Hi-Fi-July 2021

Affordable luxury:
Lumina rewrites
the rules.

Lumina distils Sonus faber’s 35+ years of
knowledge and expert craftsmanship,
creating a collection that exceeds even
the highest of expectations.
New models added
Lumina has expanded to include the
new (larger) Lumina II stand-mount and
Lumina V floorstander, complementing
the award-winning Lumina I, III and
CI models.
Speakers you want to see and hear
Whether stereo or a multi-channel,
Lumina pushes the performance
envelope to new heights and beyond.

sonusfaber.com

To find your nearest dealer, please visit:
finesounds.uk/dealers

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

EQUIPMENT REVIEW / KEF LS50 META

“‘A loudspeaker that will continue TECHNICAL SPECIFICATIONS
to set the standard for affordable
stand-mounts for years to come.” KEF LS50 Meta
Type: two-way ass refle stand-mount loudspeaker
Finally, I tried the LS50 Meta with the S2 floor stand Drive units: ni- Driver Array (H : 25 mm vented
designed for the original LS50 and still very much in
production. It’s both a visual match and a sonic improvement aluminium dome with Metamaterial A sorption
to the loudspeaker itself. It’s the right balance of mass (too Technology M / : 130 mm aluminium cone)
much mass can make the LS50 models slightly bass light, requency response (±3dB): 79Hz–28kHz
while too light makes them a bit ‘zingy’ in the upper mid), and requency range (-6dB): 47Hz–45kHz
the pairing results in a ‘nothing to criticise’ £1,400 combo. Typical in-room ass response (-6dB): 26Hz
Crossover frequency: 2.1kHz
Would the LS50 Meta win me over if I didn’t like the Harmonic distortion (90dB, 1m): 0.4 175 Hz–20 kHz
originals in the first place? Probably not, but the improvements
mean you shouldn’t dismiss them out of hand. OK, if the 0.1 300 Hz–10 kHz
reason you didn’t like them in the first place comes down to Ma imum output: 106dB
not liking the sound of Uni-Q then no amount of Meta is going
to change that (personally, I’ve never ‘got’ this argument, but Amplifier power (recommended): 40–100W
some simply don’t like one speaker in the acoustic centre of ominal impedance: 8 (min. 3.5 )
another on a point of principle). However, if your reason for
not buying a pair was because you felt the original LS50 ‘a Sensitivity (2.83 /1m): 85dB
little uncouth’ or ‘a bit unrefined’, the LS50 Meta fixes those inishes: Car on Black, Titanium rey, Mineral White,
concerns, and then some.
oyal Blue Special dition
Then, would I buy a pair of LS50 Meta if I already own Dimensions (H×W×D) with terminal: 30.2 × 20 × 28.1 cm
a pair of LS50? That one’s a little harder, but on balance I’d Weight: 7.8kg per loudspeaker
say ‘yes’. If you own an original pair, the improvements the Price: £1,000 per pair
LS50 Meta brings will be marked and noticeable. The question
becomes a little harder in to answer if you have a pair that are KEF S2 Floor Stand
just out of warranty, but not by much. In absolute terms, the inishes: Car on Black, Titanium rey, Mineral White,
LS50 Meta is good enough to be a worthwhile upgrade over
the original, especially as if you like the LS50’s sound, then the oyal Blue Special dition, Crimson ed Special
next step is likely a KEF Reference model, and that’s a larger dition
financial commitment. Dimensions (H×W×D), with plinth: 65.2 × 22.6 × 30.8 cm
Weight: 4.85kg per stand
Price: £400

Manufacturer: K
: kef.com

T : +44(0)1622 672261

“If it ain’t broke, don’t fix it” is clearly a maxim that KEF
lives by. There was a lot in the original LS50 that KEF got so
very right, there was little point in changing it. So, it didn’t!
Instead, it changed the parts that could be brought up to date
and the result is a loudspeaker that will continue to set the
standard for affordable stand-mounts for years to come. More
importantly, the original LS50 was loved for its combination of
guts and clarity, and now it is gutsier and even clearer than
ever. And it does so without losing that easy musicality and
effortless fun the original put into replay. I even like the stands.
There is no way these LS50 Meta are going back to KEF!

50 ISSUE 197

V10 Phono Preamplifier

groove
The Hegel V10 is a brand-new take in amplification and applied it to one goal
on an old technology. With 30 years’ - To reach down into the record and reveal
experience designing state-of-the-art every bit of information.
discrete transistor circuits, we have built
a phono preamplifier like no other. It The V10 is designed to capture the sound
is neutral, dynamic, and exceptionally To get you closer to the music
revealing. We have used all our knowledge To get you into the groove

MM and MC || Subsonic Filter || System matching || Auto standby || Balanced (XLR) output

www.hegel.com



EQUIPMENT REVIEW

Sennheiser IE 900 In-ear
headphones by Simon Lucas

A s you may have read, Sennheiser’s search matter how impressive that variation might be. Anyway, on
for a buyer for its high-profile, well-regarded the face of it the biggest variation on the wired in-ear monitor
yet not-all-that-profitable consumer audio theme the IE 900 represent revolves around their remarkably
division ended at the start of May this year. hefty asking price.
The announcement that Swiss hearing care
company Sonova Holding AG is now the proud owner of all You’d be hard-pressed to come up with a consumer
that history, all that cachet and all those high-profile, well- electronics category that’s currently less fashionable than
regarded yet not-all-that-profitable soundbars, headphones wired in-ear headphones. ‘In-ear’ strongly suggests ‘portable’,
and DACs came just ahead of the launch of these IE 900s – and ‘portable’ is currently a euphemism for ‘wireless’. And let’s
which makes them a product that signifies both the end of an face it, ‘£1,099 per pair’ has never been all that fashionable
era and a brave new beginning. where in-ear headphones of any configuration are concerned.
So it seems reasonable to suggest the IE 900 are something
But new ground can only be broken once, right? In the of a niche product. But this is not to suggest Sennheiser
world of consumer electronics in general and hi-fi equipment in hasn’t lavished the sort of attention on the IE 900 that has
particular, once that new ground has been broken, everything always made the company’s in-ear monitors such compelling
that comes afterwards is just a variation on a theme. And propositions.
you’d be forgiven for thinking the good people in Sennheiser’s
consumer audio departments might have bigger fish to fry Even if considered simply as a feat of engineering,
right now than simply turning out a variation on a theme, no Sennheiser’s achievements with the IE 900 are significant.
Each earpiece housing is milled (on five – count ‘em! –

53 ISSUE 197

EQUIPMENT REVIEW / SENNHEISER IE 900

axes) from a single billet of aluminium – on the outside, this balanced armature or two in support of a dynamic driver when
creates an interestingly contoured, jewelry-like appearance, designing their own high-end in-ear monitors – but Sennheiser
while on the inside it means a triple-chamber absorption (not without justification) asserts that one driver to cover the
system. Dubbed ‘TC3A’, the system (which also features entire frequency range, if properly implemented, represents
an acoustic vortex milled into the nozzle) is designed to the epitome of high performance.
counter the ‘masking’ effect that manifests itself at lower
volumes. In simple terms, human hearing struggles to identify To ensure this high-level performance is available no
high-frequency sounds if lower-frequency sounds occur at matter the source player into which the IE 900 are plugged,
the same time and at a higher volume – so the absorber they’re supplied with a choice of connectors terminating with
system removes peaks of interference, allowing uncoloured MMCX connectors. Take your pick from 3.5mm unbalanced,
reproduction of the frequency range even at modest volume 2.5mm balanced or 4.4mm balanced – ideally you’ll be using
levels. That’s the theory, anyhow. one of the last two, plugged into a high-quality digital audio
player. Because if you don’t have a nice DAP with unbalanced
Doing the sonic business inside each earpiece is the most output(s), why are you spending a comfortable four figures on
recently fettled version of Sennheiser’s 7mm extra wide-band some high-performance in-ear monitors?
transducer. This new ‘X3R’ transducer, naturally enough,
shoots for super-tight tolerances and class-leading fidelity For the purposes of this test, the IE 900 are attached to
– Sennheiser is claiming the lowest unit-to-unit variations a FiiO M11 Pro digital audio player via their 4.4mm balanced
ever achieved in miniature dynamic drivers such as this. The cable and to an EarMen TR-Amp headphone amplifier via their
company uses precision cameras to monitor components 3.5mm unbalanced alternative. The headphone amp itself
during production, and tests the transducers before and is charged with turning the USB audio output of an Apple
after pairing. A claimed frequency response of 5Hz – 48kHz MacBook Air from a sow’s ear into a silk purse – and unlikely
and THD of 0.05% at 94dB does rather hint at high-level as it seems, the TR-AMp has pulled off this trick before.
performance. Many rival manufacturers like to incorporate a
It’s no mean feat to sound simultaneously wide open and
tightly unified, but it’s this apparent dichotomy that’s the most

54 ISSUE 197

TD3.8

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EQUIPMENT REVIEW / SENNHEISER IE 900

“It’s the midrange, though, where the IE 900 are at their most
prodigiously communicative.”

immediately impressive aspect of the IE 900 sound. A hefty TECHNICAL SPECIFICATIONS
24bit/192kHz file of The Band’s Across the Great Divide
[Capitol] makes it absolutely plain: the Sennheisers create Type: in-ear
such a spacious soundstage that each individual element Drivers: 7mm dynamic driver
or strand of the recording is simple to locate, enjoys proper Frequency Response: 5Hz–48kHz
autonomy in its specific area, and has more than enough Impedance: 16 Ohms
room to reveal even the finest or most transient details of Noise cancellation: none
its individual performance. But at the same time, there’s an Distortion: < 0.05% at 94dB/1kHz
unarguable sense of singularity about the way the IE 900 Sensitivity: not quoted
present this song – the impression of a group of musicians Accessories: 6 × silicon/foam eartips; hard case;
performing sympathetically, responding to each other and to
the demands of the composition on the fly, is extremely strong. MMCX-terminated 2.5mm, 3.5mm and 4.4mm cables
Very few headphones, no matter the price, can communicate Weight: 4g
the idea of musicians all bearing down on a piece of music Price: £1,099
with a commonality of purpose, but a free-flowing looseness
at the same time, as these Sennheisers. Manufacturer: Sennheiser
URL: en-uk.sennheiser.com
The same recording allows the IE 900 to showcase
their talents where a smooth, even and utterly convincing UK Distributor: Sennheiser
description of the frequency range is concerned. Not many URL: en-uk.sennheiser.com
groups manage to make modern instrumentation sound
as antiquated, whiskery and woody as The Band, and the Sundrop Garden], they have the dynamic prowess and powers
Sennheisers are almost gratuitously detailed from the top of of rhythmic expression to make the heavily processed sound
the frequency range to the bottom. Bass is full-figured but of Clinic’s 2nd Foot Stomp [Domino] sound almost organic.
fleet of foot, with plenty of substance but next-to-nothing by
way of overhang – control is absolute. At the opposite end, Really, once you’ve managed to justify the outlay to
there’s absolutely as much bit and shine to treble sounds as yourself there are remarkably few downsides to Sennheiser
is acceptable – but though they periodically threaten to spill IE 900 ownership. They’re light, comfortable, and Sennheiser
over into harshness or shoutiness, it never quite happens and, has made a real effort with the way they are packaged and
instead, they offer some citric sharpness to the otherwise presented. Each cable resists the transmission of any kind of
‘down-home’ tonality The Band so relished. noise. The way the housings are milled, and the material from
which they’re constructed, makes them look quite attractive
It’s in the midrange, though, where the IE 900 are at their in situ too.
most prodigiously communicative. Detail levels are sky-high,
and the line between forensic meticulousness and spontaneity Of course, when a piece of equipment has to be small
of performance is walked with complete confidence. Listening and light by simple requirement of its function, it’s nigh-on
to this song as an information-rich digital file via a pair of impossible to make it look like a premium product (unless
Sennheiser IE 900 is not unlike looking at a beautiful view you just cover it in Swarovski crystals or something). And
through a freshly washed window. sure enough, no one is going to glance at you and your
IE 900 in-ear monitors and think “my goodness, they look
And the story remains the same no matter the sort of expensive!”. But when you’re in the right spot – which is inside
music you care to listen to or how you may seek to find a a pair of IE 900 – you’ll know exactly why they cost what
weakness in the IE 900 game. They tear through Pere Ubu’s they cost.
Non-Alignment Pact [Blank] with obvious relish, they are
as soothing as they come with ((( 0 )))’s Nature’s Joint [The

56 ISSUE 197





EQUIPMENT REVIEW

Ansuz Acoustics D2
range of components byAlanSircom

“P lus ça change, plus c’est la même chose.” On the face Actually, the reason we can do so
of it, Ansuz D2 remains the same high-performance many products in one review is there is
cable we tried in Issue 152, but it’s more about how a commonality to design that makes so
things have changed and how all the elements begin to much sense in context. The D2 cables
tie together is the point of this review. The use of D2 and are all designed using the same ideas and
the ancillary parts all under the Ansuz banner is the second of three reviews in technologies throughout; it’s not as simple as
a cycle; the first being the Børresen loudspeaker design and rounding things “the same cable throughout, just changing
off with the full Aavik electronics package. But each part of that chain works connectors to define the use”, but neither
independently, and perhaps the one that weaves its magic first is Ansuz. It’s does the D2 apple fall far from the tree.
more than conceivable that someone might start with a few Ansuz products in Similarly, in the electronic components,
an entirely different system, and enjoy the experience so much that the system there are so many common concepts,
ends up a complete Aavik, Ansuz, Børresen system. Such is the impact of the what applies to one device applies just as
Ansuz family of products. readily to another. This also goes some way
Last time we tried D2 as a complete family, from mains lead through line- to explaining the ‘all roads lead to Rome’
level interconnect and digital cables right through to speaker cables. We hinted concept running through both Ansuz and the
at the Mainz8 D2 power distributor in that review and this is now brought up electronics and loudspeakers. Commonality
to speed with the latest versions of all these D2 products, plus a PowerBox of design need not mean lazy design and
D2 and the Power Switch D2 network switch. There is further to fall down it isn’t just a way of saving money by using
the Ansuz rabbit-hole with the whole Darkz resonator controls, and the new identical modules throughout. It isn’t even a
‘Rezonator’ platforms, but there are only so many products you can include visual tying together of a range (although, in
in one review! fairness, that is a bonus for some). Instead,

59 ISSUE 197



EQUIPMENT REVIEW / ANSUZ ACOUSTICS D2

“The performance is defined by direct listener observation rather than
simply parroting the technobabble.”

in the really good equipment, commonality This, however, does give you a pretty basic understanding of what goes
of design criteria leads to commonality of under the Ansuz logos, and it’s all about the combination of mechanical
performance. That sounds a bit Maoist, and grounding and noise suppression. The further up the Ansuz line you go, the less
should probably include something about quarter the equipment and cables give to these important deleters of sound
the joys of tractor production, but you get the quality. So, for example, it doesn’t really matter how the Tesla Coil technology
general drift; if all your ducks are in a row, acts on the power wires, for example; all you need to know is they work to
things work better. cancel out mains spike noise. So, that arguably relies on a degree of trust
(whatever it is does what it is supposed to) but once again the proof is in the
However, Ansuz takes a similar approach listening, and by not paraphrasing too many lines of Star Trek technobabble,
to companies like Kubala-Sosna and Tellurium Ansuz places the proof on the listening, which takes a ‘slightly’ different line
Q, playing down the design and materials of to many cable brands. The metallurgy, dielectric, and most other technical
the device, and asks the prospective buyer specifications normally used to describe a cable are considered unimportant.
to focus on the performance in terms of Instead, the performance is defined by direct listener observation, rather than
sound and sound alone. OK, so there are simply parroting the technobabble. It’s a laudable approach.... except when
aspects of the package that get called out for you are trying to fill the page!
being notable, such as DGC (Direct Ground
Connector Technology), DIHC (Double It also means step changes to cables like D2 are audible but not that easy
Inverted Helix Coil technology) and NSC to discuss in terms of ‘what’s changed’. It’s interesting that I have been using
(Noise Suppressing Coil technology), but D2 cables and the Mainz8 and PowerBox for some time now, and the new
these are not given much of an explanation ones are an order of magnitude better. I couldn’t tell you why they are better in
beyond the name itself. When it comes terms of changes to the technology, but they are better.
to Dielectricum or the active Tesla Coil
technology, all bets are off. The way these work is there are little flying leads coming out of the
grounding box on the cables. These connect to the Power Box, and the

61 ISSUE 197

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EQUIPMENT REVIEW / ANSUZ ACOUSTICS D2

“It just lets your system do what it was PRICE AND CONTACT
always meant to do.” DETAILS

Mainz D2 power cable: £8,800/1m
Signalz RCA or XLR interconnect:

£12,000/1m pair
Digitalz D2 BNC-BNC digital

interconnect: £7,200/1m
Digitalz D2 Network digital interconnect:

£2,160/1m
Speakz loudspeaker cable:

£13,600/2m pair
Mainz8 D2 power conditioner: £8,000
PowerBox D2 active star earthing: £4,000
PowerSwitch D2 network switch: £5,360

PowerBox itself takes up one additional plug on the Mainz8, and it also works Manufactuer: Ansuz Acoustics
as a star earth. Add in the PowerSwitch D2 to act as the disconnect between URL: ansuz-acoustics.com
all the noise of a network and your local audio system, and you have an
extremely cogent system that works well. From here, there are still a lot more UK Distributor: Auditorium Hi-Fi
things to work with, such as Darkz isolation feet and Sparkz harmonisers, but URL: auditoriumhifi.co.uk
I’d argue we are already approaching Apex Ansuz. Tel: +44(0)753 949 9449

The worry in any elaborate cable/power/network system is ‘overreach’. Interestingly, the degree of control you
You want a good cable system to reduce the load on your equipment, allowing get over the sound when rigged from front
the bits of hardware – on which you allocated a lot of time, listening resources to back with Ansuz D2 grade cables and
and money – to do what you expected, without being influenced, transformed components might make you re-evaluate
or in any other way jostled by the bits surrounding those components. Too your system. You might bring the speakers
often a cable system adds its own imprint on the performance and while this forward, to compensate for the extra bass
can often be very good and draw together an inconsistent performance, it’s you are getting. You might also find what you
often best if the good stuff lets the other good stuff do its good thing! That’s thought was an effortlessly dynamic system
what the Ansuz system is there for; it just lets your system do what it was was actually over-exuberance on the part
always meant to do. And in so doing, it makes you realise just how few cable of the prior cables. In this latter case, you’ll
systems, mains and resonance control systems and network systems deliver find the extra grip over the sound that Ansuz
the same properties so consistently and without imprinteur. That being said, brings beguiling, and that may ultimately
the Ansuz system does rely on a systemic approach; simply slotting one cable result in system changes to bring the sound
into the system will give you some benefit and a taste of what the Ansuz sound more in line with just how good D2 is. Which
has to offer, but realistically it’s an all-or-nothing commitment. leads us back to the beginning and where
Aavik and Børresen come into the mix.
If you do jump into the Ansuz pool, what you first hear is just how much
bass is being held back by many systems. Power conditioners in particular Ansuz D2 is not the kind of system you
sound a little more in the way compared to the Ansuz equipment. Sometimes can dip your toe into; it’s for orgies or total
that’s a good thing, if your power isn’t that clean to begin with. But if you abstinence... if you try it, try it as a complete
are fortunate to use a power conditioner solely for audio enhancement and system, and if you do, you may never go
not enhancement and power cleaning, the Mainz8 shows just how much back. Ansuz’s D2 as a package is one of the
impact good mains has on the sound, getting under the music’s skin to most cogent system upgrades money can
produce a sound of great richness, clarity and depth, as well as a soundstage buy at this time.
unattenuated by the system (in other words, what the recording engineer
intended throughout).

63 ISSUE 197

With a sculpted aluminum frame and patented Patented IsoAcoustics isolation also prevents the
IsoAcoustics integrated isolators, the Aperta Sub sub’s vibrations from reflecting back up into the
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EQUIPMENT REVIEW

McIntosh MHA200
headphone amplifier bySimonLucas

I f only ‘product density’ were a reliable measure of performance, this review In fact, we may as well start with ‘ins’
of the new McIntosh MHA200 valve-driven headphone amplifier would be and ‘outs’. On the rear panel are a choice
over by now. After all, it’s a mere 146 × 156 × 232mm (h × w × d) and yet of inputs: a pair of unbalanced stereo
tips the scales at a 4.8kg – so as far as ‘density’ goes, this headphone RCA sockets, and a pair of balanced XLR
amp takes some beating. And even if the stylised, tremendously assertive connectors. There’s also ‘in’ and ‘out’ 3.5mm
and always magnificent ‘McIntosh’ logo was removed from the casework of connections for power/trigger control, and
the MHA200 I’m confident it would still weigh in at over 4kg. a figure-of-eight socket for mains power.
Sadly, given the deadline for this review is looming, ‘product density’ isn’t These connections are all mounted in a shiny,
the be-all and end-all where performance is concerned. Instead it’s necessary reflective metal surface that’s undermined no
to plug the MHA200 into the mains – which at least gives us plenty of time to end by a couple of staunchly low-rent stickers
discuss the ins and out of this headphone amplifier while those tubes come – one confirming this is a 230v 50/60Hz
up to temperature. device, and the other carrying a serial number.

65 ISSUE 197

EQUIPMENT REVIEW / MCINTOSH MHA200

The front panel, which is arranged as a kind of terrace, is of equally shiny The less interesting part of the top section
metal. On the upper-left section it’s home to a ‘load’ control, with which you of the MHA220 is taken up with transformers
impedance-match the MHA200 with your headphones – it’s a four-position and some rather gratuitous diagrams of the
switch, with 32, 100, 250 and 600 ohms values available. The McIntosh two output transformer and single power
instruction manual reassuringly suggests “there is no need to be exact”. transformer stages. The McIntosh’s output
stage is a push/pull pure Class A triode, and
Next to this control is a small red tell-tale light, which illuminates when the the company is at pains to point out that
MHA200 is in ‘standby’ and goes out when it’s operational. Next in line is a this is the only headphone amplifier you can
big ‘standby/on’ button, and then there’s a volume dial. This has a ‘unity gain’ buy with unity-coupled output transformers
position, which is indented in the centre of the dial’s travel, and that’s where and that push/pull configuration. McIntosh is
you’ll leave it if your source machine has a variable output. Not for the first time guaranteeing 500mW of power for all loads,
where McIntosh is concerned, this control has quite a lot more play in it than is from 32 ohms to 600 ohms.
ideal and while ‘knob feel’ is subjective (and sounds a little pervy), this doesn’t
have the reassuring heft as might befit the MHA200’s price tag. That rather vague volume control aside,
nothing here seems flimsy or ill-fitting or in any
Below here are a range of headphone outputs. There’s a left/right pair of way suspect – but somehow the perceived
three-pin XLR plugs, a single 4-pin XLR Neutrik stereo output and a 6.3mm value in strictly modern terms isn’t quite there.
unbalanced stereo socket. The shiny metal element of the casework, for
example, is a single piece that’s been folded
It’s up top, though, where all the action, the visual drama and the aesthetic numerous times to create the base of the
justification for a £2,795 price tag is to be found. Here’s where McIntosh has MHA200 – but this method means there are
positioned the four green-glowing vacuum tubes that form part of the power proud edges, and visible snips to facilitate the
and drive of the MHA200 – a couple of 12AT7 valves are used in the driver fold. On the other hand, this too is a part of
stage and two 12BH7s are used in the power stage. McIntosh positions them the McIntosh experience, and is remisncent
inside a metal cage, but if you’re the sort of responsible adult who can use a of classic American cars. Those who love the
headphone amplifier without burning yourself, then the cage is easily removed
in order for the valves to be more readily admired.

66 ISSUE 197

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EQUIPMENT REVIEW / MCINTOSH MHA200

“There’s an effortlessness to the McIntosh’s TECHNICAL SPECIFICATIONS
sound that suits this material down to the
ground – it just rolls along.” Type: Push-pull pure Class A triode
headphone amplifier
looks will not care about such things and the MHA200 feels sturdy and (as
I said) dense, even if you can’t use it to impress the carhop at the drive-in. Inputs: one stereo single-ended (via
RCA jacks); one stereo balanced
But I’ll tell you this much: hook up your MHA200 to a Cyrus CDi compact (via dual 3-pin XLR jacks)
disc player or Cambridge Audio Alva TT turntable at one end, and some Bang
& Olufsen HX or Rosson RAD-O headphones at the other (which is what I have Outputs: one stereo unbalanced
done for the purposes of this test), and any grizzling about perceived value headphone output jack (via 6.3mm
starts to look (or, more accurately, sound) a bit childish. The MHA200 is a hell TRS-type headphone jack); one
of a headphone amplifier. stereo balanced headphone
output jack (via 4-pin XLR Neutrik
The Ray Charles Story vol.1 [Atlantic] is a vinyl gift that keeps on giving, NC4MX headphone jack); one
and when the McIntosh sinks its teeth in it basically sprouts wings and takes stereo balanced headphone
flight. The majority of the recordings on this LP are getting on for 70 years output (via dual 3-pin XLR
old, and the MHA200 doesn’t try to disguise that fact – instead it gives full headphone jacks)
and joyful expression to the syncopated rhythms and endlessly characterful
vocals. There’s an effortlessness to the McIntosh’s sound that suits this Frequency response: 20Hz–20kHz
material down to the ground – it just rolls along with well-judged momentum, Dynamic Range: 1dB (8 ohm load);
keeps an extremely close eye on the detail and nuance in Brother Ray’s voice,
and smoothly integrates the scant backing elements into the picture at a 1.3dB (4 ohm load)
respectful distance. Power Output: 500mW @ 32, 100, 250 or

A system that consists of the Cyrus player, MHA200, Rosson Audio 600 ohm load
Design RAD-0 (connected via 4-pin XLR) and a CD copy of Kraftwerk’s Dimensions (H×W×D):
Computerwelt [Kling Klang] makes the case for the McIntosh in even more
unambiguous terms. This set-up simply delivers, in full. The open, silent 146 × 156 × 232mm
spaces of the recording are given just as much importance as the sounds, Weight: 4.8kg
and the remarkable variation in tonality and texture is expressed torrentially. The Price: £2,795
straight-edged ‘boom-bap’ of the rhythms is described neatly – but, again, the
MHA200 has momentum to its presentation that makes even the chilliest, most Manufacturer: McIntosh Laboratory, Inc.
carefully mechanised rhythm utterly danceable. One can almost hear Afrika URL: mcintoshlabs.com
Bambaataa scribbling down notes.
UK Distributor: Fine Sounds UK
Low frequency extension is considerable here, but with little of the heat URL: finesounds.uk
or sponginess you might associate with valve-orientated equipment. The Tel: +44 (0) 1592 744710
opposite end of the frequency range is rolled off just fractionally, but there’s
no loss of information as a result – just a mild sensation of good taste and That cachet also means any review of
decorum. Midrange balance and detail retrieval is as impressive as you’ll hear the McIntosh MHA200 has to be on its own
from any alternative headphone amplifier at any price. And it all hangs together terms. If you’ve contrived to spend a great
seamlessly – if your headphones are up to it, the MHA200 will impress, deal of money on a system that lacks top-
entertain and impress again indefinitely. drawer headphone amplification, all you
need to do is put a great deal more money
In a very real way, that ability to impress is a function of McIntosh with McIntosh’s way and you can enjoy as good
many of its products, and the MHA200 is no exception. Yes, you can point the a headphone experience as is currently
finger at the detailing of the finish or the feel of the remote, but those green-lit available – from a product the density of
valves and the big gothic McIntosh logo will side-step such criticisms ably. which turns out to be in proportion to the
There remains a pride of ownership surrounding McIntosh products – even opulence of its performance. In short, beauty
ones without blue-glowing VU meters – and that counts for a lot. is more than skin deep here.

68 ISSUE 197

K Series
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EQUIPMENT REVIEW

MonoPulse Model SA
Active loudspeakers

by Alan Sircom

M onoPulse has delivered a consistent and
different, if small, range of loudspeakers for
most of the 21st Century. And during that
time, there have been few changes to the
line-up, but along the way Allan Hendry of
MonoPulse realised that the audio world is changing, and his
loudspeakers need to adapt to meet those changes.
That could sound a little bit apocalyptic, but MonoPulse
is also an extremely pragmatic little company. So, instead
of sacrificing its brand to make a range of new products to
suit the changes in the market, it has modified some of its
existing models, leaving listeners with the option to enjoy
MonoPulse speakers in their original guise, or in a new
wireless active sense. The listener can remain as trad or as
rad as they choose.
It’s easy to spot what remains the same. The Model SA
(slim, active) is essentially a Model S (slim) with an active
module or two. There is also a model SDA, which brings
biamplification to the table, and in the process delivers an
altogether meatier 200W per channel amplification in the
same form factor. There are a range of finishes, too: ten
different colour cloth finishes and a range of wooden top-
plates and plinths. A bit of a mix-up (entirely at our end) meant
that we received the black-on-black model for listening and
photography. This looks good in the flesh, with its matching
black leather logo, but can look like a series of big black blobs
on the page. As you read this, remember that MonoPulse
includes a lot of very fine colour options, many of which would
be far more photographically appealing than the sample we
chose. My apologies to all concerned.
The company has streamlined its range a little since we
last looked at the MonoPulse S in Issue 102. The larger Model
A and the Model S are both still current and both available
in active and passive versions. The stand-mount Model C is
no longer in production. What’s more is that review of the
MonoPulse S written by Paul Messenger in Issue 102 still
holds and holds here. The Model SA isn’t just ‘based’ on
the Model S; it is a Model S, but with the addition of a small
Bluetooth preamplifier and a matching power amplifier built

71 ISSUE 197

EQUIPMENT REVIEW / MONOPULSE MODEL SA

“Installation is key to the MonoPulse sound, whether active or passive.
Spend time working on the height of the speaker relative to the listener.”

into the base of one of the loudspeakers. You get a remote partnered with a 160mm Kevlar-coned mid-bass driver.
control (there’s an IR repeater pointing to the preamp’s remote MonoPulse uses what it calls an ‘asymmetric’ crossover,
eye, so you don’t have to shine the remote at the rear of the where the tweeter sports a fourth-order crossover network
loudspeaker). and a 24dB/octave slope from 3.5KHz, but the LF unit is
directly connected, to avoid crossover distortion. This is the
A quick recap of the MonoPulse S for those who don’t opposite to the minimalist first-order crossover that might
have every issue of Hi-Fi+ to hand. It’s a slim, two-way stand- just have a lone component wired in with the bass driver.
mount design with a wraparound grille and a useful carry However, this choice of network (which only uses film caps
handle on the rear to prevent damage to cloth or the drivers and air-spaced coils) does give the minimum crossover
beneath. As your hand naturally reaches for that handle, it’s span across the frequency range and leaves the speaker
a useful addition that I wish more companies would consider sounding extremely fast as a result. The S/SA are ported
including. The S/SA both feature a 28mm silk-dome tweeter bass reflex designs and that means they are best used a
little away from the walls. Furthermore, Hendry recommends
that as the low frequency unit is 75cm from the floor, try to
avoid the loudspeaker being 75cm from the side or rear
wall to avoid undue bass reflections. This is one of the few
times this important parameter gets a look-in, and for good
reason; he’s right!

MonoPulse also admits that few loudspeakers sit in
the optimum position in the optimum room, and if this
means excess bass, he can supply foam bungs (at no extra
charge) for listeners. MonoPulse also recommends trying
the loudspeakers further apart than usual. The floor-coupling
arrangement has changed to be more in keeping with the
overall style than the older outriggers. The plinth extends the
slim main body to 25cm square at the base, and carries the
base spike holders.

Installation is key to the MonoPulse sound, whether active
or passive. Spend time working on height of speaker relative
to the listener, and the distance from walls and from one
another, and experiment with the HF adjustment bridges on
the connector panel – decrease for those who listen loud or
increase for those who primarily enjoy a spot of late-night low
level listening. However, it’s not an easy on-the-fly adjustment.

The difference between S and SA is the inclusion of a
small off-the-shelf wireless streaming preamplifier (specifically
the Acrylic S10) and a small 2x50W Class D that looks all
the world like a Fosi Audio TPA3116. The preamp technically
could be used to stream via USB and wired Ethernet (it
supports DLNA NAS devices), but it’s a bit of a tight squeeze.
Set-up is no problem, and Acrylic’s iPhone/Android 4STREAM
app is fast and easy to use.

72 ISSUE 197

“You will have not heard anything else much like the ORTHO ACOUSTIC
sound - except of course in live music.“ Background &
theory
ABSOLUTE SOUND

view the full range of Larsen ortho acoustic speakers at audioemotion.co.uk
w: audioemotion.co.uk e: [email protected] t: 01333 425 999

EQUIPMENT REVIEW / MONOPULSE MODEL SA

“It is still a very quick-sounding and forward loudspeaker with excellent
leading-edge definition, and exceptionally good bass.”

This is a story in two acts, however. The first act is TECHNICAL SPECIFICATIONS
about the MonoPulse itself. The sound quality of the SA
is more or less unchanged from our Issue 102 review. It is Type: Active floorstanding loudspeaker
still a very quick-sounding and forward loudspeaker with Drive units: 160mm Kev;ar cone, 28mm silk dome
excellent leading-edge definition, and exceptionally good
bass for a relatively compact loudspeaker. It’s not the most tweeter
neutral-sounding loudspeaker, and that forwardness can tip Active amplifier: 50W Class D (200W for SDA version)
into brightness when played loud. It also has a good, but Measured frequency response (in-room far-field
not outstanding, dynamic range, with a slight softening of
the most dynamic passages of an orchestra in full wig-out. averaged): 24Hz–20kHz ±6dB
Nevertheless, these performance points are all within the Impedance (claimed): 8 ohms (nominal & minimum)
parameters of its similarly-priced rivals, and that super-fast Impedance (measured): 8 ohms nominal, 4 ohms
leading edge impressiveness does make the MonoPulse SA
sound very exciting. minimum
Dimensions (W×H×D): 18 × 10 × 25 cm
Act two is with regard to the choice of electronics and Weight: 11kg
that ‘more or less’ part kicks in a bit here. The Class D power Price: £1,995/pair (as tested, Model S, £1,495/pr,
amp in particular is surprisingly good in places, and helps
bring out that leading-edge definition still further, it also helps Model SDA, £2,395/pr)
emphasise and define that deep bass. But its rough edges
to cohere with some of the observations of the MonoPulse Manufacturer: MonoPulse
sound too. Meaning the ability for the loudspeaker to soften URL: monopulse.co.uk
up at volume is met by a tendency for the power amp to add Tel: +44(0)7785 558238
a little extra grit at the same point. In fairness, though, the
two dove-tail more to the positive; and that makes for a very The Acrylic S10 preamp is a good overall performer with
cogent sounding active loudspeaker system, with a fine tonal a DAC quality about on par with entry-point USB DACs. It’s
balance and some very enjoyable transient fun. pretty easy to stream music from your phone (or even from
my Naim UnitiCore, although I somehow doubt anyone will
spend more on their NAS drive than they do on the whole
system). Where the S10 begins to show its affordability is in
its soundstage presentation, which is slightly foreshortened
especially in image depth. But, very much on the plus side,
it doesn’t sound harsh and that nasty ‘digital’ brashiness
sometimes associated with inexpensive digital replay systems
is conspicuous by its absence.

The SA is a clever way for MonoPulse to add more strings
to its bow. By adding a small preamp and power amp into the
mix, the SA extends its reach to a new generation of potential
MonoPulse users, and thanks to the thin and slim footprint
and the range of colour schemes – including ‘none more
black’ – I can see the loudspeaker being chosen for more
than just its sonic performance. The fact it gets that right too
with a direct and exciting sound with excellent bass is more
than just icing on the cake, though.

74 ISSUE 197

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EQUIPMENT REVIEW

Quiescent Apex 40 coupler
and Peak loudspeaker
module by Kevin Fiske

P roducts that aim to mitigate source; the speakers. The acoustic energy from them modulates ambient air
the sonic damage being pressure against our eardrums, but it also vibrates our audio system too. Inside
done to audio reproduction most speaker cabinets, the crossover is bombarded by energy from the rear of
by electromagnetic and radio the speaker drivers. Meanwhile circuit boards in system components such as
frequency interference are amplifiers are effectively palpated by the modulated air in the room.
common. Not least because the latter is
a higher frequency version of the former. Those who paid attention at school will recall that physical energy applied
However, there is a third corrupting to a conducting material is converted to electrical energy. During normal
influence that is less frequently addressed. playback, our systems are processing not just the musical signal that we
It is microphony. Quiescent is one of the want to hear but, electrical artefacts that we don’t want to hear. These travel
few brands attempting to reduce EMI, RFI back down the speaker cables to the amplifier, and propagate from discrete
and microphony. components such as capacitors in system separates. They become particularly
If we leave aside micro-tremors from the audible when contending fundamentals or harmonics beat against each other
earth’s crust and from traffic, microphony to produce intermodulation distortion, typically heard as ringing.
in our audio systems has the same primary
Even if our audio system is powered through a filter or regenerator,
and even if we turn off everything electrical in the house and listen through

77 ISSUE 197

EQUIPMENT REVIEW / QUIESCENT APEX 40/PEAK

“The Apex Speaker Module is a block of black anodised aluminium,
machined from billet, with no parallel faces.”

headphones, we still cannot escape radiated electrical energy and microphony. labyrinth prevents transmission either from
Audio separates, in particular digital devices, and some discrete components the speaker to the amplifier or vice versa.
too, are themselves active emitters even when simply passing an audio signal. The module also contains a passive electrical
Once EMI, RFI and microphony have entered the signal chain our costly wires network to burn off radiated RFI.
simply perform as conduits for the unwanted noise.
I tried this early version of the Module
Quiescent has been ploughing something of a lone furrow in its focus in 2018, sceptical in the extreme, but in my
on EMI, RFI and microphony mitigation, and in particular on both prevention system, with two types of amplification and
and removal. The company’s approach is two-part: speaker, interconnect and three different speakers, the noise floor was
mains cable designs that resist mechanical excitation and which absorb EMI/ lowered, tonal density and timing cues were
RFI, plus passive devices — the company calls them Couplers and Modules enhanced, dynamic energy increased and
— that drain microphony, EMI and RFI. Quiescent is patenting globally the sound-staging improved. I bought the review
technology used in a new generation of Couplers and Modules, and invited pair and for over two years they were a key
this publication to be the first to try them. element in my system, allowing me to hear
more deeply into recordings, and to discern
The Apex Speaker Module is a block of black anodised aluminium, more clearly how review kit performed.
machined from billet, with no parallel faces and an acoustically disruptive milled
pattern on the outside. It is about the size of a house brick, but weighs rather Quiescent’s revised Peak Speaker
more at some 4.5 kg. Two continuous lengths of solid silver conductor wire Module has the same form-factor and
run internally, starting at a pair of silver WBT binding posts and emerging at operational principle as before, but the
the other end as a length of captive speaker cable terminated in silver WBT labyrinth is now made from a composite of
bananas or spades. The first generation Module clamps the naked conductors granite, ceramic and a high-carbon polymer,
between two halves of a multi-directional, multi-length labyrinth formed of the latter material being the subject of the in-
ceramic. Designed to present a virtual black hole to acoustic energy, the process patenting. The company is opaque

78 ISSUE 197

engineered
to push
the limits

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EQUIPMENT REVIEW / QUIESCENT APEX 40/PEAK

“The new Apex 40 Couplers are not footers or supports as we might
understand the terms, but 3D printed shallow boxes.”

about the ratios of the three elements, and over what bandwidth the new about a very obvious reduction in the degree
Module works, except to assert that it is effective on microphony over a wider of damage being done to phase by the
range than before, and that the carbon polymer increases the bandwidth over review system’s non-DSP disk-to-speaker
which unwanted electro-magnetic energy is absorbed. audio chain.

The new Apex 40 Couplers are not footers or supports as we might The elephant in the room is of course
understand the terms, but 3D printed shallow boxes, overall a little less than cost. Using the Quiescent products in even
the size of two packets of playing cards laid side by side. Like the Modules their a simple system is not for the faint of heart
exterior is irregular with a deep acoustically disruptive pattern. They contain or shallow of wallet. It would take particular
the same tri-material and a passive RFI absorbing network. A sharply pointed bravery to put a pair of £4,500 Modules with
electrode on top allows the Couplers to drain acoustic vibration that would £1,000 floor standing speakers. Would the
otherwise cause microphony, and to terminate radiated electrical energy. result be at least £5,500 worth of sonic value?

Meanwhile, the Peak Speaker Modules were compared back-to-back However, in the context of the total RRP
with the previous model in my review system, placed between a Bryston 4B of the review system, the cost/benefit ratio of
Cubed stereo amplifier and PMC MB2se speakers. They brought a far-from- the Quiescent products can, in my view, be
subtle further lowering of the noise floor, the increase in dynamic headroom easily be justified; does it need to be said that
partnered by greater tonal density, and better focused spatial detail. Improved a 50% gain in sonic quality is not trivial?
intermodulation suppression tamed piano recordings that had previously been
teetering on the edge of offensively bright and ringy, while excessively sibilant The most likely explanation for
voices were calmed. Bass weight and definition also increased – a finding that Quiescent’s shyness over measurements
Quiescent says results from even more unwanted artefacts being stripped from is not that it hasn’t done any — come on,
the signal chain leaving the amplification with less work to do. of course it has — but, probably correctly,
the company understands that expensive
The company says the Apex Couplers should be placed under a products like these are not bought by
component either side of the power supply with the third opposing, like customers on the basis of metrics, but of
a tripod. A firm press from above on the review system DAC enabled the audition. And that is the market model that
Couplers to make electrical contact with the chassis, and there was an Quiescent is now returning to after a three
immediate reduction in background hash, stridency and hissy sibilance. year dalliance with direct selling. Dealers
who will carry demo stock and facilitate no-
Further sets of Couplers were then added in turn under other components. risk in-home evaluation are being appointed
The sonic gains were cumulative, particularly striking with the CD transport, across the UK.
DAC, pre-amplifier and phono stage, slightly less so, but still very worthwhile,
with the power amplifier and turntable power supply. PRICE AND CONTACT
DETAILS
Fully equipped with Couplers and the Speaker Modules, the review
system, no slouch before, was transformed in every dimension, delivering Apex 40 Couplers
greater dynamic agility and power, tonal density and timing cues; in all posting Price: £695 a set of three
a quite remarkable cumulative uplift in performance that most listeners familiar Peak Speaker Modules
with the system put in the order of 50%. Price: from £4,490 a pair

Improvements in perceived timing were particularly noted, there being Manufacturer: Quiescent
a greater immediacy and drive that made complex, multilayered and URL: quiescent.co.uk
polyrhythmic programme easier to listen to and appreciate. It reminded me
of my ‘yikes, this is closer to live’ epiphany on first hearing a pair of Kii Three
speakers, phase-correct right across the audio band and thus able to deliver
more of the you-are-there experience. There’s no suggestion of equivalence
here; but by doing what they do do, the Modules and Couplers brought

80 ISSUE 197

THE O-SERIES

SILVER SUPREME EDITION

“this does three extremely important
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EQUIPMENT REVIEW

AudioQuest Pearl 48,
Carbon 48, Dragon 48
HDMI cables

by Alan Sircom

O ne of the things we are learning fast is when it comes to next-
gen digital audio, all things matter. And nothing is quite so
important as the link between streamer and DAC. A good
streamer is designed not only to act as the coordinator and
curator of both online and local networked music files, but also
as something of a bulwark to prevent the ingress of noise from those networks.
But even the best of them can only go so far, and however hard you try, the
connections between separate digital components can be beset by noise and
a good cable system can help knock that noise into touch.

Best of all, if you are using a link like HDMI, the recent move from
HDMI 2.0 to 2.1 (a move from 18gbps to 48gbps speed… thank you,
video engineering) means even the most basic cables have taken a
marked step forward in radio-frequency noise abatement. I’m not sure
how AudioQuest will take this in the context of a review of AudioQuest
HDMI cables, but if you have a mid-range HDMI from the previous
line (say, Cinnamon), a low-cost generic HDMI 2.1 cable from
Amazon will likely show it a clean set of heels. All of which means
that unless you had some really super spiffy HDMI cable from a
few years ago, it’s probably time to re-evaluate your cabling.

The three AudioQuest 8K-10K Ultra High Speed HDMI
cables I looked at here are the entry-model, the middle and
the top of an eight strong range (with the top three models
– Vodka, ThunderBird and Dragon – also come in eARC
versions where the video conductors are tweaked for
ARC-compatible devices). These are essentially similar
to previous iterations of Pearl, Carbon and Dragon, but
built to even tighter tolerances and precision to meet
and exceed the HDMI 2.1 standard. The difference
between good, better and best with AudioQuest
falls largely to the nature of the conductor and
the degree of noise dissipation. Pearl 48 uses
19 long-grain copper conductors internally and
ensures their layout is ‘direction controlled’ so
noise be directed away from the electronics.
As the name suggests, Carbon 48 inserts
a layer of high-loss carbon between the

83 ISSUE 197

EQUIPMENT REVIEW / AUDIOQUEST PEARL 48, CARBON 48, DRAGON 48

“Take the AQ element out of this and compare a generic 4K and 8K
cable, and you will hear distinct improvements to the system.”

conductors, which also have raised their game to be 5% silver-plated copper. PRICE AND CONTACT
This construction adds to the noise dissipation. Finally, Dragon 48 raises DETAILS
the bar yet higher, opting for pure silver ‘Perfect Surface’ conductors, adds
graphene to that carbon layer sandwiched between the conductors, and then Pearl 48 HDMI: £49/2m (as tested)
adds AudioQuest’s 72V DBS (Dielectric Bias System) to really see off virtually Carbon 48 HDMI: £269/2m (as tested)
the last scintilla of RF noise in the signal path. Dragon 48 HDMI: £2,899/2m (as tested)

Part of the reason I like HDMI as a digital connection is its flexibility; not only Manufacturer: AudioQuest
is it connector of choice for I2S systems, with HDMI and especially ‘8K-10K’ URL: audioquest.com
Ultra High Speed HDMI there is sufficient bandwidth to pass signal, timing and Tel: +44(0)1249 848873
data handshake information between devices using a single HDMI cable. For
example, hooking up a few of AURALiC’s top 2.1 components is easy because structure of the instruments in the mix right
they use HDMI throughout for the company’s internal ‘iLink’ connections; the into the forefront of the sound.
complete ARIES G2.1 streamer, SIRIUS G2.1 upsampler, LEO GX.1 clock and
VEGA G2.1 DAC require just three HDMI cables between them. Then you try Dragon 48 and realise
Carbon 48 is merely an introduction to
Back to the review. As I said, it started with the comparison between really high-grade performance. Now, you
generic 4K HDMI, last-generation AudioQuest Cinnamon and a more recent get a greater sense of dimensionality to the
no-name 8K HDMI found on Amazon, all through the aforementioned AURALiC soundstage, a significantly improved solidity
digital duo. Cinnamon showed just how the generic 4k cable sounded uneven to that stage, a complete absence of digital
and ‘blotchy’; while the tonality remained unchanged, the overall sound didn’t ‘hash’ sound that was rendered almost non-
grab you and its unevenness left the system sounding a bit ‘meh’. However, existent way back in listening to Pearl 48 but
the more immediate and precise Cinnamon was met with a near-identical is fully realised here. Most of all, the sense
performance from the generic 8K cable, which proved to be something of of cohesiveness and coherence that the
a pleasant surprise. Here’s the thing; take the AQ element out of this and AURALiC is so good at revealing is taken
compare a generic 4K and 8K cable, and you will hear distinct improvements to a new level. Music is just that bit more
to the system. No big-name brands, no magic unguents rubbed into the more intimate, with the electronics seeming less in
upmarket cable, just a gentle reminder that there is a lot more to streaming the way, and the whole concept of a noise
audio than ‘bits is bits’. floor becomes a little bit academic at best.

The revelations came thick and fast from here. Pearl 48 sounded so much Musically speaking, the jump from
better than either the last generation Cinnamon or the generic 8K cable that generic 8K to Pearl 48 is marked. The jump
it was almost giggle-inducing. Once again, it’s a sense of the music coming from Pearl 48 to Carbon 48 is noticeable
more into focus and making the resultant sound more exciting and enthralling; and worthwhile, but the step up to Dragon
listening to Donny Hathaway Live [Atlantic] through the generic cable made 48 is so marked, there’s no going back.
him sound like a good soul singer, but through Pearl 48, you realised why What’s more, if you are one of AURALiC’s
he’s considered one of the finest musicians of his generation. Listening to users with at least two of the company’s
him through Carbon 48 makes you understand why he owned songs like G2.1 series on your shelves, you need
‘Jealous Guy’ and ‘You’ve Got A Friend’, as there is more of a real, living AudioQuest Dragon 48 in your life. What are
musician sitting in between the loudspeakers. Once again, the AudioQuest you waiting for?
cables impart a ‘first, do no harm’ approach to the sound that doesn’t change
the overall balance of the AURALiC system. However, the move from Pearl 48
to Carbon 48 opens out the soundstage but brings the detail and harmonic

84 ISSUE 197

THE PERFECT TURNTABLE

Just like children, it should be seen... but not heard

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EQUIPMENT REVIEW

Neederland TrueStand
unibody headphone stand

by Alan Sircom

H eadphone stands traditionally fall into one of pushing them into the path of a part-filled – and soon to be
three types: head-shaped, an inverted-T and a floor-bound – coffee cup (we’ve all done it).
table clamp. Each has its merits and demerits;
for example, the recycled glass head can look With something like a stand, obviously any discussions
great, but if you have a lot of headphones, they of performance are somewhat limited: it either holds a pair
take up a lot of space and it can look like you are playing of headphones well, or it doesn’t. It either sits in place, or it
music to the severed heads of your enemies. The TrueStand doesn’t. It either looks good, or it doesn’t. Fortunately, the
by Neederland is one of the rare exceptions. TrueStand ticks all three boxes very well indeed. Even the
It’s a recognition that most people pick up headphones by looks… It is very close to an exact colour match for my Space
the headband, rather than opening the headphones from the Grey Mac Book Pro; very zeitgeisty for today’s desktops.
earcups out. By making a figure-of-eight CNC-milled rounded
hole in an aluminium unibody with a vegan leather foam inner There’s a lot to like about the Neederland TrueStand,
to both protect the headphones cups and help the headphone and it has become a perma-resident on my desktop. That’s
sit in the stand itself. Note: ‘vegan leather foam’ means possibly not much saying as my desk currently looks like an
‘foamed pleather’ rather than culling vegans for their pelts, explosion in a recycling plant, but a little headphone order in
even if vegan skin is often soft and flexible thanks to all the all that chaos helps a lot.
avocados. There is a small hole in the base of the TrueStand
to prevent fouling a cable strain-relief at the headphone end, PRICE AND CONTACT DETAILS
but as so many use wireless headphones today, those without
a trailing cable will just like the elegance of the design. It’s also TrueStand: £67
easy to clean; you can even wash the TrueStand under the tap
if your personal oils and greases get too caked-on. Manufacturer: Neederland
The joy of the Neederland TrueStand is it reduces the URL: neederland.com
influence of the Personal Audio Poltergeist. Let’s be honest;
everyone who has used a table clamp headphone rest has
slammed their hip into it at one point, sending headphone
and stand in different, floor-bound directions… blame the
poltergeist. If that is a wired headphone plugged into your
computer, there’s a risk of true work-related chaos ensuing.
Having a tidy headphone holder on your desk makes such
visits by said poltergeist less frequent. Best of all, because the
shape is uniquely headphone earcup shaped, the TrueStand
it’s unlikely to end up an accidental store of pens and
staple-guns and the rest. The ‘nano-suction feet’ that help
the Neederland cling to any desktop make a great deal of
sense, too. That poltergeist likes a free-moving base that will
move around the table like it’s on roller-skates; by locking the
TrueStsand in place without it being physically glued to the
tabletop, reaching for a pair of headphones doesn’t end up

87 ISSUE 197

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MEET YOUR MAKER

Crystal Cable/Siltech

by Alan Sircom

W e’ve all been through Crystal Cable went through some changes recently. What happened?
some ‘odd’ times Gabi: Crystal Cable is a very strong brand name associated with very special
recently, but perhaps audio cables, amplifiers, and loudspeakers. The products are famous for their
few companies in surprising, artistic design.
audio had quite
so ‘interesting’ a time as Crystal Cable. As the brand enjoys strong growth, we decided to differentiate the various
Essentially still a family business, Crystal product categories such as loudspeakers and electronics. The brand name
Cable and Siltech operate from the same Crystal Connect has been added and is now used for new product lines.
factory in the Netherlands, although what
could be thought of as the matriarch of that It is similar to what car manufacturers did in the past (Daimler-Benz
family took a sabbatical to reignite their piano Mercedes-Benz) or Apple (Macintosh, MAC, Apple).
playing career unfortunately that coincided
with the pandemic, there was a significant Gabi, after a year off, are you back for good, or do you plan to restart
management restructure, new lines, a return piano recitals once the concert halls are back open?
to closer family ties, and more. Gabi: My sabbatical year and the pandemic trouble were simply a coincidence.
During last year (2020), I took time to go back to the piano, worked on new CD
We spoke to Gabi and Edwin Rynveld of recordings, and also kept in touch with our industry friends.
International Audio Holding BV – the company
behind the brands – about that year, the However, in early 2021, after the management reorganization of IAH
family business… and what happens next! (International Audio Holding), I have gladly returned to the family business
leading the PR, Sales, and Marketing team for Siltech and CrystalConnect –
by Crystal Cable.

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MEET YOUR MAKER / CRYSTAL CABLE/SILTECH

What products are retained from the
original lines (cables and electronics)?
Edwin: All our famous products are still
there including cables lines, portable cables,
loudspeakers, and electronics.

For CrystalConnect – by Crystal Cable,
the Dream series will phase out and be
available while stocks last.

As for Siltech, the Classic Anniversary
products will be replaced by the new
revolutionary Classic Legend series.

How has the connection between
Crystal and Siltech changed?
Edwin: The connection between our two
brands remains unchanged. Both Siltech
and CrystalConnect are fully owned by
International Audio Holding BV, registered in
Amsterdam.

All production takes place in our own
recently extended factory based in Elst, The
Netherlands.

Is the company even more of a family
business today? How?
Gabi: As CEO, Founder and Chief Engineer,
Edwin is leading International Audio Holding.

Our son Viktor de Leeuw has been
IAH’s Operations Director for more than four
years now. He is managing the day-to-day
operations, as well as the busy production
unit, and helps in shaping the future strategy
of the business. Organising the extension
of our factory, implementing the new ERP
system, and financial processes also fell
under his responsibilities.

His younger brother, Peter joined the
Sales and Marketing Team in late 2020. He
builds and maintains relationships with our
company’s partners and anticipates new
business opportunities.

How has COVID-19 affected your
business?
Edwin: Throughout the COVID-19 pandemic
period, production has continued without
any  hiccups. However, to accommodate
current growth and cover for the potential

90 ISSUE 197

91 ISSUE 197

MEET YOUR MAKER / CRYSTAL CABLE/SILTECH

risk of staff falling ill, more staff were added in 2020 and 2021. We had to What’s next for both companies?
take some preventative measures to reduce infection risk; some of the staff Edwin: Siltech’s most important product
work from home, the production team works in shifts, lunch breaks are split is its factory and people. Without this
into teams, etc. But with the vaccination rate growing, we are expecting to be unique high-end manufacturing and R&D
fully operational by the end of this summer. resource, it would not be possible for us
to keep challenging to be the world’s best.
Do you see changes in the market, both for your brands and in It goes without saying, we’re proud of our
general? current team of engineers; they do have
Edwin: Well, superclass audio is a league of its own. Our business is numerous innovative ideas for new sound-
characterized by a mix of old and new: traditional mechanical-based techniques related products. In addition to our internal
– like record players, tape decks, and loudspeakers – mixed with digital amps resources, we are also looking for a strategic
and practical great technologies – like streaming. alliance with an electronics production
company.
Wireless technologies are added for convenience. Cables make sure all
equipment is working together best. Equally important, in order to put more
ideas into practice, the research department
Where do you see the company in 10 years’ time? has to grow further.
Edwin: In the last two years, we doubled our factory real estate as well as
our staff to accommodate for our expected growth. The new extended space At the moment, we have a specialized
allowed us to develop a far bigger laboratory with great research capabilities. engineer with a Ph.D. in this, in Applied
Science, he is especially developing the
The fundamental research, started in 2006, can now grow substantially magnetic properties of our cables. Other
with the more advanced tools. All of these factors combined lead to discoveries engineers are specialized in insulation
in material science and practical implementations. Consequently, discoveries techniques.
lead to better sound, more advanced products, and increased sales. Gabi: Our specialists have a possibility of
using more than 200  pieces of electronic
We are currently working on detailed plans and investment options for equipment and approximately 40  optical
doubling our business in five years. measurement devices that we use in a
couple of magnetic analysis equipment
What products are new from both brands? available in our company. So, we are highly
Gabi: Crystal Connect Art Series and Siltech Classic Legend Series. specialized, we use the best equipment
available in the world because we want to
The Art Series products are the most advanced Crystal cables ever made prove what a cable does.
pushing the limits on sound quality. This series represents a step-change
in materials, technology, construction, and offers three levels of musical Every aspect of production is done in-
performance – starting with Monet, then van Gogh, and finally, the flagship da house to the very finest quality and detail
Vinci cables. With each Art Series range named after an artist who set new possible. Our purpose-designed and built
artistic expression standards, we are emphasizing the close connection shared factory combines manufacturing, warehousing,
by all forms of art be it musical or visual. product design and development, alongside
Edwin: The Siltech Classic Legend is just introduced, and the most advanced research laboratories and dedicated listening
Classic series ever made. It adopts the latest generation of silver-gold alloy facilities. In the near future, further production
metallurgy called G9 and a multilayer Dupont insulation, surpassing all capacity is necessary because the business is
techniques previously used. Classic Legend offers three different models growing at a fast pace.
within the series: 380, 680, and 880. The line includes interconnects, speaker,
digital, and power cables. The new G9 silver-gold conductors, the revolutionary With all the above answers, we want to
3-layer high-tech insulation together with the improved super silent shielding emphasize that cables are arguably the most
increase the already superior quality that audiophiles have come to expect from important part of a high-end audio system.
our cables. All of these innovations result in a superbly resolved sound with a The quality of all our products is measurable,
smooth, balanced tonality, and exceptional stereo imaging properties. audible, and explainable.

92 ISSUE 197

The Amplifier: Re-Imagined See the review
in Hi-fi+ issue 187,

Sept 2020

So here we have a comparative rarity, a genuinely ‘Moor Amps have built a stunning power amp
powerful pre-power combination that gets out of its own in the Angel-6 ... it’s infinitely more sophisticated
way and just delivers the music. Steve Dickinson – Hi-fi+
than it looks’ Jason Kennedy, The Ear

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93 ISSUE 197

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94 ISSUE 197

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95 ISSUE 197

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96 ISSUE 197

MUSIC FEATURE

How to fall in love with
classical music (part two)

by Branko Bozic

T o begin with, I have to report a small change of plan relative to My personal rule No.1 is to decide
the original idea of this, second part of our abbreviated entry into (as firmly as I can before excitement and
the world of classical music. Originally, I considered suggesting adequately obsessive filling of the shopping
a selection of CD (or LP, if you can find them!) box sets that basket gets out of hand) my allegiance to the
would, through a portrait of a single artist, give an exemplary most acclaimed and respected record labels,
cross selection of many classical music pieces of different type and form. If such as Deutsche Grammophon, Decca,
you look at this month’s list of selected titles, you will still see a few of those, RCA, Sony, Mercury, Erato, Columbia. EMI
but the rest ended up being something much more complete, more suitable and, by no means least, Naxos (may be a
and far more useful for the ultimate intended purpose. I am referring to the bargain basement, but plenty of excellent
multiple CD box sets giving excellent portraits of a record label, rather than just performers and renderings of almost every
a single artist/performer. When a record label chooses to show off its recording meaningful classic music piece recorded).
activities over many years, there is no other way of covering successfully the You may think these labels offer a relatively
journey through the complete history of classical music, but to include a wide limited choice compared to everything that
variety of performers, composers and their work in one collection. And that, I has been recorded and released over the
do believe, is ideal for sampling everything an intrigued or interested (audiophile past 30–40 years, but you would be wrong.
or not) newcomer to the world of classical music could wish for. Before you know, you will be confronted with
far too many choices of equally appealing
Box set releases have become increasingly present in recent years for and tempting CD box sets from each of the
several reasons. First and foremost, sets of 30, 40 or 50 compact discs, mentioned labels! And here is where one
beautifully presented and often in original release sleeves, plus a specially needs to be prudent, patient and take time to
written book to accompany the music with all the relevant data and stories, look critically at the actual contents of the set
require no new or additional investment from the label – all material already and each disc in order to establish as best
exists and, in many cases, is also past any royalty timescales and similar as possible which of the musical pieces may
costly contractual obligations performing artists may have had included in their
recording agreements. Further, such box sets are of huge financial benefit to
the consumer as they retail at vastly lower overall cost per CD therein, than
what each of them would have cost if purchased separately at the time of
the original release. Don’t be surprised if you realise you would be paying just
a couple of Pounds, Dollars or Euros per CD in any of the suggested box
set packages.

Most importantly, do not think that because it may be a compilation or a
re-release, the sound quality of the material included would be substandard or
inadequate in any way whatsoever! Quite to the contrary in most cases. Why?
Because most of the recorded material in the box sets has been carefully
listened to (whenever possible, even from the original master tapes) and then
remastered in a manner that improves the overall fidelity of the recording
without taking away any of the positive qualities of the original.

So, how do we go sightseeing within the realms of Amazon or Discogs, to
name just a couple of established internet sales platforms in terms of selection
and availability of classical box sets?

97 ISSUE 197

MUSIC FEATURE / HOW TO FALL IN LOVE WITH CLASSICAL MUSIC

be repeating themselves within different compilations (box sets). It does not • Decca Sound – The Analogue
happen much and often, but still... it’s good to know in order to get as much Years – 50 CDs (2013)
different and diverse music in each set.
• The Decca Sound – 50 CDs (2016)
Another good rule of thumb with box sets is not to treat them as a single • Mercury Living Presence Vol.1
title or album, but looking at the contents of each disc, and adopt them exactly
as those putting them together wanted you to – as a collection of as many (Decca Box Set) – 50 CDs (2012);
individual albums as there may be in the set, that are to be savoured and 6 LP Box Set (2012)
listened to as and when any of them may particularly appeal or tickle your • Mercury Living Presence Vol. 2
interest. A little bit of Beethoven today and, perhaps, another serving of Bach (Decca Box Set) – 55 CDs (2013);
or Stravinsky next week? No problem, it is all there for you at any time of your 6 LP Box Set (2013)
mood and convenience! • Mercury Living Presence Vol. 3
(Decca Box Set) – 53 CDs (2015);
A few more words about the sound quality of box sets in general. As 6 LP Box Set (2015)
we know, the contents of each collection would have been chosen by the • Rca Living Stereo – The
artistic management of the record label, the main goal being to cover the whole Remastered Collector’s Edition –
spectrum of classical music opus from its earliest till contemporary days. Which, 60 CDs (2016)
by default, means that it must exploit their complete archives of recorded • Philips Classics “The Stereo Years”
material over a very long period of time. In practical terms, it means you will – 50 CDs (2015)
find recordings tend to span from mid-50’s of the past century until only a few • Claudio Abbado (Conductor) –
years ago. And, of course, they will sound quite different (I deliberately did not Complete DG & Decca Recordings
use attributes such as ‘better’ or ‘worse’) relative to each other. It should not – 46 CDs (2021)
be difficult to understand why – different recording locations, different recording • Riccardo Muti (Conductor) –
processes (analogue or digital), different producers, different everything. Complete Warner Symphonic
Thankfully, what ends up in a good box set is almost without exception of Recordings – 90CDs (2021)
very good, excellent, or exemplary sound as well and, on top of providing an • Sir Colin Davis (Conductor) –
educational insight into the world and history of classical music, will please The Philips Years (Decca Box Set) –
many audiophiles inside ourselves as a bonus. But, be objective and fair, and 15 CDs (2013)
do not expect every single CD from a box set, or every single track (when a • 100 Great Symphonies (Limited
single CD may be a compilation of various compositions played by different Edition) – Deutsche Grammophon
artists) to be “sonically perfect” (whatever that is supposed to mean). Box – 52 CDs (2014)
sets are the best guided tour you may want to embark on or to facilitate your • Great Opera (Naxos Box Set) –
“thumbs up or down” in terms of your potential allegiance to classical music. 10 CDs (2012)
No more and no less. And, if you decided to stay in the world of “classical” to • The Verdi Collection (Riccardo Muti)
be a portfolio of appetizers leading you towards individual albums of pieces or – 29CDs + Dvd Documentary (2016)
artists you ended up liking.

Have a look at the list accompanying the words for this instalment of
our journey and feel free to expand on it, explore the web for more and
different. I do hope you find it useful and interesting enough to give some of it
a go. Enjoy!

98 ISSUE 197