Professional Documents
Culture Documents
HiFi News 2013
HiFi News 2013
UK
VI
NY
L I CO
Siltech SAGA
EW
N R VI
E New age amps? p28
P IN K40FL YD
ONIV
DARK SIDE’S TH AN ERSARY High-class
headphones
Audio Research Five of the best on test
LP1 phono stage
Digital dream
Dynaudio Focus T+A’s stunning CD and
380 floorstander rated hi-res media player
• PLUS 19 pages of music reviews and features • VINYL RE-RELEASE Jimmy Cliff’s eponymous LP UK £4.00 US $9.99 Aus $9.95
• OPINION 11 pages of letters and comment • VINTAGE REVIEW Spendor’s classic BC III loudspeaker
• AUDIO MILESTONE QED & Monster – cable pioneers • READERS’ CLASSIFIEDS Hi-fi bargains galore
M1 CLiC | UNIVERSAL MUSIC CONTROLLER
7KH0&/L&LVDXQLYHUVDOPXVLFFRQWUROOHUIRUGLJLWDODQGDQDORJXHVRXUFHV
RIGHT: An
E a die-hard Pink
Floyd fan, no
self-respecting
vinyl completist
would have a gap in his or her
collection where Dark Side Of
The Moon should reside. We are
entry-level celebrating the 40th anniversary
phono stage, of this timeless rock album with
Audio Research an extended Vinyl Icon feature Fans of the black stuff will be
style. The LP1 penned by renowned music thrilled to read about our cover
features on p58 critic Johnny Black on p72. star this month. The Air Force
One bleak weekend in March, One turntable from TechDAS
and not a rainbow in sight, we in Japan is arguably the most
took the opportunity to revisit coveted of the ‘superdecks’ to
the LP along with 40 or 50 other emerge in recent years even if
music fans at a special ‘Classic its price tag is equally stunning.
Album Sundays’ event held Once again, Hi-Fi News is offering
alongside The Vinyl Factory on a world exclusive in-depth review
the site of the old EMI pressing of this fabulous machine – food
plant. With Absolute
Sounds in charge of
the hi-fi hardware,
‘We are thrilled to offer
this was no ordinary
listening session
three world exclusive
as many in the reviews in one month!’
assembled throng
were treated to their first taste for every audiophile’s fantasies!
of an exotic Koetsu MC cartridge As we’re a very broad
as the Dark Side’s powerful church here at HFN, we’re also
anthems were delivered through proud to offer an exclusive
massive Constellation amplifiers review of possibly the most
and Magico loudspeakers. impressive digital audio front-
VINYL: We celebrate Pink Floyd’s Colleen ‘Cosmo’ Murphy, the end to have graced our pages
Dark Side Of The Moon on its 40th one-woman driving force behind – the immaculate MP 3000
anniversary (p72) while Steve Sutherland the Classic Album Sundays HV from Germany’s T+A. Need
talks to Jimmy Cliff as his eponymous franchise, is on a mission to an amplifier to go with that?
second LP is reissued on 180g vinyl (p70) remind us how we used to listen Then how about Siltech’s
to music, one side of an LP after seen-but-never-reviewed SAGA
RIGHT: Hi-Fi News & RR is the exclusive another. The idea of dropping in combination? Our third world
UK representative of EISA’s Audio and and out of individual tracks on exclusive in a month is on p28.
Home Theatre panels. Paul Miller is ‘shuffle play’ is anathema. And
EISA’s Audio and HT Panel Manager quite right too [see p14]. PAUL MILLER EDITOR
HI-FI NEWS’ EXPERT LINE UP: THE FINEST MINDS IN AUDIO JOURNALISM BRING THEIR EXPERIENCE TO BEAR ON ALL AREAS OF HI-FI & MUSIC
BARRY FOX JOHN BAMFORD KEN KESSLER KEITH HOWARD STEVE HARRIS JOHN HOWES STEVE SUTHERLAND
Investigative journalist JB brings huge is currently our Senior has written about Former Editor of this Foremost collector and Worked on Melody
supreme, Barry is the industry experience, a Contributing Editor hi-fi for 30 years, and very title from 1986 archivist of vintage Maker and then edited
first with news of the penchant for massive and almost singularly edited Hi-Fi Answers through to 2005. A hi-fi, famous for the NME from 1992-2000,
latest developments speakers and a love of responsible for the for nine. KH performs lifetime in audio and UK’s bi-annual Audio the Britpop years. Steve
in hi-fi and music hi-res audio in all its renaissance in valves our speaker and a love of jazz makes Jumble, John shares his brings a unique slant to
technologies diverse guises and ‘vintage hi-fi’ headphone lab tests Steve a goldmine experience with HFN our Vinyl Release pages
JUNE 13
VINYL & RECORD REVIEWS NEWS AND OPINION
Devialet Exclusive
INNOVATIVE FRENCH BRAND OFFERS BEHIND THE SCENES PREVIEW BEFORE MUNICH SHOW LAUNCH
French audio electronics company, Devialet stereo and dual-mono D-Premiers may be CLOCKWISE (L-R): Devialet’s six-storey
SAS, recently offered Hi-Fi News a sneak compared directly with a choice of Magico premises La Maison is a stone’s throw from
preview of its new amplifier products and Vivid loudspeakers. This studio is the Louvre in Paris; Pierre-Emmanuel Calmel
ahead of the formal launch at the Munich also used for musical evenings and other compares the new digital input board
High-End Show in the second week of May. corporate events. What luxury! [foreground] with the HDMI-equipped original
Since Hi-Fi News revealed the company’s With all its hardware and software [background]; a redesigned remote controller to
astonishing D-Premier amplifier to the engineering resources now under one roof, accompany the new ADH amplifiers
audiophile world on its April 2010 cover development of the now-iconic D-Premier
it has gone on to win plaudits across form factor has evolved apace to create slightly slimmer, but it’s not – this is a trick
the globe, including a prestigious EISA what may become a series of related of the sleek industrial design that includes
award for innovation. Four of the original amplifiers. With the classic D-Premier as a curved bottom plate. Even the Wi-Fi
entrepreneurs remain – Pierre-Emmanuel team leader the other, more affordable, receivers have been moved from the top to
Calmel (R&D), Manuel de la Fuente (Sales), models will likely be distinguished by their this new sculptured base plate while new
Emmanuel Nardin (Design & Branding) and reduced power output and functionality. client and hardware protocols have made
Quentin Sannié (Strategy & Marketing) – Devialet’s promise of low-latency,
and have expanded their roll call to no less EFFICIENT PRODUCTION bit-perfect 96kHz/24-bit digital audio over
than 35 members of staff. By improving the production engineering air a practical and demonstrable reality.
‘We are recruiting another 20 engineers’ of its D-Premier platform, Devialet aims to The biggest functional difference is
said a quietly confident Pierre-Emmanuel at offer even better performance at lower immediately obvious by the lack of the old
our recent meeting in Devialet’s impressive cost, ensuring the high-end becomes HDMI sockets, replaced in the new models
headquarters in downtown Paris. even more accessible. All models feature by asynchronous USB and an Ethernet
a refined ADH (Analogue/Digital Hybrid) connection. This new functionality closes
LA MAISON amplifier architecture and switchmode the only gap that existed in the original
Christened La Maison, this imposing power supply plus significantly increased Devialet amplifier’s armour. That’s all we
facility was bequeathed to Devialet by onboard DSP. can say for now, except that the world
an audiophile property magnate and Visitors to the Munich Show will exclusive review will be arriving via Hi-Fi
subsequent investor in the brand. Not immediately recognise the new chassis, News in a forthcoming issue...
only has this given the team ample room which retains Devialet’s key design cues Devialet SAS; www.devialet.com
to expand but has also provided a superb but now features a beautiful but far harder Absolute Sounds Ltd, 0208 971 3909;
ground floor demonstration space where polished ‘dark chrome’ finish. It looks www.absolutesounds.com
SHOW
before we’d even gone public the magazine, e, 25-26 October 2013 e
event-based including a list of exhibiting
Beaumont Estate
with the news. We’ve just has burst into o Windsor na
nature of brands and announcements
signed-up a second conference life allowing this show and of presentations and
venue, adjacent to the first, enthusiasts to o ens
to ensure the competitions, will be updated
nearly doubling the number of orious
savour the glorious comfort of visitors, on the Hi-Fi News website
exhibition suites. audiophile marques that ticketing will be managed along with information about
‘We have a clear vision for feature in its pages every month by online and postal booking single and two-day passes.
this event with the aim that our but that have been missing from over the next five months The Hi-Fi Show 2013;
visitors are treated to a series UK audio shows for far too long.’ and on-the-day entries only www.hifinews.co.uk/show
IF YOU DON’T
WANT TO MISS
AN ISSUE...
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06-11 SEP IFA Consumer Electronics Unlimited, Messe-Berlin,
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25-26 OCT THE Hi-Fi Show 2013, Beaumont Estate, Windsor;
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SHOWBLOG Sights and sounds from around the globe
Sunday girl…
Paul Miller meets Colleen Murphy, the DJ behind Classic Album Sundays
RIGHT: Colleen f simple ideas are often the
‘Cosmo’ Murphy,
the diva behind
Classic Album
Sundays, seen
here with Ricardo
I best, then they don’t come
much simpler than inviting a
selection of like-minded music
fans around for a shared afternoon
or evening’s listening. Pick an iconic
of Absolute LP, stir in some lively tales about its
Sounds who original recording and play back on a
provided the high-end audio system – hey presto,
replay system. you’ve the genesis of Classic Album
The early copy Sundays. It’s the real-life equivalent
of Pink Floyd’s of Hi-Fi News’ own Vinyl Icon series,
Dark Side... was with drinks and snacks as part of
the star of the the ticket price. Oh yes, and real
evening’s show music too...
So successful has this
shared experience
become that
Colleen Murphy,
aka DJ Cosmo and
instigator of this
BELOW: Exterior musical movement,
view of the Vinyl has now begun WNYU. But my He’d have seven of these around the
Lounge in which franchising her first real job room together and was using Koetsu
the event was ‘Classic Album was producing cartridges, Mark Levinson amps – all
held. The Lounge Sundays’ concept syndicated radio that sort of stuff. I started going to
is part of The Old around the world. shows where I his parties, and he mentored me,
Vinyl Factory, HFN met up with Colleen was interviewing playing records with these beautiful
the former EMI to help celebrate the 40th people myself. These went Koetsus, and so I inevitably got the
pressing plant anniversary of Pink Floyd’s Dark Side out to college radio stations and audio bug as well. I got to thinking
in Blythe Road, Of The Moon at The Vinyl Factory, commercial “hey I’ve got
Hayes, Middlesex site of the old EMI LP pressing plant radio stations. I that record as
where Dark Side [see HFN Jan ’10]. became a DJ and ‘In my local pub well, but why
Of The Moon
was first pressed.
‘I’ve been in the music business
for a very long time, explains
was doing some
journalism, music
I use a Rega P9 does it sound so
different? Why
The factory
was saved from
Colleen. ‘When I was 14 years old in
high school in Massachusetts I had a
marketing and
numerous other
turntable; in Boston can I hear things
that I can’t
extinction in radio show. Two years later, I worked things that finally a VPI Traveller’ hear in my little
2001 and now in a record shop after school. When led me to Classic crappy stereo
hosts regular I later moved to New York to go Album Sundays. I’ve been involved in system at home?” This was my first
vinyl-related to university I ended up being the music for more than half of my life, exposure to high-end audio.
exhibitions and programme director of the largest in a very deep way.’ ‘I had a friend who was writing a
events college radio station in the country, book about the downtown New York
PARTY PEOPLE dance scene where David and The
It was a meeting in 1991 with Loft figured heavily. They were the
New York party promoter David force that started everything as far
Mancuso that saw Colleen take her as dance music went, including the
first steps on the road to Classic parties, so we decided we wanted to
Album Sundays. Mancuso had begun start a party over here, like David’s,
hosting invitation-only parties in his and bring him over.’
own home in downtown New York ‘Initially we hired-in systems but
as early as 1970, successive events they included compressors and EQs
becoming known among the in- and nothing sounded any good –
crowd as ‘The Loft’. we wanted a simple, high quality
‘David had got the audio bug,’ system. So we took out a business
explains Colleen, ‘and wanted to loan and bought six Klipschorns,
improve his system. So he started Koetsus and modified Technics
to use big speakers like Klipschorns. 1100 decks with Koetsu tonearms
Manufactured in the UK by Data Conversion Systems Ltd Unit 1, Buckingway Business Park, Anderson Road, Swavesey, Cambridge, CB24 4AE
INVESTIGATION
LEFT: More
of the system
revealed,
including a
Thrax Orpheus
phono stage, a
Constellation
Virgo preamp
(in rack) with
a matching
Centaur mono
power amp
sitting alongside
a Magico S5
loudspeaker
RIGHT: Visitors
to each event are
think it is more than a novelty. It is and they pick up on things they asked for their to have a more immersive listening
something very, very special. They don’t hear at home on their own suggestions for experience. All of a sudden they
have grown up in a culture where system or when listening to an MP3. future Classic start to see the value of this.
there isn’t a lot of physicality to the ‘For instance, Brian Eno’s “Here Album Sundays.
formats, usually only a tiny little jpeg Come The Warm Jets” has a baby Here’s an early DIGITAL DILEMMA
of the album artwork. I think they crying in the recording. Now, it is a ‘ideas sheet’ As well as the Classic Album Sundays
enjoy something that is tangible and very densely layered mix but when from November website itself, Colleen posts regular
special, that they get the feeling of we were playing it people were 2010 with titles updates to Facebook.
owning something and that they saying “I can hear that”. ranging from ‘There is a certain irony I suppose
are part of the club. They feel they ‘Even the sceptics that come artists as diverse that I am promoting the analogue
are a real fan if they have the 7in or along will say afterwards “I didn’t as Stevie Wonder format in a digital world but this
LP of one of their really know if and The Jesus is the way the world talks now,
favourite artists, I was going to And Mary Chain through communities online. On
even if they don’t ‘The great thing like this but our Facebook page there’ll be one
have a turntable.
‘I have an
is when people I absolutely
loved it”. The
or two posts a day of interesting
facts, an album that was originally
intern who, in the take an interest in interesting thing released on that day or an event or a
last two weeks is that they come cartoon, which gets people excited
alone, has bought the hi-fi system’ along for an and interacting.
50 “vinyls” as album they know BELOW: With ‘You can’t be too Luddite about
he calls them. And he still doesn’t and then come back because they its square body this. I’m not doing Classic Album
have a turntable. But he will get a like the experience. It has become a shape and deep- Sundays as a throwback, because I
turntable, and the rest will come.’ very intimate little club that hasn’t set cantilever, don’t want to live in modern society.
become elitist.’ cueing-up a It’s more about evaluating how we
HEAR AND NOW Colleen is also very proud of the Koetsu takes a live today, maybe stepping back and
If there’s a concept Colleen returns sheer diversity of the Classic Album trained eye! For trying to analyse things. But you
to time and again it’s the difference Sundays crowd. information on can’t divorce yourself from today’s
between hearing and listening. ‘Half are female, there are folks future events world. It’s fun because you get to
‘I want people to have an from very different walks of life, visit classicalbum have conversations with people,
immersive experience,’ she explains. there are older and younger people sundays.com even on Twitter!’
‘Most people, myself included, and all of them can sit together.
listen to music while we are doing Most aren’t audiophiles, so the
other things in this busy world, but I system is a whole new thing for
remember when I was young, sitting them. Many visitors don’t even know
in my bedroom and listening to what “audiophile” means.
albums, not doing anything else. We ‘The great thing is when people
all remember that. For a lot young – men and women – start to take
people with computers they are an interest in the system. They
doing a lot of other things as well. start to ask about getting a new
‘So we might hear an album but turntable or stylus or headphones
do we really listen to it? Hearing or “what does a power conditioner
is such an important sense and to do?”. I don’t get people coming up
really enable people to focus with it, wanting to discuss the value of this
I don’t have visuals, like video, in the interconnect over that interconnect.
room. People have started to close It’s about the music first and then
their eyes, especially the regulars, the hi-fi as the vehicle to allow them
s atin
ite
wh
k satin
ac
t satin
bl
nu
l
wa
B E AU T Y R E V E A L E D.
Moving the delicate membrane of a headphone driver is very different to energising the reactive
complex impedance of a multi driver loudspeaker.
The small signal integrity of the amplifier becomes even more critical with a fraction of the mass
to control and the subtle masking of the listening environment removed.
The Trilogy 933 is a clean sheet design with the same natural presentation and vibrant musicality
found in our award winning pre and power amplifiers. Its a subtle, but crucial distinction: we like
to think of the Trilogy 933 as an amplifier for headphones, not a headphone amplifier.
D E S I G N E D & E X C L U S I V E LY H A N D B U I LT I N E N G L A N D
TURNTABLE
HIDEAKI NISHIKAWA
Hideaki Nishikawa brings to the
Air Force One a resumé that speaks
volumes for its provenance. ‘I
joined Stax in 1966, working there
for about ten years, developing
electrostatic headphones.
‘After that, I joined a few audio
manufacturers and mainly designed
tonearms, including Infinity’s Black
Widow. Then I joined Micro-Seiki as
Technical Department Manager, and
then the Sound Business Director.’
Nishikawa-san was involved there
in the development of electrostatic
headphones, tonearms and,
appropriately, turntables.
Of his 12 years there, he cites ABOVE: The huge AC synchronous motor is positioned adjacent to, but separate from, the main
the SX-8000II turntable with air chassis. It is driven via a 2x50W amplifier for both phases and is adjustable in ±0.1rpm steps
bearing and vacuum system as
the statement product. ‘In fact, arm with Koetsu Gold Onyx, feeding the just voice and guitar, with the occasional
Air Force One is a compilation of Thrax phono stage into Constellation’s visit to the piano, in a club seating only
technologies from the SX-8000II. Virgo preamp and Centaur 500W 30, I was transported back to it. The
‘I thought about developing Air monoblocks, driving Magico S5s [HFN Dec AFO allowed the music to fashion an
Force One because there are still ’12]. All wiring was Transparent Opus. atmosphere as convincing as the reality I’d
many people in high-end audio who It has long been my experience that just experienced.
have an attachment to analogue those opening bars of the initial exposure Emotion was the order of the day. Sam
records. I wanted to warn against to a component – assuming that you’re and Dave’s Soul Men [Stax S725], an LP
the fact that computer digital audio playing music you know, in a room you I know so intimately that I hear it in my
is becoming the mainstream. know, and with a system you know – will sleep, was the first to hammer into me
‘Therefore, I wanted to bring establish either rapport Nishikawa’s desire to
back the good old analogue age to or repulsion. Worse, it strip away any of the
show the way high-end audio should may even bore you. ‘It was both unwanted noises we
be. For this, I decided to develop a
high-end turntable which provides
Of course, there
are countless shades
exquisitely precise seem rarely to escape
when playing vinyl. Raw
reproduction with a rich artistic
quality that cannot be achieved
in between, but the
opening salvo from
and yet feather-light soul, with sizzling guitar
work, meaty bass, two
even with high-end digital products.’ Rodriguez’s Cold Fact ethereal’ voices duelling – the
Future TechDAS products [Blue Goose BMG002] ultimate arbiter of
will include an MC cartridge, forced the needle way past ‘acceptance’ to the AFO’s excellence was the interplay
electrostatic headphones and a new instant adoration. (By the way, when I gave between Sam’s clear tenor and Dave’s
turntable. Says Nishikawa-san, ‘I’m the Rodriguez documentary ‘Digital Disc raspy baritone.
afraid I cannot talk about its details, of the Month’ in HFN May ’12, who knew it
but the turntable will be introduced would go on to win an Oscar!) AS IF BY MAGIC
at the Tokyo show in November’ Listening to the recently rediscovered It was as if the AFO rose to a hackneyed,
singer-songwriter’s first LP, I was dazzled but understandable cliché, in which audio
by an intimacy that could only have been components are treated as if they were
a by-product of the source not imposing musical instruments. They are not, for if
itself on the signal. Even though the record they were, they would be re-interpreting
was 43 years old, with just enough surface the truth of the original recording. Instead,
noise to distract, the music possessed the turntable acted like a conductor or
a contradictory quality that made the arranger, ensuring that the two voices
ambience electric: it was both exquisitely melded and battled, which is as it should
precise and yet feather-light ethereal at the be when the foundation of the music is
same time. old-style, call-and-response gospel.
Acoustic guitar – so easy to check Never have I heard ‘Broke Down Piece
the reality of, if you happen to have one Of Man’ reproduced with so much energy
in your possession – shimmered in all of nor with the sense of anguish and pain
its woody, resonant glory. Rodriguez’s demanded of the performance. Dave
voice, a perfect communicator of the delivering the line ‘Heartache and misery,
Tim Hardin/Biff Rose school, was revealed walk by my side,’ then pleading, ‘Please
with nuances that no CD ever mustered. give our love another chance’ – the
Having recently attended a live club gig of torment would elicit forgiveness from
each member in his personal turf, Sound Quality: 90% Power Consumption 50W
yet the way it coalesced was one of 0 - - - - - - - - 100 Dimensions (WHD) 600x160(+arm)x450mm
juggernaut proportion.
also offers galvanic separation from input PM’s boxout, below]. kept in check’ CHARMED!
to output and is contained within a sealed Says Edwin: ‘We believe The SAGA was auditioned
metal box inside the V1’s enclosure. the natural behaviour of this amplifier, through the editor’s B&W Nautilus 802
Hidden on the bottom plate of the V1 is being little influenced by its load, makes floorstanders, the system wired with Crystal
the toggle to switch between pentode and it a universal design that’s able to get the Cable’s Absolute Dream cables and with
lower-gain triode mode tube circuits. This most out of just about any loudspeaker.’ balanced connections used throughout. A
was purposely made inaccessible to avoid Once again point-to-point wiring variety of music files ripped from CD and
inadvertent switching and consequent with monocrystal silver wire is employed hi-res 24-bit files at various sampling rates
up to 192kHz were stored as WAV files on
a memory stick and played via a Cambridge
APOLLO LIGHTDRIVE Audio BD player.
Siltech is on a mission to eliminate noise as far as possible – hence its use of The digital output of the BD player fed
the legacy ECC86 triodes – and power supply noise in particular. Intelligent T+A’s DAC 8 digital-to-analogue converter,
design can stretch the power supply rejection ratio as far as possible, but Siltech yet from the outset we were surprised to
has sought to eliminate it altogether by using batteries – lead acid ‘gel’ cells hear little or no difference between the
– which have the capacity to feed the C1 preamp and V1 interstage (voltage) Cambridge player and the standalone DAC
amp for 12-15 hours on a full charge. However it is simply not practical to run when A/B-ing them in quick succession. The
a power amp like the P1 off a battery supply, so Siltech was forced to return sound was notably ‘clean’ and free of treble
to more conventional means, albeit with an unconventional twist. Having grain, producing stable images between
experimented with the very best PSU transformers offering near-total shielding, and beyond the speakers of high-end
there was always still some leakage from primary to secondary turns and, thus, a calibre whether listening to the analogue
mechanism for noise to contaminate the audio ground. output of the Cambridge player or the
To achieve the lowest leakage, Siltech has refined a 160kHz switching power output of the exceptionally fine DAC.
supply with – necessarily – smaller transformers. Greater stability and further This might imply that the SAGA amplifier
galvanic isolation is afforded by Siltech’s other innovation: the Apollo LightDrive. is unusually ‘source agnostic’, sounding
This couples the switchmode supply with the P1’s super emitter-follower output exquisite whatever component is used
stage via a very high efficiency LED light source (developed for car headlamps) upstream. Implausible? Well, consider
directed at a similarly high efficiency photocell (developed for satellite that earlier this year, when the SAGA
applications). Both LED source and photo cell were built for high UV output and was demonstrated at CES, it wowed
tolerance, respectively, and are encased in a blackened light box to prevent show visitors with its music making while
blinding the lucky owner! Levels of capacitive coupling are now extremely low being fed by an inexpensive Micromega
and the P1’s bipolar output devices are now largely disconnected from PSU MyDAC [see page 62]. So it must be doing
ground currents and switching noise. PM something magical to make everything
sound just great.
R.T.Services
Accuphase Tel: +44 (0) 1235 810 455
Leben E-mail: info@rtsaudio.co.uk
Nagra Web: www.rtsaudio.co.uk
AUDIO SALES DISTRIBUTION. ESTABLISHED IN 1986 Peak Consult
EDWIN RIJNVELD
The history of Siltech covers
three decades, although the
brand remained something of an
underground secret for many years
since it was not well represented or
marketed in the UK and USA. Edwin
van der Kley-Rijnveld entered the
scene in 1992, raising finance to
save the marque from extinction as
ABOVE: V1 interstage voltage amplifier forms one part of the SAGA’s power amp. As on the C1 it had floundered under its previous
preamp, illuminated buttons govern standby (left) and battery-only or battery-while-charging (right) private ownership.
Having gained a degree in
Further listening in our test system demeanour. It proved adept at separating electronics as a young man, Edwin
showed that the SAGA is not without its out multi-tracked vocal lines, digging out enjoyed a career in corporate
own character, which is what gives it fine details buried in the overly-busy mix. life working for Philips and
considerable charm. And the fact that it is petrochemical giants ExxonMobil
already being highly praised by audiophiles ANALOGUE APPEAL and Shell. Taking over the Siltech
who have heard it is perhaps further Its invitingly warm midrange and smooth, BV company was his opportunity to
evidence that its sound is individualistic, refined treble reproduction could in many indulge his passion for audio and
the amplifier producing a tightly-focused ways be described an analogue lover’s electronics R&D. Siltech’s genesis
and notably smooth and comfortable delight. Certainly it always appeared was Swiss-sourced silver cables
sound that you could revel in for hours. confident and comfortable as it painted for hi-tech medical and aerospace
It also delivers intense and vivid sonic pictures between the loudspeakers, applications as well as high-end
presence with particular although I thought it audio, but it has branched out to
clarity through the lacked some of the fruity include OEM electronic designs –
midband. You might ‘It proved adept upper-bass pungency eg, Sphinx audio components in
accuse it of sounding
‘dry’ and unimpressive if
at separating out than some listeners
might crave.
The Netherlands, and designing the
Millennium tube preamplifier for
giving it only a cursory multi-tracked For example, with North American audio distributor
listen, but listen longer Joan Armatrading’s Fanfare International.
and you’ll observe its vocal lines’ ‘Willow’ from Show From 1996 to 2000 Siltech also
ultra-dark background Some Emotion [A&M built a limited series of SET power
and lack of ‘hash’ that allows prolonged, 394663-2] the bass energy seemed rather amplifiers called ‘SEPA’ (Single-
fatigue-free listening sessions. ‘sat on’, the amplifier’s clarity seeming Ended Power Amplifier). With
Female vocals in particular benefited to exacerbate the recording’s already power output in excess of 80W
from the SAGA’s uncommon civility and dry balance. Yet it would be specious to and employing Siltech silver-gold
desiccated midband clarity. Anita Baker’s conclude the SAGA’s sound character was internal wiring, these are now highly
‘Sweet Love’ from Rapture [24/192 ‘matter-of-fact’, since with Buddy Holly’s sought after by audio collectors
download from HDtracks] had great energy ‘True Love Ways’ from the collection since only 30 sets were made.
and dynamic punch, the recording’s From the Original Master Tapes [MCAD- Today under the collective banner
artificially splashy cymbals and multi- 5540 DIDX-203] the richly coloured tonal International Audio Holding, Siltech
layered keyboards kept nicely in check balance of the recording was beautifully is a sister company to Crystal Cable,
thanks to the amplifier’s ultra-civilised preserved. Holly’s honeyed voice leapt which is headed up by Edwin’s wife
Gabi, the two brands sharing design
and manufacturing resources in
The Netherlands.
ABOVE: P1 current amplifier must be partnered with matching V1 voltage amplifier. On the left is
the power on/off switch, while the standby switch on the right reduces power consumption to 2W
T+A MP 3000 HV
This do-it-all media hub combines a CD player and FM tuner with a network streaming
client and a plethora of digital inputs. It also boasts no-compromise build quality
Review: John Bamford Lab: Paul Miller
ince reviewing T+A’s DAC 8 Player balanced (albeit without iDevice suspension system. The whole caboodle
S digital-to-analogue converter
[HFN Oct ’12] it has become a
reference against which I judge
all other DACs. At £1900 it’s hardly
beer-budget, but can be considered an
connectivity) but on steroids – since it
features the company’s top-line DAC and
has been built without compromise.
IMPECCABLE DESIGN
weighs a not inconsiderable 40kg.
At its core, then, are eight Burr-Brown
32-bit/384kHz Sigma Delta DACs used
in a ‘double symmetrical’ quadruple
arrangement, with oversampling carried
audiophile bargain when compared with Really, in true high-end tradition its design out by a 56-bit DSP. The MP 3000 HV
more extravagant audio esoterica, much of and construction is completely over-the- also features the DAC 8’s four digital
which doesn’t come close to featuring the top, its aluminium case having separate filter options [see PM’s boxout] that
depth of engineering – and hi-res sound sections for the mirror-imaged left and can be selected via remote control and
quality – of the T+A design. right channels and totally independent choice of 60kHz or 120kHz bandwidth
The same DAC architecture has been power supplies for its digital and analogue reconstruction filters in its discrete and
transplanted into this luxuriously built sections – right down to having two AC fully differential analogue stage. Again, it’s
multi-function media player, the first power inlets! There are five compartments something of turbo-charged DAC 8 in its
of a new line of high-end pure audio separated by aluminium dividing walls implementation, since here the digital and
components from Germany’s T+A. Dubbed housing the MP 3000’s DAC, digital analogue supplies are considerably more
‘HV’ (for High Voltage), the company’s supply, analogue supply, analogue section powerful and completely independent
new series includes a matching MOSFET- and, behind the 4cm-thick fascia, its with their own filtering and separate mains
powered integrated amplifier in which the control circuitry and display screen. The leads, and in the MP 3000 HV the supply
output stage is driven at ±160V – twice as CD transport, whose drawer is guided voltages for the analogue stages are higher
high as usual for an amplifier of this output. by two stainless steel pushrods, lies in a (±40V) which, says T+A, improves dynamic
You’ll be reading about this amp in a sealed housing and floats on a three-point response and overall sound quality.
month or two, since I’m already listening to
it as I write this. A pre/power amplifier will
also join the HV-Series later this year.
As with T+A’s ever-so-21st century
£2900 Music Player balanced [HFN Feb
’12] – one of T+A’s modestly-priced E-Series
components – the MP 3000 HV comprises
a CD player, a UPnP network client for
computer-sourced music streaming via
Ethernet or WLAN, an internet radio
incorporating the familiar vTuner platform,
and an FM radio tuner with RDS. Naturally,
since it has a high-end DAC at its core, it
features an asynchronous USB input for
‘pushing-in’ audio data from computers,
and it sports no fewer than six digital
inputs at the rear to accommodate a
plethora of digital sources as well.
Furthermore the on-board streaming
client (SCL) can play music files directly
from HDDs and memory sticks via two Type
A USB sockets, one on the rear panel and
another on its fascia. Think of it as a Music
FILTER FLAVOURS
Taking its cues from the DAC 8 [HFN Oct ’12] the MP 3000 HV also offers the
option of four switchable digital filters that operate on all media up to 96kHz.
Filters 1 and 2 are ‘traditional’ linear-phase Finite Impulse Response types while
3 and 4 are minimum-phase filters based on Bezier polynomials. The default
Filter 1 (used for most of my measurements) has obvious pre/post ringing,
which is not ideal, but traded for low phase distortion and excellent rejection
of aliasing images. Filter 2 is a short FIR type, with less pre-ringing but a poorer
rejection of out-of-band images. Filter 3, a mixed Bezier/interpolation filter,
has some post-ringing but almost no pre-ringing but neither does it suppress
ultrasonic images. Low (44.1/48kHz) sample rate data is left with a treble peak
and increased phase distortion. Filter 4, a pure Bezier type, offers almost perfect
time domain behaviour – no ringing – but a rolled-off treble response with 44.1/ ABOVE: Time and freq. resp. of Filters 1/2 (top,
48kHz media. It’s like a ‘NOS DAC’ [see p54] but with digital filter intact! PM black/red) vs Filters 3/4 (bottom, black/red)
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LAB
REPORT
T+A MP 3000 HV
Tested in ‘wide’ mode with the 120kHz cut-off frequency,
the response of all input sample rates – except 192kHz – is
otherwise determined by your choice of digital filter [see box
out, p35]. With CD or 48kHz digital inputs this varies from
–0.3dB/20kHz to –4.6dB/20kHz while 24-bit/192kHz inputs via
S/PDIF, USB or network are fixed at –7.3dB/90kHz regardless
of filter. In fact the network connection also handles 32-bit
floating-point files up to 192kHz although jitter is a little less
tidy at 205psec. With all other 24-bit media at all other sample
rates, correlated jitter varies from just 5 to 35psec while
noise-like jitter is close to 0psec – a fabulous result [see Graph
2, below]. Distortion is very low at 0.0007% at its peak 4.6V
balanced (output) falling to 0.0002% at –10dBFs and 0.0004%
ABOVE: Balanced (XLR) and single-ended (RCA) analogue outs, both fixed, are joined at –30dBFs [red trace, Graph 1 below] and only fractionally
by S/PDIF (RCA, two on BNC and two Toslink), AES/EBU (on XLR), USB 2.0 and wired higher via USB 2.0 [black trace] and 16-bit CD [grey trace]
and wireless Ethernet digital connections. The RF remote connects via an aerial. Note although our sample showed a uniformly higher (analogue)
two IEC mains inlets for separate ‘digital’ and ‘analogue’ circuit power supplies THD via the right channel. There’s also an increase in odd-order
THD at higher frequencies (0.0004% at 1kHz to 0.014% at
20kHz/–30dBFs) as illustrated by the blue trace in Graph 1.
of pushing audio into a DAC and recording venue was less explicitly Technically at least, the MP 3000 HV has no glaring weak
browsing the album jackets of my described, the sound a tad ‘dark’ and spot. The 4.6V maximum (balanced) output is joined by a
CD, SACD and DVD-A rips – and less airy. But I’ve no doubt that most wide 114dB A-wtd S/N ratio and low-level linearity is good
to ±0.05dB over a huge 100dB dynamic range. The 45ohm
hi-res downloads, of course – via an listeners will relish its more organic output impedance confers broad compatibility while the
adjacent monitor. and silkier sound. 0.01dB channel balance and 130dB stereo separation are
I tied myself in knots comparing exemplary. For even more detail, readers may download full
DISCERNING DIFFERENCES the sound of the MP 3000 HV’s CD QC Suite test reports for the MP 3000 HV’s CD, S/PDIF, USB and
network audio performance by navigating to www.hifinews.
It came as no great surprise that replay with that of its network client co.uk and clicking on the red ‘download’ button. PM
when used as a standalone USB and its DAC’s S/PDIF and USB inputs.
DAC the MP 3000 HV doesn’t sound Malcolm Arnold’s uplifting A Sussex
identical to the DAC 8 with which Overture performed by the LPO
I’m so familiar. Sure, it displays a [Reference Recordings RR-48CD] is a
similarly ‘clean’ purity that provides tremendously vivid 1991 recording
a transparent window through with extremely lifelike crashing
which to observe music, but where percussion and rasping brass. It’s not
the DAC 8 appears squeaky-clean always a comfortable listen, but the
and vibrant, the MP 3000 HV adds performance was taken in its stride,
a little warmth and maturity. This and was nothing short of enthralling.
was illustrated by the reproduction I couldn’t reliably discern any
of acoustic bass, piano and voice in difference between the CD replay
Patricia Barber’s ‘Bye Bye Blackbird’ and the sound from the ripped disc,
ABOVE: THD vs. 24-bit/48kHz digital signal level over
from her Nightclub album [Blue whether pushed into the USB input
a 120dB dynamic range. S/PDIF and network (1kHz,
Note/Premonition 27290 2 9]. from a computer, streamed via
red), USB (1kHz, black), CD (1kHz, grey; 20kHz, blue)
The piano appeared bolder and Ethernet, or played from a memory
richer-toned here, Barber’s voice stick, which speaks volumes about
more intimately mic’d and the the thoroughness of the overall
reproduction of the track’s double- design. Only via its S/PDIF input did
bass better defined. This fabulous it sound less vibrant and dynamic
recording, one that I use so often as – doubtless because I had a USB-
a reference, sounded simply divine. to-S/PDIF converter and additional
My system [see www.hifinews. interconnect in the replay chain!
co.uk/news/article/meet-the-
team;-john-bamford/9884] delivers HI-FI NEWS VERDICT
a relaxed and ‘luxurious’ sound, We don’t give away our
with oodles of lusciously deep ‘Outstanding Product’ badges ABOVE: High resolution 24-bit/48kHz jitter spectra,
bass and smooth high frequencies, lightly. This magnificent digital S/PDIF and network (black) and USB (red)
and so I didn’t always prefer the front-end component exhibits
tonal character of the MP 3000 HV considered thinking and is HI-FI NEWS SPECIFICATIONS
over T+A’s leaner-sounding DAC 8. evidently a work of passion and
Listening for example to the latest dedication to excellence. Frankly,
Maximum output level (balanced) 4.61Vrms at 44-49ohm
download sample from Channel in the world of specialist high- A-wtd S/N ratio (S/PDIF / USB / network) 114.1dB / 114.1dB / 114.1dB
Classics, an excerpt from a Haydn end audio, it can be considered Distortion (1kHz, 0dBFs/–30dBFs) 0.00067% / 0.00038%
string quartet, the sound was more a steal – since if it came from a Dist. & Noise (20kHz, 0dBFs/–30dBFs) 0.00062% / 0.014%
open and ‘fresh’ via the DAC 8. boutique marque it might easily Freq. resp. (20Hz-20kHz/45kHz/90kHz) 0dB to –0.39dB/–0.56dB/–7.3dB
What the MP 3000 HV appears cost three or four times the price. Digital jitter (S/PDIF / USB / network) 6psec / 35psec / 10psec
to do is flesh out the sound, It is utterly fabulous.
adding bolder and fuller bass, Res. @ –100dB (S/PDIF / USB / network) ±0.05dB / ±0.05dB / ±0.05dB
richer colours, and refining high Sound Quality: 88% Power consumption 10W (analogue) / 10W (digital)
frequencies. My system rarely needs 0 - - - - - - - - 100 Dimensions (WHD) 460x170x460mm
this, consequently the space of the
create out-of-the-box images it will always demonstrated the Focus 380’s ability to
sound at its best when positioned in free vividly portray a believable sound image
space. A minimum distance of 50cm from and track dynamic shadings in a musical
rear and side walls is recommended. performance. The sense of space around
The vented enclosure has a large flared the clarinet was delightful, the speaker
port at the rear which can be fitted with a constantly surprising in its ability to
foam bung if you have to site the speaker describe varying timbres and textures of
close to a back wall or if you feel the need the colourful orchestration.
to damp the lowest frequencies. Despite being forthright and explicit
it doesn’t throw an image forward into
COMMANDING ATTENTION a room in a hectoring fashion. The size
The last speaker to visit my listening room of the Henry Wood Hall and its acoustic
of similar proportions to this Dynaudio was described wa-ay behind the speakers,
column was Dali’s Epicon 8 [HFN Sept creating a ‘walk in’ sonic picture of
’12]. But the Epicon 8 commendable scale
boasts truly luxurious that belied the Focus
build quality and ‘With the Harry 380s’ relatively
consequently is twice modest size.
the price. I loved its
James LP the Those two 20cm
relaxed, easy-going
sound, it’s warm
dynamic contrasts Dynaudio woofers can
shift plenty of air, too,
intimacy and ‘gentle’ were explosive’ the speaker creating
and relaxed high a good impression
frequencies combined with oodles of of thunder when playing Norwegian
luscious, creamy bass. songwriter Anne Brun’s eclectic It All
By contrast, the Focus 380 is quite a Starts With One album [Ballon Ranger
different animal: rather less ambitious, Recordings DEMCD12].
with subjectively less bandwidth at The thunderous bass notes in the song
both frequency extremes and a more ‘These Days’ were handled with aplomb
forthright, up-front presentation. as the bass rolled across the listening
Generally you get what you pay for, so room floor. The Focus 380 is an explicit
I wasn’t expecting the Focus 380 to monitor, the sound it delivers brimming
be anything like as accomplished or as with fine detail. The shuffling snare drum
refined as the £11k Dali, nevertheless I and ‘old fashioned’ electronic organ in
was impressed – and hugely entertained – the arrangement of ‘These Days’ were
by its dynamic music making. clearly resolved, and each element of the
It’s a speaker that commands recording’s slightly surreal production was
attention rather than seducing you with patently exposed – such as the myriad
its charms. Listening to a 24-bit/88.2kHz electronic sound-effect treatments
download from HDtracks of Mozart’s on Brun’s voice and the timpani-style
Clarinet Concerto performed by Andrew percussive wallops designed to catch you
Marriner and the ASMIF, recorded in off-guard during the piece.
London’s Henry Wood Hall in 2004 The Dynaudio also proved more than
[PentaTone Classics PTC 5186 048], capable of transporting me to a ‘rave’
t: 01727 865488
e: info@symmetry-systems.co.uk
w: www.symmetry-systems.co.uk
LAB
REPORT
DYNAUDIO FOCUS 380
Dynaudio claims 88dB sensitivity for the Focus 380, a
specification which accords well with our measured pink noise
LEFT: A large flared port vents at the figure of 87.8dB. Although this is on the low side for a speaker
rear of the floorstanding enclosure. of these dimensions it still requires a nominal 4ohm impedance
There’s just one set of high quality to achieve it, a figure entirely in accordance with our measured
minimum modulus of 3.5ohm. Impedance phase angles are
gold-plated multi-way input terminals sufficiently high to result in a minimum EPDR (equivalent peak
provided for single wiring [see text] dissipation resistance) of 1.6ohm at 75Hz, so the Focus 380 is a
moderately difficult load to drive without being a pig. Given the
to the cleanliness of the speaker’s large cabinet size, the low-ish sensitivity and low impedance, a
bass extension of 44Hz (–6dB re. 200Hz, diffraction-corrected
overall sound character.
near-field measurement) may seem a disappointment but
Testing the speaker’s mettle the roll-off is notably slow for a reflex design suggesting that
with high-resolution audiophile transient performance will be clean and room integration
recordings showed that while it’s relatively easy. With careful placement relative to room
boundaries it should be possible to extend the Focus 380’s
not a seductive, flattering transducer
effective bass response to well below this ‘anechoic’ figure.
it does score highly in its ability to On-axis response errors of ±3.4dB and ±3.2dB respectively,
portray the variety of character and 200Hz-20kHz, are a good result but the on-axis response trend
expression in a musical performance. is not entirely flat, with a distinct lowering of output through
I was listening to Channel Classics’ the presence band [see Graph 1, below]. This may tend to step
back the stereo image and somewhat soften the sound quality.
delightful recording of Vivaldi’s Pair matching error over the same frequency range is good
Concerto in C performed by Rachel at ±0.9dB. The cumulative spectral decay waterfall [Graph 2,
Podger with the Holland Baroque below], is characterised by fast initial energy decay across the
Society, taken from its La Cetra band and mostly good control of resonances although there
are a few low-level ridges visible from 1kHz up to the low treble
SACD [CCS SA 33412]. The image frequencies. KH
of the musicians, and the space
they occupied, was noticeably open
and lucid, the build, attack and
subsequent decay of notes all dealt
with in a most lifelike way.
- 30 4. 08
sexy, nevertheless the Focus 380 ABOVE: Internal bracing keeps cabinet resonances
offers fine sound quality and can damped though some driver modes are visible >1kHz
shift a lot of air if your room can
accommodate its considerable HI-FI NEWS SPECIFICATIONS
when I wound up the volume bass output. It’s explicit and
to an unsociable level playing refined-sounding in equal Sensitivity (SPL/1m/2.83Vrms – Mean/IEC/Music) 89.0dB/87.8dB/87.4dB
the electronica soundscapes of measure, with excellent dynamic Impedance modulus min/max (20Hz–20kHz) 3.5ohm @ 103Hz
Bassnectar’s Vava Voom [Amorphous capabilities and vivid imaging 19.5ohm @ 50Hz
Music AM0012]. when given space to breathe. It Impedance phase min/max (20Hz–20kHz) –56o @ 59Hz
With the ‘chillstep’ track certainly represents good value, 29o @ 41Hz
‘Butterfly’ featuring Mimi Page, the since to better it you’ll need to Pair matching (200Hz–20kHz) ±0.9dB
Focus 380 once again served up spend considerably more. LF/HF extension (–6dB ref 200Hz/10kHz) 44Hz / 30.4kHz/28.2kHz
satisfyingly deep and articulate bass,
the harsh electronic edge and spitty Sound Quality: 76% THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 0.6% / 0.3% / 0.1%
high frequencies of the recording 0 - - - - - - - - 100 Dimensions (HWD) 1225x246x385mm
kept moderately in check thanks
6DQVXLLVGLVWULEXWHGLQWKH8.E\+HQOH\'HVLJQV/WG
7HOHSKRQH_(PDLOLQIR#KHQOH\GHVLJQVFRXN_:HEZZZKHQOH\GHVLJQVFRXN
GROUP TEST
GROUP HEADPHONES
£340-£600
TEST
TESTED THIS MONTH
AKG Q 701 £350
AUDIO-TECHNICA ATH-A900X £340
BEYERDYNAMIC T70 £450
GRADO RS325IS £385
SENNHEISER HD 700 £600
AKG Q 701
oes anybody really buy not least because it comprises just RIGHT: Large
D headphones because
they’re endorsed by
somebody famous in
the music business? I suppose the
success of Beats speaks volumes
vocal, guitar and harmonica and a
minimum in the way of ‘production’.
(If only modern singer-songwriters
were recorded in like fashion, where
the power of the vocal narrative
foam earpads and
modest clamping
force make the Q
701 comfortable
to wear over long
for public taste, but I’ve always defines the performance.) None listening sessions
struggled to believe that sceptical, if of the headphones here was able
not cynical, audiophiles will be much to reproduce this track with the
impressed at AKGs being lionised by captivating force of a good pair
Quincy Jones – despite his middle of loudspeakers and via the AKG it
name being Delight. proved distinctly ordinary, diluting
AKG, of all companies, should both the essential contribution of
be able to let its rich history of the guitar accompaniment and the
microphone and headphone strong characterisation of the vocal.
manufacture do the talking on If nothing else, ‘Black Beauty’
its behalf, particularly when the should make you smile as the
product oozes quality like the Q musicians ham it up but again
701. The largest headphone here some vital spark was removed,
– even bigger than the Audio- bleeding the performance of vitality.
Technica – the Q 701 puts its big, The muted trumpet, for instance
well-padded capsules to best use – always a tough instrument to
in achieving a high level of comfort reproduce – never strayed into HI-FI NEWS LAB REPORT
allied to good stability on the head, hardness but neither did it possess AKG claims a sensitivity of 105dB SPL for 1V input which is
(although the headband should be the distinct harmonic structure of somewhat higher than our measured 102.0dB but ours is a
better padded for those of us who the real thing. spot-frequency measurement whereas AKG’s may be broadband.
are thinning on top). It was a similar story with Impedance modulus ranged from 59.1ohm to 90.9ohm, 20Hz-
Of course, the open-back ‘Country Dreamer’ which just 20kHz, equivalent to a 0.45dB frequency response variation for
capsules provide minimal sounded, well, homogenised via the a 10ohm source impedance or 1.1dB for 30ohm. Diffuse-field
attenuation of external sounds – and AKG. I didn’t have a 44.1kHz version correction of the averaged response for the two capsules [black
let others in the same room hear to hand but I’m pretty certain that trace, below] suggests that the upper bass is a little prominent
what you’re listening to – but if you this headphone would make it hard but that perceived output through the presence band will be
need isolation, then AKG’s other, to hear the benefits of hi-res digital. pretty flat. Capsule matching error is not unusually high for a
closed-back models can provide it. Clearly the least sensitive model headphone at ±9.8dB, the largest disparities being at HF due to
The thin 3m-long OFC lead here, it’s as if it never really gets interactions with the artificial ear. Bass extension is good at 21Hz
attached to the left capsule will going as the volume setting is raised. (–6dB re. 200Hz) and distortion at 100Hz is modest. KH
suffice for most home hi-fi systems
but the Q 701 is also supplied – Sound Quality: 77%
uniquely here – with a 3m extension
0 - - - - - - - - 100
lead. Like the Audio-Technica and
Beyerdynamic, the Q 701 provides
for use with both mini-jack and ¼in
jack connections by means of a gold-
plated, screw-on sleeve adapter.
LEAST SENSITIVE
On more than one occasion in the
past I’ve criticised the sound quality Graph: L/R capsule uncorrected responses [blue/red] and
of AKG headphones for being tonally averaged diffuse-field corrected response [third-octave, black]
pretty neutral but overlaid with a
Sensitivity (SPL at 1kHz for 1Vrms input) 102.0dB
fogginess that makes for uninvolving
listening. The same criticism can be Impedance modulus min/max 59.1ohm @ 20Hz
(20Hz-20kHz) 90.9ohm @ 20kHz
levelled at the Q 701 although some
listeners, I’m sure, will prefer its Capsule matching (40Hz-10kHz) ±9.8dB
Audio-Technica A900X
t’s hardly coincidental that uncommon in headphones – even RIGHT: A-T’s
NATURAL WAY
Listening to the A900X took me
back the better part of six years to
my first HFN headphone group test Graph: L/R capsule uncorrected responses [blue/red] and
where I originally encountered the averaged diffuse-field corrected response [third-octave, black]
cheaper, open-back ATH-AD700, a
Sensitivity (SPL at 1kHz for 1Vrms input) 115.8dB
model still in the Audio-Technica
range. I’ve heard quite a few A-T Impedance modulus min/max 39.4ohm @ 20Hz
(20Hz-20kHz) 45.3ohm @ 110Hz
headphones in the interim, not
many of which I’ve liked as much as Capsule matching (40Hz-10kHz) ±7.6dB
the AD700, but a few bars of music LF extension (–6dB ref. 200Hz) 38Hz
were enough to tell me that the ABOVE: Drivers feature copper-covered Distortion 100Hz/1kHz (for 90dB SPL) 0.3% / <0.1%
A900X shares the AD700’s great aluminium wire to reduce moving mass Weight (inc cable and 0.25in connector) 400g
strength: a sense of spaciousness and are in an aluminium housing
Beyerdynamic T70
hat ‘T’ in the T70’s as any headphone can – an airy and
T
RIGHT:
designation indicates that naturally dimensioned image. And it Low head
this is one of a relatively knows how to be engaging, so that clamping
new series of designs you can forgive its weaknesses. force makes
from Beyerdynamic that feature its Like the other models here, the the T70
Tesla technology, named after the T70 wasn’t really able to do justice particularly
extraordinary Nicola Tesla – inventor, to Bob Dylan, guitar and harmonica, comfortable
engineer and futurist whose AC but avoided harshness and was to wear for
electrical distribution system informative enough not to be a long periods
eventually put paid to Edison’s DC wash-out. It did a much better job despite thin
alternative. But it’s more the SI unit with ‘Black Beauty’: the last ounce earpads
of magnetic field strength, which of vitality and presence was missing
also bears his name, that inspired but the soundstage was spacious
Beyerdynamic’s nomenclature. and the musical slapstick was fun.
In developing the Tesla The bass was well controlled
technology drive unit, its engineers too – all the better, I thought,
strove to achieve the maximum for trimming back on the upper-
possible field strength within the bass hump of most of the others,
magnet air gap, which it says but then I’d always rather have
results in a more detailed, ‘filigree’ a clean, understated bass to one
sound in addition, of course, to that’s constantly reminding you
increased sensitivity. None of of its presence like a bodybuilder
which you’d guess from looking at incessantly flexing his pecs. HI-FI NEWS LAB REPORT
the closed-back T70, which is the The slight lack of presence Beyerdynamic’s datasheet specifies the T70’s sensitivity as
very model of restrained, sober and detail retrieval was likewise 104dB SPL for 1mW at 500Hz, equivalent to 110dB for 1V at
design in black, silver and grey. But apparent in the revealing opening the nominal impedance of 250ohm – close to our measured
with headphones, looks pale into bars of ‘Country Dreamer’ but the 111.4dB at 1kHz. Impedance variation is large at 236-552ohm
insignificance compared to comfort, bass was again well controlled and over the audible frequency range but the high impedance means
and here the T70 excels through despite the sound erring on the side that any frequency response variations are modest – just 0.2dB
a combination of generously sized of conservatism the rhythmic pulse for a 10ohm source impedance or 0.6dB for 30ohm. Diffuse-
albeit thin earpads and low head didn’t drag as it did with the AKG. field correction of the averaged capsule response [black trace,
clamping force. Peter and the Wolf was reproduced below] suggests that perceived output is raised only a little at
There are, in fact, two versions in a spacious acoustic and – as with upper bass frequencies but is notably suppressed in the presence
of the T70: the high-impedance, the Dylan – there was no funny band. Bass extension is good at 20Hz (–6dB re. 200Hz) but
nominally 250ohm model reviewed business going on that added a pitch capsule matching error is high at ±11.7dB, the largest disparities
here and a 32ohm equivalent, the to the tape noise [see p51]. occurring at HF due to interactions with the artificial pinnae. KH
T70p, intended for use with hand-
held music players. The T70 has a Sound Quality: 85%
3m lead – a good length for use with
0 - - - - - - - - 100
a hi-fi system – whereas the T70p’s
is shorter at 1.2m. Accessories
supplied are a mini-jack to ¼in
adapter and a zip-up carrying case.
A GOOD COMPROMISE
Despite Beyerdynamic’s talk of
‘filigree sound’ the T70 is not the
most detailed or lifelike sounding Graph: L/R capsule uncorrected responses [blue/red] and
headphone you will ever hear. But it averaged diffuse-field corrected response [third-octave, black]
does strike a very skilful compromise
Sensitivity (SPL at 1kHz for 1Vrms input) 111.4dB
that will appeal to a broad compass
of listeners. While it’s a little on the Impedance modulus min/max 236ohm @ 3.3kHz
(20Hz-20kHz) 552ohm @ 75Hz
reticent side you could never call
it as bland as the AKG, and while it Capsule matching (40Hz-10kHz) ±11.7dB
Grado RS325is
ne glance at the SR325is is balanced much more neutrally.
O
RIGHT:
is sufficient to tell you Indeed, if the DF-corrected trace Grado is
that it’s a Grado. The in the lab report is to be believed alone here in
unpadded headband, it has, but for a peak at 2kHz, one using shaped
the simple capsule sliders for of the flattest perceived responses foam earpads
positional adjustment, the small through the lower treble here – and that rest
circular capsules and the shaped listening confirms that. on the ear
foam earpads are every bit as But listening also suggests that (supra-aural)
characteristic as the Wing Supports the SR325is lacks the tonal warmth rather than
of the Audio-Technica or the of the four other headphones, encircling it
stainless mesh of the Sennheiser. and this leaves it sounding rather
This, the top model in the undernourished both tonally and
Prestige (SR) series, is distinguished spatially. It is possible to balance the
from its lesser cousins by the use of frequency response of a headphone
aluminium for the capsules rather so as to combine spacious imaging
than plastic. Like the AKG and and solid bass with a high level of
Sennheiser, the Grado is an open- transparency and retrieval of detail
back design (Grado doesn’t make a – the Sony MDR-MA900 [HFN Oct
single closed-back model) but unlike ’12] is one fine example – but the
them it has supra-aural earpads, evidence suggests that it’s a difficult
the edges of which rest on the ear trick, and one that the SR325is fails
rather than forming a seal around it. to pull off.
I say ‘the edges’ because the So on the Dylan track it didn’t HI-FI NEWS LAB REPORT
foam earpads do not have a flat quite convey the expected vocal Grado claims 98dB for 1mW sensitivity for the 325iS at a nominal
surface like the original supra- weight, while on ‘Black Beauty’ the impedance of 32ohm which corresponds to 113dB SLP for 1V:
aural open-back headphone, the image didn’t blossom fully, without close to our measured 112.1dB at 1kHz. Across the audible
Sennheiser HD414, but are annular, this being compensated by a sense frequency range the measured impedance modulus varied
so that there is no foam interposed of enhanced analysis. The sound was between a min. of 30.7ohm and a max. of 37.8ohm, sufficient
between the driver and ear. Heads certainly brighter than delivered by to cause frequency response variations of 0.4dB for a 10ohm
and pinnae come in a wide variety the other headphones in the group source impedance and 0.8dB for 30ohm. Diffuse-field correction
of shapes and sizes, of course, so but it didn’t deliver notably greater of the averaged frequency response [black trace, below] suggests
making general statements about clarity as a result. Wings’ ‘Country the SR325iS’s perceived tonal balance will include a distinct lift
comfort is difficult; but I have to say Dreamer’ sounded a little too glassy at upper bass frequencies but is quite flat through the presence
I find this solution a good deal less and Decca’s trademark expansive band apart from a narrow peak at 2kHz. Capsule matching error
comfortable than the circumaural hall acoustic wasn’t fully developed is lowest of the group at ±6.2dB, indicating reduced interaction
alternative used by the other four in Peter and the Wolf. with the artificial pinnae, but 100Hz THD is the highest here. KH
’phones in this group. Although the
head clamping force is modest, it’s Sound Quality: 80%
inevitable that this arrangement
0 - - - - - - - - 100
will distort the pinnae – and I find
that irritating after more than a few
minutes of wear.
The eight-conductor cable will be
a little short for some at just 1.7m,
and no extension cable is provided.
Neither is a short adapter cable to
convert from ¼in jack to mini-jack.
Graph: L/R capsule uncorrected responses [blue/red] and
FLAT RESPONSE averaged diffuse-field corrected response [third-octave, black]
Some of the Grados I’ve
Sensitivity (SPL at 1kHz for 1Vrms input) 112.1dB
encountered in the past – notably
the GS 1000 [HFN Apr ’08] – used Impedance modulus min/max 30.7ohm @ 1.3kHz
(20Hz-20kHz) 37.8ohm @ 81Hz
the artifice of a too-energetic treble
to garner favourable comments Capsule matching (40Hz-10kHz) ±6.2dB
about detail retrieval. I still find that LF extension (–6dB ref. 200Hz) 32Hz
a heinous case of reviewer gullibility ABOVE: Grado says little about its driver Distortion 100Hz/1kHz (for 90dB SPL) 0.9% / <0.1%
but it’s not an argument we need but this top model in the SR line benefits Weight (inc cable and 0.25in connector) 356g
revisit here because the SR325is from a stiff aluminium housing
www.Qacoustics.co.uk
Love Music. Love Movies. Love Q Acoustics.
Sennheiser HD 700
or many years the owner If memory serves, the HD 700 has
F
RIGHT:
of a pair of Sennheiser’s a slightly warmer tonal balance than Obviously
previous top headphone, the HD 800 but both are far from spun-off from
the HD 650, I was probably imitating the glut of headphones the HD 800,
more aware than many audiophiles now on the market that tout excess the HD 700 is
of the sea change represented by bass and lower-midrange as ‘high comfortable
its successor, the HD 800. Whereas fidelity’. Overall the HD 700 is to wear
the HD 650 looked staid and balanced slightly but not excessively despite
predictable, the HD 800 was to my on the ‘kind’ side of neutral, as the thin
eyes the most successful attempt suggested by the dip in DF-corrected earpads
yet to make a headphone look like a output around 2kHz identified in the
product of the 21st century rather Lab Report. This manifested itself,
than the 20th. for example, as a lack of presence in
But that was nothing compared the knockabout Opus 3 jazz piece,
to the change in sound quality. I’d which was pleasantly spacious
come to associate Sennheiser with and certainly enjoyable but didn’t
a certain stodginess of sound but project the full-on ‘live’ feel of which
the HD 800 broke the mould. It this recording is capable.
was as clear a statement of a new That slightly reticent nature was
beginning as any hi-fi manufacturer quite welcome with the Dylan track,
has ever made. where it ensured that the sound
It was inevitable that the HD rarely strayed into harshness, but it
800 would in time sire less costly was notable from the outset that HI-FI NEWS LAB REPORT
offspring, and here we have the first the tape noise had a distinct pitch Sennheiser’s claimed sensitivity of 105dB SPL (1kHz for 1V input)
of them: the HD 700. The two share to it. Thinking that the capsule is a little conservative according to our measurements which
obvious visual cues in the design damping pads might suppress this recorded an average figure of 108dB for the two capsules.
of the capsules, particularly in the I refitted them and the effect was Nominal impedance is 150ohm but we recorded minima and
use of a fine stainless steel mesh to indeed reduced – but the tape noise maxima within the audible band of 165ohm and 364ohm,
provide acoustic coupling to the remained coloured. sufficient to result in frequency response variations of 0.3dB with
external air – although the plastic This effect was repeated with a source impedance of 10ohm or 0.8dB with 30ohm. Although
frame is here finished in grey rather Peter and the Wolf, where it spoilt Sennheiser claims that the HD 700’s response is diffuse-field
than silver and the drivers are set an otherwise well balanced and corrected, our measurement [black trace, below] suggests the
closer to the ears. spacious delivery. On the Wings perceived tonal balance will have an upper-bass lift and presence
Like the HD 800 the HD 700 track, though, the overall result was band suck-out. Capsule matching error is high at ±11.4dB (40Hz-
features a Y-cable that makes more stodgy than spritely, with the 10kHz), but bass extension is good at 22Hz (–6dB re. 200Hz)
connection to both capsules, but bass guitar rather too weighty. while 0.3% THD at 100Hz for 90dB SPL is modest. KH
using much more rugged plugs than
those in the HD 650. Cable length Sound Quality: 83%
is 3m; but no means is provided to
0 - - - - - - - - 100
convert from the fitted ¼in jack plug
to mini-jack.
Despite the thinness of its
velour-finish earpads, the HD 700
is supremely comfortable to wear,
not least because of its moderate
head clamping force and generously
padded headband.
Graph: L/R capsule uncorrected responses [blue/red] and
A CURIOUS EFFECT averaged diffuse-field corrected response [third-octave, black]
It’s a long time since I listened to the
Sensitivity (SPL at 1kHz for 1Vrms input) 108.8dB
HD 800 so I can’t quote chapter and
verse on how the HD 700 compares. Impedance modulus min/max 165ohm @ 2.3kHz
(20Hz-20kHz) 364ohm @ 106Hz
With the HD 800 I preferred the
sound with the thin damping pads Capsule matching (40Hz-10kHz) ±11.4dB
within the capsules removed and LF extension (–6dB ref. 200Hz) 22Hz
overall I thought the sound of the ABOVE: Angled drivers feature a Distortion 100Hz/1kHz (for 90dB SPL) 0.3% / <0.1%
HD 700 better with them out too – low-turbulence vented magnet system Weight (inc cable and 0.25in connector) 360g
but then I ran into a problem. claimed to offer more natural imaging
The Studio
The Platt, Lower Platts
Ticehurst Wadhurst TN5 7BZ East Sussex
Tel: +44 (0)8448 22 11 15 www.15audio.co.uk
MidlandAudioxchange
“Should you be a music lover that wants to cease the tiring practice of upgrading and simply enjoy nirvana
for a very long time, the 088 has the potential to become a family heirloom.”
(Jeff Dorgay - Tone Audio)
“This is one of the very best and most complete CD players I have heard to date and certainly the best
single box design.”
(Chris Thomas - HiFi + Magazine)
ADJACC
ADJACENT: The Audio-Technica
ATH-A9
9
ATH-A900X [left] is a real charmer, the
Beyerd
d
Beyerdynamic T70 more tonally neutral
ES • CARTRIDG
• CD PLAYERS • TURNTABLES G • HEADPHONES • AMPLIFIERS
CARTRIDGES RS • A
AM/FM TUNERS • SPEAKERS •
released 192kHz/24-bit remaster with 96kHz media and is frankly A-wtd S/N ratio (S/PDIF / USB) 99.4dB / 96.0dB
from HDtracks in the US is the best stunning with 192kHz material. Distortion (1kHz, 0dBFs/–30dBFs) 0.029% / 0.052%
$25 any Doors fan can spend and Music of any age comes alive Dist. & Noise (20kHz, 0dBFs/–30dBFs) 0.090% / 0.011%
the Metrum steps up to the task through this innovative converter Freq. resp. (20Hz-20kHz/45kHz/90kHz) +0.0dB to –2.75dB/–3.8dB/–4.5dB
with aplomb. – it’s great value and a ‘must-hear’ Digital jitter (48kHz/96kHz/USB) 950psec / 490psec / 80psec
The opening drum roll to ‘Hello DAC for the high-res enthusiast.
I Love You’ is wonderfully edgy Resolution @ –100dB N/A (see text) / ±0.6dB
and dynamic, and Morrison’s Sound Quality: 85% Power consumption 13W
voice is crafted right there in the 0 - - - - - - - - 100 Dimensions (WHD) 320x85x320mm
room with his southern California
[[[VMKLXRSXIGSYO
01225 874728 or lo-call: 0845 230 7570
LAB
REPORT
PHONO STAGE AUDIO RESEARCH LP1
With its FET input and single 6H30 double-triode, the LP1 is
a relatively simple but very elegant design. The +46.7dB gain
(x216) is ideally suited for MM pick-ups in the 1-7mV output
range, with 4.7mV required for 1V output from the LP1. There’s
enough headroom to accommodate a full 15.9V output from
the LP1. This represents 74mV generated by the cartridge
(+23dB above 5mV at 1kHz/5cm/sec and beyond the tracking
ability of most pick-ups). The 47kohm input loading is perfectly
standard but the LP1’s tube-driven output impedance is rather
too high at ~4kohm below 1kHz, falling to a preferred 115ohm
at 20kHz [see red infill, Graph 1 below]. High (>47kohm)
impedance line inputs will suit the LP1 or >100kohm tube
amps rather better still. Neither is the RIAA response ruler-
flat. ARC specifies ±0.3dB from 20Hz-20kHz but our sample
ABOVE: Rear panels do not come much simpler – just one pair of RCA phonos for demonstrated a shelf down to –0.35dB from 20Hz-1kHz with a
input and another for line-level connection to a separate amp/preamp. There are no boost of up to +0.8dB through the presence band, treble and
ultrasonic [see Graph 1]. This might bring a more ‘vivid’ sound
user-adjustable gain or loading options available here to LPs, depending on the balance of the MM pick-up.
Distortion increases gently with increasing input and output
preferring instead to immerse one in Overall, it accurately captured the level at 1kHz from 0.004% (1mV input) to 0.008% (10mV)
the emotion of the event. The result song’s sense of quiet desperation, and 0.08% (50mV) while increasing slightly more at low bass
frequencies (0.03% at 20Hz) and to a greater degree through
was a captivating rendition of a hidden behind what is superficially the high treble at 0.16%/20kHz [see Graph 2]. Nevertheless, no
thumping rock standard that can all quite an upbeat rock-infused groove. MM pick-up will match this! Finally, and crucially, the LP1’s noise
too often sound dirge-like. performance is rather better than ARC’s specification, yielding
Brilliant as The Cult’s early ’80s CLASSICAL TOO an A-wtd S/N ratio of 85dB (re. 5mV). Again, this is better than
the range achieved by most MM/vinyl groove combinations.
epic is, you’d never call Love a warm This ‘see-through’ midband, allied to
Readers are invited to view a comprehensive QC Suite test
and inviting place to be – it sounds punchy bass and spacious, sparkling report for ARC’s LP1 phono preamplifier by navigating to www.
hard and barren even through treble sets the Audio Research up hifinews.co.uk and clicking on the red ‘download’ button. PM
the most mellifluous playback to sing with pretty much any kind
equipment. So to get the gauge of music you care to throw at it.
of the LP1’s tonal accuracy I spun Unlike some other price rivals,
up one of the slickest and most which seem to thrive on certain
sumptuous late 1970s soul albums types of music or recordings yet
around, Randy Crawford’s Secret fall over their feet with others, the
Combination [Warners K56904]. LP1 relished everything I loaded
It was never going to be easy to onto the platter. Tchaikovsky’s 1812
capture one of the best voices ever Overture [DG 139029] revealed the
committed to vinyl, but producer Berlin Philharmonic in all its fiery
Tommy LiPuma did an amazing job majesty, the violins racing along
and ‘You Might Need Somebody’ is with breathtaking speed, the brass
all the proof you need. This phono crunching through in front of bowed ABOVE: Extended frequency response (5Hz-100kHz,
stage showed its mettle by giving cellos lending a menacing growl to black) versus output impedance (20Hz-100kHz, red)
a wonderfully clean and open the recorded acoustic.
rendering of the recorded acoustic This new LF1 phono stage’s
and everything within. It centred combination of speed and accuracy,
the lead vocal with great assurance, allied to its naturally musical nature,
and hung the keyboards behind made for an enthralling listen, and
beautifully. I was immediately drawn gave the lie to any assertion that
to both the purity of vocal timbre vinyl is not a superlative carrier of
and deftness of her phrasing, which classical music.
worked as much on a rhythmic level
as it did on a melodic one. HI-FI NEWS VERDICT
This song just kept surprising
Not all hybrid designs are
via the Audio Research – even the ABOVE: Distorton vs. (equalised) frequency from
successful, yet the ARC LP1 is a
opening 16 bars were a veritable 20Hz-20kHz at 0dBV out. Low midrange distortion
model of happily married life. This
treasure-trove of detail which made
affordable phono preamplifier
me ever more beguiled by the HI-FI NEWS SPECIFICATIONS
renders music in a highly
LP1. The saxophones dripped with
believable, natural way – being Input loading 47kohm
harmonics, as did the lead electric
strong enough to impart the raw
guitar which sounded as rich and Input sensitivity (re. 0dBV) 4.63mV
power of whatever music it plays,
raw as an antique violin. Input overload (re. 1% THD @ 1kHz) 75mV
yet just smooth enough to gently
Bass guitar was strong and
round off a recording’s worst Maximum output/Impedance (re. 1% THD) 15.9V / 115-4.3kohm
tuneful, with a great sense of
excesses. A fine product which A-wtd S/N ratio (re. 0dBV) 85.0dB
purposefulness that comes from
won’t cause analogue addicts to Frequency response (20Hz-20kHz) –0.35dB to +0.80dB
dynamic punch allied to great
go digital any time soon! Distortion (20Hz-20kHz, re. 0dBV) 0.0039–0.16%
timing. Even the backing keyboards
had a beautiful shimmering quality Sound Quality: 82% Power consumption 22W
to them, one which was exquisitely 0 - - - - - - - - 100 Dimensions (WHD) 330x114x218mm
carried by this superb phono stage.
Micromega MyDAC
Sized like a stack of four CDs, Micromega’s MyDAC promises audiophile bliss in a small
package with a genuinely sane price – is its cult following warranted?
Review: Ken Kessler Lab: Paul Miller
demo held in January at CES, for
was fed signals from CDs via iTunes, ABOVE: Industry-standard XMOS USB
stored material via iTunes, and high- solution with 24-bit/192kHz DAC from
res material through Fidelia. Cirrus Logic – a textbook SMD layout
Its sheer, unequivocal
competence was evident from Twitty’s ‘It’s Only Make Believe’ from
the first bars of Ron Sexsmith’s The Classic Glen Campbell [EMI
Forever Endeavour [Cooking Vinyl 0946 3 68338 2 8] has the power.
COOKD577]. ‘Nowhere To Go’ opens A massive production, sweeping
with acoustic guitar, followed by strings, tough percussion, massed
plaintive French horn and rich bass. backing vocals, key changes that
This is no deliberate audiophile ascend relentlessly – it builds and
recording, yet it had an airiness and builds until you think there cannot
ABOVE: Distortion vs. 24-bit/48kHz digital signal
cohesion that screamed ‘pedigree’. be any more to give. The MyDAC
level over a 120dB dynamic range. S/PDIF input
When the violins enter, a silkiness is grew with the song, retaining all the
(1kHz, red) and USB input (1kHz, black; 20kHz, blue)
evident that I would never equate dynamic punch and respecting that
with what is (Quads aside) a cheap-o voice with such grace that I had to
system such as would embarrass check with the importer: is it really
most self-respecting audiophiles. It just £259?
was so free of nasties, and the voice Yes, I can forgive the plastic case
exuded such warmth, that I thought and the Gallic origins, because, boy,
I was imagining it. does this sing. And with far less jitter
than Piaf.
CHECKING THAT PRICE
My new litmus test is the HI-FI NEWS VERDICT
heartbreakingly gorgeous version Much as I love my ‘first gen’ HRT
of ‘God Only Knows’, on Eleanor MusicStreamer+, the MyDAC now ABOVE: High resolution jitter spectrum from 24-bit/
McEvoy’s latest, If You Leave… [see has a permanent place on my 48kHz data over S/PDIF (black) and USB (red)
p86]. If this track had been released desk – and not just because it fits
in 1979 instead of 2013, it would neatly on the iMac’s pedestal. The HI-FI NEWS SPECIFICATIONS
have been worthy of a $40 Sheffield sound is so non-fatiguing that I
Lab LP and you’d be queuing up to have found myself listening to
Maximum output level 2.07Vrms at 530ohm
buy it. It is so scarily real, tactile and it in four-hour stretches with no A-wtd S/N ratio (S/PDIF / USB) 106.7dB / 106.7dB
alluring that it yielded even through desire to take a break. It lacks Distortion (1kHz, 0dBFs/–30dBFs) 0.00077% / 0.00045%
a pair of budget speakers a sound some of the refinement of dearer Dist. & Noise (20kHz, 0dBFs/–30dBFs) 0.0015% / 0.0050%
that defined high-end performance. DACs, so do not cancel your order Freq. resp. (20Hz-20kHz/45kHz/90kHz) +0.0 to –0.08dB/–0.4dB/–1.7dB
Detail, texture, ambience – all for an ARC REF or dCS Vivaldi. But Digital jitter (48kHz/96kHz/USB) 54psec / 50psec / 12psec
as they should be, reduced only in if you only have £259 – wow!
absolute scale (the Pioneers, after Resolution @ –100dB (S/PDIF / USB) ±0.2dB / ±0.6dB
all, are not Wilson Sophias). But I Sound Quality: 86% Power consumption 2W (<1W standby)
needed some bombast. And Glen 0 - - - - - - - - 100 Dimensions (WHD) 140x35x140mm
Campbell’s epic reading of Conway
If, like us, you really care about music, the new DAC-V1 is for you.
W refined performance of
Ecosse Reference Cable’s
MS2.15 solid-core speaker
cable (£349 for a 3m pair) when
auditioning it back-to-back with similarly-
priced models in our Group Test at
the turn of last year [HFN Jan ’13]. This
Reference SMS2.4 loudspeaker cable
is in a totally different price sector and
features a considerably more elaborate
multi-core construction.
It’s one of Ecosse’s high-end cable
range employing ‘Super-Monocrystal’
conductors in which the OCC (Ohno
Continuous Casting) mono crystal wire
undergoes an additional heating cycle in
its manufacturing process. Says Ecosse:
‘It’s the purity of the grain structure
which defines a conductor’s ability to
transmit audiophile quality sound, not ABOVE: Hollow 4mm
just the purity of the copper ingot before ‘z/x’ banana plugs are
smelting. By heating and re-crystallising compatible with BFA speaker
the metal we achieve a conductor that terminals. Spade connectors
exhibits exceptional linearity through the can also be specified
audio frequency band.’
Although large in diameter woven in what’s described as a rope-lay thanks to the cable’s ‘airy’ quality – with
the SMS2.4 is highly flexible and construction, twisted in a precise helix. a lovely sense of image space and depth.
consequently easy to dress in a Hi-res recordings similarly benefited
system setup. Within the cable’s PVC POTENT BASS from the cable’s dynamically free and
outer jacket each conductor has two Auditioned through my Townshend open sound. The Presto from Haydn’s
concentrically wound bundles of multi- Galahad speakers using both my usual Quartet in D, Op.76 [2L Records, 24/96
strand wires of differing cross-sectional Mark Levinson No.383 amplifier and download] was conveyed with hearty
area, insulated with a polypropylene T+A’s new PA 3000 HV integrated, the vitality with no trace of HF harshness.
dielectric. The bundles are tightly Ecosse Reference SMS2.4 sounded wide
open and uncompressed. Subjectively it HI-FI NEWS VERDICT
certainly sounds like a wide bandwidth
While certainly expensive this cable
cable, dispensing extended and powerful
is a fraction of the price commanded
bass and conveying plenty of ‘air’ at HF.
by exotic cost-no-object designs that
It’s especially invigorating with rock
commonly employ pure silver or silver/
recordings. Listening to the electric
gold conductors. Consequently it can be
version of the title track from Paul
regarded as excellent value for high-end
Rodgers’ Muddy Water Blues album
systems, its performance sufficiently
[Victory Music 824 414-2] I found Pino
transparent to do justice to the very
Palladino’s lugubrious yet intoxicating
best components. It sounds airy and
bass contribution especially potent,
open at the top end, and its powerful
while Jason Boham’s drum kit assault was
bass should ensure hearty performance
truly explosive. Set against a spookily
from large floorstanding speakers.
ABOVE: An ornamental block conceals the black background the musicians were
exit of the main conductors. For the 4mm depicted lucidly in the soundstage. Sound Quality: 86%
termination, Ecosse says its tin/silver ‘Super- Subtle variations in reverb applied to 0 - - - - - - - - 100
solder’ provides high tolerance to vibration Rodgers’ voice were clearly depicted
address: Unit 2 - The Old Cart Building, address: 20-22 Cadham Centre,
Parley Court Barns, Parley Green Lane, Hurn, Glenrothes,
Bournemouth, BH23 6BB Fife, KY7 6RU
Open: 9:00-5:00 Tuesday - Friday Open: 9:00-5:00 Monday - Friday
9.30-3.00 Saturday Closed Saturday
e-mail: bournemouth@jordanacoustics.co.uk e-mail: glenrothes@jordanacoustics.co.uk
PMC BB5 SE
The SE range from PMC combines the finest traditions of British cabinet- making rose macassar rich macassar
and cutting-edge acoustic research and development techniques
Jimmy Cliff:
Jimmy Cliff
It was feel-good reggae with real political bite that
marked out Jimmy Cliff as a pioneer. Steve Sutherland
talks to the singer as his second LP sees a 180g release
don’t know about you but I’ve always you see is not right.’ Yeah, Jimmy Cliff’s ‘My purpose,’ he tells us, ‘is to
BORN OF ANGER
Struggle. Protest. Optimism. These are the
Jimmy Cliff ingredients and nowhere better
are they demonstrated than on the Jimmy
Cliff album, the artist’s eponymous second
release, which came out on the Trojan
label back in 1969.
Cliff – born James Chambers in the
St James district of Jamaica – was already
well known in his native land. Working with
producer Leslie Kong, he had his first local
hit at age 14 and his debut album, Hard
Road To Travel, sold pretty well. But the
Jimmy Cliff album was where he laid down
the template for which he is still famous
today: ‘upful’ songs born of anger.
ì Press shot of Cliff used to promote the LP. A different image from the session adorned
the cover of the sheet music for ‘Come Into My Life’, published by Irving Music Inc
The album boasts three indisputable
classics. ‘Many Rivers To Cross’ is a bitter
PRODUCTION NOTES
Alan Parsons was a 23-year-old EMI
staff engineer earning £35 a week
ç Second
shot
of the band
when he started work in Abbey from the early
Road’s Studio 2 with Pink Floyd in the ’70s. The
summer of 1972. session was
Largely because of its association for Hipgnosis,
with The Beatles, Studio 2 was the the artists
holy grail for rock acts and by 1972 who designed
boasted a luxurious EMI TG Mark IV the Dark
console, developed not so much to Side sleeve.
improve recorded sound quality, but Legend has it
to meet the demands of the ever Hipgnosis did
increasing number of tracks required not charge a
by the new generation of artists. set fee for an
The album’s initial tracks were Mason drilled holes into old pennies knew it would work with the song. album cover
recorded at 15ips on to 2in tape and threaded them on string while Intriguingly, the tick-tock sound that but would
spinning on a 16-track Studer A80s. Waters recorded coins swirling can be heard is not an actual clock, ask artists to
‘It was better than eight-track,’ around a mixing bowl. but Roger Waters picking two muted pay what they
Parsons has said, ‘but you had to These were the days of recording strings on his bass. thought it
think carefully about how many on tape, so, as Mason explains, ‘Each was worth
layers you could physically achieve. sound was first measured out on the WE DON’T WANT WORDS
You couldn’t just add and add.’
Pink Floyd were producing
music of such complexity that
tape with a ruler before being cut
to the same length and then spliced
together.’ The
Although they started recording
‘The Great Gig In The Sky’, based on
another Rick
í Alan
Parsons.
He was later
even 16 tracks were not enough finished tape Wright chord to find fame
to accommodate all of the parts so was several ‘The tick-tock sound sequence, on leading his
yards long, so June the 25th, own band,
to create more space, tracks were
bounced down onto a second Studer it had to be
that can be heard the soulful, The Alan
16-track, this time with Dolby A.
‘The downside of that,’ points
looped from the
tape machine
on “Time” is not an wordless vocal
improvisation
Parsons
Project
out Parsons, ‘was that the second- out across the actual clock’ that gives the
generation tape lost quality. We lost
a bit in the mix-down process.’
Always on the cutting edge of
studio, around
several microphone stands and then
back to the machine.
song its identity
was not added until January the 21st
the following year, by session singer
í Another
shot of
the band by
audio, Pink Floyd had decided to Clare Torry. ‘They said, “We want Hipgnosis,
record Dark Side in quadraphonic QUADRAPHONIC TEST some singing on it”, but didn’t know this time
sound. Consequently, as Parsons The next song recorded, ‘Time’, what they wanted, so I suggested backstage
reveals, a track like ‘Money’, with also features a distinctive audio going out into the studio and trying
its percussion track on a tape loop,
demanded a new approach.
‘Instead of being on 1⁄4in tape, the
montage, this time of clocks chiming
and alarms ringing, mostly recorded
in antique shops, then assembled
a few things. I started off using
words but they said, “Oh no, we
don’t want any words.” So the only
ê Clare
Torry
in 2003
“Money” effects had to be on a 1in on tape as a quadraphonic test by thing I could think of was to make with reggae
loop, with all the sounds recorded engineer Alan Parsons. It was not myself sound like an instrument, a tribute CD,
on different tracks. The idea was that done specifically for the album, guitar or whatever, and not to think Dub Side Of
when the record was played, the but when the band heard it, they like a vocalist.’ The Moon
sounds would go around the room.’
è The
band
in 1988.
Roger Waters
had quit in
1985
è The
inner
sleeve with its
graphic of a
heart beat
é Mobile
Fidelity
Sound Lab
would never be used.
Touring and other commitments
kept the Floyd away from Abbey
NEW SYNTHESIZERS
The band did not return to Abbey
Road again until early January 1973
to the end of the album. Roger
Waters wrote 15 questions on cards,
and then asked them of people
vinyl release Road for much of the latter half of when, as well (including Paul
from 1979 1972 but, during October, they as Clare Torry’s McCartney) who
[MFSL 1-017]
with ‘pressed
worked on ‘Eclipse’, ‘Any Colour
You Like’ and ‘On The Run’, while
improvised
vocals, they
‘Finally, we sat back happened to be
in Abbey Road.
in Japan’ on also bringing in female singers to began to make and listened all The answers,
the LP label overdub backing vocals onto ‘Us good use of most memorably
And Them’. The same track was their recently the way through at including studio
further enhanced by a sax solo
from Dave Gilmour’s old chum Dick
acquired
new-fangled
enormous volume’ janitor Gerry
O’Driscoll’s
Parry, who also contributed his jazzy synthesizers – a evocative, ‘There
improvisational skills to ‘Money’. VCS3 and Synthi-A – created by is no dark side in the moon, really. As
October also saw the bulk of the Dr Peter Zinovieff of EMS (Electronic a matter of fact, it’s all dark’, allowed
work completed on ‘Brain Damage’ Music Studios) in Putney. the otherwise state-of-the-art techy
which, dealing with the drug- Zinovieff’s instruments added album to close with a comfortingly
triggered metal instability of Pink colour and atmosphere to tracks human, yet still enigmatic, feel.
î To mark
the
LP’s 30th
Floyd’s founder Syd Barrett, is seen
by many as the album’s core track.
‘For me, it was “There but for the
including ‘Time’, ‘Brain Damage’
and ‘Any Colour You Like’, but The
y
Synthi A in particular was used to
Work on the LP wrapped on
February the 1st. ‘We’d finished
mixing all the tracks,’ remembers
anniversary
the album
was released
as a hybrid
SACD [CDP
7243 5
82136 2 1]
with a 5.1
surround
mix by James
Guthrie,
co-producer
of The Wall
ORIGINAL GATEFOLD VINYL from perfect, resulting in decoded delivered something as enjoyable as
(1973) playback noticeably inferior to Parsons’ classic quad mix, although
This edition’s thick heavyweight that of the master. The best of dramatically different in its use of
vinyl, pressed direct from the the Quad LP versions from this era the soundstage.
original masterplate, achieved is reckoned to be the Japanese
a deep, clear warmth which, edition [EMS-80324], pressed using DVD-A MLP AND DVD-V DTS
many believe, still makes it the Sansui’s QS system. Said to be a digital copy of the
definitive version of Dark Side Of original Alan Parsons’ quadraphonic
W we should remember
about 2013, one
sure thing will be
the surprising, if not downright
miraculous, resurrection of David
î The
venue
as it is today.
It was built
in 1934 and
Bowie after a decade missing was originally
presumed creatively dead. used as an art
The under-the-radar arrival of One deco cinema.
New Day reveals a ghostly Bowie The inset
revisiting and kind of reassessing picture shows
many of his past glories – a bit of the lobby
Ziggy Stardust here, a bit of Thin area in the
White Duke there – and this, in circle with its
DIAMOND GEEZER
coincidental conjunction with small bar
the V&A’s exhibition of his many
changing sartorial styles, gives us
occasion to gasp anew at how, in
the great man’s hands, shape and
ê ‘A noisy
mess...’
David Bowie
sound shifting is rendered great art. and guitar
But let’s not forget that, for all player Reeves
the stunning recreations, there were Gabrels (right)
one or two stinkers. And it’s one of who played venues and when we meet him
these that we are now witnessing. the venue as at the aftershow he is extremely
It is the 27th of June 1989 and, Tin Machine excited, not so much by the gig he’s
following an uncharacteristically just played, as the venue he’s just
prolonged career trough, Bowie has performed in.
TRASH WORLD
re-emerged not as a charismatic What’s got Bowie so animated
front man, but as an anonymous is a story he’s been told about
band member in a bit of a noisy the building being erected at the
mess he calls Tin Machine. behest of the infamous blackshirt
Influenced by The Pixies, who Oswald Moseley back in the 1930s Nazis although the rumour Bowie
Bowie has lately fallen for big- in preparation for the invasion of was so eager to share has travelled
time, the Machine are the Sales his beloved Adolf Hitler. Bowie’s on, untroubled by the facts, down
brothers, Hunt and Tony, who been led to believe that where we through the years.
play drums and bass respectively. now stand was to be the venue in What actually happened was this.
Bowie’d met them when working which ol’ Adolf was going to address In 1934 a cinema magnate called
with Iggy Pop on Lust For Life a the broken British nation after his Herbert Yapp was looking to expand
decade earlier. The squalling guitar conquering stormtroopers had his empire beyond his picture houses
is provided by a bloke marched through London. in Fulham and Ealing so he hired
called Reeves Gabrels Mr John Stanley Coombe Beard
who favours the, EAGLE EYED FRIBA, an architect who excelled in
uh, experimental Bowie points to the neo-Roman designing ornate cinema buildings.
approach to columns and vast stone eagles that Already responsible for the Clapham
soloing. And, as announce the venue’s entrance as Majestic, The Wandsworth Palace,
I said, it’s all a bit evidence of Nazi sympathies and he The Palmers Green Palmadium,
of a mess. whispers about decorative swastikas St James’ Picture Theatre, The
No matter, which used to decorate the walls Lewisham Prince Of Wales, The
Tin Machine are either side of the stage that have North Kensington Royalty and The
on a whistlestop now been judiciously erased. Streatham Golden Domes – among
world tour of None of this, of course, is others – he decided that Kentish
– for Bowie at actually true. The venue we speak Town deserved an art deco palace.
least – quite small of was never associated with the Hence the columns and eagles.
J. MICHELLE MARTIN-COYNE
comfortably seated 2175 in the
stalls and balcony, boasted a large
tea room on the first floor and was
opened on the 17th of December
1934 by Sydney Howard, the
popular star of now long forgotten
screen comedies such as Up For The
Cup and When We Are Married.
Three months later it was taken
over by Associated British Cinemas
(the ABC chain) and, indeed, became
ë Billy
Bragg
performs his
The strangest
gig the venue has
hosted so far is
the Kentish Town ABC in 1963 until politically- arguably the one
1970 when it briefly closed, only to charged indie that took place on
be resurrected as a bingo hall then rock the 16th of May
an Irish dance hall, reverting back 1998 when Wayne
to its original name, The Forum.
And then it became what it remains
today – a music venue. In the ’80s
ì The
Flaming
Lips with
Coyne kind of
brought his Flaming
Lips to town. I say
SILVIO TANAKA
it was called The Town & Country Wayne Coyne ‘kind of’ because
Club for a while, and it has changed (front) and the show was
hands a number of times, having Steven Drozd advertised as Boom
been owned by the Mean Fiddler (far right) Box Experiment
Group, MAMA, HMV and so on. No 13 and consisted of just that along with open minds’. Weird,
STRANGE ENCOUNTER
None of which, thankfully, has done
ì Gruff
Rhys of
Welsh rock
– 40 chairs positioned on stage
with boom boxes on them. Guest
operators such as Miki from Lush and
apparently, but often wonderful.
Among the thousands of great
Forum and T&CC gigs over the
much to interrupt the flow of talent band Super Martin Carr from the Boo Radleys years, a few comebacks stand
which has appeared in the room. Furry Animals were then conducted by Coyne and out. The 5th of June 1993 saw
Here are a few names at random his Lips partner Steven Drozd to play the original line-up of legendary
to be going on with: The Who,
The Libertines, Angie Stone, Arctic
Monkeys, Billy Bragg, Einsturzende
ê The
Velvet
Underground,
pre-recorded tapes on the boom
boxes to create a whole new, often
cacophonous, composition.
New York artrockers The Velvet
Underground take to the stage, old
foes Lou Reed, John Cale, Mo Tucker
Neubauten, Fields Of The Nephilim, who reunited and Stirling Morrison bashing out
INXS, Ian Dury & The Blockheads, for a warm- THE VELVETS RETURN ‘I’m Waiting For The Man’, ‘Sweet
Pulp, Kaiser Chiefs, Queens Of The up gig at the Coyne had already experimented Jane’ and ‘All Tomorrow’s Parties’
Stone Age, Super Furry Animals… Forum in ’93 with this concept back home in the as a Glastonbury warm-up; songs
States where he absolutely
held Parking Lot fundamental to
Sessions where ‘Strangest gig? the foundation of
people rocked up
Forty chairs on indie rock.
RENAUD MONFOURNY, COURTESY WARNER BROS. RECORDS
ç The
late
ssinger Kirsty
M
MacColl. Her
1
1985 UK top
tten hit ‘A New
E
England’ was
w
written by
B
Billy Bragg
ë Duran
Duran,
w put their
who
d
differences
b
behind them
f a reunion
for
Song’, ‘Three Days’ and ‘Stop!’. before being tragically killed six there remember lots of falling over g at the
gig
Somewhat the same and yet months later when a speedboat hit and Mr Albarn putting an awful lot of venue in
completely different – the last day of her on holiday in Cozumel, Mexico. effort into toppling a speaker stack. 2003
October 2003 was a biggie for lots Suede, on the other hand, were
of riotmums who gathered en masse
at the Forum to celebrate in great
boozy style the return of the original
FUGAZI SELL OUT
In late 2002, Washington hardcore
punk heroes Fugazi, famous for
majestic and stole all the accolades.
Within 24 hours, Blur were in
the offices of their record company,
í LA band
Jane’s
Addiction
Duran Duran line-up, 18 years since their uncompromising attitude to Food, being told their career was who returned
the Brummie-based boy wonders the industry, decided to take an just about over. Their ‘Popscene’ to the Forum
graced a British stage together. indefinite hiatus before the business single had flopped, America had in 2002 after
Back behind the kit was Roger diluted their ethics, and used three been a disaster and they were no an 11-year
Taylor, who went sold-out Forum longer the blue-eyed boys at home. hiatus
wonky and awol shows (November Damon set to plotting his revenge
‘Within 24 hours,
in the ’80s, and
fretwangling like
crazy was the
Blur were told
the 2nd, 3rd and
4th) to bring
down the curtain
upon Suede which manifested itself
in the era-defining Modern Life Is
Rubbish and Parklife albums.
ê R&B
artist
Rihanna
rehabilitated
Geordie Andy
their career was on a career that
subsequent
Suede also did OK for a while
until they burned out in the glare
pictured
in 2012
Taylor on guitar. just about over’ myriad offers of of the red hot battle between Oasis
‘Planet Earth’, ‘Rio’, massive filthy and Blur for Britpop supremacy.
‘Save A Prayer’… all the hits ensued lucre have so far failed to induce
and then the Double D duly waltzed them to resume. FLYING VISIT
off and split up again. The Forum in its T&CC guise was And recently, when the remarkable
So much for comebacks. The also the scene of a pivotal show in Barbadian R&B queen Rihanna
Forum’s also seen a few sad the trajectory of Blur. The band had decided to perform seven gigs
bowings-out in its time, including been on a rubbish tour of America, in seven different cities across
one of the last live appearances losing money and heart in equal the globe in seven days to
anywhere of the lovely Kirsty measure. When they returned, they promote her seventh album
MacColl who guested there with discovered a new band called Suede Unapologetic, she chose the
The Pogues upon occasion and, on had stolen their thunder, sashaying Forum as her penultimate date.
the 18th of May 2000, performed around the hip London watering Breezing into London on
a Forum show on her last solo tour holes talking up a new Britcentric the 19th of November 2012
so
sound, captivating the music press having already rocked Mexico
w pithy, risqué quotes.
with City, Toronto, Stockholm, Paris
The two forces collided on and Berlin, her Boeing 777
th 23rd of July 1992 when
the containing a captive retinue of
b
both appeared on the bill of an international press and fans,
N
NME-organised Shelter benefit. she did her considerable thing
B
Blur, who headlined, were frankly to a pre-recorded soundtrack
t drunk to perform. ‘We’re so
too and just found time to
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ELEANOR McEVOY
If You Leave…
Moscodisc MOSCD4010
How odd it is that McEvoy remains an
audiophile icon, when there has been no
overt effort – à la McBroom – to make her
a sonic queen. It gets down to a work ethic
that must include killer sound quality as a
criterion when making a new album. Jump
to the delicate piano intro for track 3, her
tender interpretation of Brian Wilson’s ‘God
Only Knows’: you’d think you were listening to
200g vinyl. But forget the sound. Her taste is so
refined, knowing and sublime, and her delivery
so rich that she can go from Lauper’s ‘True
Colors’ to ‘Dust My Broom’ without raising the
spectre of a non-sequitur. McEvoy’s original
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BAD RELIGION
True North (88.2kHz/24-bit; FLAC/WAV)
www.highresaudio.com; Epitaph Records/Warner Music Group
Brace yourself. Bad Religion may be a
34-year-old band with 16 albums under
their still surprisingly tight belts, but this
primarily-punk, part-metal collection is as
frantic as anything from 1979. The BPMs
could hardly head higher than drummer
Brooks Wackerman delivers on ‘Robin Hood
In Reverse’ or the Motörhead-like ‘Land Of
CHICAGO MOVES Endless Greed’, and seven of the 16 tracks
Gaudete Brass (96kHz/24-bit; FLAC) wind up well under two minutes. All this
www.cedillerecords.org; Cedille CDR 90000 136 lineage traceable from Copland. The is presented with a clean and timeless US
These five players came together sound is open and vivid here, with the punk production delivering clean and radio-
in 2004 to try to promote instruments’ different tonal characters friendly vocals built for both live concert
serious chamber works for brass distinct, open or muted, eg, track 8, and radio play – it’s a modern Ramones. The
performance, making a record debut from the jazz-tinged piece by Rob band’s attitude seems similarly unsmoothed
two years later with André Previn’s Deemer. (I wonder how these pieces by the passage of time – the choice for
Four Outings. Six of the seven would sound with British executants: first single was the track ‘F**k You’. It’s
works here, all written by American American brass has a very different, interesting to hear punk at 24-bit/88.2kHz,
composers within the last six years, rounded quality.) Unusual repertory though difficult to judge final fidelity when
were for the group and receive which I found stimulating and very vocals are often gated or processed and
premiere recordings. I especially engaging. CB sonic density is ear-batteringly high. JF
enjoyed the chattering voices of
‘Spaghetti Bowl’ in David Sampson’s Sound Quality: 90% Sound Quality: 80%
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of the energy beyond 14kHz a mix of opposed to the 16-bit CD) in terms of 96kHz sample rate would have sufficed.
analogue tape hiss and ambient noise available dynamic range must be offset The various spurious ultrasonic tones
from within the reverberant acoustic of against the obvious truncation of the (36, 48.5, 49.5, 55.5kHz etc) persist
the Benedictine Abbey itself. PM orchestra’s upper harmonics. PM throughout, which is disappointing. PM
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Piano works (Vol.2)
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As with Vol.1 [see HFN July ’12] Barry Douglas
prefaces one of the major piano works – here
the Sonata No.3 in F – with shorter pieces
drawn from early and late Brahms: three
Ballades Opp.10/118, three Intermezzi
Opp.116/117 and the Rhapsody Op.119:4.
He does have, like Kempff on one of his more
focused recording days, the ability to appear
rapt in the music, as if playing principally for
his own pleasure (as indeed his booklet note
implies). In this intimate way the overall shapes
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Cambridge hall last September. CB
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Paul Miller
Editor
Technician and writer on all things audio for some 30 years, Paul Miller took over
the editor’s chair in 2006. He invented the QC Suite, used across the audio industry
Precarious predictions
If the BBC’s Tomorrow’s World taught us anything it was the futility of trying to second-guess the
development of next-gen technologies. Paul Miller believes that our hi-fi scene is no different
Paul Miller
Barry Fox
Editor
Technology journalist
Barry
Technician
Fox trained
and writer
in electronics
on all things
withaudio
the RAF
for some
and worked
30 years,
as aPaul
patent
Miller
agent,
took but
overhe
gave
the editor’s
that upchair
to enter
in 2006.
journalism.
He invented
He is one
the QC
of the
Suite,
world’s
usedtop
across
technology
the audiowriters
industry
e
Issu
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your record collection, the Xtension 10 turns any vinyl recording into a captivating, ‘live’ experience.
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desirable turntable package. All for only £2,000.
Barry Willis
Journalist for top American audio-video publications
While his main interest is high-end audio, Barry Willis also writes about the culinary
industry, visual art and theatre for a huge variety of US newspapers and magazines
Game theory...
Audio is at best an afterthought for most makers of computers, but for one group of PC users only
the highest quality will do. They are the PC gamers. Barry Willis reckons it bodes well for us all
udio has long been the poor ASUS spokesperson Juan Guerrero
Jim Lesurf
Science Journalist
Jim Lesurf has spent a lifetime in audio, both as an engineer at UK hi-fi company
Armstrong and reader in Physics and Electronics at St Andrew’s University
Strictly confidential
This month Jim Lesurf revisits his work on the DSD/SACD system and signals his frustration at how
commercial secrets can sometimes hinder engineering improvements that would benefit us all
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OPINION
Steve Harris
Contributing Editor
Steve Harris edited Hi-Fi News between 1986 and 2005. He loves jazz, blues music,
vinyl and vintage hi-fi and anything that makes good music come to life
Why spend on
Correspondents express their own opinions, not those of Hi-Fi News. We reserve the right to edit letters for publication.
Correspondents using e-mail are asked to give their full postal address (which won’t be published). Letters seeking advice
high-end digital?
DO YOU NEED WORLD-CLASS SPEAKERS, TOO?
will be answered in print on our Sound Off pages, but due to time constraints we regret we’re unable to answer questions on
buying items of hi-fi or any other hi-fi queries by telephone, post or via e-mail.
In response to Paul Miller’s Opinion piece in
the February issue, I’d like to pose a question.
READER WRITES ON THE PLACEMENT OF HEADPHONE SOCKETS AND PLAYING REGION 1 DVDS
8
Lanes On Your
Entertainment
In passing comment on Ken Kessler’s free to use content that they have legally
Superhighway
January ‘Off The Leash’ column, purchased regardless of where they are,
Barry Willis has managed to state the I support your efforts to find information
obvious when discussing headphone about disc compatibility, and to find a truly
sockets on pre- and integrated universal player. It’s beyond ridiculous
Since its origins in the early
amplifiers [HFN Apr ’13]. Nearly as that a disc sold in New York or Tokyo
1980’s, Ethernet, and the Local
ridiculous as no socket at all is one in won’t play on a machine in London.
a stupid place. At a hi-fi show I once I’ve never understood why Area Network (LAN) systems
asked ‘The Man from Meridian’ why manufacturers of ‘high-performance’ gear RJ/E it enables, has become the
st
Forest copper plumbing of the digital
the company’s 551 integrated amp routinely strip useful features from their
had its headphone socket on the back products. One would think that providing age. Originally deployed only
panel. At the time I was planning to maximum utility in any product would over coaxial cable, the Ethernet
buy a UK-manufactured integrated increase its appeal to the largest number protocols (IEEE 802.3) now
amplifier. The 551 was immediately of potential buyers, but there is probably also apply to fibre-optic and
removed from my wishlist because I some deep marketing theory at work here RJ/E “Category” (Cat 5, 5e, 6, 6e, 7)
Cinnamon
sometimes have to use headphones. that we don’t understand. Or it may no cables. These 8-conductor (4
In the same way that looking for a more sinister than a desire to make as twisted pairs) Cat cables are the
sensibly-placed headphone socket many specialised products as possible 8 lanes which stream or transport
should be mandatory when reviewing Why make an integrated amp with your digital entertainment to
pre- and integrated amplifiers, testing an easy-access headphone jack when equipment a foot away or several
for the ability to play ‘foreign’ DVDs you can make a separate, dedicated rooms aways.
(and Blu-ray discs if applicable) headphone amplifier? Why include a
should be mandatory when reviewing phono stage in a preamp when it can be RJ/E AudioQuest refers to its
Vodkaa pre-terminated leading-edge
DVD and universal disc players. sold for much more money in a separate
Having carefully read the review enclosure? Why make a CD player when Cat 7 cables as the RJ/E Series …
of the Cambridge 752BD in the April you can sell separate DAC and transport, RJ for the RJ45 connector
issue, I still don’t know if it will play each with its own dedicated power standard to the application,
Region 1 DVDs. I cannot be the only supply? Four boxes instead of one! a n d E f o r E t h e r n e t . Fo r
reader who owns some old Region 1 Certainly some audiophiles believe AudioQuest, the highest Cat 7
DVDs of films that have never been that you can never have too many boxes standard (with all 4 pairs
RJ/E
released on Region 2 or which are not in your system, but it’s one of many Diamond using correctly differentiated
currently available on Region 2. good reasons why the ‘reality-based twist rates and individually
Chester Willey, via email community’ (normal people) think the hi-fi shielded) is only the solid
world to be a little strange at times. foundation to which AQ then
Barry Willis replies: I share your adds better materials and
bafflement and dismay. DVD region- Paul Miller replies: Strictly speaking all Cat 600 unique-to-AQ additional
coding and playing restrictions were DVD/BD players are regionally-coded Pearl
technologies.
adopted by the consumer electronics by the manufacturer according to the
industry to accommodate the film country in which its product is destined The particulars of the RJ45
industry’s practice of releasing titles at for sale. In practice, however, the DVD connectors have also received
different times in various parts of the coding protocol is rather less stringently extreme attention. The plugs
world. Of course some ‘outlaw’ hardware adhered to these days even if the Blu-ray Cat 700 used on the Vodka and Diamond
Pearl
companies offered region-free playback, coding most certainly is. So it’s perfectly models (and available for use
and some modifiers have done a brisk possible that the UK version of the 752BD with bulk Cat 700 models),
business defeating restrictions. As one will play every region of DVD disc without feature a unique patented
who believes that consumers should be aftermarket modification. transition-compensating
system which reduces reflections
Cat 700
Forest caused by the impedance
mismatch where 4 twisted pairs
meet a straight line of 8 plug
contacts.
ABOVE: The Cambridge Audio Azur 752BD [see HFN Apr ’13] does play Region 1 DVDs
info@audioconsultants.co.uk
4 Zephyr House Calleva Park Aldermaston Berkshire RG7 8JN UK
AC/HFN/70
WIRELESS
YOUR VIEWS
FRONTIER?
In defence of HDTV
DACS, DOWNLOADS AND THE PLEASURES OF HIGH-DEF SURROUND SOUND
I read Jim Lesurf’s column each Finally, I feel offended when sites
month with interest but I feel he is such as HDtracks and Ariana reject
too ready to dismiss the world of HD my custom as I do not live in the USA.
television and surround sound when, Has neither company heard of the
by his own admission, he does not World Wide Web?
even own an HDTV [HFN Jan ’13]. Alan Smith, via email
To experience what surround
sound has to offer, I suggest he Jim Lesurf replies: I think we need to
listens to the first 20 minutes of the distinguish between HDTV and surround
James Bond movie Skyfall. Now, I sound. I have actually been recording
agree surround sound may not be and watching HDTV using my computers
the ideal way to listen to music, and may well switch to HDTV once
unless a programme is broadcast the threat to DTTV from ‘4G’ pans out.
in that way. I notice that several However, at present I capture the HDTV
of the 2012 Prom concerts, culled transmission stream of data packets and
from HDTV, are already in full Dolby use those directly for viewing/listening.
digital sound, with multiple streams This may matter because a normal TV
in the broadcast. My Yamaha RX- receiver or recorder may ‘transcode’ the
A1010 receiver simply sits back and data payload in processes hidden from
says ‘Ok, Dolby Digital, no need to the user. For example, the BBC Proms Not only are wires still very much the
decode’. The same goes for several HDTV transmissions via DTTV actually lowest-distortion highest-performance
HDTV channels here in the Middle used the AAC-LATM audio format. That way to send both analog and digital
East. No need for either my TV or AV may need conversion to a form of ‘Dolby’ audio information, but when it comes
amp to be concerned. that some externally attached boxes can to sending power, “wireless” is just
For the Proms, where only a stereo understand. And while investigating a nifty science project, not part of a
track is available, I choose between this I’ve found a number of oddities and home entertainment rig.
the pure stereo and 7-channel stereo ‘interpretations’ of the standards being
options offered by the Yamaha. The used. Not all ‘surround sound’ from even The challenge of not adding distortion
TV is just a video monitor. The input the BBC is the same! as AC power goes from the wall to the
signal is fed straight from my HD I appreciate Alan’s doubts about electronics, and the challenge of not
satellite receiver to the Yamaha. using a ‘PC directly’ but a carefully adding distortion as audio power is sent
For pure music I feed FLAC files set up computer with an external USB to a loudspeaker, are almost the same.
stored on a hard drive direct to the DAC can provide really superb results. The amount of energy transferred
Yamaha’s USB input. In due course Alas, the devil is in the details when through these cables, and the size of
I will get a separate DAC. I have the putting together and setting up such a the associated magnetic fields, puts
Oppo BDP-105EU in mind, having system so it’s all too easy to end up with them in a different class from all other
read the review in the January issue. disappointing results. audio and video cables.
I am very dubious about sourcing I am also with Alan in feeling frustrated
Speaker cables need to maintain
music from a PC directly. How good that some US companies don’t allow us
perfect integrity across the audio band
can it be? Many of us think nothing of to buy downloads of high-res tracks. In
and then some, while AC cables only
spending £500-£1000 on a good DAC, the case of HDtracks however, UK users
have to try to be perfect in a narrower
whereas a whole PC costs less than have reported that using the PayPal option
band. AC cable design is therefore
£500, and the music card inside costs allows certain tracks to be downloaded
a fraction of that. Then there’s the while the use of a valid US address, if a subset of speaker cable design
electronic noise emitted by a PC. paying by credit card, can give access. because AC cables are subject to almost
all the same distortion mechanisms,
and benefit from almost all the same
damage minimizing techniques.
For the most sophisticated power-
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video, please visit audioquest.com for
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ABOVE: The Oppo BDP-105EU (HFN Jan ’13) – reader Alan’s choice as a standalone DAC
audioquest.com
I always look forward to the album many nominally 24-bit downloads are
review section each month and I really ‘dressed-up’ from 16-bit material. But
appreciate your balanced approach in the case of the two Society of Sound
when it comes to the reviews of hi-res downloads, to my thinking the evidence
downloads, with an objective spectrum is pretty clear.
plot following the subjective review of I hope that you will be able to
each album chosen. incorporate some of these checks in
While the spectrum plots help to spot your reviews to help spot cases of
files that have been upsampled and supposedly hi-res recordings that don’t
resampled, they are less useful when have the bit depth advertised, and which
it comes to verifying the resolution/bit might have come from regular redbook
depth of the material. After reading of a CD recordings.
method on one internet forum of a way Julf Helsingius, Amsterdam
to detect straight 16 to less than 24-bit
padding by using the ‘analyze’ option of Keith Howard replies: This is a topic we
the FLAC encoder to show ‘wasted’ or addressed in an Opinion page I wrote in
‘unused’ bits in tracks, I decided to run ABOVE: André Previn and the LSO perform HFN August 2011, shortly after the June 2011
a script on my whole music collection, Debussy’s Images, Nocturnes, etc on EMI Investigation article that exposed issues with
which runs to more than 20,000 tracks. the provenance of some hi-res downloads in
0.12
The result was that I only found six respect of sampling rate.
albums showing a significant pattern of The FLAC results that Mr Helsingius
unused bits. reports are interesting but exactly how
One album, a language training 0.08 FLAC’s ‘analyse’ option functions isn’t clear
recording featuring just a spoken to me. I suspect it can’t distinguish between
voice, had ‘effective’ bits between 13 proba bility (% )
a genuine 24-bit recording and one that has
and 15 depending on the track. Two been properly converted from 16-bit with
0.04
CD rips – Smoke & Strong Whiskey by dither, so its usefulness is limited.
Christy Moore and In My Memory by DJ It is certainly suspicious if the length of a
Tiësto – had consistent 15 bits out of 16, hi-res file is a multiple of the CD timecode
indicating digital processing and less- 0 frame length but again this is an indicator at
-80 -40 0 40 80
than-perfect use of headroom. level (L S B , 16-bit)
best, not cut-and-dried proof that the file is a
The most interesting discovery was 16-bit conversion.
that two supposedly 24-bit downloads – ABOVE: Probability density function (PDF) The best method – indeed the only
A Retrospective by The Unthanks and graph produced from the André Previn disc method – we know of to identify reliably
the LSO Haitink Beethoven Symphony 24-bit files that are 16-bit conversions I
No 9 – both of which were downloaded My conclusion? The Unthanks and described in the aforementioned Opinion
from the Bowers & Wilkins Society LSO Haitink Beethoven Symphony No 9 piece. This involves generating a graph
of Sound website, had consistent 16 are 16-bit material in a 24-bit dressing, called the probability density function (PDF)
effective bits, despite being nominally and The Unthanks material is from a CD. that records, in effect, how many times each
24-bit FLACs. Another album from the It also seems that the Portico Quartet of the 16,777,216 possible sample values
Society of Sound site by the Portico album comes from a CD, but with some occurs within the 24-bit file. In the case
Quartet had strangely inconsistent bit light processing done on some of the of a genuine 24-bit recording the curve
depths ranging from 16 out of 24 bits tracks for the ‘24-bit’ release. should be quite smooth. Whereas if the file
on the second track to 24 out of 24 bits Later, I made the same discoveries is a 16-bit conversion we’d expect to see
on the third, the other tracks all having with the album Son Of Rogue’s Gallery: certain sample values (associated with 16-bit
values somewhere inbetween. Pirate Ballads, Sea Songs & Chanteys, resolution) over-represented and the PDF
After also reading on an internet which I downloaded from HDtracks. It becomes ‘spiky’ as a result.
forum that all tracks on a CD are an claims the album is 44.1/24 but the FLAC An example is shown above left but not
even multiple of a CD frame (588 pairs decoder shows it to be 16 bits zero- from a 24-bit file: this is actually the PDF of
of left and right samples), I ran a script padded to 24 bits, and the track lengths EMI’s CD release of one of its earliest digital
to check that as well. It turns out that all are all even multiples of the CD block recordings, of André Previn conducting
the tracks on the Portico Quartet album size, 588 samples. Debussy orchestral music. At the time, if
have exact multiples of 588 samples. This method of detecting padding memory serves, EMI was using a 13-bit
The odds of that happening by accident only works on totally obvious ‘padding digital recorder, hence this odd PDF.
are 1/588 or 0.17%. For all ten tracks they 16 bits to 24 bits’ stuff. As soon as you From our experiments, described in more
are 1 in 940526814607642247350452224. do any processing/resampling, or add detail in the Opinion piece, this method
The album by The Unthanks had exact a bit of (inaudible) low-level noise, you appears to be robust even if the file was also
multiples in six out of its 11 tracks. cover your tracks, so who knows how subject to upsampling.
Lrlm^fZg]:Jl=b^e^\mkb\&;bZlLrlm^f%
wheel began ‘weeping’ black liquid. took a look at the numbers... 0·75
Ken Kessler replies: I have been unable rubbery Ƃnish and instead resembled
a tiny, bumpy chocolate cookie! The
result was a dramatic decrease in speed
stability. I abandoned further transfers
A NEW SLANT
The most well-known effect of incorrect
tape-head azimuth is that it will ‘tilt’ the
gaps that record or sense the magnetic
Quarter-Track Stereo Reel to Reel Tape
tapes still to be transferred. puts dips into the treble response. Since 0·61
0·30
Right
My dilemma is one that others may the speed at which cassette tape travels 0·61 Left
OUT OF TIME
some of the comments I received when widths of the tracks also matter. The wider To make things worse, the wider
less affected than cassette. An azimuth tilt if you buy a replacement reel-to-reel tape
-1
of just 0.15º will produce a treble rolldown machine to play old recordings, azimuth
Loss dB
-3
-4
of about 1dB at 7kHz for cassette, but this
only improves to 9kHz for a reel of tape
played at 9.5cm/s.
can be a concern. And even if the deck
has been refurbished, the alignment
might have been adjusted.
0 2 4 6 8 10 12 14 16 18 20
Now you might argue that real For years I’ve put off deciding what to
new-old-stock.
frequency kHz
Effect on frequency response of a 0·15 degree azimuth error enthusiasts would prefer higher tape do about this, but guess I’ll have to act
speed and half-track reel tape for better soon. If any readers have gone though a
ABOVE: Comparison of azimuth error on freq recordings. Alas, half-track stereo reel tape similar process, I’d be interested to hear
resp. (cassette tape versus quarter-track tape) uses tracks 2mm wide. Double the value how they got on.
native d
s
& femto d hand ling
master
clock
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CELESTION UP TOP
This was an idea that had
been used when the BBC
team first sought to build ABOVE: Shot of the rear of the BC III baffle
more powerful speakers by showing drivers and board-mounted crossover
using a 12in unit crossing
over directly to a tweeter. later go on to found Audiolab, and the late
The BBC LS5/5 had used Nigel Rowell. All three were then involved
the slot-loading technique with the original Audio T shop in Oxford
in a more extreme form. Street, but at the flat, he says: ‘We had
For the upper registers, a beautiful big room with a bay window,
the BC III still used the lovely acoustics, velvet curtains – and a pair
Celestion HF1300 as the of Spendor BC IIIs.’
main high-frequency unit, One of Spendor’s great strengths was
with a Celestion HF2000 stereo imaging, and, as Philip Swift points
replacing the Coles super- out, this was something that the BBC had
tweeter found on the BC I. a real requirement for.
Massive by the ‘These were the early days of FM stereo
standards of the day, broadcasting, and the early days of colour
the BC III measured TV which eventually became stereo. And
800x394x384mm (hwd) it’s quite an inappropriate assumption that
and weighed 34kg. so many people make, that a narrow baffle
Trolley stands brought gives you a better stereo image.
the speakers up to their ‘It’s true that a point source would be
optimum height while ideal. But a narrow loudspeaker is nowhere
allowing them to be near a point source. And a wide speaker,
moved around easily, and a as near as you can get to being an infinite
locking XLR connector was baffle, ensures that the drive units don’t
used instead of the usual “see” the edges of the baffle and that
‘domestic’ 4mm sockets. can have a significant advantage for the
Philip Swift, who has imaging of the loudspeaker.
headed Spendor ever since ‘As soon as you narrow it down, you
he bought the company have to take account of the edge effects,
in 2001, actually owned and many loudspeaker designers don’t
the very first pair of BC do that. And that superficially sharpened
IIIs. He’d first met Spencer stereo image is actually brought about by
Hughes even before the phase inconsistencies created between
BC I became a commercial the main output from the driver and the
product, and spent many diffraction effects of the cabinet. But
hours talking to him about you are no longer listening to a sound
his speaker designs.
In the early 1970s, LEFT: Spendor’s fabric grille cloth is stretched
Swift shared a flat with two onto a wooden frame and located in place via
fellow Imperial College graduates, screwheads protruding from the baffle of this
Derek Scotland, with whom he would early BC III (provided by Pete Thomas of PMC)
&DOO(PDLOQHZV#QGKDQGKL¿FRXN
1(:672&.,17+,60217+0$1<5('8&(',7(06,15('«
Graham Slee Elevator c/w PSU1, excellent boxed ..............................................299 Arcam Delta 290.........................................................................................................149 5HJD2VLULV,QWHJUDWHGDPSOL¿HUH[FHOOHQWER[HG ...............................................2749 % :35RVHQXWÀRRUVWDQGHUJRRGFRQGLWLRQ....................................................199
Tom Evans Microgroove, excellent..........................................................................229 Arcam Alpha 9, excellent boxed...............................................................................199 Sugden Masterclass CD, excellent boxed .............................................................999 Ruark Epilogue, excellent boxed .............................................................................119
Sony PS-X60 Direct Drive, vgc ................................................................................249 0HULGLDQSUHDPSOL¿HUYJF .................................................................................299 Roksan Caspian M2, CD player, ex demo ..........................................................1199 5XDUN3URORJXH2QH\HZ¿QLVKH[FHOOHQWER[HG ................................................299
Technics SL150/SME3009, vgc...............................................................................299 0HULGLDQSRZHUDPSOL¿HUH[FHOOHQW..................................................................299 NAIM DAC, ex demo...............................................................................................1599 Ruark Dialogue, excellent boxed ...............................................................................99
Clearaudio Innovation Compact, good condition, ...............................................2499 NAIM NAP140, chrome, excellent boxed ..............................................................349 Audio Analoge Paganini, excellent boxed ..............................................................279 Usher S520 in birch, excellent boxed......................................................................279
Clearaudio Basic/Accu Phono stage, excellent.....................................................599 NAIM NAC62, phonoboards excellent ...................................................................199 Audiolab MDAC ex demo.........................................................................................449 Triangle Comete ES, excellent ...........................................................................Due in
Thorens TD125 ..........................................................................................................199 NAIM Supernait, excellent boxed very recent......................................................1999 NAD C545Bee ex demo...........................................................................................249 Audiomaster LS3/5a.............................................................................................Due in
Lyra Dorian, excellent ................................................................................................249 QUAD 44/405, recapped, excellent boxed ............................................................499 Meridian 506/20, vgc..................................................................................................299 Quad ESL 63, excellent boxed ................................................................................749
NAIM NAP250 Olive, excellent boxed....................................................................999 CR Developments Romulus V3, Integrated ..........................................................799 Sugden CD21se, excellent boxed...........................................................................699 Mission 753, vgc.........................................................................................................299
7XHVGD\WR6DWXUGD\WLOWHORUHPDLOQHZV#QGKDQGKLÀFRXN
6SHFLDORIIHUVWRFHOHEUDWHRXUQHZZHEVLWH
ZZZWXUQWDEOHZRUOGFRXNWKHDQDORJXHVSHFLDOLVWV
LAB
REPORT
VINTAGE HI-FI SPENDOR BC III (Vintage)
You know you are measuring a loudspeaker from a different
era when its sensitivity is specified as +2.5dB reference 1dyne/
RIGHT: Philip Swift, owner of Spendor cm2 per volt. This is equivalent to 85.5dB re. 2.83V, on which
for the past decade, seen here with a basis Spendor was, as befits its reputation, being conservative
pair of modern-day Spendor D7s given that I recorded a pink noise figure of 87.0dB from the
immaculate review pair. Further surprise awaited when I
checked the impedance. I recall the BC III having a reputation
effect running up and down the for being tough to drive but that was decades ago, before
bass, the BC III seemed to do more speaker makers took to giving amplifier designers sleepless
or less everything right and the track nights on a routine basis. Its minimum modulus of 3.7ohm
wasn’t so surprising, and occurs at a high 20kHz where the
became sumptuous and inviting.
energy in most music is significantly reduced. But a minimum
Moving on to 1970s rock with EPDR (equivalent peak dissipation resistance) of 1.4ohm at the
Dylan’s epochal Blood On The Tracks same frequency was an eye-opener, even though the dip to
[Columbia 512350 6], it seemed 1.8ohm at 996Hz is probably more relevant. Certainly the BC III
that the big Spendors let you feel will have made amplifiers of the time sit up and take notice.
The on-axis frequency response trend is flat until the 13kHz
the impact of Dylan’s lyrics thanks crossover to the supertweeter, where the output drops [Graph
to a combination of real clarity 1, below]. This increases the response errors, 300Hz to 20kHz,
and smoothness, and kept him to a mediocre ±5.0dB and ±5.7dB respectively, but to 10kHz
right where he should be in front they are held to about ±2.5dB – remarkable for a speaker of
this vintage. Pair matching error up to 20kHz is poor at ±5.5dB
of urbanely-presented backing but again reduces below 10kHz to what, for the time, was a
instruments. The speakers could commendable ±1.6dB. Near-field bass measurements couldn’t
reveal those tiny but pregnant be made because the BC III grille is difficult to remove but
pauses in his delivery, and made the impedance versus frequency graph shows that the port
resonance occurs at about 34Hz. The cumulative spectral
the swooping declamation of ‘Idiot decay waterfall [Graph 2] is pretty impressive too. KH
Wind’ totally absorbing.
midrange quality. It always had the
A LITTLE SWEETNESS reputation of being hard to drive,
Finally, it was intriguing to listen but perhaps that just illustrates the
to Adele on a pair of speakers built belief of PMC’s Peter Thomas – who
before she was born. Right from lent us his mint-condition BC IIIs
the start of ‘Rolling In The Deep’ for this review – that a lot of the
[21, XLCD 520] the singer’s power reported failings of big ’70s speakers
and projection was as gripping as were mainly due to the inadequacies
ever, but with all of that big space of contemporary amplifiers.
and even a little sweetness in the As for serviceability, Philip Swift
production, while the sledgehammer says, ‘We get very few requests for
beat of bass was fairly well padded. BC III servicing but sometimes we
ABOVE: On-axis response is flat until crossover to the
The real strings on ‘Turning Tables’ can rebuild a bass driver, because
supertweeter at 13kHz, after which output drops
sounded a bit too synth-like, but interestingly enough it’s not a
ultimately the BC III could, as the million miles removed from the bass
song says, have had it all. driver we’re making today for the
If the BC III didn’t set the hi-fi current SP100R2. It’s still a 12in
world on fire the way the BC I Bextrene cone unit.’
had done, that must have been There are more than a few people
mainly just because it was big and scattered around the world now dB
B 0. 00
expensive, at around £400 a pair in who still own BC IIIs and say they -6 1. 02
the mid-1970s, but also because it would never, never part with them. - 12
2. 04
did not have quite such a beguiling After listening, I can hear why. - 18
8
3. 06
- 24
4
4. 08
HI-FI NEWS VERDICT - 30
0
5. 10 msec
With bass that’s beautifully even, 200
0 1000
Frequency in Hz >>
10000
Sound Quality: 80% THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 0.5% / 0.4% / <0.1%
ABOVE: Rear panel of our early BC III 0 - - - - - - - - 100 Dimensions (HWD) 801x394x384mm
example, with its 3-pin XLR connector
¸0-@6<*(5-05+(*65=,5;065(336<+:7,(2,9;/(;
+6,:),;;,9>/(;,=,9;/,790*,0»+),:<9790:,+¹ (SHU:PYJVT/P-P1\S(\N
.9(/(4»:/P-P3;+*(565)<9@@(9+ (5,>569;/96(+365+655):;LS
>(33:6-:6<5+3;+;/,)90+3,7(;/30;;3,403;656?656?77;LS^^^^HSSZVMZV\UKJV\R
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AUDIO MILESTONES
MONSTER CABLE & QED 79 STRAND • CABLES • USA & UK
W milestones represent
leaps in performance,
some are cited for their
equally important roles in changing
the way we listen, or put together
Lee of Monster,
pictured in his
youth. Both
a passionate
musician and
systems. Linn’s Sondek is a perfect audiophile, Lee
example of this, for it revolutionised experimented
how we look at turntables. Monster with cables in
Cable’s achievement – on a cultural his home system
as well as commercial level – is even before even
more profound: it sold a purely considering
audiophilic concept to the masses, founding a
on a scale now represented by a company to
nine-figure annual turnover. manufacture them
Monster would pave the way for
a host of companies including MIT,
Transparent, Siltech, Audioquest and
too many others to name-check. But
equally important for the UK was
the role of QED, which made cables
palatable to British sceptics and BELOW: Bob It is a succinct way of describing from the brief flirtation with Peter
accessible to entry-level purchasers Abraham of QED. the world of hi-fi, circa the decade Belt’s tweaks, cables were and
because the pricing was utterly sane. Seeing a gap in during which Linn would found a remain the single-most controversial
As QED’s Bob Abraham recalls, the UK market company based on the irrefutable aspect of specialty audio,
‘By the mid 1970s, the “subjectivist for an affordable logic that a system could sound no confounding the unconverted and
movement” was in full swing. Prior high quality better than the signal produced by portraying audiophiles as wackos.
to this, the universal view was that if speaker cable, he its source, while subjectivists would In every conversation with
a product was technically proficient introduced QED’s use listening sessions rather than a naysayer about the role of
– in other words if it measured well – 79 Strand cable in measurements to determine the cables, the pro-wire supporters
then by definition it must be good.’ 1978 worth of a product. could employ a truism that
always flummoxed the anti-cable
THE CHAIN detractors: ‘cables are as much a
What compounded the cause of part of “the chain” as any other
the subjectivists was an obsession component.’ The objectivists would
with minutiae, leading to a host of counter with, ‘But it’s passive!’
accessories and cult ‘movements’, If any debates rage to this
encompassing everything from day, they concern subjective
spikes to stands, from passive differences rather than the actual
control units to bi-wiring. Faith ability for cables to affect the
and blind listening were the only sound, and pricing that borders
methods of proving less rational on the offensive. And if the cable
deductions than, for example, Linn’s ‘wars’ – now in what surely must be
indisputable observation about the the period of détente – achieved
first item in the chain. anything, including mass-market
Aaah, the chain! That is precisely acceptance from a high-end vantage
the trap that snared the subjectivists point, it is due entirely to the efforts
when, using the same logic, the of Noel Lee and his company,
craze for cables was born. Aside Monster Cable.
.07&344)",&34
.07&344)",&34 TI
.07&344)",&34
.07&344)",&34 ME L I N E
INC
EE • MONSTER CABLE
INTERVIEW • NOEL L you flip the cable you are listening to an open capacitive
N`i\[]fi
LEFT: Monster’s load as opposed to one that is terminated. Other than
HDMI1000EX cable
8
1978 this, I do not really believe that how the copper is drawn
like bandwidth
bandwid balanced, multi-gauge time-correct is protected by the Monster C ablle
Cable or all the other controversial cable directionality themes
windings. They
Th used our cables on microphones, company’s ‘Cable founded.
is found
ded. are legitimate. As the long answer to your question,
consoles for internal wiring and it made a significant for Life’ scheme Production nbbegins
eg
gins HDMI cables are not directional. There are no arrows on
difference to their recordings in those early days. that promises to San
in Noel Lee’s San a Monster HDMI cable.
match upgrades Francisco gaara
age
garage
Jfle[
HFN: At that time, there was a suggestion that in technology with I HFN: Where do you see HD audio and video headed?
these bandwidth
bandw balanced cables partitioned higher replacement cable 197
79
1979
frequency signals
si down thinner gauged strands while The fam
mouss
famous THM: I’m excited about where the future of digital
lower frequencies
freque travelled through thicker sections FAR RIGHT: multistranded
multistra
ande ed video is going to take us, but it’s going to happen a lot
of the cable.
cable You received some criticism for that. Is This exploded Monster Cable
Cablle is
faster than it did with analogue where enthusiasts are
this something
someth you regret or do you feel that you were view inside still dealing with tubes versus transistors. With digital it
debuted d at tthe
he
misquoted oro misunderstood? a Monster LEFT: Monster’s HDMI cables are is going to be measurable, it’s going to be quantifiable. ABOVE:
Summe
Summer er C ES
CES
distinguished by these medallions Differences in the size and quality of pictures are going Monster’s data
I
Monster Cable helped define the worldwide
HDMI cable
THM: Well, I was definitely misunderstood because • Standard Speed, 720p/1080i/8-b to be important with new developments in faster screen rate comparison
illustrates the it Colour, 198
83
1983
ct and
industry for after-market interconne
nobody really
real realised what I was talking about. comprehensive available up to 6m rates leading the way for faster sources and faster for existing and
• High Speed, 1080p/8-bit colour/60Hz, rec
ece
Monster receiveseives content. 1080p displays lead to new sources, like HD future HD source
Fortunately, gentlemen including Malcolm Hawksford,
its
speaker cables. Paul Miller talks with
screening
available up to 6m its first pa
patent
ateent DVD, Blu-ray and Sony PS3. components
writing in Hi-Fi
Hi News, tackled the different speeds of of cores and
and lockable
for the loc ckaable I believe we are going to see bigger displays
founder, entrepreneurial engineer
travel through
throu different thicknesses of cable. He talked connector, • Advanced High Speed, 1080p/12-bit
about the depth
d of penetration of the signal inside a colour/60Hz, available up to 6m Xterminator
Xtermina atoor 4mm with even greater (1440) pixel counts and above.
including built-
‘Head Monster’ Noel Lee copper conductor
cond and other materials. So he wrote the
equations – it was fantastic! This was validation from a
in strain relief • Ultra-High Speed, 1080p+/12-bit
colour/120Hz, available up to 75ft
& xv
banana
banan na p
I
plug
lug These advanced HD displays are available today for
professional use and it is only a matter of time before it
LEFT: Head
Monster in
(22.9m)
y the late 1970s, cable ‘sound’ was
finally let scientist that
tha a lot of these things do happen. connection would have to be part
of the some 1991
19
991 trickles down to the consumer. the making, a
#
RIGHT: Noel acceptable to future specification that also took Monster
er XP
Monsste XP youthful Noel Lee
Lee, the Head out of the closet. It was perfectly into account
leads could the limited space available to a thin THM: I can’t give you all my secrets HFN: Do you realistically anticipate a consumer source pictured in 1980
Monster and suggest that changing your speaker HFN: Any other
ot memorable stage posts along the way? flat-screen TV, but I can replac
cess the
replaces the
and Monster for example. Although we made tell you some of the things that that is greater than 1080p in its native resolution?
dynamo behind improve the sound of your system the first lockable are important. origina
al cable
original cable
in the vanguard of the TFM: Speaker
Speake cables came first because these were banana plug (the Xterminator) we Some are visible, some are not. Like I THM: Stores did not want to carry three versions of
the Monster Cable, headed by Noel Lee, was do ABOVE:
the same
will never be able to
types, shielding is important. We
other cable
we now have hundreds the Wig and Pen Club, the easiest tot design. But you have very high current early days of with HDMI without the agreement
The 19
992
1992 THM: Higher definition already exists in your PC, so the Steely Dan. Ultimately, the failure of these formats was
Cable brand revolution. Thirty years later and to the UK almost 30 years ago, to hardware of the
metal shield that goes all the way
use a fully encased
to delight, confuse I wrote a paper called c
levels, so I couldn’t figure out this fascination for thin, home theatre original producers.
low- folks who use, say, a 10-megapixel camera with a good not a failure of the technology but because retailers
of brands and thousands of cables was really to educate the press. connector which is stamped, clamped
to the tip of the hig
gh--en
The high-endnd M-
audiophile. and, ironically, I have ca
solid-core cables in the UK. It took me a few years to it was still all resistance, capture chip will be resolving colours that go beyond could not properly demonstrate it. It happened at a
and generally frustrate the commited ‘Life Is Tough For An Audio Signal’ HFN: Give us a synopsis of your latest
and soldered series a ud
dio
audioo and
at Monster’s to the shield so it is very ruggedly video that is available today. But what can you replay it time when we were moving towards big video and flat
Hi-Fi News caught up with Noel Lee a similar paper today called ‘Life
Is Tough For An HDMI t was a difference in taste between the
realise that this about audio, as multi-stranded
technologies
HDMI connected. video c abble
es are
cables
Conference [see consume and the American consumer. We were
UK consumer pictures were being and bring us up to speed with ‘the
Monster speaker Ruggedness is important because on? You have to play it on a higher resolution computer screens, so HD video took everyone’s breath away and
recent ‘Need for Speed’ HDMI Press Cable’. So it feels like I am born again! need
you are laun
nche
launcheded
and was granted an fascinated in those days by big JBL loudspeakers and reproduced on a 13in for speed’.
cable. For a working with such high data rates monitor. These will take a still picture but we want the audio went by the wayside. Today it is very difficult
Barry Fox’s FutureTech, page 16] that if you I
Cerwin-Vega woofers. We wanted powerful bass while Sony Trinitron or some time, along with bend a cable, the mistermination the same performance with movies. Gamers are going to get an audio demonstration, much less a music
exclusive interview. 1"44*0/'03$"#-&4 want that polite sound, those LS3/5As that
the UK wanted such. These were sold by TV THM:QED’sHDMI cables are in danger of becoming
79-strand,
79 strand its data bandwidth. Internally, the
could affect 19
998
1998 to push the limits. Today you can see gaming that is demonstration over six channels. However, we have
Cable some
excited about this HFN: You launched the original Monster I am a proud owner of, and KEF speakers that really dealers, not by audio dealers. Readers will remember commoditised
it ruled the as everyone thinks they are all
quality of
the dielectrics is important to maintain Monstterr ‘C
Monster Clean
‘Clean difficult to differentiate from real-life video so the games started a record label called Monster Music to try and
The Head Monster: I am genuinely evolve from that
also responsible for 30 years ago. How did the company focused on thet midrange. But this still validated the when it was blasphemy for audio dealers ers to have a TV alike. So, in November
audiophile roost we introduced the first bandwidth, very low losses especially
the high Poweer’’ m
Power’ ains
mains and animation markets will drive the technologies for keep multichannel high-resolution alive.
interview because Hi-Fi News was point? I remember that you migrated
your cable into
speed-rated distances. This also needs to be rugged
at long condit
tione ers are
conditioners
cable controversy. m
concept of multi-gauge speaker cable, the fact that the in the shop, but we had to make that transformation in the UK cables, which match the performance movies. I can see Spiderman on IMAX and have it look
educating consumers about the the professional sector, including
recording studios of because
invented the first consu
British consumer had, by ear, determined what wire was as video resolution improved and cables es became more different digital video sources and displays. HD video HDMI cables are going to be bent, intro
rod
duc
introducedced perfectly clear and sharp, but I want to see Spiderman %05)&.0/45&3."4)
BELOW: When I started the company and – taking it right back to the source.
Was this a key run through walls
I
through listening the best for midrange. British consumers did not care so important. The Hi-Def era really exposed ed the differenceshas gone from 720p through to full-HD 1080p and and possibly nailed in place with blast across the screen with the same colour depth and If you listen to a Monster Music disc it will absolutely
Monster Cable it was done primarily strategy from the beginning? now a staple gun.
Monster’s latest of copper, how rea low bass or high treble frequencies, they
much for really between cables, but digital video transfersfer was a 1080p plus 100Hz displays. This 2000
20000 sharpness in my home. floor you. You’ll sit there and revel in a surround stage
– experimenting with different gauges represents an increase
HDMI cables
are graded you twist it, choice of dielectric.
They all had an effect
produce the perfect THM: Well, in those days I wasn’t
a business guy, I didn’t cared about that glorious midrange.
cab brought their own problems. In the
Video cables
revolution. Our first HDMI 1.0 cable was
years ago and we considered it the best
as introduced fourin bandwidth as does the development of xv colour.
st available until, It would be really naive to think that one cable does
A4JMWFSJTBHPPENBSLFUJOH Le
ee is
Noel Lee is dubbed
HFN: And how will these next generation ‘Super HD’
so convincing that you’ll never go back to two-channel.
It’s so dynamic and incredible that you’ll say ‘why didn’t
on what the ear hears in trying to I had no strategy. I was ‘Entrepreneur
‘Entrrep
preeneur
and packaged no real knowledge know how to run a company, so s...
of course, the launch of our new series... all. You may have one cable that TUPSZCVUJUEPFTOUHFUVT movies take shape? anyone ever play this for me before?’. Well, we failed to
according to audio cable. Before this there was so passionate about music and also
passionate about
data rate like 720p, but it won’t
does all at a very low of the Year’
he Y ear’ by
and so my first trip as many people as I Pow
BELOW: Powerline 3, one of Monster Cable’s ‘Time educate the consumer and I hope we don’t fail again,
performance that cables could make a difference the gear, I just wanted to reach
store by sp
Coherent’ speaker cables available through the 1990s 40$,&54"/%-044&4 work as you up the data rate to
necessarily
NBLJOHCFUUFS)%.*DBCMFT accountants
accoun nta
ants Ernst
Young
& Yooung A%7%"BOE4"$%GBJMFE because the capabilities of either HD DVD or Blu-ray
could. I did demonstration by demonstration, accommodate new sources and video cannot be adequately demonstrated. Ironically,
store, trade show after trade show
and HFN: Consumers regularly report lossess in I
consumer after consumer because
I authentication when hooking-up their HD-ready TVs, screen technologies. HFN: Have you experimented with
materials, silver in place of copper
different conductor 2005
2005 CFDBVTFSFUBJMFSTDPVMEOPU 192/24-bit audio comes along almost free so now, with
often caused by bulky ‘high-end’ HDMI cables deforming The other factor we HDMI, you also have the world’s best audio cable.
had no money. I started the company for example, in line Laun
nch
Launchhooff the
QSPQFSMZEFNPOTUSBUFJU
with mounted HDMI introduced was the impact
what are typically fairly flimsy, board-mounted with analogue cables?
on a shoestring. I was struggling of long cable lengths. We showed MPA 5 150
5150 0 Home
sockets. Have you addressed this issue?? HFN: Any final thoughts about the future of HD content
an embryonic business in a category that some cables worked fine at THM: Well, we tried a silver-coated Cinemma Music Five
Cinema
THM: HD Audio provides the model. In the old days it and Monster’s role in its delivery?
that didn’t really have any meaning! short but not longer lengths. So we found that other differences
HDMI cable but Channnell R
Channel eference
Reference
Over time we helped educate not
the whole
EJE
EO
OPUDBSFGPSSFBMMZ
A#SJUJTIDPOTVNFSTEJEOPUDBSFGPSSFBMMZ ‘buyer beware’ as HDMI cables are
I would say
dramatic that silver offered little
were so much more Power
Poweer AAmplifier.
mplifier.
was direct-to-disc. We wanted to improve analogue so
we cut it direct to the record. Then came computer THM: My advice is to buy all the Blu-ray, HD DVD and
just on Monster but on completely to nothing. Silver is I
genre of cables and really created MPXCBTTPSIJHIUSFCMFGSFRVFODJFT
UIFZ
CMF
FGGSFR
RVFODJFT
UIFZ unregulated as to their quality. We
the performance of our new cables
now express
a good marketing story but it doesn’t
better HDMI cables.
get us making 2006
20
006
recording, but it was many years before this bettered
analogue. The truth is that recording at 192kHz/24-bit
DVD-A discs you can, while you can. At the moment I’m
enjoying them and think they’re worth every penny.
the industry we know today. Now DBSFEBCPVUUIBUHMPSJPVTNJESBOHF
PSJP
PVTN NJESBOHF capacity to handle a given data
by their
Monsste
Monsterer iiss official on a professional desk offers a clarity and resolution that Technology changes and we have to be able to embrace
cables have become a significant minimum cable length.
rate over a
HFN: How about the prospect of audio//video
audio/video is indistinguishable from analogue. But for years there it and we also have to be able to educate on it. So this is
business for retailers and also a hot HDMI cable
directionality. Is this something that
THM: The mechanical problems of HDMI, MI, the variability cable
cab
ble
epprovider
rovider was no way to play it. We would down-res this content why I am so excited to be here at the beginning of
topic for audiophiles who continue HFN: What are the engineering differences about?
we need to think
not only in the PCB connection but the e source/sink for Micr
crosoft’s
Microsoft’s to 44kHz/16-bit to fit it onto CD. So we were listening high-definition, and I am so glad that people still need
to discuss and argue about the best between
blems. Different a cable destined for 720p and one more suitable for
chips themselves are all potential problems. Xbox3360 in the US
Xbox360 to a lower resolution version of what was actually cables to make it happen! At least Monster will have a
types. We are happy to be part
of that creation. Professionals, by
components may have different HDMI specifications. higher 1080p data rates and beyond? THM: We have a very good reason
for cable I recorded. DVD-A and SACD finally allowed us to hear the job here for the next five to ten years.
contrast, were not so crazy. They’re
Do you have HDMI 1.1 or 1.3 for example? ple? The popular directionality, but other folks have
yet to prove to me 2007
2007 original content.
misconception is that all HDMI are the same, but there RIGHT: Inside an M1000-series HDMI cable showing the that symmetrical cables actually Spee
ed--ra
ated HDMI
Speed-rated • Watch Noel Lee talk about Monster’s HDMI testing
more serious than audiophiles perform differently
DMI since 2003. active TMDS (Transition Minimized Differential Signal)
have been five different versions of HDMI when flipped. Our interconnect HFN: Sadly, few consumers have bought into this regime, as demonstrated at recent press events –
but were still able to hear some differently at each end, one end
cables are terminated cables
cab
bles la
launched
The latest demands a sophisticated cable ble that requires core
a conductors, the drain wires and revolution... www.monstercable.com/hdmi/advancedhdmi.asp
of our technologies, innovations dual-screening
has the screen and return soldered
is open while the other
ts manufacturing.
lot of testing and a lot of precision in its together. So here is a
Furthermore, the HDMI connection has no provision very legitimate reason why you can
hear a difference, if
ble HDMI
for locking, unlike a DVI cable. A lockable 116 | www.hifin
www.hifinews.co.uk | FEBRUARY 2008
114 | www.hifinews.co.uk | FEBRUARY 2008
112 | www.hifinews.co.uk | FEBRUARY 2008
RY 2008 | www.hifinews.co.uk
FEBRUARY | 113
14/12/07 12:24:58
112-116 Interview v2 PMAH i
dd 114
Back in the 1970s, the notion ABOVE: Noel Lee approach was employed, as by Bruce professional drummer, so working
of using cables better than the talks company Brisson’s MIT cable in the 1980s, in audio was not a great stretch.
then-standard AC lamp wire (aka strategy, the few were moved by the numbers. As with every enthusiast who read
‘zip cord’ in the USA) for speaker differences in Mitigating factors included price, Stereophile, The Absolute Sound,
wire emerged not from Lee but from taste between US the odd amp exploding, bulkiness Hi-Fi News or other magazines
Japanese audiophiles. As with all and UK audio fans and – depending on your attitude covering high-end systems, Lee
cults that started in Japan, always and Monster’s toward reviewer hyperbole – the experimented with wires on
a hotbed of hi-fi extremism, they future in a world undeniable subtlety of the sonic a personal level before even
had to reach the West by various without wires in changes from wire to wire. considering founding a company to
slow routes in the years before an interview with None of this stopped an manufacture them.
the internet. After all, Japanese Paul Miller in the enterprising laser-fusion design Concurrent with the other
magazines were of little use if you February 2008 engineer at Lawrence-Livermore cable innovators, he wanted to
didn’t speak the language. issue of Hi-Fi News Laboratory. Noel move beyond
Instead, industry figures with Lee would later the mere
strong Japanese connections, tell Paul Miller ‘Because cables assumptions of
including Sumiko’s Dave Fletcher in
the USA and audio journalist Jean
in these pages
in 2008 that,
were so new, it was varying quality
according to
Hiraga in France, served as conduits ‘in those days I a true trial-and- one’s subjective
for developments in the Far East. The wasn’t a business reactions, to
former most notably popularised MC guy. I didn’t know error period’ discovering that
cartridges while the latter is credited how to run a wires of different
as being the envoy for wire. company, so I had no strategy.’ He construction, dielectric material and
was being modest. diameter produced varying degrees
FAR TOO SUBTLE... From the time when he first of audio performance. Around 1980,
Pioneering cable manufacturers BELOW: The experimented with cables, around Lee met Brisson, who had worked
included Polk, Mogami, Fulton, original low- 1977, to 1979 when he founded with Fairchild Electronics’ integrated
Monitor Audio, Randall Research resistance, multi- Monster Cable (and along the way, microsystem division. Brisson would
and others, but all were confined stranded Monster worked with Brisson), Lee proved add the science.
to the audiophile community. The speaker cable in to be as savvy an entrepreneur as a
mere notion of spending more its packaging. Steve Jobs or a Richard Branson, and BALANCED BANDWIDTH
than 10p a foot on wire remained Noel Lee debuted he had a far tougher product to sell Because – and I’m paraphrasing
anathema, and measurement- the cable in 1979 than a computer with sex appeal, here – Brisson could demonstrate
oriented reviewers, manufacturers at that year’s or an airline … with sex appeal. that various frequencies travelled
and retailers would not relent. summer CES Lee would make speaker cables, at differing speeds, they were able
Conversely, when a scientific (see p124) er, sexy. Lee was an audiophile and to develop and patent in mid-
1982 what Lee called ‘balanced
bandwidth’ technology. It employed
three different sizes of conductors
and specified the winding and
dielectric criteria, the goal as I
understand it being the transmission
of all frequencies at the same rate.
As far back as 1985, when
I visited Lee in San Francisco,
Monster Cable operated as a serious
commercial set-up rather than the
typical rag-tag high-end company
mired in chaos. The street-smart
Lee, who to this day understands
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AUDIO MILESTONES
guarantee that the cable could be (£2 in today’s money), even for ABOVE: As well To a packed crowd in a private
produced to the required standard. those buying the entry-level system as the classic 79 dining room in London’s Wig & Pen,
Consequently, they said that the of Dual 505 turntable, NAD 3020 Strand cable with overseen by marketing maven Andy
minimum strand size they would be amp and KEF Coda speakers for its figure-of-eight Giles, Noel told a group of UK audio
prepared to use would be 0.2mm. £279, two 3m lengths was not too construction and journalists, including Hi-Fi Answers’
‘We were taken aback by this, forbidding an added cost. tough PVC sleeve David Präkel, that his wires used
and asked how many strands this As for Lee’s gaffe, it involved the (left), QED soon ‘balanced bandwidth construction’
would equate to in a 2.5mm cross- establishing of a serious presence in introduced a flat because ‘the big notes go down
section conductor. the UK. Monster version (right), the big wires and the little notes go
After a quick had already which could be down the little wires.’
calculation, they ‘79 Strand soon been through a run under carpets
informed us that
it would be “79”.
became the de couple of British
importers by
CASE RESTS
It would take a few years for
And to be honest, it facto cable for 1984. By that Monster Cable to live that down, but
did not sound that time, the UK was survive it they did. Präkel, writing
impressive to us, UK consumers’ so content with for Hi-Fi Answers (Sept 1984) about
but it was take it or the high value-for- Monster’s Interlink interconnects
leave it. Of course, we took it. The money QED wire that it would need with prices equal to £300 per metre
rest, as they say, is history.’ a Herculean charm offensive for in today’s money, said Lee ‘rubbed
Monster to regain market share. many UK hackles up the wrong
FIRST CHOICE Why would Lee even bother with way with sweeping generalisations
QED launched 79 Strand at the such a small territory? He told me about the total ignorance displayed
1978 Harrogate Hi-Fi Show. It soon that the UK press was so influential by other manufacturers of
became the de facto speaker cable that their opinions outweighed the interconnects and cables.’
of choice for UK consumers. ‘We importance of actual sales figures. Präkel concluded his column,
subsequently sold many millions of What Noel did was to underestimate though, with his wife’s observation,
metres.’ At around 70p per metre the journalists’ gullibility threshold. ‘“What else would you spend
LEFT: A young the money on to get that kind of
Noel Lee (centre) improvement?” Case rests.’
pictured at the And Monster remains the most
Monster Cable successful cable company – ever.
stall during the
summer CES in
1979. It was here
Lee unveiled his
cable to the audio
world for the very
first time, having
formed Monster
just a year earlier
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B&W CDM7 NT £495 AVI Lab Series Power £950 Musical Fidelity A1 FBP Preamplifier £625
B&W DM 70 Continentals £1,800 B.A.T. VK-255 SE £5,495 Musical Fidelity Kw Phono £1,450 Tube Technology MM MC Phono stage £995
B&W Matrix 800 £9,990 Bel Canto Ref 1000 M (Mk2) Mono blocks NEW £4,300 Nagra PL-P £4,500 van den hul Colibri PXC £2,750
Beauhorn B2.2 Revelation £1,800 Beyond Frontiers Audio Tulip w/ DAC £8,500 Naim Audio NAC112x £350 VPI TNT 4 Flywheel RB1000 £4,500
Dali 300 MK2 in Rosewood £1,650 Bryston 28BSST-2 £12,750 Nakamichi 410 £198 Wilson Benesch ACT 0.5 £750
100s more bargains online now list your items FREE at www.choice-hifi.com today!*
www.choice-hifi.com
Email: info@choice-hifi.com Telephone: 020 8392 1959 / 07768
STOCKISTS OF: ACCUSTIC ARTS / AIR TANGENT / AUDIO NOTE / AUDIO PHYSIC / AUDIA / AUROSAL
BEL CANTO / BURMESTER / CAT / CLEAR AUDIO / DENON / GAMUT / GRAHAM SLEE / GRAHAM TONEARMS
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REVEL / ROKSAN / SME / TIVOLI / TOM EVANS / TOWNSEND / USHER / VELODYNE / YBA AND MANY OTHERS
Audio Note M3 Pre amp with factory fitted M5 phono stage ..£2995
Audio Note M-Zero R (remote controlled) pre amp ........ £350
Project Tube Speedbox SE MM/MC phono stage .... £299
Analogue Seduction are dedicated towards two Is this your problem? Here’s your
channel Hi-Fi, specialising in vinyl replay.
answer
As well as our on-line shop we have dedicated demonstration
retail facilities based in Peterborough, Cambridgshire and we
loud too loud way too loud
can offer our customers home demonstrations. It’s a common problem. The usable range of the
volume control is all down at the bottom end and “this accessory
We stock the finest in amplification, analogue, digital replay and speakers. fine control at low listening levels is either difficult is heartily
We also specialise in a cable termination and cable burn in service. or impossible. The noise floor may be audible, recommended”
too. There is a simple and effective solution - the Gramophone
Please visit our website www.analogueseduction.net to browse Rothwell In-Line Attenuators. They can be used
or purchase products that are not easily available elsewhere. with pre/power or integrated amps to cure the
problem of excess gain and bring sonic benefits
New vinyl records now stocked with even the most expensive
equipment.
£39/pair - post free
01204 366133
Tel: +44 (0)1733 344768 www.rothwellaudioproducts.co.uk
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JUNE 2013 | www.hifinews.co.uk | 133
To help ensure accuracy, your classified advertisements
must be submitted by email or post...
MARKETPLACE Please email your entries to: letters@hifinews.com
THE PLACE TO SPENDOR A5 black, unmarked, MICHELL Orbe SE, very nice,
£1100. Tel: 01952 728773 mint condition, four years old, one
BUY & SELL AUDIO CASTLE Howard S3, QED Silver
owner from new,all packaging etc.
£1350. SME IV, mint condition, one
EQUIPMENT & ACCESSORIES Jubilee cables. Birch finish, Excellent
condition, boxed, £380 ono.
owner from new, three years old, all
packaging, tools etc. £750.
Tel: 01159 229464 Tel. 01638 668299
NOW FREE
2. AMPLIFIERS interconnects 0.75 metres: £200.
GOODMANS bass units from
Goodmans Magister speakers. Both
15in. Full working order. Buyer to
collect. Tel: 01909 566231
GARRARD 401 with Thorpe
Grenville plinth and Acos lustre arm.
Buyer collects. Ofers from £400.
Tel: 0208 304961
TCI Cobra SE phono interconnect QUAD 63, full service October 11. SYSTEMS
NAIM NAP 250-2, excellent, 0.75 meter pair: £100. All new 2010. All elements replaced. £1875.
boxed, buyer collects, £1500, condition. Email: peter.holliday@ Tel: 0116 2738405 AUDIO Research SP10 valve
Southampton. Tel: 02380 776588 steria.co.uk. Tel: 078019 17291 preamp, Audio Research D250
MORDAUNT-SHORT MS908 power amp, Sonus faber Amator
MUSICAL Fidelity X A1 and CARDAS Quadlink speaker cable floorstanders offered in ‘as new’ speakers, Foundation stands, Oracle
power supply, £100. 5m pair with spades at both ends condition. Desirable calvados finish. turntable, arm and cartridge, Nitty
Tel: 011329 3478 £245 (£650). Quadlink jumper/links Great sounding speakers for just Gritty recorc cleaning machine, also
spades both ends £25. Russ Andrews £250. Collect or delivery 50 miles approx 600 LPs in good condition.
LED pre/power, unbelievable KCAG silver interconnects 0.5m pair from Plymouth at cost. Offers, buyer collects.
clarity, excellend condition and LED £245 (£489). Email johnlangley17@ Tel: 07809 408774 Tel: 01482 805832
silver cables. Latest models. talktalk.net. Tel: 01202 515474
Tel: 077628 16055 ATC SCM 100 TSL Anniversary 12. MISCELLANEOUS
TRANSPARENT Link balanced Limited Edition active speakers,
PS Audio GCC 250 integrated, Class XLR 1m stereo pair interconnects. piano burr magnolia finish with fully NAKAMICHI CD2 and Aiwa
D, remote handset, £800 (£2695 Excellent condition. £250. Nordost discrete amps (350W). Excellent/ FD460 cassette decks, both mint,
new). Tel: 0208 5315979 Solar Wind 2.5m and 3.5m doubled mint condition. £6950 collected offers. Tel: 07711 4433796
speaker cable, excellent condition, (Warwickshire). Tel: 07941 424322.
HOVLAND Sapphire power amp, £150. Tel: 01457 871622 Email: ian.brunt@idnet.com MUSICAL fidelity silver
just re-tubed, serviced, etc, boxed Anniversay watch, £250.
VGC, £2500. Tel: 01772 314151 QED Revelation, award winning 8. TUNERS Tel: 0208 5315979
speaker cable, 2 x 5m lengths,
TUBE Technology synergy, 150W (unterminated). £80 – a saving of MUSICAL Fidelity E500 tuner HI-FI news magazines, free to
per channel, complete rebuild by around £70-£80 if buying new. £100, and T1 tuner £75. Both collector in Northampton area.
Tube Tech to 2012 spec. New Tel: 0161 432 3852. excellent condition. Tel: 01933 356086
valves, as new, stunning example Tel: 07711 4433796
and superb soundstage. 4. CD/DVD PLAYERS 13. WANTED
Tel: 01462 834287 9. TURNTABLES
NAD M5 CD/SACD player, excellent FAULTY Cyrus 1 amplifiers, Cyrus
UNISON Research S8 Class condition with leads, manual, DUAL CS505-3 turntable (wood 2 amplifiers, and Cyrus PSX power
A single-ended direct-heated packing. Selling £500. finish). Little used, VGC and can be supplies (all-metal case only). Cash
triode 845 valve amplifier, 24wpc, Tel: 01793 541240 seen working (North Devon). Recent waiting. May also consider other
matched Unison 845 valves, review in Hi-Fi News (Feb). £60. classic British equipment. Email:
complete with remote control and ARCAM Alpha CD1. Very little Email: wattley747@btinternet.com idaudioengineering@gmail.com.
user manual, little used immaculate use. £75. Tel: 07711 4433796 Tel: 01237 459250 Tel: 07506 79354
condition. Would prefer to dem and
for it to be collected (Staffordshire) ARCAM Delta Black Box DAC
as this amplifier weighs 30kg. £50. Tel: 07711 4433796
PLACING AN ADVERTISEMENT IN THE HI-FI NEWS CLASSIFIEDS SECTION
£3000. Email: wood.john007@
btinternet.com. Tel: 01889 500168 DENON DVD-2900 universal
player. Multichannel DSD for SACD. Fill in your advertisement copy here...
3. CABLES Was £800, sell for £200. VGC.Boxed Please write the product category number that best suits your equipment in the
with manual. (Not Blu-ray.) first square. The product categories are: 1 – Accessories; 2 – Amps; 3 – Cables;
ATLAS Hyper interconnect, Tel: 01531 goog631337 4 – CD/DVD players; 5 – DACS; 6 – Software (CDs, records etc.); 7 – Speakers; 8 –
1m pair, Hi-Fi News Outstanding Tuners; 9 – Turntables; 11 – Complete Systems; 12 – Miscellaneous; 13 – Wanted
Product, £75 Tel: 0161 4323852 MUSICAL Fidelity A308CR CD
player. Was £1999. Sell for £699. A We will insert the telephone number you want to appear in your advertisement(s)
VOODOO Fire Dragon mains real heavyweight. Boxed. As new. as many times as is needed. You only need to fill it in once and it only counts as
cable 1 metre: £300. Mit Shotgun Buyer collects. Tel: 01531 631337 one word – even if you run multiple adverts.
AC1 mains cable 3 metres: £400.
Tellurium Q graphite mains cable 7. SPEAKERS
1.5 metres: £500. Atlas Eos mains
cable (2 x 1 metre pairs): £100 KLIPSCH Heresy IIs, two pairs,
each pair. Tellurium Q blue mains one walnut, one light ash, £575
cable 1.5m: £200. Mains Cables R a pair. Tel: 01773 831830
US Ultimate Rhodium mains cable
1.5m: £600. Transparent Audio ALR Jordan, German standmount
interconnects balanced Musiclink speakers in birch. Hi-Fi World prize.
plus 1 metre pair: £200. Transparent Still in box. Gorgeous. Sell for £325
Audio interconnects Musiclink (£800 new). Tel: 01308 868044
Super1 metre pair: £400. Tellurium
Q: graphite interconnects (balanced PROAC Supertower speakers in Tel (to appear in advert):
pair): £300. Mit AVT MA phono black ash. In excellent condition.
interconnects with adjustable Superb speaker. £650. Will deliver Please post this completed coupon to Hi-Fi News magazine, MyTimeMedia Ltd,
impedance switch 1 meter pair: 20 mile radius. South Yorkshire. PO Box 718, Orpington, BR6 1AP, or email your advert to letters@hifinews.com.
£300. Atlas Mavros balanced Tel: 077399 19121 Hi-Fi News accepts no responsibility for description or condition of items advertised.
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Audio Destination Tiverton 01884 243584
-2$+ Basically Sound Norwich 01362 820800
1 *$1123#(- 4"-3) (231
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(*1-,$,$1"'
TURNTABLES I HIFI I STREAMING Chris Brooks Audio Warrington 01925 261212
Faithful Audio Birmingham 0121 224 7300
Home Cinema Centre Edinburgh 0131 229 9350
www.dougbradyhifi.com Phase 3 Worthing 01903 245577
Unilet New Malden 0208 942 9567
01925 828009 (Mon–Sat 9.00–5.30)
www.heedaudio.co.uk
DOOLEYS
Loricraft Garrard Turntables, AUDIO VISUAL
Record Cleaning Machines & Power Suppplies. 106 MILL STREET
MACCLESFIELD
www.garrard501.com CHESHIRE
Contact: terry@garrard501.com
SK11 6NR
jane@garrard501.com
01625 264666
Telephone: 01488 72267
sales@dooleys-hifi.co.uk
www.dooleys-hifi.co.uk
Stockists of:
s !RCAM s "7 s &OCAL
s ,INN s .AIM s 0-#
s 2EGA s 2OTEL AND -/2% love your music
s 7ILSON "ENESCH s
s -ICHELL %NGINEERING s
s $YNAUDIO s 'RADO s
s .AIM s 5SHER s
(IGH 3TREET (AMPTON 7ICK s 4HE #HORD #OMPANY s
+INGSTON UPON 4HAMES s +UDOS s 1UADRASPIRE s
3URREY +4 $! s !UDIOVECTOR s
s ,EEMA !COUSTIC s
Tel:
Open: 4UES
3AT AM
PM
www.infidelityCOUK 18 Market Street Tavistock
Devon PL19 0DE
01822 618 940
info@tavistockaudio.co.uk www.tavistockaudio.co.uk
www.soundcinergy.co.uk
HAZLEMERE AUDIO
High Wycombe
Exposure,
Exposure · LehmannFocal, Linn,
· Linn Marantz,
· Marantz · Michell
Specialising in some of the
Michell, Monitor
Monitor Audio,
Audio · Neat Okki Nokki,
· Nordost · OkkiOnkyo,
Nokki
world’s finest products for
Ortfon, Project,
Ortofon Rel,·Roksan,
· Project Roksan ·Trichord
VDH
over 20 years. 020 7924 2040
61-63 Webbs Road London SW11 37 High Street, Aldridge 01922 457926
By appointment only
All
01494 562610
®
info@hazlemereaudio.co.uk spares and repairs including obsolete models
APR 2012 VOL57 NO4 MAY 2012 VOL57 NO5 JUN 2012 VOL57 NO6 JUL 2012 VOL57 NO7 AUG 2012 VOL57 NO8
SEP 2012 VOL57 NO9 OCT 2012 VOL57 NO10 NOV 2012 VOL57 NO11 YEARBOOK Vol57 NO12 DEC 2012 Vol57 NO13
JAN 2013 Vol58 NO1 FEB 2013 Vol58 NO2 MAR 2013 Vol58 NO3 APR 2013 Vol58 NO4 MAY 2013 Vol58 NO5
Photography
Andrew Sydenham
New, renewals and enquiries...
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OFF THE
While LP zealots need to undergo a
reality check, I remain flummoxed by
isolated appearances of the LP in the
mainstream media. Even more likely
LEASH!
to upset my equilibrium is commercial
evidence of the LP’s return from outside of
the audio community. To hear from ecstatic
purveyors of audiophile LPs how their
sales are up means little: we’re still talking
KEN KESSLER
ER TELLS IT LIKE IT IS... peanuts. But when the largest retailer on
earth jumps on the vinyl bandwagon? It’s as
A missive from online if HMV wasn’t in deep poo.
retailer Amazon.com has But HMV isn’t the retailer that caught me
unaware. Recently, I received a missive from
Ken Kessler pondering Amazon.com (not Amazon.co.uk, I hasten to
the state of the vinyl LP add). An edited version reads:
‘Dear Amazon.com Customer,
robably the most debilitating a 50-something mired in nostalgia, like ‘Do you love vinyl? Subscribe to
PLUS:
Distributed by
Select Audio
Tel 01900 601954
www.selectaudio.co.uk
www.soulution-audio.com
®
A LEGEND IS REBORN