acutus Reference SP, utilizing the SME V arm and Clearaudio Goldfinger cartridge, I discover that the Statement easily resolves the difference between these two premium cartridges, which possess very different yet equally enthralling characteristics:  The Lyra proves the closest to neutral sounding that I’ve had the pleasure of using, while the Clearaudio is slightly robust and equally exciting.

The Statement is also the perfect anchor for someone at the ground floor of assembling a music system based around a high-quality analog source.  Even if a high-dollar table isn’t in your budget or on your rack now, the Statement has the capability to grow with your needs, no matter how you want to go.  Moving downstream a bit to the VPI Classic 1 and Dynavector 17D3 proves equally satisfying, as does the Rega RP8/Apheta combination.

As with many transformer-based phono setups, the Statement is a particularly good match with the Denon DL-103R and Ortofon SPU cartridges, so even audiophiles on a relatively modest budget will enjoy this one.

True to the owners manual, the Statement needs about 100 hours to sound it’s best, so a couple of weekends and you’re good to go.  That being said, it sounds damn good cold, right out of the box.

Digital if You Must

As part of a minimalist system in room two, fed by the wonderful, four-box dCS Vivaldi digital playback system, the Statement is not outclassed in the least, its tube topology adding a bit of extra depth to digital recordings, even those reproduced via the Vivaldi.  The rest of the system in room two is no slouch either: a pair of Sonus faber Guarneri Evolution speakers ($22k/pair), the D’Agostino Momentum stereo amplifier ($30k, also in this issue) and the SME 10 turntable with SME V arm, sporting a Sumiko Palo Santos Presentation cartridge.

The Bad Plus’ Blunt Object: Live in Tokyo provides one of my favorite acoustic torture tests, with its driving, atonal rhythms, massive drums and thundering piano crescendos, punctuated with applause.  Listening to the trio romp through their version of Blondie’s “Heart of Glass” is a sheer delight, with the drum kit sounding larger than life and all of the delicate piano work reproduced flawlessly.  Another great word for the Statement is texture.  Acoustic instruments sound incredibly natural and lifelike, with an abundance of timbre and tone, in a way that fools you into thinking you are actually hearing the real thing—the true test of any component, and the Statement passes it easily.

Another relatively benign recording that really comes alive through the Statement’s line-level input is the self-titled debut from the Wallflowers.  Granted, the dCS stack does its part extracting as much sound as could possibly be buried in that limited bit stream of a Red Book CD.  Yet, there is much more separation between bandleader Jakob Dylan’s voice and the rest of the band than is normally there, with acoustic guitars fleshed out better, occupying their own distinct space better than before.  There’s no question that the Coincident Statement can hang in the context of a six-figure system comprised of some of the world’s finest components.  Interestingly, it’s easier to confuse young Dylan with a young Springsteen on a lesser system, in terms of texture and vocal styling.  The Statement reveals the difference between these two vocalists with crystal clarity, as it does when comparing Seal to Peter Gabriel—the differences in phrasing between them is now night and day.

Award-Winning Performance

Not only did I purchase the review sample of the Coincident Statement, but we are also awarding it one of our Exceptional Value Awards for 2013.  This product defines what we’re after for the category: top build quality and performance for which you’d expect to pay a lot more.  I pulled the wool over the eyes (and ears) of a few of my audiophile buddies, who weren’t aware of Coincident, telling them that this preamplifier cost 25 grand—and they all believed me.  I know I promised that I’d use my powers for good instead of evil, but it’s tough to resist with this one.

Bottom line, if you are an analog lover searching for the perfect anchor to a high-performance system, you need look no further than the Coincident Statement Phono Preamplifier—and you certainly need not spend any more money.  We suggest this one very enthusiastically.  -Jeff Dorgay

Coincident Statement Phono Preamplifier

MSRP: $5,999

www.coincidentspeaker.com

Three of my favorite things come in bright blue: Smurfs, rare Porsche 911’s (only a few came from the factory in Mexico Blue), and Koetsu’s Urushi Sky Blue phono cartridge. To most audiophiles, Koetsu summons up a vision of analog exotica that defies definition and affordability. Produced by hand and in small quantities, these Japanese beauties are the stuff of waiting lists and privilege, with the cost of top models inching towards $20,000. But you don’t have to drop five figures to get a substantial helping of what Koetsu offers.

Every Koetsu cartridge features hand-wound coils and hand-carved bodies from various woods and stone, which determine the ultimate tonality of each model. Various models use different wire for coil windings, and alternate magnet materials give each a unique sound. The lacquer finishes even impact the final result. Here, the Urushi Sky Blue utilizes a rosewood body with Samarium-Cobalt magnets and a set of silver-plated coils. Packaged in a simple but elegant wooden box, it runs $4,300.

Tech Basics and Setup

The Sky Blue is a low-compliance cartridge (5 x 10-6 cm/dyne) that works best in higher-mass arms. I achieved very distinctive results in two tonearm/turntable combinations at my disposal. The Avid Acutus Reference SP/SME V offered better dynamics and more weight, with the cartridge exhibiting tremendous low-level detail thanks to the nonexistent level of mechanical noise. The Rega P9 proved completely different, with plenty of pace and inner detail, but somewhat less definition and a mellower lower register. Warmth definitely crept in, but at the expense of resolution. Overall, very pleasing, but this cartridge changes its character depending on the platform on which it is mounted—and more drastically than others that I’ve tried.

Suggested tracking force is listed at 1.8 – 2.2 grams and, true to form, I found optimal tracking to be just slightly past 1.9 grams. It’s worth noting that this cartridge is relatively easy to set up and not as sensitive as some with regards to ultra-fine adjustment. And it still gave a great showing slightly off the optimum setup point. Output is a low, but not unreasonable .4mv, so it should be compatible with most high-gain phono preamplifiers (about 60db and up). I preferred 200 ohm loading with the ARC REF 2 Phono, with 500 ohms a bit dark. I experienced similar results using the AVID Pulsare phonostage.

Chameleon-Like

Balance and delicacy are the Sky Blue’s key qualities. At first listen, it’s easy to dismiss the Urushi as slightly soft, but it doesn’t take long to realize that you are hearing tonal gradations, often more subtly than ever before. Most of my Koetsu experience has come with friends’ SME 20 and 30 tables. I admit that I was somewhat taken aback when fitting it to the AVID Acutus Reference SP. The presentation was transformed, replete with a full measure of nuance (this, I was used to) but with an extra level of dynamics (this, I was not).

Moving through various music food groups with familiar material again revealed a level of fine detail without being too forward or harsh. My personal bias tends to favor just about anything that is ever so slightly on the warm side of neutral. Warm, slow, and syrupy gets boring, especially on a high-resolution system. But let’s face it: Most records boast less-than-phenomenal sonics, which is why you need more than one table/arm cartridge setup.

However, because most records are less than perfect, the Koetsu makes a fantastic daily driver. Although I have a couple of cartridges that have more ultimate resolution and are incredible with ideal recordings, I can’t play the first Boston album with either of them. “Foreplay/Long Time” sounds awesome when played on the Koetsu, and this is a true test of a cartridge’s merit.  Throw some of your worst-sounding records at a phono cartridge to see what it’s made of, I say. Patricia Barber sounds great on just about any analog setup, but who cares? And even if you are a classical music lover, chances are you’ve got a pile of recordings that are far from perfect. The Sky Blue’s slightly rich character goes a long way at making mid-80s DG recordings more palatable.

On the pop front, listening to Yim Yames’ Tribute to… was a treat. It’s exactly the kind of music with which this cartridge excels. Yames’ vocals and mandolin balance perfectly, and with an added bit of ambience lost on a few lesser cartridges, the overall presentation was extremely realistic and made me feel as if I were sitting in an empty theater, tenth-row center. The banjo performance on the cover George Harrison’s “Love You To” was sublime; the hauntingly realistic level of three-dimensionality the Koetsu brought forth stunned me. I had the same experience with the recent Jung Trio album on Groove Note. Piano and violin were rendered with an extra fine layer of detail; I’ve never heard a more natural rendition of a violin in my system.

Like Sleeping on 1500-Thread-Count Sheets

If you’ve slept on ultra-high thread-count sheets, you know how the bedding just seems to disappear as you sink into the bed and makes it that much easier to relax. That’s what the Sky Blue does with music. The tonal gradations are so smooth, and combined with a high ability to unravel dense recordings, it’s easy to stop thinking about gear.

To achieve this experience, cue up Shriekback’s “The Reptiles and I” from Big Night Music. While the lead vocal is airy and over processed, it goes flat without a healthy dose of resolution on tap. At the same time, synthesizers and bongos float out of phase with no specific location before disappearing into the room boundaries. None of this magic was present on the digital version of the album, even when played through my dCS Paganini stack.

MoFi’s recent release of Linda Rondstadt’s Simple Dreams revealed similar results. It’s a fairly dense recording, with an incredibly wide soundstage and various instrument tracks judiciously sprinkled in the mix. For those craving “pinpoint imaging” in their stereo system, the song should satisfy even the fussiest audiophile. It’s one of those tracks where you go from hearing Ronstadt breathe at the outset before her voice swells, producing an immersive experience that will have you searching for non-existent surround-sound speakers.

Many Koetsu owners comment on the cartridges’ ability to minimize surface noise. Perhaps this is due to Koetsu’s unique stylus profile that rides the groove in a slightly different spot, yet it was definitely something I noticed with records that are known to be on the noisy side. Minimal clicks and pops seemed to possess a similar intensity, but low-level groove noise was lower overall.

Comparison and Conclusion

If the Sky Blue has a weakness, it’s the slight softening of leading transients. The cannon shots in AC/DC’s “For Those About to Rock (We Salute You) didn’t quite have the punch that they had with the Lyra Skala. Still, the slightly thin tonal balance of Bon Scott’s voice on “Night Prowler” had a little extra body, a welcome benefit. So remember: What the analog gods give, they also take away.  However, this cartridge did such a great job with everything else, I rarely gave the slight loss of ultimate dynamics a second thought. Detail fanatics may not find this shortcoming acceptable, but again, it depends on your taste, system, and recordings.  Think of the Lyra Skala (another one of my favorites) as a Stratocaster and the Koetsu Urushi Sky Blue as a Les Paul Custom. And the Koetsu Rosewood Signature Platinum is somewhere in between, but that’s another review.

Koetsu cartridges are usually somewhat tough to find, but Acoustic Sounds carries a larger stock than anyone in the States. If you decide you need one of these exquisite transducers, give the Kansas-based company a call sooner rather than later. Otherwise, the wait for restock may prove unbearable.  And once you get your hands on one, you’ll see why these special cartridges have such a dedicated following.  – Jeff Dorgay

The Koetsu Urushi Sky Blue Cartridge

MSRP: $4,300

www.koetsuusa.com

Yay: Luscious presentation, low surface noise, easy set up

Nay: Slight lack of ultimate dynamics

OK: Expensive, but not outrageously priced

Peripherals

Amplification	Burmester 011 preamplifier 911 mk. 3 power amplifier
Phono Preamp	ARC REF 2 Phono    AVID Pulsare
Speakers	'GamuT S9"
Cable	Cardas Clear
Power	Running Springs Dmitri and Maxim    Mongoose and HZ cords
Accessories	Furutech DeMag    Loricraft PRC-3 Record Cleaning System    MoFi Cleaning fluids

This new reissue is aptly timed: Music On Vinyl created a back-cover tribute to Japan bassist Mick Karn, who passed away this past January. It is here, too, that you realize that this is no ordinary reissue as the track listing reveals that the original single-disc LP has grown into a 3LP package on limited red vinyl.

Unravelling the bonus tracks breaks down to this: Out of the four extra sides, there’s the UK 7” version of “Quiet Life” and a special remix of “Life In Toyko” from The Very Best Of Japan; a remix of “Life In Tokyo” from the album collection Assemblage and a 12” extended remix of “Quiet Life”; a 12” version of “I Second That Emotion,” three further versions of “Life In Tokyo”; “A Foreign Place” (the B-Side of the “Quiet Life” 7” single); a 12” version of “Fall In Love With Me”; and three Steve Nye remixes of “All Tomorrow’s Parties,” “I Second That Emotion,” and “European Son,” all found on the rare Singles Compilation previously issued in Japan (the country, that is). You also get the Japanese lyric insert found in the original LP issue.

Holland-based Music On Vinyl has the benefit of owning and running its own pressing plant. There are definite advantages, and two positives stood out after just a few seconds. First, the pressing is dead-quiet, ranking up there with Mobile Fidelity’s standards. The presentation offered tremendous clarity; Karn’s bass and David Sylvian’s voice emerge from an inky blackness. Second, the recording yields impressively deep bass that helps drive the music forward. Low-frequency output can be a real diaphragm-mover given the right hi-fi rig. The album’s cohesive nature has also been measurably improved because the instruments occupying the broad soundstage now have more room to manoeuvre, providing a sense of calm and ease. Even if you have the original issue, you’d be wise to consider this upgrade. –Paul Rigby

Music On Vinyl, 180g 3LP

No matter your drug of choice—chemical, horsepower, audio—with prolonged use, you always reach a plateau at which you believe you just can’t get any higher. But sooner or later, something else enters your reality that restarts the cycle, and you’re off and running again. Such is my experience with the Pass Labs XA160.5 monoblocks.

If you are new to the world of high-end audio, you can get the condensed history of Pass Labs here: http://www.passlabs.com/about.htm. The shorter version is simple: Nelson Pass is a genius. He’s probably got more patents for amplifier design than almost everyone else combined. And he’s got a great sense of humor, too. The owner’s manual describes the new amplifier as “tending to run heavy and hot, but elicit high performance and reliability from simple circuits.”

Weighing in at about 130 pounds each and $24,000 per pair, the XA160.5s are not for the light of wallet—or bicep. Or, for that matter, air-conditioning capacity. The power draw isn’t huge, but each unit sucks 600 watts from the power line, whether idling or at full power. Because they only produce 160 watts per channel into 8 ohms, doubling into a 4-ohm load, they get very warm to the touch. Yes, this behavior is normal for a class A design. The extra heat was welcome in March when the amplifiers arrived, as it kept our studio toasty. Yet, as days got longer, the amps forced us to run the A/C well before we normally would.

Super Yet Simple

Pass has always advocated keeping things as simple as possible. While squarely looking at the enormous monoblocks might cause you to question whether he still believes in this basics-minded philosophy, thanks to Pass’ patented SuperSymmetry design, the amplifier has only two gain stages. At the risk of oversimplifying, the SuperSymmetry approach achieves low distortion (and tonal purity) by making each half of the balanced amplifier as close to identical as possible so that the resulting distortion from each half of the amplifier circuit cancels out in balanced mode.

To achieve maximum performance, the amplifier must be run in balanced operation. Fortunately, the ARC REF 5 offers balanced and single-ended outputs, which makes comparisons a snap. And Pass is right again: Utilizing the XA160.5 in single-ended mode proved very good, but it featured a layer of grain not present in balanced mode. Whether you use a Pass Labs preamplifier or a model from another manufacturer, make sure to take the balanced route.

Coming Full Circle

My first experience with Pass’ class A amplifiers came in 1979. I combined a Threshold 400A with a Conrad Johnson PV-2 preamplifier driving a pair of Acoustats, making both an incredibly natural combination and excellent case for pairing a solid-state power amplifier with a tube preamplifier. While many combinations have since passed through my room, the tube pre/solid-state power amplifier is always the one to which I’m drawn, especially when it involves a class A amplifier.

The XA160.5s symbiotically works with all of the preamplifiers at my disposal, but the match with the Audio Research REF 5 linestage and REF Phono 2 preamplifier is heaven-sent. Pass Labs president Desmond Harrington tells me that many customers use the company’s amplifiers with tube preamplifiers. “It’s a popular combination, but when it comes to power, we like to see our amplifiers offering the tube sound without the tears.” Truer words haven’t been spoken.

As someone who’s purchased more than a fair share of power tubes, I am relieved to know that the sound of the XA160.5’s will never change. And, you won’t have to buy new power tubes every year. Continuous operation cuts down on tube life. If only Costco sold tubes by the palette.

Like Luke, I Ignored Yoda Just Once

Pass’ instruction manual cautions against using the XA160.5s with a power conditioner. Nonetheless, I plugged them directly into the wall and then into my Running Springs Maxim power conditioner, with the latter providing an even cleaner presentation. The soundstage opened up significantly, and I didn’t experience any loss of dynamics. Yes, the stock power cords that come with the XA160.5s are very good, but aftermarket power cords (Shunyata and Running Springs models yielded excellent results) offered up a slightly clearer window to the music.

In all fairness, think of superior power cords as being able to take an amplifier that goes to 11 up to 11.2. Besides, you wouldn’t put regular gas in your Porsche, would you?

Super and Scrumptious

Unlike a non-class A solid-state amplifier, the XA160.5s shouldn’t be powered on for 24 hours a day. They generate too much heat. Still, just like a tube amplifier, the XA160.5s need an hour to warm up and stabilize. At first turn on, they still sound great, but once you get used to them, you’ll notice a slight haziness that softly dissipates as the clock ticks. Coincidentally, the ARC REF 5 and REF Phono 2 need an hour to sound their best, too, so if you are using a tube front end, everything will warm up at the same pace.

I initially listened to familiar digital tracks from the Sooloos music server/dCS Paganini combination. I was immediately taken aback by the additional weight and depth, even more so with high-resolution digital files. All of the class A amplifiers with which I’ve lived share a tonal richness that other solid-state amplifiers do not possess. Some might refer to this quality as warmth, but I prefer to call it tonal richness. I associate warmth with slowness, lack of pace, and rounded-off treble; the XA160.5s exhibited none of these characteristics. The Pass monoblocks sport the equivalent of a great guitar’s ability to sustain a note. On a choice Gibson Les Paul, for example, music just seems to hang in the air a little longer.

Switching back and forth between amplifiers at my disposal revealed that the XA160.5s are indeed very special. It was as if the particular characteristics from my favorite amplifiers have somehow taken up residency in one model. Thanks to their monoblock design and huge power supplies (the 160.5 is claimed to have a significantly larger power supply than the 160 it replaces), these amplifiers throw a soundstage that is prodigious in all three dimensions. Image width really stands out.

I noticed such traits on all program material, but they became more obvious when listening to classical. Conveying the size of a symphony orchestra—much wider than most listening rooms—is one of the toughest feats to ask a system to accomplish. When listening to Sir Arnold Bax’s sixth symphony, it felt as if the sidewalls in my listening room had been each moved out about six feet. Not realistic, of course, but much more convincing than without the XA160.5s.

Recorded live and flush with ambience, Hugh Masekela’s “Stimela (The Coal Train)” from Analogue Productions’ 45RPM 2LP version of Hope provides an excellent test. Having just heard Masekela perform the song at the Montreal International Jazz Festival in June, the recorded version via the Pass amps colored me impressed. While the live version claimed a slightly different arrangement, the XA160.5s pushed my GamuT S9s to a realistic sound level and conveyed such nuance and tonal contrast, I felt like I was back in Montreal’s Club Soda venue. Even at the high volume level, the front panel’s deep-blue backlit oval meter barely flinched from its center position, indicating that the amplifier never left class A mode.

Of course, man cannot live on jazz alone. At prime operating temperature, the XA160.5s did not miss a beat on a Japanese vinyl pressing of Michael Schenker’s Built to Destroy. No matter how hard I pushed, I could not destroy the amps or my speakers. And yes, that’s a very good thing. Staying in Japanese LP mode, Bruce Springsteen’s The Wild, The Innocent, and the E-Street Shuffle proved tough to resist, as did David Bowie’s Aladdin Sane. These old favorites never sounded better, and when I quickly switched back to the gear I’ve lived with for some time, across-the-range performance boosts became manifest.

Staggering Pace and Tonality

While classical music plays to one group of the XA160.5s strengths, revisiting the recently remastered Beatles catalog plays to another: These amplifiers offer rock-solid pace. Violins in the mono version of “Eleanor Rigby” (from Revolver) were strongly anchored, and Lennon and McCartney’s voices unwavering. There was so much depth, it almost sounded like a stereo recording! Speaking of the latter, the stereo version of “Penny Lane” from Magical Mystery Tour turned out to be just as exciting. Ringo Starr’s drumming and McCartney’s bass held true throughout the psychedelic soundscape.

I am easily swayed by the big sound of these amplifiers, yet that characteristic only scratches the surface of their capabilities. Concerning tonal accuracy and texture? Spot on. Acoustic instruments sound correct, whether listening to wind, string, or percussion instruments. Dynamic contrasts equate to the best I’ve experienced. A few TONE writers whose tastes skew towards classical remain astonished at the lifelike piano reproduction.

Music fans that crave vocal performances will benefit from the XA160.5’s picture-perfect tonality and resolution. Again, the extra tonal body almost feels as if one is listening to an SET—albeit an SET with nearly unlimited power that you can use with real-world speakers. The extra low-level resolution goes a long way, especially when spinning marginal discs. An ideal example comes courtesy of Keith Richards’ Talk is Cheap. Richards is not known for possessing a terribly strong lead vocal. Yet, when put through the XA160.5s, it actually has some depth. Such is the XA160.5s’ allure. They hover at the optimum point of boasting maximum resolution without being harsh, sounding full bodied and musically natural without introducing tonal distortion— a difficult balancing act.

Bass response keeps in line with the exceptional performance found elsewhere in the frequency range. While the XA160.5s have more than ample weight and slam, the bass reveals a level of texture and detail that I’ve only experienced with a small handful of amplifiers. Remember: It’s easy to confuse “audiophile bass” (usually over-damped and distinguishable from the real thing that has life, texture, and resonance); the XA160.5’s are the genuine article. A cursory listen to your favorite acoustic bassist reveals the way these amplifiers allow the instrument to breath, and brings you that much closer to the actual performance.

Top Contenders

Two years ago, I proclaimed the Burmester 911 Mk.3’s the best amplifiers I’ve heard. And over the course of hundreds of product reviews, I’ve used that dreaded “B” word just once in the absolute sense. After conveying my enthusiasm for these amplifiers to Harrington, he responded, “The 160’s are amazing, but you need to hear the 200s.” So just when I thought I couldn’t get any higher, the quest begins again.

It’s always tough to make comparisons, yet the XA160.5 combines the virtues of my three favorite amplifiers into one (actually two) boxes:  the delicacy of the Wavac EC300B, the texture and dimensionality of the ARC REF 150, and the power, control, and composure of the Burmester 911s.

Independent of the “B” word, the Pass Labs XA160.5 monoblocks orbit the top stratosphere of amplifier design at any price. If you would like that je ne sais quoi that you thought required a vacuum-tube amplifier, these are a consummate alternative. There is nothing that the XA160.5s do not do.

The Pass Labs XA160.5 monoblocks

MSRP:  $24,000/pr.

www.passlabs.com

Peripherals

Analog Source	Audio Research REF Phono 2     AVID Acutus Reference SP w/SME V tonearm and Koetsu Urushi Blue cartridge    AVID Volvere SP w/SME 309 tonearm and Grado Statement1 cartridge
Digital Source	dCS Paganini stack    Sooloos Control 15
Preamplifier	Burmester 011    Burmester 088    ARC REF 5    McIntosh C500   Conrad Johnson ET5
Speakers	GamuT S9
Power	Running Springs Dmitri    Running Springs Maxim
Accessories	Furutech DeMag    Loricraft RCM

The good news is that a few hundred dollars grants you access to the analog world. But should you become truly obsessed, you’ll require a better analog front end. Not to worry. Competition is fierce in the $100-$300 phono preamplifier segment, with fewer great choices in the $500-$800 range. Moving to the $1,000-$2,000 plateau offers not only a huge performance jump, but one of the most intense product rivalries in the high end. If you can stretch to this section of the game board, you will be given much more than a get-out-of-jail-free card. To wit, the $1,895 AVID Pulsus. It’s designed, built, and tested at the company’s UK facility. Many other units in its price range come from China.

Matching a phonostage like the AVID Pulsus with a favorite turntable and cartridge for a sum total of a couple thousand dollars will yield a very formidable analog source. Better still, it allows many wallet-conscious listeners to steer clear of megabuck turntables. Such a setup offers more than enough resolution to enjoy the best LPs. Plus, you’re only one Internet forum post away from a healthy argument.

A compact two-box design, the Pulsus allows you to place the power supply about three feet away from the actual preamplifier chassis, thus eliminating noise concerns. Said power supply connects to the preamplifier via a shielded cable with an XLR connector. Unlike AVID’s Pulsare phonostage, which features balanced inputs and a balanced design, the Pulsus is single-ended. Designer Conrad Mas insists that the unit isn’t a “stripped-down Pulsare,” yet a comparison of both models reveals a remarkably similar tonal balance.

When listening to both side by side with smaller-scale acoustic music, the two AVID preamplifiers sounded far more alike than different. However, the Pulsare’s superiority is made evident on symphonic and heavy metal fare. Such traits will appeal to those wanting to “stay in the family.” Why? Should you decide to move up to the Pulsare at some point, you will be rewarded with more instead of different—just as you do with the full line of AVID turntables.

Setup

Underneath the chassis, the Pulsus offers a wide range of adjustment, with three gain settings: 48db for MM cartridges, 60db for MC, and an additional 70db setting as well.  Combined with the Pulsus’ ultra-low noise floor, even the low-output Dynavector 17D3 cartridge (.23mv output) had no trouble delivering. For MM users, the three available capacitance settings (100pf, 200pf and 500pf) should easily handle most combinations.

I began my listening with a suite of reasonably priced cartridges that included the Shure V15vxmr, Denon DL-103R, and Dynavector DV-20xl. All turned in great performances and, in conjunction with the Volvere SP/SME combination, sounded better than when in my budget setup consisting of the Rega P3-24 and Dynavector P75 mk. 2.  Feeling that the Pulsus was capable of more, I substituted the Sumiko Pearwood Celebration II MC cartridge ($2,499) and discovered the AVID still held its own. Thanks to a removable head shell on the SME309 arm, swapping the Pearwood for the Sumiko Palo Santos cartridge ($3,999) was as simple as opening a beer. The Pulsus still yielded enough resolution to tell the difference between the two cartridges, but distinctions were more easily discernable via the Pulsare. Such performance makes for a phono preamplifier with which you should be able to grow through several rounds of cartridge/turntable upgrades.

Please note: Both of the Sumiko cartridges were optimally loaded at 100 ohms with my ARC REF Phono, yet 2,300 ohms suited the Pulsus. As with any cartridge, experimentation always leads to the best results.

Listening

Unlike the Pulsare, which took a week of continuous play to fully blossom, the Pulsus required just 48 hours to come out of its shell. Only slightly congested upon first turn-on, it quickly became a great performer. And since it draws about 10 watts, leave the Pulsus on to maximize your analog experience.

Blondie’s Autoamerican came alive with both the AVID Volvere SP/SME 309 and Rega P9 turntables, each boasting an identical Sumiko Pearwood Celebration II cartridge. While Blondie’s 1980 set is fairly dense and somewhat compressed, marginal LPs can sometimes be more telling of a phono preamplifier’s capability than meticulously mastered audiophile pressings. In this case, “Rapture” extended more pace and depth than I’m used to experiencing with other similarly priced phonostages.

KISS’ Alive! is another LP with very limited dynamic contrast, but again, the Pulsus impressed. The highly processed drum solo during “100,000 Years” actually had life and dimension, effortlessly revealing the differences between the US and Japanese pressings—a revelation that confirms the Pulsus as a serious audiophile tool.

As expected, the Pulsus shined when playing pristine recordings. Classic Records’ remaster of Crosby, Stills and Nash’s self-titled debut had so much depth, it prompted one of my audiophile pals to look behind the equipment rack to be sure that the Volvere wasn’t plugged into the adjacent Audio Research PH6. “Are you sure it doesn’t have at least one tube inside?,” he repeatedly asked, inspired by the natural presentation. The PH6 is similar in the sense that it does not sound overly tubey. Akin to its more expensive Pulsare, AVID managed to create a solid-state phonostage that’s both resolving and quiet, and yet not at all harsh.

The Pulsus’ wide dynamic range is another welcome treat. Music Matters’ recent pressing of Sonny Rollins’ Newk’s Time pinned me back in the listening chair. As Rollins’ sax blasted from between the speakers, felt like I was the dude in the famous Maxell ad. With the turntable already in 45RPM mode, there was no reason not to blitz through my growing 12-inch maxi-single collection. Spread onto the whole side of an album, the Scorpions’ “Rock You Like a Hurricane” volunteered crushing guitars that convincingly approximated the live experience. In addition to verifying that there are many well-produced hip-hop tracks, Eazy-E’s “We Want Eazy” proved that the Pulsus indeed goes deep and advances a highly convincing bass groove.

Comparisons

The Pulsus holds its own amidst a sea of comparably priced products. The Lehman Black Cube SE, a previous favorite in the $1,500-$2,500 solid-state category, doesn’t claim the AVID’s bass grip or expansive soundstage. Another favorite, the EAR 324P, is almost the polar opposite of the AVID. Whereas the EAR puts a warm, romantic feel on everything—great if you have an overly forward-sounding cartridge/system—the AVID gives you what’s on the recording, with an excellent sense of pace that leaves the valve unit, by comparison, sounding slow.

On a related note, the Pulsus’ best aspect is its overall natural tonal balance, which makes it painless to integrate it into any system. By merely revealing the nature of the equipment to which it’s connected, it has neither a forward, etched character nor a warm, embellishing one.

The Verdict

The AVID Pulsus builds on the Pulsare’s success, offering high performance at a more accessible price, and combining neutral tonal balance with excellent resolution and a high degree of dynamic contrast without going so far as to become harsh. Moreover, its low noise floor and ease of adjustability put it at the top of its respective price class.

If you’d like to skip the pointless Internet banter and get down to the business of listening to records, head to your dealer and sample the Pulsus. I’m guessing you’ll take one home.  -Jeff Dorgay

Digital audio doesn’t have a sound, per se. What we describe as digital sound is the sound of analog-to-digital and digital-to-analog conversions. There’s not much we can do about the A-to-Ds used when music you love is recorded, mixed, or mastered, but as for the D-to-A conversions, the MSB Technology Platinum Data CD IV Transport and Platinum Signature DAC IV sound as good as digital gets.

Many analog lovers are certain that vinyl is more musical while digital devotees claim the zeroes and ones approach is by-the-numbers accurate. Vinyl’s sins are mostly additive: analog has higher levels of distortion, speed variability, and noise issues, but digital somehow loses the juicy richness we associate with the sound of the proverbial real thing. Each camp stakes its claim of sonic superiority and often dismisses the opposite side’s formats as non-musical garbage, and I swear the name-calling has been going on since analog was first converted to digital. That’s not to say there aren’t audiophiles that straddle the analog/digital gap. I include myself in that group.

MSB’s Technology Platinum Data CD IV Transport and Platinum Signature DAC IV narrow the analog-digital divide, and again remind me of the source’s role in determining the sound of my hi-fi. It really comes down to this: If musical information is “lost” at the source, it can’t ever be regained with better amps or speakers. The old garbage-in, garbage-out credo still stands, and improvements made at the beginning of the chain—the source—are huge.

Being Discrete

The $3,995 Platinum Data CD IV Transport and $17,489 Platinum Signature DAC IV are available in Matte White (a.k.a. silver) or Satin Black; heat sinks on the chassis sides come in silver, black, or blue. The DAC offers an extensive (and at times, bewildering) range of set-up options. Input switching modes, digital filters, and dither options via the remote. The US-made DAC IV is discrete. It doesn’t utilize Burr-Brown or any off-the-shelf chips to convert digital-to-analog, and that’s a really big deal. MSB rolls its own ultra-high resolution, up to 384-kHz/32-bit DAC modules in-house, achieved straight through with no complicated side operations. The DACs use high-precision aerospace grade resistors, specifically selected and matched for use in the Signature DAC. The modules can be upgraded down the road, so a Platinum can become a Signature and a Signaure can become a Diamond.  The front end of the DAC IV series uses the largest  blank SHARC chipsets available containing four digital filters, input receivers and two upsampler  algorithms  all written in-house. It was designed to be field upgradable with firmware downloads for new digital filters, future formats and many other  pre-conversion functions.  Analog and digital sections are completely isolated from each other.

You can configure your Platinum Signature DAC IV with a range of options, including the Signature volume attenuator for $2,295; the Signature USB 2 384 kHz board for $1,395; a remote control power on/off feature for $485; a second analog input for $995; and an integrated iLink (iPod dock) for $1,995.

After inserting a disc, the Transport starts reading and rereading the disc and puts the data in a memory, like a computer-disc transport would. MSB engineers listened to and tested dozens of drives before selecting the one employed in the Data CD IV. This drive performs just one function—it reads the data from the disc and the Data CD IV’s custom-designed electronics control the drive. This approach is what separates its performance from other transports. Jitter is reduced to the point that MSB had to develop its own measurement system to more accurately monitor the readings.

The Transport requires an outboard 12-volt power supply, and MSB offers two options: a small desktop supply ($595) or a MSB Platinum Power Base that comes with a MSB Platinum DAC. The Data CD IV’s performance is the same with either power supply. The Transport has AES-EBU, RCA coaxial, Toslink optical, and MSB’s proprietary Network digital outputs.

The DAC claims the same connectivity options as inputs, plus a 75-ohm BNC digital input an XLR or RCA analog input that passes through the purist volume attenuator, as well as RCA and XLR analog outputs.  Perhaps the highest resolution is available via MSB’s new Pro I2S MSB-Network connection, featuring ground isolation, higher bandwidth and markedly lower jitter.

Visually, the Data CD IV Transport and DAC IV are much prettier than any previous MSB Tech components I’ve seen. The deeply rounded front fascia and low-slung chassis are flanked by gently curved heat sinks. The underside of the chassis’ four corners are stocked with brass pointed feet, and the corresponding top corners are fitted with inserts to accept a stacked MSB component’s pointed feet.

Physically, the Data CD IV feels nice and solid, but the generic plastic disc-loading tray and tiny transport control buttons seem out of place on gear that pushes the state of the art. Granted, they don’t make a whit of difference to the sound, but I’d love to see a machined metal tray for this kind of money. The tray is the primary point of contact with the Transport, and it breaks the high-end spell. The Transport and DAC are also each shipped with a lightweight aluminum-faced remote control. Again, they’re nothing fancy, but the remote works well, and I prefer it to the massive devices that come with some high-end components.

Who Needs Surround?

I’ll quickly concede that higher-than-CD-resolution digital gets closer to analog’s musical nature, but there’s precious little new music coming out on Blu-ray, SACD, DVD-A, or high-resolution download these days. By far, the CD is still the best-sounding widely distributed digital format. I own around 3,000 CDs and buy on average two per week, and I want to hear them at their best. Presto: The MSB components made the little silver discs sound better than ever. So much so I didn’t shed a tear when I discovered the Platinum Data CD IV Transport doesn’t play SACD or DVD-A discs, but spins DVD-ROMs encoded with WAV files with up to 384 kHz sampling rates with 32-bit resolution. If you possess a large SACD/DVD-A collection, check out MSB’s $3,995 Universal Media Transport. (review in process)

Before starting a review of digital gear, I like to exclusively listen to LPs for a few days. The process clears my head. The MSBs acquitted themselves well during the first few plays—not so much that they sounded analog-like, but sounded good. Really good. As I played a stack of CDs, the MSBs connected the dots better than most digital gear I’ve heard.

I spent some time running the Platinum Signature DAC IV straight into my Pass Labs XA100.5 amps, and controlling the volume from the DAC. Sure, this approach is possible with some other DACs, but I’ve never actually preferred this method to using a preamp between DAC and amp. It makes a lot of sense to eliminate the preamp, but too often, dynamics go south and the sound loses too much of its essential mojo. Not this time. Straight-in, the DAC was a smidge more transparent, soundstaging more open, and focus better. Dynamics were better straight-in than with my Parasound JC-2 preamp in the chain. If you don’t have a lot of other analog sources (the DAC can be configured with up to two RCA and XLR analog inputs), you might want to forgo a preamp altogether.  For those already possessing a high quality linestage, the purist attenuator can be switched out completely.

While listening to 176.4 kHz/24-bit hi-res music from Reference Recordings’ HRx Sampler 2011 DVD-ROM disc, the sound was nothing less than astounding. To my ears, high resolution gets you closer to being in the venue as you hear more low-level atmospherics. The illusion of being in a concert hall ranks ahead of what I’ve heard from SACD or DVD-A surround discs. The soundstage on the Reference disc may be strictly two-channel, but it’s so huge, I felt no loss of surround. Uninhibited large-scale dynamics, like the big bass drum that opens Walton’s Crown Imperial finale, just about knocked me over and had me reassessing my Magnepan 3.7 speakers’ dynamic capabilities.

The small- and large-scale dynamics on the disc’s solo piano tracks were, again, the most lifelike I’ve heard at home. The studio-recorded jazz tracks’ more intimate soundstage perspective added a degree of presence that made returning to CD an unpleasant option. So I popped in a 96-kHz/24 DVD-ROM of Paul Simon’s recent So Beautiful or So What album. It’s not an audiophile recording and, compared to the Reference Recordings’ discs, it’s dynamically compressed and processed-sounding. But it’s not bad. It’s also Simon’s best effort in years, and the lovely acoustic guitar picking on the instrumental “Amulet” is awfully pretty.

The MSBs let me hear more low-level (quiet) sounds in my CDs. Reverb, whether natural or added in the mix, seemed newly apparent in recordings I’d heard hundreds of times. It’s always been there, but no digital playback system I’ve had at home boasted the resolution to reveal it. Having worked on a number of Chesky Records sessions, including dozens recorded at St. Peter’s Episcopal Church in NYC, I can state for certain that the MSB Transport and DAC resurrected more of the 173-year-old building’s sound than I’ve ever heard from the CDs, SACDs, or DVD-As). The CDs never came close to this level of resolution. And, as you hear more deeply into a recording, soundstage focus and dimensionality are also enhanced.

Reconsidering the Analog-Digital Divide

In the great analog-digital divide, for me, engagement remains analog’s key advantage. I feel more connected and involved with music when listening to analog. And yet, the MSBs are distinctly more analog-like on these emotional fronts. Rhythm and pace are better than what I’ve come to expect. Imaging is another key strength: Instruments and voices project sound—if not in a complete 360-degree, omni-directional pattern, then something close to that experience. Of course, it’s rare to reproduce a combination of direct and reflected sound over a hi-fi system. The fact is that information isn’t found on most close mic’d recordings; the “space” is an effect added in the mix.

You’re much more likely to hear these details with so-called audiophile recordings since they take place in acoustically interesting places as opposed to acoustically dead studios. Howard Levy & Miroslav’s The Old Country CD on MA recordings equated to a full-blown, virtual-reality experience. Engineer Todd Garfinkel records with a pair of B&K mics placed above the musicians. Via the MSBs, his mic technique was crystal clear, the spatial relationships between musicians perfectly rendered. No other digital playback gear came close to revealing this kind of accuracy, including my long-standing reference, the Ayre C-5xe mp SACD/DVD-A player. The latter remains a great machine, but blurs the instruments’ outlines and flattens the soundstage. The MSB duo is a much sharper “lens.”

So it came as something of a shock when the MSB worked its magic on less-than-stellar recordings like Trio Beyond’s live Saudades CD. I’ve always enjoyed Jack DeJohnette, Larry Goldings, and John Scofield’s music, but it’s zippy, fuzzy, and nasty-sounding. Yet the MSB somehow toned down the negatives. My Japanese pressing of Jethro Tull’s Bursting Out is another live recording that was previously too aggressively bright and thin to really enjoy, and yet the MSBs fleshed out the sound. That’s good news, because hearing 1978-era Tull blast through “Cross-Eyed Mary,” “Aqualung,” and “Thick as a Brick” is freaking awesome.

Admittedly, the MSB Technology Platinum Data CD IV Transport and Platinum Signature DAC IV are expensive, but the best stuff almost always costs. Then again, the components are also about as future-proof as digital gets, so it’s the sort of digital gear in which you can invest for the long haul. The analog-digital divide has never been smaller.

MSB Technology Data CD IV Transport

MSRP: $3,995

MSB Signature DAC IV with Signature Power Base

MSRP: $17,489

http://www.msbtech.com

Peripherals

Analog Source	VPI Classic turntable with a van den Hul Frog cartridge
Digital Sources	PS Audio PerfectWave DAC    Oppo BDP-83 Special Edition
Electronics	Parasound JC 2 preamp    Pass Labs XP-20    Whest 2.0 phono preamp   Bel Canto REF500S    Pass Labs XA100.5    First Watt J2 power amps
Speakers	Dynaudio C-1    Zu Essence    Mangepan 3.6    Magnepan 3.7
Cable	XLO Signature 3 interconnects    Analysis Plus Silver Oval interconnects and speaker cables    Audioquest Sky interconnects

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

How many times have you shouted, “Play some Skynyrd” at a lousy bar band? Better yet, how many times has this thought crossed your mind when you were subjected to another female vocal track demoed at a hi-fi show? Unfortunately, as much as you may love Lynyrd Skynyrd, most of the band’s albums are not mastered with much care. Flat, compressed, and grainy are the general rules. The recent Japanese/Universal pressings are most unrighteous.

However, Mobile Fidelity again proves that “audiophile pressing” and “fun” can coexist on the same planet. And, it’s pretty awesome that the label includes the now-famous “flaming” cover originally limited to about 5000 copies after several members of the group got killed in an airplane crash only days after the record was released in 1977.

Instead of sounding like a veil is removed, the MoFi pressing is akin to hearing an entire shower curtain taken away, with every aspect of the record greatly improved. Lead singer Ronnie Van Zant is now way in front of the mix, and you can actually hear guitarist Steve Gaines right behind him. It all comes together on “That Smell” when Van Zant goes “Awwwwww…” and seemingly fades out forever. The overplayed radio classic takes on new life.

Also, what’s the point of having three guitarists in a band if it all just sounds like one big, fat guitar in the final mix? While a bit of compression sneaks in now and then, it’s glorious to hear all three guitarists distinctly, all with their own individual space and tone. It’s like having a fishbowl full of guitars. Grab a second helping before you put this LP back in the jacket.  -Jeff Dorgay

Mobile Fidelity Silver Label LP

The final chapter in the major Pink Floyd remasters trilogy is the best. While the analog remasters of Dark Side of the Moon and Wish You Were Here are okay, they don’t come close to the early-stamper British, German, and Japanese pressings.

Unquestionably, the rare pressings remain tops, yet they’re insanely collectible and accordingly priced. Collector wonks will turn up their noses, but this is The Wall for the rest of us. If you’d like a significantly better edition that what’s available for $10-$20, get on board. Anyone new to vinyl will be shocked at how much better it sounds than any CD version, even on a modest turntable.

EMI, 180g 2LP

When I was a kid, my friends would be quick to shout out “infinity” when they spotted the coolest bike, baseball glove, or sneakers. Yet as soon as that word was uttered, another voice rose up and declared “infinity plus one!” Decades later, more than a handful of us have faster bikes and fancier shoes. But we often make similar claims when referring to our audio systems. And the stakes are much higher—at least in the sense that “infinity plus one” now costs a lot more.

It is always tough assigning value to things we don’t need. Of course, the biggest question with something like the $60k Vitus MP-P201 phonostage is “how much better is it?” Passing the $10k mark for a phonostage means serious high-performance territory. If you don’t have a mega system with an equally mega turntable, don’t even think of blowing this kind of coin on a phonostage. It’s a waste. Competition at this level is fierce, and there are a number of excellent choices in the $10-$15k category. We’ve reviewed such models from Aesthetix, Audio Research, ASR, Burmester, Boulder, Conrad-Johnson, Naim, and Pass Labs. Plus, there are probably another ten excellent models in this range we haven’t covered.

For listeners wanting to venture beyond the barrier at the boundary of the analog universe, what are the options? Surprisingly, quite a few. The Ypsilon YPS100 tips the scale at close to $30k; the Boulder 2008 is even more expensive. Where does the madness end? A $60,000 phonostage is no more realistic to most audio enthusiasts than a $1.2 million Bugatti Veyron is to someone driving a Toyota Camry. Yet these exotic products have customer waiting lists.

On the bright side, you’ll never need to change oil or replace a clutch in the MP-P201. And you won’t need to hunt down rare NOS vacuum tubes. The MP-P201 is a fully solid-state design that, once experienced, will change your thinking about transistors’ capabilities—provided you have the preconceived notion that glass bottles are the only devices that yield untouchable musical performances.

A Little Perspective

Think of the sound of an ace $1,000 phonostage. Musical notes are reproduced, everything is quiet, and a dollop of tonality and dynamics makes you feel warm and squishy about having upgraded. If you made the leap from a basic $200-$400 turntable to a $1,000 unit with a competent phono cartridge, and everything is properly set up, analog enchantment happens. You evangelize about how vinyl is better than digital. The crusade begins.

The next major jump costs two-to-five times the aforementioned amount and includes added flexibility as well as a substantial performance gain (assuming your system is resolving enough to reveal the difference) and added flexibility. Gain and loading more easily adjustable, and multiple inputs might even be present. You’re moving closer to a more realistic picture of the music on your best recordings. The speakers feel more liquid and natural.

Once you cross the $10k line, in general, your speakers begin to boil like a big pot of water into which you drop delectable pasta. Yummy. Music sounds like it should—timbre, texture, low-level detail, dynamics, and bass weight envelop you, and yep, it’s time to upgrade other parts of your system to keep pace with the enhanced analog front end.

How Good Is It?

Imagine your speakers becoming clouds from which music emerges. Welcome to the MP-P201. Marathon listening sessions with every turntable, tonearm, and cartridge at my disposal reveals la meme chose: beyond-sublime music reproduction. The Denon DLA100 (based on the DL-103r) even takes on a new dimension, with a weighty presentation I’ve never heard from 103 Series cartridges. Mounted on the Funk Firm FX • RII tonearm, and mated with the AVID Acutus Reference SP, the $499 cartridge sounds like one that costs much, much more.

Have you ever ogled the paint job on the winning car at the Pebble Beach Concours de Elegance? Gotten lost in depth that feels so real it could just swallow you?  Again, meet the MP-P201. Whether via the humble Denon cartridge or mighty Lyra Atlas, the Vitus phonostage expands room boundaries to the point where you’ll look for surround speakers. This is two-channel sound at its finest.

I’ve heard too many highly tweaked systems that are so resolving, the owner is reduced to playing 20 perfect recordings and, after spending a small fortune, makes record-buying decisions based on “what will sound great on the system.” The MP-P201 does not force you to make such feeble choices.

This phonostage does not embellish in any way, yet it retrieves information from records at a supernatural level. The joy is twofold: Your best recordings transport you beyond what you ever thought possible, and mediocre LPs lay bare a wealth of information that previously appeared compressed. Run-of-the-mill pressings—whether an 80s classic like The Fixx’s Reach For The Beach or modern offerings such as the Decemberists’ The King Is Dead, neither of which sound particularly open—now come alive and possess tonal shading where none before existed.

As great as the MP-P201 is with average pressings, extraordinarily recorded LPs sound truly amazing. The more time I spend with the MP-P201, the more I suspect it comes equipped with one of the Guild Navigators from Dune—folding time and space every time I play records. Swapping the Denon for the Lyra Atlas and Koetsu Urushi Blue, it’s impossible to decide which is more enjoyable. The latter’s sumptuous midrange and depth lend well to recordings with a slight edge, while the Lyra’s ability to uncover the minutest details hypnotizes the senses.

Pink Floyd albums prove enthralling, especially when enjoying first-stamper German, Japanese, and UK pressings of Dark Side of the Moon. There’s so much more information throughout the spectrum, it’s actually initially arduous to process. The opening heartbeat now feels buried in the floorboards, threatening to burst out, Edgar Allen Poe style, while the alarm clocks feel as if they are duct-taped to my head. Once acclimated to the additional bandwidth in my realm, the navigators take over again; hours melt away.

Classical lovers will marvel at the phonostage’s fathomless quiet—a wonder for rock and jazz, but a necessity for symphonic music. The resultant blackness may even force you to reconsider your test-LP protocol. My preferred classical demo discs include Mercury Russian recordings pressed a few years ago.

Byron Janis’ delicate touch on the piano during Liszt’s Piano Concerto No. 1 in E Flat Major “Triangle” comes off like a once-played master tape. This LP’s air and space will challenge any analog front end, but otherworldly is the combination of the Atlas cartridge and MP-P201, melding the best digital recordings’ inaudible background with the dreamy, fine-grained smoothness that only analog can deliver.

A Fourth Dimension

Regardless of the music, the MP-P201 gives more. There’s more extension at both ends of the spectrum. And even though this phonostage casts more detail on the high-frequency section, cues never become harsh or forward—a tough feat. Whether listening to Audioslave or Miles Davis, the density of information constantly exceeds expectation.

The increased texture now present in all recordings, combined with the dynamics and resolution, makes for a fourth sonic dimension. Music is no longer played as much as it is displayed, in almost hallucinatory form. Spinning the recent remaster of Miles Davis’ Bitches’ Brew casts wildly convincing impressions. Davis seems to lurk in my room, the illusion so realistic, it seems as if I can get up and walk behind him. Trippy and fun.

The Fine Print

The MP-P201 is a two-box design, with power supply and the phonostage on separate chassis, connected by a pair of umbilical cords. Once plugged in, the MP-P201 is ready to play after about two minutes. Akin to any premium component with a massive power supply, it requires a few days to fully stabilize. Since my review sample arrived with hours on the clock, I can’t comment on how long a new unit needs to sound its best.

Chassis and front-panel design mirror other Vitus products. The aluminum front panel is beveled in the middle in order to reveal the control functions behind the black, smoked glass. Removing the vault-like top panels showcases the precise build quality one might expect to see if a Swiss watch was enlarged to the size of a preamplifier. Hans-Ole Vitus redefines meticulous build quality. He heavily relies on custom-made surface-mount modules to guide every aspect of the preamplifier.

Loading can be controlled from the front panel or optional remote.  When I brought this up with Mr. Vitus, he just assumed that anyone buying the MP-P201, would have the remote and not need one. Again, Danish practicality, but he puts my fear at ease, “Of course if you purchase the MP-P201 as a standalone component, we will include a remote at no charge.”  Right on.

Input sensitivity can be set from .15mv to .5mv. With this kind of gain, all MC cartridges can be utilized—even ultra-exotic models with three turns of Martian wire on the core. Sixteen different load settings, with four separate modules, are also available.  While you might think 47k is a useless setting at this price, don’t forget about the moving-iron cartridges out there. They could be a great match.

The MP-P201 features two inputs, one balanced and one RCA. Both work so well, I can’t really tell the difference—even with identical tables, cartridges, and tonearm cables. I experience no loss of fidelity when using the balanced input with XLR-to-RCA adaptors. Balanced XLR and RCA outputs are available.

Perfection?

A $60,000 component should take your breath away, and the MPP-201 does so the second the first record is placed on the turntable. So choose carefully. You will always remember the paradigm shift. After months of listening, I still pinch myself nearly every time I experience this marvel, and remain amazed at how much detail is locked up in those grooves.

MSRP: $60,000

www.vitusaudio.com

Peripherals

Analog Sources	AVID Acutus Reference SP Turntables (2)    Kronos Turntable    SME V    SME 309 SME 312     TriPlanar tonearm     Funk Firm FX•R II tonearm
Phono Cartridges	Lyra Atlas    Lyra Titan-i    Lyra Kleos    Koetsu Urushi Blue    Sumiko Palo Santos    Ortofon SPU     Denon DLA100    ZU Denon 103
Preamplifier	Audio Research REF 5SE
Power Amplifier	Audio Research REF 150
Speakers	Peak Consult Kepheus
Cable	Shunyata Aurora

The Web has been abuzz for more than a year about EMI’s latest attempt to extract more oil from a well that we keep thinking will eventually run dry: the Beatles catalog. Yet the label manages to surprise us again, with a newly remastered set of vinyl.

Most retailers are discounting the new box to somewhere in the neighborhood of $350-$375, breaking the cost down to about $27 per title; single albums are forthcoming. Not crazy money in audiophile terms. These record sound much better than anything you’ll ever buy from Friday Music.

Unfortunately, Beatles lovers and audiophile collectors got thrown under the bus in one aspect, as the powers that be chose 24-bit/44.1kHz files for mastering instead of the high-resolution 24-bit/192kHz files used for editing. When the box sets reached the buying public last week, and seemingly everyone who was anyone–and a lot of those who aren’t–promptly declared it rubbish.

Of course, once completist collectors are removed from the equation, as many of them won’t take the damn things out of shrink wrap anyway, who is the real audience for these records? If you are lucky enough to have mint, low-stamper UK, German, or Japanese pressings of these classics, you already have the grail. Even if EMI had produced these new records from 24/192 masters, they would have still sucked in comparison.

Sure enough, when evaluating a few tracks from Sgt. Pepper and Magical Mystery Tour on my $100,000 analog front end, the new records fall short. This, however, is akin to comparing a New Beetle to a vintage ’67 VW Bug with 1,500 miles that’s either been lovingly restored to perfection or, better yet, is completely original and NOS. It’s a pointless argument.

Even my favorite go-to set of Beatle albums, the blue BC-13 box, now fetches a thousand bucks in mint condition–if you can find one. When judged against these, the new records still lose a bit in top-end air and ultimate bass punch. Say what you will, but I like the stereo mixes.

Taking to the streets, I scoured a few of my local record stores (we’ve got quite a few here in Portland) and found used Beatles albums in horribly disfigured condition, with tattered covers and vinyl surfaces that I wouldn’t play on a Close and Play. Average cost? About $15, some as high as $30. Most were American Capitol pressings. A rubbish situation, and you won’t do much better on eBay.

Changing it up from my megabuck system to something more real world (a Rega RP6/Exact combination, playing through the vintage Nakamichi receiver and JBL speakers we used in our room at the Rocky Mountain Audio Fest), the new records sound pretty damn good.

The physical presentation of the box also qualifies as very good. Again, we are dealing with copies of copies, and the amount of money required to print these at a level commensurate with fine art is prohibitive. Contrast is picked up and some tonal scale lost, but again, when comparing to my mint BC-13 box or a scuffed American copy in the used bin, the new box comes out ahead. The jewel is the 252-page book, offering an engaging overview of the Beatles history. The records themselves sport a mixture of Parlophone label, Capitol label, and Apple label IDs–a fun touch for those new to Beatlemania. Not historically correct, but informative.

Early purchasers have mentioned sporadic pressing problems, but the set we received for review (purchased from SoundStageDirect.com) is free of defect. Hopefully, issues remain limited to the first out of the chute. A gentle hand is required to remove the tightly fit outer slipcover, but I’m guessing that if you can’t remove it without damage, you’re not much of a hit with ladies, either.

Seasoned audiophiles, record collectors, and music lovers often forget that new people discover the Beatles and vinyl, every day. A majority of them could care less about first-stamper this or German pressing that. If you have rare, original pressings of these records, relish the fact that you own a precious part of music history. You will never be happy with these pressings.

Those of you beginning your vinyl journey, whether music lover, budding audiophile, or both, the current Beatles box will prove a great addition to your collection. Who knows, they may lead you to get caught up in all this madness to seek out a few mint originals for your collection someday.

From the late 1970s through the mid-1980s, the MC 20 was one of best-selling low output moving coil cartridges and a welcome surprise when compared to the other paltry options available.

An alternative to Japanese offerings from Denon, Supex, and Fidelity Research, it graced many a high-end turntable. As luck would have it, the Super version came out in 1985, just as CDs began to take off in popularity. Bummer. But if you missed it back then, here’s your chance to enjoy it anew.

The 25^th anniversary edition comes nicely packaged in a mini aluminum case reminiscent of a Zero Halliburton metal briefcase. Inside, one finds the gold aluminum-bodied cartridge, requisite mounting hardware, and an NOS universal Ortofon headshell that also offers azimuth and overhang adjustments. Considering that it’s just $800, the MC 20 Super doesn’t shirk on presentation.

Staying True to Retro Roots

Thinking that a retro cartridge might work well in a retro tone arm, I recently purchased the ten-inch version of the SME M2, the closest one can come to getting a classic 3009 arm these days. It even has an identical mounting method, as the arm fits into the mounting cutouts into which the older arm fit. To complete the retro theme, I tried the arm/cartridge combination on a vintage Luxman PD-121 direct-drive turntable. The combined arm/cartridge resonant frequency turned out to be in the ideal range of 9.6Hz.  Once properly aligned, and with the tracking force adjusted to the recommended 1.8 grams, the setup looked outstanding. Keeping everything in the SME vein precluded use of the Ortofon headshell that will now be put to good use in one of my other turntables.

I evaluated the MC 20 Super with a PS Audio GPCH phonostage that’s modified with a full range of Cullen Circuits upgrades. While Ortofon recommends loading the cartridge with greater than 10 ohms, 100 ohms yielded the best results in my system. Anything less proved too bright and dulled transient attack.

Slight Break-In Required

Initially, the sound tilted toward bright and steely, so I put about 30 hours on the cartridge before settling down to critically listen. After the MC 20 Super traced its way through a handful of albums, the sound significantly smoothed out and took on a much more engaging character.

Pure Pleasure’s recently released reissue of Keb’ Mo’s Peace, Back By Popular Demand proved a new joy to hear. The singer/guitarist’s cover of Buffalo Springfield’s “For What It’s Worth” showed off two of the Ortofon’s biggest strengths: bass attack and dynamics. The bass drum boasted a “punch you in the chest” quality while the percussive wood block appeared in the soundstage with a sudden “crack.” Vocals were unstrained, very natural sounding, and without the bloat that many budget MC cartridges instill in the interest of providing a warm presentation.

Next, to get a better feel for the acoustic performance, I tried the first Gateway recording by John Abercrombie, Dave Holland, and Jack DeJohnette. During “Back-Woods Song,” Holland’s bass lines were clearly delineated while DeJohnette’s busy, melodic drumming remained punchy on the snare and shimmering  and airy on the cymbals. At once ethereal and biting, Abercrombie’s guitar floated above the rhythm section. On “Waiting,” the cymbal attacks were fast and ideally detailed, and the stand-up bass full and resonant. I immediately forgot about the cartridge and enjoyed the music.

To increase the torture test and find out how the MC 20 Super would reproduce a full orchestra, I chose Sir Adrian Boult conducting the London Philharmonic Orchestra’s performance of Elgar’s Falstaff-Symphonic Study on EMI/Odeon. Here, the full width and depth of the concert hall revealed itself to scale, providing extremely accurate string sound sans artificial or annoying artifacts—a tough hurdle to jump even with the best cartridges. The realistic swell and ebb of the dynamic peaks is tough to track all the way through, yet posed no problem for the MC 20 Super.

Finally, to get a handle on the Ortofon’s ability to accurately portray vocals, I spun John Coltrane And Johnny  Hartman, one of the most natural vocal recordings ever made. While many listeners use female vocals for evaluation, I believe male vocals are the more difficult of the two for gear to resolve. The Ortofon put Johnny Hartman in the room squarely between the speakers, and without any undue spotlighting. Once again, the all-important mid-bass region remained totally devoid of coloration. In addition to the superb vocal performance, Coltrane’s sax came across as round, breathy, and smooth.

Head of the Class

Competition is fierce once you approach the $1,000 level in phono cartridges, especially considering that there are plenty of great models moving magnet, moving coil, and moving iron cartridges from which to choose. Such cartridges lack the level of refinement and resolution that high-dollar models provide, so musicality rules the day when shopping in this neighborhood. And musicality is what the Ortofon MC 20 Super offers in abundance. Highly recommended.

You can purchase an MC20 Super from The Needle Doctor here…

The Ortofon MC 20 Super Phono Cartridge

MSRP:  $899

Manufacturer Site:  www.ortofon.com

All arguments about speaker parameters and measurements aside, a great speaker either grabs me with an emotional response and an instant urge to purchase them, or at least investigate further.  Just like any other object of extreme desire, an outstanding speaker will have you daydreaming about it even when you are not in its presence.

I’ve only had this experience a handful of times in my life.  Mind you, the job of reviewing speakers is somewhat different – bias must be kicked to the curb, or the review just becomes gushy and overloaded with adjectives.  Interestingly about half of the speakers that have really burrowed into my subconscious mind over the last few decades have been from Denmark.  Perhaps I was a Viking in another life?

The Peak Consult Kepheus is not inexpensive – at $110,000 per pair these are squarely aimed at the more well-heeled customer.  And you can more than double the price by adding their dedicated bass modules that add four more 8-inch woofers per side, cabinets slightly larger than the main speakers.  Signing up for the four-box Kepheus experience may require some room remodeling.  Most will find the standard issue Kepheus without the extra bass modules just fine.  I certainly did and a quick frequency sweep validated that they are flat to about 30hz, with solid bass output down to about 25hz.

Yet Peak Consult speakers always evoke a highly emotional response, making me weak in the knees because they paint such a natural musical picture.  Make no mistake – a six figure pair of speakers better rock your world and never ask you to make excuses for any aspect of their design.  The Kepheus is a destination speaker that does not disappoint – even without the additional bass modules in my 16 x 25 foot listening room.

Music First, Tech Later

Jumping right in with the self titled Sbtrkt, the dual 6.5-inch woofers prove their ability to move serious air, working in conjunction with the intense cabinet tuning, pumping out plenty of well controlled bass with the opening track, “Heatwave.”  Bass is not enough though, the stereo image presented by this somewhat compressed CD is massive, extending all the way to the listening room walls, almost eight feet from the speaker boundaries.

A series of other favorite tracks from The Supreme Beings of Leisure, DJ Crush and Mickey Hart convinced me that these speakers muster more than enough LF drive to accommodate any kind of music.  I kept thinking that I would be able to bottom the Audio Technology woofers, designed specifically for the Kepheus, but even the most raucious rap tracks at high volume yield no sense of strain.

Great results were achieved on both the long and short walls of my listening room, yet I enjoyed the wider soundstage rendered on the long wall versus the deeper soundstage on the short wall.  Being able to get back from the speakers a few more feet on the short wall did provide more bass augmentation from the room, so the Kepheus is easily adaptable and not difficult to setup.  I suggest a set of Delrin pucks and spending a long weekend deciding which presentation you prefer best.  Because of their almost 400 pound (each) weight, I also suggest not worrying about the supplied spikes until you are sure about final placement.

The Kepheus is a stellar performer that always keeps the most densely packed recordings sorted out.  My Japanese LP pressing of Judas Priest’s Screaming For Vengance has more compression than I’d like, yet the combination of the Kepheus and Carver 180 vacuum tube monoblocks made it easy to hear each of the individual drums in the kit, while keeping Glenn Tipton and K.K. Downings dualing lead guitars in their proper place on the stage.

If Priest is not at the top of your playlist, Jackie McLean offers the same dogfight between his alto sax and Blue Mitchell’s trumpet – one taking up residence just behind the right speaker and the other behind and beyond the outer boundary of the left, with the piano softly in the middle on his Bluesnik album. (The particularly tasty Music Matters 45 rpm remaster even more so)  The Kepheus keeps the musical soundscape intact – never faltering, or blurring the stereo image.

The wonderful tonality of these speakers will most likely be the first thing to grab your attention, no matter what music you enjoy. The closer you listen, the clarity that they present along with a correct sense of scale keeps you glued to the listening chair. I love electrostatic speakers for their coherence (which the Kepheus is certainly the equal of), even though they often paint an overblown sense of musical scale.  This can be a lot of fun, with popular and electronic music, merely adding to the effects created in the studio, but when listening to a solitary acoustic guitar that sounds eight feet tall, not as much.  A perfect example is that of Alex DeGrassi’s Southern Exposure LP on Windham Hill, Ry Cooder and Ali Farka Toure’s Talking Timbuktu. The acoustic guitars in both of these records are well recorded with minimal miking and only a tiny bit of effects – but both render the guitar in a realistic note, sounding as if there’s someone in the room about 10 feet from your listening chair playing.

A Wide Range of Options

Along with the high degree of coherence the Kepheus provide, they maintain a high level of resolution from low volume to ear shattering levels without compression.  At low volume, they disappear like a pair of great mini monitors – tough to do for a large floorstander.  Their 90db sensitivity and crossover presented an easy load to drive for the low power tube amplifiers at my disposal.  The 20 watt per channel 845 SET monoblocks had no problem achieving fairly realistic volume levels with all but the heaviest rock music.  50 watts per channel of quality tube amplification will work fine with the Kepheus.

However, those that enjoy higher volume listening sessions will enjoy the Kepheus in equal measure – the massive stereo image presented does not collapse when driven by a large amplifier.  All of the reference amplifiers at my disposal ran out of steam before the Kepheus did. Perhaps it’s time for those Audio Research REF 750s I’ve been pondering.

Neither forward or laid back sounding, they will take on the characteristics of whatever electronics put in front of them, and thanks to their high resolution, will be as revealing as well.  These speakers are so versatile, they will be easily fine tuned by your choice of electronics.

Visual And Technological Works of Art

A quick “knuckle rap” test anywhere on the Kepheus cabinet produces a faint sound with zero hint of vibration or resonance, confirmed by a few quick frequency sweeps.  The only thing rattled there was my eardrums.  These cabinets define inert, with the woofers, each midrange driver and the tweeter all having its own individual cabinet made from 1.5 – inch to 3 inch thick HDF board covered by another inch of solid acrylic, with additional resonance supressors milled into the cabinetry. If that weren’t enough, there are no parallel surfaces to be found anywhere with these enclosures.

The hundreds of hours that go into these complex shapes not only eliminates resonance, it also minimizes diffraction effects and maximizes off axis response at the same time, resulting in a speaker everyone can enjoy.  Of course, the optimal spot is still firmly centered between the speakers, but sitting on the floor well of axis still provides a highly satisfying result.

Lastly, the front surfaces of the enclosures are covered with black leather.  While chosen to further minimize diffraction, this touch adds a human quality to the speakers that helps them to blend with any decor.

All of the drivers in the Kepheus are hand built specifically to PK specification – no “off the shelf” components are used.    The crossover boards are massive, utilizing custom components and isolated in their own enclosures inside the speaker cabinet, further eliminating any vibration and interaction from the drivers.

The Kepheus is Indeed Something Special

Though neutral is an overused word with hifi components, I prefer natural – the Kephus has a natural presentation, again with much of the credit going to the extensive amount of time spent on matching drivers and crossover components as well as Peak Consult concentrating on the phase and time domain parameters.  Though it is a deceptively simple mission, the Kepheus sounds like music, not like an electronic reassembly of musical information. Minimalist recordings of acoustic instruments are accurately reproduced with timbre, tone and decay.

The ultra low distortion presented by these speakers makes them easy to listen to for days on end without fatigue or boredom.  I’ve heard a few speakers that are more engaging on the first few demo tracks, but after about 15 minutes, I’d rather be doing anything but listening to music.

The Kepheus succeeds brilliantly because you can not only listen to music continuously with them, whatever program material you choose will be reproduced faithfully and effortlessly.  There’s nothing that they can’t handle, so the speaker isn’t limited to a handful of audiophile approved test tracks.  The Kephus offers a full spectrum of musical enjoyment – no matter what your musical taste consists of.

If you are looking at a destination speaker, you owe it to yourself to audition the Kepheus.  Bring your checkbook and a few strong friends to help you get them home!

The Peak Consult Kepheus

MSRP:  $110,000 (US)

Manufacturer:

www.peak-consult.dk  (factory)

www.bluebirdmusic.com  (North American Importer)

Peripherals

Analog Source             AVID Acutus Reference SP/TriPlanar/Lyra Atlas

Phono Preamp                        Vitus Audio MPP-201

Digital Source              dCS Paganini, 4-box stack, Sooloos Control 15, Aurender S10

Preamplifier                ARC REF 5 SE, Burmester 011

Power Amplifier         ARC REF150, Burmester 911 mk. 3, Pass XA200.5

The good news is that a few hundred dollars grants you access to the analog world. But should you become truly obsessed, you’ll require a better analog front end. Not to worry. Competition is fierce in the $100-$300 phono preamplifier segment, with fewer great choices in the $500-$800 range. Moving to the $1,000-$2,000 plateau offers not only a huge performance jump, but one of the most intense product rivalries in the high end. If you can stretch to this section of the game board, you will be given much more than a get-out-of-jail-free card. To wit, the $1,595 AVID Pulsus. It’s designed, built, and tested at the company’s UK facility. Many other units in its price range come from China.

Matching a phonostage like the AVID Pulsus with a favorite turntable and cartridge for a sum total of a couple thousand dollars will yield a very formidable analog source. Better still, it allows many wallet-conscious listeners to steer clear of megabuck turntables. Such a setup offers more than enough resolution to enjoy the best LPs. Plus, you’re only one Internet forum post away from a healthy argument.
A compact two-box design, the Pulsus allows you to place the power supply about three feet away from the actual preamplifier chassis, thus eliminating noise concerns. Said power supply connects to the preamplifier via a shielded cable with an XLR connector. Unlike AVID’s Pulsare phonostage, which features balanced inputs and a balanced design, the Pulsus is single-ended. Designer Conrad Mas insists that the unit isn’t a “stripped-down Pulsare,” yet a comparison of both models reveals a remarkably similar tonal balance.

When listening to both side by side with smaller-scale acoustic music, the two AVID preamplifiers sounded far more alike than different. However, the Pulsare’s superiority is made evident on symphonic and heavy metal fare. Such traits will appeal to those wanting to “stay in the family.” Why? Should you decide to move up to the Pulsare at some point, you will be rewarded with more instead of different—just as you do with the full line of AVID turntables.

Setup

Underneath the chassis, the Pulsus offers a wide range of adjustment, with three gain settings: 48db for MM cartridges, 60db for MC, and an additional 70db setting as well. Combined with the Pulsus’ ultra-low noise floor, even the low-output Dynavector 17D3 cartridge (.23mv output) had no trouble delivering. For MM users, the three available capacitance settings (100pf, 200pf and 500pf) should easily handle most combinations.

Listening began with a suite of reasonably priced cartridges that included the Shure V15vxmr, Denon DL-103R, and Dynavector DV-20xl. All turned in great performances and, in conjunction with the Volvere SP/SME combination, sounded better than when in my budget setup consisting of the Rega P3-24 and Dynavector P75 mk. 2. Feeling that the Pulsus was capable of more, I substituted the Sumiko Pearwood Celebration II MC cartridge ($2,499) and discovered the AVID still held its own. Thanks to a removable head shell on the SME309 arm, swapping the Pearwood for the Sumiko Palo Santos cartridge ($3,999) was as simple as opening a beer. The Pulsus still yielded enough resolution to tell the difference between the two cartridges, but distinctions were more easily discernible via the Pulsare. Such performance makes for a phono preamplifier with which you should be able to grow through several rounds of cartridge/turntable upgrades.

Please note: Both of the Sumiko cartridges were optimally loaded at 100 ohms with my ARC REF Phono, yet 2,300 ohms suited the Pulsus. As with any cartridge, experimentation always leads to the best results.

Listening

Unlike the Pulsare, which took a week of continuous play to fully blossom, the Pulsus required just 48 hours to come out of its shell. Only slightly congested upon first turn-on, it quickly became a great performer. And since it draws about 10 watts, leave the Pulsus on to maximize your analog experience.

Blondie’s Autoamerican came alive with both the AVID Volvere SP/SME 309 and Rega P9 turntables, each boasting an identical Sumiko Pearwood Celebration II cartridge. While Blondie’s 1980 set is fairly dense and somewhat compressed, marginal LPs can sometimes be more telling of a phono preamplifier’s capability than meticulously mastered audiophile pressings. In this case, “Rapture” extended more pace and depth than I’m used to experiencing with other similarly priced phonostages.

KISS’ Alive! is another LP with very limited dynamic contrast, but again, the Pulsus impressed. The highly processed drum solo during “100,000 Years” actually had life and dimension, effortlessly revealing the differences between the US and Japanese pressings—a revelation that confirms the Pulsus as a serious audiophile tool.

As expected, the Pulsus shined when playing pristine recordings. Classic Records’ remaster of Crosby, Stills and Nash’s self-titled debut had so much depth, it prompted one of my audiophile pals to look behind the equipment rack to be sure that the Volvere wasn’t plugged into the adjacent Audio Research PH6. “Are you sure it doesn’t have at least one tube inside?,” he repeatedly asked, inspired by the natural presentation. The PH6 is similar in the sense that it does not sound overly tubey. Akin to its more expensive Pulsare, AVID managed to create a solid-state phonostage that’s both resolving and quiet, and yet not at all harsh.

The Pulsus’ wide dynamic range is another welcome treat. Music Matters’ recent pressing of Sonny Rollins’ Newk’s Time pinned me back in the listening chair. As Rollins’ sax blasted from between the speakers, felt like I was the dude in the famous Maxell ad. With the turntable already in 45RPM mode, there was no reason not to blitz through my growing 12-inch maxi-single collection. Spread onto the whole side of an album, the Scorpions’ “Rock You Like a Hurricane” volunteered crushing guitars that convincingly approximated the live experience. In addition to verifying that there are many well-produced hip-hop tracks, Eazy-E’s “We Want Eazy” proved that the Pulsus indeed goes deep and advances a highly convincing bass groove.

Comparisons

The Pulsus holds its own amidst a sea of comparably priced products. The Lehman Black Cube SE, a previous favorite in the $1,500-$2,500 solid-state category, doesn’t claim the AVID’s bass grip or expansive soundstage. Another favorite, the EAR 834P, is almost the polar opposite of the AVID. Whereas the EAR puts a warm, romantic feel on everything—great if you have an overly forward-sounding cartridge/system—the AVID gives you what’s on the recording, with an excellent sense of pace that leaves the valve unit, by comparison, sounding slow.

On a related note, the Pulsus’ best aspect is its overall natural tonal balance, which makes it painless to integrate it into any system. By merely revealing the nature of the equipment to which it’s connected, it has neither a forward, etched character nor a warm, embellishing one.

The Verdict

The AVID Pulsus builds on the Pulsare’s success, offering high performance at a more accessible price, and combining neutral tonal balance with excellent resolution and a high degree of dynamic contrast without going so far as to become harsh. Moreover, its low noise floor and ease of adjustability put it at the top of its respective price class. If you’d like to skip the pointless Internet banter and get down to the business of listening to records, head to your dealer and sample the Pulsus. I’m guessing you’ll take one home.

The AVID Pulsus

MSRP: $1,599

Manufacturer: http://www.avidhifi.co.uk

US Importer: Music Direct Click here for more info

An intimate four-day gathering of psychedelic, avant-garde, heavy, and nearly every other imaginable cutting-edge sonic delight, Roadburn Festival is without peer. Every April, dozens of bands and eager listeners from more than 40 countries descend upon a quaint town in the Netherlands to share in a common love of sensory-absorbing music, underground art, and likeminded discussion. It’s not difficult to understand why.

Unlike most festivals, Roadburn is focused and small; boundaries between the performers and audience are practically nonexistent. Due to its international reputation, unparalleled vision, and limited capacity, the multi-day event sells out within minutes. Indeed, Roadburn has become the gold standard in a music industry that’s increasingly more reliant on festivals. This year’s lineup represents a veritable wet dream for any metal, experimental, or doom fan: Sunn O))), Godflesh, Shrinebuilder, Winter, Trap Them, Corrosion of Conformity, Keiji Haino, The Secret, Earth, and Swans are just some of the names involved.

TONE is honored and humbled by the organizers’ invitation to attend Roadburn 2011. Our forthcoming report will serve as the magazine’s cover feature in Issue 37. In the meantime, to get an even better understanding of Roadburn’s history, purpose, and unique characteristics, we talked with festival organizer—and fellow audiophile—Walter Hoeijmakers via email. All festival directors should bring his level of passion, insight, and dedication to the fore.

BG: Roadburn began as a website but ultimately turned into a festival. Can
you give some background on how the music festival came about, and when you
started?

“At the very beginning, we just wanted to convey the overall feel of the website onto the stage. We started out very small by inviting several bands that we had featured on the website. Plus, we wanted to project parts of the website’s artwork behind the bands, and also have deejays spinning the music we were covering. Along the way, we started to experiment with live streams since we also sought to keep up with Internet’s progress. There was no real master plan; but nothing was contrived, either. We just did what felt best, and got tons of creative input along the way. All of this cumulated into the 10th Roadburn festival in 2005, which became the blueprint for the festival as we know it today.”

Most festivals are sprawling affairs that involve tens of thousands of people and vague artistic focus. Roadburn is the opposite. It strives to melt any boundaries between artists, fans and organizers. How do you manage to accomplish this? And what motivated you to set these goals?

“We want Roadburn to be a small, intimate, and well-organized festival. We love the bands, and thrive on creating a unique social vibe by emphasizing the cutting edge and honoring the forefathers. This is all joined together by a love of music. We’re not thriving on financial goals, neither do we want to be the next ‘best outdoor festival.’ Our main goal is to bring together a diverse group of artists that push the envelope, are truly original, and inspire us all with the unspeakable fire flowing through their art. It’s a gathering of kindred spirits, bands, and fans alike, and the lines between them are often completely blurred as they all worship the power of sound together. At Roadburn, most bands don’t hang out backstage: They can be found down in front!”

Tickets for this year’s festival sold out in about 15 minutes. The fest is now an internationally recognized phenomenon. Do you have any idea how many countries are represented by the people attending? Do you remember how long it took the first festival to sell out?

“The first-ever Roadburn Festivals didn’t sell out at all. We sold out in 2003 for the very first time when the festival took place at the Effenaar club in Eindhoven; 450 people showed up. Then, in 2006, Roadburn sold out a few days prior to the festival. We had moved to the 013 venue in Tilburg, and offered 1750 tickets. It was crazy to see that approximately 70% of our attendees were from abroad and not from the Netherlands. These figures still stand today, as we have about 44 different nationalities attending the festival. They descend upon Tilburg from the world over, ranging from the USA and South America to Australia and Japan, and all the European countries in between. For Roadburn 2011, we’re even welcoming people from Singapore and Indonesia. It’s something that still amazes me today as we just started the festival out of a labor of love, and still do it for that very reason.”

As the organizer, can you share what your duties involve and how early you start planning? Once the festival begins, are you able to enjoy it or are you too busy managing logistics?

“We start planning one year in advance. I’m already working on Roadburn 2012 even though the 2011 edition has yet to take place. Unfortunately, I’m not able to see much at the festival as I’m often busy micro-managing. I always tend to spend time with bands and attendees, and as soon as I’m able to catch up with them, you’ll find me backstage or talking to all the wonderful people in the venue’s hallways. Sometimes I can enjoy a band. There’s always a show that I’m trying to catch in its entirety, and it’s my goal to catch several this year. I desperately want to see likes of Wovenhand and Shrinebuilder, among others. Luckily, we record most performances for the on-demand audio streams, and I catch up with everything at home when listening to the steams.”

The lineup for Roadburn 2011 is any metal and underground music fan’s dream. How do you go about inviting artists? Do you start with a wish list? Do certain bands contact you expressing their desire?

“Both Jurgen van den Brand (Roadburn’s co-organizer) and I start out with a band list. We have a pretty good idea of the bands we’d like to invite for the festival. The list keeps changing throughout the year, and we’re very proactive by approaching the bands ourselves. It’s always very rewarding if certain bands on our list start to approach us. It’s in the spirit of the festival, and makes confirming their involvement easy. On a personal note, I’ve been around in the underground scene for more than 25 years and happen to know many bands personally, as well as lots of bookings agents, managers, and journalists. This is really helpful, because getting in touch with certain bands is really easy for me. The Roadburn phenomenon also helps to get in touch with bands that I don’t know on a personal level.”

You were able to get Keiji Haino, Caspar Brotzmann Massaker, Ufomammut, and at least a half dozen other bands that can be considered nothing less than coups for any festival. How does one go about doing this?

“Keiji Haino and Caspar Brotzmann Massaker have been invited by Sunn O))) for their curated Roadburn event. We asked [Sunn O))) leaders] Greg Anderson and Stephen O’Malley to open up the styles and sounds of the festival, and they did a great job. Their curated day is nothing short of amazing, and a tribute to some master guitarists that influenced them as artists. Offering a day of the festival to a curating band or artist is of great help in getting coups for Roadburn. It inspires other bands to be part of the festival as well, as they want to be among their peers in an intimate setting—which is Roadburn.”

This year’s lineup has a definite psychedelic and doom flavor. Was this intentional? If so, are there any bands that you targeted that, for some reason, you weren’t able to get for the festival?

“It all happened naturally. When we started to work on this year’s Roadburn festival, we noticed some very interesting doom and psychedelic bands that we really liked. It’s part of our mission to put emphasis on the cutting edge. Thus, inviting these bands was inevitable, and pushed Roadburn 2011 in a more doomy and dark psychedelic direction. We love evolving the festival in manners like this to keep it interesting for our attendees. In the end, the festival should be a tribute to the open minds of bands and attendees alike. As far as bands we wanted but didn’t get, it would have been great if we could have had The Obsessed for Roadburn 2011, but we couldn’t pull of the reunion yet!”

There’s an incredible balance between new and older bands on the bill, i.e., with highly influential veterans such as COC, Pentagram, Godflesh, and Earth sharing the bill with relative newcomers such as The Secret, Liturgy, et al. Was this by design?

“We want Roadburn to be a well-balanced festival and do everything to keep it that way even if it means that we have to pass on certain opportunities. In order to keep the balance, several great bands didn’t make it on this year’s lineup. However, we remain in touch with these bands for future Roadburn festivals since they are good reference points for next year’s direction.”

Is there anything that you are doing for this year’s festival that improves upon what you did in the past?

“We keep improving every year, whether it’s about backlines, projections, crowd control, food vendors, a merchandise venue, or the metal disco. We want to maintain the laidback vibe of the festival as much as we possibly can. Luckily, the incredible staff of the 013 venue, home of Roadburn, is of great help—they are a main part of the festival, too.”

What advice what you give somebody who has never been to Roadburn?

“Go with the flow. Don’t try to catch as many bands as you’d like or get distracted by some overlaps. Please immerse yourself in the laidback vibe of the festival, and enjoy the company of all these like-minded people. Then you’ll experience the camaraderie amongst the festivalgoers and end up seeing some amazing bands you didn’t intend to see while making new friends along the way.”

You’ve been there from the start. Can you share a few favorite memories?

“There are way too many stories to be told. Maybe I should write a book some day about all the shenanigans and debauchery behind the scenes—hahaha! All joking aside, if someone would have told me 25 years ago that I would run a festival like Roadburn and collaborate with either Neurosis, Tom G Warrior (of Celtic Frost and Triptykon), Saint Vitus, or Hawkwind, I simply wouldn’t believe them. It all just happened.”

Is there any single band or performance this year that you can’t wait to see?

“As I said earlier, I’m really looking forward to seeing Dave Eugene Edward’s Wovenhand at Roadburn. It’s an incredible coup for the festival to have the band on the bill. At first glimpse, Wovenhand is a little off-kilter, as Roadburn tends to be an underground festival for psychedelic, avant-garde, doom, or any other variation of leftfield sonic pleasures that push the boundaries of music. But Wovenhand will prove that making really heavy music does not necessarily mean having the loudest guitar or the most amps.”

You’re obviously a huge music fan. And the intimate construction of the festival suggests that you appreciate good sound. Are you interested in audio gear? If so, on what kind of system do you listen to music at home?

“I have been fascinated by audio gear and spent lots of money on speakers, interlinks, tweaks, and the like over the years—just like many of TONE’s readers, I suppose. For the last 8 years, I’ve been really enjoying my Marantz Music Link series (preamp, phono preamp and monoblocks). My current set of speakers is Floating Systems’ Synthese.

“I have a pair of AE4s (by Acoustic Energy) as well, but don’t use them very often. I really love old MIT interlinks and MIT Terminator speaker cables, which I prefer over high-end Japanese brands like 47 Lab; I have some of their interlinks as well.

“I’m in love with my mid-70s Ariston RD 11 turntable (it’s the predecessor of Linn’s LP12) plus SME tonearm. As far as cartridges go, I’m sticking to a Grado Statement Wood—amazing warmth, and perfect for my vast collection of 60s and 70s rock on vinyl. “I prefer vinyl over CDs any time, but have an experimental CD player that’s custom-built by a Swiss audio geek. I bought it relatively cheap. Sometimes you need to be lucky!”