Hi-Fi News Yearbook 2020

TUBE USB DAC

USB DAC with custom filter and tube output
Made by: Balanced Audio Technology Inc., Wilmington DE, USA
Supplied by: Karma-AV Ltd, York
Telephone: 01423 358846
Web: www.balanced.com; www.karma-av.co.uk
Price: £19,995

Symphonies [Deutsche Harmonia

Mundi; 48kHz/24-bit]. With just

11 musicians deployed instead

of the usual massed forces, these

arrangements are sprightly, crisp

and intimate, and the REX 3 DAC

again does that wonderful thing

of taking the listener to the heart

of the music while allowing each

individual contribution to be

examined if required.

That’s not to say it can’t turn

on the thunder if really necessary.

Balanced Audio With the blazing ‘Walk On Hot
Coals’ from Rory Gallagher’s
Check Shirt Wizard live set [Cadet
Concept/Chess; 96kHz/24-bit], the

Tech. REX 3 DAC sheer vitality of the performances,
recorded in 1977 on the Rolling
Stones and Jethro Tull’s Maison
Rouge mobiles, is irresistible.

Mixed from the original

multitracks, the album allows

W hile the company’s first of the REX 3 DAC’s proprietary, high- ABOVE: Available the guitarist’s performances new
products from 1995 specification output stage. in either silver life, and the REX 3 DAC’s winning
used valves, Balanced or black the combination of spark, speed and
Audio Technologies has RIGHT OFF THE BAT REX DAC 3 has sheer dynamic power makes the

its roots in digital, its £19,995 REX 3 As soon as it soft-starts and a simple fascia most of them, whether Gallagher

DAC being an update to a flagship stabilises itself ready for action, layout – input is blues picking almost solo, or

design. And with its thick, curved you realise you’re on to something selectors at the crashing it out with the band.

front it’s certainly eye-catching. special here, even when going back centre, standby With all this ability, it’s a given

It will handle PCM inputs up to to basics and playing CD-quality and mute buttons this remarkable DAC will do its thing

384kHz/24-bit and DSD512 – at music in through one of the coaxial either side and a with demo-quality jazz, too, and it

least via its USB input. Other inputs digital inputs. control to set the passes the piano, bass and brushed

are provided for AES/EBU (XLR) Yazz Ahmed’s album Polyhymnia display brightness drums test with total nonchalance.

and S/PDIF (two optical and two [Ropeadope] is immediately Be warned: so well does the REX 3

coaxial), these being selected using notable for the way the transients perform across the board that

front-panel pushbuttons or via the of Sophie Alloway’s percussion you’re going to be spending a lot on

supplied VK-R4 remote handset. opening ‘Ruby Bridges’ really zings adding to your music collection.

out of the speakers, and then

‘Its spark, speed and remains just as crisp, tight and VERDICT
sheer power make a focused however busy the track
becomes, the slinking beat This unashamedly expensive
converter gets you closer to the

winning combination’ driving the music along. music without you even realising
And the beauty of this it’s doing it, and you’ll be too

DAC’s sound is that it gives immersed in what’s being played

The REX 3 features an all-valve every instrument, every line of the to give another thought to all the

output section made up of six scoring, plenty of breathing space. engineering making it possible.

6C19s, two used as PSU current When you reach the album-closing

sources. This tube stage uses no homage to saxophonist Barbara HI-FI NEWS SPECIFICATIONS

overall negative feedback, buffers Thompson, the lasting impression is Maximum output level / Impedance 1.55Vrms / 315-565ohm
or followers in the signal path. It of the rich variety of musical colours

also lacks any in-line capacitors, and textures on offer in the playing A-wtd S/N ratio (S/PDIF / USB) 95.1dB / 95.1dB

and employs amorphous-core and recording, and not how good Distortion (1kHz, 0dBFs/–30dBFs) 0.0059% / 0.017%

transformers for output coupling. the hi-fi is sounding. Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.0025% / 0.095%
Another key design feature That sparkling sound, packed Freq. resp. (20Hz-20kHz/45kHz/90kHz) –2.9 to –1.1dB/–16.5dB/–24dB

is Balanced Audio Technology’s with freshness and vitality while

‘SuperPak’ capacitor bank. This adds maintaining the illusion of total Digital jitter (48kHz / 96kHz) 280psec / 155psec

a group of large oil capacitors to ease, is the clever stuff here, Resolution (re. –100dBFs / –110dBFs) ±0.2dB / ±3.5dB

the usual power supply electrolytics, as is clear with Compagnia di Power consumption 128W (W standby)

greatly increasing the energy on Punto’s ‘small band’ recordings Dimensions (WHD) / Weight 483x146x394mm / 14.5kg

tap. It’s all part of the reinforcement of Beethoven’s first three

YEARBOOK 2020 | www.hifinews.co.uk | 51

STEREO INTEGRATED AMPLIFIER

Moonriver Audio is Distributed in the UK by Whole Note Distribution
Dealer enquiries welcome

EMAIL TELEPHONE WEBSITE

[email protected] 0203 9115 549 www.wholenotedistribution.co.uk

NETWORK-ATTACHED DAC

Network-attached DAC/streamer/headphone amp
Made by: Bricasti Design Ltd, MA, USA
Supplied by: SCV Distribution, Hertfordshire
Telephone: 03301 222500
Web: www.bricasti.com; www.scvdistribution.co.uk
Price: £5399-£6999

atmosphere of the opening tolling

bells, the M3 recreated all the zest

of the playing and full colour of the

orchestration, rhythms taut and the

soundstage explicitly set out.

Sticking with the USB input we

switched to our main system and

played the Shchedrin again. Now

Bricasti Design M3 the pinpointing of instruments
was even more apparent while the
timbre of percussion instruments,
such as the wood blocks, was

resolved to even greater effect.

What’s more, the qualities of

The US company Bicasti says of the fascia buttons. ‘Input’ is ABOVE: Now PCM playback were more fully
its ‘more affordable’ M3 revealed as five choices on the with a UPnP revealed, as was the overall
USB DAC – as compared display; ‘Status’ includes digital network option, potential of the M3. Switching to
to its M1 Dual Mono DAC, filter selection, display dimming, the M3’s inputs S/PDIF and the sound – as our

now in ‘Classic’ form at £9499 [HFN DSD conversion mode and phase and features are reviews have consistently suggested

Jun ’11] – nonetheless offers ‘an inversion; ‘Level’ offers 1dB steps navigated by a – gained even more with the

incredible array of performance’. over a –99dB to +6dB range plus sequence of six sense of instruments, such as the

The basic version is offered mute; ‘Reference’ remembers your buttons and a castanets, starting and stopping,

at £5399, but this increases to preferred listening level with a long rotary encoder while the Munich soundstage

£6999 when fitted (as here) with press. There’s also an optional line- (also the volume became more specific.

a DNLA/UPnP-compatible network of-sight remote that matches the control, centre). For a speech test – and animals

streaming card and new headphone M3’s styling (£529) and duplicates When fitted, snarling and roaring at London Zoo!

amplifier option. The latter includes all key functions, including volume. the balanced – what better than the 1960 Decca

both 4-pin balanced XLR and Meanwhile, the M3’s USB and 4-pin XLR and recording of Saint-Saens’s Carnival

6.35mm single-ended jack outputs, network inputs support up to standard 6.35mm Of The Animals with the LSO and

384kHz/24-bit LPCM, DSD64 headphone outs comic actress Hermione Gingold?

‘The M3 recreated all and 128. Additional inputs are set to the left The beasts in the opener always
include coaxial and Toslink of the fascia make you jump and the narrative
is full-blooded – a treat, albeit
the zest of the playing, optical S/PDIF while single-
with the rhythms taut’ ended (RCA) and balanced of a Marmite kind. Gingold is set
(XLR) analogue outputs are extreme stage left and the cynical

fitted. There are two filter texts registered with enormous

and is available as a return-to- options, and the M3 has a custom presence here with a CD rip file.

factory retro-fit option. single-bit converter so that DSD

The M3 features two separate inputs are not converted to LPCM. VERDICT

D/A channels using the classic Whether you stream your music

Analog Devices AD1955 DACs for FULL COLOURS from Roon, have a big CD library

LPCM and a proprietary bitstream With the linear phase filter engaged, and are looking to trial a new

DAC solution to handle DSD our first impression, listening via transport, or just enjoy connecting

inputs. The circuitry, meanwhile, the inbuilt headphone amp (good a laptop and listening over

is fully balanced throughout, with though this later proved), was of a headphones, the Bricasti M3 is

independent linear power supplies smooth presentation where all the worth saving for. The engineering

employed for both the analogue subsidiary detail could be heard, but and finish are superb, while the

and digital cores of the product. overall it was somewhat bland. sound quality is exemplary.

Its casework is all CNC-machined Changing to the minimum

from solid aluminium, black phase alternative brought an HI-FI NEWS SPECIFICATIONS

anodised and with laser etched obvious improvement – with Max. output (<1% THD, DAC/Pre) 3.99Vrms at 42ohm
legends, and presents a flat front Sibelius’s Symphony No 2 [Alpha]

and rear face, unlike the sculpted the soundstage shifted slightly Max. output (<1% THD, headphone) 8.8V/600ohm / 845mW/25ohm

form of the flagship M1. It sits on but the rather sweet sound and Headphone output impedance 315-650mohm (20Hz-20kHz)

four 60mm-diameter non-adjustable fine production by Jens Braun was A-wtd S/N (S/PDIF / USB / headph.) 114.5dB / 114.4dB / 116.3dB
feet with rubber inserts. Twin tonally much more involving. Dist. (20Hz-20kHz, DAC/headph.) 0.00016-0.0017%/0.00025-0.0016%
ventilating top-plates in silver grey
Nothing has proved more fun this

are inset with countersunk fixing year than the Shchedrin Carmen Freq. resp. (20kHz/40kHz/80kHz) +0.0dB to –0.14dB/ –16dB / –24dB

screws (and perhaps spoil the look). Suite, provocatively adapted from Digital jitter (48kHz/96kHz) 1915psec / 1705psec

That large silver-white rotary is Bizet’s original. It’s with the late Power consumption 27W

not only a gain control but is also Mariss Jansons and the Bavarian Dimensions (WHD) / Weight 356x57x286mm / 4.5kg
used in conjunction with some RSO [BR Klassik]. After the sinister

YEARBOOK 2020 | www.hifinews.co.uk | 53

NETWORK AUDIO LIBRARY

Network-enabled media storage/playback device
Made by: Innuos, University of Warwick Science Park, Coventry

Supplied by: Innuos (UK)
Telephone: 01793 384048

Web: www.innuos.com
Price: £10,800 (with 4TB storage)

able to be made with our usual

computer audio weapons of choice

– a stripped-out Mac mini running

headless under control from an

iPad, our day-to-day music set-up

using Roon Core running on an Intel

NUC, and as a straight UPnP server

for our other network players.

Whichever route we tried, the

Statement was very good, our lab

testing highlighting the cleaning

of the digital output signal going

on here, and the way it isolates a

connected UPnP player from the

vagaries of a home network.

Yet any changes to the sound

we might have detected versus our

usual sources were vanishingly small

Innuos Statement – so much so that switching back
to the Mac mini as a USB source,
or sourcing music from a NAS, then
returning to the Statement, had us

rather wondering if we’d heard a

difference in the first place. Yes, the

W e are seeing the role Incidentally, connections between ABOVE: The sound with the Innuos Statement
of the music server the PSU and ‘head unit’ are via 0.3m matching fascias is nothing if not impressive, but
change. Where once ‘pig-tails’, making it clear the two of the Statement then so it is with potentially much
it was no more than boxes are intended to be stacked. ripper/player simpler hardware in use upstream

an optimised NAS device, designed The heart of the unit runs on [top] and PSU of the DAC or network player.

to feed an external network music a custom-designed motherboard, [bottom] are Whether with the openness

player, it has now morphed into a housing a quad-core Intel CPU unadorned and clarity of the ‘Stripped Down’

complete storage playback solution, and 8GB of RAM, of which 4GB aside from a version of John & Yoko’s Double

connecting to a USB DAC or, in is reserved for buffering during power button Fantasy [Apple/Capitol; 96kHz/

some cases, with onboard D-to-A playback. And the Statement can and loading 24-bit] or the orchestral light and

conversion straight into a preamp. play files at up to 384kHz/32-bit, slot. Playback is shade of the Kansas City/Stern

With Innuos’s two-box Statement DSD128 over DoP or native DSD. achieved via reading of Holst’s The Planets

prices start at £9800 for 1TB of Setting up the Innuos Statement third-party apps [Reference Recordings; DSD64],

SSD storage onboard, while the is relatively simple. Myinnuos.com the main characteristic of the

allows the user to configure Innuos Statement was the absence

‘The sound when using the unit and set up disc- of any characteristic whatsoever.
the two-box Statement ripping or the import of We felt any one of several analogue
is certainly impressive’ files from various sources, system changes – amp, speakers,
including other music even cables – would have made a
servers, USB drives or more noticeable change to the way

NAS units. The connected the music was delivered.

max-spec 4TB SSD model here is computer will also show an ‘Auto

£10,800, in either black or silver. Import’ folder into which music VERDICT

The Statement’s main unit can be dragged and dropped. You Our main impression of the Innuos

includes a slot-loading CD ripper, can also choose compatibility with two-box was that it simply gets out

storage and control hardware/ Sonos, standard UPnP devices, or of the way. And that’s perhaps all

software, while the second box even Roon, although Innuos does an audiophile would wish for.

contains multiple linear power not offer a bespoke app for this

supplies, connected to the ‘business flagship solution. HI-FI NEWS SPECIFICATIONS

end’ via a pair of multipin cables. COMING CLEAN Digital inputs 1x Ethernet; 1x USB 2.0; 1x USB 3.0
The Statement PSU is complex, Digital outputs 1x Ethernet; 1x USB 2.0
With iPeng loaded on an iPhone,
having eight separate rails for

the various sections of the server/ and OrangeSqueeze on an Android Digital jitter (Novafidelity 500H) 13psec (175psec via PC USB)

player, fed from a central toroidal tablet we keep for just this kind Digital jitter (Chord Hugo 2) 5psec (35psec via PC USB)

transformer. These include separate of testing, it was possible to get Digital jitter (Chord Mojo) 10psec (80psec via PC USB)
supplies for the two data reclockers things working into a variety Power consumption 30W
within the Statement, managing of DACs connected to the USB Dimensions (WHD) / Weight 420x90 (110)x350mm / 21.5kg (total)
the USB and Ethernet outputs. output. Comparisons were thus

54 | www.hifinews.co.uk | YEARBOOK 2020

NETWORK-ATTACHED DAC

Network-attached player/DAC
Made by: Pixel Magic Systems Ltd, Hong Kong
Supplied by: Sound Design Distribution Ltd, Cardiff, UK
Telephone: (0)800 009 6213
Web: www.luminmusic.com; www.sounddesigndistribution.co.uk
Price: £1845

Lumin D2 simply-miked, ‘straight to recorder’
set, here presented with all its
This latest version of the a volume control governed via the ABOVE: In vitality and spontaneity intact. If
company’s affordable Lumin app. In addition there’s a black or brushed you want the impression of real live
network audio player, single BNC digital output, limited to aluminium musicians plonked in the room in
the £1845 D2, is so light 192kHz/24-bit and DSD64 via DoP. finishes, the front of you, the D2 delivers.
D2’s casework
at 2.5kg that our stiffish Chord After the player initialises, the neatly oversails And the same applies to The L.A.
to conceal rear Network’s Ella On Our Mind album
Company interconnects almost display comes to life, showing a connections. [2xHD; DSD128], recorded directly
Control is via the to Nagra hardware with no EQ or
lifted it off its feet! Unlike its simple two-line indication of the Lumin app compression. Here the Lumin D2
brings out all the atmosphere and
predecessor, the D1, which used content selected. Beyond that, ambience of the studio, and really
shines with the voices, especially
a computer-style offboard power you’re in the hands of the app, the luminous tone of Aubrey Logan.

supply, the D2 now has a shielded which fortunately is excellent and So too, Alison Krauss and Union
Station’s Live album [Rounder;
switchmode PSU onboard, and a also allows a wide range of set-up DSD64] has that real ‘in the
audience’ sense via the Lumin D2,
conventional rear IEC mains socket. options. Beyond a quick start guide, with both the singer’s gorgeous
voice and her accompanying
With one Wolfson WM8741 DAC to probe deeper into its facilities musicians rendered with bags of
emotion and expression. And boy,
chip for each channel used to feed and capabilities, reference is does Krauss do emotion, with her
vocals here frequently jaw-dropping,
the balanced circuitry, the D2 is needed to Lumin’s website, which helped – as if they needed it – by
the D2’s unforced presentation.
able to handle files at up to 384kHz/ has information in the form of a
But in case you were thinking
32-bit and DSD128, whether from series of FAQ topics. this player was all about delicate
voices and minimal recordings,
network sources or USB storage. It play the ‘1941 March’ from the
Jerry Junkin/Dallas Wind Symphony
also allows the upscaling of lower- REAL PUNCH on John Williams At The Movies
[Reference Recordings; DSD64],
res files, with those up to 96kHz The D2 rapidly reveals itself to and you’ll hear just how well the
Lumin D2 lets the track build from
resampled to 192kHz or DSD. be very capable, whether with almost inaudible woodwind all the
way through to full band and drums
As well as UPnP streaming over upscaled CDs, hi-res PCM files or bombasts, while at the same time
keeping the rhythms tight and crisp.
the network, it supports online those full-fat double-DSD releases.

services including Qobuz, Spotify, It combines warmth and generosity

with treble sweetness VERDICT

‘Boy, does Alison Krauss and a natural-sounding While the D2 may be compact,
midband, all easy to enjoy. lightweight and unassuming (albeit
in a very classy manner), the sound
do emotion – her vocals There’s nothing over- it delivers is big, rich and dramatic
here are jaw-dropping’ lush or soft about this as required, then at the next turn
player, as is clear with refined and intimate.

rhythm-driven music such

and Tidal (with MQA), and Apple as the Victor Wainright And The

AirPlay too. It also delivers Internet Train set [Ruf Records]. The D2 HI-FI NEWS SPECIFICATIONS

radio via TuneIn and is Roon-ready. powers bass and drums along with

Apart from the D2’s network real punch, while also rendering the Maximum output level / Impedance 4.08Vrms / 10ohm
A-wtd S/N ratio 114.9dB
connection, which is wired Ethernet instrumental and vocal lines with Distortion (1kHz, 0dBFs/–30dBFs) 0.00032% / 0.0011%
Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.00065% / 0.0019%
only – there’s no Wi-Fi or Bluetooth a wide-open sense of timbre and Freq. resp. (20Hz-20kHz/40kHz/75kHz) –0.0 to +0.1dB/–1.1dB/–8.0dB
Digital jitter (48kHz/96kHz/192kHz) 15psec / 50psec / 55psec
functionality here – and a brace texture. It’s a real riot of a listen, Resolution (re. –100dBFs / –110dBFs) ±0.3dB / ±0.9dB
Power consumption 20W (1W standby)
of USB-A ports, things are kept too, one that finds the volume Dimensions (WHD) / Weight 300x60x244mm / 2.5kg

pretty simple. You have a choice control inching up inexorably.

of either balanced or unbalanced That the D2 gets the listener

analogue outputs, the former being into the heart of the music is readily

preferable given the all-balanced apparent with the intimacy of David

internal layout, offering a choice of Elias’s Crossing album [David Elias

‘Normal’ or ‘Low’ level, and there’s Music; DSD64], which is a typically

YEARBOOK 2020 | www.hifinews.co.uk | 55

Get back the full value of your existing pair of speakers To find out more and
when you trade them in and purchase a pair of NEW for your nearest dealer
Sonus faber speakers*. please visit:

sonusfaber.com finesounds.uk/dealers

*Subject to certain terms & conditions. Please ask your local Sonus faber dealer for further information.

Distributors of the finest high-fidelity audio components
t. 01592 744 710 | www.finesounds.uk | info@finesounds.uk

Fine Sounds UK is a McIntosh Group Company

MODULAR DAC

Modular ladder-style DAC and dual PSUs
Made by: MSB Technology Corp, California, USA
Supplied by: Hi-Fi Traders Ltd, Guestling, UK
Telephone: 020 3714 7236
Web: www.msbtechnology.com; www.hifitraders.co.uk
Price: £14,940 (inc USB and Network modules and 2x PSU)

MSB Discrete was being played, and the great
phrasing of the vocals. This is tied
A n ‘entry-level’ product in Supply, though this will set you back ABOVE: The to the DAC’s adept handling of
the company’s range, the £1450. Meanwhile, the unit has a large volume dynamics and its ability to capture
£9950 MSB Discrete is range of fixed digital inputs: one knob here offers the ‘light and shade’ in the playing,
an attractive proposition coaxial, two optical Toslinks and one control in 1dB carrying accents well – eg, that
steps, and can be crunchy, overdriven lead guitar
at the price, offering more than a XLR, plus one clock word-sync port. disabled in the sound was given great impact.
menu, which also
flavour of the costlier Premier DAC No unbalanced RCA outputs offers automatic Via the network input fed from
switch-off for a Western Digital NAS drive by
[HFN Aug ’19], albeit without its are fitted, but the package came the display Ethernet cable, the MSB Discrete
or adjustable didn’t change its character one
Premier Clock and RCA outputs. supplied with balanced XLR-to-RCA brightness bit. So where modern electronic
music such as Moby’s ‘Honey’ [Play;
The unit also arrives with one less adapters for those who don’t have CDStumm] can sound quite dry –
strident even – the Discrete DAC
user-replaceable slot on board. amplifiers with this option. offered only musical honey.

Instead, it comes fitted with two So here, where the hi-hat sound
was smooth and subtle, and the
Prime DAC modules – MSB’s basic LOCKING ON snare drum relatively subdued, our
attention was instead drawn to the
digital conversion engine – while On first hearing this top-tier DAC, bass. The looped piano cadence
that runs right through the song
accommodating PCM inputs from it doesn’t quite give you a ‘surprise was tonally fuller than expected,
there being real weight to the
44.1kHz to a claimed 3.072MHz/ and delight’ experience, but bottom end. Its rich timbre was
impressively carried too.
gradually beguiles you to
The DAC also proved to be highly
‘Never sounding dry, the point where it’s hard to impressive spatially. Chic’s ‘My
go back to anything else. Forbidden Lover’ [Risqué; Atlantic],
via the USB input from a MacBook
the Discrete DAC offers The Discrete’s disarmingly Pro, was laid out as a wonderfully
subtle and detailed delivery spacious stereo soundstage, with all
only musical honey’ was most apparent on the instruments located with pin-
point precision. Depth perspective
complex, layered music was no less impressive, and with
Lonnie Smith’s Think! [Blue Note] –
32-bit plus up to DSD512 with DSD such as ‘Watcher Of The Skies’ by a jazz recording from the late ’60s
– the MSB Discrete made it sound
via DoP supported on all inputs. Genesis [Foxtrot; Virgin Japan], in truly three-dimensional.

These cards sit inside a full-width this instance arriving via the coaxial

CNC-machined aluminium case, digital input. This recording can VERDICT

beautifully anodised and available spark an arid sound that’s typical of The MSB Discrete is a great first
step on this company’s stairway to
in silver or black, which is fronted early ’70s prog rock, but not so here, digital audio heaven. It ticks all the
boxes, not just boasting excellent
by the company’s trademark large as we found ourselves relaxing into sound but upgradability and stylish,
beautiful build quality.
LED display. This is slaved to the the track and steadily becoming

master clock to reduce electrical more immersed in the music.

interference with the audio board. This was largely down to the

The review sample came with Discrete DAC’s ability to separate

the £1590 galvanically-isolated, out the different strands of a mix HI-FI NEWS SPECIFICATIONS

quad-rate DSD/768kHz/32-bit USB effortlessly. You could lock on to

input module, together with the Steve Hackett’s guitar work or Peter Maximum output level / Impedance 3.32Vrms / 142ohm (high o/p)

£1950 ‘Renderer module v2’. This Gabriel’s vocals, as each appeared A-wtd S/N ratio (S/PDIF / USB) 114.1dB / 114.2dB

is a network streaming card that distinct from one another. Distortion (1kHz, 0dBFs/–30dBFs) 0.0014% / 0.0078%

also functions as a Roon endpoint. This DAC doesn’t push a song’s Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.0016% / 0.028%

The Discrete DAC has various beat especially hard at the listener. Freq. resp. (20Hz-20kHz/30kHz) +0.0 to –0.02dB/–0.8dB

power supply options. As standard The opening drum work on the

it is supplied with one Discrete Genesis track wasn’t forced at you Digital jitter (48kHz / 96kHz) 6psec / 6psec

Power Supply box but two can be but was sat back slightly which, in Resolution (re. –100dBFs / –110dBFs) ±0.2dB / ±0.5dB

run simultaneously, and most of the turn, pulled you deeper into the Power consumption 14W (1W standby)

auditioning was done this way. You mix. Then you focused on the gently Dimensions (WHD) / Weight (+ 2xPSU) 432x51x305mm/8.2kg + 5kg

can buy a second Discrete Power percussive way the electric organ

YEARBOOK 2020 | www.hifinews.co.uk | 57

BUDGET ESOTERICA – USB DAC

Outboard USB DAC
Made by: Musical Fidelity (Audio Tuning Vertriebs GmbH), Austria

Supplied by: Henley Audio Ltd, UK
Telephone: 01235 511166

Web: www.musicalfidelity.com; www.henleyaudio.co.uk
Price: £499

Musical Fidelity unexpectedly drawn to the sound of
MX-DAC the bonus live CDs. ‘Me And Bobby
McGhee’ possessed so much air and
W hat the £499 MX-DAC two digital filters has been chosen ABOVE: The space that the sense of a real hall,
offers the music lover followed by five to identify the MX-DAC has two filled with an audience and living,
with a limited budget selected input, all determined via small buttons breathing musicians, was conveyed
is a full complement of sequential presses of two buttons. for input and almost as convincingly as if it were a
digital filter, surround-sound disc!
inputs, sufficient features, luxurious At the rear you find XLR balanced indicated (along
with sample What surprised us was how
styling and feel. But above all, its and RCA line level outputs, a USB-B rate) by rows of ‘musical’ the USB input sounded
miniature LEDs. when we compared downloads
sound is genuinely astonishing. input, two each of RCA coaxial and It features the with the equivalent CDs via either
same compact Toslink or coaxial inputs. ‘I Fall To
The MX-DAC has no remote or Toslink inputs and, lastly, mains casework as the Pieces’ from The Best Of Linda
matching MX Ronstadt – The Capitol Years
volume control to allow it to serve input for the 5V/2A wall-wart. As phono stage [HDtracks; 44.1kHz/24-bit] had a
and headphone delicious clarity which suited her
as a preamp; there’s no cool display, you might imagine, the MX-DAC can preamp mellifluous vocals, as distinctive a
set of pipes as country rock has ever
no analogue input; no phono stage; be up-and-running without getting enjoyed. As with The Band’s Blu-ray,
it was sibilance-free and as natural-
and no headphone output. It is near the instruction manual. sounding as you could hope for, but
it was the liquidity of the pedal steel
purely a DAC. But run your hand guitar that floored us. The MX-DAC
behaved impeccably, revealing a
over the matt silver finish, note the KIND OF BLU gracefulness normally the province
of systems of a higher pedigree.
clean lines, admire the chamfering Using the Blu-ray audio disc from
This Ronstadt track was also a
and fluted sides of the extruded the anniversary box set of The perfect showcase for the MX-DAC’s
admirable image specificity,
case. Then flick the positive-feeling Band’s eponymous second album delivering stage width and a deal
of depth. What ultimately secured
[Capitol], selecting the stereo our affection for this unassuming
component, though, was Amazon’s
‘It was the liquidity of 96kHz/24-bit PCM version, we free download of Albert King’s Born
were hit with one of those Under A Bad Sign [Stax]. ‘The Very
Thought Of You’, with moody saxes,
the pedal steel guitar instant audio epiphanies. tinkly piano, late-night drumming
and King in full-on crooner mode.
was mellow, seductive and truly
soothing – cognac for the ears.

that had us floored’ So natural, so ripe was the VERDICT
sound of the bass, so satin-y
We were hardly prepared for what
the upper frequencies, and so the MX-DAC achieves. The sound is
satisfying, seductive and silky, while
on/off toggle, tap the buttons warm were the vocals that we knew its features and inputs make it a
no-brainer purchase.
with their crisp action, note the we’d hit on a track which could

hardware at the back, including XLR sell the MX-DAC even to the most

balanced outputs, and you cannot inveterate of hi-fi snobs.

but marvel that all this is delivered Listening through Falcon HI-FI NEWS SPECIFICATIONS

in a DAC costing just shy of £500. Acoustics LS3/5As [HFN Dec ’18],

Across the front are enough Levon Helm’s slight nasality and Maximum output level / Impedance 3.78Vrms / 45ohm (XLR)

controls and LEDs to ensure that inimitable drawl suffered no digital A-wtd S/N ratio (S/PDIF / USB) 111.2dB / 111.1dB

buyers-on-a-budget never feel artefacts. They had presence and Distortion (1kHz, 0dBFs/–30dBFs) 0.0014% / 0.00025%

deprived. At the left you find the flow, and those who rank sibilance Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.012% / 0.00045%

on/off toggle, below LEDs indicating the most egregious of sins would Freq. resp. (20Hz-20kHz/45kHz/90kHz) +0.0 to +0.1dB/+0.4dB/+1.0dB

power-on and signal lock. Next are have revelled in their absence.

six LEDs to identify sampling rates Before moving on to streamed Digital jitter (LPCM / USB) 9psec / 9psec

from 44.1kHz to 192kHz, followed or downloaded high-res material, Resolution @ –100dB/–110dB ±0.1dB / ±0.2dB

by two for DSD files. we began listening to the new Power consumption 6W

The right-hand half of the fascia Rhino mix of The Grateful Dead’s Dimensions (WHD) / Weight 220x53x215mm / 1.9kg

contains LEDs to indicate which of Workingman’s Dead but were

58 | www.hifinews.co.uk | YEARBOOK 2020

NETWORK-ATTACHED DAC

Network-attached DAC
Made by: Simaudio Ltd, Quebec, Canada
Supplied by: Renaissance Audio, Scotland
Telephone: 0131 555 3922
Web: www.simaudio.com; www.renaissanceaudio.co.uk
Price: £13,500

inputs or making use of this network

player’s streaming functionality.

That was made clear with the Bach:

Redemption set by soprano Anna

Prohaska [Alpha; 192kHz/24-bit],

recorded with a small ensemble.

Whether with the spare musical

forces of most of the album, or

the jazzy bonus arrangement with

which it concludes, the effect is

of very real performers at work in

Simaudio MOON a well-resolved church acoustic.
Prohaska’s remarkable voice is
handled with delicacy and care,
and the instrumentation and small

780D v2 chorale on a few of the tracks have
not a smidge of artifice about them.

The 780D v2’s qualities become
ever clearer as you delve deeper

into its capabilities and your music

collection, whether playing files

A ‘DAC with benefits’ files at up to 384kHz/32-bit and ABOVE: Finished over the network, directly from a
perfectly describes the DSD256, the latter in native form. to an exceptional computer using USB, or streaming
MOON 780D v2 from standard, the in hi-res. Even with comparatively
Simaudio. At £13,500 it’s MQA decoding is included and it MOON 780D v2 is low-resolution streams – such as
also has two optical, three coaxial

the Canadian company’s reference and an AES/EBU input. All of these available in black, the odd Radio 3 live jazz session in

DAC, complete with a built-in are limited to 192kHz/24-bit. silver or two-tone 320kbps via the 780D v2’s TuneIn

streaming hub developed in-house. Analogue outputs are on RCAs black/silver. It feature – the sense of ‘rightness’ in

With several network products and balanced XLRs, and another can be operated the sound is maintained.

in its range, you can see the sense pair of XLR sockets allows use of the using the four However, it’s really with

of Simaudio developing its own company’s 820S offboard power little buttons uncompressed music that this

streaming solution, MiND2 [MOON supply (a further £7200). Not that either side of the network player/DAC shines. With

intelligent Network Device], which the 780D v2 stints on the power display, or the Bob Dylan’s Rough And Rowdy Ways

provides not only access to music supply front as standard, using the supplied remote [Columbia; 96kHz/24-bit], the 780D

stored on network computers company’s own ‘MOON Hybrid handset, but the v2 gets right into the character of

Power’ to supply the juice. MiND Controller the voice from the off, and makes

‘The 780D v2 gets into The latter features app makes things clear the world-weary lyrics, while
much easier chugging out the blues of ‘Goodbye
high-speed switching and Jimmy Reed’ in toe-tapping style.
the character of Dylan’s linear PSUs combined
voice right from the off’ with ‘M-LoVo’ (Moon Low
Voltage) regulators, I2DCf VERDICT

(Independent Inductive DC Extended listening will reveal the

and NAS drives, but also a range filtering) and conductive polymer MOON 780D v2’s true maturity,

of online services. This second capacitors, with the whole thing resolution and power. With its wide-

generation of MiND adds access being designed for extremely low ranging capability, superb build and

to Tidal Masters with MQA, Qobuz noise. Meanwhile, the dual-mono one of the best apps in the business,

Sublime+ and Deezer Hi-Fi, and balanced design uses a pair of it makes an extremely strong case

also allows synchronised multiroom ESS9018S Sabre DACs governed for itself. A class act indeed.

playback using multiple MiND2- by a ‘femtosecond-grade’ master

equipped devices, as well as Roon- clock by way of tackling jitter. HI-FI NEWS SPECIFICATIONS

ready certification. To access the SLOW BURN Maximum output level / Impedance 2.369Vrms / 120ohm
streaming services on offer, you’re

really going to need the company’s Big and magnificent the 780D v2 A-wtd S/N ratio 110.6dB

MOON MiND2 Controller app. may look, but its sound is something Distortion (1kHz, 0dBFs/–30dBFs) 0.00009% / 0.00065%

As well as Ethernet connectivity, of a slow burn. This isn’t a unit to Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.00025% / 0.0011%
the 780D v2 also has Wi-Fi and rock you back on your heels with Freq. resp. (20Hz-20kHz/40kHz/75kHz) +0.0 to –0.2dB/–9.7dB/–6.1dB
Bluetooth with aptX, although we the first few notes, but what you

find that a decent network or USB do get is complete confidence and Digital jitter (48kHz/96kHz/192kHz) 33psec / 19psec / 10psec

hook-up always wins the day. To a beautifully open and superbly Resolution (re. –100dBFs / –110dBFs) ±0.1dB / ±1.0dB

that end, the 780D v2 will accept focused soundstage. Power consumption 15W (14W standby)

audio from a computer via its And that holds true whether Dimensions (WHD) / Weight 476x102x427mm / 18kg
asynchronous USB-B port, handling you’re playing music via the digital

YEARBOOK 2020 | www.hifinews.co.uk | 59

BUDGET ESOTERICA – USB DAC/HEADPHONE AMP

USB DAC/headphone amplifier
Made by: iFi-Audio (Abbingdon Global Group), Merseyside

Supplied by: iFi Audio
Telephone: 01900 601954

Web: www.ifi-audio.com
Price: £129

multi-layering to the jam of ‘April’

closing the set, which just has that

vibrancy of free association and

interplay. The kind of ambience

and immediacy here would be

impressive in a high-end DAC...

Up the scale of recording

to Sa Chen’s dramatic, sweeping

reading of Rachmaninov’s Piano

Concerto No 2, with the Gulbenkian

Orch/Lawrence Foster [Pentatone],

and the ability of this little DAC/

headphone amp to deliver both the

scale of the orchestra and the detail

of the piano was never in any doubt,

iFi Audio ZEN DAC whether through headphones or
into an amp in DAC mode.

And if you wanted any more
proof of its speed, definition and

ability with timbral textures, look

no further than harpist Claudia

The ZEN models sit at the The sole input here is a USB ABOVE: An Lucia Lamanna’s performance
‘even more affordable’ end 3.0 Type-B socket, for which a LED next to the of Mchedelov’s ‘Variations on a
of the iFi Audio range, its suitable A-to-B cable is included. volume control Theme of Paganini’ [Linn]. Here the
ZEN DAC selling for just This connection also carries 5V changes colour sound was appropriately crisp and

£129. Built for desktop use, the power for the ZEN DAC, but there’s to indicate tight, yet with a wonderful sense

range has a look which is unlike a separate DC input on the rear of the incoming of the strings in motion and notes

anything else in the company’s the unit should you wish to upgrade sample rate. decaying into the acoustic.

range, with high-quality aluminium this with an aftermarket 5V/500mA Front-switchable Meanwhile, playing the first

casework that is not only striking supply such as iFi Audio’s iPower ‘Power Match’ scene of Mascagni’s Cavalleria

but feels remarkably substantial. and iPower X, at £49 and £99. boosts levels Rusticana [Dresden PO/Marek

Despite the toy-like dimensions, Within, it employs Burr-Brown/ while bass Janowksi; Pentatone] showed the

this is actually a potent and flexible TI’s DSD1793 ‘True Native’ DAC, enhancement effortless way in which the ZEN

digital device, both in its handling of downstream of a customised XMOS is offered via DAC makes music, from the subtle

data and its ability to fulfil its main USB input, enabling it to handle the ZEN DAC’s chimes to the rhythm of orchestra

functions of DAC and headphone LPCM at up to 384kHz/24-bit, as ‘TrueBass’ and chorus, not to mention a spot

well as DSD256 (quad DSD) circuitry of percussive thunder. It’s all rather

‘The immediacy here in native form, and also wonderful and totally involving.
MQA-encoded data. It’s also
VERDICT
would be impressive possible to download different
firmware options from the A remarkably capable, fine-sounding
in a high-end DAC’ iFi Audio website that enable piece of equipment and something

you to optimise the DAC in very special at its price. Desktop

amplifier. Its variable-level analogue various ways, and experiment with audio doesn’t have to be the poor

outputs mean it could even be used alternative digital filter settings. relation of ‘proper’ hi-fi – buy one

straight into a power amplifier or a to boost your computer sound, and

pair of active loudspeakers. A WEE WONDER you may well find you’re listening to

One analogue output is a little The term ‘small wonder’ rather it for most of the time.

2.5mm socket on the rear panel undersells the ZEN DAC for this

that can be broken out into a pair tiny unit is capable of a startling HI-FI NEWS SPECIFICATIONS

of balanced XLRs via a suitable third- performance. Over a wide range Maximum output (<1% THD into 47kohm) 3310mV (RCAs)
party adapter cable. But most users of earphones and headphones we

are more likely to use the ZEN DAC’s used, the amp proved its worth by Maximum power output (<1% THD) 200mW/32ohm

entirely conventional unbalanced driving everything we threw at it. Output Impedance (20Hz-20kHz) 0.4-0.5ohm (94ohm, RCAs)

RCA outputs that can be set to fixed Playing Sam Amidon’s often A-wtd S/N ratio (re. 10mW/0dBV) 94.0dB / 108dB
or variable, the latter under the chaotic-sounding The Following Distortion (20Hz-20kHz, re. 10mW/0dBV) 0.002-0.075%/0.006-0.009%
control of the front panel knob. Mountain [Nonesuch], it did a

Also at the front can be found great job of bringing out the Frequency resp. (20Hz-20kHz/45kHz) +0.dB to –0.02dB/–0.55dB

the headphone outputs comprising studio atmosphere, complete with Digital jitter (48kHz/96kHz) 13psec / 15psec

a standard 6.35mm unbalanced its inter-track noise, buzzes and Power consumption 2W
connection or a 4.4mm ‘Pentaconn’ chatter. It all adds to the improvised Dimensions (WHD) / Weight 100x117x30mm / 800g
type for balanced ’phones. feel here, from ‘Gendel In 5’ with its

60 | www.hifinews.co.uk | YEARBOOK 2020

USB DAC/HEADPHONE AMP

USB DAC/headphone amp
Made by: Lehmannaudio Vertriebs GmbH, Germany
Supplied by: Henley Audio Ltd, UK
Telephone: 01235 511166
Web: www.lehmannaudio.com; www.henleyaudio.co.uk
Price: £1700

Lehmannaudio control of the playing, while scaling
Linear USB II the BBC SO under Sakari Oramo,
placing it all in a persuasive acoustic
S‘ imple and direct in its be accepted, along with DSD files ABOVE: The (Maida Vale Studios, London).
purpose’. That undoubtedly via DoP. This USB II version is also 110mm-wide
describes the Lehmannaudio distinguished by Lehmannaudio’s Linear USB II, There’s no tonal colouring going
£1700 DAC/headphone latest ‘Low-Z Copper’ circuitboard. comes with on here – at least not from the
a silver, black driving electronics – but just a sense
amp. But although it’s very simple The two 6.35mm front panel or chromed of ‘rightness’. It can do crystalline
faceplate. And clarity too, as illustrated by the
it is also built with great attention headphone sockets are sourced you can order celebrated Tallis Scholars recording
a £45 set of of Allegri’s Miserere [Gimell], not
to detail, from the quality of the from Neutrik and are connected brackets for out- just breaking that ‘in your head’
of-sight mounting impression but even hinting at
casework to the inputs and outputs in parallel, so they can be used music surrounding you.

and smooth volume control. together (there’s no switching). And At the next turn it puts you in
the studio with Neil Young and at
Despite the compact dimensions, plugging a pair of headphones into the heart of the rambling, slightly
shambolic Homegrown project
the Linear USB II packs a toroidal the left 6.35mm socket will mute issued in June [Reprise], which is a
weird place to be for a short while,
transformer at the rear of the case, the unit’s preamplifier outputs. made more so by the way this
Lehmannaudio amplifier resolves
Underneath the unit can be every element of the mix.

‘The clarity the amp found DIP switches, two for Meanwhile, with David Bowie’s
is able to deliver is each channel, provided to ChangesNowBowie set of acoustic
increase gain from unity (0dB) versions of familiar tracks [via Tidal]
the intimacy of the sound, and the
clarity with which the Linear USB II
delivers it, is spine-tingling with
’phones like Focal’s Clear [HFN Mar
’18] or the Oppo PM-1 [HFN Jul ’14].

Even when playing a big John
Williams orchestral piece such
as the Dallas Winds’ recording
of ‘March’ from 1941 [Reference
Recordings], which starts delicately
before building to an explosive
conclusion, the masterful control
– and sheer energy – of the Linear
USB II is totally captivating.

simply spine-tingling’ up to 20dB. Lehmannaudio VERDICT
suggests a choice of settings
All the simplicity and directness of
for ‘loud’ and ‘very loud’ with a the Linear USB II is evident from
the first listen. With massive power,
just in front of the IEC mains inlet listed range of headphones. fine detailing, deft control and total
confidence, this is a world-class
while the dual mono layout uses headphone amp.

discrete transistors to power its GRAND SCALE

Class A headphone output stage. Set-up is fuss-free, requiring nothing

There are also separate boards for more than the connection of the HI-FI NEWS SPECIFICATIONS

the digital and analogue sections. supplied USB cable to a computer. Maximum output (<1% THD into 47kohm) 9500mV (RCAs)

Above the USB-B port is a pair of Flip the rear mains switch and

analogue audio inputs to which the you’re good to go. And this little Maximum power output (<1% THD) 260mW/32ohm (35mW/8ohm)

Linear USB II defaults in the absence box can deliver more than enough Output Impedance (20Hz-20kHz) 6.0-6.1ohm (51ohm, RCAs)

of a digital signal. There’s also a pair power to drive even the most A-wtd S/N ratio (re. 10mW/0dBV) 92.7dB / 108.2dB

of analogue outputs, so this little recalcitrant ’phones as hard as most Distortion (20Hz-20kHz, re. 10mW/0dBV) 0.018-0.029%/0.0024-0.0029%

unit can also operate as a simple of us will ever require.

preamplifier into your power amp. Play a recording such as Yevgeny Frequency resp. (20Hz-20kHz/100kHz) +0.dB to –0.23dB/–3.7dB

Meanwhile, the digital section Sudbin’s meticulous reading of Digital jitter (48kHz/96kHz) 15psec / 10psec

uses the near-ubiquitous ESS Rachmaninov’s Piano Concertos Nos Power consumption 9W

ES9018 Sabre DAC, allowing audio 2 and 3 [BIS; 96kHz/24-bit], and the Dimensions (WHD) / Weight 110x44x280mm / 1.5kg

streams at up to 384kHz/32-bit to amplifier delivers all the weight and

YEARBOOK 2020 | www.hifinews.co.uk | 61

Canor Audio have been developing and manufacturing high-end audio products for 25 years.
We are a tube specialist, all of our tubes are hand selected and measured on our proprietary test
equipment. Once built each product is tested and burned in before it’s released to the customer.
:H KDYH GHYHORSHG XQLTXH PDQXIDFWXULQJ WHFKQRORJLHV KLJK TXDOLW\ ZLULQJ ZLWK 7HÁRQ LQVXODWLRQ DQG
CANOR Milling Technology™) to improve sonic performance to a level that will surpass your expectations.

AUDIO SYSTEMS
DEALER ENQUIRIES WELCOME
Distributed by Signature Audio Systems, T: 01959 569842 M: 07738 007776
or by e-mail to: [email protected] Web: www.canor-audio.com

HEADPHONE AMPLIFIER

Tube-based headphone preamp. Rated at 1W/12ohm
Made by: Manley Laboratories, Inc, California, USA
Supplied by: Elite Audio Ltd, Fife
Telephone: 01334 570 666
Web: www.manley.com/hifi; www.eliteaudiouk.com
Price: £4500

Manley Absolute

Manley Laboratories is provides a claimed 72dB swing each
taking on the extreme way, a detent taking it out of circuit.
high-end of the
domestic genre here The two 12AX7 input tubes and
four 6AQ5 output tubes, wired

with this £4500 Absolute unit – as triodes, are housed in the

one that marries audiophiles’ sonic valley formed by the metal

requirements with the total control sides, while at the back is

demanded by professionals. a ‘Headphone Protection

It accommodates balanced Control’ which monitors

headphones via XLRs and regular the output level

designs with ¼in jacks, and can be and automatically

used as a preamp thanks to RCA decreases the

line-level outputs and two pairs of volume when a

RCA inputs for line sources. preset threshold

Manley says the device provides is reached.

‘15 independent controls’, and Finally,

we tried all of ’em. The volume the remote

control on the fascia is a horizontal is handy if

thumbwheel that’ll bring tears to you run long

the eyes of those who remember headphone

vintage Marantz FM tuners. To the leads as it

right is the mute button, to its left operates via RF and has a

one to choose between push-pull or far longer range than an IR control,

single-ended tube modes. You soon and does not require line-of-sight.

learn which suits which ’phones, ABOVE: The With the Audeze LCD-4z we
amp comes in a delved into a ZZ Top-fest, Goin’ 50
music types or – when used as a DOING THE CAN-CAN sculpted-from- [Warner], revelling in some of
solid chassis that the best-recorded drum sounds
preamp – which power amps. We tried 12 wildly disparate pairs doubles as a imaginable. Surprise, surprise:
headphone stand. expecting to prefer push-pull for
Volume is indicated by a row of headphones from Sennheiser, Three colours are maximum impact of Frank Beard’s
available – black, sublime percussive artistry, the SET
of 16 white LEDs located above Audeze, Master & Dynamic, Beyer silver and copper position somehow added to the
– with walnut burl authenticity, especially for hearing
the thumbwheel, with 127x0.5dB and others, balanced and single- veneer covers to the ‘stretch’ of the drum skins.
the headphone
steps. Next come four knobs and ended, and of various impedances rest areas VERDICT

five buttons on the top of the front for our listening. These all showed With its total adjustability and
design brilliance, and regardless
section, providing a match for the that some experimentation will be of which headphone we used, this
proved to be the most musical,
needed with settings for open, natural-sounding headphone
amplifier we’ve so far tested.
‘We revelled in some of the best subjective results.
Likewise with push-pull

the best-recorded drum vs. single-ended listening –
and with Paul McCartney’s
sounds imaginable’ Amoeba Gig [Capitol] the

percussion and bass were

headphone load (set via custom tauter, drier, with more impact on

output transformers) with positions the former setting, most notably

of ‘Low’ for 12-50ohm, ‘Medium’ on ‘Get Back’, while the space and

for 50-200ohm and finally ‘High’ for openness were more convincing

200-600ohm and above. with the amp in single-ended mode. HI-FI NEWS SPECIFICATIONS

The balanced and single-ended McCartney’s performances Max. output (47kohm, L/M/H imp.) 8.9V / 14.8V / 24.4V (<1% THD)

headphone outputs are button took place in a record store in

selectable together with the RCA the USA, and have some of the Max. power output (25ohm, L/M/H imp.) 1880/1800/1136mW (3% THD)

preamp output. The middle button most convincing audience sounds Output Imp. (20Hz-20kHz, L/M/H imp.) 6.9ohm / 27ohm / 54ohm

is for the two line inputs, the next we can recall – no ‘Rice Krispies’ A-wtd S/N ratio (re. 0dBV/25ohm) 88.2dB

toggles stereo/mono, and the last applause here – and this exploits Distortion (20Hz-20kHz, 10mW/25ohm) 0.042–2.1% (min feedback)

is the EQ control which activates or the Absolute’s greatest sonic virtue:

bypasses the tone controls. its openness. With the closed- Distortion (20Hz-20kHz, 10mW/25ohm) 0.036–0.6% (max feedback)

Above these are four tall, slim back, Audeze LCD-XC ‘Hey Jude’ Freq. resp. (20Hz-20kHz/100kHz) +0.1 to –0.4dB/–1.7dB

rotaries. They govern corrective reached sonic bliss via XLR with the Power consumption 68W (1W standby)

feedback, bass/treble adjustment or impedance low, the feedback off Dimensions (WHD) / Weight 140x208x292mm / 5.5kg

bypass, while the balance control and the mode single-ended.

YEARBOOK 2020 | www.hifinews.co.uk | 63

USB DAC/HEADPHONE AMP

USB DAC/headphone amplifier
Made by: Novatron, Gyeonggido, South Korea

Supplied by: SCV Distribution, UK
Telephone: 03301 222 500

Web: www.cocktailaudio.com; www.scvdistribution.co.uk
Price: £2199

the signal through the ND555’s

DAC into the HA500H’s ADC/DAC

chain robbed the music of some of

its life whereas playing tracks via

USB from a Mac mini computer,

either via Audirvana or Roon, was

a much happier experience.

But as a headphone amp the

HA500H really comes into its own,

being capable of an effortlessly

dynamic sound regardless of the

’phones you throw at it. With

everything from radio drama to

the cleanly-recorded jazz of the

Kathrine Windfeld Big Band’s

Latency album [Stunt Records], the

amp delivered impact, detail and

richness through the generous-

Novafidelity HA500H soundingBowers&WilkinsP9
Signature headphone [HFN Mar ’17].
Furthermore, the triode tube
option rescued what was initially a

somewhat brash, super-analytical

W e’ve already reviewed the company helpfully suggesting ABOVE: The ‘Focal presentation’ – but then
Novatron’s X45Pro ‘a different sonic signature in casework is our Spirit Pros [HFN Dec ’15] were
streamer/server/DAC reproducing music according to fashioned from designed as monitoring ’phones.
[HFN May ’19], but your feelings and music character’. CNC-machined
It was with the no-longer-

this HA500H DAC/headphone amp Meanwhile, inside the unit and polished available Oppo PM-1 [HFN Jul ’14]

(£2199), sold under the Novafidelity can be found a pair of ESS Sabre aluminium, with headphones run balanced that

brand, really breaks the company’s ES9018K2M DACs, with isolated a steel chassis. the HA500H really showed what

mould. Why? Because there’s no circuits for the analogue/digital The configurable it could do. In fact we have never

networking, and not a sniff of any sections and a custom toroidal TFT display heard these headphones driven so

provision for onboard storage. transformer in the PSU. All analogue shows – among convincingly, and with such clout,

As well as its main function as a inputs are first converted via an ADC many details – control and sheer musicality.

headphone amp, the HA500H can to digital while the analogue output input/output

be used as a simple DAC/preamp stages remain fully balanced. selection, signal VERDICT

having a single set of analogue ins, The USB DAC input supports and volume level, The HA500H may not have the

MQA-encoded files, DSD tube option and massive do-it-all specification of

‘We have never heard up to DSD256 and PCM jack or balanced some of its stablemates, but its
to 384kHz/32-bit, and the XLR headphone focused USB DAC/preamp approach
modes still remains very tempting. It
these ’phones driven headphone output is available
with such clout before’ on both a single-ended jack shines brightest when you overlook
socket and an XLR balanced the frills and consider it purely as

feed, with ‘High’ or ‘Low’ a headphone amplifier fed from

on both RCAs and balanced XLRs, impedance settings to suit a wide one of the company’s streaming

and a matching complement of range of headphones. players or, even better, just from a

analogue outputs, which can be run computer via USB. Keep it simple,

at fixed or variable levels. PURE AND SIMPLE and it really delivers.

In addition to USB-B and optical, Using the amp as largely intended –

coaxial and AES/EBU XLR inputs, as a high-quality headphone-driver, HI-FI NEWS SPECIFICATIONS

there’s an I2S digital connection with the luxury of that selectable Max. output (re. 0dBFs into 47kohm) 4.13V (preamp out, max vol)
to partner components such as output stage as a subtle tone

the company’s X50D streaming control – is to hear it at its best. Max. power output (25ohm, 1% THD) 1650mW (headphone out)

‘transport’, which can deliver up to For example, there was no Output Imp. (20Hz-20kHz, pre/headph.) 45ohm / 10.2–10.6ohm

DSD256 via its I2S outputs, and its advantage to using analogue or A-wtd S/N ratio (DAC/headphone) 114.5dB / 92.9dB (re. 10mW)
up-specced X50 Pro variant. It also digital connections when paired
has a wireless Bluetooth input for with a Naim ND555/555PS combo Distortion (20Hz-20kHz, pre/10mW) 0.0003–0.004%/0.0025–0.048%
easy streaming from a smartphone, [HFN Apr ’19], beyond the 555’s
Freq. resp. (20Hz-20kHz/45kHz/90kHz) +0.0 to –0.01dB/–0.3dB/–0.1dB

tablet or even your computer. ability to play DSD64/128 files Digital jitter (48kHz/96kHz) 40psec / 35psec

With the HA500H the user can (although these come down to Power consumption 22W (1W standby)

select either a solid-state output or 192kHz/24-bit when output via the Dimensions (WHD) / Weight 270x90x333mm / 6.9kg
one using a pair of ECC82 valves, player’s digital connection). Passing

64 | www.hifinews.co.uk | YEARBOOK 2020

USB DAC/HEADPHONE AMP

Network-attached DAC/headphone amplifier
Made by: T+A elektroakustik GmbH & Co. KG, Germany
Supplied by: The Audio Business Ltd, Wilts, UK
Telephone: 01225 704669
Web: www.taelektroakustik.de; www.theaudiobusiness.co.uk
Price: £6600

T+A HA 200 it was ‘a good headphone waiting
to become a truly great one’, and
Hot on the heels of its port for computer connection, plus ABOVE: The listening to Dana Zemstov and Anna
first headphone offering, a Bluetooth antenna. A USB-A socket HA 200’s finish is Fedorova’s Silhouettes [Channel
the Solitaire P [HFN Jun is for USB charging only, eg, for the exquisite, thanks Classics] in DXD, we couldn’t help
’20], T+A also has this supplied remote handset. to high-quality but think that that moment of
materials and greatness had arrived. It wasn’t just
matching headphone amplifier, the The USB-B socket will accept painstaking the confident weight and delicacy
hand-assembly. of piano and the timbre and bite of
£6600 HA 200. And though the file formats up to 768kHz/32-bit It comes in silver viola, but rather the open, spacious
or black. The two yet intimate acoustic captured.
price may be high, it’s not hard to and DSD1024 when used with a VU meters show
input/output Switching to Bowers & Wilkins
see where all the money has gone. Windows computer loaded with levels while the P9 Signature ’phones [HFN Mar ’17]
adjacent display brought a somewhat darker view of
While it may be smaller than T+A’s driver, but Mac users are carries a wealth the music, but what was impressive
of information was the way the HA 200 controlled
some of the behemoths we’ve seen limited to DSD256 max. Like other what can be a slightly lush listen,
creating a sprightlier sound without
from the German brand, it still has high-end T+A digital products, the losing any weight. And with the
P9s or the more open Focal Clears
the same solid feel, not least due to HA 200 uses separate signal paths [HFN Mar ’18], what the HA 200
does is create an entirely coherent
the thick alloy fascia and the use of for LPCM and DSD datastreams. ‘out of the head’ soundstage.

that same material for all the other T+A’s four tried-and-tested We’ve also never heard Oppo’s
PM-1 headphones [HFN Jul ’14]
panels, including the side-cheeks digital filter settings are available driven so convincingly. Powered
by the HA 200 they take on even
that also function as heatsinks. here in addition to two new ‘No greater weight and precision, which
serves well a recording such as
Oversampling’ types. We Snarky Puppy’s Live At The Royal
Albert Hall set [Live Here Now], with
‘The HA 200 creates an spent much time playing its large musical forces, tumbling
with these but concluded rhythms and palpable audience
presence. Even Ella Fitzgerald’s
entirely coherent “out of there was no one ‘sweet 1956 Live At Zardi’s set [Universal/
the head” soundstage’ spot’ fits-all option. Verve; 192kHz/24-bit] sweeps
And there are even you up in the atmosphere of the
evening, the immediacy of the
recording shining through.

more avenues to explore,

Output is available on a including a bandwidth setting that VERDICT

standard 6.35mm socket, with lets you switch between a 60kHz What the HA 200 does, it does
to sensational effect. Explore all
balanced alternatives on a 4.4mm low-pass response and a 120kHz its flexibility, plug in a good pair
of headphones and let the music
‘Pentaconn’ socket and a four- ‘wide’ option, the latter said to give transport you. If you take premium
private listening very seriously,
pin XLR. Each output has its own ‘a more spatial music reproduction’. you’re going to love it.

selector button while the menu The HA 200 also has balance, bass

system allows impedance settings and treble controls, along with

to be chosen from 8ohm to 80ohm. a variable loudness setting for

While the HA 200 has both low-level listening. There’s also a

analogue and digital inputs, the crossfeed facility, which bleeds HI-FI NEWS SPECIFICATIONS

former on both RCAs and balanced signal between the two channels for

XLRs, and includes a DAC (or a more speaker-like stereo imaging. Maximum output (47kohm, 1% THD) 8.261V (SE out, max. volume)

DACs), it doesn’t have any form Max. power output (32/8ohm, 1% THD) 1650mW / 1160mW (8R setting)

of analogue output beyond its PALPABLE PRESENCE Output Impedance (20Hz-20kHz) 8.5-77ohm (8R-80R settings)

headphone sockets, so it won’t What was quickly apparent was A-wtd S/N ratio (DAC/headphone) 113.3dB / 102.3dB (re. 10mW)

double as a DAC/preamp. The the ability of the HA 200 to grab Distortion (20Hz-20kHz, 0dBFs/10mW) 0.003–0.009%/0.0009–0.0015%

high-quality Class A output is a hold of a pair of headphones and

dedicated headphone preamp only. drive them in an entirely convincing Freq. resp. (20Hz-20kHz/100kHz) +0.01 to –0.01dB/–0.26dB

Meanwhile, in addition to the manner, both using conventional Digital jitter (48kHz/96kHz) 20psec / <10psec

analogue ins, there are two S/PDIF unbalanced connections and – Power consumption 40W (1W standby)

coaxial and optical inputs, AES/EBU where available – in balanced mode. Dimensions (WHD) / Weight 320x100x340mm / 6.5kg

and BNC ins, an asynchronous USB-B Reviewing T+A’s Solitaire P we felt

YEARBOOK 2020 | www.hifinews.co.uk | 65

NETWORK-ATTACHED AMPLIFIER

Integrated amplifier. Rated at 120W/8ohm
Made by: Arcam, Waterbeach, Cambs

Supplied by: Arcam (Harman International Industries Ltd)
Telephone: 01223 203200
Web: www.arcam.co.uk
Price: £1995

Arcam SA30 of multiple guitar tracks, brass
fanfares, rolling piano, tambourine-
A rcam has a new ‘HDA’ the large-scale nature of the display ABOVE: A bold led rhythms and Mick Jagger’s
series of products in a matt makes this text-heavy UI easy to dimmable display rasping rhyming couplets. Yet
grey finish, including this read, while the remote has a useful delivers crisp, through the SA30 it sounds better
SA30 £1995 integrated. touch-sensitive backlight. clear information organised than it was perhaps ever
from a softly- intended. Keith Richards’ quick-
Not only does it top the range but it The SA30’s Class G amplification contoured fascia, fingered riffs slice and dice through
complete with the ragtag accompaniment, the
boasts new technologies that place is conservatively rated at 2x120W/ inset keys for SA30 grabbing hold of the finest
menu, Dirac Live, midrange details and elevating
it in the streaming amp category. 8ohm. To enable Dirac Live’s room input selection, them to prominence, while keeping
balance and mute trebly hi-hats and cymbals distinct.
To begin with, the SA30 adds correction across the SA30’s digital
Streaming via Chromecast
S/PDIF digital inputs (two optical, and analogue inputs, the amp uses brings the Arcam’s DAC into
play, benefiting from the SA30’s
two coaxial) for the first time along an ADC for the latter, in advance organised nature, but not at the
expense of its tonality. Dire Straits’
with Dirac Live room compensation of the DSP engine and ESS Sabre ‘Private Investigations’ [Love Over
Gold; Tidal download], is a track
DSP. It also carries an HDMI eARC ESS9038 32-bit DAC. Opting for that isolates instruments and
focuses your ear. Mark Knopfler’s
connection for use with a flatscreen ‘Direct’ mode via the set-up menu acoustic guitar certainly stood out
here, the SA30 revealing every
TV, and packs a USB Type-A input for bypasses the ADC for chosen inputs. string slide, bend and finger pick
while the single-note bass-line
file playback from flash storage. thumped along in the background.

Additionally, there’s a five-strong BODY AND SOUL In fact, this track best exemplifies
the SA30’s most admirable traits.
bank of stereo RCA inputs, with This is an amplifier that combines There’s a palpable depth and
breadth to its imaging that creates
options for both MM and MC phono, power when needed with a a cavernous space between the
call-and-response interplay of guitar
plus a stereo pre-out should you pleasing delicacy and precision. and marimba. The ominous, isolated
thuds of a floor tom arrive with a
It demonstrates control startling dynamic punch, as do the
forceful piano chords that signal the
‘It became impossible of the rhythmic parts of a climax. But the quietest moments
track, revelling in complex are teased out with a fine touch.

not to sit back and just percussions and bass-lines,
enjoy the ebb and flow’ while at the same time giving
impressive body and clarity to VERDICT

vocals and midrange details. More all-in-one than conventional
integrated amp, Arcam’s SA30 finds
wish to use the SA30 with alternate With ‘Ramblin’ Man’ by The the brand embracing modern trends
and features, if not the fashionista
amplification. A 3.5mm aux input Allman Brothers Band [Brothers stylings of some rivals. It’s a timely
and welcome update – and shows
and same-sized headphone socket And Sisters; Capricorn Records], Arcam hasn’t lost its focus.

are located on the front panel. the SA30 offered an expressive and

On the wireless side, the spec unerringly accurate performance.

sheet includes Chromecast Audio Dickey Betts’ vocal commandeered

integration and Apple AirPlay 2, the centre stage, cleanly separated

but not Bluetooth. Wi-Fi enables from Greg Allman’s harmonies, and HI-FI NEWS SPECIFICATIONS

hi-res streaming from networked it became impossible not to sit back Continuous power (<1% THD, 8/4ohm) 145W / 220W

storage (as does the wired Ethernet, and just enjoy the ebb and flow.

along with system control) through The twin guitar melody and Dynamic power (<1% THD, 8/4/2/1ohm) 190W / 339W / 247W / 130W

Arcam’s MusicLife app [HFN Jun ’20], bluesy solo that carry the track to Output imp. (20Hz–20kHz, Pre/Amp) 226ohm / 0.071-0.090ohm

or a third-party UPnP app. its climax were brought forward, Freq. resp. (20Hz–20kHz/100kHz) +0.0 to –0.25dB/–4.6dB

There’s no touchscreen control, but avoiding a bright, fatiguing Digital jitter (USB / S/PDIF) 50psec / 55psec

or full-colour display to present edge. There’s a smoothness here

album artwork. Navigation around that’s immediately likeable. A-wtd S/N ratio (DAC/Amp) 104.1dB (0dBFs) / 94.5dB (0dBW)

its menus is via the bundled IR ‘Rocks Off’, The Rolling Stones’ Distortion (DAC, 0dBFs/Amp, 0dBW) 0.0015–0.002% / 0.0003–0.002%

remote, allowing access to network frenetic opener from Exile On Main Power consumption (idle/rated o/p) 41W / 408W (2W standby)

settings, digital filter selection, Street [Virgin] is more of a challenge. Dimensions (WHD, each unit) 433x100x323mm / 12kg

input management, etc. Thankfully It’s a swirling, almost low-fi mélange

66 | www.hifinews.co.uk | YEARBOOK 2020

PRE/POWER AMPLIFIER

Pre & power amplifier combination. Rated at 250W/8ohm
Made by: Audio Analogue, Tuscany, Italy
Supplied by: Decent Audio, Stockton-on-Tees
Telephone: 05602 054669
Web: www.audioanalogue.com; www.decentaudio.co.uk
Prices (pre/power amp): £4999/£8999

Parlophone]. She was seemingly

standing in the centre of our

room, with backing instruments

slightly behind the plane of the

loudspeakers. Everything was

gloriously well defined.

The sheer level of clarity and

purity in the treble region is first-

class too, enabling you to hear the

tinkle of a pin drop in even the

busiest of mixes. Cymbals in general

possessed a delicious metallic

sheen while more vigorous strikes

on the metalwork arrived with real

force before shimmering away into

the distance. Not once did hi-hats

disappear into the back of a mix.

Underworld’s ‘Jumbo’ [Beaucoup

Fish; JBO] showed these amps at

their bass-pumping best, being

delivered with a punch that was

absolutely spot-on. The swirling

keyboard arrangements and main

loping synth-loop remained clearly

discernible in the mix after the

Audio Analogue four-to-the-floor beat kicked in and
pummelled our listening sofa.

And where the Audio Analogue
duo definitely excelled was with its

handling of recordings that varied in

Bellini/Donizetti Ann. theirquality.TheCorrs’‘OnlyWhen
I Sleep’ [Talk On Corners; Atlantic]
sounds steely at best and is clearly
mixed to make it radio-friendly. Yet

never have we heard it sound better

To mark its 20th anniversary and military-grade, through-hole ABOVE: Bellini than here. The amps simply cut
in 2015, Audio Analogue resistors. The volume control is a Anniversary through the nastiness, managing
decided to take a fresh form of rotary encoder while the [top] has one to impart a sense of order to the
look at some of its most amp’s various inputs are selected/ large control proceedings and even bring a hint

noteworthy amps and create a new switched by high-quality relays. for on/standby, of purity to the ragged top end.

flagship range. The latest fruits of Much of the weight of the volume and input

this long-term project are the £4999 Donizetti Anniversary power amp selection. Massive VERDICT

comes from its two 1200VA Donizetti amp If you’re seeking a pre/power

‘The four-to-the-floor transformers. The minimalist [bottom] has amplifier pairing that is not only
beat kicked in and front panel is home to only a an illuminated kind to less-than-well-produced
power switch and associated power button recordings but able to serve them

pummelled our sofa’ LED indicator, but things are a and matching up with sweetness and not a little
little busier round the back. The fascia design polish, then look no further.

unit has both balanced XLR and

Bellini preamp and £8999 Donizetti unbalanced RCA inputs, plus a single HI-FI NEWS SPECIFICATIONS

Anniversary power amplifier. set of speaker output terminals. Continuous power (<1% THD, 8/4ohm) 350W / 680W
The preamp has five line-level

inputs, three on single-ended RCA GLORIOUSLY DEFINED Dynamic power (<1% THD, 8/4/2/1ohm) 350W / 690W / 1.35kW / 2.40kW

phonos with two on balanced XLRs, The first thing that’s likely to strike Output imp. (20Hz–20kHz, pre/power) 73ohm / 0.138–0.154ohm

and there are also two pairs each of you is the remarkable midband Freq. resp. (20Hz–100kHz, pre/power) +0.1 to –0.10dB / +0.0 to –3.5dB
single-ended and balanced outputs. lucidity, and the expansiveness of
the soundstage. These amps have Input sensitivity (for 0dBV/0dBW) 285mV (pre) / 139mV (power)
Internally, there’s a new power

supply with filtering to minimise an uncanny ability to place both A-wtd S/N ratio (re. 0dBV/0dBW) 98.6dB (pre) / 85.7dB (power)

mains noise and RF interference instruments and vocalists in their Distortion (20Hz-20kHz, 1V/10W) 0.0035–0.0039%/0.015–0.33%

while the main line stage is own spaces. A perfect example of Power consumption (Idle/Rated o/p) 101W/945W (18W, Preamp)

assembled onto a four-layer PCB this was Norah Jones’s ‘Feelin’ The Dimensions (WHD, Pre/Power) 450x140x380/450x221x428mm

and includes audio-grade capacitors Same Way’ [Come Away With Me;

YEARBOOK 2020 | www.hifinews.co.uk | 67

Bring al l
your music

to life

TUBE POWER AMPLIFIER

Stereo tube power amplifier. Rated at 140W/8 & 4ohm
Made by: Audio Research Corp, Minnesota, USA
Supplied by: Absolute Sounds Ltd
Telephone: 0208 971 3909
Web: www.audioresearch.com; www.absolutesounds.com
Price: £19,998

Audio Research was the amplifier and how much
REF160S the remastering. The sound was
extended, taut and fast-sounding,
This amplifier is the stereo found the choice to be source, ABOVE: Four but most of all it proved to be rich
version of the company’s genre, and system-dependent. buttons cover with detail in a way that elevated
REF160M mono power power on, meter one’s regard for Paul McCartney’s
amp [HFN Aug ’18]. The Installation was utterly light on/off, tube playing to an even higher level. We
straightforward. The rear of the monitoring and found we were in Triode mode so
Ultralinear or we replayed both, in Ultralinear,
differences should thus relate solely amplifier is fitted with stout 4mm Triode mode, the and heard only a minuscule gain in
LED changing impact and tautness.
to general monoblock-vs-stereo binding posts with nominal 16, 8 blue to green.
Inside, there are We wanted to hear ZZ Top’s
amp arguments – total isolation of and 4ohm taps and an array of two 6H30 driver ‘Gimme All Your Lovin’’ [Goin’ 50;
triodes and quad Warner Brothers] both for the utter
left-and-right channels and separate toggles that enable you to select set of KT150 perfection of its percussive opening,
output tubes per and the raunch of Billy Gibbons’
AC sources for both, versus shared single-ended or balanced inputs, fan channel guitar playing. If we expected the
Triode setting to be flabbier, the
elements in the stereo edition. speed and auto-shut off. Ultralinear punchier, the difference
was so subtle that it would be a
Yet here it’s not straightforward matter of personal preference – if
the Triode setting favoured the
because the new £20k REF160S POWER OF TWO guitar and vocals, Ultralinear
suggested a fraction more power.
model is almost too good. We soon threw out the notion of
And the REF160S proved to be
At first glance, it looks to be using the same LPs and CDs to breathtaking when fed half-track,
15ips tapes on an Otari 5050.
exactly what a stereo version repeat precisely the same tests used Chasing The Dragon’s Big Band
Spectacular featuring the Syd
for the REF160M monoblocks. Lawrence Orchestra is one of the
most natural, powerful recordings
‘We wallowed in lower Instead, we trusted our ears we’ve heard in years. Again, the
to decipher the charms and choice of mode was down to user
octaves we’ve never preference but the sensation was
merits of the REF160S. And it one of an iron fist in a silken glove.
The scale and presence of a big
band is something to behold, and
the REF160S delivered it with meter
needles rarely passing midpoint.

VERDICT

This goes to the top of our Fantasy
Sound System League Table. It does
everything with style, grace and –
like a pussy cat suddenly discovering
its inner lion – power to spare.
Waving goodbye to the amp was a
wrench we didn’t anticipate.

heard from this album’ started with the bass. HI-FI NEWS SPECIFICATIONS
Anyone who’s heard the

remastered, 50th anniversary Power output (<1% THD, 8/4ohm) 169W / 170W

should be: same rating, but a single edition of The Beatles’ Abbey Road

chassis and a roughly 30% cost [Apple] knows that opening track, Dynamic power (<5% THD, 8/4/2/1ohm) 180W / 181W / 215W / 185W

saving. Otherwise, it’s the same in ‘Come Together’, is an exercise Output impedance (20Hz–20kHz) 0.687–1.48ohm

operation and practice, again with in bass quality, extension and Freq. response (20Hz–20kHz/100kHz) +0.1dB to –0.25dB/–4.0dB

the pain of valve housekeeping expressiveness. Again, without Input sensitivity (for 0dBW/140W) 179mV / 2105mV (balanced)

reduced thanks to auto-bias and the looking at the colour of the LED

user option of switchable Ultralinear to tell us which mode we were A-wtd S/N ratio (re. 0dBW/140W) 93.6dB / 115.1dB

and Triode operation on the fly. in, we wallowed in lower octaves Distortion (20Hz-20kHz, 10W/8ohm) 0.06–0.19%

We rather wish there was we’ve never heard from this album. Power consumption (Idle/Rated o/p) 420W / 740W

armchair remote selection available We even dug out an original copy Dimensions (WHD) / Weight 483x260x546mm / 45kg

for this feature, but we nonetheless to determine how much of it

YEARBOOK 2020 | www.hifinews.co.uk | 69

X1 Includes pre- installed Available in:
Ortofon 2M Silver
TURNTABLE Electronically regulated
33/45/78 RPM precision drive motor with
GREAT SOUND, EFFORTLESSLY speed compatible sub-platter system.

In 1991, Pro-Ject Audio Systems started a revolution in High quality resonance- free
the Hi-Fi world with the introduction of the Pro-Ject 1 acrylic platter
turntable. A new high-end, low budget turntable at
a time when CD was king. Against all odds, we were
creating interest in analogue audio at a time when
others were turning their backs.

Flash-forward to the present day, with the introduction
of our all-new X1 which re-imagines the classic
turntable design and elevates the sound performance
to new heights. You will find no plastic here, only high-
end, durable materials that boast an audiophile sonic
performance at a fantastic price.

The X1 is available in three finishes to suit any home
décor; a premium walnut wood veneer or luxurious
black or white eight-layer gloss paint.

Distributed by Henley Audio : HenleyAudioUK | : HenleyAudio
T: +44 (0) 1235 511 166 | E: [email protected] | W: www.henleyaudio.co.uk |

PRE/POWER AMPLIFIER

Pre & mono power amplifiers. Rated at 750W/8ohm
Made by: Chord Electronics Ltd, Kent
Supplied by: Chord Electronics Ltd
Telephone: 01622 721444
Web: www.chordelectronics.co.uk
Prices (pre/power amp): £12,500/£18,360 (each)

Chord Ultima 8-track machine [Universal]. Sure
Pre 2/Ultima 2 enough, this ‘96kHz/24-bit Deluxe
Edition’ looks more like a 48kHz
Launched to commemorate the output without going through ABOVE: The upsample, but there’s no gainsaying
the UK company’s 30th the volume control, for example Ultima 2 preamp the additional see-through clarity
anniversary, the £12,500 when combining the Pre 2 with a (and power amp) and comprehensive tightening-up
Ultima Pre 2 and £18,360 surround processor or receiver. come in ‘Argent of what is surely one of the world’s
Silver’ or ‘Jett most visceral and energetic rock
Ultima 2 monoblock power amps Finally, you can also adjust the Black’ aluminium bands captured live, on stage, at
casework the apex of their collective talent.
comfortably undercut the original input gain to equalise the level
BELOW: Lights ‘Child In Time’ sounded positively
Ultima pairing, which would have between different sources. on! Chord’s haunting with the amps driving our
Ultima 2 is rated B&W 800 D3 speakers [HFN Oct ’16]
set you set you back £90,000. at 750W/8ohm as the distinctive, tremulous quality
of Jon Lord’s Hammond organ hung
The power amplifier has a PASSION PLAY in the night air, punctuated by
Gillan’s unique vocals swinging from
translucent spherical button buried These new Ultima 2s filled the room intimate to wild dervish in a few
beats. And the bass? Firm, deep and
in the centre of its thick alloy fascia with an impressively broad and palpable, never sounding excessive.

to fire it up, like those on Chord’s deep sound, but one also possessed Yes, there are other big amps
that bring a slightly more velvety
texture to grand classical and
rock performances, but there are
few that walk the line between
incisiveness and envelopment with
the confidence of the Ultima 2s.

VERDICT

If you were enthralled by the debut
Ultimas and have been saving ever
since, cash in your chips now, buy
the Ultima 2s instead and spend the
excess £40k on new floorstanders
and music. Yes, the Ultima Pre 2 and
Ultima 2 are that good.

DAC range. LEDs within the top of an easy tranquility that hinted at

plates then light up the internal a vast pool of untapped power just

ready to pounce. And they lay

‘There’s a vast pool of to rest any suggestion that
Chord’s switchmode-driven

untapped power that’s amplifiers may sound a little
chilly about the edges.
just ready to pounce’ With Logan Richardson’s

Shift [Blue Note] there was

workings. The LEDs can be dimmed no pause for breath as this Chord

using a hidden button in the vertical set-up revealed the beautiful

slot bisecting the upper part of the but challenging melodies. The

front panel. A credit card should do sound was rich, the performance

the trick, but a button at the rear compelling as the Ultima 2s HI-FI NEWS SPECIFICATIONS

would have been simpler! Duplicate provided just the urgency required, Continuous power (<1% THD, 8/4ohm) 690W / 1285W

sets of XLR/RCA inputs and 4mm and no more, to fill the room. If

outlets mean you can opt (as Chord there’s any ‘technicality’ about Dynamic power (<1% THD, 8/4/2/1ohm) 810W / 1590W / 2963W / 4850W

suggests) to invert polarity. the sound of this duo, there’s Output imp. (20Hz–20kHz, pre/power) 96-100ohm / 0.021–0.093ohm

The Pre 2 is all-analogue and sophistication and passion too. Freq. resp. (20Hz–100kHz, pre/power) +0.0 to –0.1dB / +0.0 to –2.95dB

line-level only, offering four sets of And can they rock? You bet! Input sensitivity (for 0dBV/0dBW) 1035mV (pre) / 93mV (power)

inputs on balanced XLRs, two on Advancing the volume way short

RCA phonos, and two tape in/out of ‘11’ – in fact ‘3’ would be closer A-wtd S/N ratio (re. 0dBV/0dBW) 96.6dB (pre) / 77.7dB (power)

loops, also on RCAs, while pre-outs to the mark – was more than Distortion (20Hz-20kHz, 1V/10W) 0.00018–0.0021%/0.0007–0.08%

are on both RCAs and XLRs. There’s sufficient to roll out the 2014 remix Power consumption (idle/rated o/p) 90W/1080W (23W, preamp)

also an AV bypass input, allowing of Deep Purple’s classic Made In Dimensions (WHD, Pre/Power) 480x173x355/480x180x670mm

signals to be routed directly to Japan, originally captured on an

YEARBOOK 2020 | www.hifinews.co.uk | 71

POWER AMPLIFIER

Stereo power amplifier. Rated at 500W/8ohm
Made by: Constellation Audio, Newbury Park, CA, USA

Supplied by: Absolute Sounds Ltd
Telephone: 0208 971 3909

Web: www.constellationaudio.com; www.absolutesounds.com
Price: £64,998

the crisp rattle of the snares was

simply superb, and the way the final

fugue grew to its stately, massive

conclusion was a spine-tingler.

And the amplifier was no less

magical with the solo piano of

Paul Lewis playing Mussorgsky’s

Pictures At An Exhibition [Harmonia

Mundi; 96kHz/24-bit], not only with

the punchy rhythms of the faster-

paced ‘pictures’, but also with the

lovely limpid sense of the slower

ones, with every note from Lewis’s

instrument hanging in the Berlin

Teldex Studio acoustic.

That this amplifier can rock is

beyond question: its combination of

speed, grip and sheer grunt ensures

it drives speakers hard and tight

with everything from the histrionics

of Queen’s ‘Keep Yourself Alive’,

Constellation Audio from the band’s eponymous first
album [Universal/Island; DSD64]
through to the refined soft rock of
‘Listen To What The Man Said’ from

Centaur II 500 S Paul McCartney’s Pure McCartney
[Concord; 44.1kHz/24-bit]. The
agility of this amp, belying its
apparent status as a big ol’ bruiser,

was consistently in evidence, to

exceptionally satisfying effect.

A s you can see, this is a big, this preamp stage from the signal ABOVE: Pressing Play jazz, it swings; play rock, it
bluff amplifier – one that chain creates what the company the fascia bar bares its teeth; play chamber music,
sells for £65k and is rated calls ‘Constellation Link’ and, as initiates a series it glides... Whatever you want, the
at 500W/8ohm. Essentially, a result, the ‘Direct’ connection of self-diagnosis Centaur II 500 Stereo delivers.

it’s the company’s Centaur II with a has a lower overall gain. This may checks. Once

3kW-capable power supply on board be compensated for by a preamp, ready, the LED VERDICT

including Constellation’s switches from Does the Centaur name fit? Well,

‘Play jazz and this amp own, that features a higher red to flashing this amplifier plays music on a
voltage output. orange, to blue. human scale, while delivering no
The cabinet’s shortage of giddy-up when required.
swings; play rock and Other options include a
mute switch and, completing dimpled finish is Although by no means the costliest
it will bare its teeth’ the connectivity, both 12V both superb and of Constellation amplification, it

trigger and RS232 control resilient but the still exists in a very rarefied stratum

and with the maximum voltage of sockets in addition to a USB-B port Centaur II 500 S of hi-fi, but justifies its price-tag

the reservoir capacitors increased for firmware updates. remains a with impressive build, and a sound

by 30% to handle the new higher two-man lift! combining solidity and dynamics

rail voltages. This PSU supports RATTLE AND THUNDER with delicacy and refinement.

four pairs of Constellation’s novel Here, we used the dCS Vivaldi One

single-ended 125W modules in a digital media player [HFN Feb ’18] HI-FI NEWS SPECIFICATIONS

balanced/bridged configuration. as both DAC and preamp, finding Power output (<1% THD, 8/4ohm) 585W / 930W
Another unusual aspect of the the Centaur II 500 Stereo able to

design is found on the input section, deliver all the power, clarity and Dynamic power (<1% THD, 8/4/2/1ohm) 685W / 1.25kW / 1.69kW / 880W

where there’s a choice of not just dynamics anyone could want while Output imp. (20Hz–20kHz/100kHz) 0.032–0.049ohm / 0.21ohm

single-ended RCAs or balanced XLRs, always having power in reserve. Freq. resp. (20Hz–20kHz/100kHz) +0.00dB to –0.01dB/–0.18dB
selected using a small toggle switch With Reference Recordings’ Input sensitivity (for 0dBW/500W) 144mV / 3265mV (Balanced)
on the rear panel, but also a choice
Britten Young Person’s Guide To

of XLRs – one set marked ‘Bal’ and The Orchestra with the Kansas City A-wtd S/N ratio (re. 0dBW/500W) 90.6dB / 117.6dB (Balanced)

the other ‘Direct’. The latter option Symphony/Michael Stern, via our Distortion (20Hz-20kHz, 10W/8ohm) 0.003–0.028% (Balanced)

bypasses the amp’s first gain stage reference B&W 800 D3 speakers Power consumption (Idle/Rated o/p) 229W / 1.73kW (5W standby)

– a fully balanced voltage preamp [HFN Oct ’16], the thunder of the Dimensions (WHD) / Weight 476x292x616mm / 68kg

employing low-noise FETs. Removing percussion in ‘Variation M’ and

72 | www.hifinews.co.uk | YEARBOOK 2020

POWER AMPLIFIER

Monoblock power amplifier. Rated at 1500W/8ohm
Made by: D’Agostino LLC, Connecticut, USA
Supplied by: Absolute Sounds Ltd
Telephone: 0208 971 3909
Web: www.dagostinoinc.com; www.absolutesounds.com
Price: £125,000 (each)

there we were, admiring the layered

sound of Walsh and Felder’s guitar

solos while the faint draft from

Henley’s cymbals raised the hairs on

the back of our necks.

Channel Classics’ DSD release of

Stravinsky’s Rite of Spring [Budapest

Orch/Iván Fischer] provided another,

entirely separate journey as the

orchestra crafted sound shapes of

breathtaking earthly beauty, with

fresh timbres and structures of

unlikely physicality.

The musicians interlocked to

create a single, huge percussive

instrument, from the resonant

might of tympani to the shrill

interjections of the piccolo. And

the silences! As the contortions of

D’Agostino Relentless brass, winds and strings lapsed into
refective moments, the ambience of
the venue was exposed.
Deep Purple’s 1972 Made In

Japan [Universal] was recorded live

A battleship to sink all each with eight complementary ABOVE: The in Osaka with, famously, ‘everything
other flagships, these pairs of hand-matched bipolar Relentless is louder than everything else’. The
monoblocks weigh power transistors (128 devices per specified as Relentless thrusted us perilously
as much as a car and, mono chassis). So the Relentless unconditionally close to the action as ‘Machine

at £125k, cost as much as a functions as 32 smaller, fast power stable into any Head’, ‘Highway Star’ and ‘Space

house. The Relentless is CEO Dan amps in parallel per balanced side. likely load. It can Truckin’’ were all thrashed out with

D’Agostino’s next step on from Power is supplied via three 500A serve, too, as an casual disregard to both hearing

his 400W/8ohm Momentum lugs with live, neutral and earth efficient, if costly, and syncopation. Blackmore is

monoblocks [HFN Oct ’16]. connections cranked tightly into storage heater! gunning his Stratocaster like a man

The chassis is composed of place – a torque wrench is provided, possessed while Jon Lord’s organ is

interlocking slabs of precision- useful too to secure your favoured a frenzy of feedback – the perfect

milled copper and ‘aircraft-grade’ bare-wire/spade cable terminations. backdrop to Ian Gillan’s barely-

aluminium alloy, with a 1μm-deep controlled screaming. We were

diamond cut finish, gloss black and THE ULTIMATE JOURNEY inhaling the heady atmosphere of

silver (natural) anodising and hard, The Relentless paints an astonishing the Hammy Odeon.

synthetic enamel coating. The face musical picture – one bursting with

ripe detail, unprecedented VERDICT

‘A sense of latent power grip and slam, a seemingly ‘Great expectations’ can easily
limitless palette of colours, resolve into disappointment. Not so
here, for the anticipation generated
hangs over every piece and a palpable sense of
of music that’s played’ latent power hanging the world over by the astonishing
over every piece of music scale and price of these amplifiers

played. Familiar albums are is realised in every facet of their

carries the now D’Agostino hallmark transformed as you are chaperoned unique performance.

meters – ‘But don’t take the along their musical journey.

numbers too seriously’ says Dan. We dialled up the 2001 remix HI-FI NEWS SPECIFICATIONS

Under the bonnet, there’s a fully- of The Eagles’ Hotel California Power output (<1% THD, 8/4ohm) 1605W / 2730W
screened 35kg 5kVA toroidal mains [192kHz rip from DVD-A] and that

transformer while the custom PSU iconic opening chord progression Dynamic power (<1% THD, 8/4/2/1ohm) 1740W/3350W/6360W/11325W

is supported by a bank of six huge rang into the room, heard countless Output impedance (20Hz–20kHz) 0.039–0.060ohm
100,000μF electrolytics. This is a times before but somehow fresher Freq. response (20Hz–20kHz/100kHz) +0.0dB to –1.1dB/–7.6dB
now – more vibrant, intense and Input sensitivity (for 0dBW/1.5kW) 139mV / 5335mV (balanced)
mono chassis, but one that uses a beguiling. This was music-making

single differential input amplifier to

derive the mirrored (plus and minus) not just reaching out to touch you A-wtd S/N ratio (re. 0dBW/1.5kW) 90.7dB / 122.5dB

audio rails for the balanced output. (or pound you in the case of Massive Distortion (20Hz-20kHz, 10W/8ohm) 0.0025–0.016%

The output stage itself is a huge Attack or Yello) but taking you by Power consumption (Standby/Idle) 35W / 512W

‘transistor farm’ staged over eight the arm and gently drawing you Dimensions (WHD) / Weight (each) 572x280x826mm / 258kg
separate parallel amplifier modules from the audience to the stage. So

YEARBOOK 2020 | www.hifinews.co.uk | 73

Distributed by Henley Audio : HenleyAudioUK | : HenleyAudio
T: +44 (0) 1235 511 166 | E: [email protected] | W: www.henleyaudio.co.uk |

TUBE INTEGRATED AMPLIFIER

Integrated tube amplifier. Rated at 35W/8ohm
Made by: European Audio Team, Austria
Supplied by: Absolute Sounds Ltd
Telephone: 0208 971 3909
Web: www.europeanaudioteam.com; www.absolutesounds.com
Price: £9498

EAT E-Glo i was image height. Admittedly, this
was enabled in no small part by
A new addition to the Set-up is intuitive for seasoned ABOVE: Remove playback through the champions of
EAT family, this all-valve audiophiles, and only the valve the protective that trait, our LS3/5As. The music
integrated is not cheap positions need checking. Remove cage from the always hovered above the speakers,
at £9498, and it is rated the cover, fit the four KT88s and the massive chassis topping a soundstage of cavernous
and the tubes depth and wall-to-wall boundaries.
at only 35W in ultralinear mode or 12AX7 and 12AT7 triodes – these and custom
PSU/output Revelations started with the
18W in triode. Yet the perceived are prefitted with EAT Cool Dampers transformers can crowd noises that open Sgt Pepper,
be seen. Input/ carrying on through ‘With A Little
value is self-evident, ameliorating – resecure the lid via the four Torx line triodes Help From My Friends’, its width
feature custom bordering on the astounding, the
the issue of watts-vs-worth. Says screws and make your connections. tube coolers former audibly floating in the room.
Each instrument was perfectly
EAT founder Jozefina Lichtenegger: At the back of the amp are five located, percussion was as crisp as
a Frito, snap as clear-cut as we’ve
‘Everything we do is about a love pairs of RCA phonos, 8 and 4ohm more often heard from solid-state
amps of ten times the power.
for tubes and for analogue, so the multi-way speaker binding posts, a
The ultralinear mode we found
E-Glo i is a natural progression’. mains socket and the on/off rocker tightened up the all-analogue
recordings, while triode increased
working in conjunction with a the warmth of the digital versions.
‘She’s Leaving Home’ places Paul’s
‘Stand-out qualities fascia standby toggle. At the vocals in front of massed strings,
were warmth and a front, LEDs show the source with John Lennon prominent among
and power-on, flickering during the group harmonies, making it
easy to assess this using LP and CD.
truly vast soundstage’ the warm-up period. On the Textures – not levels – changed
top you’ll find the operating from mode to mode. They were
trade-offs, simply differing in the
way sound can vary subtly.

It was, however, the loopy ‘Being
For The Benefit Of Mr Kite’ that
further illustrated the dichotomy,
being a crowded recording that’s
a masterclass in studio-created
artifice. Calliope swirls, crisp
cymbals, thumpingly hollow bass –
rare are the occasions when we’ve
heard such a glorious soundscape
with so compact a system.

controls: power, motorised VERDICT

Apart from the sharp edges of rotary volume control and the The E-Glo i exhibits the brand’s
characteristic sound in spades –
the removable valve cover, this triode/ultralinear selection toggle. old-school, warm ’n’ cuddly valve
magic, more so in triode than
is otherwise a beautifully made ultralinear mode. Irresistible.

product. It sports a matt silver INTIMATE YET HUGE

finish, contrasting glossy piano-black To resolve the variable aspect of

(or Makassar) wooden end-cheeks, these two playback modes, we

transformers in luxurious chrome compared an open-reel tape of HI-FI NEWS SPECIFICATIONS

boxes and positive, click-y toggle The Beatles’ Sgt Pepper [Capitol], Continuous power (<1% THD, 8/4ohm) 35W / 34W (19W/19W Triode)
Dynamic power (<2% THD, 8/4/2/1ohm) 39W / 41W / 41W / 33W
switches alongside smooth rotary the corresponding US vinyl version Output imp. (20Hz–20kHz, UL/Triode) 1.09-1.15ohm / 1.03-1.08ohm
Frequency resp. (20Hz–20kHz/100kHz) +0.10 to –0.04dB / –0.85dB
controls. At 435x170x485mm and the new UK mixes on LP and Input sensitivity (for 0dBW/rated o/p) 81mV / 505mV
A-wtd S/N ratio (re. 0dBW, UL/Triode) 92.7dB / 93.5dB
(whd), the E-Glo i is substantial as CD [Parlophone]. Regardless of Distortion (20Hz-20kHz, 10W, UL/Triode) 0.11–1.24% / 0.65–1.18%
Power consumption (idle/rated o/p) 230W / 255W
well as being handsome. the position of the selector, the Dimensions (WHD / weight) 435x170x485mm / 26kg

Even the remote handset is immediate, stand-out qualities were

jewel-like, with ten flush buttons inherent warmth and truly vast

for power-on, level up/down, mute soundstage properties.

and access to five line inputs. That And these were constant

only accounts for nine – the tenth, regardless of source, material or

unlabelled button might perhaps mode. This amplifier sounds both

cover a future function. intimate and huge. Another bonus

YEARBOOK 2020 | www.hifinews.co.uk | 75

CD PLAYER/AMPLIFIER

CD player & integrated amplifier/DAC. Rated at 60W/8ohm
Made by: Exposure Electronics, Lancing, UK
Supplied by: Exposure Electronics
Telephone: 01273 423877
Web: www.exposurehifi.com
Price: £1200/£1260 (CD/Amp)

LEFT: The rear and rich, really making its presence
of the CD player felt. You could hear how the
[top] has fixed bassline was crafted in such a way
line (RCA) and as to power the song along.
digital (optical/
BNC) outputs, but UB40’s ‘King’ [Signing Off;
no digital ins. The Graduate Records] offered a wealth
amp [bottom] has of detail upfront, with a lively
two line inputs rendition of snare rim-shots and the
and MM phono rhythm guitar playing off beat. All
plus USB-B and the lead instruments, such as the
pairs of BNC/ heavily processed electric organ,
optical digital were separated out very clearly
inputs and there was good timbre to
lead vocals and harmonics, with
Exposure everything delivered with evenness
XM CD/XM5 and clarity. We loved the reedy
sound of the saxophone playing
Half width, or ‘proper size’ As for the XM5 integrated, this too. Up top, the ride cymbals had a
boxes? Exposure suggests is a Class AB amp based around subtly sweet sound that combined
both, with the £1200 XM Toshiba bipolar power transistors. with a satisfyingly metallic zing.
CD player and £1260 XM5 It has a very capable MM phono
Feeding the XM5’s DAC directly
with a hi-res DVD-Audio of Rush’s
‘Red Barchetta’ [Moving Pictures;
Mercury] via a Sony Blu-ray player
was a joy. Instruments were clearly
positioned and while the lead
guitar certainly dominated the
proceedings, Geddy Lee’s vocals
were firmly projected stage front.

Yet what impressed us most
about Exposure’s two-box XM CD/
XM5 combination was the way it
conveyed the natural flow of music,
ensuring it always sounded involving
and expressive, immersing the
listener in the magic of whichever
piece it was asked to play.

integrated amp having fascias that section while a Wolfson DAC

measure 218mm wide. Both units accommodates PCM audio through VERDICT

are available in black or titanium. all of its inputs, or DSD via USB. This CD player/amp duo has a
charming sound that’s both
The XM CD is a top-loader, with There’s also a handy line-level articulate and engaging, while
never descending into harshness.
a ‘sled’ that slides back to reveal output should the owner wish to And despite the pairing’s diminutive
dimensions there’s no sense of this
the mechanism, and a magnetic use the XM5 as a preamp with the combination ever playing second
fiddle to any full-sized separates
puck to lock the disc into position. company’s XM9 monoblocks. system at a similar price.

Meanwhile, a large central display

lights up in red, with the power and FAMILY TRAITS

transport controls sitting beneath it. Those who have heard Exposure’s

mid-price separates will

‘It sounded involving instantly recognise the XM HI-FI NEWS SPECIFICATIONS
CD/XM5’s ‘family sound’. That
Continuous power (<1% THD, 8/4ohm) 75W / 115W
and expressive with means an amp that sounds Dynamic power (<1% THD, 8/4/2/1ohm) 98W / 174W / 160W / 86W
whatever was played’ clean, but slightly tonally warm, Output imp. (20Hz–20kHz, Amp/CD) 0.011–0.021ohm / 98-295ohm
allied to a smooth, yet crisp- Freq. resp. (20Hz–20kHz/100kHz) –0.13 to –1.0dB/–13.4dB (Amp)
Distortion (20Hz-20kHz, CD/Amp) 0.0010–0.018%/0.0019–0.085%
sounding CD player. Spin up A-wtd S/N ratio (CD/Amp) 99.3dB (0dBFs) / 86.9dB (0dBW)
Digital jitter (CD / LPCM, amp) 160psec / 75psec
Inside there’s a Sony KSS213C Steely Dan’s ‘Black Cow’ [Aja; MCA Power consumption (idle/rated o/p) 14W / 212W (9W, CD)
Dimensions (WHD / Total weight) 218x94(89)x348(363)mm / 9kg
CD drive mechanism alongside a Records] and the refined nature of

PCM1716 96kHz/24-bit DAC from the combo is immediately revealed.

TI with an 8x oversampling digital This is thanks to a subtly warm

filter. A precision digital clock is bass, smooth – almost silky – treble,

also fitted, with dedicated power and an even and open midband.

supplies for the digital transport The bass guitar work on this track

and analogue audio stages. instantly stood out: it was powerful

76 | www.hifinews.co.uk | YEARBOOK 2020

INTEGRATED AMPLIFIER

Integrated Class D amplifier. Rated at 200W/8ohm
Made by: Extraudio BV, The Netherlands
Supplied by: Whole Note Distribution, Scotland
Telephone: 02039 115 549
Web: www.extraudio.com; www.wholenotedistribution.co.uk
Price: £8495

informative demonstration: the two

performers are stationed at either

end of the soundstage. What this

did was reinforce our impression

that the soundstaging is deep, the

midband reproduction – especially

voices – is ‘BBC-grade’ convincing

and the bottom end is more valve-

like than transistor-y in its sound.

With Herb Alpert & The Tijuana

Brass’s The Lonely Bull [A&M;

7½ips tape], you hear a phalanx of

gorgeous trumpets, while track 2,

‘Let It Be Me’, features the full-on

Extraudio X250T cod-mariachi shtick, abetted by that
jaunty classic, ‘Acapulco 1922’, so
I was able to hear what the amp
could do with the punchiest of

transients and even whistling.

This Class AD amplifier certainly

Less costly than the Dutch amp stage, turning off all other ABOVE: The belies its solid-state innards. No
company’s valve/solid state functions along with the volume ‘analogue only’ teeth-jarring edginess, no closed-
hybrid amp, the X250, this and preamp section. X250T uses in sensations – it rather reminded
£8495 ‘Class AD’ sibling Hypex Ncore us of the first-generation Primare

combines the services of a Class A GRACE AND FAVOUR Class D power ‘cube’ [HFN Feb ’19] and even

transistor preamp with a Class D With Mitch Ryder & The Detroit amp modules 1970s Denon monoblocks, which

power amp module from Hypex. The Wheels’ ‘Jenny Take A Ride’ from and has separate were always exemplars of solid-state

latter, specifically, is the NC252MP, Sockin’ It To You [RPM] we were linear and without the austerity.

one of six Hypex Ncore ‘plug-and- delighted by a cohesive wall-of- switchmode But were we imagining the

play’ solutions that also incorporate sound as befits Ryder’s music. power supplies lushness? Turning to Ray Conniff’s

a switchmode PSU. Drums were vast, meaty, with for its pre- and You Are the Sunshine of My Life

Otherwise the X250T, available powerhouse attack and Ryder’s power sections. [Columbia; 7½ips tape], the room

in matt black or silver, is minimalist gutsy, shout-y vocals were sibilance- WBT 4mm posts was awash with gossamer-light

in a way that only the Northern free and sufficiently menacing. are fitted for schmaltz so unctuous we could

Europeans seem to have mastered. After an hour of raucous rock, speaker cable count the calories. This is, simply

Its fascia is self-explanatory, sporting however, we began to suspect this connections put, a sexy little minx of an amp.

perhaps wasn’t the X250T’s And we’ll have to regard those

‘The crowd noises and forte, because it was so oh-so-prolonged muting intervals
sense of space were as graceful even under duress. as a kind of foreplay…
natural as we’ve heard’ Turning to Joan Baez’s In
Concert [Vanguard; 7½ips VERDICT
tape], a glorious souvenir
When the first word that springs to

from her 1962/3 tour with mind is ‘finesse’, and the second is

a rotary source selector on the left just voice and guitar, the sense of ‘Whoa!’ because of sheer slam, you

and level on the right, and LEDs in space and the crowd noises were as can call it a ‘hybrid’ in yet another

between denoting which source natural as we’ve heard. Stage depth way. The X250T is one of those iron-

is active: Phono (the MM PH1 was cavernous, and an airiness first-in-a-velvet-glove amps that lets

module is a £525 extra), CD, Tuner, and presence suited perfectly this you rock or chill as desired.

Auxiliary, Processor and Balanced. utterly ‘unplugged’ recording.

The centred power-on button We followed Joan Baez with HI-FI NEWS SPECIFICATIONS

lights in the form of the company another Vanguard folk treasure, Power output (<1% THD, 8/4ohm) 150W / 280W
logo but Extraudio also supplies an only this time one recorded in a

RF remote to provide on/off, volume studio, and with more voices and Dynamic power (<1% THD, 8/4/2/1ohm) 151W / 285W / 275W / 195W

up/down and mute. ‘Mute’ prompts instruments. Ian & Sylvia’s sublime Output imp. (20Hz–20kHz/100kHz) 0.020–0.017ohm / 1.01ohm

a sluggish 6.5sec reduction of the Play One More [Vanguard; 7½ips Freq. resp. (20Hz–20kHz/100kHz) –0.15dB to –0.75dB/–6.1dB
motorised volume, then you have tape] adds drumming, keyboards, Input sensitivity (for 0dBW/150W) 201mV / 2525mV (balanced)
to press the volume ‘+’ button to organ and bass to the Hootenanny/

restore your listening level. protest-era folkie formula. A-wtd S/N ratio (re. 0dBW/150W) 83.1dB / 104.9dB

All inputs – four via RCA and This was of slightly later vintage, Distortion (20Hz-20kHz, 10W/8ohm) 0.00085–0.029%

‘Balanced’ via XLR – are line level, from probably similar tape stock, Power consumption (Idle/Rated o/p) 17W / 175W (3W standby)

while the one marked ‘Processor’ having the characteristic Vanguard Dimensions (WHD) / Weight 445x125x395mm / 18kg
routes directly to the Class D power sound, and proving a further

YEARBOOK 2020 | www.hifinews.co.uk | 77



NETWORK-ATTACHED AMPLIFIER

Integrated amp with network/USB inputs. Rated at 60W/8ohm
Made by: Hegel Music Systems AS, Oslo, Norway
Supplied by: Hegel Music Systems AS
Telephone: +47 22 605660
Web: www.hegel.com
Price: £1500

Hegel H95 wonderful character of all those
contrabasses and hautbois, set in a
W inning an EISA award of the inputs can also be configured ABOVE: The H95 rich, reverberant church acoustic.
last year for its high- as a ‘bypass’ – fixed-level inputs is an exemplar
end H390 amplifier, for use with an external surround of Hegel’s So there we were, all ready
Hegel now offers processor – and it’s also possible to trademark to say, ‘very good, though it
simplicity. Source lacks…’, but that simply didn’t
an entry-level £1500 integrated, set the maximum volume level for and volume happen. Switching to Sarah Willis’s
controls flank infectious Mozart y Mambo set
the H95. This incorporates the both the amplifier’s main output the display and a [Alpha], on which the horn player
power button is is joined by the wonderful Havana
company’s latest UPnP streaming and the headphone socket. hidden under the Lyceum Orchestra, we were just
fascia. If you need as impressed by the scale and
solution along with a menu system Hegel doesn’t have a dedicated a remote, it’s a power of the orchestra in the
£95 extra Mozart tracks as by the lightness
that allows for those all-important app to play UPnP music, so we and fleetfooted rendition of the
mambo ones. When the two collide
‘over the air’ updates and the tried the H95 with a range of UPnP/ in a mambo based on Eine Kleine
Nachtmusik the effect may cause
potential for future upgrades. DLNA control apps, including Linn’s purist jaws to drop, but delivered
with the H95’s brio and vitality,
The H95 also supersedes the Kinsky, PlugPlayer and Bubble UPnP, it’s a total feelgood track.

company’s H90, stepping up from and they seemed to work just fine. And though one might expect
this amp, with its comprehensive
this previous amp by including Yes, it’s limited to 96kHz/24-bit streaming capabilities, to have
its competence slewed heavily in
Hegel’s SoundEngine 2 regime, when streaming via UPnP, but we favour of music played in digitally,
it’s as impressive when fed via its
which uses local and adaptive get the feeling that’ll be more than two analogue inputs.

feedforward technology – rather adequate for most listeners. Connecting a Naim network
player to the analogue ins – and
than global feedback – to tackle here we’re talking a source playing
through an amplifier less than a
distortion within the amp stages. REAL SNAP tenth of its price – the extra space,
grunt and rhythmic acuity of the
Only mild changes have been Straight out of the blocks the ND 555/555PS [HFN Apr ’19] was
clear. But the amp’s onboard
made to the analogue section, Hegel H95 had our attention with network facility wasn’t that far off,
and impressively delivered similar
The Steve Howe Trio’s ‘Fair qualities, just to a lesser extent.

‘The H95 is controlled, Weather Friend’ [New Frontier; VERDICT
Esoteric Antenna], presenting
This isn’t quite a giant-killer in
detailed and refined, the former Yes guitarist’s the mould of the H390, but it’s
but exuberant as well’ instruments with real snap, still a remarkable amplifier, with
son Dylan’s drums with power, poise and above all a hugely
involving presentation. If your
persuasive weight and drive, budget will only stretch this far,
you’ll not be disappointed.
with improvements to the power and revelling in the sound of Ross

supplies, and also to the headphone Stanley’s Hammond.

output to reduce noise. The big There’s a completely smile-

change is to be found in the digital inducing sense of the musicians

section, which now uses in-house arrayed before the listener, the HI-FI NEWS SPECIFICATIONS

designed ‘SynchroDAC’ technology, H95 being controlled, detailed Continuous power (<1% THD, 8/4ohm) 73W / 106W

with balanced signal processing and refined, but at the same time

throughout to maintain dynamic sounding entirely exuberant. Dynamic power (<1% THD, 8/4/2/1ohm) 108W / 196W / 79W / 6W

range and reduce distortion. With the Simphonie du Marais’s Output impedance (20Hz–20kHz) 0.019–0.052ohm (778ohm, pre)

As to features, as well as the period-instruments account of Freq. resp. (20Hz–20kHz/100kHz) +0.0 to –0.26dB/–3.5dB

amp’s Ethernet network connection, Handel’s Royal Fireworks and Water Digital jitter (48kHz/96kHz) 30psec / 135psec

it has an asynchronous USB-B input, Music [Musiques à la Chabotterie],

three optical digital inputs and a the H95 sounded big and stately A-wtd S/N ratio (re. 0dBW/0dBFs) 89.3dB (Analogue) / 100.9dB (Dig)

single coaxial (RCA) input. The H95’s with the processional episodes Dist. (20Hz-20kHz; 0dBW/–20dBFs) 0.006–0.03%/0.001–0.0025%

two sets of line-ins are also on RCAs, while fast and nimble with the Power consumption (idle/rated o/p) 22W / 250W (2W standby)

and there’s a pair for its variable dance tunes woven into the music. Dimensions (WHD) / Weight 430x100x350mm / 11kg

preamplifier output. Meanwhile, any And all the while it brought out the

YEARBOOK 2020 | www.hifinews.co.uk | 79

TUBE INTEGRATED AMPLIFIER

Integrated tube amplifier. Rated at 28W/8ohm
Made by: Icon Audio, Leicestershire
Supplied by: Icon Audio
Telephone: 0116 2440593
Web: www.iconaudio.com
Price: £2299

good levels of detail, although

we did feel that Nicky Holland’s

voice in ‘Nobody’s Girl’ [Sense And

Sensuality; Epic] was a little huskier

than we were used to.

Moving to ‘Low’ helped boost

the separation of instruments and

vocals within the soundstage. Now

Miss Holland appeared to have

cleared her throat, stepped properly

up to the mic and was projecting

her voice into the listening room.

Ultralinear mode offered another

step forward in sound quality. If

a little of the exquisite midband

richness was lost compared to

triode mode, more importantly,

there was now a far better sense

Icon Audio Stereo that the bass was integrated with
the rest of the music.

The amp dug deep into ‘Tilted’
from Christine And The Queens’

ST30SE Chaleur Humaine CD [Because
Music] and bass notes no longer
outstayed their welcome. Instead
there was a feeling that the Stereo

ST30SE had joined the party and

was getting its groove on.

The typical single-ended line-level sources where the full ABOVE: The We felt that the ultralinear/low
valve amplifier with low range of the volume control is more amp is seen gain mode showed the ST30SE at
power output and an often likely to come into play. A central here without its its best, and listening to jazz singer
equally low damping factor position, ‘0’, where no feedback is protective cover. Madeleine Peyroux’s ‘Dance Me To

requires careful system matching. applied, is for test purposes only. Crowded but The End Of Love’ [Careless Love;

Icon Audio has decided to address Internal construction is excellent familiar fascia Rounder Records], it sounded as

these issues with its £2299 Stereo and high-quality components sports valve if the musicians had spread their

include an ALPS volume bias toggle and chairs across the soundstage, filling

‘We got the sense Icon pot, Rubicon and Nichicon (power) meter, the space between our speakers
electrolytic capacitors, and triode/ultralinear convincingly and pulling us right
mode switch, into the heart of the action.
Audio’s ST30SE was SCR audiophile polypropylene
audio capacitors. The speaker volume rotary,
getting its groove on’ and input terminals are all on/standby, tape VERDICT

gold-plated and valve bases monitor and There is sure to be something to

ST30SE, an integrated amp using are high-quality ceramic items. input selector please the majority of listeners in

just one KT150 output tube per one of the Icon Audio ST30SE’s

channel and boasting a power REAL APPEAL various modes. It has a glorious

output of 28W in ultralinear mode, Listening in triode mode, with transparency and always gives

and 18W in triode. the sensitivity first set to ‘High’, the sense of being faithful to the

It sports three line-level inputs, we were delighted to hear the message of the music at hand.

for CD, Aux and Tuner, plus a tape Stereo ST30SE pretty much put

input with matching record output. to rest the idea that single-ended HI-FI NEWS SPECIFICATIONS

The bias for each output valve can tube amplifiers are all woolly and Power output (<2% THD, 8/4ohm) 30W / 30W
be tweaked via the fascia meter, indistinct-sounding, by serving up a

with a switch selecting which valve performance that simply sparkled. Dynamic power (<5% THD, 8/4/2/1ohm) 17W / 18W / 10W / 6W

is to be checked, and two small Not only was the top-end Output imp. (20Hz–20kHz/100kHz) 0.85–1.17ohm / 1.58ohm

trimpots located on the top panel. beautifully transparent but the Freq. resp. (20Hz–20kHz/100kHz) +0.0dB to –0.6dB/–9.4dB
Meanwhile, a rear three-position amp seemed particularly adept at Gain (High/Low, Ultralinear mode) +36.9dB / +30.1dB
capturing the overall essence of a
sensitivity switch selects ‘H’ (High)

for increased sensitivity with lower musical performance, portraying A-wtd S/N ratio (re. 0dBW/28W) 83.4dB / 97.9dB (Low Gain)

feedback applied. Choose ‘L’ (Low) its complete message in a manner Distortion (20Hz-20kHz, 10W/8ohm) 0.61–10.9% (Low Gain)

and the amp uses higher feedback that was highly appealing. Across Power consumption (Idle/Rated o/p) 177W / 220W (44W standby)

and thus offers lower gain. This is the midband, instruments were Dimensions (WHD) / Weight 380x240x300mm / 28kg
recommended for most modern believable and vocals blessed with

80 | www.hifinews.co.uk | YEARBOOK 2020

INTEGRATED AMPLIFIER

Integrated amplifier with USB DAC. Rated at 550W/8ohm
Made by: Musical Fidelity (Audio Tuning Vertriebs GmbH), Austria
Supplied by: Henley Audio Ltd, UK
Telephone: 01235 511166
Web: www.musicalfidelity.com; www.henleyaudio.co.uk
Price: £5649

Musical Fidelity extension and a pneumatic grip
M8xi over bass notes that powers the
deepest rhythms through your rib
Simon Quarry, the engineer one HT bypass, and two balanced ABOVE: Two cage and beyond, but its repertoire
behind some of MF’s earlier on XLRs – preamp outputs too are huge rotaries is both more varied and extensive
and iconic big amplifiers, both single-ended and balanced. dominate the in its resolution of colour, timbre,
has returned to deliver us There’s also a fixed RCA line output extruded alloy dynamics and ambience.
fascia, catering
more than a taste of the old Musical and two sets of very substantial for input selection It’s versatile too. As Diana Krall
and volume on sashays her way through her cover
Fidelity magic in this new £5649 4mm speaker cable terminals for this EISA 2020-21 of The Eagles’ ‘I Can’t Tell You Why’
Award-winning [Wallflower; Universal/Verve] the
M8xi integrated amplifier. bi-wirable loudspeakers. integrated M8xi sheds its bulk and gets into the
swing of things, lifting this vaguely
Whatever its heritage, the M8xi Meanwhile, digital files up to melancholic ballad by illuminating
both the brushwork percussion and
is certainly big and, weighing in 192kHz/24-bit are accommodated the accompanying piano.

at some 46kg, it’s not especially on pairs of coaxial and optical This was one of many albums we
used to compare the sound of the
S/PDIF connections plus a M8xi through its analogue XLR and
digital USB inputs, via a dCS Vivaldi
‘It powers the deepest single asynchronous USB-B One player/DAC [HFN Feb ’18] and
port. Musical Fidelity’s choice Melco N1ZS20/2 server [HFN Jun
’17]. Simply put, the Musical Fidelity
rhythms through your of DAC chip, the TI/Burr-Brown M8xi’s USB input is good, very good,
rib cage and beyond’ PCM5242, does not support but an external high-end DAC will
DSD. Hence, neither does the still have the edge.

The brush-like percussion on
Carman Lundy’s Self Portrait [JVC]
is not a million miles off that from
Krall’s album, and in both cases
the analogue input saw the M8xi
paint performances that were just
that bit smoother, more liquid in
tone and delivery. Free of stress,
strain or any subliminal background
hash, the sound was both inviting
and enveloping, spilling from the
speakers and washing away minutes
and then hours of our listening time.
Not that we were complaining.

M8xi. MF does make some fine

comfortable to hump about if phono preamps, however, which VERDICT

grasped by those effective but explains why the M8xi is line only... This integrated amplifier, bluff
exterior and all, is not only capable
utilitarian heatsinks. of driving a short piece of damp
string, but does so with a dexterity
Rated at a not inconsiderable TRUE GRIP and fleetness of foot that utterly
belies its outward bulk.
550W/8ohm per channel, but Massive Attack’s ‘Unfinished

capable of rather more, the high Sympathy’ [Blue Lines; Wild Bunch

(67V) voltage output is achieved Records] had our B&W 800 D3 [HFN

by bridging a pair of output stages, Oct ’16] speakers’ rigid sandwich

the two ‘sides’ of each mono bass cones reach down as low and HI-FI NEWS SPECIFICATIONS

bridge comprising three pairs of far as they might without popping Continuous power (<1% THD, 8/4ohm) 640W / 940W

high-current power transistors (a their end stops. Shara Nelson’s

topology MF has refined for over a voice soared, the sampled bass and Dynamic power (<1% THD, 8/4/2/1ohm) 880W / 1740W / 1300W / 720W

decade). As the red/black speaker percussion powered and sparkled Output impedance (20Hz–20kHz) 0.039–0.11ohm (48-220ohm, line)

terminals are floating, care needs to in turn, while the orchestral strings Freq. resp. (20Hz–20kHz/100kHz) +0.0 to –0.3dB/–4.1dB

be taken not to connect the M8xi to – recorded at Abbey Road Studios – Digital jitter (USB at 48kHz/96kHz) <10psec / 210psec

a powered/earthed loudspeaker. possessed all the lush richness that

If the front panel looks a little we’ve come to expect from this A-wtd S/N ratio (re. 0dBW/0dBFs) 85.9dB (Analogue) / 107.1dB (Dig)

sparse that’s because all the real track when played to its fullest. Distortion (20Hz-20kHz; 10W/–3dBFs) 0.0009–0.0035%/0.0008–0.11%

action is hosted at the rear of the Fortunately the M8xi is no Power consumption (idle/rated o/p) 133W / 2.1kW

chassis, where inputs extend to four one-trick pony. Sure it sounds ‘big’, Dimensions (WHD) / Weight 485x180x500mm / 46kg

single-ended on RCAs, including boasting tremendous weight,

YEARBOOK 2020 | www.hifinews.co.uk | 81

XM CD Player XM CD Player XM CD Player
;0 +3 +HDGSKRQH $PSOLưHU ;0 +3 +HDGSKRQH $PSOLưHU DISC PLAYER OR TRANSPORT

OF THE YEAR

Exposure Electronics Limited
Unit 18 Winston Business Centre, 43 Chartwell Road
Lancing, West Sussex, BN15 8TU, United Kingdom
01273 423877

ZZZ H[SRVXUHKLư FRP

NETWORK-ATTACHED AMPLIFIER

Integrated streaming DAC/Class D amplifier. Rated at 200W/8ohm
Made by: NAD Electronics International, Canada
Supplied by: Sevenoaks Sound and Vision, UK
Telephone: 01732 459555
Web: http://nadelectronics.com; www.sevenoakssoundandvision.co.uk
Price: £3999

sound. It’s always crisp and clean,

extracting bags of detail from

whatever you choose to play and

delivering superb dynamics, and it

also seems unburstably powerful

over a range of loudspeakers.

That ability to ‘go loud’ and yet

stay in total control is heard again

when playing The Orchestra Of The

Americas recording of Falla’s The

Three-Cornered Hat [Linn; 192kHz/

24-bit], with its explosive opening,

thundering percussion and blaring

NAD Masters M33 brass giving way to what is sultry,
intricate orchestration.

The M33 handles the dynamics
and the detail equally well, letting

the music flow, especially in the

swirling ‘Miller’s Dance’. This whole

W ith the launch of user-selectable sampling rates up ABOVE: NAD’s set is bold, expressive and dramatic,
the £3999 M33 to 192kHz/24-bit. These extend M33 has a 7in and the M33 laps it up, as striking
there are now two to a MM/MC phono input, said by Gorilla glass with the flow of the strings as it is
network systems in the company to ‘rival specialised touchscreen with the punch of the rhythms.

the NAD range, the M33 taking outboard units’, a further line input and rests on With Yo-Yo Ma, Chris Thile and

the concept of the M10 [HFN Jun and one set of balanced inputs. ‘magnetic Edgar Meyer’s delicious Bach Trios

’19] and scaling it up into a full-size Meanwhile, in addition to the iso-point’ feet set [Nonesuch], the M33 delivers

hi-fi component, with network two sets of loudspeaker outputs, to counter a beautifully focused view of the

and Bluetooth/Apple AirPlay 2 enabling bi-wiring and two-zone vibrations. arrangements, double-bass and

connectivity. What’s more, a new operation, the M33 also sports a set The headphone cello having a sonorous yet tightly

Eigentakt Class D power amp is of preouts. These can either be used output is defined sound, and mandolin a

incorporated in the M33 promising full-range into an external power powered by its wonderful tight snap.

‘a minimum of 200W per channel’. amplifier, or configured as low-pass own amplifier Finally, for a change of pace, we

Network access allows the M33 filtered subwoofer outs. module loaded up Liam Gallagher’s MTV

to be integrated into multiroom It’s all very comprehensive, and Unplugged set [Warner], enjoying

audio systems, Windows or macOS the M33 also has built-in Dirac Live the way the M33 revealed the

desktop apps, and a whole range of room correction [see HFN Jul ’20], layers of instrumentation, all the

third-party smarthome solutions. It and comes with a mic to measure way through a glorious singalong

can also be ‘taken over’ by Amazon your room, plus five memory ‘Champagne Supernova’ packed

Alexa and Google Assistant devices, profiles to account for different with detail and atmosphere.

or Siri via Apple’s AirPlay 2. listening and speaker positions.

A wide array of digital input VERDICT

options is available. Naturally, the IT’S A BLAST! The M33 has wide-ranging flexibility,

M33 can stream content from Whether playing analogue or digital ease of use and the acclaimed

network sources – using Wi-Fi or sources, streaming from a network NAD sound. It’s as impressive with

wired Ethernet – at up to 192kHz/ store or accessing an online service, analogue sources as when doing its

NAD’s M33 is nothing short streaming thing, and upgradability

‘Double-bass and cello of exceptional. Raise the furthers confidence in this amplifier
have a sonorous yet volume and the M33’s sound as a long-term buy.
tightly defined sound’ opens up to embrace and
involve the listener. HI-FI NEWS SPECIFICATIONS

The phono stage is good, Continuous power (<1% THD, 8/4ohm) 220W / 430W
too, as we cranked up a Rega

24-bit, as well as access various turntable to play Elvis Costello’s Dynamic power (<1% THD, 8/4/2/1ohm) 261W / 515W / 815W / 502W

online streaming services. It also Armed Forces [Radar], and instantly Output impedance (20Hz–20kHz) 0.006–0.009ohm (95ohm/pre)

has a USB input for playback from heard the off-kilter ‘Accidents Will Freq. response (20Hz–20kHz / 90kHz) –0.01 to –0.19dB / –12.5dB
storage devices, an HDMI input for Happen’ played with all its bite, Digital jitter (48kHz/96kHz, 0dBW) <5psec / 8psec
TV sound plus two S/PDIF coaxial, and ‘Oliver’s Army’ blasting from the

two optical and an AES/EBU digital speakers with solidity and attack. A-wtd S/N ratio (re. 0dBW/0dBFs) 94.0dB (Analogue) / 109.6dB (Dig)

input on XLR. Icing on the cake – Like other recent NAD amps Dist. (20Hz-20kHz; 0dBW/–20dBFs) 0.0002-0.003%/0.00004-0.0003%

the M33 is also Roon-ready as well. using variations on Class D Power consumption (idle/rated o/p) 32W / 446W (29W standby)

There are also analogue inputs, technology, this all-in-one has Dimensions (WHD) / Weight 435x133x396mm / 9.7kg
which are converted to digital at two essential components to its

YEARBOOK 2020 | www.hifinews.co.uk | 83

TUBE PRE/POWER AMPLIFIER

Pre & power tube amplifiers. Rated at 70W/8ohm
Made by: PrimaLuna, The Netherlands
Supplied by: Absolute Sounds Ltd
Telephone: 0208 971 3909

Web: www.primaluna-usa.com; www.absolutesounds.com
Price: £4150 (each)

bite. Bass was punchy and thumpy,

the power amplifier delivering a big

thwack into our loudspeakers.

In triode mode, the same song

was instantly transformed, with a

subtle diminution of bass power

and a slight flattening of treble. Yet

the midband came into its own,

the textures of the many different

instruments were now distinct and

we began to hear real tonal colour.

The sense of recorded space was

another area that never failed to

impress, with the haunting modern

jazz of Herbie Hancock’s ‘I Have A

Dream’ [The Prisoner; Blue Note]

enjoying a luxuriously wide acoustic.

The EVO 400 pre/power amplifiers

opened this simple yet effective late

PrimaLuna EVO 400 ’60s track right up, throwing images
far stage left and stage right.

The beautiful flute, trumpet and
flugelhorn playing on the recording

also charmed us, as these were

locked confidently in space, panned

This Netherlands-based the remote control. It hosts three ABOVE: The hard to either side and dancing
company has played a big 12AU7 triodes per channel plus no preamp and its between our two speakers.
part in promoting the joys fewer than two pairs of EL34 power simple fascia
of ‘glass audio’ to a new valves on each side – twice the VERDICT

audience, and its latest EVO 400 number of many contemporaries. BELOW: The The PrimaLuna EVO 400 pre/power

pre/power duo (£4150 apiece, in Furthermore, PrimaLuna’s matching power amps get close to the top tier for

black or silver) is its third-generation ‘Adaptive AutoBias’ circuit not amp can be a fraction of the price of high-end

flagship. As such, it’s an uncontrived only accommodates a choice of switched into equipment. It’s a duo with a charm

design allied to solid engineering. alternate output tubes but also monoblock form many rivals conspicuously lack.

Although the preamplifier has continuously monitors the condition

no internal DAC, there’s a good of all the valves. If one tube goes

selection of inputs – including down, it instantly switches the amp

balanced XLRs. This fully dual-mono into protection mode.

design has twin custom-wound

toroidal power transformers, said to THOROUGHLY MODERN

be low in hum and electromagnetic The PrimaLuna EVO 400 combo has

interference. Selected passive something of a ‘valve sound’. It’s

fulsome in the bass, while the

‘The bass is fulsome midband has a subtle richness
to it that’s not something you

while the midband has hear from many transistor
a subtle richness to it’ amps. It’s also surprisingly
insightful and one might

even say ‘well lit’ in the upper

components are fitted, while input mid, especially when running in HI-FI NEWS SPECIFICATIONS

selection is achieved using sealed ultralinear mode. As for the treble, Continuous power (<2% THD, 8/4ohm) 73W / 85W (2.45V, preamp)

relays, located tight behind the rear this is clean and smooth yet retains

panel for short signal paths. Neat, plenty of energy. Dynamic power (<5% THD, 8/4/2/1ohm) 112W / 110W / 105W / 82W

hand-wired, point-to-point wiring is Cue up Steely Dan’s ‘Home At Output imp. (20Hz–20kHz, pre/power) 264-1.1kohm / 5.6–5.0ohm

employed, using Swiss-made silver- Last’ [Aja; MCA Records] and this Freq. resp. (20Hz–20kHz, pre/power) –0.0 to +0.0dB / –0.3 to +0.5dB
plated OFC wire, while alongside a normally fairly smooth and silky ’70s Input sensitivity (for 0dBV/0dBW) 429mV (pre) / 147mV (power)
pair of 5AR4 tube rectifiers sit three rock track becomes rather forward

12AU7 triodes per channel. and feisty. That’s not to say harsh, A-wtd S/N ratio (re. 0dBV/0dBW) 97.5dB (pre) / 94.0dB (power)

The EVO 400 power amplifier but neither were Donald Fagen’s Distortion (20Hz-20kHz, 1V/10W) 0.36–1.25% / 0.70–2.0% (UL)

offers excellent loudspeaker driving distinctive vocals shy and retiring. Power consump. (pre/idle/rated o/p) 57W / 273W/475W

ability and switchable ultralinear/ This complemented the well-lit Dimensions (WHD, Pre/Power/weight) 386x206x404mm/24kg/31kg
triode operation to taste, all from treble, as cymbals came over with

84 | www.hifinews.co.uk | YEARBOOK 2020

PRE/POWER AMPLIFIER

Network-ready pre/DAC/power amp. Rated at 200W/8ohm
Made by: Primare AB, Sweden
Supplied by: Karma-AV Ltd, York
Telephone: 01423 358846
Web: www.primare.net; www.karma-av.co.uk
Prices: £2600-£3500 (pre)/£2700 (power)

showing this to the full, while also

revealing the power amp’s fine

dynamic headroom. Even during

the song’s crescendos and with the

volume rammed right up, the music

sounded authoritative yet effortless.

The PRE35/A35.2’s other winning

trait is its tonality. In short, this

combo is quite a smoothie, having

a sound less forward than that

produced by many of its rivals. Cue

up, say, Herbie Hancock’s ‘Speak

Like A Child’ [Speak Like A Child;

Blue Note] and you won’t feel that

this slightly thin-sounding late ’60s

recording is in any way uneven.

You’re able to enjoy the lustre

of the brass, for example, yet the

flugelhorn doesn’t scream out of

the mix at you. There was a decent

amount of detail to be heard too,

with plenty of information about

the acoustic of the recording studio.

Primare PRE35/A35.2 Itwasalsoflatteredbythepower
amplifier’s obvious punch.
This Primare combo also offers
up an impressively wide, capacious

soundstage. It was particularly good

W ith the preamp here rear panel crammed with sockets. ABOVE: The from left to right, generating an
you can opt to include There are twin balanced XLR inputs, PRE35’s fascia expansive, room-filling sound.
or omit the company’s three pairs of RCA inputs, four controls feel silky
Prisma network facility Toslink optical and two coaxial and its white- And its streaming performance
proved to be very good indeed,

and DAC (£2600 vs. £3500) and its digital ins. You’ll also find a USB-B on-black OLED making light work of, for example,

paired A35.2 power amp (£2700) port for computer connection. display is clean Tracy Chapman’s ‘Fast Car’ [Tracy

can also be bought separately. We All these feed a sophisticated and crisp. The Chapman; Elektra]. The music was

tested the full complement. AK4497 DAC, working at up to power amps can pleasingly smooth, delicate and

Either way, you certainly get 768kHz/32-bit PCM and DSD256 be bridged into engaging, while at the same time

a lot of connectivity, functionality resolution. Both fixed and variable monoblock guise having no shortage of snap.

analogue outputs, a coaxial

‘Whatever you play, it digital output and IR in/outs, VERDICT
along with an RS232 service
Primare’s sophisticated PRE35/
will come across with port complete the picture. A35.2 combination offers plentiful

strength and solidity’ The A35.2 power amp has facilities, slick ease-of-use and an
corresponding switchable XLR/ enjoyably powerful sound. While

RCA inputs. Its fascia is a model optimised as a pair, both pre and

and power for your money. Indeed, of minimalism, with only an on/ power amp remain very competitive

Primare claims 200W/8ohm for standby switch neatly inlaid into the in their own right – the latter being

the A35.2, which uses its UFPD 2 large Primare logo. Both units have a high-value powerhouse.

analogue Class D technology. rear mains switches.

Screw in the Wi-Fi antennae, HI-FI NEWS SPECIFICATIONS

enter your wireless router details SLAM DUNK Continuous power (<1% THD, 8/4ohm) 215W / 455W
and you’re all ready to go. The app
It’s immediately clear that these

lets you to play music via Wi-Fi and Primare components make an Dynamic power (<1% THD, 8/4/2/1ohm) 220W / 465W / 570W / 300W

Bluetooth, AirPlay, Spotify Connect impressive combination and offer Output impedance (20Hz–20kHz) 0.009–0.012ohm (180ohm, PRE35)

and Chromecast, and also offers real value. Whichever type of music Freq. resp. (20Hz–20kHz/100kHz) +0.0 to –0.25dB/–5.9dB (A35.2)
multi-room/multi-zone control. you play, it will be delivered with
Available on both iOS and Android strength, solidity and slam. Distortion (20Hz-20kHz, 0dBFs/0dBW) 0.0009–0.007%/0.0008-0.010%

platforms, the app looks elegant Its gutsy presentation makes A-wtd S/N ratio (re. 0dBFs/0dBW) 115.4dB (PRE35) / 79.0dB (A35.2)

and confers great flexibility thanks for a thrilling ride, even at very Digital Jitter (48kHz/96kHz) 440psec / 155psec

in part to its Roon functionality. high volume levels – its rendition Power consumption (idle/rated o/p) 25W / 450W (33W, PRE35)

Those going for more traditional of The Crusaders’ track ‘Street Dimensions (WHD / Total weight) 430x106(145)x420(400)mm/ 23kg
source options will find the PRE35’s Life’ [Street Life; MCA Records]

YEARBOOK 2020 | www.hifinews.co.uk | 85

Climbing
the Ladder

Sydney Yukon Climbing the ladder of AudioQuest interconnect cables
Mackenzie leads to better and better performance, thanks to less and
Big Sur less interference from the cable.
Red River
Golden Chicago This is made possible by the use of superior materials and
Gate the implementation of increasingly more sophisticated
construction techniques, such as: the progression from
Evergreen Long-Grain Copper to solid Perfect-Surface Silver, from
Foamed-PE insulation to FEP Air-Tubes, from Metal-Layer
Noise-Dissipation System to multi-layer Carbon-Based
NDS, from low-distortion Gold-Plated terminations to
extreme-purity Red Copper plugs with Hanging-Silver
plating, and more.

Despite their differences, our Bridges & Falls and Rivers
audio interconnects are all closely related. Follow the color
code: Chicago is a bigger, better version of Evergreen; but
Golden Gate, with its Perfect-Surface Copper conductors, is
clearly more refined. Similarly, Triple-Balanced Red River is a
bigger, better version of Golden Gate, but doesn’t offer the
greater advantages of Big Sur… And so it goes, all the way
up to Yukon.

The reason for the two sides of the ladder is simple: The
Double-Balanced Bridges & Falls cables can be tted with
a choice of RCA plugs, 3.5mm mini-plug, 3.5mm female,
or DIN plugs (usually for Naim electronics). Meanwhile,
aside from Chicago, the Triple-Balanced Rivers cables can
be tted with RCA or balanced XLR plugs.

So, start at the bottom, where the AudioQuest value system
is already 100% evident, or climb as high as you like. Keep
climbing until the incremental cost of the higher model
is no longer the least expensive way to make the most
improvement—but beware, you might find yourself at the
top of the ladder or beyond before reaching that point!

Sincerely,

William E. Low

PRE/POWER AMPLIFIER

Preamp/DAC & power amplifier. Rated at 500W/8ohm
Made by: The Rotel Co. Ltd, Tokyo, Japan
Supplied by: Rotel Europe, Worthing, UK
Telephone: 01903 221 710
Web: www.rotel.com
Prices: £3299/£5399 (pre/power)

layout, with the two channels
located in separate fan-cooled
housings, and packing a total of
32 high-current output devices.

BRIGHT AND BREEZY

Driving our demanding B&W 800

D3 speakers [HFN Oct ’16] the P5/S5

duo quickly established itself as

being able to exert plenty of control

while delivering an open, captivating

sound. With ELP’s ‘Karn Evil No. 9’

[Brain Salad Surgery; Razor & Tie]

the sound was big and bold, with

both striking bass extension and

speed across the frequency range.

The burst of brass opening

‘Blowin’ The Blues’, from Kyle

Eastwood’s Time Pieces set [Jazz

Village] was a real wake-up in

its immediacy, and as the track

developed it was easy to relish

every element, from Eastwood’s

propulsive bass-line to the stabs of

piano and powerful drumming.

The sound was bright, breezy

Rotel Michi P5/S5 and bracing, yet underpinned with
weight and substance and, as our
listening progressed, so grew our
appreciation of the way this pre/

power combination presents music.

Playing the sparky, darting

Last marketed as a brand socket is only there to power ABOVE: Gloss recording of Mozart’s Marriage
in the 1990s, Michi is now external devices. Two AKM DACs black fascias Of Figaro overture [Linn; 192kHz/
in a new facility for hand- allow the P5 to handle content up are simple and 24-bit], the Michi P5/S5 delivered
building its products and to 384kHz/32-bit, with DSD, DoP clean – the S5 a rich, ripe sound, yet one with

has reappeared with this £3299 P5 and MQA support via the USB-B. power amp as the agility and detail to convey

‘control amplifier’ and 500W-rated Other control options on the understated the exuberance of both score and

S5 stereo power amp at £5399. P5 extend to a socket for a remote as the preamp, performance. There’s no shortage

Operating in Class A, the P5 infrared sensor, 12V triggering, and except for the of dynamic extension here, either.

has two sets of balanced analogue serial RS232. Digital outputs are prominent
display, which
also provided, on both optical switches from VERDICT
VU meters,
‘The sound was big and coaxial sockets. a ‘Spectrum This Michi combination brings a
The menu system allows Analyser’, or off... welcome breath of weight, scale
and bold with striking tone controls or bypass, the and entirely natural music-making
setting of a fixed level on any to an overpopulated high-end
low-end extension’ input – unused inputs can be arena, with a wide-ranging ability

turned off – while MM/MC across a broad span of genres.

inputs, four line-ins on RCAs, and a phono selection can be accessed

switchable MM/MC phono stage. from the fascia or via a slender HI-FI NEWS SPECIFICATIONS

There’s also one line out, two metal-clad remote handset. Continuous power (<1% THD, 8/4ohm) 670W / 1170W
mono subwoofer outputs and a The S5 power amplifier has

headphone output on the fascia. inputs on both balanced XLRs and Dynamic power (<1% THD, 8/4/2/1ohm) 691W / 1.39kW / 1.78kW / 902W

The amp’s digital provision is RCA sockets, selected by a switch, Output imp. (20Hz–20kHz, Pre/Amp) 121-375ohm / 0.016-0.075ohm
also generous with three optical and there are two sets of solid Freq. resp. (20Hz–20kHz/100kHz) –0.23 to –0.63dB/–1.05dB
and three coaxial digital inputs, speaker terminals per channel. Digital jitter (USB / S/PDIF) 350psec / 370psec
plus a USB-B port for connection Meanwhile, the front panel can A-wtd S/N ratio (DAC/Amp) 106.1dB (0dBFs) / 92.8dB (0dBW)
to a computer, and Bluetooth. show a VU meter, or a choice of

A network port is also provided, three frequency spectrum analyser Distortion (DAC, 0dBFs/Amp, 0dBW) 0.0006–0.006% / 0.0003–0.016%

but this is for control over IP and displays – all dimmable. Power consump. (Pre/Amp at rated) 28W / 1.65kW (143W idle)
firmware updates, not network The power amp is a dual-mono Dimensions (WHD, each unit) 485x238x465mm / 60kg (total)
audio streaming, while the USB-A
Class AB design of a symmetrical

YEARBOOK 2020 | www.hifinews.co.uk | 87

PRE/POWER AMPLIFIER

Pre/power amplifier. Rated at 225W/8ohm
Made by: Simaudio Ltd, Quebec, Canada

Supplied by: Renaissance Audio, Scotland
Telephone: 0131 555 3922

Web: www.simaudio.com; www.renaissanceaudio.co.uk
Prices (pre/power amp): £7800/£16,750

for instance, is treated to subtlety

in the more lyrical parts, but has

real fire and speed in the ‘Rumble’

section, a thrilling molto allegro.

The sound here is highly detailed,

never straying into brashness, and

soundstaging is both crisply focused

and three-dimensional.

And the pairing is also highly

appealing with simpler recordings

such as Chip Taylor and Carrie

Rodriguez’s ‘Him Who Saved Me’

from their [Let’s Leave This Town

album [Texas Music Group/Lone

Star], focusing on the harmonies,

including Taylor’s husky voice, but

doing so to highly musical effect.

The same goes for Elton John’s

‘Take Me To The Pilot’, from his

self-titled album [Mercury], which

the amps treat to a delicious sense

of the musical forces as they build,

while keeping a close eye on the

individual musicians. The drums

Simaudio 740P/860A 2 sound especially toothsome in this
typically careful Gus Dudgeon mix.
Even with the dense mish-mash
that is Pink Floyd’s The Endless

River [Columbia] – a compilation

Part of Simaudio’s MOON offers single-ended and balanced ABOVE: These of mislaid files and studio floor
range, this pre/power inputs, and while a DC-coupled Simaudio sweepings that can sound at times
combination comprises an design with servo control, it can amplifiers have a as if it should have been called
all-analogue but flexible be switched into AC-coupled mode black part fascia ‘The Endless Album’ – the Simaudio

preamp, the £7800 740P, and the which, according to Simaudio, is and polished amps open up the mixes wide. This

860A v2 power amp, which is rated ‘recommended for older preamps metal casework, allows one to zone in on the various

at 225W/8ohm and costs £16,750. including many tube models’. although you can instruments in what is occasionally

Dual-mono, the 740P has three Operating in Class A for the opt for all-black a big, unruly wash of sound.

inputs on RCAs, and two more on first 5W of its output, the amplifier or all-silver. The

employs Simaudio’s ‘Lynx’ preamp [top] VERDICT

‘Drums are especially technology to eliminate boasts a bold Often the simple approach works
global feedback, and is fully dot-matrix display best, so what this Simaudio pairing
lacks in digital and streaming
toothsome in what is a balanced all the way to the
typically careful mix’ output stage. The latter uses accoutrements it more than makes
precision-matched MOON up for in the clarity and clout of its

output devices said to deliver sound. Soundstages are focused

balanced XLRs, plus three output ‘unprecedented gain linearity and naturally scaled, instruments

options – two on RCAs and one resulting in improved bass response are real and unforced, and the

balanced. It can be used with an and even more accurate sonic dynamics are never in question.

external power supply and offers reproduction’. On which note...

what is the usual range of custom HI-FI NEWS SPECIFICATIONS

install-friendly control connections, GRAND SLAM Continuous power (<1% THD, 8/4ohm) 289W / 530W* (protection)
including 12V triggers, IR and
Driving a variety of loudspeakers,

RS232 socketry (also for firmware the Simaudio MOON duo impressed Dynamic power (<1% THD, 8/4/2/1ohm) 297W / 585W / 1.13kW / 360W

updates), along with its branded with the freshness and vitality of its Output imp. (20Hz–20kHz, pre/power) 73ohm / 0.005–0.025ohm

SimLink remote control system. sound, allied to fine low-end weight. Freq. resp. (20Hz–100kHz, pre/power) +0.0 to –0.0dB / +0.0 to –6.9dB
The 860A v2 power amp is again True, the bass was perhaps a little
dry at times, but what it lacked in Input sensitivity (for 0dBV/0dBW) 490mV (pre) / 75mV (power)
entirely dual-mono in design and

powered by twin transformers plus warmth it certainly more than made A-wtd S/N ratio (re. 0dBV/0dBW) 99.9dB (pre) / 95.8dB (power)

a total 240,000μF of reservoir up for in its ability to slam hard. Distortion (20Hz-20kHz, 1V/10W) 0.0001–0.0003%/0.004–0.015%

capacitance. It is rated at 225W/ Bernstein conducting the New Power consumption (Idle/Rated o/p) 84W/780W (8W, Preamp)

8ohm and can be bridged into York Philharmonic in his ‘Symphonic Dimensions (WHD, Pre/Power) 476x102x419 / 476x192x445mm
even higher power monoblocks. It Dances’ from West Side Story [Sony],

88 | www.hifinews.co.uk | YEARBOOK 2020

PRE/POWER AMPLIFIER

Pre & power amplifier combination. Rated at 100W/8ohm
Made by: Yamaha Corporation, Japan
Supplied by: Yamaha Music Europe GmbH (UK)
Telephone: 0844 811 1116
Web: https://europe.yamaha.com
Prices: £6499 (each)

Yamaha seem almost endless once the
C-5000/M-5000 music flows. The amp is more than
capable of raising the roof, although
A s well as the NS-5000 connections via unbalanced phono ABOVE: Seen in at more normal listening levels it
loudspeakers [HFN Jun ’17] sockets for four line level inputs, one silver here, this was the startling clarity offered that
and GT-5000 turntable with a corresponding output, plus Yamaha duo also proved particularly gripping.
[HFN Oct ’20], Yamaha two balanced inputs through XLRs. comes in black
– either way you Gone was the sound of ‘dustbin
now offers the C-5000 preamp and These are switchable for absolute get gloss piano lids’ on one of our regular treble
black side cheeks. torture tracks, The Corrs’ ‘Only
M-5000 power amp in its 5000 phase or to add attenuation. Those retro When I Sleep’ [Talk On Corners;
power meters Atlantic], the Yamaha duo revealing
series, both at £6499 apiece. Meanwhile, two unbalanced and can be dimmed these to be the sound of cymbals
to suit ambient being struck. What’s more, this
With piano-style keys for one balanced sets of outputs can conditions sense of clarity and detail was not
the result of an unnatural boost
power and feature selection, solid be selected individually from a front in treble. The Yamaha pairing is as
smooth and beguiling as you could
metal bars for knobs on the input panel control or all switched on at hope for at the top-end and the
amps also produced a remarkable
selectors, a chunky volume control once. The phono stage cartridge sense of depth perspective.

loading is fixed at 47kohm for With the phono input the C-5000
places the action right in front of
‘Kick drums pounded MM but adjustable for MC. the listener, with fine projection.
As for the 100W-rated On ‘C-Side’ from Khruangbin’s Texas
with a real sense of Sun EP [Dead Oceans], Leon Bridges’
vocals came from the centre of the
space between our seat and the far
equipment rack, with Laura Lee’s
bass positioned directly behind
him and the steady percussion
appearing from just behind the
right loudspeaker. Captivating!

Bass was another area in which
the C-5000 and M-5000 proved
effortlessly capable, with all inputs.
Kick drums pounded with a sense of
physical impact while the warmth
and resonance from double-basses
was an absolute joy to behold.

VERDICT

This is Japanese ingenuity and
engineering quality at its very best.
The results with the C-5000/M-5000
duo are typically sublime, with
Yamaha’s longstanding ‘Natural
Sound’ moniker rarely seeming
more appropriate.

M-5000 power amp, this

physical impact’ features balanced and HI-FI NEWS SPECIFICATIONS
unbalanced inputs plus two
Continuous power (<1% THD, 8/4ohm) 145W / 256W
pairs of superbly chunky 4mm

and those glorious analogue meters speaker terminals. It’s also possible Dynamic power (<1% THD, 8/4/2/1ohm) 167W / 317W / 590W / 995W

on the power amp, the designs hark to invert the phase of the balanced Output imp. (20Hz–20kHz, pre/power) 74-92ohm / 0.0026–0.070ohm

back to the company’s past, yet input or switch the M-5000 into a Freq. resp. (20Hz–100kHz, pre/power) –0.05 to –0.5dB / –0.07 to –1.1dB

look stylishly modern too. bridged monoblock amplifier. Input sensitivity (for 0dBV/0dBW) 98mV (pre) / 199mV (power)

Analogue only, the dual-mono

C-5000 preamplifier uses Yamaha’s ROOF RAISING A-wtd S/N ratio (re. 0dBV/0dBW) 101.5dB (pre) / 99.0dB (power)

‘Floating and Balanced’ circuit The first thing that grabs you is Distortion (20Hz-20kHz, 1V/10W) 0.0001–0.002%/0.003–0.012%

topology, which sees it electrically the unerring background silence Power consumption (Idle/Rated o/p) 73W/362W (48W, Preamp)

balanced throughout and not when these amps are powered up, Dimensions (WHD, Pre/Power) 435x142x451/435x180x464mm

referenced to ground. It offers while their dynamic capabilities

YEARBOOK 2020 | www.hifinews.co.uk | 89

BUDGET ESOTERICA – HEADPHONE

Circumaural planar-magnetic headphone
Made by: Audeze LLC, California, USA
Supplied by: Exertis UK, Essex
Telephone: 01279 822822

Web: www.audeze.com; www.unlimited.com
Price: £399

Audeze LCD-1

W ith these open-backed to a price. In many ways
headphones costing this seems the least
£399 Audeze has idiosyncratic Audeze
produced a smaller, headphone ever – which

lighter alternative to its other LCD piles pressure on it to

models. Here it has adopted a deliver a sound that the

single-sided planar magnetic driver marque’s devotees have

unit with profiled bar magnets on come to expect…

one side of the diaphragm only.

A possible concern for some TELLING TEST

will be the smallish earpads, While the mind-blowing

commensurate with the reduced £3599 LCD-4z has

capsule dimensions. They don’t spoiled us rotten,

have a large enough opening to Audeze has also

surround the entire ear – unless shown mastery

yours are notably dainty. So despite with affordable kit,

its low weight and a modest head including our choice

clamping force, comfort will depend for train travel:

on the shape of your head… the sealed-back,

Also, our lab tests suggest that on-ear Sine. But the

the LCD-1 is moderately sensitive open-backed LCD-1

to the integrity of the earpad seal. immediately showed

Avoiding leaks is an imperative if more bloom, warmth

you want to enjoy the prodigious and refinement.

bass extension that PM ’phones We assessed them

usually deliver, and of which the with LP, tape and digital

LCD-1 is certainly capable. download sources. The

The cable is almost 2.1m in latter surprised us no end,

length and divides 37cm short of and it’s particularly telling as the

LCD-1s were analytical

‘These LCD-1s are no enough to allow us to hear ABOVE: While Well, we heard both an absence of
the difference between the the fold-up artifice and enough outside-of-the-
capsules and head sound to preclude any such
slouches when it comes same song via two different provision of a distraction from the performances.
smartphones and our carrying case
to hearing nuances’ superior Pioneer XDP-100R suggest mobile VERDICT
music use,
portable [HFN Aug ’16]. the one lead The Audeze LCD-1s can fold up to
provided (with near-pocket size, sound superb
the capsules to connect separately These LCD-1s are no slouches when ¼in adapter) is a whatever the source and are so
lengthy 2.1m free of nasties that we could even
to each via gold-plated 3.5mm TRS it comes to hearing nuances! imagine them crossing the thin line
between hi-fi and studio usage. If
mini-jack plugs. The same connector Our track selections included you want true high-end cans but
can’t (or just won’t) pay four figures,
is fitted at the source end of the the mono version of ‘Ue O Mu-ite you simply must hear them.

lead, and there is a clip-on (rather Aruko’ by Kyu Sakamoto (originally

than screw-on) adapter provided for issued by Toshiba-EMI), and the

use with ¼in jack outlets. ultra-wide stereo of Julie London’s

There’s no channel identification ‘They Didn’t Believe Me’ from Julie...

on the headset plugs but the At Home [Liberty Records]. Both

capsules themselves are clearly these recordings feature distinctive,

labelled on the inside of the emotive voices, lush backing and

headband. So take care not to enough beauty to allow one to HI-FI NEWS SPECIFICATIONS

misconnect L/R channels! And play them a dozen times in a row

gratifyingly, while the lead has without losing the will to live. Sensitivity (SPL at 1kHz for 1Vrms input) 118.1dB
Impedance modulus min/max 13.1ohm @ 4.4kHz
a braided sheath, this is not a Both Kyu and Julie sang largely (20Hz-20kHz) 13.3ohm @ 9.9kHz
Capsule matching (40Hz-10kHz) ±3.3dB
headphone prone to disconcerting within the head, true, but the LF extension (–6dB ref. 200Hz) <20Hz
Distortion 100Hz/1kHz (for 90dB SPL) <0.1% / <0.1%
levels of capsule noise when the breathiness of the latter and the Weight (headset only) 253g

cable drags across clothing. clear enunciation of the former

While some may consider the were perfectly preserved and ‘non-

LCD-1 perhaps a little ordinary, it intrusive’. How can something be

has necessarily been engineered in one’s skull and not be intrusive?

90 | www.hifinews.co.uk | YEARBOOK 2020

HEADPHONE

Open-back, circumaural planar magnetic headphone
Manufactured by: Dan Clark Audio, San Diego, USA
Supplied by: Electromod, Bucks, UK
Telephone: 01494 956 558
Web: www.danclarkaudio.com; www.electromod.co.uk
Price: £900

Dan Clark Audio
Aeon 2

A mong the plethora of fold up into the headband and a
headphones with round, zip-up hard-shell case is provided.
rectangular or elliptical From what we can see on the Dan
capsules, the £900 Clark Audio website, no shorter (or

Aeon 2s are rare in having capsules balanced) cable is offered.

that are ear-shaped. Well done Dan Principal changes to the design

Clark for seeing the obvious… over the Aeon original include an

Those circumaural earpads, updated driver structure flipped by

broad headband, fairly low weight 180o to remove flow disturbance

and a modest head clamping by the magnets between the

force, make this a very comfortable diaphragm and ear; superior driver

headphone to wear. The earpads damping (a real issue with planar

are shaped to help achieve a magnetic diaphragms, which tend

more effective seal, and this is an to display a series of closely-packed

important factor with the Aeon 2 high-Q resonances); and new

because otherwise its bass output is voicings for the Closed and Open

significantly affected. versions. The latter is said to offer

Unusually, the Aeon 2 is supplied ‘a leaner lower midrange’.

with three different ‘tuning

materials’ which fit within the REAL STORM

capsules to provide various levels of The ‘sound’ of these headphones

absorption and resonance damping was usefully illustrated by a period

to suit individual tastes. instruments account of Beethoven’s

It’s increasingly common for ‘Pastoral’ Symphony [Harmonia

manufacturers to use a broad strap Mundi], where the players sit with

strings to the left, winds

‘Given the Aeon 2’s bass to the right, horns and ABOVE: The But we truly bonded with the
timpani centred behind. Aeon 2 comes Aeon 2s with the huge orchestra
response, the drums in two distinct Richard Strauss employed for his
One strong virtue versions: Alpine Symphony and some thrilling
closed-back for conducting and playing by the Oslo
made a massive impact’ of the Aeon 2 is its users who need PO [Lawo]. Particularly where a big
pinpoint and detailed isolation from storm threatens the climbers.
external sound,
soundstaging, albeit and open-back, as VERDICT
reviewed here
to support the headphone on the imaging very much within the head. Finish is to a high standard and the
Aeon 2’s spacious and insightful
scalp, above which is the true And with the Beethoven the drums sound brings rewards. Classical fans
might want more a extended treble
headband – the structure which made a massive impact, given the but if electronic music is your thing,
then don’t hesitate!
applies head clamping force – in the headphone’s bass response.

form of a thin metal strip or, as in When listening to Dave Brubeck’s

the Aeon 2, a pair of thick Nitonol ‘Blue Rondo À La Turk’ [Time Out;

alloy wires. But headbands of this Columbia Legacy] with some

type always resonate, and the Aeon other ’phones tested this year,

2’s is no different – tap it and you we puzzled over where the struck

hear a distinct metallic ‘ting’. metal percussion had gone, and

The company has opted to use it was the same here. The playing

sliding sleeve locking connectors, motored along enjoyably but those HI-FI NEWS SPECIFICATIONS

which lend an upmarket look and contributions were notably muted.

feel, while the cable itself is 2m We doubt that with ‘On The Sensitivity (SPL at 1kHz for 1Vrms input) 105.2dB
Impedance modulus min/max 12.2ohm @ 20Hz
long, terminated at the source end Run’, from Pink Floyd’s Dark Side Of (20Hz-20kHz) 12.3ohm @ 11.0kHz
Capsule matching (40Hz-10kHz) ±5.0dB
with a 3.5mm TRS mini-jack plug The Moon [EMI], you’d pick out all LF extension (–6dB ref. 200Hz) <20Hz
Distortion 100Hz/1kHz (for 90dB SPL) <0.1% / <0.1%
with a screw-on adapter provided the lyrics whatever your system, and Weight (headset only) 326g

for 6.35mm jack sockets. only the odd word registered here.

This rather suggests the Aeon 2 But the Aeon 2s made an engaging

isn’t intended for use on the move, job of all those electronic sound

despite the fact that the capsules effects buzzing around the head.

YEARBOOK 2020 | www.hifinews.co.uk | 91

“ If you want the impression of real live “ Not only is the X1 a first-class component,

musicians plonked in the room in front of you, but the support behind the Lumin is also as

”the D2 delivers… Outstanding ”stellar as the unit itself

LUMIN D2 - Hi Fi News, June 2020 LUMIN X1 - The Absolute Sound, Editor’s Choice 2020

“ I am blown away by its performance…It “ One of the best sounding streamers at its

puts it in direct competition with products that price then and is also easy to use, stable in

”cost several times as much ”operation and superbly built

LUMIN X1 - Hi Fi Plus, 169 Editor's choice 2020 LUMIN T2 - StereoNET, March 2020

THE AUDIOPHILE NETWORK MUSIC FAMILY - LUMINMUSIC.COM

+44 (0)800 0096213

www.sounddesigndistribution.co.uk
[email protected]

HEADPHONE

Fully open (hovering adjacent to ears) moving-coil headphone
Manufactured by: LB-acoustics Messgeräte GmbH, Vienna
Supplied by: LB-acoustics
Telephone: +43 (0)6641 218844
Web: https://mysphere.at
Price: €3300 (ex-VAT)

Mysphere 3.2

Thirty years ago AKG LB-acoustics says its ‘Multilayer
introduced its K1000 technology membranes feature
headphone. It had no internal damping with glass, air
earpads as such (the and resin reinforcement, realising

capsules were held away from the resonance-free HF performance far

head by small pads) and it was into the ultrasonic range’.

pared-down structurally. What’s

more, its square drive units sat in RIGHT ANGLE

woven cages of thin metal wire, The 3.2 doesn’t have one ‘sound’,

which could be rotated to be either but a variety according to

flat to the ear or angled forwards. how you angle the capsules

Created by its AKG co-designers, relative to your ear. With

Heinz Renner and Helmut Ryback, them flat to the ear and

LB-acoustics’ Mysphere 3.2 – priced partly sealed to it by the

€3300 before VAT – is an improved soundframe pad, it’s

realisation of the K1000. All its louder, has more bass and

features are retained, but the look sounds in large part like a

is less quirky while fit and finish conventional headphone.

are excellent – the modified metal/ With the capsules flung

plastic headband wraps tightly wide open, the level

around the head at an angle, with drops enough to require

sliding bearings for adjustment. a volume setting close

Neatly, the two soft pads on to your amp’s maximum.

the inner surface of the headband Bass all but disappears

here attach by magnets, for easy and the stereo image

removal, and are washable, while a then becomes imprecise.

domed ‘soundframe pad’ covers the The closed position we often

driver on the capsules’ inner face. preferred for rock music, whereas

for vocal and classical music

‘There was an alluring programme, partly open ABOVE: The persuasively distanced in a way
retained an acceptable design’s padded that headphones aren’t adept at,
headband sits and the ethereal quality of Robin
airiness that served up tonal balance and diagonally across Ticciati’s Schumann Symphony No 2
a sense of “being there”’ expanded the perceived the head while with the Scottish CO [Linn Records;
soundstage without it the ‘capsules’ 192kHz/24-bit] was enhanced by
either lie flat to the 3.2’s spacious imaging.
becoming indistinct. ‘It Was the ear or may be
rotated up to 36o VERDICT
Electrical connection is via A Very Good Year’ from Sinatra At outwards
LB-acoustics’ Mysphere 3.2 is
adjustable-angle 3.5mm TRRS The Sands [Reprise; 96kHz/24-bit impressively engineered and its
rotatable capsules really do free
mini-jack sockets at each end of rip] was a good example of a track it from the more claustrophobic
aspects of headphone listening.
the headband, and these allow a to which the Mysphere 3.2 could On acoustic music in particular,
you’ll find the 3.2 can soar.
four-wire connection. Four cable bring a little extra something most

options are provided: 3.5m-long headphones fail to deliver.

unbalanced, terminated in a TRS Old Blue Eyes was positively

mini-jack with 6.35mm adapter located centre-stage, his voice had

(€150); 3.5m balanced with 4-pin an utterly natural tonal balance and

male XLR (€170); 3.5m-long there was an alluring airiness to the

balanced with 4.4mm Pentaconn imaging that served up a genuine

plug (€170); and 1.2m balanced/ sense of ‘being there’. Furthermore,

unbalanced, with 2.5mm TRRS there was an unmistakable sense HI-FI NEWS SPECIFICATIONS

mini-jack (€130). Oh, and all the of the sound having at least partly

connector pins are gold-plated. dissociated from the head. Sensitivity (SPL at 1kHz for 1Vrms input) 102.7dB
Impedance modulus min/max 93.6ohm @ 1.2kHz
Inside each low-obstruction Results were also good with (20Hz-20kHz) 414ohm @ 65Hz
Capsule matching (40Hz-10kHz) ±7.0dB
capsule is a 40mm square drive unit chamber and orchestral music. Tony LF extension (–6dB ref. 200Hz) 49Hz
Distortion 100Hz/1kHz (for 90dB SPL) 1.5% / 0.1%
with a radial magnet structure, just Faulkner’s recording of Beethoven’s Weight (headset only) 347g

as in the K1000, comprising a ring String Quartet Op.18:5, played

of 20 small gold-plated magnets – with flair by the Allegri String

the gold-plating is there to protect Quartets [192kHz/24-bit download

the neodymium magnets. from www.vivatmusic.com], was

YEARBOOK 2020 | www.hifinews.co.uk | 93

LOUDSPEAKER

Floorstanding three-way horn loudspeaker with active bass
Made by: Avantgarde Acoustic Lautsprechersysteme GmbH, Germany

Supplied by: Padood Ltd, Cambridge, UK
Telephone: 01223 653199

Web: www.avantgarde-acoustic.de; www.padood.com
Price: £79,500 (horn/cabinet colour options from £3550-£7400)

Avantgarde
Duo Primo XD

Nothing quite prepares impact that quartet of bass drivers
you for the sheer visual can deliver and the openness of
impact of this huge the midrange and treble typically
1.8m-tall speaker from yields a slickly detailed, very

Germany, least of all its moulded- precise but unforced presentation

from-ABS midrange horn exceeding at modest listening levels.

the full width of the enclosure. Position yourself ‘just so’ and

Sensitivity is necessarily very high – solo voices or strings can appear so

Avantgarde claiming a full 107dB! immersive it’s as if they are truly in

The £79,500 design has horn- and around your head. When the

loaded treble and midrange drivers Duo Primo XDs turn on the magic

and an active bass section using they leave you transfixed. Playing

four 300mm fibre-coned drivers the Barenboim/Staatskapelle Berlin

and a total 2000W of Class D recording of Elgar’s Symphony No 1

amplification. There’s on-board [Decca], that characteristic fluidity

DSP too, accessed using either a and scale was much in evidence,

USB or wired Ethernet connection, the speakers doing a fine job of

providing ‘linearisation’ through localising the woodwind and brass,

a ten-band equaliser, an active with the percussion suitably distant.

crossover variable over a range of Similarly the Dena Piano Duo’s

20-500Hz and a subsonic filter, fine recording of the Brahms Haydn

adjustable in 1Hz steps. Variations [Hommage à Grieg;

2L, DSD64] was delivered

‘When the Duo Primo with exemplary clarity and
lightness of touch, with

XDs turn on the magic realistic weight from the
Steinway instruments. Lake
you’re transfixed’ Street Dive’s stripped-back

take on ‘I Want You Back’,

Covering 170Hz-2kHz, the from Fun Machine [Signature

170mm mid driver, with its ‘soft Sounds], also proved well within

mesh dome’ and custom AlNiCo the speakers’ comfort zone. They

magnet, sits in the throat of a huge treated it to deep, tight bass and

67cm-diameter horn, which is crisp percussion, combining with

lacquered and polished. the lone trumpet to underpin

The tweeter, meanwhile, is a Rachael Price’s vocals perfectly.

50mm driver with a 25mm horn- When these speakers are

coupling, mounted in its own good, they’re very good, as the

18cm diameter horn below the atmosphere and low-end grunt ABOVE: Ten colours are available for the flared horns with
tiger rosewood or zebrano polished veneers for the enclosures
larger driver. Again this is available from the opening sequence to Elton

in custom finishes. It uses a Mylar John’s Goodbye Yellow Brick Road

dome and ferrite magnet, with [Mercury/Rocket] made clear. HI-FI NEWS SPECIFICATIONS

Avantgarde claiming a frequency Sensitivity (SPL/1m/2.83V – Mean/IEC/Music) 103.4dB/102.5dB/102.1dB

extension of up to 20kHz. VERDICT

As a statement about how seriously Impedance modulus: minimum 7.5ohm @ 7.9kHz
& maximum (20Hz–20kHz) 32.8ohm @ 108Hz
SHEER IMPACT you take your audio system, they
Impedance phase: minimum –32o @ 155Hz
Push them too hard with a big, don’t come much more dramatic & maximum (20Hz–20kHz) 33o @ 70Hz

powerful amp and these speakers than the Duo Primo XDs, which Pair matching/Resp. error (500Hz–20kHz) ±1.9dB/ ±4.8dB/±5.2dB

can sound overbearing. But run can sound very special indeed –

them at a comfortable level and especially on vocals. If not always LF/HF extension (–6dB ref 200Hz/10kHz) <20Hz / 19.8kHz/19.4kHz

their extraordinary dynamic ability ‘speakers for all seasons’, when THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) <0.1% / <0.1% / 0.3%

is revealed to impressive effect. you hear them ‘sing’ it may prove Dimensions (HWD) / Weight (each) 1800x670x650mm / 185kg

Specifically, the sheer visceral difficult to go back!

94 | www.hifinews.co.uk | YEARBOOK 2020

LOUDSPEAKER

Five driver, three-way reflex-loaded floorstanding loudspeaker
Made by: B&W Group Ltd, West Sussex
Supplied by: B&W Group Ltd
Telephone: 0800 232 1513
Web: www.bowers-wilkins.co.uk
Price: £4499

B&W 702 Signature

There’s little to distinguish they do little to alter the amount of RIGHT: Clothed
this £4499 floorstander bass power these speakers deliver, in its luxury
from the earlier B&W 702 which is considerable. cabinet finish
[HFN Dec ’17], beyond a the ‘Signature’
rather snazzy wood finish to the EFFORTLESS GROOVE shares the same
trio of Aerofoil
cabinet, shinier trim-rings around At normal domestic listening bass drivers,
Continuum-coned
the drivers, with a matching grille settings these 702 Signatures stir FST midrange unit
and carbon-dome
over the tweeter, and a metal into life with a focused, open sound tweeter as the
original 702 S2.
‘Signature’ plate on the rear panel. as impressive for its soundstaging as Full-length grilles
are magnetically
The in-house designed and the way it presents the timbres and secured, while
the base can be
built drivers are the same, as is the textures of voices and instruments. spiked or fitted
with rubber feet
configuration, the just under 1m-tall Fire up Monty Alexander’s take on

cabinet housing a midrange driver ‘Rocking In Rhythm’ [My America;

and a trio of bass units, the latter Telarc] and they really slam into

tuned with a rear-venting port. the dramatic opening before

The 25mm ‘Carbon Dome’ settling into an effortless groove,

tweeter (inspired by the 800 series) the growling bass successfully

sits in its own pod atop a milled underpinning the piano and

aluminium enclosure that’s long percussion as the track bops along.

been a feature of upmarket B&W Similarly with ‘Canción del

speakers. The midrange, meanwhile, Mariachi’ [Desperado soundtrack;

has a 165mm Continuum woven Epic], performed by Los Lobos and

composite driver, its chassis Antonio Banderas, the speakers

engineered for maximum stiffness. make light work of the propulsive

Decoupled from the cabinet, rhythms, while delivering plenty

it sits above a trio of 165mm of insight into both the vocals and

the metallic sound of the

‘Strings and woodwind guitar strings. It’s definitely
an attacking sound, but a

are treated with both hugely enjoyable one.
delicacy and precision’ That clean balance, allied
to no shortage of power,

serves well the demands

‘Aerofoil Profile’ bass drivers, their of classical music: the brass of

cones formed from composite skins Wagner’s Götterdämmerung

enclosing an EPS foam core. Prologue [Simón Bolívar Orch/

So what’s new beyond the luxury Dudamel; 48kHz/24-bit] sounds

finish? Well, the Signature model suitably menacing, while the strings

has an upgraded crossover design and woodwind are treated with

and components (eg, Mundorf both delicacy and precision as we

capacitors), larger heatsinking reach ‘Siegfried’s Rhine Journey’.

and an upgraded low-frequency Meanwhile, Richard Rodgers’ ‘The

capacitor in the bass section. Carousel Waltz’, played by the John

The terminals, meanwhile, are Wilson Orchestra [EMI], is handled

mounted low down to the rear, in a persuasive fashion, the sense of

below the dimpled port, and linked the unstoppable spinning fairground HI-FI NEWS SPECIFICATIONS

with jumper bars removable for ride evoked with real style. Sensitivity (SPL/1m/2.83V – 1kHz/Mean/IEC) 89.8dB / 89.6dB / 87.5dB

bi-wiring or bi-amping. Two-part Impedance modulus: minimum 2.90ohm @ 118Hz
& maximum (20Hz–20kHz) 23.7ohm @ 59Hz
foam pieces, comprising an outer VERDICT Impedance phase: minimum –70o @ 72Hz
& maximum (20Hz–20kHz) 47o @ 1.35kHz
ring and an inner ‘bung’ are supplied The sound of the 702 Sigs has been Pair matching/Resp. error (200Hz–20kHz) 3.3dB/ ±3.7dB/±4.2dB

for bass tuning, but we found these both refined and, possibly, given LF/HF extension (–6dB ref 200Hz/10kHz) 50Hz / 63kHz/61kHz

speakers to be uncommonly room- a slightly more commercial edge. THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 0.5% / 0.15% / 0.5%

friendly, with little of the overall They are hugely enjoyable and Dimensions (HWD) / Weight (each) 994x200x337mm/29.5kg

bass energy coming from the port. musically rewarding – room-friendly

While the use of the bung too, and easy enough to match,

may tighten things marginally by provided you give them some amp

increasing air resistance in the port, power to work with.

YEARBOOK 2020 | www.hifinews.co.uk | 95

GT-5000

GIGANTIC AND TREMENDOUS

LOUDSPEAKER

Omnidirectional two-way loudspeaker
Made by: Duevel, Germany
Supplied by: Signature Audio Systems, UK
Telephone: 07738 007776
Web: www.signaturesystems.co.uk; www.duevel.com
Price: £3995

Duevel Venus

A ffordable omnidirectional can move around your listening area RIGHT: Tucked
speakers have never with little change in the speakers’ away at the
quite made it into the musical presentation. rear, a single set
mainstream, but one of substantial
On the title track from the binding posts is
provided, while
company that produces sensibly- eponymous LP by country the cabinet
finishes include
priced designs is Duevel. The £4k supergroup The Highwomen Black, Macassar,
Maple, and
Venus compact floorstander is the [Elektra], each vocalist stepped into Padouk (similar
to rosewood)
middle model in a five-strong range the limelight in turn, with backing

and has been continually updated instrumentation layered expertly

over its 20-year lifespan. behind. Yet rather than having the

This latest iteration occupies a sensation of being right in front of

stylish hexagonal enclosure that is the group, the feeling was of being

rear-ported and braced, and which further back, with plenty of space

has damping pads fitted on each around listener and performers.

internal surface. An upward-facing If you like to perch on the edge

220mm bass driver with carbon of your seat, eyes shut, in order

fibre cone fires onto the underside to work out the positioning of the

of a circular reflector disc mounted second violinist to within an inch or

on pillars above the cabinet. two, then you may find the Venus a

Above this, further pillars support tad vague in this respect, although

a 33mm soft dome tweeter and we found its particular presentation

this fires downwards. The upper of music, almost irrespective of

and lower profiles of the disc genre, disturbingly addictive.

are different to better suit the The treble was insightful and

frequency ranges being dispersed. detailed, with vocal sibilants a

The speaker also has four small particular stand-out delight. The

absorption pads stuck around the precision with which these delivered

tweeter faceplate and one on their message with crispness and

the upper side of the reflector at then simply vanished, was not what

you might have anticipated.

‘The Venus’s musical Bass response is surprisingly
presentation can be deep, given the relatively
modest dimensions of the

disturbingly addictive’ cabinets. Fortunately, it’s also
taut and precise. ‘Gosh’ from

Jamie xx’s In Colour [Young

what is notionally the rear of the Turks] thundered through the

loudspeaker. These are said to listening room, giving the Venus’s

reduce unwanted reflections. Little modestly-sized bass drivers a good

detail is provided about the ‘phase workout but never finding them

linear crossover’, though the PCB is losing their grip.

located in the base of the cabinet Subtler still, the acoustic upright

away from the magnetic field and double-bass on ‘Indigo River’ from

local output of the bass/mid driver. Julianna Raye’s Restless Night CD

[3Crows] was conveyed with exactly

DISAPPEARING ACT the right amount of fruity warmth – HI-FI NEWS SPECIFICATIONS

With omnidirectional speakers, you could almost smell the cigarette Sensitivity (SPL/1m/2.83V – Mean/IEC/Music) 81.6dB / 81.3dB / 80.8dB

instead of a soundstage with smoke in the ‘jazz club’ atmosphere.

pinpoint accuracy, you get a huge Impedance modulus: minimum 3.7ohm @ 134Hz
& maximum (20Hz–20kHz) 69.3ohm @ 2.8kHz
swathe of sound across the listening VERDICT
Impedance phase: minimum –54o @ 4.9kHz
area. The result here is that the Duevel’s single-minded dedication & maximum (20Hz–20kHz) 70o @ 1.8kHz

Venuses have the knack of being to omnidirectional loudspeakers has Pair matching/Resp. error (200Hz–20kHz) ±3.7dB/ ±8.5dB/±6.1dB

able to disappear more effectively not been in vain here, and the way

than any other loudspeaker design these Venus towers fill the listening LF/HF extension (–6dB ref 300Hz/10kHz) 34Hz / 14.5kHz/14.5kHz

we can think of. Their real strength space with sound – virtually THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 4.8% / 0.6% / 2.5%

comes from the image stability they eliminating the traditional ‘sweet Dimensions (HWD) / Weight (each) 970x280x260mm / 20kg

offer – and it’s surprising how you spot’ – is quite remarkable.

YEARBOOK 2020 | www.hifinews.co.uk | 97



LOUDSPEAKER

Floorstanding four-way loudspeaker
Made by: Franco Serblin Studio, Vicenza, Italy
Supplied by: Absolute Sounds Ltd, UK
Telephone: 0045 9684 5100
Web: www.francoserblin.it; www.absolutesounds.com
Price: £24,998

Franco Serblin
Ktêma

Four years in development, need for loads of power in reserve
the Ktêma was launched was manifested in the way the
in 2010. Only recently has lower registers behaved, especially
proper UK distribution been regarding control and slam.

resolved and a HFN review made The percussion in the remastered

possible for this £25k/pr speaker. Abbey Road [Apple] made some

It is available in Satin Sycamore or visitors we had jump visibly in their

gloss piano black – both having seats, when Ringo’s break at the

polished aluminium top-caps and a tail-end of ‘Carry That Weight’ had

stabilising spiked outrigger. nearly the impact of that legendary

Franco Serblin’s obsession was release, The Sheffield Drum Record.

all about recreating the space of a Yes, it was that vivid!

live event. This explains the unusual We put on Ray Anthony’s

shape of the Ktêma and its almost- admittedly schmaltzy Dancing

triangular footprint culminating in a Over The Waves [Capitol], a

severely narrow baffle only 170mm 7½ips, ½-track tape from 1958

wide – narrower than an LS3/5A. possessing the finest big band

The speaker spreads to 400mm pedigree. Highs were crisp without

across the rear, while front-to-back being aggressive, sounding airy

it is 460mm deep. And they like to and gossamer-like with no lack of

be at least 0.5m from all walls. precision or definition, and one

Made from thin layers of wood can’t avoid the term ‘silky’ because

and aliphatic glue ‘hot pressed’ that’s what you get – a glossy

sheen so un-hi-fi-like that the

‘One can’t avoid the original tape owner would
term “silky” because never have heard it like this.
that’s just what you get’
Turning to vinyl and BB
King & Eric Clapton – Riding
With The King [Reprise], the

test was the obvious battle

together, the cabinet houses a of the guitars. Both performers

vertical array comprising a 28mm are/were masters of restraint and

soft-dome tweeter above two fluidity on this set. The Ktêmas

custom-made 100mm midrange managed the deft trick of sounding

units. A brace of 230mm metal like the audio equivalent of extra

cone drivers then fires from the virgin olive oil, while at the same

back of each tower. The woofers are time serving up heart-stopping,

covered by a slotted rear panel with lightning-quick transients.

vents forcing the sound outward. Another visitor was shocked to ABOVE: Serblin supplies the Ktêma with a tensioned ‘elastic
band’ grille, removed here. It has no effect on sound quality
While very low frequencies are see a soft-dome tweeter, marvelling

largely omni-directional here, most that it could have the sort of speed

of the energy is guided along the now associated with metal domes HI-FI NEWS SPECIFICATIONS

convex sides of the loudspeaker. or ribbon tweeters. But Serblin was Sensitivity (SPL/1m/2.83V – 1kHz/Mean/IEC) 87.7dB / 88.8dB / 87.0dB

Only a small fraction is transmitted a true maestro and he coaxed just Impedance modulus: minimum 2.8ohm @ 20kHz
& maximum (20Hz–20kHz) 8.0ohm @ 860Hz
directly through the rear, via the the right qualities from both. Impedance phase: minimum –28o @ 5.1kHz
& maximum (20Hz–20kHz) 24o @ 415Hz
slits in the back panel. Pair matching/Resp. error (200Hz–20kHz) 0.8dB/ ±2.9dB/±3.3dB

VERDICT LF/HF extension (–6dB ref 200Hz/10kHz) 25Hz / 35kHz/36kHz

A SOUND FOR LIFE The Ktêma does everything right THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 0.7% / 2.1% / 0.2%

These Ktêmas love a lot of juice and nothing wrong. It creates Dimensions (HWD) / Weight (each) 1110x425x460mm / 55kg

and they enjoy delivering realistic soundscapes suggesting whole

levels. That’s not to say that the audio vistas beyond one’s walls, yet

Ktêmas cannot whisper, for they conveys intimacy too. It’s one of the

excel at low levels too. But the finest speakers we have heard.

YEARBOOK 2020 | www.hifinews.co.uk | 99

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AUDIO SYSTEMS

DEALER ENQUIRIES WELCOME
Distributed by Signature Audio Systems, T: 01959 569842 M: 07738 007776
or by e-mail to: [email protected] Web: www.kennertonaudio.com