Sound + Image 11.12 2020

KLIMAX LP12

BEST OF THE BEST – THE ULTIMATE TURNTABLE

Our flagship Klimax LP12 turntable offers the pinnacle of vinyl reproduction
today, setting the benchmark worldwide for all other turntables on the market.

It includes the best of Linn’s precision-engineered upgrades, and because it’s
modular, you can update it whenever we release a new upgrade. A Klimax LP12
is an investment that will amaze and reward you for years to come.

www.linn.co.uk

DECK OPTIONS

Black Ash Cherry Walnut Rosenut Oak

Ph: 02 9561 0799 | www.advanceaudio.com.au

vinyl

record cleaning

Record
Doctor VI

Record Doctor VI I f you’ve now sorted your preferred turntable of the record. Then you dribble the supplied cleaning
from the ranks of contenders, consider one solution across the width of the vinyl, and hold a wide
vinyl cleaning system more thing. Vinyl is a source with a differ- fluid-application brush to the surface as you rotate
ence — the software requires care. Cleaning the disc once (or more) until the whole disc becomes
Here comes the
Doctor to suck is essential even with new discs, and if you’re out coated with the fluid. Next, flip the disc so the wet side is
your records clean
of dirt. It’s easy gathering bargains at secondhand record fairs, then downwards and replace the turning knob, switch on the
to use, but how
effective is a good cleaning system can transform a $2 or $5 suction pump, and rotate the disc until the vacuum has
the cleaning?
purchase from a crackly listen into something more sucked the underside dry. Repeat for the other side, and
SUMMARY
soothing. The Record Doctor VI is one such system your LP is clean and ready to play or store.
Record Doctor VI
which aims to reduce signal noise in your system by Such has been the way of the Record Doctor since
Price: $485
physically removing dirt from your vinyl. it was introduced 20 years ago. The latest version
+ Audibly effective on most
discs cleaned Equipment has various upgrades and updates, which include a
larger turning knob which now fully covers the record
+ Easy system to use
+ Discs emerge dry and ready Record cleaners range from cheap-and-cheerful label, also a new deeper-cleaning spreading brush for
– Can’t resurrect worst discs
– Noisy suction system simple wiping solutions to ultrasonics and wildly the fluid stage, and a better overall finish including a

expensive transcription systems of deep cleansing; stain-resistant aluminium top (presumably previous

we’ve covered many approaches in past issues. The versions were becoming marked by fluid dripping from

‘Record Doctor’ inhabits a helpful zone where the over-lubricated undersides). A black dust cover, similar

price is not frightening at $485, yet the product is to an inverted reusable shopping bag, is another useful

highly regarded and long established, as evinced addition for the VI edition.

by this latest ‘VI’ Operation
version being also

the company’s 20th It’s ironic that a product

anniversary edition. BEFORE designed ultimately
The Record to reduce noise levels

Doctor cleans should increase them

records using so significantly during

a suction tube its operation. One of

surrounded by felt the upgrades advertised

cleaning strips. You for the ‘VI’ version

put the record onto a AFTER is that it runs “cooler

spindle to one side of and quieter” than its

the tube, and pop a predecessors — but the

large manual turning

knob over the label ▲ BEFORE & AFTER: Clicks visibly and audibly removed and reduced on the Simon & Garfunkel LP.

53

vinyl

record cleaning

suction system nevertheless makes quite the hum. With a simple READY FOR CLEANING
bathe-and-wipe cleaning system you might spend a Sunday
afternoon cleaning vinyl in the family room. Doing so with the CLEANING FLUID APPLIED
RD-VI would be more akin to operating a hairdryer while the
missus is trying to watch telly. Neither can you listen uninter- SPREADING THE FLUID
rupted to cleaned LPs while cleaning others, given the regular
bursts of suction motor noise. So the cleaning task can perhaps with significant splotches visible when angled to the light, the other a copy
instead be considered foreplay to your listening enjoyment. It of Fleetwood Mac’s ‘Rumours’, apparently in reasonable condition. We also
wasn’t so loud that it persuaded us to wear headphones while pulled out one of our most played pieces of vinyl, Keith Jarrett’s ‘Changes’, on
operating it, though for long cleaning sessions you might which the first side’s Flying pt1 has good minimal areas in which changes in
consider it, as might anyone else around. surface noise might be more easily assessed than over, say, thrash metal.

Noisiness aside, it’s great fun to operate the Record Doctor. Our fourth test disc was a near-pristine white label pressing of Miles
It’s too low to have on the floor without back-bending, and too Davis’ ‘Kind of Blue’ from Absolute Analogue (which is not one of the highest
high to have on a table without the need to reach above it; it was regarded pressings of this album, sadly).
ideal on a calf-high stool, operated from a knee-high stool.
As expected, there was little difference to be discerned with this last disc
It took only a couple of records to master the amount of fluid in terms of surface noise, this having been kept pristine and already regularly
required to fully coat the disc — the fluid bottle has a pull-down cleaned before play. The waveforms, however, showed that even here persis-
nozzle which helps eject only a drip or two at a time. Spreading tent clicks could be reduced, with some indication that surface noise was also
becomes a combination of turning the record and moving the reduced (the sample shown in the top waveform pair opposite is part of the
supplied brush (bottom left image). Indeed the spreading brush gap on side one between Freddie Freeloader and Blue In Green).
would seem to be the main thing to get saturated and potentially
dirty in the Record Doctor system, running damply around the There were improvements on the Jarrett LP, too, though not sufficient to
unclean records as it does, so picking up their superficial accu- wash the sound entirely clean. Audibly it was the Fleetwood Mac disc which
mulation of dirt while the liquid and suction does the deeper had the greatest removal of vinyl noise, rescuing this $2 acquisition to earn a
clean. We introduced two additional stages to the process, giving place in the record racks instead of ending up a probable reject ready for the
each disc an initial dry wipe with a non-shedding cloth to clear eager hands of the next local street clean-up.
any excessive dust before placing it on the Record Doctor, and
also giving the spreading brush a cleansing swipe each time
prior to application, to ensure we weren’t transferring any dirt
collected from the previous disc.

After flipping the disc and replacing the hand knob, you
get to turn on that noisy motor and manually turn the record
around quite slowly. You can’t, of course, see how well it’s
sucking and whether it’s yet dry underneath; the instructions
suggest two or three rotations, something like 15 to 20 seconds.

One advantage of this system is that records are immediately
dry and ready to return to their sleeves or, indeed, to play,
subject to interruption by the next bout of suction noise. With
dunk-and-wipe cleaning systems you’re never entirely sure
things are fully dry, especially with cloths getting increasingly
damp as you progress through a batch. With some systems you
actually have to leave records out to dry, like plates in a drying
rack. Here every disc gets the same treatment, and they all
emerge dry and ready for use or storage.

Depending on the level of fluid application, the supplied
125ml bottle of RxLP cleaning fluid is expected to clean 25 to
50 LPs, but it’s reassuring to see that you’re not heavily gouged
for ongoing fluid purchases, since you can get a large bottle of
concentrate for $44 which will dilute to make another 3.8 litres
of fluid, enough for around 1000 more LPs.

Before and after

We saved some reference discs until we’d mastered the process
and become fully accustomed to the RD-IV’s ways. And by
‘reference’, we do not mean the finest pressings in our collection
but rather a range selected as suitable candidates for ‘before and
after’ comparisons. These comparisons were made not only
by listening, to see if pops, surface noise and any other audible
distortions were reduced, but also by digitising the playback
before and after cleaning so we could examine the sound visually,
albeit at second (and digitised) hand — in the waveforms
reproduced opposite the originals are shown in red, the cleaned
versions in green. We chose two LP acquisitions from the last
local pre-Covid record fair: one an LP of Simon & Garfunkel’s
‘The Concert in Central Park’ which was in poor condition

54

vinyl

record cleaning

DAMP SIDE DOWN,
TURN ON THE SUCTION!

DISC CLEANING
COMPLETE

HOSE ADAPTOR FOR ▲ BEFORE & AFTER: ‘Kind of Blue’ (top waveforms) was already a clean
7-INCHERS IN PLACE disc but even here we could see (and hear) an occasional pop removed;
The lead in to Bowie’s ‘Rubber Band’ single (middle) had surface noise
as well as clicks audibly and visibly reduced, while improvements on
the ‘Sound And Vision’ single (bottom) were useful but less dramatic.

The marks on the Simon & Garfunkel disc bit of thought, and a seven-inch disc in Conclusion
were too stubborn to be entirely removed place for guidance, this seemed designed
even after a second more intense clean. The to cover the bit of the vacuum outlet slot Records must be cleaned! The latest Record
effect on sound was nevertheless substantial — which remains uncovered by the smaller disc Doctor VI proved an effective and enjoyable
unlistenably dirty before, the disc was still noisy (bottom picture above), thereby maintaining way of doing so, more than commensurate
afterwards but to an extent where we could maximum suction pressure on the underside with its price compared with cheaper
easily enough listen through the noise and now of the 45. It was precision cut for this purpose! wash-and-wipe systems. It can’t resurrect
enjoy the album. The comparison waveforms deeply abused vinyl, but it can significantly
(previous page) are from the opening fade up of And worked well. We cleaned up some improve many discs which might otherwise
the crowd, and show a significant removal of the David Bowie singles, including a promo copy be unlistenably noisy, and will most certainly
transient cracks where dirt has been displaced. of his debut for Deram Records Rubber Band maintain the more treasured discs of a collec-
in 1966 (the label marked with a pencil ‘×’ tion in the condition they deserve.
Sizing down indicating that a BBC producer had rejected
it for airplay, see top left), and also an appro- CONTACT $485
When we mentioned to Decibel Hi-Fi that we priate choice for an audio magazine, Bowie’s
were looking forward to cleaning some of our Sound And Vision single from RCA in 1977. Record Doctor VI
singles collection, they said they would include Both gained (or rather lost) audibly through
the required adaptor for these, admitting “it’s reduction of clicks thanks to the Record Contact: Decibel Hi-Fi
just a bit of hose”. And it is indeed just a bit of Doctor (see waveforms), especially in the Telephone: 07 3344 5756
hose, split down the side to open it up. After a lead-in of the surprisingly loud Deram single. Web: www.decibelhifi.com.au

55

hi-fi

stereo amplifier

Cambridge CXA81

hi-fi stereo amplifier

A well-equipped Power to please
former award-
winning amplifier O ur last visiting amplifier from Equipment
is upgraded to a Cambridge Audio left a permanent
new generation, impression: the company’s ‘Edge’ The two amplifiers in the current CX Series 2
and proves pre- and power combination, which range are an evolution of the original CX
capable of even was created to mark the company’s half-century by models released back in 2014, when this
more power, and releasing its highest level of product in decades. The amplifier’s predecessor, the CXA80, won itself
more hi-fi joy. power amplifier in particular proved a slam-dunk a Sound+Image Award in its price category as
favourite, so effusively and effortlessly did music Amplifier of the Year. So on the whole we were
SUMMARY simply gush forth from its speaker outputs. perfectly happy to hear that for the new model,
Cambridge hasn’t messed with the fundamental
Cambridge CXA81 So we welcomed the CXA81, the integrated circuit design of the amplifier, but has rather
hi-fi stereo amplifier amplifier from the second of Cambridge’s four focused on “the desire to progress... doing every-
ranges of separates, above the recent entry-level thing we can to make it ‘more’... more refined,
Price: $2499 AX range, below the 851 series, and looking more precise, more engrossing… more musical.”
very much the classic yet modern hi-fi separates
+ Marvellously musical amplifier. At this price it’s all about balancing the So while the fundamentals remain the same,
+ Great range of inputs right features with the best possible amplification, Cambridge’s engineers have gone right through
and since Cambridge has been succeeding in that the circuit tweaking at the component level, notably
including Bluetooth regard for so long (and remains, unlike so many upgrading most of the op-amps in the signal path,
+ Dual speaker use easy early hi-fi houses, a UK-based company), we had and the capacitors in both the pre and power sections
grounds for initial optimism. of the amp. Notably they have not switched to some
– Minijack headphone socket new-fangled Class-D amplifier. Here you get 80W of
– No networking

56

hi-fi

stereo amplifier

solid Class-AB power into eight-ohm speakers, “The CXA81 delivered the timing, separation and power
rising to 120W into four-ohm speakers. And of true hi-fi and had all our reference speakers singing
if you’ve recently been reading, say, soundbar whether small and insensitive or large and generous.”
reviews and are thinking that a figure of 80W
pales beside the 400W you heard quoted for speakers effectively halves the impedance seen clip or overdrive its output. There is also DC
some three-speaker soundbar, please wash by the amplifier, which can thereby get into detection to turn the amp off automatically if
your mind out. Soundbar power ratings are trouble. But Cambridge positively encourages there’s an excessive high DC voltage, though
measured with an allowed distortion level it. Nor does its power output into each pair this would most likely be caused by some
of 1%, sometimes 10%, which strikes us as halve, since as noted the CXA81’s 80W per internal fault requiring attention.
borderline evil (who wants 10% of their sound channel into eight-ohm speakers will rise to
to be distortion?) yet is actually a European 120W into paralleled pairs presenting four And finally a short-circuit test takes
measuring standard for AV equipment. ohms, so you still get 60W of well-specified place at start-up, checking the loudspeaker
power for each. terminals each time in case a stray wire or
True hi-fi manufacturers thankfully fault has shorted them, in which case the
wouldn’t dream of allowing such terrible noise The manual doesn’t even caution again amp just won’t come out of standby mode.
as part of their specification, and Cambridge’s pairing up lower impedance speakers. We’d
power rating is specified at a distortion level certainly think twice about it, but Cambridge’s For each of these issues you’ll get a series
10,000 times lower! — under 0.002% when confidence may be because the amp is of stars on the front panel so you can tell
measuring at 1kHz with the amp running at unusually well protected by no fewer than five what’s going on. So this combination of
80% of its rated power, or below 0.02% across different systems, most of which will shut the checks seems supersafe, like having a giant
the full audio spectrum of 20Hz-20kHz. At amp down temporarily before damage is done. condom wrapped around your amplifier;
such measurement standards your precious it should stay out of trouble no matter how
soundbars might score a dozen watts at best, So were you to bang away too high for too frenetically you choose to bang with it.
which is why they use the weaker criteria. long into low impedance speakers, you might
invoke the over-temperature detection system Connections
We should note that the CXA81 also that monitors the heat generated by the output
goes notably beyond that 20Hz-20kHz transistors. Give it 15 minutes chill-out and We often gaze in confusion at the decisions
audio bandwidth. If you’re a fan of high-res you should be good to resume the party. made by manufacturers when deciding what
audio and want an amplifier which actually inputs to include on an integrated amplifier,
reproduces the higher frequencies involved (a If you are simply pushing them a voltage but for our money Cambridge nails the
great many hi-fi amps don’t), you can revel in or current above the ideal working parameters choices almost perfectly here.
this amp’s delivery from 5Hz to 60kHz (plus or of those output transistors, then the amp will
minus a mere single dB). protect them but keep playing, though distor- For analogue sources you get a healthy
tion levels may rise. five inputs — four of them normal
Talking of power, the CXA81 offers two unbalanced using RCA phono sockets,
sets of speaker outputs at the rear, so you can Or, since this distortion may not be kind one balanced on XLR connections for any
connect a second pair of speakers to be heard to your speakers, especially if clipping occurs, special source that offers them. The obvious
elsewhere in a large room, or in another room you can choose in the set-up menu to invoke omission here is the lack of a phono input
entirely. The ‘Speaker A/B’ button on the front intelligent clipping detection, where volume is for a turntable; the CXA81 has no built-in
panel selects whether you want to listen to only reduced automatically if the amplifier starts to phono stage, though Cambridge can offer the
speakers A, only speakers B, or speakers A and
B together. Normally we preach some caution
with such abilities, because doubling up on

Inputs inputs, plus two optical, one coaxial and one Speaker outputs
Each input is labelled twice, so you can read them USB-B computer digital inputs. There are also The four speaker terminals support two sets of speakers
when peering over the top to find your choice of IR, trigger and control inputs, plus preouts, at once, still offering power of 60W for each eight-ohm
the four unbalanced and one balanced analogue subwoofer out, and two sets of speaker terminals. set compared with 80W to a single eight-ohm pair.

57

hi-fi

stereo amplifier

Solo or Duo standalone phono stages, either of could attach a stick or drive of files. This amp came to us without its manual). Indeed
which would perfectly match the design of the last omission is likely a byproduct of the you’ll be unlikely ever to bump into the set-up
main amplifier. first, since file playback really needs an app menu if you don’t read the manual, because
for control, which the CXA81 doesn’t have, there’s no button for it — to reach it, you
Digitally all is covered, if in less profusion, because you need networking for an app to have to put the CXA81 into standby mode,
with two optical and one coaxial digital inputs, work. But there can be an app, if you invest then press and hold the Speaker A/B button
a USB-B socket into which you can connect in the matching CXN network player, until the A/B lights on the front display flash
your computer, and also Bluetooth available. which is also the obvious addition if you alternately and the sources A1-A4 light up.
The Bluetooth spec offers both aptX and need more digital inputs, since it is loaded This then allows a few options to be selected,
aptX HD, so Android phones supporting with them, as well as full networking including the aforementioned soft clipping
those codecs can stream at only slightly lossy including AirPlay 2 and Chromecast option, and the choice of USB mode (Class 1
CD quality and even above. It appears to lack streaming. The CXN does have an app for stupid early Windows computers without
the AAC codec, so Apple devices are less well which can, via a cable between their control a driver, which it limits to 24-bit/96kHz
served, with only the base-level SBC codec bus sockets, also control the CXA81 amp. output; Class 2 for everything else). We did
available to them. A stonking combination of traditional and immediately disable the Auto Power Down
modern would that pairing deliver. function, which will turn off the CXA81
Behind all these digital inputs is an entirely after 20 minutes. Many will prefer this power
new digital board designed for the CX Series 2 Performance saving mode, which is on by default, and may
amplifiers, incorporating the highly regarded even be a legal requirement in these green
ESS Sabre ES9016 DAC. The optical inputs will As usual with a much anticipated hi-fi days. Being badly raised, however, we like our
accept signals up to 24-bit/96kHz, the coaxial delivery, we didn’t read the manual amplifiers permanently on and ready to play.
input up to 24-bit/192kHz, and according to and just plugged everything up so we
the manual the USB-B computer input will could start playing, or at least running The remote control was initially confus-
accept up to 32-bit/384kHz, along with DSD up in the CXA81, sending through random ingly busy, but that’s because it’s a full system
to DSD256. However, when we connected our computer music for 24 hours before we remote, so most of the buttons don’t operate
music-orientated Mac Mini to the CXA81, this sat down to listen. One early delight was the amplifier at all. The volume controls are
proved not to be the case. It offered still higher, noting that Cambridge is one of those rare reasonably well differentiated, but surrounded
with a selection available of 32-bit/764kHz! companies that labels each input twice on by a circle of transport controls, along with
(We have quite the collection of test files the back panel — once normally and once preset buttons and another set of transport
but not yet one of those, so we can’t actually upsidedown, so you can read them more controls below, and four with dots and
confirm it would play at this sampling rate. easily when peering over from the top. squiggles above, none of which do anything
But it was offered, which is impressive enough.) if the amp is your sole focus. So focus just on
We missed until later, therefore, the those volume keys, the input buttons (one
There’s no networking here, no Wi-Fi or set-up menu (we’ll make the excuse that the
Ethernet, nor any USB-A slot to which you

▶ Wot, no app, no networking?
Cambridge keeps the CXA81 free
of all that, but the CXN Network
Player (pictured under the CXA81
here) would be the perfect partner
to deliver app control and streaming.

58

hi-fi

stereo amplifier

of which is relevant only to the lower CXA61 most ordinary amps simply won’t allow Caveats to our joy? Not many, and all
model), plus power and mute at the top, along you to get there and remain distortion-free. incidental to the music. The front headphone
with a useful display brightness button shuttling The Cambridge was able to cook this slice socket is a minijack, to which we say ‘ugh’; it
through two brightness levels, or completely of production delightfully through on all may natively fit more headphones without
off. Once mentally decluttered in this way, we sides, and Plant’s vocal, so often recessed the need for an adapter, but we have far
found the remote effective for even incremental when played at lower levels, was released more minijack-to-jack adapters in the house
nudges of volume level, while still being quick in its true acoustic, while surrounded by an (more than 20 at a quick glance in our sockets
to drop the level when held continuously. The extraordinary army of sound layers. box) than we do jack-to-minijack adapters
physical volume knob rotates mechanically (one, a bit dodgy). So we tried some mobile-
as you do so, which is always more fun than a Even with lesser-quality files, the orientated headphones, but not the lovely
boring old numerical readout. Cambridge was able to kick quite the arse, expensive ones we’d preferred to have used.
which is a tribute to the DAC implementa-
That onscreen display is similarly busy, tion. Our digital copy of Santana’s She’s We’d also have liked an ability to switch
showing all the available inputs in white and Not There is a rip from a dubious Japanese the variable preamp output sockets to a fixed
highlighting the selected one in amber. But if compilation CD obtained from a back street level, so they’d be more like a ‘record out’
this disturbs, just use that dimming function; record store in Tokyo, yet the Cambridge pair. Fewer folks may wish to record these
even when set to off, the display temporarily delivered it with such impeccable sound- days than of old, but probably at least as many
illuminates whenever you make a change. staging that a thrillingly complex mix as will use the preamp output to upgrade to
was opened up, from the gentle roll of the separate power amps.
Besides, your mind will soon be calmed by percussive marimba/bass opening, through
the sheer pleasure of listening. Our very first the rich Hammond B3 organ tones and Conclusion
impression of the CXA81’s sound was of its on to Carlos entering at the end of the first
tightness and speed, the taut whack of foot verse in the left channel and ruling the mix We thank Cambridge for the musical joy we
pedal on a central kick drum delivered with full thereafter, leaping to the centre when things experienced during this amplifier’s visit to
power but lacking either image smear in the go hair-shakingly wild in the middle. The our listening room; the CXA81 delivered the
spatial domain or overhang in the time domain. Cambridge grabbed the complex rhythms timing, separation and power of true hi-fi and
The soundstage around it seemed entirely firmly while keeping the ensemble locked had all our reference speakers singing whether
empty up to the position of the next instrument together, as it should be. small and insensitive or large and generous.
in the mix, the music delivered not as a wall Also of high merit is the sensible set of inputs
of sound but rather pinpointed individual We also used the Cambridge for TV that could make this amplifier more useful to
musicians playing their part while between audio, and of course any high quality many users than the current trend towards
them were spaces of silence, a highly impressive amplifier with a good pair of stereo speakers sparse inputs and snazzy displays. And if
feat of soundstaging bred of excellence in signal will put your average soundbar to shame. you want streaming beyond Bluetooth then
separation and sonic recombination. Take the Nilsson track Spaceman which consider adding the CXN. But the CXA81
features at the beginning and end of Netflix’s will deliver a beating heart to any system,
Indeed this is an amplifier that reveals entertaining ‘Space Force’ series: through whether Cambridge or mix’n’matched. It’s
the art of the mix. Played at volume without the Cambridge it sounded rich and at the top of its class, and beyond.
distortion, the immediacy of Neil Young’s involving, an almost vinyl-like presentation.
Heart of Gold shone brilliantly, the snare slaps When we replayed this later through two SPECS
to the left, the rich guitar right, and harmonica different leading-brand soundbars under
centre, even before the pedal steel and vocal test during the Cambridge’s visit it was a sad Cambridge CXA81 $2499
arrive. Ever noticed the female back-up singer weedy pretend version of the song.
on this song? You will when listening with the Inputs: 4 x RCA analogue unbalanced, 1 x XLR
clarity of this amplifier; you might even guess Tivoli Audio’s gold SACD of Nat King analogue balanced, 2 x optical digital, 1 x coaxial
that it’s Linda Ronstadt doing the little rise back Cole (played through an analogue input) digital, 1 x USB-B, Bluetooth (SBC, aptx HD)
there on the last line. (James Taylor is also in gave this amp a time capsule to unearth,
there too, but the harmonies are so tight it’s and it presented impeccably the almost Outputs: speaker outputs (2 sets), headphone out,
harder still to isolate him.) subliminally smooth entry of Shearing’s pre out, sub out
string arrangement on Let There Be Love,
During one midnight listening session we while Cole’s durrie-scratched vocal sits off to Power: 80W into 8 ohms, 120W RMS into 4 ohms
had the CXA81 up at its extremes and gave the left, perhaps to give Shearing’s piano the (<0.002% at 1kHz at 80% power;
it the 24/96 remaster of Four Sticks, which space to achieve its percussive effect on the <0.02% 20Hz-20kHz at 80% power)
confirmed the trick of listening to Led Zeppelin right. This is a stereo delight. Again we lifted
at high level — you keep nudging it up until the the level high and the Cambridge showed no Quoted frequency response: <5Hz-60kHz ±1dB
drums sound absolutely real, and it’s then that sign of approaching stress, just opening and
the mixes truly fall into place. For this you really enlarging the soundstage so the percussion Dimensions: 115 x 430 x 341mm
do have to play very very loud, as Bonham was rolls achieved greater realism and space.
no slouch even with four sticks in hand, and Weight: 8.7kg

Contact: Synergy Audio

Telephone: 03 9459 7474

Website: www.synergyaudio.com

59

hi-fi

stereo speakers

JBL L82 Classic Minor Classics

stereo loudspeakers

The smaller version I t might be considered a trifle immodest with the L82 Classic, much reduced in size, but fully
of JBL’s Classic to declare your own product to be a maintaining the nostalgia.
proves solidly ‘Classic’ before it even hits the streets.
musical, and But JBL accomplished the task two Equipment
repeats all the years ago with its full-size (large, indeed)
nostalgic touches L100 Classic loudspeakers. JBL meant, of So despite being around half the size and a driver down
that made the course, that they are a ‘classic’ design, having on those larger Classics, the L82 models still look every
L100 Classic taken key DNA from the original L100 from inch a JBL Classic speaker, wide yet relatively shallow
so attractive. 1970, a design which went on to become the in their genuine walnut-veneer enclosures, distinctive
company’s best-seller, known as the ‘Century’, white paper-pulp
SUMMARY and earning iconic status among consumers cone still to the fore,
after appearing in a Maxell tape ad where they now on a reduced but
JBL L82 Classic blew back the hair/wine glass/wall-ducks of a hardly dinky 20cm
long-haired listener (in the UK version, Peter (eight-inch) mid/bass
Price: $4999 Murphy of Goth rock group Bauhaus). pure-pulp woofer,
compared with the
+ Classic style and substance And the new 21st-century L100 Classics L100 Classics’ 12-inch
+ Surprising bass for standmounts have become classics in their own right, being woofers and separate
+ Happy playing loud all-new designs, really, but sporting those midrange. These
+ Front-porting white woofers and the black, blue or orange smaller standmounts
– Not inexpensive Quadrex foam grilles. We loved them, and still weigh a healthy
– Wide tweeter band (1.7-40kHz) they walked away with our Sound+Image 12.7kg each.
Judges’ Choice award for that year.
The engineering is
Though sizeable, those L100 Classics were bang up to date, the
termed as a standmounter, and were best mid/bass driver sitting
used, like some of JBL’s Studio range, on a in a carefully optimised
low stand which tilted the speaker upwards chassis, tuned with
slightly to the listening position. It is probable a front-firing reflex
that more people liked the design than could port. This crosses
find the room to accommodate such a size to the same 25mm
of speaker, so that JBL has now followed up titanium-dome tweeter

60

hi-fi

stereo speakers

as used on the L100s, though handing over “they are a ‘classic’ design, having taken key DNA
at 1.7kHz rather than the 3.5kHz in the from the original JBL L100 from 1970, a design which
larger model. As before, there’s a dished
waveguide around the dome to help with went on to become the company’s best-seller...”
dispersion, and as with many full-size JBL
designs a front-panel L-pad attenuator Cutting the waffle when first invented by JBL employee Carl Davis,
dial which allows you to adjust the high- who spent his own nights working out a way
frequency output level, which might be The geometric design of the ‘waffle-cut’ Quadrex to cut the foam with high-tensile heated wire,
especially handy with speakers of this size foam grilles is one of the clear links back to the because foam manufacturers of the day couldn’t
in a desktop use scenario. original L100s from the 1970s, and first revived in meet JBL’s design tolerances for the complex ‘V’
modern times for JBL’s short-lived but thrilling grooves required. Indeed the whole original
The tweeters are offset. so that you Authentics L16 table-top wireless speaker in 2014. L100 speaker project had been put on hold —
get a mirrored pair; JBL’s own pictures There’s a choice of three colours — black, dark until Davis solved the foam-sculpturing issue.
would suggest that the tweeters should blue and the iconic orange — and we trust that
be on the outside edge, which certainly these grilles are now easier to manufacture than
gives a broader soundstage, but you may
prefer the more solid presentation gained fast and controlled. It’s a sound with character the L82s fed off the music’s aggression and
from having them on the inside edge, so rather than neutrality, and the finer delicacies energy to deliver an entertaining sound.
there’s room for experimentation there. of treble suffer a little compared with the larger
Dedicated stands are available, the JS-80 L100s, perhaps because the tweeter is working Conclusion
(pictured below left) offering neatly welded over that significantly lower range. The low-level
supports that lift and angle the speakers details of instrumental textures and reverb While these standmounters may not be the
appropriately for couch-distance listening. in ‘Found Songs’ by Olafur Arnalds weren’t last word in neutrality of sound compared
We also used conventional flat speaker ignored entirely but the L82s tended to smooth with rivals at the not-inconsiderable price,
stands, ending up with the L82 Classics the dynamic nuances and blur timing subtleties; it seems likely that many considering buying
around 40cm from the rear wall, slightly they also lack some of the midrange clarity of the L82 Classic will also share their musical
angled in towards the listening position. the L100. preferences, and will enjoy these smaller
Classics as the entertaining performers that
Performance But bring them more upfront music — the they are, delivering much more than merely
kind of rock that might well have been mastered a mini flavour of the JBL Classic sound.
Remarkably, despite their smaller size, the on studio JBLs in the first place — and they
L82 Classics managed to maintain the JBL perform impressively. They responded with
sound impressively well. They loved going enthusiasm to Nirvana’s ‘Nevermind’, pounding
loud, yet stayed interesting even when out the beats with purpose and an impressive
we dropped volume levels to a whisper, a sense of power. Cobain’s vocals came through
relative rarity and perhaps a surprise given with clarity, buzzsawing through the instru-
the lower sensitivity of 88dB/W/m here mental backdrop. With Kanye West’s ‘Yeezus’,
compared with larger JBLs.
Round the back
The eight-inch mid-woofers help give There’s nothing around the back of the L82 Classics
these boxes a pretty impressive bass reach, except their label and the inset panel for the two
and the low frequencies are also relatively gold-plated binding posts. And that’s good news
for positioning versatility — these are bass reflex
speakers but ported to the front, allowing close- SPECS $4999 (stands: $599)
to-wall positioning, though they nevertheless
performed best brought out a little into the room. JBL L82 Classic

Type: 2-way front-ported bass-reflex bookshelf
Impedance: 8 ohms
Sensitivity: 88dB (2.83V/1m)
Frequency response: 44Hz to 40kHz
Crossover frequency: 1.7kHz
Dimensions (hwd): 47.3 x 28.1 x 31.5cm
Weight: 12.7kg

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

61

$18.95 from

Newsagents, Woolworths,

4EVXMGMTEXMRK 4SWX 3ƾ GIW


womenshealthdiary.com.au

BUY THE DIARY THAT SAVES LIVES

SUPPORT BREAST CANCER TRIALS RESEARCH

This diary does more than help organise our lives every Plus you’ll be helping identify new treatments
day, it’s packed with expert health advice important for Australia’s most commonly diagnosed cancer,
giving hope to the 54 women diagnosed with
to every woman - like breast, heart, family and mental breast cancer every day.
health, along with diet, exercise and lots more.

Buy the diary for yourself, or as a gift for someone special,
and help to save lives today, tomorrow and forever.

breastcancertrials.org.au 1800 423 444

audio-visual
4K mini LED TV

Getting into the zone

I n terms of the number of TVs sold, directly challenge OLED (if it can be Using small zones
TCL was the world’s third biggest TV produced at the right price). But meanwhile of Mini LEDs
manufacturer as of the last quarter other technologies are making the challenge, instead of the
of 2019, behind only Samsung and and here TCL’s tilt at unsurpassed black usual backlight,
LG, according to research firm IHS Markit. levels precisely fitted to the images is Mini TCL succeeds
Headquartered in China, listed in Hong LED technology. Here we lay hands on the in delivering
Kong and incorporated in the Cayman 65-inch X10 Mini LED TV, the 65X10. OLED-quality
Islands with limited liability, TCL’s rapid blacks from an
growth into international markets has Equipment LCD television.
focused on affordable rather than premium
TVs, and yet a stroll around one of the OLED manages its black-level precision SUMMARY
company’s usually extensive IFA exhibitions thanks to every pixel acting as its own
(reduced to virtuality this year, see News light, being able to ramp smoothly all the TCL 65X10
p13) quickly reveals that TCL is also a way down to zero. LCD TVs have tried to 4K QLED Mini LED TV
technology leader, heavily involved in approximate this with ‘Local Dimming’.
research to develop its own advanced This uses a grid of individually controllable Price: $4699
display and AI technologies. backlights behind the LCD panel. The back-
lights behind the bright parts of the picture + Superb black levels
Given LG.Display’s current monopoly are turned up bright. Those in the dark areas + Solid smart TV performance
on TV OLED panel production, TCL has are turned down low. + Comes with RF voice remote
never released an OLED TV of its own, but
it certainly has its own plans for achieving How well this works is largely determined – Can lose very small picture
the quality which OLED delivers, notably the by how many backlights — how many details in high contrast areas
absolute blacks enabled by front-emissive zones — there are. We’ve seen plenty of TVs
technologies. In the wings, perhaps only with around 16 zones. Even this number Ҍ */$*) .(**/#$)" ./ '*2ҝ*Ȃ
a year away, there is talk of Quantum Dot improves performance, though that lack of
front-emissive technology which would precision still means unfortunate areas of
glowing in what should be dark parts of the

63

audio-visual

4K mini LED TV

picture. After all, if any pixel is lit brightly sound would benefit from some kind of LED grid layout. We figured that the ratio of
— say, a star in the sky — then the backlight reflective panel, but TCL has gone for a width to height would be 16:9, but with 768
has to be on. Or if it isn’t, then you probably sturdy but spidery stand that has the TV body zones, that gave fractional results. We suppose
won’t be able to see the star, something we’ve sitting some 90mm above the bench, which that the grid may not be square. Perhaps TCL
seen before on some TVs where the desire is relatively high these days. This would be has used a honeycomb pattern of backlights.
for blackness has been given priority over the favourable to having a soundbar in front, Anyway, we reckon it works out to roughly 21
need for tiny highlights. except that the front cross-bar of the stand zones tall by 37 zones wide.
reaches forward of the TV panel by around
So more ‘zones’ will improve, even 140mm, so you’d need a fairly deep bench to fit TCL seems to have biased the TV towards
remove, such issues. Which brings us to both the TV and a soundbar in front. impressive black levels as opposed to fine
the TCL 65X10. It uses what TCL calls ‘Mini detail in dark areas. Remember, even though
LEDs’ to deliver 768 separate backlight zones. The TV uses an Android operating system there are 768 lighting zones, on average each
That should increase black-level control to run affairs. It’s a fairly advanced implemen- zone illuminates more than 10,000 pixels.
precision enormously. tation and includes Google Assistant. Indeed, So what decision should it make if only a
it comes with an RF remote control in addition few pixels in a zone are lit? It can have the
The 65-inch screen offers Ultra-HD (aka to the IR one. A press of the Google Assistant backlight on and cause a visible glow in the
4K) resolution, and it uses QLED technology button and you can talk to your TV. Not dark area around those pixels. Or it can leave
which allows the generation of relatively only that, but there’s a built-in microphone the backlight off. You lose some visible pixels,
narrow-wavelength bands of light for more which responds to ‘Hey Google’ so you can but you get a nice smooth black.
precise perceived colours. use Google Assistant without the remote. To
enable this, you have to flick the old-school We put together a test image: a UHD
This is an attractive TV. The bezel on top hard-wired switch on the back of the TV. It’s resolution frame which was fully black except
and sides was a touch over 9mm. The top off by default. Once on, it stays on. for eight white dots. Two of the dots were
part of the panel, while not ‘OLED-thin’, still just one pixel by one pixel in size. Two were
manages to come in at an elegant 16.5mm Performance two by two. Two were three by three. And,
thick. The bottom part is deeper to accom- for safety, we added two at four pixels by four
modate the electronics. The connections are As is our practice, we installed the TV and then pixels. Then we displayed the image.
on the right-hand edge rather than the more performed a factory reset to make sure that
usual left edge. And all are on the edge, rather we were replicating as closely as possible the The black levels truly were impressive.
than the back, so there’s no chance of them customer out-of-the-box experience. But only the two four-by-four dots were
interfering with wall mounting. visible. All the rest were missing. The TV was
We had a little fun with a calculator and perfectly capable of displaying them. Indeed
The two-way stereo speakers fire some test patterns trying to work out the Mini it did for a moment, because when it starts
downwards towards the bench top. The

64

audio-visual
4K mini LED TV

playing a still image from media, it briefly “The 65X10 manages the best black levels of any
shows a control bar across the bottom of the non-OLED TV we’ve seen. The colour performance was
screen. That seems to provoke all the backlights
to come on, and all eight dots were visible for impressive, in part because of the QLED technology.”
that moment. But three-by-three and smaller
disappeared the moment that control bar went ▶ Close-up details photographically captured from
away. We checked to make sure that there was a displayed 4K test pattern. The top image shows
no noise reduction on that may have caused Chromecasting reducing the image resolution to
that, but there wasn’t any. 1920 x 1080, whereas DLNA delivery (bottom image)
retained true Ultra-HD pixel-for-pixel image detail.
That said, the subjective impression with
real material was stunning. You tend not to Setting it on halfway allowed some judder SPECS $4299
notice the absence of fine detail, whereas you — we’d say it fell back from frame tripling to
do notice the presence of muddy, uncertain frame doubling — and reduced the heat haze TCL 65X10 QLED Mini LED TV
‘blacks’. But the blacks were OLED quality. but still left some visible.
We put a bright white circle up on a black ./ 2$/# ‫ޔ‬-(2 - ѷ Android 9, Kernel 4.14.76+,
background, then masked off the circle and the Networking & smarts Build PPR1.180610.011
rest of the screen was purely black. Around the $.+' 4 / #)*'*"4ѷ LCD/QLED panel with 768 Mini
circle itself there was a faint glow if you looked The TV supports both DLNA and Chromecast LED backlight zones
carefully, since the backlights don’t precisely for streaming video to it from your devices. Screen size: 165cm
match the edges of the on-screen objects. But As usual, we found Chromecast a bit second- /$1 .+ / - /$*ѷ 16:9
since those glows are close to the bright object, rate with video quality. Basically, it seems to /$1 - .*'0/$*)ѷ 3840 x 2160
subjectively you tend not to see them unless run video through at best a 1080p bottleneck -$"#/) ..ѷ 500 nits
intentionally focusing on them. (screen detail right top). Feeding the same *)/- ./ - /$*ѷ 5000:1
test video using the same controller software
)+0/.ѷ 3 x HDMI, 1 x composite video, 1 x stereo
And about those missing pixels, that is only on an Android tablet using DLNA protocols, audio, 2 x USB 2.0, 1 x Ethernet, WiFi, 1 x aerial
when there’s a bright pixel on an extremely the UltraHD test video came through at full 0/+0/.ѷ 1 x 3.5mm headphone, 1 x optical digital
dark background. With any significant bright- resolution — including colour resolution. audio
ness at all in the same area, the pixel will be lit. Likewise when feeding still images. 0 $*ѷ 2 x 15W + 2 x 5W

) '0 ..*-$ .ѷ Table top stand, 2 x remote
Belatedly we did notice one additional Google Assistant worked quite well, controls, analogue expansion cable
side-effect of the Mini LED backlighting: on although we had to shout sometimes when $( ).$*). җ2# Ҙѷ 1446 x 924 x 351mm with stand;
scrolling credits — typically white over a black using the built-in microphone. But it was 1446 x 835 x 78mm without
background — there was a visible variation in significantly slower to respond on the TV $"#/ѷ 35.5kg with stand; 31.7kg without
the brightness of the characters as they scrolled than with most Google Assistant devices we’ve Energy Rating label: 3 Stars, 698kWh per year
up the screen. Clearly the different backlights used. Still, in addition to the usual Google Contact: TCL Electronics Australia
were pulsing up and down to match, but of Assistant tricks, we were able to successfully ' +#*) ѷ 03 8541 4666
course they could not match perfectly. adjust the volume, mute the sound and ѷ www.tclelectronics.com.au
change to Channel 2 simply by voice.
So, at the sacrifice of some pixels, and that
slightly unsteady delivery of scrolling credits, If you have an Alexa-based home, you can
the TCL 65X10 QLED manages the best black also link the TV to Alexa for voice control. Of
levels of any non-OLED TV we’ve seen. course, you’ll need to use an Alexa device for
that. We had a brief play with it. We got the
The colour performance was impressive, in TV linked and we could change the volume,
part because of the QLED technology, and in but to some of our other commands our Echo
part because of the excellent black levels. There Dot responded, ‘I couldn’t find any enabled
are plenty of tweaks if you don’t like one of the video skills that could do that.’ It isn’t the first
standard picture modes. time that Alexa has been obtuse for us.

Progressive-scan conversion of 50Hz Apps like Netflix and Prime are pre-
material was, frankly, odd. With 1080i/50, it installed, but the operating system being
was brilliant. All the Miss Potter scenes that we Android, there are plenty of others. You can
use to trip up these processors were delivered load in 7Plus, Disney+, Tubi, ABC iView,
perfectly, even one little bit that almost nothing Spotify, TIDAL, and who knows how many
can handle. But with 576i/50, it seemed to be hundreds or thousands of others.
stuck in video mode, regardless of content.
So there were quite a few unsightly artefacts Conclusion
produced. Which is a pity, because the scaling
from 576 up to the screen resolution was The TCL 65X10 QLED TV provides superb
excellent, with the picture often looking like black performance, if at the cost of some
full-HD rather SD. To make the best of this, pixels in certain circumstances. Subjectively,
then, we’d suggest you set your source player it’s about as good as OLED. With the
to progressive-scan output if possible. well-established Android platform providing
the smarts, this is one fine TV. SD
There’s motion smoothing, too, but it was
somewhat short of state-of-the-art. The default
setting had it switched to maximum. That made
for very smooth motion on our test clips, but
also produced marked ‘heat-haze’ artefacts.

65

ahui-dfiio-visual

8PKroA-JVercetceiver

New year’s resolution

With the arrival of 8K resolution, this year’s AV little to separate the new model from old as far as looks
receivers are arriving with compatibility built-in. and feel go. This is again a sturdy device that needs a
But for most users it’ll be the sonic upgrades that solid shelf and room to breathe.
make this entry point to Denon X-Series such an
useful and authoritative streaming sonic hub. Specs-wise the headline addition over its predecessor
is the single 8K/60Hz HDMI 2.1 input, which can also
Denon AVR-X2700H Several television manufacturers are pass through 4K video at 120Hz, so opening the way
leading (and pushing) the leap to 8K for the demands of the PlayStation 5 and Xbox Series X.
AV receiver resolution — four times 4K or 16 times Interestingly it drops to six HDMI inputs overall (from
full-HD — in the hope you’ll upgrade eight in the predecessor), and also loses an AUX1 on the
SUMMARY your TV. But really there’s virtually zero 8K rear and the quick access AUX2 that was on the front face
material yet to watch; indeed few people spend next to the powered USB 2.0 socket, which remains.
Denon AVR-X2700H much time watching even 4K, unless you’re
picking movies carefully from the premium The channel configuration is unchanged. There are
Price: $1999 plans of streaming services or are building up seven power amplifier channels available (alongside
a collection of lovely 4K Blu-ray discs. undifferentiated outputs for two subwoofers) which can
+ Excellent performance be set for anything up to 7.1 or 5.1.2 arrangements, and
+ One 8K-compatible input The one exception is gaming, with the new still rated at a headline 150W per channel, though it’s
+ Buckets of facilities inc. HEOS generation of PlayStation and Xbox promising to stated as 95W into 8 ohms at more hi-fi specifications, .
– No DAB+ tuner support 8K gaming output. AV receivers, then,
– Rather above price parity need to follow, to offer those who are persuaded a There is no front ‘trap door’ as found on the higher
complete path from source to display. Denon AV receivers, and there’s a less rich selection of
easily accessible on-device controls. You can still switch
Denon has just released its first 8K-compatible inputs, tune the radio and operate a second listening zone
models with its 2020 X-Series, topped by the with the hard buttons on offer, but you’ll need to use the
$6199 AVC-X6700H with its 13.2-channel fully-featured remote for the majority of your set-up and
processing and 11 channels of amplification. playback options.
Three models below this is the lowest rung of the
X-Series, the $1999 AVR-X2700H. And given it carries Denon’s HEOS streaming
multiroom platform within, you also have the option
Equipment of app control via HEOS, plus voice control through
a choice of Alexa, Google Assistant and Siri-enabled
Lowest rung of the series it may be, but don’t devices. All the wireless standards for music found in
be thinking that means the X2700H comes the previous model remain — AirPlay 2, Spotify, Tidal,
under-equipped. It brings all the fire-power of and Bluetooth, this last having been revised to deliver
its predecessor, the AVR-X2600H; indeed there’s Bluetooth out as well as in, so the AVR-X2700H can
direct audio to a set of wireless headphones at the same
time as your speakers — handy for privacy, for any
hearing impaired family member, or perhaps if you just
like things rather louder than everyone else in the room.

66

audio-visual
8K AV receiver

Another addition is that all of Denon’s 2020 Guardians Of The Galaxy Vol. 2. Rather Conclusion
X-Series AVRs are now ‘Roon Tested’ devices, the Denon presented the whole soundtrack
meaning that you can have Roon music playback with authority and a complete lack of It may be the 8K pass-through compatibility
through your speaker package as well. strain. It’s an easy and effective listen, the and next-gen gaming tech that get the
subwoofer outputs underpinning crystal upgrade headlines here, but the sonic tweaks
There may be just the one fully HDMI clarity of soundtrack music, voices and deserve just as much attention. You can go
2.1-certified input, but the other five are all surround effects. No matter how hectic higher for more inputs, channels and codecs,
4K-compatible with the Variable Refresh Rate the action, the Denon never missed a beat, but the X-Series quality is fully in place at
(VRR), Quick Frame Transport (QFT), and Auto passing the laser blasts from speaker to this entry point to the range. The tyranny of
Low Latency Mode (ALLM) lag-minimising speaker in a coherent manner and creating distance and local standards must contribute
technologies to fit with the demands of next- a genuine sense of place. to the Australian RRP, notably above what
generation and gaming content. conversion from the UK would yield (and
‘Virtualised’ height effects are available of course from US tax-less price levels) but
They can also cope with the full suite of HDR through Dolby and DTS processing its polished, mature and effortless delivery
standards, with HDR10+, HDR10, HLG and technologies for that added dimension. should run a room of anything but the most
Dolby Vision all represented. Both of the HDMI While this certainly lifts the lid a little, you difficult speakers for a full home cinema expe-
outputs are also 2.1-certified, so should you have inevitably lose some of that clarity of insight rience. And when (if) you finally do make that
both a TV and a projector in your system you and excitement. Our preference was to stick leap to 8K resolution, your future-proofed
can send 8K@60Hz and/or 4K@120Hz out to with the less processed ‘Direct’ mode. Denon receiver will be ready to receive.
them both. The eARC (Enhanced Audio Return
Channel) is supported on both sockets as well. Playing Spielberg’s classic Close SPECS $1999
Encounters of the Third Kind, we enjoyed
The AVR-X2700H decodes Dolby Atmos the Denon’s delivery of scale as the UFOs Denon AVR-X2700H
and DTS:X, although for the (much) lesser-used came joyriding through the quiet Indiana
IMAX Enhanced or Auro-3D you’d need to step countryside. It layered an excellent ebb and Power: 7 x 95W (into 8 ohms, 20Hz-20kHz, 0.08%
up to the Denon AVR-X3700H or beyond. flow of hum behind the chaos and confusion THD, 2ch driven); 7 x 150W (6 ohm, 1kHz, 1% THD,
as the alien craft picked up Roy Neary’s 1ch driven)
Performance truck for a good shaking, with wonderful
detailing of the bottles, cans and newspapers Inputs: 6 x HDMI (one 8K/60), 2 x component video,
Setting up is as easy as most of the best consumer spilling out of the glove compartment, the 2 x composite video, 1 x phono RCA, 4 x line-level
receivers today, including the onboard Audyssey revving engine and the maniacal ringing of RCA, 2 x optical digital, 1 x USB-A, Bluetooth,
speaker calibration technology, which is here the railway crossing bell — and then just the AirPlay 2Ethernet, Wi-Fi, HEOS streaming/
a slightly lighter version than on its bigger still of cicadas in the night when the clamour multiroom, microphone port (for room correction),
brothers. The MultEQ XT measurements needed suddenly stops. FM/AM tuners
only a few tweaks to the levels before we were
happy with the set-up. You can also switch Good for movies, then — how about Outputs: 2 x HDMI (8K/eARC), 1 x component video,
between two sets of Audyssey measurements if music? We need little excuse to load up 1 x composite video, 2 x subwoofer pre-out,
you can’t quite make up your mind. Jonathan Demme’s Talking Heads concert 1 x headphones, 7 x speakers out
film Stop Making Sense, and the Denon
If we had to use one word to describe the continued to deliver, the acoustic guitar Room correction: Audyssey MultEQ XT
sound of this receiver, it would be ‘confident’. strings clean and clipped with textured
The sonic improvements over its predecessor jangling as David Byrne plays Heaven on Gaming features: 8K/60 & 4K/120Hz pass-through,
were marked, the 2700 having a maturity top of Tina Weymouth’s tight fuzzy bass. Variable Refresh Rate (VRR), Quick Frame Transport
of presentation which didn’t try too hard to Even slower songs such as this came across (QFT), Auto Low Latency Mode (ALLM)
impress (as a nervously underpowered budget with a sense of momentum.
amp might) with huge blasts from the front pair Dimensions (whd): 434 x 330 x 167mm
or the subwoofer during the space dogfight in
Weight: 9.5kg

Contact: QualiFi
Telephone: 03 8542 1111
Website: www.denon.com/en-AU

Seven channels of power Video ins and outs Audio ins and streaming
With seven amplification channels, One 8K-passthrough HDMI input and five other There are four line-level and one phono analogue
the Denon can power 7.1 or 5.1.2- 4K-compatible HDMI inputs should suffice for most systems, ins, two optical inputs, plus Bluetooth, AirPlay 2
channel speaker configurations. while both HDMI outputs are fully 8K-compatible. and all the Wi-Fi wonders of the HEOS platform.

67

test

wireless NC headphones

Shure Aonic 50

wireless noise-cancelling headphones

Shure
thing

Modern-day audio fans may be Once huge in hi-fi, now a new name in noise-
surprised to learn that back in cancelling, how do Shure’s ANCs compete?
the 1970s, Shure was far and
away the biggest name in the recommended price of $599, they have plenty The right ear-cup has two buttons for
hi-fi business, by virtue of selling more phono of competition — the Bowers & Wilkins PX7 up/down volume control flanking a button
cartridges than every other phono cartridge ($599), Sennheiser Momentum 3 ($599), used for play/pause, next track, previous
manufacturer put together, and that included Bose 700 ($599), not to mention Sony’s track and answer/end/decline calls. There’s
the world’s most expensive cartridge, the V15 WH-1000XM4 undercutting them at $495. also a three-position slider to switch
(above) and variants. Shure’s US factories between active noise-cancelling, ‘Off’ and
produced nearly 10,000,000 cartridges per year. Build & features an ‘Environment’ ‘transparency’ mode that
that feeds through outside noise.
Pretty good for a company that Sidney Shure Shure’s Aonic 50s certainly look every bit
kicked off as a one-man operation in the back the part of a modern pair of up-market Shure’s active noise-cancelling circuitry
streets of Chicago in 1925. Initially named The noise-cancelling over-ear headphones. has two different levels to choose from:
Shure Radio Company, because Sidney sold radio The detachable leather-and-memory-foam ‘normal’ and ‘max’, while you can also
parts, the name was changed to Shure Brothers ear-pads are attached to robust plastic adjust the intensity of the Environment
after Sidney’s brother Sam joined the business ear-cups, which in turn are connected to a mode through 10 levels, although you need
in 1928, later shortened to just Shure Bros, now leather-covered headband via aluminium the ‘ShurePlus Play’ app to make these
Shure Incorporated. arms that articulate through 90 degrees to adjustments. This app is a free download
allow the headphones to lie flat. The ear-pads for Android and iOS devices, and provides
Shure was also the biggest name in the are easy to remove and re-attach, making more than simply control, being a high-res
microphone business, with the SM58 being the replacement possible after a few years of use. music player serving up to 24-bit/352kHz
microphone of choice for professional vocalists where WAV and FLAC files are concerned.
around the world, its proximity effect enriching Each ear-cup is embossed with a classy The app also offers EQ settings — there are
the tonal quality of any singer who used one. The metallic ‘Shure’ logo. The leather comes in a few presets and the facility to save quite a
SM58 has been the bestselling microphone in the two colour choices: black and brown. Our number of custom settings too. But again
world since the late 1960s. loaners were brown, in a shade we’d describe EQ adjustment is only available through the
as ‘milk chocolate’ brown. app, so that music arriving via streaming
Shure never quite got its foot on the running services is delivered with the Shures’ default
plate of the vinyl revival as did some cartridge The Shure’s left-hand ear-cup has only the sonic signature.
rivals like Ortofon, so that the news in 2018 2.5mm socket for making a wired connection,
that Shure was closing its phono division and which gives the best sound quality (see below), The final switch on the right ear-cup
stopping cartridge manufacturer was sad, if not a and will be essential for in-flight connection is for power on/off and Bluetooth pairing.
complete surprise. Almost more of a surprise is to as well as being handy as a back-up when you It has a small LED built into it that signals
see the company now launching more explicitly run out of battery power.
into the consumer headphone market, and into
the highly competitive wireless noise-cancelling
arena at that, with the Shure Aonic 50s. Given a

68

test

wireless NC headphones

pairing and battery life, while a quick double- Although Shure is still a wholly US-owned according to the quality of Bluetooth with
press will summon a voice to tell you how corporation operating in the USA, and the which you are streaming and the DAC of the
much battery life is left. Shure Aonic 50 headphones are designed in device to which you are cabled. You can play
the US, Shure manufactures them in China. via cable without turning on the headphones,
Speaking of battery life, the USB-C socket but if you do you can also use the ANC and
on the left ear-cup functions as a charging Listening talk-through modes. Invoking ANC on the
port, though you can also play music from cable does remove some warmth from the
computer that way. Shure claims a battery life Streaming from a Sony Xperia 5 via Tidal, tonal balance, but will give fine results as the
of around 20 hours with noise-cancelling and we found that the Shure Aonic 50s extracted connection of choice for inflight audio.
Bluetooth — similar to most, less than some, the musical fundamentals from everything
but more than sufficient for most trips. The we played. Whether you like Claude Debussy For USB-C playback the Shures must be
Bluetooth supports aptX, aptX HD and aptX or Kamasi Washington, the Aonic 50s give powered up to appear as a playback device;
Low Latency for devices which support them. chapter and verse in the most natural, expres- our Mac coupld play to them at anything
sive and detailed manner possible. from 16-bit/44.1kHz up to 32-bit/352kHz.
The drivers are large — 50mm — backed ANC can again be used, with a similar slight
by neodymium magnets. While that helps the The low frequencies are deep, textured and thinning in sound, but the non-ANC USB
sound, as we’ll hear, it makes the headphones well-edged, starting and stopping with absolute playback delivered the absolute height of the
quite large and, since their hinges lack an control, and blending seamlessly into the Shure’s sonic abilities, which speaks well to
upward fold, that makes the sturdy circular frequencies above. Playing Billie Eilish’s Bad Shure’s DAC and audio circuits, and is highly
carry case even larger, too large indeed, at Guy in 24-bit, the Aonic 50s delivered a lesson recommended, though take care with volume,
250mm in diameter, like a cake tin. At least in bass precision, with tight bass thwacks and as USB playback disables the volume controls
there’s plenty of room inside for storage — precise, snappy clicks. on the headphones. Your only limitation here
a spare phone, a couple of USB chargers, a is the 108cm length of the supplied cable,
week’s worth of underwear. For day-to-day Across the midrange, the Shures demon- though that’s ideal for use with a laptop as
carriage we just flattened them and shoved strated their complete command of timbre, your music source.
them in our daybag. Though there is a design and they are wonderfully open in the highest
flaw here, as when they’re flat the headshells frequencies, the soundstage spacious, wide and Conclusion
can bang and rattle against the yokes. Shure coherently laid out, while overall the Shure
clearly knows about this because the head- Aonic 50s delivered an impeccable balance Shure hasn’t put a step wrong with the Aonic
phones ship with two foam pads covering between attack, substance and brilliance. There 50s, levering the company’s sonic credentials
the contact points, presumably to stop them was ample drive and shine to the treble, with to deliver a pair of comfortable, luxurious
becoming marked during shipment — but not a hint of any hardness or grittiness. Thanks and fine-sounding noise-cancellers. It seems
not once you’re using them! One suspects this to the Shure’s appetite for detail, we could a bit rough to say we’d reject them on the size
will be amended on any future MkII Aonics. pinpoint every element of the track. of the carry-case, but it certainly
makes them impractical for
One bit of tech missing here is auto power- Noise-cancelling at the ‘normal’ level travel, which is kinda
down, so you do have to remember to turn achieves effective cancellation without the the core market
them off. We won’t overly criticise this, as ‘sucking out’ often experienced with more for this type of
we’re more often annoyed by extreme noise-cancelling tech of some other headphone.
headphones that do brands. The higher setting certainly ups the Yet they
turn themselves sound great
off, but too cancellation, but dramatically shifted the — balanced,
quickly! sonic balance of the headphones to subtle, yet
sound thicker and introduced audible energetic, and
hiss caused by the noise-cancelling they only get
circuitry doing its thing; we better when
preferred the ‘normal’ setting. you go to their
While most will listen cables.
primarily via the Bluetooth
(or through the app) there SPECS $599
are two further ways to
listen to the Shures — via Shure Aonic 50 (SBH2350)
the provided minijack-to-
microjack cable, and via Type: active, noise-cancelling, Bluetooth,
USB-C, plugged from the overear dynamic
socket into a computer. Driver: 50mm
Switching to direct Sensitivity: 97.53dB/mW when cabled
cable playback is quite a Impedance: 39 ohms when cabled
shift up in quality — the Bluetooth codecs: SBC, AAC, aptX, aptX HD,
slight sibilance on vocals aptX Low Latency, LDAC
disappears entirely, Quoted playback time: 20 hours Bluetooth/ANC
and the soundstage is Weight: 334g
solidified with signifi-
cantly better clarity for Contact: Jands
individual instruments; Telephone: 02 9582 0909
you couldn’t fail to pick Web: www.jands.com.au
the improvement in
A-B switching, noting that
the improvement will vary

69

movies & music

4K Blu-ray

Gordon’s alive!

Revived from the vault on 4K Blu-ray, Flash Gordon’s sci-fi
visuals and classic soundtrack gain unexpected new life,
though alas, ‘Flesh’ Gordon doesn’t make it to the extras.

Flash, I love you, but we only have THE ORIGINAL STRIP (1934)
14 hours to save the Earth! Sampled
for Queen’s soundtrack single — Pre-dating Superman, Batman and Wonder Woman, Flash Gordon
along with the truly meme-worthy made his newspaper strip debut in January 1934. With Buck
“Gordon’s alive!” — it’s a line that Rogers already a big hit, King Features owner William Randolph
nails the very essence of 1980’s Flash Gordon. Hearst wanted his own piece of the outer-space action. He
initially tried to nab the rights to Edgar Rice Burroughs’ John
It’s all there in those 14 breathless Carter Of Mars, but when that bid failed, he turned to 22-year-
words: the incorruptible innocence of its old artist Alex Raymond – who created a polo player and Yale
heroes, the life-and-death stakes, the eternal graduate by the name of Flash Gordon…
wink that hovers over the action but never
punctures the fantasy. Powered as much SERIALS (1936-1940)
by leather-gloved perviness as square-
jawed derring-do, Flash Gordon remains a With the Flash Gordon comic strip
delivery system for pure audience feelgood, a smash hit in depression-hit
a cosmic panto forever on the brink of America, Universal Pictures took Flash, Ming, Dale
Brian Blessed lobbing panto sweets into the Arden and Dr Zarkov to the big screen in a successful weekly serial,
front row. Hail, Ming! hitting on a highly addictive mix of swashbuckling adventure and
FOL΍KDQJHU HQGLQJV )RUPHU 2O\PSLF VZLPPHU %XVWHU &UDEEH Ȃ
Newly restored for the film’s 40th anni- who also portrayed Tarzan and Buck Rogers – played Flash across
versary, this impressive 4K Blu-ray upgrade
enables us to truly savour Danilo Donati’s WKUHH LQȵXHQWLDO VHULDOV WKDW ZHUH VWLOO EHLQJ UHSHDWHG RQ 79 DV
stunning production design. Mongo may be recently as the 1980s.
studio-bound but that’s a plus: all swirling
paint-in-water skies and glittering exotica, it’s FLESH GORDON (1974)
one of cinema’s most airtight and immersive
fantasy worlds. And there’s a defiantly retro Flash’s adventures get spoofed and eroticised in this
vibe that’s aged well. Post-Star Wars, the film randy piece of ’70s space opera, most notable for
chooses to honour the visual aesthetic of Alex UHLQYHQWLQJ 'U =DUNRY DV 'U )OH[L -HUNR΍ DQG 0LQJ DV
Emperor Wang the Perverted, pointing his sex rays
70 at planet Earth – yep, it’s that shameless. In the plus
column, Flesh Gordon does boast an early credit for
IXWXUH PDNH XS H΍HFWV OHJHQG 5LFN %DNHU

LEGENDARY SOUND. SINCE 1946.

FLASH GORDON (4K BLU-RAY) YOUR MUSIC AND
MOVIES COULD
MOVIE: EXTRAS: SOUND BETTER ...

DIRECTOR: Mike Hodges JUST SAYIN.

STARRING: Sam J. Jones, Melody Anderson, Ornella Connect virtually anything, including your
TV and enjoy awesome Klipsch sound.
Muti, Max von Sydow, Topol, Timothy Dalton,
Experience real Hi-Fi with The Fives.
Mariangela Melato, Brian Blessed, Peter Wyngarder

DISC RELEASE: StudioCanal

Raymond’s 1930s’ comic strip, right down to the finned, needle- LEGENDARY HIGH FIDELITY CONNECTS TO MID-CENTURY
nosed rocketship models. DETAILED DYNAMIC BI-AMPLIFIED VIRTUALLY MODERN DESIGN
KLIPSCH SOUND ANY SOURCE
As an anniversary release, the extras are strong. There’s a frank SOUND
and engaging commentary by director Mike Hodges and a fond,
(unexpectedly subdued) commentary by Brian Blessed. Lost In
Space (27 minutes) offers a fascinating look at original director
Nicolas Roeg’s plans for a dystopian ‘Biblical epic’, complete with
some fantastic concept art. A 1980 featurette (14 minutes) delivers
authentic behind-the-scenes footage, while a 2002 interview with
Hodges is mainly Flash-centric but also touches on his career
as a whole. Also included are all-too-brief interview snippets
with Jones, Anderson, Blessed, poster artist Renato Casaro and
(covering the soundtrack) Brian May and Howard Blake.

The film’s 35th anniversary screening in London is celebrated
with a cast and crew reunion, both backstage (eight minutes) and
on-stage (six minutes). There’s also a brief featurette on recent
merchandise, and a look at deleted and alternate scenes — no
actual footage, though. The two-disc set also throws in an episode
of 1979’s Flash Gordon cartoon (24 minutes) along with photo
and storyboard galleries and the still outrageously exciting
original trailer. There’s also a limited five-disc Collector’s Edition,
which packages a UHD version alongside Life After Flash, 2017’s
revealing, sympathetic documentary about the life and travails of
Sam J Jones. Also included in that: the glorious Queen soundtrack
CD, 32-page booklet, a 16-page taster for Titan’s forthcoming
making-of book, a reproduction of the original comic strip, poster,
four art cards, and a sew-on Flash patch! Nick Setchfield

71 klipsch.com.au

High Fidelity

It’s a Nick Hornby book,
it’s now a Hulu Original TV series,
but for many vinyl lovers High Fidelity
will always live in the heart as the 2000 movie
starring John Cusack and Jack Black,
under the direction of Stephen Frears,
who here respins some stories about

this time-capsule classic.

music & movies
vinyl at the movies

“It always seemed to me that Nick Hornby’s writing was were younger than me so they knew all the music stuff. I was the
our secret weapon, and if we stuck to it, we’d be alright,” old man, even then.”
admits director Stephen Frears, recalling the approach
he took while adapting 2000’s zeitgeist-capturing However, Frears’ expertise proved crucial when perfecting
comedy High Fidelity. Back in the early-’90s, Hornby’s story of a Rob’s habit of breaking the fourth wall.
commitment-phobe record-store owner, endlessly obsessed with
listing his favourite albums and seemingly baffled by the motiva- “It meant we could get to the essence of the book which
tions of the opposite sex, struck a chord with paperback readers. was really an interior monologue about Rob’s inner thoughts,”
suggests the director. “At first I think John was rather sceptical
It also caught the attention of John Cusack, who diligently went about it, then he gradually came to see how effective it was.”
to work adapting the novel for the big screen. It was a journey that
would reunite the star with the director of 1990’s The Grifters, help Timeless tunes
introduce a then-largely-unknown Jack Black to the world, and
effortlessly encapsulate the pulse and spirit of a post-’90s, music- It was a technique that came in particularly useful when the
loving generation. Although as Frears tells us, High Fidelity’s production welcomed musical legend Bruce Springsteen into
enduring success was all a bit of a happy accident. Rob’s fantasy world.

“It’s always a fluke,” suggests the notoriously straight-talking “He was terribly nervous,” reveals Frears, remembering The
director, visibly thawing while recalling his experiences creating Boss’s small-yet-memorable cameo. “I was mainly looking after
the film. “It meant a lot to people and you didn’t want to bugger him. He was relieved when it was over.”
up something that was so important
to their lives. I knew the book because Twenty-one years on and High Fidelity’s themes of compli-
I’d read it when it first came out and cated love and tricky relationships remain as potent as ever.
I thought John would be very good
as Rob,” he says, recalling Cusack
stepping into the shoes of High Fidelity’s
relationship-weary lead. “John was
crazy about pop music and the script he
and his writers had written got right to
the centre of the book, which was what
was so good about it.”

Back in Black

This cut-to-the-chase method helped

transition Hornby’s story from the dive

bars of London to the beer-stained music

halls of Chicago, a change that was

neither here nor there to Frears.

“It didn’t seem of any importance at

all,” he says, “and indeed, so it proved.”

With his lead and location set, Frears

went about bringing Hornby’s work to

life. First stop? Finding Rob’s slacker

buddy Barry — a crucial role that needed ▲ BLACK STAR: The only man for the job, yet Jack Black nearly blew off one of his greatest roles.
to strike the right balance of humour,

drama and musical chops. Throw in the resurgence of vinyl and Frears’ film has adopted an

“I asked the writers who should play that part and they just unexpected relevancy.

said, ‘Jack Black,’” reveals Frears matter-of-factly. “He came to “I’ve captured the zeitgeist several times before but without

see me and I thought he’d be great — then Jack lost his nerve.” knowing it. It’s always an accident,” he reasons. “Something

After seeing the likes of Steve Zahn and Philip Seymour happens that captures people’s imagination. My filming was

Hoffman, Frears and Cusack’s attention once again returned to done in innocence but I’m not surprised by it. John and his

the still-unsure Black. writers were so alive and vivid. It had a largely autobiographical

“As I should have realised, Jack’s an extremely sensitive man. element and they put themselves into it. Did I know what they

He said, ‘You didn’t make me audition and the audition gives were doing? Not particularly — but I had confidence.”

me confidence.’ He then auditioned very badly — but we gave How would Frears rate High Fidelity in a top five all-time-

him the part. He was immediately brilliant and very hard-working. greatest list of his own films? “No, no,” he says, quick to dispel

I didn’t know Jack’s work and it was only when we started filming the notion. “That was Nick’s generation — not my generation.

that I realised how brilliant he was. We’d show the rushes at My top five music would be Fats Domino or Elvis. It’d be

lunchtime and people would come from all over the studio to see ridiculous. I don’t think about things like that. It was good

him. He was wonderful.” fun working with people I was very fond of,” he smiles. “I

Rob’s intricately detailed record store was built from scratch, don’t know what the personal significance was — but it was

with entire teams dedicated to securing the necessary record- really enjoyable.” Simon Bland

sleeve clearances.

“I lived down the road from Rough Trade so we asked people Stephen Frears’ High Fidelity is available on DVD and Blu-ray,

from the store to come and see the film; they said they wished they and for streaming purchase or rental on AppleTV, YouTube and

had a shop that big,” laughs Frears gruffly. “John and his writers Microsoft streaming services.

73

music & movies

WILL IRELAND

NICK MASON’S SAUCERFUL OF SECRETS Live At The Roundhouse

Resetting the controls for the heart of the sun... and beyond.

For anyone who regards ‘The Dark Side As anyone who attended this gig at forums about the participation of Spandau
Of The Moon’ as the apotheosis of London’s Roundhouse — a venue Floyd
prog rock and the moment that Pink themselves played back when Syd stood at Ballet’s Gary Kemp on guitar and vocals, but
Floyd first ascended Mount Olympus, the mike — can vouch, the whole endeavour
it might feel like a cardinal sin of omission for is made all the more exciting because Mason Kemp makes himself right at home with this
drummer Nick Mason to go out with a band doesn’t just go for the obvious cuts. Sure, Set
devoted to playing exclusively pre-Dark Side The Controls For The Heart Of Sun and Atom music. He’s got the wry humour required for
material. But this double live album from Heart Mother are present and correct, but the
Mason’s group — featuring a motley setlist includes such obscura as Point Me At See Emily Play and Bike, and can wail and howl
assortment of session players, journeymen The Sky, a single that failed to bother the charts
and a member of Spandau Ballet — is glorious, in 1968, and even the bizarre Vegetable Man, in the raucous garage rock of The Nile Song.
capturing the spirit of early Floyd in all its which Floyd played live just once and was only
myriad incarnations from their cosmic available prior to 2016 on bootlegs. Mason, now in his mid-70s, has lost none of his
space rock voyages to the moments of purest
whimsy. Indeed there’s something delightfully When the line-up was first announced, drive or power, from the groove of Lucifer Sam
old-fashioned about the concept, like an there was a great raising of eyebrows on prog
adventure story from the pages of Boy’s Own to the heavy tread of Obscured By Clouds and
Paper or Ripping Yarns with black-and-white
illustrations of men in pith helmets and khaki When You’re In, which features great keys work
shorts hacking their way through the jungle in
search of the Lost Legend Of Pink Floyd. from Dom Beken. One Of These Days remains

The expedition is, of course, led by an absolute banger, powered by Floyd veteran
Corporal Nick ‘Clegg’ Mason, who is carrying
with him his battered journal of Pink Floyd’s Guy Pratt on bass and Mason’s pounding
original trek from the psychedelic pastures of
‘Piper At The Gates Of Dawn’ to the ornate drums together providing the bedrock for the
grandeur of ‘The Dark Side Of The Moon’.
It’s a trip that has been embellished into myth buzzsaw slide guitar of Lee Harris, guitarist of
over the years, whereas in reality once Private
Syd ‘Genius’ Barrett had been captured by the the Blockheads (another not previously best
demons of the undergrowth the rest of the
band spent some time stumbling around in known for his admiration of the Floyd).
search of a style and identity.
Much of this material is more than

50 years old and while it’s fair to say that

a track like Remember The Day is firmly

rooted in the psychedelia of the late 60s, this

never feels like a rock version of Antiques

Roadshow, dusting off relics from the attic in

the hope of discovering that they retain some

value. There’s just too much energy in the

performances to ever doubt the worth of this

music and the band’s obvious enthusiasm is

hard to resist. ‘Dark Side’… and ‘The Wall’

are undoubtedly masterpieces, but there’s a

gleeful release in the freewheeling abandon

of Floyd’s early output, and when Mason

and co. let their freak flags fly, the result is

joyous. David West/Hugh Fielder

74

music & movies

KRAFTWERK

Trans Europa Express / Die Mensch-
Maschine / Computerwelt / Techno Pop /

The Mix: German-language remasters.

When electro godfathers Kraftwerk began their career
singing in their native German, it was a bold gesture
of cultural confidence, defying British-American
hegemony in pop and rock. But the group’s later policy of

adopting polyglot lyrics and pressing alternative bilingual

albums made an equally strong statement, affirming a

cosmopolitan identity as ‘Europeans with German passports’.

Newly available as downloads outside the German-

speaking world, these five remastered classics are chiefly for

scholarly Kraftwerk completists, partly because Ralf Hütter’s

translations from the German are fastidiously precise, although

some small quirks arguably give one version a superior edge. THIN LIZZY Essential

For example, the wry line ‘She’s going out tonight but drinking Three discs, 51 tracks. What could go wrong?

just champagne’ in The Model derives from ‘Sie trinkt in What we have here is a budget-priced, three-CD collection stretching
from the early-70s days of a three-piece Thin Lizzy to the drug-
Nachtclubs immer Sekt (Korrekt!)’ in Das Modell, a Düsseldorf troubled quintet that bade us farewell in 1983. Much about the band
and its members changed during that 12-year period, but one thing
in-joke on the catchphrase of a local barman. Ironically, some remained constant: the panache of Phil Lynott’s songwriting. Given the luxury of
picking 51 songs, a sceptic might suggest that even a random sample would work.
mid-career compositions conceived in multiple languages from But not so. The triumph of this set is its combination of care and balance, and a non-
chronological running order that echoes Lizzy’s own set-lists: each CD is front-loaded
the start, such as Showroom Dummies or Computer Love, scan with classics, and continues to thrill all the way to the end.

better in English. But ultimately the pristine electronic beauty The first decision, though, was a brave one: given access to the first three albums
made for Decca Records, with Eric Bell on guitar, the first two are ignored. It’s a good
of these tracks is their essential unifying factor, because latter- call — they featured a very different Lizzy sound to the later records that conquered
the world. But by 1972 and the Whiskey In The Jar single, then Decca’s ‘Vagabonds
day Kraftwerk mainly used lyrics as incidental textural details Of The Western World’ album (1973), the band had honed their cutting edge, so the
Vagabonds-era Randolph’s Tango, A Song For While I’m Away and Black Boys On The
on sublime sound paintings. Stephen Dalton Corner suffer not a jot next to recordings made for Vertigo a decade later. For The
Rocker, the other pre-Vertigo number, the compilers have wisely chosen the famous
ROBBIE KRIEGER encore version from 1978’s ‘Live And Dangerous’. There’s one ‘L&D’ track on the
other discs too, but (Suicide, apart) all the other songs on that classic album are here
The Ritual Begins At Sundown in their studio format.

Doors guitarist’s first album in a decade. To reduce something as emotionally charged as Thin Lizzy music to mathematics
may seem crass, but the numbers here underlie the quality of the curation process.
In the near half-century since The Doors closed, guitarist Four tracks are with Eric Bell, while Gary Moore is on six (plus the original 1974
Robby Krieger has never quite found a place for himself. ‘Nightlife’ version of Still In Love With You). There are 11 (including the 1981
Not one to overly tax himself, ‘The Ritual Begins At Sundown’ single-only Trouble Boys, written by Rockpile’s Billy Bremner) from the underrated
is just his seventh solo album in that time. And while nobody two-album tenure of Snowy White, but only the best three (The Holy War, Cold
would mistake it for the work of a man who’s trying too hard, Sweat and The Sun Goes Down) from the final album with John Sykes. That means
it’s not without its charms. the lion’s share of 27 tracks feature the ‘classic’ pairing of guitarists Scott Gorham and
Brian Robertson that (notwithstanding Robbo’s absences during the ‘Bad Reputation’
Once again, the man who made Jim Morrison’s words sessions) lasted just three mostly glorious years and five studio albums from 1974 to
flesh (and provided some of his own for Light My Fire) has 1977. And, lest we forget, the faultless Brian Downey drums on all 51. Calling this
dispensed with lyrics (almost) entirely. So with the assistance collection ‘Essential’ sets the bar high, but it clears it with room to spare. Neil Jeffries
of former Frank Zappa bassist Arthur Barrow, he’s delivered a
showcase for his still mind-boggling guitar playing. At its worst
— on the interminable
Screen Junkie and a lumpy
trek through the sole cover,
Zappa’s Chunga’s Revenge
— it is soul-sappingly
indulgent. But when Krieger
cooks up a mighty groove
on What Was That? and the
spring-heeled Yes The River
Knows, the old magic lights
a fire once again.

John Aizlewood

75

music & movies

VARIOUS ARTISTS

1978: The Year The World
Turned Dayglo (3CD)

Where punk went next.

HARRY DLITZ All the big names are tastefully represented here in
this follow-up to last year’s excellent ‘1977: The
Year Punk Broke’ – The Jam, Sham 69, The Cure,
PiL, The Stranglers, Boomtown Rats, Tom Robinson
Band – but also quality deep cuts to savour, including The
Reaction’s propulsive I Can’t Resist, Dead Fingers Talk’s
glam stomp Nobody Loves You When You’re Old And Gay
and The Detonators’ sleazy power-pop gem Light At Your
Window. With a deliberate bias away from London and
particular attention paid to the spiky-haired outpourings
from Manchester, Scotland and Northern Ireland, this

collection presents a vivid snapshot of life beyond the
metropolitan (peroxide) fringe, where maverick one-offs
are given equal billing with their more illustrious peers.

FANTASTIC NEGRITO If the geographical differences on show are enough
to keep pop anthropologists busy, it’s also fascinating to

Have You Lost Your Mind Yet? observe how punk’s year zero was already mutating into

Funk, soul, and social justice from the Cali singer-songwriter. something very different. In these mind-bogglingly diverse
79 tracks are the seeds of everything from the mod revival

Sometimes inspiration strikes at exactly the right point in history. This latest album (The Jolt’s I Can’t Wait) to post-punk (Nightshift’s Love
from genre-straddling dynamo Fantastic Negrito was, he says, inspired by the classic
socio-political albums made by black Americans in the ’60s and ’70s. Given the fact Is Blind) to synth-pop (Ultravox’s Slow Motion) to oi (The
that his country is in the middle of the biggest civil rights uprising in generations,
Rowdies’ A.C.A.B.) taking root. Paul Moody

‘Have You Lost Your Mind Yet?’ feels cosmically planted in the right place at the right time. JOE BONAMASSA

Fantastic Negrito (real name Xavier Dphrepaulezz) has a background that’s the stuff A New Day Now
JoBo recuts his debut album.
of biographers’ dreams: a former thief, drug dealer, illegal night-club owner and hustler
I n 2000, the Tom Dowd-
who reinvented himself and his sound after a collision with a drunk driver left him in a produced, covers-strewn
‘A New Day Yesterday’
coma for three weeks. It’s all life experience that is hugely relevant, as it’s left him skilled introduced Bonamassa as
a thrusting yet derivative
at interweaving the big picture with vignettes of very human struggles. In fact while his blues talent. Two decades
on, Bonamassa has
previous albums went in hard on the pressing issues of the day, this time he’s working on remixed, resung, re-titled
and remastered that
a much more intimate personal level, creating portraits of the people and the communities debut, adding also three
previously unheard demos,
that have surrounded him throughout his life. When he sings of social-media lynch mobs including a storming assault on Dylan’s I Want You,
produced by one of his first patrons Steve Van Zandt. The
and demands ‘What have we become?’ on the smoky How Long, it’s less an exercise in question, of course, is why? According to Bonamassa, it’s
some kind of tribute to Dowd, who died in 2002, but he’s
finger-pointing, more a soulful call for calm communication. A 30-second snippet titled long swapped this overly reverential approach for superior,
more innovative material. Still, ‘A New Day Yesterday’
Justice In America, meanwhile, sums up the source of US social inequality in fewer than 15 was a pointer to better times ahead. Now being older and
wiser, Bonamassa has brought new value: his vocals have
words — ‘In America there is justice just as long as you have some money,’ a woman’s voice improved beyond recognition; he brings new wounded
experience to his own Headaches to Heartbreaks, while
explains, and a crazed Negrito chants ‘Molly money molly money…’ he sounds authoratitive rather than hopeful on Al Kooper’s
I Wouldn’t Do (For A Woman Like You). John Aizlewood
Musically, Fantastic Negrito has a magpie’s eye. Rock, soul, R&B, hip-hop, funk…

everything is up for grabs and blended to perfection. Opener Chocolate Samurai sets the

tone beautifully, a deeply funky (Higher Ground-era Stevie Wonder-funky) experience,

guitar licks dropping like glitter bombs from above, before making way for the intense

blues of So Happy I Could Cry, with its striking guest vocals from Tarriona ‘Tank’ Ball of

New Orleans’ Tank And The Bangas. Your Sex Is Overrated, with its midnight Hammond

organ and velvety smoothness, basks in Prince’s purple mood lighting, while the gospel-

gilded These Are My Friends is a magnificent hymn to the lifelong search for true kinship.

The mixture of styles is intoxicating. Unique and, indeed, endlessly fantastic, this album is

the work of a man committed to his own vision, both for his music and for the troubled and

broken world around him. Emma Johnston

76

music & movies

RICK WAKEMAN The Red Planet

The Caped Crusader parks the ivory- tinkling covers and goes full-on prog.

I t’s all very well tinkling out Stairway To Heaven Our extra-terrestrial getaway opens with The album’s second half builds from the eerie
and Eleanor Rigby while cracking jokes for a living, portentous church organ. It’s instantly engaging,
but Rick Wakeman has grasped that prog fans but deceptive: filmic as it is, things are about to get a starting sequence of The North Plain into an
crave something a little more ambitious from their lot more busy and exciting. In comes the band, and
number-one keyboard wizard. After enjoying playing before one can say “little green men” Wakeman is unexpected kind of funk-prog. We’re back to crashing
‘King Arthur’ and ‘Journey To The Centre Of The soloing over their solid tracking shots. Throughout
Earth’ in big live shows in recent years, he’s recorded the album, Dave Colquhoun’s guitar serves the chords and insistent melodies for Pavonis Mons,
an instrumental prog album that taps into the DNA overall feel — and goes for broke when given its
of those unrivalled classics of pomp while revving close-ups. Drummer Ash Soan is heavy without almost too upbeat, shredding solos raining down.
up the energy factor to contemporarily acceptable hogging the show, while bassist Lee Pomeroy subtly
levels. He’s freely admitted he’s listened to the oldies places some lovely bubbling runs. They’re a perfect There’s a more meditative pace on South Pole,
and used sounds he hadn’t dabbled with for a long foil to the composer’s imagination and flair. There
while. The process appears to have inspired him are moments where he’s channelling everyone from which leads neatly onto the switch from overzealous
as, along with the three members of his insanely Jean-Michel Jarre to Space (of Magic Fly, um, fame),
proficient kick-ass band, his musical emissions make but, of course, he’s always Wakeman. bustling to attained serenity that occurs in the
for a highly pleasurable mission to Mars.
On Tharsis Tholus, The English Rock Ensemble 10-minute finale Valles Marineris, moseying along
It’s been 17 years since Wakeman’s last full-on floats in with a mellow moodiness not entirely
prog album — 2003’s also space-themed ‘Out There’. dissimilar to Camel’s The Snow Goose, but Rick really inoffensively for sections, as if we’re all heading
But he’s knowledgeable and genuinely fascinated gets going here, fastest fingers first. Arsia Mons jabs
with Mars: an instrumental album could want to and stabs like Keith Emerson assaulting his Moog, back down to Earth, tired but sated (and certainly
be about something and fail to evoke that, but the but the band latches onto a series of waves that are
tracks here succeed in conjuring up atmosphere, and slightly Focus, slightly Nektar, slightly Argent. It’s entertained). It’s a joy to hear Wakeman going large,
the listener can happily get lost in its space. One can all held beautifully together by the fluid transitions
almost see the smile on his face as the muse strikes at which Wakeman has always been adept. Just as doing what most of us consider to be what he does
and the music reaches lift-off. And as he’s conceded, his musicality used to tape together Yes’ bonkers
fans of vintage Yes will barely be able to believe their bits and pieces until they felt inevitable, so he here best: taking risks — and landing it.
luck. This is very much a Wakeman album, not a Yes marries an acoustic break and more solid steak-
one, but those little flourishes and clever thematic and-chips surges. On Olympus Mons the drums kick The jury’s in: there is life on Mars. Chris Roberts
connections he once brought to that party can be unapologetically yet the light seems to darken: we’re
heard in close-to-delirium abundance. in terrain somehow both familiar and unfamiliar.

HT/1205

Home Theatre Subwoofer

• 12" CarbonGlas™ carbon fibre and
glasfibre driver

• 500 Watt NextGen5 Class D
power amplifier

Available Now – $1,499

For your local stockist visit synergyaudio.com | (03) 9459 7474

music & movies

CLASSIC TRACK: The Doors — L.A. WomanB

The track that Robby Krieger calls “the quintessential Doors song”.

Not much ran smoothly for The harked back to their beginnings. This was bassist Jerry Scheff adds a sense of propulsion,
Doors, and this was certainly so most keenly expressed on the title track. On as does rhythm guitarist Marc Benno.
with sessions for their sixth album, one level it’s a simple song about barrelling
‘L.A. Woman’. In November 1970, down the LA Freeway, lights a-blur and the Morrison’s repeated phrase — “City of
regular producer Paul Rothchild, unconvinced wind at its tail. But it’s also a conflicted Night, City of Night” — takes its cue from
by what he was hearing in the studio, decided to homage to Los Angeles as a living entity, John Rechy’s underground novel of the same
quit. Enter engineer Bruce Botnick, who joined a promised land of midnight alleys and name, which depicts a demi-monde of hustlers,
the band in their old rehearsal space, the Doors Hollywood bungalows, peopled by the lost fiends and illicit sexual trysts, partly set in
Workshop on Santa Monica Boulevard. It was a and lonely. As drummer John Densmore Los Angeles. Hurtling through eight minutes
back-to-basics move that mirrored the eventual remarked in the documentary, The Story of of dark psychedelic blues, the song heads
tone of the album itself. Gone were the L.A. Woman: “The metaphor for the city as a for optimum pick-up when Morrison begins
symphonic flourishes and painstaking woman is brilliant — cops in cars, never saw a to intone “Mr. Mojo Risin’’ (an anagram of
exactitude of their most recent work, replaced woman so alone… The physicality of the town his own name) over and over. As his vocals
instead by a freer, garage-blues sound that and thinking of her and how we need to take become more frenzied — “Risin’!, Risin’!” —
care of her. It’s my hometown.” the symbolism is, er, obvious.
Musically, L.A. Woman shifts through
the gears. Densmore’s tight rhythm and Ray The Doors debuted L.A. Woman at the State
Manzarek’s descending organ riff hurry it Fair Music Hall in Dallas that December. It was
along, before Jim Morrison’s vocals (with the song’s first and last outing. Within three
Robby Krieger’s bluesy guitar replying after months of its parent album’s release in early
each line) open the throttle. Elvis’s former 1971, Morrison was dead. The legend continues
to endure, of course, and not least via what
Krieger calls “the quintessential Doors song.”

CLASSIC ALBUM: ‘Cheap Trick at Budokan’ (1979)

D ateline 1979. Cheap Trick mania had hit the bombard the audience with a hailstorm of guitar
world. After years of slogging it out on the picks. Zander’s between-song patter, meanwhile,
road playing every ratty dive in the States or could seemingly incite the primarily female

opening for the likes of Kansas, Santana, Kiss and audience into a frenzy at will.

Be-Bop Deluxe, Cheap Trick had finally arrived. Masterfully straddling the divide between tight

Just prior to this massive success, the Illinois and loose, the record sees the band power-drive

quartet’s prospects for a prosperous music career through pop-rock classic after pop-rock classic.

were looking decidedly bleak. But they had broken To this day, the winning combination of brilliant,

the Japanese market, so headed there for a tour, simple tunes, confident musicianship and crowd

primed to revel in their newly acquired fame. hysteria is a reminder as to why Cheap Trick are

Those incendiary shows captured a band at the among the elite artists in hard rock history. But

height of their live powers. Onstage lead guitarist only just: “If it weren’t for Budokan,” says Robin

Rick Nielsen was a cartoon character run amok, Zander, “it might have been the end for us. We

a tsunami of wild distorted power chords and were in debt by about a million dollars. That

demented showmanship who would routinely album saved us from probable obscurity.”

78



THE FINALISTS Smart homes, theatres & more — meet all the
Asia-Pac finalists in this year’s CEDIA Awards!

Describing itself as the global trade association and CEDIA’s annual awards programme and global gongs next issue.) So with
central touch point for residential technology, celebrates the many ways technology thanks to CEDIA for their assistance
CEDIA represents 3700 member companies and enhances the home. We’re delighted to with this feature, we can now salute
serves more than 30,000 industry professionals bring you the finalists for the Asia-Pacific the stunning entries from our region,
worldwide, providing access to industry-leading education, region, from which the winners will be as revealed here in the world-class
certification and research, and is the industry’s only certifying announced on 8 October, in a virtual home cinemas, integrated homes and
body. For consumers, the aim is for CEDIA membership to awards show supported by Bowers & more on the pages that follow...
be a sign of a qualified and trusted home technology partner, Wilkins, Crestron Australia, and Convoy
whether you are building a new home, adding smart technolo- International. (We’ll let you know which
gies during renovations, or just need specialist help. of the Asia-Pac finalists took home local

Liquid Automation Auto, Marine, or Aircraft

This project – which includes five zones “Living quarters for guests and the owners
of audio and video, five zones of audio- give a comfortable and private space to
only with hidden speakers, and a whole get away and relax, while common/social

lot more – would be impressive enough if areas give complete entertainment and

it were in a standard home. But this is a ambiance solutions,” says Liquid Automation.

marine installation, where spaces are tight, CEDIA’s judges were also impressed by the

and where electronics and salty humidity straightforward user interface — essential as

are natural enemies. Happily New Zealand’s this vessel is available for charter in the South

Liquid Automation has proven its ability to Pacific, so will regularly host new guests.

deliver world-beating marine installations in “This requires a system as discrete

multiple previous CEDIA Awards, and their and simple to use as possible without

entry this year is no less mind-boggling. compromising any features or functionality,”

Liquid Automation was involved in this says Liquid Automation. “The interface was

catamaran’s build from the beginning, and its designed to guide the user through the process

usual detailed level of documentation reveals with the addition of simple questions and

the complexity of this project. The yacht prompts. Any delays associated with equipment

(top centre, with its own smaller fishing boat turning on are displayed to the user, and a

kept aboard) features critical security and countdown timer is shown so they know exactly

integration of two navigation stations, along what is going on.”

The yacht boasts with those entertainment zones of distributed Despite a tight time-frame and constantly
five zones of audio
and video, and five audio and video, all backed by the requisite evolving system requirements, Liquid
further zones of audio-
only entertainment. and robust networking system with remote Automation engineered a truly immersive

80 monitoring to update and troubleshoot. and engaging system for this fine vessel.

Integrated Home: Level I finalists
CEDIA 2020

Electronic Living

Solutions include cleverly hiding
devices – including this TV that
drops down into a sideboard.

Due to the mid-century modern design, the ceilings, sensors placed discretely, and security cameras Control4 was selected as the overarching control
owners of this home had little desire to see carefully selected to look like lights.” over the home’s many systems, which include
tech on display, says Electronic Living of this automated blinds and louvres (see images below).
smart home perched along the banks of a beautiful Automation is similarly key to its success. At But it’s not all 21st-century Jetsons. A premium
river. “So we were able to balance modern amenities sunset, all lights at the front of the house turn on, Pro-Ject turntable is integrated into the house
and technology while remaining true to classic ‘60s style. and upon the client’s arrival back home (if after system, positioned proudly as a talking point near
This is the thought process behind the TV that pops up sunset), all of the lights at the front entrance of the main entrance, perfectly summarising the mix of
from a sideboard, speakers mounted cleverly in the the home will turn on for 15 minutes, triggered old and new style within this stunning home.
automatically by the vehicle gate.

The turntable by the
front door emphasises the
retro vibe at work here.

81

Argus Technologies Integrated Home: Level I

Argus Technologies not only
handled every aspect of this
home’s electrical, lighting and
entertainment systems, it has built in
the ability for the owners to expand
capabilities in the future. So while there
are four zones of video and five zones
of audio distribution in this knock-down/
rebuild project, there is also pre-wiring
for five more zones ready to go.

Integration control is handled by
Control4, with the system “extended
to incorporate devices such as in-wall
touchscreens, IP cameras, and various
network interfaces for the integration of
the listed subsystems.” Three separate
wireless networks support separate
parental and kids’ use, with a final
separate network for automation devices
that had no wired Ethernet interface.

Argus designed, wired, and installed
all 67 lighting circuits throughout the
home, including timers that shut down
room lighting to save power under
certain conditions, with motion sensors
ensuring rooms are not plunged into
darkness while occupied. Security is
expansive, and even the irrigation was
automated by Argus. Cool details include
a touch panel in the kitchen area which
at a single press announces “Dinner’s
ready!” to the kids in their study...

CEDIA 2020 www.argustechnologies.com.au www.electronicliving.com.au www.thedigitalpicture.com.au
FINALISTS www.avd.com.au www.lenwallisaudio.com.au www.westcoasthifi.com.au
WEBSITES www.boutiqueav.com.au www.liquidautomation.co.nz www.wiredlife.com.au
www.bridgerautomation.com.au www.mccormickconcepts.com www.zene.com.cn

82

Integrated Home: Level II finalists
CEDIA 2020

Boutique AV

This project started with a conversation about from a fully enclosed projector hush box. In addition to be warm for winter months during morning and
just a dedicated home cinema — and turned to 34 roller blinds, security, irrigation and networking, evening shower periods. The CEDIA judges also
into a complete home integration project, there are no fewer than 80 circuits of lighting highlighted the project’s excellent documentation,
where voice commands can control and tune the including key areas controlled by motion sensors — with intuitive, easy-to-use manuals provided.
lights, shades, gates, HVAC, and entertainment all integrated into this home’s overall control system.
options. The audio/visual distribution is extensive,
with 12 video zones and 11 audio zones, including But what’s most striking are the details that
one exterior zone; brands used in the theatre include make this home work with the owners’ needs. In
Integra, M&K Sound, Oppo and Sony 4K projection the bathrooms, towel rails turn on before and after
shower periods, while heated flooring is programmed

This project started with a
conversation about a single room –
the home cinema – but eventually
encompassed the entire home.

83

Bridger Automation 3 x Integrated Homes: Level II

This home’s lighting design –
and automation – are keys to
the integration’s success.

L ighting was key in this first of three A quality integrator understands what
finalists in this category from Bridger systems will likely expand in the future, and
Automation, “to highlight and show knows where to place hardware for those
off the design aspects, including all the upgrades. Future upgrade potential was key to
water features, of the home with a subtle, this installation, kept simple during the final install
sophisticated look,” says Bridger. “Our but with Bridger pre-planning for expansion with
company was the sole electrical contractor cable provisions in place for additional video zones,
for this installation, excluding solar and audio-only zones and more complex integration.
air-conditioning systems. Having this
flexibility allowed us to incorporate all Another watchword for this integration was
relevant controls of lighting, blinds, simplicity: “An RTI XP-6S Control Processor was
curtains, louvres, fans, fireplaces, pool, programmed to simplify the user interface to control
and pond pumps.” lights, blinds, louvres, both audio and video zones, all
from a modern tablet interface or voice control,” says
So in addition to solving challenges of
effective networking in a home of steel,
concrete, glass and water, Bridger worked
with the architect and owner to deliver
outstanding automated ‘scenes’, such as
the ‘Evening’ lighting scene that runs each
day at sunset until a programmed end
time when it slowly ramps off all lighting
circuits to leave the home with a few
landscape lights for the duration of the
night, until sunrise triggers the desired
‘Morning’ scene. Smarts in action!

84

3 x Integrated Homes: Level II finalists
CEDIA 2020

Bridger Automation

Bridger. “The key point made to us from the client This magnificent smart home includes audio- electronic smart glass in the master en suite, a
was to simplify everything to not overwhelm the user.” visual solutions, lighting control, blinds, 16-car garage, motorised outdoor blinds for alfresco
Clear control interfaces help achieve this goal. curtains, automated fireplace, video intercom, living — all tmaking this house stand out.
alarm system, CCTV, access control, networking,
There’s also a lesson here in relationship remote access viewing and control of all systems, With simple control including automated scenes
building, with the customer increasingly using and kilometres of electrical wiring. The owner and one-touch functions, Bridger worked hand in
Bridger as their go-to tech experts. The Bridger wanted to showcase the ‘wow’ factor: the big, grand hand with DTL Constructions (Australian Residential
team notes, “Our client was drawn to us as the open spaces including the largest jetty in the widest, Builder of the Year 2018) on this smart home
preferred installation company as we are loyal deepest part of the canals (superyacht-suitable), which fits in everything designed to appeal to the
CEDIA members that deliver high quality projects extremely high-end international buyer’s market.
in the south-east corner of QLD, Australia. This is
the third project the client has undertaken and all
three have been awarded to us, as they know the
quality of the finished product that we provide.”

The voice-controlled systems in sanctuary cove
this home are pre-cabled for future
additional audio and video zones.

Audio and video solutions include
this dedicated media room.

85

Electronic Living finalists
CEDIA 2020

Integrated Home: Level II

This beautiful home called for technology integration that matched the
stellar aesthetics. Connectivity was critical given the scale of the project
and the concrete wall construction, so the home’s wired backbone was
augmented by five wireless access points. Controls also had to be simple, as
the system’s users include the client’s four young children.

“The integration at work here really adds the ‘wow’ factor to this prestigious
home,” says Electronic Living. “The Control4 platform allows all subsystems to
be integrated together seamlessly via easy-to-use on-wall touch panels on each
floor plus Neeo remotes in each main living room, as well as via the Control4 app
on mobile devices. With Control4sight our client can view and control their smart
home from anywhere in the world that has an internet connection.”

Distributed 4K video and zones of distributed audio that can easily be
grouped or separated are highlights of this home’s entertainment package, and
the CCTV cameras can be called up on the family’s screens at a moment’s notice,
adding yet another layer to the home’s robust security solutions, which include
Control4’s Mokupancy driver, which can learn the clients’ lighting habits then
play them back when they are away, to give the impression someone is home.

Unobtrusive tech solutions
match the bright aesthetics
of this prestigious home.

86

THE ULTIMATE HOME CINEMA EXPERIENCE

By pairing Trinnov’s world-leading digital processing and room correction
technology with Krix’s patented horn and speaker engineering, you’ll
experience the highest level of spatial sound reproduction in your home
cinema – placing you in the middle of the action.

Immerse yourself in up to 34 channels of discrete audio, delivered through
Krix’s range of dedicated home cinema speakers - engineered to provide
dynamic, enthralling and faithful cinema sound reproduction in the comfort
of your own home.

Krix and Trinnov. Real cinema at home.

West Coast Hi-Fi Integrated Home: Level II

West Coast Hi Fi had their work cut out once everyone is sleeping to deliver friendly rather footprint of the home theatre a challenge, as the
for them here — this project is a four- than blinding levels for those using the bathrooms room wasn’t configured for ideal speaker placement
and-a-half hour trip from the integrator’s at night. There is detail in the programming, so that to achieve immersive Dolby Atmos, an issue solved
home base. Automation includes lighting controlled while heated towel rails automatically engage when by “creative speaker placement”.
by occupancy sensors through all common areas the shower is running, they only do so when the
and individual en suites, with lights automatically outdoor temperature is below a certain threshold, Given the location, there are full remote service
changing their default brightness across three levels so energy is not wasted in the summer. solutions include remotely controllable PDUs (power
depending on the time of day and room, so that, for distribution units) with timed power-on sequences in
example, bathrooms will reduce to 7% brightness The house was already under construction the required order, along with local reboot control of
when the integrator was hired, with the established all equipment from the customer’s touchscreen.

88



Len Wallis Audio Integrated Home: Level III

A key feature of the project is this terrific dedicated cinema
with immersive sound from Meridian speakers and an image
provided by a Sony projector and 135-inch Severtson screen.

90

finalists
CEDIA 2020

This seaside architectural marvel required a subtle and
respectful approach to technology integration from
the Len Wallis team, along with intuitive control for a
customer who declared himself a ‘technophobe’. Security
was also essential, including remote access and solid
networking for a home that doubles as an office.

“A cutting-edge Savant and Meridian Audio smart
home was designed and delivered,” says the Len Wallis
team, “integrating all electrical sub-systems to ensure the
simplicity of control through a true single app solution.
Nine audio zones are included, five of which cater for 4K
distributed video, including a near-reference immersive
cinema space. Lighting control, shade control, security,
CCTV, HVAC, access control, and pool control are all
integrated within the Savant Pro app.”

A wide array of automated scenes adjust light levels and
operate motorised blinds according to pre-programmed
timetables, including a Wi-Fi Shutdown to limit exposure to
any Wi-Fi radiation while the clients are sleeping.

The tech is very nearly invisible in this architectural seaside home.

91

AVD Australia < Integrated Home: Level IV >

The AVD team had a mission here in
this highest of the Integrated Home
categories — this is an incredibly
environmentally-friendly home, designed
to exceed LEED Platinum certification for
sustainability.

“We handled full engineering of the
electrical and electronic systems with
a high-level focus on sustainability,”
says AVD. This included reduction in
energy consumption through smart
systems operating everything from
lighting, motorised curtains and
blinds, air conditioning and ventilation,
implementing automatic modes that
ensure systems are energy efficient. Heat
loads are minimised by lowering blinds
automatically rather than turning on the
air-conditioning systems, while ‘leaving’
or ‘shut-down’ modes ensure systems are
put into a hibernation state when not in
use. Another concept is “light harvesting,”
which ensures that maximum use is
made of natural light entering the space.

The entire home can be controlled
and monitored from anywhere in the
world, while the tech marries beautifully
with the design of the spaces. It’s proof
positive that smart-home technology can
help achieve world-class energy efficiency.

Motorised curtains and blinds
make the best use of natural light
and heat management to increase
the home’s energy efficiency.

92

finalists
CEDIA 2020

Shanghai Sentiment Electronic Technology Co., Ltd

This home is, as the tagline implies, two CEDIA’s judges noted that the work on
residences that have been joined by a the pool alone was worth an honour.
common basement. The homeowner is a
60-year-old woman who likes to entertain — in The large home cinema uses Trinnov
some style. The dedicated home cinema system processing, Sony 4K projection and
uses a native-4K Sony projector to deliver a D-BOX motion seating for full immersion.
great image, with sound handled by a Trinnov
preamplifier and Aurea speakers. It also includes
a German Moovia sofa and the D-BOX motion
seating system to give viewers the feeling of being
‘in the movie’, with the motion of the furniture
synced to the on-screen action.

Access control was critical for security, with
only approved vehicles able to enter the garage,
and the home featuring a ‘security room’ safe from
intruders. There’s enterprise-grade networking,
5000 lights, and music distributed to no fewer than
48 zones across the properties via more than 100
speakers. Two electrical systems cover the home
— one for the network, covering 6000 square
metres and allowing one hundred people to use
the system at once, and another for the rest of the
property, both with full back-ups.

One-touch functions include a ‘Party’ mode
which closes off certain private zones and activates
the multi-zone music system with a prepared
playlist and lighting creating a “hot ambience”.

The automation and integration in this home
are superlative, with CEDIA’s judges noting that the
work on the pool alone was worth an honour.

Wired Life Best Showroom Finalist

When an integration firm builds
a showroom, they generally
proceed in one of two ways:
either the room feels like a retail space,
full of speakers and lights and gadgetry,
or it’s more of an ‘experience centre’,
which was the tack taken by Wired Life
for its Melbourne showroom.

“We were aiming to as best as
possible provide a true and extensive
representation of automation within a
real home environment,” says Wired Life,
“to better explain what it is that we do
and how this can benefit our clients’ lives
in day to day situations.”

This 100m2 space has been designed
to show off residential tech both to
potential clients and to the design/
build community. Wired Life decided
to collaborate with nearby partners —
architects, interior designers, cabinet
makers, light suppliers, and so on — to
build on relationships, and leverage their
industry contacts. User controls are a key
element, designed so that anyone can
walk in and take command of the space
with very little instruction, whether using
a smartphone or voice control.

The finished showroom is a
testament to the manner in which the
firm has built a trusted network among
other trades, and CEDIA’s judges noted
how the project achieved “a lot packed
into a small space, and done very well.”

93

The Digital Picture Media Room: Level I

This is a true party space – built to go
loud and stay loud, without distortion.

This client loves to rock, and with Krix speakers and subwoofers
driven by Emotiva and Yamaha electronics, this ‘Bunker’ room is
able to stay loud for long periods without distortion, so that the
concert sound produced when the speakers and screens are delivering
the owner’s music video collection is quite something. The volume won’t
bother the neighbours either, as the sound isolation is second to none.

“During our initial consultation the requirement for watching movies
was quite low priority,” says The Digital Picture. “But during demonstration
of the latest technologies we were tasked with including a full Dolby Atmos
immersive audio system.”

The client also wanted the widest screen possible, and the team used
a Lumagen video processor to handle aspect ratio controls, including a
mode to allow all 16:9 HDTV content to be viewed at full CinemaScope
width. This allowed for the selection of a bright BenQ 4K DLP projector,
while Severtson Screens delivered a custom-sized deluxe screen using
their high-performance screen material. The images flanking the screen
are artworks which are illuminated until the movie rolls.

CEDIA’s judges were impressed by this audio system’s “heavy
artillery”, noting that this project is one that other integrators should
look to as “instructional” — “it’s a great example of getting maximum
performance out of a set budget”, said the judges.

94

Media Room: Level II finalists
CEDIA 2020

Boutique AV

In this, the top category level for Media Rooms, family, “whether it be different or the same content. Meanwhile the spectacular visual result came from
Boutique AV combined the wishes of the two Our team listened carefully and designed a carefully the second challenge, created by the design
homeowners with truly spectacular results. tailored 84-inch tri-Ddsplay AV solution,” explains and lighting requirements specified by ‘Mrs. Client’,
The desire of ‘Mr. Client’, as Boutique AV refers Boutique AV. “The family can now individually or with her love of beautiful art deco finishes. The
to him, was to have three big screens that could collectively watch and listen to any of the AV sources.” result is a build that perfectly reflects her love of
operate independently, or, as he wanted to work from the art-deco aesthetic in a space that never
home a bit more, that could “replicate his three-screen But how to handle the audio coming from three compromises this heritage-listed home.
computer station at work... on a larger scale”. He screens at once? The three occupants can watch and
also thought such a design could seamlessly cater listen to a matrix of options through the designed CEDIA’s judges wre impressed with both the room
to the media requirements of his two other family surround sound system, explains Boutique, or can and the technology, noting its “fantastically intuitive
members in the home (his wife and son) as a use one of three dedicated pairs of headphones user interface, clever audio delivery, and brilliant —
creative solution for watching TV together as a which can be individually switched to the AV source pun intended — lighting solutions”.
they are interested in.
<< For all finalists’ website addresses, see p82.

95

Zene Private Theater Home Cinema: Level II

The first of two finalists in
this Home Cinema category
is from Beijing, where the
Zene team was tasked with a lot
of seating and a big room, with
the challenge to deliver sound
that would rival that of any
nearby commercial cinema, yet
with a relatively limited budget.

“We chose Krix X series
speakers and QSC professional-
grade amps,” says Zene, “products
usually used in commercial cinema
VIP rooms [common in China]
which are about the same size
as this theatre. The client was
very happy about the sound
performance and he spoke highly
on the dynamics of the system.”

Zene also had to be creative
with sound isolation, constructing
multiple walls inside this room’s
footprint to ensure the high
performance levels didn’t spread.

The result: a gorgeous 34-seat
cinema with a screen bright
enough and sound big enough to
provide a “wow!” experience in
an environment CEDIA’s judges
noted as being an inviting space
with a great “feel”.

ALL THE BEST BRANDS

audioconnection.com.au AudioConnectAU AudioConnectionAus

96

Home Cinema: Level II finalists
CEDIA 2020

The Digital Picture

While the client here had some knowledge from a brilliant image to a 158-inch Cinemascope screen. The custom
previous home cinema, “the idea of a cinema of this user interface, finely-dressed racks, motorised seating and
performance level had not crossed their mind”, says careful power management also show the project’s quality, as
The Digital Picture. “After two in-depth meetings and having does the careful sound isolation which included careful work
discussed the industry standards relating to audio and picture on the HVAC air-con system, and the custom door (right).
quality and the associated costs involved, we were asked to
come up with something exceptional.” Equipment racks are cleverly stashed away in a small
space at the front of the room, and the ceiling is covered in a
That they did — a 9.1.4-channel Dolby Atmos system brilliant starfield with a deep black background that creates a
that delivers reference-quality sound while being completely convincing illusion of the night sky within an overall dark and
hidden from view, while a BenQ 4K projector delivers a elegant aesthetic for this high-performance dedicated cinema.

97

<< Our coverage of the CEDIA 2020 Finalists begins on page 80. For more on CEDIA visit cedia.net

McCormick Concepts Home Cinema finalist: Level III

The client here had three initial requests: make it simple
to use, simple to reboot should the need arise, and give
it good sound isolation so as not to disturb neighbours.
From that brief McCormick delivered a top-notch cinema:
THX reference levels for both rows of seats delivered by Pro
Audio Technology speakers, subwoofers and amplification
coupled with a Trinnov processor “to really fine-tune the room
and further increase the audio performance and detail.”

A 4K Cinewave Severston projector screen was matched
with a Sony 4K projector and Lumagen video processor to
ensure that video was up to par, while the equipment racks
and a handy refreshment area (see bar below) are situated in
a ‘lobby’ outside the sealed door.

In order to address the sound isolation request, and
to help mitigate any sound from the outside through the
dedicated HVAC system for this cinema, McCormick Concepts
took great care: “Where cabling was brought into the room,
the hole was sealed with acoustic filler from both inside the
room and up in the roof space to ensure no sound could enter
or leave the space. In other locations cabling was brought
into the false reverse coffered ceiling to add another level of
protection to ensure the room remains sealed.”

Equipment racks live in an adjoining
‘lobby’ – along with refreshments...

03 9578 8658 [email protected]
www.soundgallery.com.au

98

STUDIO 4

CRUISE 3 DORNE 3

BEST SEAT IN THE HOUSE Cogworks Design

The best home cinema Cogworks Design presents its new Home Cinema Seating range
systems keep you on the in three sensational styles - STUDIO, DORNE, and CRUISE.
All are finished in 100% premium A-grade leather (not Split or
edge of your seat - Pleather), with electric headrest and reclining seats, engineered
so make sure that seat by Cogworks for quieter, faster operation, and with a five-year
warranty. The CRUISE style offers a low-folding headrest, ideal
is the best! to allow full experience of Atmos and rear effects. They're the
box seat, the ringside seat, the driver's seat - Cogworks Design
offers you the best seat in the house.

MUSIC HAS THE POWER TO
INFLUENCE CHANGE AND INSPIRE.
IT CAN MAKE US DANCE, CRY, FEEL
AND LOVE. IT CAN UNITE AND DIVIDE
US. BUT MOST IMPORTANTLY, MUSIC
ENABLES US TO IMMERSE OURSELVES
IN OUR OWN WORLD - EVOKING A
SENSE OF FREEDOM AND MAKING US
PRESENT IN THE MOMENT.

INTRODUCING THE NEW PREMIUM
HI-FI STEREO COMPONENTS.

au.yamaha.com

9001 CLOSER TO
THE ARTIST

A-S3200 / A-S2200 / A-S1200 INTEGRATED AMPLIFIERS

AVAILABLE AT THESE AUTHORISED YAMAHA PREMIUM HI-FI DEALERS.

NSW QLD/ACT VIC/SA WA

ABSOLUTE HI-FI AUDIO JUNCTION AUDIO SOLUTIONS TODDS HI-FI ADDICTED TO AUDIO AUDIO TRENDS ADDICTED TO AUDIO

Liverpool NSW Hamilton NSW Mascot NSW Tingalpa QLD Kew East VIC Ringwood VIC Leederville WA
audiojunction.com.au audiosolutions.net.au todds.com.au addictedtoaudio.com.au audiotrends.com.au addictedtoaudio.com.au
absolutehifi.com.au

ADDICTED TO AUDIO EASTWOOD HI-FI INSTYLE AIR SOUND & VISION CARLTON AUDIO VISUAL CLEF HI-FI WEST COAST HI-FI

Newtown NSW Dural NSW Dural NSW Bungalow QLD Carlton VIC South Melbourne VIC O’Connor WA
addictedtoaudio.com.au eastwoodhifi.com.au instylehifi.com.au airsoundvision.com.au carltonaudiovisual.com.au clefhifi.com.au westcoasthifi.com.au

LEN WALLIS AUDIO LIFE STYLE STORE SINGLETON HI-FI LIVING SOUND MELBOURNE HI-FI SOUNDAIR HI-FI WEST COAST HI-FI

Lane Cove NSW North Parramatta NSW Singleton NSW Fortitude Valley QLD Hawthorn VIC Caulfield VIC Osborne Park WA
lenwallisaudio.com lifestylestore.com.au singletonhifi.com.au livingsound.com.au melbournehifi.com.au soundair.com.au westcoasthifi.com.au

STURMANS SYDNEY HI-FI CASTLE HILL SYDNEY HI-FI MONAVALE INTEGREAT ELECTRONICS VINYL REVIVAL ADDICTED TO AUDIO WEST COAST HI-FI

West Wollongong NSW Castle Hill NSW Monavale NSW Fyshwick ACT Fitzroy VIC Hilton SA Rockingham WA
sturmans.com.au sydneyhificastlehill.com.au sydneyhifimonavale.com.au vinylrevival.com.au addictedtoaudio.com.au westcoasthifi.com.au
integreat-electronics.myshopify.com

9000