BestBuys-Issue 2, 2021

BEST BUYS AUDIO & AV | 2021#2

a huge improvement over the old SR-L500, has enabled Stax to situate the earspeaker Stax also warns against playing the
which had yokes made of plastic and were outputs side by side rather than vertically, headphones too loudly because, the company
thus relatively fragile. There is also now a which is a configuration we far prefer. The says, “the electrode and the diaphragm
small taper at the bottom that’s designed to wider front panel also means there’s more are brought into strong contact and easily
push the earspeakers into the side of your room to use Stax’s dual-gang volume control. deteriorate”. But perhaps the most important
head more snugly, improving not only comfort This dual-gang system is a design you don’t see warning to heed, which Stax not only mentions
but also the seal over the ear. much these days, where what appears to be a multiple times in its Owners’ Manual, but also
single volume control is actually two volume includes as separate page inside that manual,
The dual headband is comprised of controls mounted concentrically, so they turn is to not press (or poke or prod or squeeze!) the
a semi-rigid flexible plastic section (ARC together. If you want to adjust the balance electrostatic driver elements.
headspring) that does the job of applying the between the channels, you hold one while
side-force necessary to ensure the ear-speakers you move the other. Once you’ve achieved the In use
are firmly pressed against your head, while correct channel balance, turning one control
a soft faux leather band (Head Pad) keeps the will also turn the other in order to maintaining If you have never worn a pair of Stax
earspeakers correctly positioned over your the same channel balance. It’s really very neat! earspeakers before, the first thing that is going
ears, after you’ve first positioned them using to surprise you is how comfortable they are.
click-stop adjusters that offer 10 different As with most of Stax’s headphone drivers, It’s a surprise because — and we’re sure that
steps for each side. the SRM-400S has both unbalanced (via even Stax would be the first to admit this —
RCA) and balanced (via XLR) inputs, with a they look so ungainly. How could a pair of
The headphone cable is the same type used pass-through to an RCA unbalanced output. rectangular boxes clamped to the side of your
on Stax’s most expensive headphones, and it’s The circuit is d.c. coupled, so there are no head be comfortable? The simple fact is that
a fantastic cable. Firstly, it’s totally removable, capacitors in the signal path. they are — enormously so — which you can
at both the ear-speaker and driver ends (the prove to yourself simply by wearing them.
cable on the L500 was fixed at the ear-speaker Warnings and cautions One reason is that the SR-L500 MkIIs are
end), and secondly it’s extraordinarily flexible. relatively light, because there is no need
Lastly and most importantly, however, Stax includes multiple warnings and cautions for the heavy magnets that are required in
moving it does not affect the sound. With most regarding the use of its SR-L500 MkII conventional dynamic headphones. Also the
headphones, if you move the cable (or rub it) earspeakers, some of which are so obvious very large air-space between the diaphragms
you’ll hear unwanted sounds in the earpieces. that they were likely written by Stax’s legal and your ears means the headphones don’t
This is not the case with Stax’s cable. department, such as to never use them “while get hot and sweaty when you’re wearing
riding a motorcycle”, or “outdoors when it’s them for long periods of time.
You will also notice that Stax’s cable looks raining.” As if you would! We’re also cautioned
like a strip of liquorice. Stax has been generous against using the headphones while our hair After the surprise about their comfort, you
with the cable length, because you get a full is wet, or in conditions of high humidity. will be surprised by their sound quality. The
2.5-metres-worth of it. The conductor inside These are warnings you should certainly mylar diaphragms that produce the sound are
the cable is silver-coated 99.9999 per-cent heed, because the operation of electrostatic not much heavier than the air they displace,
oxygen-free copper (or 6N, for 6 nines purity).

Stax SRM-400S Driver

The SRM-400S is a brand new driver unit
for Stax, which uses custom-made low-noise
dual field effect transistors in both the input
and output stages, so that its performance
approaches that of the SRM-700S which uses
dual FETs throughout. As with the SRM-700S,
the FETs used in the SRM-400S are individually
tested and selected by hand. This new model
takes over from the older SRM-353X (which
didn’t use these FETs) and is now the model
recommended for anyone who owns an
SRS-3100 and wants to upgrade.

We prefer the dimensions of the SRM-400S’s
chassis over the old SRM-353X. The larger,
wider chassis accommodates not only the
transformer Stax uses for the high voltage
circuit, but also a newly-designed transformer
for the low voltage circuit, which Stax says
means the new model has better sound quality
as well as superior power efficiency.

The new chassis is also more rigid than that
of the older SRM-353, and its wider front panel

51

SOURCES & SOLUTIONS BEST BUYS AUDIO & AV | 2021#2

means is an incredible clarity and purity to the SRM-400S combo absolutely nails it, with Force? Prepare to be super-impressed by the
sound you hear, not only across the midrange, perfect reproduction of midrange frequencies. Staxs’ performance.
but also in the treble and even — or perhaps
most especially — in the bass. Indeed the One of our favourites for testing midrange If there is any down-side to Stax’s
sound at low frequencies is so pure that many is Phil Collins’ In The Air Tonight (from ‘Face SR-L500 MkIIs earspeakers, it’s that they’re
listeners mistake the purity for bass-lightness. Value’) because there’s just so much going not really an option for commuting. Firstly
on in the midrange, and the recording is so because there is so much sound generated
By way of example, we would recommend clean (at least in terms of cleanly-recorded from the ‘other’ side of the electrostatic
you listen to Billie Eilish’s ‘When We Fall studio effects). Listening with this Stax pair the diaphragms that your fellow commuters
Asleep, Where Do We Go?’ Fire up bad guy and repeated echoed voice-fade effects are crystal will complain, secondly because you’d need
you will immediately hear the solid, deep bass clear, as are the voices of the backing vocalists. to also carry a battery-powered drive unit
line that dominates this track. What you won’t And what about the realism of the drums in the shape of the Stax SRM-D10, and lastly
hear (and this is the important bit) is any bass when they come in at around 3.40? Amazing! because a daily commute would increase the
distortion. Listen to this track with dynamic potential for accidental damage.
headphones and you’ll hear the same bass line, Another great midrange tester is Queen’s
but it will be thick and blurry-sounding and Bohemian Rhapsody. Listen particularly to the Conclusion
it’s this added sound (distortion!) that appears sound of the piano, also to Freddie Mercury’s
to make the bass sound louder. The Stax voice as he stretches from his normal range As you will have gathered from this review,
SR-L500 MkIIs are not bass-shy. through his falsetto and right up to a primal when it comes to ear-gear, there are
scream. The clarity of the sound when you headphones and then there are earspeakers.
That said, if you want to hear the bass at come to the piano staccato that precedes “I see And you really should not buy the one without
the correct volume level you do have to make a little silhouetto of a man” is jaw-dropping auditioning the other.
absolutely certain the ear-pads form a good and if you listen carefully you will, like us,
seal over your head. You can demonstrate the marvel at the precision delivery of this Stax STAX SR-L500 MKII
importance of this by playing a track with pair. Their sheer speed is further demonstrated EARSPEAKERS &
deep bass and then carefully moving the across the entire remainder of this track. SRM-400S HEADPHONE DRIVER
earspeakers away from your ears (but still
positioned directly over your ears). The mids If you would like to hear how this Stax • Unrivalled sound
and highs will continue as before, but the bass combo delivers a great female voice, try Edie • Superb midrange
will disappear almost completely. Brickell on ‘Shooting Rubber Bands at the • Fast fast fast
Stars’. Obviously you’d listen to her chart-
The ability of the Stax SR-L500 MkII and buster What I Am (to which, famously, she • Good ear-seal required
SRM-400S combination to deliver deep, forgot the words during a performance on • Not portable
ultra-clean bass is even more obvious when NBC’s Saturday Night Live when she saw her • Sound leakage
listening to complex orchestral works. future husband standing in front of one of the
Whereas dynamic headphones will mostly cameramen), but we’d actually recommend Price: $1200 / $2100
make it difficult to tell the difference in sound two lesser-known tracks from the same album,
between a double-bass and a cello playing the Circle and Nothing. Listen to the way the Stax STAX SR-L500 MKII
same note, for example, you’ll be in no doubt SR-L500 MkIIs reproduce the beautifully
with Stax’s earspeakers. haunting guitar intro to Circle, then the Frequency response: 7Hz – 41kHz
acoustic around Brickell’s voice as she sings Capacitance: 110pF (including cable)
Listen to the last movement of Mahler’s “I quit, I give up, nothing’s good enough for Impedance: 145kΩ (including cable, at
First Symphony (with the Amsterdam anybody else.” There’s the same but different 10kHz)
Concertgebouw Orchestra under Daniel guitar intro to Nothing, and here you can hear Sensitivity: 101dBSPL
Harding), and you’ll hear after the solo oboe the Stax delivering vocals, deep bass, drums Max SPL: 118dB @ 400Hz
makes its introduction that there’s a soft almost and assorted effects, including multi-tracking, Bias voltage: 580Vd.c.
contiguous kettle-drum roll in the background all at the same time with effortless smoothness. Weight: 340 grams (without cable)
thereafter (punctuated by occasional flurries!), (And, apropos of nothing, Brickell is still
where you’ll discover that if you listen married to Paul Simon despite their kerfuffle STAX SRM-400S
using the SR-L500 MkIIs you will be able to back in 2014.)
hear the ‘beat’ of the strikes, whereas if you Frequency response: d.c to 90kHz
listen through dynamic headphones, you’ll Another favourite high-frequency tester is Gain: 60dB
instead hear what sounds like a background pretty much any song by Jamiroquai, because Output voltage (max): 400-volts RMS
rumble, as if a train were passing. The level of the band manages to mix in high-hats at high Bias voltage: 580Vd.c.
additional detail the Stax L500 MkIIs are able volume and high-pitched synth and percussion THD: ≤0.01%
to deliver is quite extraordinary. into much of their music. Try Virtual Insanity Input Impedance: 50kΩ
from ‘Travelling Without Moving’, which has Dimensions (WHD): 195 × 102 × 356mm
But although bass frequencies certainly give great sound, but don’t forget to move on to Weight: 3.4kg
music body and richness, it has been estimated Cosmic Girl, which adds a lot of deep bass via
that almost 78% per cent of musical sounds a disco funk beat. Just listen to how fast the Contact: Audio Marketing
are in the midrange, between approximately Staxes are on the repeated ‘When I see her Telephone: 02 9882 3877
200Hz and 2kHz, which is (not coincidentally) pretty face, sends me into hyperspace’. And Web: www.audiomarketing.com.au
the range of the human voice from bass to what about the percussion sound on Use The
soprano. This is where the Stax SR-L500 MkII/

52

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BUYING GUIDE

FIRST DECISIONS WHEN
CHOOSING AN AMPLIFIER

At its heart, all you want is a straight wire with gain. But
with so much more on offer, how do you start compiling a

short-list of potential amplifiers for your hi-fi system?

Once upon a time, an amplifier’s job Then there is the pre-amplifier section, select between your available sources. And you
was simply to take the small signals where switching of sources and processing probably need several more inputs than you
from your sources and make them of sound takes place. Here the functionality think, to build in flexibility for the future.
big enough to drive your speakers. can be far more diverse, with the available
That’s what amplification is. And in the world facilities varying from almost none on a This decision may be simplified by
of hi-fi purism, that may be still pretty much minimalist power amp to extraordinary the trend in audio systems towards both
all an amplifier does — those expensive often versatility on the modern breed of smart minimalism and streaming. You might choose
hulking mono power amps, for example, amplifier. Processing lets you play with the a smart amplifier (see opposite) which has
may have just a single input at one end, and sound, originally the function of all the knobs built-in abilities to stream music from the
outputs to your loudspeakers at the other, that adorn analogue amps, these days often internet and/or direct streaming from a phone,
aiming as best as they can for the classic digitally tweaked via software and app control. tablet or computer via Bluetooth or AirPlay. If
definition of “a straight wire with gain”. Inputs may include phono-level analogue, that’s all you need, then you may not need any
line-level analogue, balanced analogue, or a physical inputs at all. But in a more traditional
Of course back when Quad’s Peter Walker variety of digital inputs of different types. The system, with other sources, you need to start
came up with that phrase (supposedly*), it modern amp, and still more so its audio-visual counting. In the olden days this meant largely
was assumed that the wire itself didn’t affect equivalent the AV receiver, can seem simple line-level analogue inputs on RCA sockets,
the sound — whereas these days that’s a whole from the front yet baffling round the back. So and occasional XLR balanced inputs capable
other discussion. how do you decide what you need? of receiving the higher signal levels from
high-end or professional sources.
But amplification is the heart of an Inputs
amplifier, and generally responsible for the But with most sources now being digital,
bulk of its price and certainly its weight, While it’s the quality of amplification that will it may be digital inputs that you’ll be needing
thanks to the transformer/s inside which ultimately bring you beautiful music, your most. Do you want to connect a PC or Mac
provide the juice for that stepping up of first question should be whether any given to play direct from computer? Then look for
signal size. This we can call the ‘power’ amplifier will allow you to connect and easily a USB-B socket. Do you want to plug in a CD
section of an amplifier. player? It may have an analogue output, but

54 *It is also attributed to Stewart Hegeman, designer of the original Harman Kardon Citation line of electronics,
and to Julian Hirsh of Stereo Review. But it may have been someone else, before them all...

BEST BUYS AUDIO & AV | 2021#2

it may also have a digital output as well, in blocking where you’d plug in banana plugs. Such facilities almost certainly require an app
which case you can compare which unit has That’s because the European Union legislated to navigate such wonders, and we always
better quality digital-to-analogue conversion — against such plugs and sockets after someone express mild concern if a product can only
the DAC inside the CD player, or the DAC inside in Scandinavia managed to plug their speaker be operated by app — because we reckon a
your amplifier? Choose whichever solution cables into the similar mains power sockets good amplifier should last for decades, and
you prefer. there. The plastic bungs can be removed with what chance an app will still be available and
a bit of effort (sometimes a piece of sticky tape compatible for whatever devices we’re using
If you’re planning to play your TV and or Blu-tac can be useful). in 20 years? Hence it can be wise to check such
movie sound through your amplifier, then an functionality can operate from the front panel
optical input may be most reliable, though Some stereo amps also have two sets of as well as via app, or at least consider one of
some amplifiers include an HDMI socket speaker terminals — usually labelled zone ‘A’ the established systems in this regard, such
which can connect to an ARC-equipped input and ‘B’ or ‘1’ and ‘2’ — which allow you to as (in alphabetical order) Bluesound/BluOS,
on your TV to play sound back to the amplifier. run two pairs of speakers at the same time (in HEOS, MusicCast or Sonos, all of which also
Just be aware that ARC doesn’t always work different rooms, for example), although usually offer the possibility of multiroom operation
reliably, so that the optical socket is a near- only with a single volume control. Doubling with other compatible equipment. But other
essential standby. up speakers can have a detrimental effect, as companies have got their own good apps.
essentially the amp’s power is being shared
Phono input multiple ways and potentially into different For the same reason we also believe that
impedances. We’d normally discourage such every amplifier should have a physical remote
If you’re using a turntable, or plam to get one in simultaneous use except in rare occasions control, not only app operation. Note that some
the future, then look for a phono input, which (Cambridge’s CXA81, pictured left, is a notable smart amps, in particular, choose not to supply
accepts the lower level of a phono cartridge exception), but switching between two sets of a physical remote, or leave it as an option.
signal directly and applies the equalisation connected speakers is entirely acceptable use
required. There are two types of phono input, of such facilities. Also offering some degree of streaming and
the more common moving magnet (as used on multiroom are Chromecast and AirPlay, even
most affordable turntables), and moving coil, There may also be various other outputs the simple inclusion of Spotify Connect, which
an even lower signal requiring a different level using RCA-type sockets. A subwoofer output streams that service direct from the internet
of pre-amplification and pre-emphasis. can be useful if you’re using small speakers rather than via your phone.
and fancy adding bass with an external
However, if you’ve set your heart on a subwoofer. Tape ‘record’ outputs are getting Integrated or pre-power?
particular amplifier which lacks a phono input, relatively rare, and tape returns even rarer,
there are workarounds. Some turntables, even even though these fixed (not affected by the Do you go for an integrated amplifier or
quite high-end ones, may have phono stage volume control) line-level outputs can be separate pre/power boxes? The former is the
built in, so that they plug into any old analogue useful for many other purposes. most simple, convenient and space-saving
line-level input. Or you can use a separate option, packing both pre- and power amplifica-
standalone phono stage, the isolation of which Pre-out sockets provide a line-level signal tion into one chassis. This means everything
may provide sonic advantages when dealing affected by the amplifier’s volume control, has been tuned together, saving you the work
with these tiny signals. and if you’re looking to record, these will be that goes into matching separate amplifiers.
no use. But if you’re considering biamping,
Outputs where the preamp’s output is chained on to an Two-box amplifiers, on the other hand,
additional power amplifier, they’re essential. involve splitting the control hub from the
The most obvious outputs on an amplifier are power amplification, the idea being to keep
the sockets for the loudspeakers. These can One of the most common inclusions is digital and switching circuitry away from the
be of varying quality, from small unsteady a 3.5mm (minijack) or 6.3mm (full-sized) electrically-pure power amplifier section (and
spring-clip terminals which can accept only headphone output. We prefer full-size sockets, to a lesser extent, vice versa).
bare speaker wire, up to magnificently because it’s far easier to add a little adaptor
solid terminals capable of accepting spade to a minijack headphone cable than it is to The most obvious way of selecting pre-
connectors and banana-plugged cables as well. go the other way. But we see why minijack and power amps that work together well is
You may find speaker sockets which have been headphone sockets are becoming more by sticking within one brand. If you plan to
‘filled in’ with little red and black plastic bungs, prevalent, because the use of home-style mix-and-match, be aware some pairings will
headphones is declining. In that regard, you work better together than others. A good
“While it’s the quality of may want to find an amplifier which can play dealer is your friend here.
amplification that will to headphones via Bluetooth output, as can
ultimately bring you many of the new breed of “smart amps”. Power ratings and amp types
beautiful music, your first
question should be whether Smart amps With your connections and form factor
any given amplifier will decided, you now face a market’s worth of
allow you to connect and We define smart amplifiers as being those different approaches to styling, different ampli-
easily select between your which have streaming abilities built in — not fication types and circuits, and the different
available source.” only Bluetooth, but a module which can access ways of rating those circuits in terms of watts,
the likes of Spotify, Tidal and internet radio, not to mention the joys of synergy between
perhaps also playing files from shared storage components, and especially amp-speaker
on a computer or a networked-attached interaction. For those extensive and interesting
hard-drive (NAS) somewhere in the home. cans of worms, we will deliver a separate
primer in an upcoming issue!

55

AMPLIFIERS

More than an amplifier, really, being loaded with streaming abilities as well as external
inputs, so you could just add speakers to this thoroughly modern all-in-one solution.

The Evo 150 is the more powerful to be described as ‘purist’ or ‘bare boned’). But extra. Our sample arrived with the pictured
and the better equipped of two few companies have managed, as Cambridge walnut wooden side panels fitted, but you also
new all-in-one solutions — smart does here, to integrate the streaming front get the option of black patterned side cheeks
streaming amplifiers — from the and centre of the whole product, making it (pictured overleaf) made, we gather, from a
UK’s Cambridge Audio. The Evo 75 looks friendlier both to view and to use. material called Richlite — pressed blocks of
exactly the same as its pricier sibling from recycled paper saturated with resin, making
the front, with the same 32cm-wide black Equipment a material as dense and durable as hardwood
anodised aluminium chassis fronted by a 17cm while being water, heat and fire-resistant.
full-colour LCD panel, and the same luxurious The Evo’s front panel is highly attractive, with
two-section knob available for control on the that colour display and concentric dial in two Connections
right of the fascia. But moving up to the Evo sections: a fluidly rotating forward section
150 doubles your available power from the which controls the volume, and a milled You could use the Evo as it stands, if streaming
Hypex Ncore Class-D power modules within, outer wheel at the back which clicks around is all you need. But it also has a thoroughly
and adds significant facilities around the back for input selection or menu browsing. We modern input selection (see right), including
— the Evo 150 gains a phono stage where the can identify the exact moment at which we an HDMI ARC socket to connect to your TV.
Evo 75 has none, a computer USB-B connection connected emotionally with the Evo — for There are three analogue audio inputs (one
too, a pair of balanced XLR inputs enabling once it wasn’t the music, nor was it the clever moving-magnet phono stage, one line-level
a better class of component to be connected, magnetically-attached side panels. It was when input on RCA sockets, one balanced input on
RS232 system control, and two sets of speaker we turned the volume knob and saw that the XLR sockets). There is both a USB-A slot for
binding posts rather than one. There’s also volume numbers on the adjacent display have connecting sticks or drives of music files, and
a DAC upgrade from the Evo 75’s ESS Sabre been made to rotate around the knob in time USB-B for playback from computer for files up
9016K2M to the 9018K2M. All of which makes with its motion. ‘Oooh, nice’, was our response, to 32-bit/384kHz PCM, and up to DSD256.
the Evo 150, on the pretty face of it, a highly and far across the oceans we could see the
attractive proposition. satisfied grins of the engineers that came up There are four other digital inputs: two
with this delightful synchronisation. optical (good to 24-bit/96kHz) and one coaxial
Streaming smarts are now de rigeur on even (24/192, same as the HDMI ARC), and a little
the most plain-looking of integrated amplifiers Those magnetically-attached side panels are socket marked ‘CD’, a dedicated connection
(amplifiers without even Bluetooth now tend another nice design touch, with two options “from an Evo CD player”, something as yet
supplied in the box, not sold as an optional unannounced, but promised for later this year.

56

BEST BUYS AUDIO & AV | 2021#2

There is an Ethernet network connection At the top of the app, below a little picture All Going To Go sounding as fresh, tight and
as well as dual-band Wi-Fi, while for point- of your Evo’s knob, you can ‘Select Output’: extraordinary as when it arrived on vinyl back
to-point streaming there’s Bluetooth, here a choice of Speakers A, Speakers B, both in 1970. From a solid centre image the vocal
supporting SBC, aptX and aptX HD codecs, so Speakers A+B, or Headphones, this last using a sat forward and clear over the heavy payload
that Android users with phones supporting minijack socket (quarter-inchers will require of drums, percussion and fuzz bass, while
aptX can enjoy a decent level of Bluetooth an adaptor) at the bottom right of the front the ping-pong horns punctuated the mix from
quality. Apple device owners don’t get the panel. Software-selecting the headphone either side. And how zingy was the panned
Apple-preferred AAC Bluetooth codec, but output is redundant in one way, since the harp opening of the next track The Other Side
can instead use the superior AirPlay 2 unit auto-switches anyway when you plug in Of Town. Listening to this presentation of a
streaming via your network. There’s or remove headphones. This method would high-quality high-res remaster is enough to
Chromecast built-in as well, which will enable you to leave headphones permanently make you consider leaving your vinyl records
similarly simplify playback from many connected, did the unit not seem to forget your permanently in their racks.
Cast-enabled apps. The Evo supports both preference when restarting from standby.
Spotify Connect and Tidal Connect — the One limitation of the StreamMagic app is
latter the first time we’ve seen Tidal’s nascent The full Settings menu allows everything one from which many others suffer — the
technology in operation. Finally the Evo 150 from renaming the product to controlling its app’s presentation of both Tidal and Qobuz is
is fully certified Roon Ready, and indeed auto power down timing (we chose ‘never’!), primitive compared with their native apps:
popped up thrice in our Roon software’s display brightness (bright, dim, or off), the USB just lists to start with, then small artwork in a
audio settings, offering itself direct via Roon Audio Class (change it to Class 2.0, which is long list. For Qobuz you might use the excellent
as well as via AirPlay and Chromecast. required for higher-res playback). You can set Qobuz desktop app on a computer and play via
a volume safety limit, adjust bass and treble USB at the stream’s native sample rate, while
The app controls (unlikely to be required unless you for Tidal, as for Spotify, you can now use that
have odd speakers or headphones), and stop new Tidal Connect option, which puts your
With a system that leads on streaming, Google gathering more of your life’s data by app in control of a direct Tidal stream from
a good app is a prerequisite. Cambridge turning off Chromecast’s default opt-in to the the internet to the Evo, which supports the
has StreamMagic, which has undergone sharing of usage information. MQA-encoded high-res used for Tidal Masters,
continuous development since its first tentative if you’re willing to pay extra to Tidal for MQA.
steps, and now offers a nicely-designed and Next on the app’s home screen comes your
effective path to playback. list of available sources, then recent radio Another option for enjoying either or both
stations, and a rather impressive preset list Qobuz and Tidal is Roon, of course, which
The app also walks you through set-up, with 99 slots for favourite radio stations. meshes perfectly with both services as well as
quickly linking to your Evo if you’ve given with your own files, then playing bit-perfect
it the benefit of a hard-wired Ethernet Listening through to the Evo’s Roon endpoint, and
connection, or taking you through the looking gorgeous while doing it, noting only
Wi-Fi set-up which, in our Apple-orientated We ran the Evo 150 for a week on casual that the combination of subscriptions to do so
environment, was quickly achieved using the computer playback duties before settling starts getting a bit exey. But we played much
AirPlay speaker set-up functionality of iOS. down for a critical listen. We had both Qobuz music this way, and can vouch for its success,
and Tidal available to stream from within the and its delivery of sound quality. Moby’s recent
The app’s home screen is neat and clear, StreamMagic app; both sounded fantastic. An ‘Reprise’ album of his classics re-recorded with
and allows handy customisation — you choose early delight was a 2019 remaster of Curtis acoustic instruments and orchestra is loaded
which inputs appear there, and which services Mayfield’s debut Curtis album streaming at with joys, few higher than the musical journey
you have activated. Unlike several key rivals, 24-bit/192kHz from Qobuz, with the opener of We Are All Made Of Stars (24-48 from Qobuz)
everything else then gets out of the way. (Don’t Worry) If There’s A Hell Below We’re

57

AMPLIFIERS BEST BUYS AUDIO & AV | 2021#2

from Sylvian-like softened piano intro through The Evo can also stream from network- Conclusion
wide-open verses to a full-on anthemic close. attached drives and from those plugged
The Evo 150 opened this mix so wide that we into its USB-A slot on the back. From there If all you want is a streaming amplifier,
felt we could almost step inside, and it left us, we confirmed its ability again with MQA, perhaps with the TV ARC connection and
to be frank, moist in several places; it’s hard to Van Morrison’s Moondance ‘unfolding’ to a speakers either side of your TV, then the lower
ask more from your hi-fi than that. purported 24-bit/192kHz. The Evo played DSD Evo 75 may be all you need. But the Evo 150
at 64 and 128 (we had no DSD256 to hand), offers additional connections, system control
Should you wish to distract yourself from and PCM right up to our 24-bit/352.8kHz and the better DAC, as well as the reassurance
the musical moments with hard technical recording of Living by Jan Gunnor Hoff. of higher power reserves. At a grand more, it
information, there’s a useful info key on the Hoff’s solo piano is heavily percussive and the would certainly be our choice. The Evo 150
remote control which shuttles the display Evo 150 made the most of its sharp edges and gets everything right, looks gorgeous, makes
through three screen options — artwork only, surrounding room acoustic. beautiful music, and puts Cambridge firmly in
art plus info, or just info. The remote control the game for anyone considering this breed of
is lovely; less bonkers than those for the Edge We checked back to notes from our time beautiful all-in-one smart amplification.
series, and easier to follow. with the Cambridge NQ preamp and W power
amp, moistened by tears as they were from CAMBRIDGE AUDIO EVO 150
There are also buttons on the Evo’s fascia, the joys of listening and the pain of that SMART STEREO AMPLIFIER
though these are near-invisible beside adjacent combo’s subsequent departure. That pairing,
glowing symbols, so that we frequently and the power amp in particular, delivered • Good inputs, good streaming
stabbed the symbols, not the buttons. effortless joys and continuous revelation. • Great sound
The Evo 150 doesn’t go quite so far, and as • Hypex Ncore power
We plugged our Samsung TV into the HDMI an all-in-one combo unit priced far below
ARC to confirm operation there, and the TV the Edge range, we wouldn’t expect it to. Its • Invisible fascia buttons
audio flowed glitch-free once we’d switched Class-D amp modules are highly-regarded • Plain in-app Tidal and Qobuz
the TV’s digital audio output format from Hypex Ncore modules yes, but not with the
Auto to PCM. Note we tried the Evo’s HDMI same rarefied air of the biased Class-A-B Price: $4299
connection also with the audio-only HDMI Edge amplifiers. Nevertheless the Evo 150 Inputs: 1 x line-level analogue,
output of a Panasonic 4K Blu-ray player, but succeeded in delivering many of the same 1 x balanced XLR, 1 x mm phono,
no joy there; it’s just for ARC. characteristics — a transparency to music 2 x optical, 1 x coaxial, HDMI ARC, USB-A,
across genres, a real sense of pace in its timing, USB-B, Bluetooth (SRC, aptX HD), UPnP,
We ran a good enjoyable vinyl session and of power behind the presentation. To do AirPlay 2, Chromecast built-in, Roon
through the moving-magnet input, which was that on top of all the available facilities, inputs Ready, Ethernet, dual-band Wi-Fi
pleasingly quiet and seemed not to be digitally and streams, coming from a lovely-looking box
sampled for subsequent digital processing, as with colour display and a fine knob, is quite Outputs: Speakers A+B, minijack
do so many smart amps these days. Except... the achievement, and puts the most obvious headphone, preamp outs, subwoofer out,
we found that we could apply EQ to this competitor, the Uniti players from fellow Brits Bluetooth out
input, which was surely here a digital process. Naim Audio, on notice. In the UK the Evo 150
Australia’s distributor Synergy confirmed is priced similarly to the lowest Uniti player, Power: 2 x 150W Hypex Ncore
later that the phono stage (and presumably the Atom, while the Evo 75 is below. Here in Dimensions (whd): 317 x 89 x 352mm
the other analogue inputs) are not digitised Australia the Atom sells at $5000, significantly Weight: 5.3kg
unless you invoke the tone controls — a clever more expensive than either Evo. That makes
solution delivering the best of both worlds. the Evo 150 a still more attractive option here Contact: Synergy Audio-Video
The Cambridge’s phono stage certainly in Australia than in its home market. Telephone: 03 9459 7474
performed admirably, as you might expect Web: www.synergyaudio.com
from a company that makes its own high-
quality dedicated phono stages.

58

Sounding just as good as it looks - the fully manual LPW40WN is a stunning addition to any
room with its classic walnut wood finish.

With a sensor-monitored motor to maintain accurate speed, straight carbon-fibre tonearm, and a built-in
phono, the LPW40WN is the perfect foundation for you to enjoy your favourite records.
For more information on our full turntable, headphone and cartridge range go
to audio-technica.com.au

Follow us @AudioTechnicaAU

AMPLIFIERS

GOLD NOTE PH-1000 the display. Gold Note calls this an ‘SKC’,
short for Single Knob Control. It not only
PHONO STAGE turns but can be pushed inwards, the secret
to its multi-tasking.
The delicate task of amplifying phono cartridge signals
deserves a special standalone amplifier. This high-end Correct gain is essential on a phono stage
phono stage comes loaded with every feature and facility to get the ideal signal-to-noise ratio from
you’re ever going to need – and sounds wonderful. moving-coil and moving-magnet cartridges
while at the same time not driving the phono
If you use a high-quality phono cartridge curves, so that you can correctly play back stage into overload. You can adjust the
on your turntable, a high-quality external any LP ever pressed. It has loads of other otherwise fixed gain of the PH-1000 through
phono stage is essential if you’re to extract features as well, almost too many to detail in six different gain levels (–9dB, –6dB –3dB,
the best performance from it. The phono this review, in fact! +3dB, +6dB, +9dB), in addition to the ‘0dB’
stages built into pre-amplifiers and integrated setting for the default gains of 40dB and 65dB.
amplifiers simply won’t do it justice, particu- Finally, unlike most phono stages, the
larly if you’re using a moving-coil cartridge. PH-1000 looks remarkably beautiful, After properly matching the gain of a
particularly when it’s powered up so you phono stage to best suit your cartridge, the
There are many high-quality phono stages can see its fabulously informative bright next most-important task of any phono stage is
available, but most of them are difficult and TFT multi-coloured control panel. to ensure that it offers the correct impedance
inconvenient to use, or lack a full range of loading for the cartridge — for moving-coil
load, gain and filter options so you have to Equipment cartridges, at least (moving-magnet cartridges
choose one that matches the cartridge you’re UHTXLUH H[DFWO\ Nŵ
using. If you subsequently change, it might Perhaps it is not so surprising that the Gold
mean buying a whole new phono stage. Note is beautiful, because it is designed and The Gold Note offers 12 load impedances
built in Italy, a country with a track record of EHWZHHQ RKPV DQG Nŵ 7KLV OLVW LV
Which makes Gold Note’s latest and greatest beautiful objects, from the Mona Lisa to the notable for offering two low impedances
phono stage, the PH-1000, an absolute breath Ferrari 488 Pista. WKDW DUHQȆW XVXDOO\ DYDLODEOH Ȃ ŵ DQG
of fresh air. It has every phono load and gain ŵ Ȃ DQG DOVR IRU RIIHULQJ WKUHH PRUH
adjustment you will ever need to correctly Italy also has a track record for functionality, than were available on the Gold Note PH-10
match any cartridge ever developed — or that and despite its flexibility and the number of (which, at a mere $2690, now becomes Gold
will be developed in the future — plus it has options available, absolutely everything on Note’s entry-level phono stage).
selectable — and adjustable! — LP equalisation the Gold Note PH-1000 is controlled with a
single solitary rotary control to the right of However, this isn’t the end of the Gold
Note’s cartridge-loading possibilities because
you can use two of the PH-1000’s line inputs
to fit loading plugs, rather than using them
as line inputs. This means that you can

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BEST BUYS AUDIO & AV | 2021#2

provide the exact loading for any phono If you buy a PH-1000 you’ll be able to If you have more than one turntable, or
cartridge ever developed. correctly play back every LP in existence, your turntable has two or more tonearms,
because in addition to providing both the RIAA you’re going to love Gold Note’s PH-1000,
When you are using a moving-magnet equalisation curves, it offers more than 44 because it has three phono inputs (two via RCA
cartridge, it’s more important to match other equalisation options, including Capitol, connectors, and one via an XLR connector)
capacitance, and the PH-1000 offers you the Columbia/CBS, Deutsche Grammophon, Decca and two line-level inputs (one via RCA, the
choice of six pre-set capacitance values — London, Epic, Mercury, RCA/Victor, Philips, other via XLR). If you don’t use one or both of
100pF, 150pF, 220pF, 330pF, 470pF, and 1000pF Elektra, Parlophone, and L’Oliseau-Lyre, plus these line-level inputs for additional cartridge
— but, as noted in the previous paragraph, you the ability to custom-tune any or all of them loading, it means that you could plug in one
can extend this by using your own load plug. and/or create your own. We can’t think of or two line-level sources, which would enable
any other phono stage in the world that offers the PH-1000 to be a pre-amplifier and/or
But although correct electrical matching so many equalisation curves, or that offers headphone amplifier as well as a phono stage,
is essential, the actual purpose of any phono owners the ability to ‘tweak’ the curve. This thanks to it having both a volume control
stage — its raison d’etre, if you like — is to makes the Gold Note PH-1000 truly unique. and a headphone output. (And if you’d prefer
‘correct’ the frequency response of the signal to control volume somewhere else in your
your phono cartridge’s stylus is extracting from Rumble (unwanted low-frequency noise) system, the PH-1000’s volume control can be
the LP’s groove. This comes about because used to be a huge problem when playing LPs, bypassed and a fixed output delivered.)
in order to ‘store’ music on an LP the cutting because of the poor tolerances of old platter
engineer has to pre-attenuate the levels of the bearings and noisy drive motors. Modern Performance
low frequencies, and pre-boost the level of the turntables suffer much less from this issue,
high frequencies. At the midway point (1kHz) though unwanted low-frequency sounds can We have to admit we were quite excited by the
there is no boost or cut — the 0dB point. also be found on an LP itself. Decca’s London Gold Note PH-1000 before we even played our
Because the levels of boost and cut applied studio was located so close to an underground first LP, because it’s the very first time we have
are different for every different frequency, the tube line that many of its recordings contain been able to provide absolutely exact load and
overall effect is described as an ‘equalisation railway noise. gain settings for both our moving-magnet and
curve’ and the most common of these is the moving-coil cartridges, and one of the very few
RIAA phono equalisation curve, so-called Gold Note provides a solution to the times we’ve been able to have both cartridges
because it was developed by the Record problem in the form of a Rumble/Subsonic connected simultaneously, so we could do A–B
Industry Association of America. A phono stage filter (the correct technical term for this comparisons on different versions of the same
must provide an ‘inverse’ curve to restore all filter is an infrasonic or high-pass filter, not album and/or compare one phono cartridge
the frequencies to their correct levels. a ‘subsonic’ filter), with a 3dB down-point to another. And, thanks to the PH-1000’s
at 10Hz, and a 36dB/octave slope. Unlike the headphone output, we could also listen to LPs
But before the RIAA introduced its Rumble filter on the lower PH-10, the one on via the shortest path possible.
equalisation curve, there were dozens of the PH-1000 is switchable, as it should be.
different curves in common use; almost When we finally did get around to playing
every record label had its own unique curve. If you have a noisy LP you should also be our first LP, we became even more excited,
Concerned consumers had a stash of com- able to reduce noise level by taking advantage because the sound quality was everything we
pensatory ‘curve plugs’ and switched them of the Gold Note PH-1000’s ability to be could have hoped for, and more. If you want
around specific to the LP they were about switched for mono operation, which will often to extract the ultimate performance from all
to play. Hence the RIAA introduced its own reduce not only surface noise, but also the the albums in your collection, be they 45s,
equalisation standard in 1954, and required all volume of any ‘ticks’ and ‘pops’ on it. You can LPs or 78s — stereo or mono — the Gold Note
industry members to use it. (The RIAA changed also invert channel phase (mono or stereo) or PH-1000 is the perfect tool for the job.
its own curve in the ‘70s to an ‘enhanced’ even swap channels. We’re not entirely sure
version, so there are actually two different why you’d want to do this last, but if you want Bass is incredibly depthy and solid. Our
versions of it, eRIAA and RIAA.) to, you can! standard for this has been, and no doubt

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AMPLIFIERS BEST BUYS AUDIO & AV | 2021#2

will continue to be into the future, Telarc’s For voice, with its 50th anniversary right hardware (two additional power supplies
version of Tchaikovsky’s 1812 Overture with upon us during the review period, we couldn’t and two additional output stages are already
Erich Kunzel and the Cincinnati Symphony not play our Rhino version of Joni Mitchell’s available for it). What else can we say but
Orchestra. The sound of cannon-fire on ‘Blue’. It always sounds more authentic on ‘simply superb’.
this recording is — if replayed properly — vinyl than it does in any other format, and
absolutely amazing. It’s no wonder that Telarc when we heard it via the PH-1000 it was GOLD NOTE PH-1000
includes warnings that playing it too loudly so masterfully authentic that we took the PHONO STAGE
could cause component damage. Just in case opportunity to re-record a FLAC capture of it
you didn’t know, it wasn’t only the cannons to replace our existing one. And not just ‘Blue’. • Totally unique phono stage!
that were recorded separately and mixed in During the review process we did new rips of • Extraordinary flexibility
at the appropriate spots, but also the bells. every single one of the LPs we played, and we • Amazing sound
Played back via the PH-1000, the sound was so hope to get through even more before Absolute
realistically reproduced in our listening room Hi End requests the Gold Note be returned. • No high-cut filter
that we flinched involuntarily when the first The sound it delivers is just that gorgeous.
cannon fired. Price: $16,000
The high frequencies we tested with a
To test the deepest bass out on something wide range of recordings, but we kept coming Frequency response: 20Hz to 20kHz
more musical than cannon-fire we switched back to Lubomyr Melnyk’s ‘Fallen Trees’ with THD: <0.01% max.
to another favourite ‘warhorse’ in the shape of its hypnotic piano lines, ethereal voices and Signal-to-noise ratio: -100dB
Don Dorsey’s ‘Bachbusters’ on which he uses harmonic echoes. Curiously, our favourite track Dynamic range: 110dB
a wide array of synthesizers to play some of (Barcarole) is one of only two tracks that don’t Infrasonic filter:
J.S. Bach’s most popular works, all of which have the word ‘Tree’ in their title. We also kept 10Hz/36dB octave selectable
have deep bass. Again, the PH-1000 responded coming back to the 2LP ‘Joni 75’ album that
perfectly, allowing us to hear the various captures the 75th birthday tribute concert to Inputs: 2x RCA (0.1mV MC up to 8.0mV
tonal qualities of the different synthesizers Joni Mitchell by Diana Krall, Glen Hansard, MM), 1x XLR (0.1mV MC)
and settings he uses. For real authenticity (as Norah Jones, Rufus Wainwright, James Taylor Load options RCA: 100kΩ, 75kΩ, 47kΩ,
in a real pipe organ) we took advantage of and others. (If you buy this album, we’d 33kΩ, 22kΩ, 1kΩ, 470Ω, 220Ω, 100Ω, 47Ω,
the PH-1000’s mono setting to play one of our recommend skipping past Kris Kristofferson’s 22Ω,10Ω + external load]
favourite recordings, Clarence Watters playing cover of A Case of You, but playing Krall’s cover Load options XLR: 4k7Ω, 1kΩ, 470Ω, 220Ω,
three of Cesar Franck’s Chorales on the organ of Amelia over and over.) 100Ω, 47Ω, 22Ω,10Ω + external load]
of Trinity College, which was recorded and Capacitance (mm): 100pF, 150pF, 220pF,
pressed in mono. It’s a beautiful-sounding Conclusion 330pF, 470pF, 1000pF
instrument and the beauty of its sound was Gain: 65dB mc, 40dB mm with -9dB, -6dB,
realised perfectly by the Gold Note PH-1000. If you’ve been holding off on buying a phono -3dB, 0dB, +3dB, +6dB, +9dB options
stage to see if something incredible comes EQ curves: 20 EQ presets, 4 custom
We’re huge Brian Eno fans, so the onto the market, you’ve hit the jackpot,
appearance of a Miles Showell 45-rpm because Gold Note’s PH-1000 is everything Outputs: 1x RCA, 1x XLR, 1x output for
half-speed mastered version of ‘Music For you’ve been waiting for and more. It is a optional TUBE-1012 & TUBE-1006
Films’ was a must-buy occasion and it has truly incredible phono stage, sounding Dimensions (whd): 430 x 135 x 375mm
been entrancing us for some time, so when wonderful, and with every feature and Weight: 12kg
we listened using the PH-1000, and found facility you’re ever going to need. Plus it’s
that the subtleties of the improvements to the also an extraordinary pre-amplifier and Contact: Absolute Hi End
dynamics and the detailing were more clearly headphone amplifier into the bargain. And if Telephone: 0488 777 999
revealed than we’d ever heard before, we all this weren’t enough, it is also completely Web: www.absolutehiend.com
knew it was money well spent. upgradeable in terms of firmware and also

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E&OE

AMPLIFIERS

At first glance, a solid but standard stereo amplifier.
But inside, a thoroughly modern Marantz, offering
streaming, networking and multiroom on top of the
fundamentals for which the company is famed.

Itone controls and everything — just the these modern merits within the type of attached. All these, including the USB-A slot
kind of product Marantz has delivered amplifier design that Marantz has been and networked access to shared files, are
as the powerhouse for hi-fi stereo separates perfecting for decades. limited to a maximum of 24-bit 192kHz PCM,
systems if not since Saul Marantz began or 5.6MHz DSD. The stated DAC for this model
soldering his first Consolette back in 1952, Equipment is the Asahi-kasei AK4490EQ DAC, supply of
then at least since Marantz’s subsequent which has been affected not by Covid but
rebirth under Philips in the 1980s. In essence, then, this is an amplifier which by the disastrous AKM factory fire in Japan.
combines 60W per channel of amplification Consequently, Sound United locally has told
But this would be to make the schoolboy with a DAC for digital inputs, and a network us, “newer units rolling out of the factory now
error of judging a book by its cover. Within module which delivers access to a host of have a similar-spec DAC chipset with the same
its purposeful shell the PM7000N is not only music streaming services. performance. No matter which DAC is used
a solid 60W-per-channel stereo amplifier, but in the end, the sound master will go through
also a network and internet streamer courtesy Its range of physical inputs is solid, if more rigorous sound tuning processes using premium
of HEOS, the streaming and multiroom biased towards the traditional than those of components to achieve that signature sound that
platform belonging to Sound United, shared new-age hi-fi. They do not, for example, extend Marantz is known for.”
between Denon and Marantz, and at least to HDMI ARC for TV connection, to USB-B for a
partially developed here in Australia. computer, nor XLR for balanced connections. That’s a reasonable position, and certainly
But you get four analogue inputs — three of there’s more to sound than just the DAC,
So the PM7000N is just as much the them at RCA line level, and the last a moving- though the DAC equally certainly does make
modern smart amplifier as those boxes which magnet phono stage, newly-designed with a difference. As it happens, this amplifier’s
might advertise the fact of their modernity a field-effect transistor in its input stage, the performance from analogue inputs made it
via large colour LCD screens of artwork, high input impedance of which Marantz says clear that it’s the amplifier’s fundamentals
or by snazzy ‘all-in-one’ styling. While this simplifies the path, eliminating the need for which are the star turn here anyway, not
Marantz looks like a trad two-channel amp, AC coupling capacitors. the digital performance and DAC. Hence the
with just a three-line OLED display to share change of DAC may even improve things.
its information, this is nevertheless also a Unusually these days, perhaps again
showing the legacy effect of the company’s

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BEST BUYS AUDIO & AV | 2021#2

Streaming downloading a software update, installing That little nightmare over, we were able
it and then pronouncing itself ready to play. to immediately enjoy the Marantz’s high
The last digital input is Bluetooth streaming. This delightfully easy set-up compensated quality amplification. We connected a Thorens
This is limited to the SBC codec, with neither for the previous hour we’d spent trying to turntable, plugged in our computer audio (via
AAC support for Apple device users nor work out how to remove the plastic bungs optical, using a USB-to-SPDIF converter), and
anything up the aptX chain for those with from the amp’s magnificently robust speaker we streamed from Tidal, Spotify and other
Android devices which support it. But once connections, Marantz’s premium SPKT-1+ services using the HEOS app and sometimes
the PM7000N is networked, you’ll have design (see overleaf). These are dense brass via AirPlay. But we started as purely as
workarounds for that. Android users can use terminals with silver plating and hard plastic possible, playing high-res files from an
the HEOS app to play music from their own shielding, through which a hole allows clean attached USB stick.
device, or use a third-party UPnP-enabled app connection of bare wires, while the terminals
(like mConnect) to stream high-res files. Apple also accept spades. If, like us, you have banana And from the off it was clear this is a high
users have AirPlay 2 for direct streaming, plugs on your speaker cables, you’ll find their quality amplifier, and that the quoted 60W
which is far superior to Bluetooth. entrance blocked not by mere caps that can into eight ohms (80W into four) was more than
be prized off, but by long plastic inserts sitting adequate for driving our reference speakers to
The HEOS app also opens up access relatively deep inside the terminal. How to high levels without distortion. Early up was the
to Spotify (paid or free, controlled via the remove them? The printed manual suggests duet of Alone Again (Naturally) by Diana Krall
Spotify app), and to paid access from Tidal, you screw the terminal fully clockwise then and Michael Bublé at 24-bit/48kHz; it emerged
Amazon Music and Deezer, and free music just shove in your banana plugs — perhaps as the epitome of smoothness, both vocals
from Soundcloud, TuneIn internet radio, and the blockage moves cleverly out of the way, we delicately and crisply edged without ever
iHeartRadio. The operation within the HEOS thought, so we tried that with the first socket, straying into sibilance, the arrangement spread
app is generally relatively primitive compared and succeeded only in jamming the plastic smoothly like melting butter on a crumpet.
with the native apps — Tidal, for example, insert in deeper. Eventually small tweezers
is navigated by folders rather than screens extracted the other three, and we spent a final For rather more of a challenge we loaded a
of album-art tiles — but this implementation five minutes cork-screwing a gimlet into the 2.8MHz DSD remaster of the single mix of Total
has the advantage that the music flows direct socket to extract the one we’d jammed in. Mass Retain from ‘Close to the Edge’ by Yes,
from the internet to the Marantz, with your All this is, we assume, to comply with Euro- every corner of the soundstage stuffed with
device merely controlling the music choice. regulations banning banana sockets. We’re not detail and dynamics, and the PM7000N more
The alternative is to use the native Tidal in Europe, and so rather resent this, particu- than equal to it, kicking the doors down with
app on your device, then throw the result to larly when no instructions or warning is given its tight precision indeed, and happy to raise
the Marantz by selecting it as Tidal’s output in the manual; the online version, indeed, the impact levels as we turned it up.
path. It doesn’t appear under the initial list of which extends to 141 pages, actually removes
Chromecast devices, but can be accessed under any reference to banana plugs at all, implying The power behind this performance
‘AirPlay & Bluetooth’ devices; again Apple comes from Marantz’s own circuit technology,
device owners have the quality of AirPlay a Class-AB amplifier which maintains the
while Android users are stuck with only SBC current feedback Marantz has championed for
Bluetooth, so would take a significant quality
hit via this path. When we tried A-B listening
to Tidal via HEOS versus Tidal via AirPlay 2
from an iPad Pro, there was very little indeed
to pick between the streams — perhaps a
fraction more detail and bass definition to
the HEOS stream, but marginal. There’s no
MQA onboard the Marantz to enable Tidal
Masters streaming with their purported
high resolution, otherwise the direct stream
would have that advantage over the AirPlay
path. The absence of Qobuz support actually
leaves HEOS without a high-res streaming
service option other than Amazon HD, which
isn’t available in Australia, or again via the
workaround of third-party UPnP apps. But
there are indications that other services will
be accommodated in future. The Marantz is
certainly high-res capable to 24-bit/192kHz
via digital inputs and network streaming.

Performance

We gave the PM7000N an Ethernet connection
to our network (dual-band Wi-Fi is also
available), and it pretty much set itself up,

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AMPLIFIERS BEST BUYS AUDIO & AV | 2021#2

voltage feedback designs. By minimising up of the bass and a notch down of the treble was equally evident when we had a different
negative feedback, this design simplifies the calmed and filled them out nicely. streamer playing into its analogue inputs,
signal path and generates a low phase shift, revealing the additional quality available from
reducing the need for phase compensation; We punched in and out of ‘Source Direct’ the Marantz amplification when given the
Marantz points to a resulting rapid transient regularly, but there was not the dramatic output of a higher-level DAC than its own.
response and sonic transparency across the clarifying effect we’ve heard on some other
full bandwidth, while also making the power gear. Such buttons on AV receivers can switch There are a few hidden clevernesses too,
amplifier relatively insensitive to changing and music from brash to smooth, from artificial which aid day-to-day operation. The amp can
difficult loudspeaker loads. As with its PM6006, to real, but here the performance was solid autosense an optical signal so that it turns on
Marantz has chosen a shielded toroidal enough to begin with, and only small improve- automatically with your TV. It’s theoretically
transformer here, as opposed to a less efficient ments were notable — though since it doesn’t able to be controlled by your TV remote for
E-I core. There are in fact two separate power even shut off the front-panel display there volume, power and input selection by learning
supply circuits, with a digital switched-mode seems little penalty for leaving it invoked. the codes from the remote of your choice,
power supply active only when the unit is in which worked nicely with a Toshiba remote
standby, likely another legislative requirement The manual also recommends three but stubbornly refused to learn anything
to achieve a legal minimum standby power. further “Pure Modes” which involve manually from TCL or Samsung; go figure. And those
disabling Bluetooth and/or Wi-Fi and/or USB-A, interested in voice control can have Amazon
The newly-developed preamplifier section should you not require their services. Alexa, Google Assistant or, via AirPlay, Apple’s
leverages Marantz’s latest electronic volume Siri assist them in various ways.
control together with the HDAM (Hyper We were particularly impressed with the
Dynamic Amplifier Module) technology phono stage, which performed above the level Conclusion
that’s been a key staple of Marantz kit since we’d expect in an amplifier of this price. In
the 1990s, using discrete surface-mount addition to a long run of old favourites, we It looks like a plain amplifier, but the HEOS
components with short mirror-imaged signal played a fresh tri-colour pressing of the new module inside makes the PM7000N as full
paths; Marantz claims that HDAMs outperform Crowded House album ‘Dreamers Are Waiting’. of streaming abilities as those smart amps
integrated op-amps dramatically in terms Despite the arguable pointlessness of enjoying which declare their abilities more physically.
of slew rate and noise level. And while the a digitally-recorded album on vinyl, we quickly Meanwhile it delivers excellent sound quality
network module and digital board are shielded preferred the richness of delivery from the at this price level from Marantz’s long-
to prevent interference, you can further purify Thorens/Marantz combination over the Tidal developed amplifier expertise. We once heard
playback by selecting ‘Source Direct’, to bypass stream. The phono circuit was as silent as we someone say that “Nobody ever regretted
the front-panel bass, treble and balance knobs. could hope between tracks, while the drums buying a current Marantz, unless it got stolen
Such knobs are rare these days; tone controls emerged full and tight, thumping and rolling on the way home...”. This amplifier confirms
are often banished somewhere within an app, nicely under the busy arrangement of Playing that maxim’s pertinence once again.
and we very rarely invoke them anyway on a With Fire, Neil Finn’s vocal perfectly pitched at
high quality amp like this. But they’re handy mid-depth of an expansive soundstage, before MARANTZ PM7000N
when you need them, as we did when playing segueing into the almost Split-Enzian backing SMART STEREO AMPLIFIER
some rather thin recordings of 1985’s Live Aid vocals of the first single To The Island.
broadcast from the Internet Archive. A twist • Solid amplifier fundamentals
Indeed we did develop a preference for
the Marantz’s performance with analogue • Full HEOS streaming and
inputs over those going through its DAC. This multiroom abilities

• Good phono stage

• Bluetooth SBC only

Price: $1999
Inputs: 3 x analogue line-level,
1 x moving-magnet phono,
2 x optical digital, 1 x coaxial digital,
USB-A, AirPlay 2, Bluetooth (SBC
only), Ethernet, Wi-FI
Outputs: record out (fixed),
subwoofer out, speakers out,
Power: 2 x 60W into 8 ohms, 2 x
80W into 4 ohms (two-channels
driven, 20Hz-20kHz, 0.02% THD)
Dimensions (whd): 440 x 125 (190
with antennas raised) x 330mm
(390mm with knobs and terminals)
Weight: 10.8kg

Contact: Sound United
Telephone: 03 8542 1111
Web: www.marantz.com.au

66

The PH-1000 is simply the best Phono Stage Featuring Class-A exclusive
we have ever created, a unique piece of audio discrete components, a
engineering designed to be innovative in every Class-A headphone output,
possible way and 100% made in Italy. +40 EQ curves preset, 4
custom EQ curves manually
adjustable, and the high-
quality Class-A line preamp
which comes as an optional.

For the first time ever, you will
be able to play virtually any
record the way it’s meant to
be thanks to more than 40
EQ curves available, or even
customise the EQ curves
manually by adjusting three
main parameters – that’s why
the PH-1000 is a complete
game-changer, opening a
new era in vinyl reproduction.

AVAILABLE IN AUSTRALIA THROUGH ABSOLUTE HI END . 0488 777 999 . [email protected] . www.absolutehiend.com

LOUDSPEAKERS

BOWERS & WILKINS Equipment
603 S2 ANNIVERSARY
First off, we just have to say that the B&W 603
STEREO LOUDSPEAKERS S2 Anniversary is our favourite loudspeaker
design: a three-way. This isn’t as sexy as it
A ll luxury brands have ‘affordable’ It looks like both teams were pretty happy sounds, but it certainly makes a difference to
models in their ranges. Mercedes- with what they found, because they didn’t sound quality — a big difference! Basically,
Benz has its A-Class, BMW has its really change all that much. The exterior design a three-way loudspeaker splits the audio
1 Series and B&W has its 600 Series. team thought an ‘Anniversary Series’ model frequency range into three different parts: low
First introduced in 1995, the performance deserved the finish traditionally associated frequencies, high frequencies and frequencies
(and looks!) of the various models in 600 Series with 25th anniversaries (at least in the Western that are neither low nor high…. midrange
has been upgraded quite a few times, but the world), so they changed the colour of the trim frequencies... and reproduces each different
first significant upgrade, so dramatic B&W around the tweeter to silver and added a new part with a different driver on the front panel,
decided it deserved the addition of a ‘Series 2’ wood veneer finish (light oak) to the ones most often called a bass driver, a midrange
to the model numbers, was three years ago, in already available. As for the engineering team, driver and a tweeter. The theory behind doing
2018. But come 2020, B&W realised it was the having already updated the tweeter, midrange this has been around for literally thousands of
25th anniversary of the 600 Series’ introduction, driver and dual bass drivers two dozen months years, and is most often found in human choirs,
so it decided an ‘Anniversary’ issue was in previously, all that was really left was to look which split the audio frequency range into four
order. The problem was that B&W’s engineers at the crossover network, so that’s what they different parts: bass, tenor, alto and soprano.
had already made the Series 2 model pretty did, with the result that the Anniversary Series
much as good as they could. Which means crossover network has upgraded components, The B&W 603 S2
this 603 S2 Anniversary model is a bit like a including specially treated bypass capacitors Anniversary is our
‘Director’s Cut’ where the exterior design team from German capacitor specialist Mundorf, favourite loudspeaker
got to add a tweak or two, and the engineering and improved capacitors in the tweeter and design: a three-way.
team also got to take a second look. midrange sections of the network. This isn’t as sexy as it
sounds, but it makes a big
difference to sound quality.

68

BEST BUYS AUDIO & AV | 2021#2

The rationale for making such a split is from a woven composite fabric B&W calls of moving the inevitable resonance of the
exactly the same: just as a bass cannot sing ‘Continuum’, exact details of the construction metallic structure higher in frequency,
a soprano part and a soprano cannot sing a of which the company is reluctant to divulge. further away from the audio band. B&W
part for a bass, the low-frequency driver in a But what’s arguably more important than refers to this construction as a ‘Decoupled
speaker cannot produce high frequencies, nor the material of which the cone is made is the Double Dome’, of which is has several versions,
the tweeter the low frequencies. method by which the cone is attached to the each using a slightly different construction.
metal support chassis. In this version, the second dome is not
So why don’t loudspeaker designers also complete, but instead has its centre removed,
split the audio spectrum into four parts and In most dynamic cone drivers, there’s a so it’s more like a circular curved reinforce-
use different drivers for each? Some do. There half-circle of rubber that allows the cone ment ring, but B&W has elected to retain the
is such a thing as a four-way loudspeaker. to move back and forth. Indeed this is the same terminology to describe it.
But it’s very expensive to do this, and the suspension system used on the two bass
design involves a number of drawbacks, so drivers in this model. The midrange driver Listening
it’s rare. Indeed it’s expensive and complex to in this loudspeaker, however, does not have
create even a three-way design, which is one this type of suspension. Instead the cone is The glossy four-colour adverts for the
reason why the vast majority of loudspeakers B&W 603 S2 Anniversary speakers show
available in the world are two-way designs connected to a narrow polymer ring that how beautiful they are, particularly in the
that split the audio spectrum just two ways, stretches and contracts to accommodate the new finish, but not all of the illustrations
into low and high frequencies. cone’s movements. B&W says this improves show them fitted with the large plinths that
transient response and, because the foam are supplied with each speaker and must be
The prime advantage of having a dedicated ring does not reflect energy back across the attached by the user. Which would make it
midrange driver, as in the Bowers & Wilkins cone surface in the same manner as a roll appear that attaching the plinths is optional,
603 S2 Anniversary, is that the human ear surround, reduces dynamic distortion. The but we’d venture that it’s not. Sure you don’t
is specifically designed to be most acute in company refers to this as a ‘Fixed Suspension have to if you don’t want to, but as these
the midrange, because this is the frequency Transducer’ or FST. are relatively tall, narrow, relatively heavy
region where all human speech takes place, speakers that are relatively fairly easy to
so the ear has to be extraordinarily sensitive The tweeter in the 603 S2 is a little more tip over if you don’t fit the bases, we’d advise
in order to detect the differences between conventional in that it’s a 25mm aluminium that you do.
constants, vowels, inflexions (up and down) dome with a standard suspension, but B&W
and much more. In a three-way design, all has made it a bit differently than usual, We positioned the B&W 603 S2
this will be delivered by a single driver, because instead of using just one aluminium Anniversaries as close to the rear wall of
specifically designed to be accurate in this dome, like most tweeters, the one in the 603 S2 our listening room as we could get them.
region. In a two-way speaker, much of Anniversary has two aluminium dome sections Without the plugs in the rear-firing ports,
human speech (and the singing voice) will which, not surprisingly, gives additional we thought the level of the bass was just a
be produced by both drivers, each with a stiffness to the structure, which has the effect little too forward in our initial listening
completely different sonic signature. sessions, so after experimenting with the
half-bung option, we eventually ended up
If you’ve noticed that the B&W 603 S2 blocking both ports entirely, which reduced
Anniversary three-way design has four drivers the level of the bass to best suit our preference.
on the front panel, go to the top of the class. We checked our choice with a variety of
This is a special variant of the three-way musical genres and decided it as the best
design where the lowest frequencies are option for all… at least it was for us. If you’d
delivered by two identical drivers, rather like more bass, leave the ports open.
than just the one. We won’t dig too deeply
into the technicalities of this, but using two Bass extension is excellent, with the B&Ws
bass drivers enables exactly what you’d able to deliver the lowest of low notes from
imagine it might — a deeper, louder, and both from pipe organ and orchestra as we
more powerful bass response. proved to ourselves by listening to Saint-Saëns’
Organ Symphony No 3, with Daniele Rossi as
In the case of the B&W 603 S2 Anniversary, the organist with the Orchestra dell’Accademia
the bass is further augmented by a bass reflex Nazionale di Santa Cecilia.
port at the rear of the cabinet that reinforces
the lowest frequencies by making use of the We were awed by the power of the organ
energy coming from the rear of the bass at the opening to the fourth (Maestoso –
drivers’ cones. Depending on where you Allegro) as delivered by the 603 S2s, and
position your speakers in your room, this then by the way they delivered the sound of
reinforcement may ‘over-egg’ or exaggerate the the orchestra in full flight, particularly the
bass, so B&W gives you the option of blocking tympani, which get a real work-out in this
off these bass reflex ports partially or entirely movement. It’s a bit as if Saint-Saëns is having
by providing multi-part soft foam bungs. the orchestra and organ duel each other and
the B&Ws reveal all the thrusts and parries of
The curious appearance of the B&W 603 this duel with such precision and clarity that
S2 Anniversary’s 150mm diameter midrange it’s very exciting to hear!
cone comes about because the cone is made

69

LOUDSPEAKERS

Pipe organ provides deeper bass than blanket. But it’s Ridings’ voice that the 603 S2s Conclusion
you’re ever likely to need, so if you’d like deliver most impressively.
to hear the B&W 603 S2 Anniversary’s These are good-looking, great-sounding
performance with the lowest note on a bass Like the sound of acoustic guitar? Try loudspeakers from a company that is a true
guitar, along with kick drum, listening to them on Tracy Chapman’s legend in the audio business. But the fact that
there’s no better track we can they’re so good shouldn’t be a surprise. The
think of than Mustang Sally, from Fast Car, and at the same time surprise is that you’re getting all this high
the soundtrack to the movie The you can also hear that the B&Ws performance and great sound, along with the
Commitments. The song is driven deliver Chapman’s voice authenti- premium badging, for less than three grand.
by one of the best bass lines cally as well. You can hear the
around and it’s a great capture ache in her voice as she sings, so BOWERS & WILKINS
of the bass, particularly that you really understand the emotion 603 S2 ANNIVERSARY
repeated low E, and great delivery behind the song. STEREO LOUDSPEAKERS
of it by the B&Ws. But also listen
to the way they deliver the sound For delicate highs, we rather like • Flawless midrange
of the baritone sax, which is J.J. Heller’s album ‘When I’m With • Flexible bass
totally authentic. You’, for its lovely high-frequency • Exciting sound
string sounds, high-pitched synths,
But although the bass cymbal sounds and the use of • Low impedance
performance of the B&W 603 S2 tinkling bells to augment the effects.
Anniveraries is impressive, it’s The lyrics are nice too, though a bit Price: $2999
the midrange that’s the star of preachy, which is hardly surprising
the show. It’s magnificent. And given her religious background. Frequency response: 48Hz–28kHz ±3dB
if you want to hear it at its most The B&Ws balanced the highs Frequency range: 28Hz–33kHz –6dB
magnificent, fire up Freya Ridings’ perfectly against the mids, and the Sensitivity: 88.5dBSPL (2.83V, 1m)
first fantastic self-titled album highs were delivered with that Harmonic distortion (2nd/3rd):
(‘Freya Ridings’) and listen to it in shimmering delicacy that you only <0.5% (120Hz– 20kHz)
its entirety, not just to her greatest hear from the very best tweeters. Harmonic distortion (2nd/3rd):
hit (Lost Without You). <1.0% (90Hz– 22kHz)
If we had any proviso about Nominal impedance: 8 ohms
On the opener, Poison, listen the performance of B&W 603 S2 Minimum impedance: 3 ohms
to how her breath intakes are Anniversaries, it would be that their
revealed and the precision with minimum impedance of 3 ohms Dimensions (whd):
which her vibrato is reproduced by means that they’re a demanding 1055 × 320 × 370mm (inc. plinth)
the B&Ws. When Lost Without You load that will tax the ability of lesser Weight: 24.1kg
does come along, you can admire amplifiers. They also sound so good Warranty: Five years
the way the B&W 602 S2s deliver when you wind up the volume that
the sound of the piano, particularly you’ll be doing this so often in order Contact: B&W Australia
the higher notes, while the warmth to appreciate the sound that we’d Telephone: 02 9196 8990
of the sound around the middle also advise also making sure that Web: www.bowerswilkins.com/en-au
octaves is like being wrapped in a your amplifier has plenty of power
available on tap and also in reserve
70 for the inevitable peaks.

Hybrid driver SRM-500t

Founded more than 80 years ago. Japanese manufacturer STAX
remains at the pinnacle of personal audio.  2021 has seen two
new models released including the hybrid driver SRM-500t. With
a new custom made DUAL FET pre stage, combined with a High-
Voltage dual triode vacuum tube ‘6FQ7 / 6CG7’ output stage –
discover today what STAX can do for your listening experience.

Distributed by Audio Marketing / www.audiomarketing.com.au / 02 9882 3877 /staxaustralia

LOUDSPEAKERS Polk’s position within the Sound United
stable of products has given it a new
POLK AUDIO home in Australia alongside the rest
RESERVE R200 of Sound United’s brands: Boston
Acoustics, Bowers & Wilkins, Classé, Definitive
STEREO LOUDSPEAKERS Technology, Denon and Marantz. The change
in distribution coincides with a new range
Part of a wide and versatile new ‘Reserve’ — the Polk Reserve series of speakers, which
collection, Polk’s R200 standmounters sits just below the company’s flagship Legend
combine fine drivers with cabinet innovation series. Indeed the new speakers use the
to deliver powerful performance at the price. same custom-made drivers developed for the
Legends, including the proprietary Pinnacle
72 tweeter and ‘turbine cone’ midrange.

The new Reserve range is extensive indeed,
with three floorstanding models, three centres,
two standmounts and a pair of ‘Atmos’ height
modules which can sit atop other Reserve
series speakers or be mounted to the wall to
deliver the height effects of Dolby Atmos and
DTS:X. Needless to say, then, the Polk Reserve
series caters to home cinema use as well as
to stereo listening. All models are available
here in Australia in matte black or a brown
(walnut); a satin white finish will follow.

We began our introduction to the new Polk
range with the larger of the two standmounting
designs — the Polk Reserve R200, which
arrived in their purposeful matte black finish.

Equipment

The R200 is a substantial standmounter —
Polk describes them as ‘bookshelf’ speakers,
but at 36cm high and 35cm deep that would
be a fairly mighty bookshelf! The matte black
finish and dark speaker grilles of our review
sample assisted them in receding somewhat
into our décor, but they still presented a fairly
physical presence, and all the more so as we
quickly decided we preferred to both look
and listen with the grilles off, so adding their
notable drivers to the visual equation.

Your own choice of whether to use the
grilles may be influenced by any young
children in the house, as the tweeter here is
Polk Audio’s high-res-capable Pinnacle ring
radiator, with its distinctive pointed waveguide
tempting even adults to have a closer look, and
children to reach out and touch. This tweeter
comes directly from Polk’s flagship Legend
series, and its ring radiator design means no
central dome to enter break-up modes, so
here achieving lower distortion within the
listening range and indeed beyond, as the
Pinnacle is ‘hi-res certified’. External and
internal waveguides control the dispersion
of such high-frequency energy, aiming to
deliver a wider sweet spot and more consistent
sound across listening positions. The Pinnacle
tweeter also enjoys its own sealed cavity filled

BEST BUYS AUDIO & AV | 2021#2

Turning them up was “The original PowerPort was all about bass internal frequency of the cabinet, acting as
an increasing pleasure performance and to avoid port noise,” Polk an eigentone filter (the port itself is labelled
because they neither personnel apprised us at a special presentation ETF) to maintain the bass output while aiming
distorted under duress, to EISA editors. “The port on a loudspeaker to reduce traditional speaker distortions,
nor crumbled under helps to get more lower frequencies and to clarifying the upper bass and midrange.
complexity.... increase sensitivity of the speaker — but maybe
nobody told you that this comes at a price.” Listening
with damping material, which Polk indicates
removes a ridge of internal resonance at This is true. A port utilises the back energy The R200s are impeccably-finished speakers;
2.5kHz, slightly below the 3kHz crossover from drivers in a cabinet to produce more bass the radiused corners are smooth and the
point in this model. The Pinnacle’s copper cap output, though this is centred on the tuning sections meld perfectly along the edges at
also reduces inductance and flux modulation, frequency of the port and the volume of air top and bottom. Their binding posts are solid
aiming to further boost high frequency inside the cabinet. Below the tuning frequency, indeed, ready for your connection of choice
performance and further reduce distortion; the output of the port and the transducer — we used banana-terminated Audioquest
Polk’s own measurements show the tweeter become out of phase with each another so that cables, another brand that has just come
output impressively flat to around 35kHz. the bass drops off faster than for a sealed-box under Sound United distribution in Australia.
design. Above the tuning frequency, also, the Beneath the binding posts is the faceplate
The ‘turbine cone’ drivers are so called for open-ended pipe creates what are often called sticker locating Polk in Carlsbad, CA, while the
the asymmetric bumps which the injection- pipe-organ resonances that can cloud the production date of the speakers is printed in
molding process has added to the foam-core midrange. So Polk’s new Power Port 2.0 works Chinese; text below the connectors confirms
polypropylene cones, with this ‘turbine’ also to clean up the upper bass and midrange. them to be “Designed and engineered in the
geometry claimed to minimise resonances USA; manufactured in China”.
around 5.5-6kHz which would occur in a “On top of the cone of the waveguide we
smoother cone equivalent, thereby hampering build a ‘hollow pole’ with an opening that We kept them on light duties for a week
a true pistonic motion, while the turbine is halfway into the port, and tuning of this to warm them through while deciding on
bumps and a suitably impedance-matched pipe is done to multiples of tuning of the port positioning, settling on solid stands toed in
surround avoid this, dramatically increasing frequency,” says Polk. The effect is significant, slightly to keep their pointy tweeters at ear
stiffness and damping but without adding notably reducing a large 14dB resonance peak height and directly at our ears. While their
mass to the cone itself. Nevertheless the cone occurring at 700Hz. response remained uniform across a wide
construction is around double the thickness of
more ordinary polypropylene cones, having Further relieving sweet spot, their consider-
what Polk entertainingly describes as a resonance in the able imaging abilities
“chewy centre” with a “crunchy outside”. floorstanders is a were clearly best enjoyed
The result is impressively linear midrange new internal bracing sitting dead centre to
response — rising, indeed, to around 9kHz, Polk calls Column within a few centimetres,
far above the crossover here. While in the Resonance Control. to perfectly equalise
larger Reserve models this driver is used for the treble from those
the midrange alone, its bass performance is, as “The biggest ring radiators.
we’ll see, still suitable for unsupported use in and most annoying While they hadn’t
a standmount design, maintaining output fully resonance of a put a foot wrong during
down to 150Hz then declining relatively slowly floorstander is their week’s warm-up, it
to be 6dB down around 70Hz. between the foot and quickly became apparent
the top plate,” Polk that these speakers
Port arrivals tells us. “Depending relish being turned up
on the height of and driven with some
There’s an additional secret weapon here, the cabinet this is quality power — again
visible at the rear, above the pair of solid usually between we were able to supply
5-way binding posts. The port is most unusual 150 and 200Hz. Our this from two Sound
in both design and appearance, with a pointy CRC construction United stablemates, using
torpedo sticking out of it (see right), held in clearly eliminates both the Marantz amp
the centre of the port by three radial struts. the resonance peak reviewed elsewhere
of the cabinet — the this issue, and our
This is Polk’s new X-Port, as featured on result is uncoloured resident reference Classé
the centre speakers and standmounts of the bass and midrange.” amplification. Indeed
Reserve range, while the floorstanding R600 turning them up was
and R700 have instead Polk’s new Power Port In the bookshelf an increasing pleasure
2.0 in their base, firing downwards. Polk’s models and the because they neither
original Power Port was patented back in 1996, smaller floorstander distorted under duress,
and minimised air turbulence by attaching a of the Reserve range,
waveguide to the opening of the port. Polk has applied nor crumbled under complexity.
the same principle to this The midrange from the turbine
torpedo-clutching new X-Port; cones merges impeccably with the
this uses a set of closed-pipe tweeters’ output, and vocals are
absorbers tuned to the

73

LOUDSPEAKERS

The Pinnacle tweeter with its Even more impressive was the bass entry up the soundstage, it delivers a sensational
distinctive pointed waveguide a minute into Midnight Oil’s Warakurna, evenness across the frequency spectrum, so
is used across the Polk Reserve pounding out Peter Gifford’s last Oils that every note of the rolling piano scales
range, and comes directly from the appearance to positively inhabit the central in Jonas Vitaud’s recording of Beethoven’s 7
company’s flagship Legend speakers. space of the soundstage; this followed the Bagatelles emerged differentiated in frequency
swirling atmosphere that opens this track, the yet even-fingered in impact. The Polks proved
particularly strongly projected. The acoustic little tinkles and trills amid the twinned guitars as impressive with piano as with punk.
instruments in the arrangement of Missy given life and movement by the clarity and air
Higgins’ Nightminds became almost recessed, of the Pinnacle tweeters. One last trick with the R200 — you can fit
such was the prominence and crispness of Polk’s Reserve R900 Atmos modules to the top.
her vocal. On Sweet Arms of a Tune it was the On the recent Roger Waters ‘Us+Them’ Remembering the full Reserve range and their
acoustic guitar which was thrust forward, with live album there’s a meaty mechanical segue home cinema application, we can imagine the
Higgins’ vocals almost too insistent; the R200s between The Great Gig in the Sky and Welcome impact that would come from a set of four
don’t forgive an edgy production. But when To The Machine, and there was no ignoring R200s topped by Atmos-enabled speakers,
she is more truthfully captured, as on Greed the Polks’ power to impress here, spreading supported by a suitable centre and subwoofer.
For Your Love, the realism was tangible. the effects wide while also granting the whole
great substance, before embarking on the Conclusion
The harmonised vocals of The Finn bass-bouncing intro to the 1975 classic.
Brothers were similarly spot-lit on Won’t The word ‘Reserve’ has a remarkable variety
Give In, presented three-dimensionally in Should you need to hide the drivers, of potential meanings: ‘reserve’ as in shyness,
the soundstage — Neil forward and low, Tim for aesthetics or protection, the magnetic ‘reserve’ as in substitute; it can mean a feeling
behind and higher. Also notable here was the grilles are described as anti-diffraction and of doubt, constraint, repression — even a lack
pleasingly solid bass entry, with genuine bass acoustically-inert, but for our ears they audibly of warmth. Not one of those definitions would
depth to its fundamental G. tempered that open treble; we left them off, seem to apply to these substantial standmount
preferring the aesthetic and the response. speakers. The R200 proved truthful at both
Polk’s new Reserve low levels and high, able to deliver a solid bass
range is extensive The success of the X-Port’s eigentone filter and a remarkable clarity of midrange assisted
indeed, with three may be audible in the remarkable midrange, perhaps by that new X-Port, while the Pinnacle
floorstanding models, which is entirely unencumbered by bloom or tweeter gifts an airy and open treble beyond
three centres, two boom. This not only clarifies a mix to open the likely limits of perception.
standmounts and a pair
of ‘Atmos’ height modules... And what entirely flabbergasted us on
completion of our review was the price, which
we did not know until the end. We’d have
put them at least double the actual price. So
in addition to being marvellous standmount
speakers, the Polk R200s are a bargain.

POLK AUDIO RESERVE R200
STEREO LOUDSPEAKERS

• Clarity and command

• Impressive bass punch

• Price

• Unforgiving of edgy recordings

Price: $1099

Drivers: 25mm ring radiator;
165mm ‘turbine’ cone
Minimum impedance: 3.8 ohms
Sensitivity: 86dB/W/m
Quoted frequency response: 51Hz - 38kHz
Dimensions (whd): 190 x 359 x 354mm
Weight: 8.7kg each

Contact: Sound United
Telephone: 03 8542 1111
Web: au.polkaudio.com

74

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LOUDSPEAKERS

REVEL PERFORMA3 M105

LOUDSPEAKERS

R evel is the brand-name applied to had become available on any loudspeaker drivers and bass drivers for a new composite
high-end loudspeakers made by other than Revel’s flagship ‘Ultima’ Series material called DCC (Deep Ceramic Composite)
the giant conglomerate Harman models. Two different alloys were used: where the aluminium cone is treated with an
International (which is itself an aluminium for tweeter domes and aluminium/ electrolytic oxidation process that creates a
independently-controlled subsidiary of magnesium for midrange and bass driver ceramic coating on both its sides. The resulting
Samsung). We mention this specifically cones. The Performa2 Series, introduced in ceramic/metal/ceramic sandwich provides
because Harman is also the company behind 2003, saw the addition of waveguides to the constrained layer damping that pushes cone
two of the world’s best-known and highly- tweeter diaphragms. The Performa3 Series, break-up modes outside the passband, so
regarded hi-fi loudspeaker manufacturers: of which the M105 is a part, introduced new the driver can deliver ideal pistonic motion
JBL and Infinity, which not only puts loud- tweeters and a new generation of wave-guides. throughout its operating range.
speakers made by Revel on a pedestal, but
also means that Revel’s engineers have access In fact the Performa3 Series was so The 25mm aluminium-domed tweeter
to all the same R&D as the engineers for JBL successful for Revel that it added the in the M105 has Revel’s newest version of
and Infinity, as well as to all the same manu- PerformaBe Series to its line-up in 2018 as a the waveguide. Although the Series’ model
facturing facilities. mid-way point between the Performa3 Series number (3) would suggest three generations
and the Ultima Series. The PerformaBe Series of evolution we think this is actually the sixth
Equipment saw a switch in the metal from which the generation for the waveguide itself, because
tweeters were being made from aluminium to it is used on other Series made by Revel,
When Revel introduced the original ‘Performa’ beryllium (‘Be’ being the abbreviation used for and it evolved there as well. The waveguide
series in 1999, it was the first time that the this metal on the Periodic Table of Elements) acts as physical protection for the tweeter,
company’s premium metal diaphragm drivers and the pure metal cones of the midrange but its real purpose is to ensure that at the

76

BEST BUYS AUDIO & AV | 2021#2

crossover frequency, the off-axis dispersion are inherently stiffer than cabinets that use There are also two powered subwoofers in
of the tweeter is similar to that of the off-axis flat panels, and also have fewer internal the Performa3 range — the B110, which has
dispersion of the bass/midrange driver. resonances than conventional ‘box-shaped’ a 10-inch bass driver, and the B112, which
cabinets. The cabinets also have internal has a 12-inch bass driver.
If you look carefully at the M105’s cone bracing to reduce the possibility of enclosure-
you’ll see not only the quality of the black induced colouration. Listening sessions
anodising on its surface but also that the cone
has five small ‘ribs’ pressed into its surface The cabinets are so beautiful and the Although the unusual shape of the Revel
that extend part-way from the periphery to drivers so well-integrated into them that you Performa3 M105 has many acoustic
the large (45mm diameter) central dust-cap. may wish to use the M105s without the grilles advantages, it does have the disadvantage
The primary purpose of ribbing on any with which they’re supplied, in which case that it decreases the volume of the cabinet
surface is to increase the rigidity of that you won’t see any mounting plugs or sockets, over a standard rectangular cabinet of the
surface, and that’s exactly what is taking because the grilles attach magnetically. same width and depth, which in turn limits
place here, with Revel saying that in this the low-frequency extension of the driver
case, the increase in rigidity enables the Although the Revel M105s can be shelf- Revel is using, so that this same driver, in a
cone to “achieve ideal, piston-like behaviour, or wall-mounted, they’re designed to be used cabinet of larger volume, would have more
eliminating a major source of resonances that on stands, specifically the Performa3 ‘M’ bass extension. That proved to be the case in
are audible in most loudspeakers.” stands, which are 635mm high and intended our listening sessions, because although the
for use with the M105 and M106 designs, the M105’s bass was outstandingly neutral, free
Revel says that it uses high-order M106 being a slightly larger version of the of unwanted distortion and stayed very clean
crossovers in the Performa3 M105. The ‘order’ M105 with a slightly larger (165mm) bass/ even at higher listening levels, the very lowest
of the crossover dictates how effectively midrange driver. musical octave was a tad lower in level than
the crossover prevents frequencies that you’d hear from, say, a pair of Revel F206s or
a particular the driver is not intended to We should note that Revel expects that F208s… or an M106.
reproduce from reaching that driver. In a some buyers will use the M105s in a multi-
two-way design, it means that high frequencies channel home theatre system, probably by You will get maximum output if you do not
should be prevented from reaching the bass/ using M105s in the surround channels as use the port plugs supplied with the speakers
midrange driver, and low frequencies should well (or, if you want dipolar speakers, a pair and if you position the speakers fairly close
be prevented from reaching the tweeter. of S206s). So it also makes a dedicated centre to a rear wall, in order to maximise the contri-
Because the Performa3 M105’s crossover channel (C205) that uses the same bass/ bution from their rear-firing bass reflex ports.
frequency is at 2.3kHz, this means only midrange driver as the M105s, though of
frequencies above 2.3kHz should go to the course two of them, rather than just the one.
tweeter and all frequencies below 2.3kHz
should go to the bass/midrange driver. If a
low-order crossover were used, say 3dB per
octave, the bass-midrange driver would be
delivering sound at 4.6kHz that was almost
as loud (just 3dB quieter) as the sound being
produced by the tweeter. If, however, a
high-order (24dB/octave) crossover were to
be used, the output of the woofer at this same
frequency would be 24dB lower than that of
the tweeter — so low in level that it would
be inaudible. Revel doesn’t actually specify
the slopes of the crossover in the M105, but
the components used in the M105’s crossover
network (four inductors, three iron-cored, one
air-cored, four capacitors and three resistors)
would suggest slopes of at least 24dB/octave.

While the M105 might not be able to use
the same quality drivers as found in Revel’s
PerformaBe and flagship Ultima2 models, it
can — and does — use cabinets made from
the same materials and formed in the same
shapes. When we say ‘shapes’, it’s because if
you look closely, you’ll see that the sides of
the Performa3 M105’s cabinet are curved,
rather being than flat and the cabinet itself
is also wider at the front than it is at the
back. Although they’re more difficult to
manufacture, cabinets with curved sides

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BEST BUYS AUDIO & AV | 2021#2

the guitar body. There’s also all this and more
on the lovely track You and I.

We tested out the high frequencies with
one of the year’s best albums, ‘Obviously’,
the latest studio album from old-timers Lake
Street Dive. The title is extracted from the
album’s intro (and best) track, Hypotheticals,
which also finishes it, as an edit. The Revels
delivered all the highs with a silky smoothness
that let us hear the true sound of the cymbals,
clap-sticks, guitar, uke, piano and organ. They
also delivered the sound of Bridget Kearney’s
acoustic bass so cleanly that we raised our
eyebrows with surprise. So yes, Virginia,
small loudspeakers can deliver low bass with
amazing realism.

Conclusion

We’re going to conclude this review by
reprising what we said earlier: that the Revel
Performa3 M105s are one of the most accurate,
most revealing loudspeakers we have ever
heard. If you want a pair of monitor speakers
for your studio, look no further. But if you
want a pair of great loudspeakers for your
home, they’ll excel in that application as well.

the Performa3 105s for the purpose of writing soundfield with stunning realism. The vocal REVEL PERFORMA3 M105
this review. trill at 1:03 that’s blurred by many speakers STEREO LOUDSPEAKERS
was a true trill, and the cleanliness of the
We must admit to being unsure what the multi-tracked echoed vocals against the • Monitor accuracy
‘M’ stands for in the M105s’ model number, deliberately-distorted instrumentation, as well • Stunning sound
but only a few seconds after we’d started as the superb spoken close-out, are all handled • Superb finish
playing music through them, we would masterfully well by these small speakers. So
certainly have placed serious money on it well, indeed, that they sound much, much • Lowish sensitivity
standing for ‘Monitor’, because these small larger than they are. • Stands not included
standmounters would have to be one of the
most accurate, most revealing loudspeaker Wanting a more natural vocal and acoustic Price: $2799
designs we have ever heard. If we were instruments to evaluate the midrange, we
monitoring music in a recording studio and played Valerie June’s lovely album ‘The Moon Type: 2-way bass reflex bookshelf
wanted to hear exactly the sound that had and Stars’. Listening to her distinctive voice on loudspeaker
been captured, these Revel Performa3 M105s Fallin’ we were assured that the M105s deliver LF driver: 130mm aluminium cone,
would be our tools of choice. the midrange flawlessly, not only because cast frame
of the perfect balance of her voice, but also HF driver: 25mm aluminium dome,
Listening to Seratonin, from ‘If I Could Make because of the guitar sound. Just listen to the with acoustic lens waveguide
It Go Quiet’ by Girl in Red (Marie Ulven), the clarity of the strings, and how you can hear LF extension: 44Hz (–10dB); 56Hz (–6dB);
Revels delivered the incredible richness of the 60Hz (–3dB)
Nominal impedance: 8 ohms
Sensitivity: 86dBSPL (2.83V/1m)
Crossover frequency: 2.3kHz
Finishes: Piano black, piano white,
high-gloss walnut
Dimensions (hwd): 356 × 200 × 248mm
Weight: 7.2kg
Warranty: Five years

Contact: Convoy International
Telephone: 02 9774 9900
Web: www.convoy.com.au

78

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EISA AWARDS 2021-22
Celebrating the year’s best products

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commentators from 29 countries, specialising in hi-fi, home theatre, photo and video, in-car and mobile electronics.

Every year the EISA jury of experts rewards the best products in each class with a coveted EISA Award.

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TESTED BY THE EXPERTS Q WWW.EISA.EU

LOUDSPEAKERS

SPENDOR CLASSIC understand how to describe each of our three
product lines and who they appeal to.”
STEREO LOUDSPEAKERS
So he describes the A-Line as being aimed
The Classic range speakers from Spendor in the UK at customers who want high performance,
are designed to look nostalgic — but their thoroughly neat modern styling, and loudspeakers that
modern componentry prevents any possibility will give good results with a wide variety
of their sound becoming stuck in the past. of equipment and rooms, including less
expensive equipment.
When we spoke recently with and what we do on a consistent global
Philip Swift, the owner of basis to our increasingly diverse but ever The D-Line, then, is aimed at customers
Spendor loudspeakers, he more discerning and aware — via the who want modern loudspeakers that deliver
explained to us how the internet — target audience’,” Swift says. uncompromised sound quality in any listening
company’s three ranges of loudspeakers have “We identified three groups, which environment, able to reveal the advantages of
each been developed with a particular type internally we refer to as making up our the finest high-end equipment and recordings.
of customer in mind. The divisions between ‘Music Lover’s Universe’ — our audience,
the A-Line, the D-Line and the Classics are in other words. We identified Music Lovers, Then there’s the Classic line, with designs
more about sound character and style than Entertainment Seekers and Enlightened that hark back to the earlier days of Spendor
technology or performance, he told us. Consumers. There are no black-and-white in their looks, a heritage that leans on BBC
divisions between the groups, and some will research carried out half a century ago, but
“A few years back we asked ourselves, migrate between them as experience and which nevertheless incorporate all Spendor’s
‘How do we communicate who we are latest technologies and research.

“There’s an obvious appeal to traditional
hi-fi enthusiasts,” notes Swift. “But the Classic
loudspeakers are also finding a new following
amongst those who simply want something a
little different from the world of chrome and
tech. Even if you don’t have the space or the
budget, no-one can fail to be impressed with
the sheer scale and music-making abilities
of the Classic flagships.”

Spendor Classic 4/5

To establish the depth of Spendor’s Classics
range, we’ve listened to two pairs of
standmount designs. The Classic 1/2 speakers
(overleaf) are $12,499 the pair, though not by
any means the top of the range — the titanium-
baffled Classic 100Ti standmounts retail at
$21,999, and you can nearly double that for
the range’s top floorstander (pictured left).

But we’ll begin at the beginning, with the
Classic 4/5, which are priced at $3499 the
pair (pictured right), putting them in a busy
and competitive market. But if you want
your speakers to be small, unfussy in nature
and sound great without being pampered,
the choice dwindles significantly, and brings
Spendor’s Classic 4/5 more into the spotlight.

They are the smallest speakers in the
Classic range, 31cm high and displaying their
intended nostalgia value via their exterior
design, whether in their light cherry or slightly
darker walnut real-wood veneers, and with a
classic style of grille, though this is magneti-
cally held and so easier to remove than the
old-style pegged type of grille. The old BBC
influence is apparent in the construction —
heavily damped but thin-walled cabinets,
which allows the panels to flex a little, but in
a controlled way. Most modern speaker boxes

80

BEST BUYS AUDIO & AV | 2021#2

are made to be as rigid as possible, which rattling party levels is the price to be paid dance machines, they did a surprisingly good
may yield some sonic advantages in low-end for enjoying speakers so compact. But while job with Lamar’s ‘To Pimp A Butterfly’ set.
precision, but can push cabinet resonances there isn’t the scale or outright authority that
up into the sensitive midrange. Spendor’s larger rivals bring, the Classic 4/5s compensate If you’re looking for a top-class small
approach moves those issues to lower speaker to work in a smaller room or with
frequencies, where they become with a seamless and cohesive presenta- compromised positioning, these Spendors
less noticeable, especially in a tion that makes many rivals are hard to beat: refined, insightful and
standmount design. sound uneven. These are wonderfully balanced. They’re undoubtedly
honest speakers that try a star within Spendor’s current Classic series.
They’re also a to communicate the
sealed construction; music in a natural Spendor Classic 1/2
most rivals are and even-handed
ported, giving them manner; they Moving several rungs up the Classic range
a (theoretical) render instrumental brings us to the Classic 1/2, double the height
advantage in textures superbly, at 62cm, and priced between three and four
sensitivity and capturing the times that of the junior standmounters. They
low-end punch. energy and majesty still play on their retro appeal, here with a
But a sealed design of orchestras well lineage even more clearly traceable back to
prioritises low-end with a well-judged Spendor’s first product, the legendary BC-1
agility and tunefulness balance despite the in 1969; one might think of the Classic 1/2s as
over muscle. limited low-end reach. the speakers the BC-1s would be if they were
Some small speakers can made using today’s technologies — though
In many other ways, sound top heavy, but the Classic they are more conventional three-ways —
the 4/5 speakers are as modern with bass, midrange and tweeter units
as they come. They feature Spendor’s 4/5s have enough in terms of low rather than the tweeter and super-tweeter
established 22mm polyamide wide-surround frequency heft to satisfy, particularly when arrangement used in the BC-1. These are all
dome tweeter, here mated to an in-house used in a smaller room, where the sense highly developed modern drivers, and all
150mm EP77 polymer mid/bass via a carefully of assured calm is coupled with expressive bar the tweeter are designed, engineered
calibrated single-wired crossover. The dynamics and a surprising amount of punch. and made in-house by Spendor, which is
crossover frequency is set unusually high at quite some feat for such a small manufacturer
4.2kHz, leaving the larger drive unit to handle It comes as no surprise that these Spendors — but then this is not a company which relies
the critical midrange region all by itself. have an excellent midrange. It sounded on off-the-shelf components.
wonderfully articulate and fluid, conveying
These speakers are impressively unfussy the passion in Nina Simone’s performance of “We design and manufacture all Spendor
about placement, assisted by that lack of a Strange Fruit brilliantly. drivers and cabinets in-house in the UK,”
port. Ideally, of course, they should be placed owner Philip Swift tells us. “We have our
on solid speaker stands, and Spendor offers Their surefooted timing and ability to track own specialist cabinet manufacturing facility,
a dedicated set. But we tried them also up rhythms is perhaps less expected. So while Timberworx, alongside our new Spendor R&D
against a wall and on a bookshelf, as well as their size limits their abilities as full-throttle
on stands brought well into the room. They
made the best of each situation, but sounded
their very best around 30cm out into the room,
with a touch of angling towards the listening
position. There they delivered a wonderfully
open, focused and expansive soundstage. Eyes
closed we couldn’t pinpoint the position of
the speakers, which points to a well-behaved
cabinet design. Their rated sensitivity is only
84dB/W/m, so are perhaps not best partnered
with low-powered amplifiers, even though
Spendor has taken care not to make the Classic
4/5 an unduly difficult electrical load.

We can sum up the sound of these
Spendors in three words: insightful, balanced
and refined. They resolve a great deal of
detail, but always present it in an understated
yet organised way. There are no hard edges
or brightly lit treble to add excitement, nor
is there a significant attempt to flavour the
frequency response to make the Classic 4/5
appear more generous in the bass than they
are — the lack of true depth or furniture-

81

LOUDSPEAKERS BEST BUYS AUDIO & AV | 2021#2

While these are large standmounts space around individual notes. Tonally, there SPENDOR CLASSIC 4/5 & 1/2
speakers, they don’t need a massive room to was just a hint of the richness you might be STEREO SPEAKERS
work properly, just a little space, out around expecting from a ‘nostalgic’ design, but it never
a metre from room boundaries. So positioned, got out of hand or overly softened the edge of • Insightful and refined
not only do they deliver significant levels music that required an edgy presentation, so • Balanced and unfussy
of bass, but also bass which is agile and that overall despite their visual appeal they • Classic appeal
articulate; those bass drivers retain their delivered a thoroughly modern performance.
low-distortion performance even when pushed • Limited bass output from the smaller 4/5
hard. As volume levels head northwards, the Conclusion – but not from the 1/2!
1/2s continue to respond with class-leading
composure and refinement. Both the Classic 1/2 and the Classic 3/4 showed SPENDOR CLASSIC 4/5
how Spendor manages to optimise its designs
Listening to Massive Attack’s Angel, the 1/2s and technologies whatever the price, while Price: $3499
reached the depths with ease, delivering notes still aiming for that subtle sense of nostalgia Drivers: 22mm polyamide dome tweeter,
with unexpected texture and subtlety. There’s a it wants to impart to its Classic models. The 15cm EP77 polymer mid/bass
hefty dose of punch and an impressive degree smaller 4/5 might be ideal if you’re looking for Nominal impedance: 8 ohms
of weight here, but it all sounded proportional unfussy speakers that sound great in a smaller Sensitivity: 84dBSPL (2.83V, 1m)
and never over-dominated. room, while in the larger model Spendor offers Dimensions: 308 x 188 x 165mm
an impressive blend of strengths that goes far Weight: 5kg
These speakers timed pretty well too, beyond any nostalgia trip. This is a company
conveying the momentum of the music with which is clearly facing firmly forward, as SPENDOR CLASSIC 1/2
skill. They rendered vocals with uncommon Philip Swift confirms.
clarity and grace. Price: $12,499
“I am heading up our new team at the R&D Drivers: LF 210mm, MF 150mm, HF 22mm
Switching to Holst’s Jupiter, the Classic 1/2s’ facility,” he tells us, “and that will include fresh Nominal impedance: 8 ohms
sound delivered the crescendos with real graduate engineers with the vision and skills Sensitivity: 87dBSPL (2.83V, 1m)
punch. Dynamics are tracked with ease; detail to implement the most modern measuring Dimensions: 621 x 308 x 374mm
levels are high, stereo imaging is layered and techniques and simulation software — already Weight: 22kg
precise, remaining stable even under pressure, we’ve come up with some exciting ideas for
tracking multiple instrumental strands with future products. They will take time to develop Contact: Indi Imports
and prove, but I believe this is the only way Telephone: 03 9416 7037
forward, because it opens exciting possibilities Web: www.indimports.com
for significant advances in sound quality.”

82

Carbon DomeTM Tweeter for
amazing accuracy
Solid Body Tweeter for
life-like imaging

ContinuumTM cone for
exceptional transparency
Decouped FSTTM chassis for
the cleanest midrange

AerofoilTM Profile low-
frequency drive units for
deep and dynamic bass

702 S2

Also available
in Rosenut and White

Studio sound comes home

Presenting the latest 700 Series from Bowers & Wilkins. While its design may appear conventional, look be-
neath the stylish and beautifully crafted cabinet work and you’ll find cutting edge, state of the art materials and the
forward thinking innovations Bowers & Wilkins is renowned for. Some, such as our Continuumä cone midrange
and Aerofoilä profile bass drivers are derived directly from our flagship 800 Diamond range, while others such as
the Carbon Dome tweeter are completely new. The result? A range of speakers that delivers what we refer to as
True Sound. Experience the complete 700 Series loudspeaker family at selected Bowers & Wilkins dealers today.

700 Series

[email protected] 02 9196 8990 bowerswilkins.com BowersWilkinsAu

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