The biggest issue audiophiles likely face concerns what to do with all the huge and unsightly cables connecting components together. Of course, a faction of audiophilia considers big, beefy cable muy grande macho. However, not everyone wants a massive cable loom lurking in a listening room, which often doubles as a living room.

Attending lectures from various cable manufacturers isn’t much help. Most firms tend to justify their approach. Companies producing large cables try to convince you that a small diameter cable can’t possibly work. Whatever. Physics aside, after spending a lot of time with the Micro Diamond interconnects and speaker cables plugged into a wide range of components and speakers, they not only work brilliantly, they are beautifully executed.

And yes, these actually are cables you’d want your friends to see. Packaged like fine jewelry, they arrive in velvet pouches and inside black boxes—elegantly understated and nicely done without costing a fortune. A one-meter pair of interconnects (RCA or XLR) retails for $850, and is also available as a turntable cable with appropriate termination for $1,000. A 2.5-meter speaker cable set costs $2,950 in bananas or spades.

Crystal Cable director Gaby van der Kley works with the man behind Siltech cables and spent years touring the world as a concert pianist. She’s definitely a designer that knows what instruments sound like.

Going Against The Grain

Most audio cables on today’s market utilize copper or silver conductors, and some are primarily one material with a coating of the other on top. Crystal Cable takes a disparate path, using gold along with a silver primary conductor. Yet the gold isn’t for coating.  Rather, it’s almost impregnated in the silver to fill in molecular gaps in the 1.7mm conductor.

If I had a $20 bill for every talk I’ve heard on cable size, geometry, and the like, I could probably retire. Those subscribing to the “bigger is better” school of thought claim a svelte cable can’t deliver powerful bass response. But Micro Diamond cables are not bass deficient.

Beyond terrific audio performance, Micro Diamond speaker cables offer an interesting feature: scalability. Crystal Cable calls the ends “splitters,” and they can be purchased with a number of different termination options: standard spades or bananas, Furutech carbon spades, or bananas and bi-wired. You can also add another length of cable should you need to reroute your system down the road. Considering the low prices fetched by used cable, this strategy is an excellent way to future-proof your cable purchase and retain your investment.

Listening Sessions

The toughest part of any cable evaluation is trying to determine the sound of the cable. In a perfect world, a cable would add no sonic signature to the signal passing through it. Predictably, some industry folk would have you think all wire sounds the same. However, we believe cable makes a difference in the overall sound of a system and should do no harm to the signal.

While many listeners use cable as the last step in fine-tuning a system—employing cables as tone controls—we view high-quality cable as the way to transfer as much of your system’s performance from one component to another, and finally, to your loudspeakers. More than gross tonal changes, the main difference heard between second- and first-rate cable deals with reducing grain and increasing low-level detail retrieval, not unlike the qualities provided by an excellent power conditioner.

Auditioning Micro Diamond cables in three different systems—small, medium and super-size—achieved good results. The compact setup comprised a vintage CJ amp and preamp, Schiit Bifrost DAC, and pair of MartinLogan Aerius i speakers cabled with various odds and ends. The medium system consisted of a Simaudio 600i integrated amplifier, Wadia 121 DAC, and pair of Harbeth Compact 7-IIIES speakers. The final stereo array (publisher Jeff Dorgay’s standard reference system) involved Audio Research REF components, a dCS Paganini stack, and GamuT S9 speakers cabled with a mixture of Shunyata Aurora, Cardas Clear, and AudioQuest Sky cables.

A majority of acoustic recordings— selections heavy on piano, drums, and acoustic guitars—were played to quickly establish the cable’s proprietary sonics. The latter are highly revealing, with an upfront presentation akin to listening to studio monitors in a near-field configuration. Given Ms. van der Kley’s background, it comes as no surprise that piano reproduction via her cables feels sublime. Whether listening to Herbie Hancock or Beethoven, the instrument’s complex attack and subtle overtones are always maintained and never become harsh or blurred.

If any of your components possess a tonal balance anywhere between neutral and warm/romantic/euphonic, you will be amazed at the additional detail the Micro Diamonds bring to your system’s overall appeal. When utilized with the B&W 802 Diamonds, already a highly resolving speaker with the diamond tweeter and most solid state amplifiers is a presentation that is too forward for some. Still, TONEAudio counts a detail fanatic in its ranks that can never get enough resolution. He loved this combination.

The Micro Diamonds make the biggest improvement in an all-tube system, especially one that leans more towards warm tonality. With the Conrad Johnson PV-12 (recently rebuilt by CJ with CJD Teflon capacitors) and either the MV-50 (same treatment) or PrimaLuna Dialogue monoblocks, the Diamonds’ ability to transfer every bit of information adds a spectacular level of inner detail to this system without compromising musicality in any way.

A similar result can be achieved via speakers ever so slightly on the warm side of neutral. Vide, Harbeth Compact 7s really come alive with Crystal Cables. The sound in our test speakers from Focal, Verity, GamuT, and Peak Consult (all fairly neutral) now boast a different disposition. There’s more resolution, and it’s musically satisfying. What more can one ask?

The Crystal Cable Micro Diamond Cables

MSRP: Interconnect, 1m – $850, Speaker, 2.5m – $2,950

www.crystalcable.com

www.audioplusservices.com  (US/Canada Importer)

More phono cartridges than I care to remember have passed through my stereos over the past four decades. Given the relentless onslaught of digital media, it’s great to see that Benz Micro has not only stayed in the game but continues to strive for better products.

The Ruby Z stereo cartridge, named for its zebra wood body, represents the evolution of one of the company’s top moving-coil cartridge lines, falling just below the flagship Ebony LP cartridge. But, does a shift from Bruyere in the previous model to zebra wood in the current unit make a noticeable sonic difference? How about the new microridge stylus?

The Zebra Enters the Corral

The six prior Benz cartridges I’ve owned were all standard-output Rubys. Setting them up on VPI ‘tables has always proved straightforward. Adding the Fozgomter, available from Musical Surroundings, simplified azimuth configuration. Indeed, the Fozgometer is an essential analog tool, especially if you have multiple cartridges and tonearms.

I set the tracking force on the Ruby Z to the suggested two grams and loading to 47k ohms, with the cartridge body approximately to the record surface of my modified VPI Aries turntable with flywheel drive and VPI 10.5 tonearm. A full complement of Pass Labs electronics took care of the signal from the XP-15 phono preamplifier, all the way to the MartinLogan CLX speakers. Along with 50 hours of cursory listening before critical evaluation, the Cardas Sweep LP accelerated break-in time.
Out on the Range

Zebras are not domestic animals, yet the Ruby Z cartridge is anything but wild and untamed. The “house” sound for Benz Micro’s higher-end MCs is often described as warm and spacious, albeit articulate. I concur with this reputation. However, each subsequent generation offers improved tracking abilities and increased dynamic range. The Zebra continues this fine tradition.

A slightly low output of .35mv presented no problem for my Pass Labs XP-15 phonostage (currently under review) that boasts 71-76db of gain. Those with lower gain need to make sure their phonostage can accommodate the Zebra. The varied and simple songs on J Ralph’s Wretches and Jabberers soundtrack feature well-recorded vocals, and the Ruby Z did not disappoint, offering realistic presence and body with near-perfect reproduction of each of the solo singers’ distinct timbres. Similarly, Grammy-winning jazz artist Esperanza Spalding’s voice and string bass were beautifully reproduced on her Chamber Music Society; the depth of the recording bowled me over.

On ORG’s reissues of London “blueback” LPs, Espana and de Falla’s The Three-Cornered Hat—both of which represent substantial improvements over the legendary original editions—the Zebra transparently resolved the difference between the old and new pressings. The spread of the orchestra, as well as the inner voices, created a dramatic experience. The Ruby Z’s ability to capture the compositions’ big dynamic swings confirms its superb tracking prowess and extended frequency range.

For its high-end cartridges, Benz Micro supplies a performance graph that shows measured frequency response and channel separation. While separation tapers off somewhat above 7kHz, it is still amazingly high at almost 40db. It has an excellently neutral balance swept across the audible spectrum, with the frequency response curve almost ruler flat. Swapping arm wands with the VPI tonearm is a snap, so a quick side-by-side comparison with previous sources confirmed what my aural memory intimated. While the Ruby 3 is still an excellent transducer, the Z’s fuller soundstage and better low-frequency extension stood out. The most complex passages tracked with greater ease, allowing previously buried minute details to clearly emerge.

Ride the Zebra to the Finish

The Ruby Z not only delivers on the excellence suggested by its cost, but also outperforms its predecessor in every way, with improvements extending to tracking, musicality, and soundstaging. As with the best cartridges, the Ruby Z will not transform poor records into good ones; it is not overly “voiced.” But it retrieves the maximum from all LPs and does justice to the greatest audiophile recordings. Current Benz Micro or Clearaudio cartridge owners wishing to upgrade can take advantage of an authorized trade-in program that should ease the financial burden of buying a Ruby Z. Check with your dealer, or contact Musical Surroundings to get the exchange rate.

With an increasing number of cartridges selling well beyond the $3,995 cost of the Ruby Z, the latter offers up a substantial degree of what cost-no-object models muster. Best of all, the presentation reinforces the relevance of vinyl in the 21^st century. -Lawrence Devoe

MSRP: $3,995

MANUFACTURER: Benz Micro

www.musicalsurroundings.com

PERIPHERALS

Amplifier Pass Labs XA 100.5

Preamplifiers Pass Labs XP-20 and XP-15

Analog Source VPI Aries (modified) with flywheel and VPI JMW 10.5 I tonearm

Speakers Martin Logan CLX

Cable Nordost Valhalla and Odin

Power Running Springs Dmitri and Maxim

For those of you that have been waiting for the next series of Croft amplification products, they are back with their Micro 25 preamplifier and Series 7 power amplifier. In case you aren’t familiar, don’t feel out of touch, Croft has always been one of the smallest of British hifi manufacturers, but worth seeking out if you are interested in high performance at a very reasonable price. The two components you see here are only $1,395 each.

When you pick them up, you might be surprised at the relatively light weight; there are no massive power transformers or CNC machined chassis here, but that’s not the Croft design ethos. There are seven components in the Croft lineup; three preamplifiers, three power amplifiers and a phono stage. They all share the same enclosure to save cost. The two top line products fill the enclosure and the two lower models have progressively less under the hood, ultimately keeping the cost down on all models.

Value inside

Where past Croft owners might smirk ever so slightly upon reading this, as they know what lurks inside, the more traditional audiophile might be somewhat tense, worried that they aren’t receiving enough for their money. Nothing could be further from the truth. If you look more closely, you will notice that there are no printed circuit boards inside either of these two components. They are completely wired point to point, with a density and precision that would make a watchmaker proud.

Croft has always been about simplicity, and these two components are the essence of minimalism. The Micro 25 preamplifier is a full tube design and uses three 12AX7 (ECC 83) tubes, one for the linestage and two for the phono stage. The series 7 power amplifier is a hybrid design, again using the 12AX7 for the input stage with a Mosfet output stage, producing 45 watts per channel.

In the 60’s Dynaco was the benchmark for great sound at a very reasonable price, and in the 80’s the early Hafler gear offered more of the same, with their DH-101 preamplifier and DH-200 power amplifier. Though a bit more expensive (it is 2011 after all), these two pieces from Croft offer a level of musicality that are truly unmatched at this price level, at least in my experience – though you need to define your priorities.

Like the Dynaco and Hafler products before, the Micro 25 preamplifier is a no frills design. There are two high level inputs and the phono input. No remote is offered and there isn’t even a balance control. All the effort has been put into sound quality and that’s great news for audiophiles on a budget. The Series 7 amplifier has a pair of RCA input jacks, a simple pair of output binding posts and a power switch. Nothing more.

Instantly impressive

These two pieces of gear will surprise you as soon as you power them up. As I was just completing the review of the $45,000 pair of Estelon speakers for the December issue, I started here to see just what the Croft combination was capable of. Running a pair of RCA cables from the dCS Paganini to one of the line level inputs, I was amazed at just how musical these two were right off the bat. At moderate levels, it was very easy to get fooled into thinking this amplifier and preamplifier were worth at least double their asking price when judged on sound quality alone. The pace was excellent and the Series 7 amplifier did a great job of controlling the Estelons and my reference GamuT S9’s as well. I started with one of my favorite totally 80’s test tracks, Thomas Dolby’s “Hot Sauce,” that features a killer opening bass riff. The Series 7 had no problem controlling the might Estelons, and that hooked me instantly on the sound. Next up, Dave Stewart’s “Kinky Sweetheart” from his Greetings From the Gutter CD. This track is very ethereal, with a lot of electronic and synth effects that float around the soundstage and will fall flat with a lesser preamp. The Croft combo through a soundstage that was impressively wide and deep. Going back to something I’ve heard a million times for an acoustic reference, Sonny Rollins’ Saxophone Colossus was the next choice and again I came away astonished at how natural instruments felt, with just the right of space and decay.

Of course this is playing way out of the league of these two components, but the point is that they still turned in an outstanding performance, even with state of the art speakers and digital source. Moving on to a more “budget appropriate” system, I used a few more reasonably priced speakers with the Croft combination and still came with a big smile on my face. The Series 7 amplifier even passed the torture test of driving my Magnepan 1.6 speakers at a modest level, something most budget amplifiers (even those with higher power ratings) can’t do. The rest of my listening was done with my freshly restored JBL L-100’s, the new Blackstone speakers from Polk Audio and the B&W 805D’s.

Great phono

As the Micro 25 only possesses a MM phono stage, the freshly restored Dual 1219/Grado Black and Rega RP1/Ortofon OM40 tables were used to spin records, making for a very nice system. Both tables turned in excellent performance, but the synergy between the Dual/Grado was unbelievably good, offering a very rich tonal quality to whatever I played. If you are an analog lover that is on a tight budget or just doesn’t want to spend the time (and money) to seek out mega pressings, The Micro 25 could be your little slice of heaven. Some of my 70’s classic rock favorites sounded way better than they had a right to.

I love to compare audio components to automobiles and while this may annoy some of you that are less automotively inclined, the Micro 25 and Series 7 remind me of one of my favorite cars of all time, the Series one VW GTI. While the current GTI is an excellent car in its own right and offers a healthy does of Audi – level luxury, they now retail for about $30k and are out of the range many of the enthusiasts the car was originally aimed at.

But that original GTI was only $7,000 dollars and between 25 and 90 mph, provided a level of driver involvement that few cars at any price could match. This is exactly what the Croft pair offers up. They do such a great job at what they do well; you won’t notice their limitations. Even when used with a pair of $40k speakers, they sound so inviting connected to your favorite pair of $500-$1,500 speakers, you’ll be blown away with how much you can enjoy your music collection, analog or digital.

Only complaint is that the phono stage could be a little bit quieter. There is a bit of tube rush at modest levels when getting relatively close to the speakers, though you won’t hear it from your listening position. It does make a fairly harsh click when shutting off the preamplifier, so be sure to turn the amplifier off first.

Croft all the way, or…

These two Croft components have an obvious, one-manufacturer synergy when using them separately with other components but the preamplifier is the over achiever of the two. You’ll be hard pressed to find a vacuum tube based phono preamplifier this good for $1,395, much less one that includes a great linestage. Going a bit further upscale and plugging the Micro 25 into my recently rebuilt Conrad Johnson MV-50 power amplifier, I was pleasantly surprised at just how much more music was lurking inside this little preamplifier.

Where the Model 7 really shines is the amount of inner detail and musicality that it reveals. This is a quality vs. quantity piece all the way. You can buy other amplifiers for about $1,500 that have more power, but I defy you to find one this musically satisfying. Just like the preamplifier, mate the Model 7 with the right pair of speakers, preferably ones with a sensitivity of about 90db, and you may never go any further down the audio path. The other preamplifier I found great synergy with was my vintage Naim NAC 52, so anyone thinking of using one a Micro 25 with a vintage Naim preamplifier (also well known for an excellent on board phono stage) will not be disappointed, though you will need the appropriate interconnects.

Regardless of where you are on the audiophile path, if you are building a high performance, yet reasonably priced system I can’t suggest the Croft Micro 25 preamplifier and Model 7 power amplifier highly enough, especially if you can live without a remote control.

Both of these pieces perform far enough out of their respective price point that even if the audio bug bites you hard, you should be able to go through a few rounds of source and speaker upgrades before you tire of the Croft pieces. Even if you do decide to move further up the ladder, I’d suggest keeping these two forever – they are destined to become classics. I bought the review pair and plan to do just that. We are proud to award the pair one of our Exceptional Value Awards for 2011.

The Croft Micro 25 Preamplifier and Model 7 power amplifier

MSRP: $1,395 each

Manufacturers Information:

www.croftacoustics.co.uk (factory)

http://www.bluebirdmusic.com (North American distributor)