Hi-Fi News - Yearbook 2021

NETWORK-ATTACHED DAC

Network-attached music library/DAC
Made by: Auralic (Beijing) Co., Ltd, China
Supplied by: Auralic Europe, The Netherlands
Telephone: 075901 06105
Web: www.auralic.com
Price: £4599 (£4899 with 4TB storage)

components into which you play it

are going to have much more of an

effect on the sound than this unit.

Above all, the Auralic Altair G2.1

‘communicates’. Play a demanding

recording such as the Trondheim

Symphony Orchestra set of Kleiberg

concertos [2L; DXD], and the sheer

focus of the sound, and the natural

balance of the solo instrument

against the rich weight of the

orchestra is breathtaking. As, we

Auralic Altair G2.1 might add, is the sense of presence
and space in the soundstage.

The same goes for Charlie

Haden, Jan Garbarek and Egberto

Gismonti’s 1980 Magico album

[ECM]. Here the Altair G2.1 gets

It may only set you back a little as is Internet radio, and it can work ABOVE: The its teeth into the label’s typically
more than the company’s with Songcast and Spotify Connect. 4in TFT display gorgeous production, allowing
Aries G2.1 ‘Wireless Streaming reveals the library the sax to soar above the deep,
Transporter’ [HFN Feb ’21] Making sense of all this is of albums/songs superbly-resolved bass, while guitar
Auralic’s own Lightning DS OS,

– £4599 plays £4199 – yet this which works in conjunction with the available or in and piano are also given full licence

‘Digital Audio Streamer’ is a much app of the same name. There’s also play (inc. cover to be heard to thrilling effect.

more comprehensive product. The the option of controlling the unit art) in addition to It’s also as adept when growling

Altair G2.1 comes with an onboard using the Lightning Web Control allowing the user out some driving rock. From the

DAC, a preamp to drive a power Interface. There’s a huge raft of to navigate the slow-burn blues of ‘Just Got Back

amp or active speakers directly, and adjustment available, including the comprehensive From Baby’s’ all the way through

even analogue inputs – a line level ability to select from a range of system and set-up to the charging guitar solo of
and MM phono – to reinforce its digital filter options – we settled on
menus ‘Cheap Sunglasses’, this new Altair

role as a complete system hub. ‘Smooth’, but you may disagree. did proud the Goin’ 50 ZZ Top

Indeed, you can go further with The Altair G2.1 can handle digital compilation [Warner Bros].

the option of an internal hard drive datastreams at up to DSD512 and Its analogue output drove

to allow the Altair G2.1 to function 384kHz/32-bit, the higher limits the amplification, and thus the

as a network music store as well achievable via both network and speakers, to suitably raucous effect,

USB connection from a while still keeping those good-time

‘This DAC is also as computer or USB storage, rhythms rolling as the trio powered
adept when growling whether from a connected on. We even played the odd track
drive or optional internal several times, just to immerse

out some driving rock’ storage. The legacy digital ourselves in the thunder and snarl.
inputs – optical, coaxial

and AES/EBU – top out at VERDICT

as accessing external storage. For 192kHz/24-bit, but can accept This excellent digital front-end

example, specifying it with a 2TB DSD64 via DoP if required. combines ease of use and flexibility,

SSD installed costs £400 extra. The analogue line and MM phono and then layers on a crisp, clean and

Bought without the internal inputs bypass the digital wizardry of gutsy sound as adept at crashing

storage options, this is still an Auralic’s ‘Tesla’ platform and can be out boogie as it is summoning up all

extremely flexible device. You can configured to fixed level in a ‘home the intimacy of a jazz trio.

play music into it via optical, coaxial theatre bypass’ mode. These inputs

and AES/EBU inputs; connect a PC also go straight to the company’s HI-FI NEWS SPECIFICATIONS

via its asynchronous USB-B port, ‘resistor-ladder’ volume control and Maximum output level / Impedance 4.91Vrms / 200-300mohm
or an external USB store using the to its proprietary ‘Orfeo’ Class A

USB-A; or stream to it over a home output stages to either unbalanced A-wtd S/N ratio (USB / Network) 117.0dB / 117.0dB

network using Wi-Fi or Ethernet. It RCAs or balanced XLRs. Distortion (1kHz, 0dBFs/–30dBFs) 0.00003% / 0.00012%

also has both Bluetooth and AirPlay STRAIGHT TALKER Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.0002% / 0.0003%
connectivity and is Roon-ready.
Whether with streams from online Freq. resp. (20Hz-20kHz/45kHz/90kHz) +0.0 to –0.1dB/–0.7dB/–2.1dB
If you don’t go down the Roon services, low-res Internet radio, or
route, the Altair G2.1 itself supports Digital jitter (48kHz / 96kHz) 14psec / 14psec

a range of online streaming hi-res music served up from our NAS, Resolution (re. –100dBFs / –110dBFs) ±0.02dB / ±0.2dB

services, as well as being able to the experience of using the Altair Power consumption 17W (1W standby)

stream from the user’s own network G2.1 was generally a case of ‘move Dimensions (WHD) / Weight 340x80x320mm / 9.5kg
library. Qobuz and Tidal are built-in, along, nothing to see here’: the

YEARBOOK 2021 | www.hifinews.co.uk | 51



BUDGET ESOTERICA – USB/WIRELESS DAC

USB DAC/headphone preamp
Made by: Cambridge Audio Ltd, PRC
Supplied by: Audio Partnership PLC, London
Telephone: 0203 514 1521
Web: www.cambridgeaudio.com
Price: £449

its own right, or as a headphone

amplifier, the 200M proves an

enthusiastic performer. Yes, it’s a

little bass light compared with DACs

with a heftier price-tag, but it’s still

a fine-sounding unit for the money.

The Ashkenazy/Solti/Chicago SO

recording of Beethoven’s ‘Emperor’

Concerto [Decca] proves quite a

challenge for any system, it being

pretty ‘hot’ in its depiction of the

orchestra, but while the 200M is a

little brash at times, it gets to the

heart of the performance. This is

Cambridge Audio particularly true of the delicate
second movement, which sounds
refined and moving, with good
scaling between ‘band’ and soloist.

DacMagic 200M Moreover this little DAC can also
rock out when required, its clarity
serving well the dense mix of King
Crimson’s THRAK in its more recent

remastering [Discipline Global

Mobile]. There’s a lot going on here,

The modern hi-fi market is the indicator showing whether the ABOVE: Power from the opening ‘Vrooom’ to the
not short of affordable DAC/ aptX or SBC codec is in use, as well for the 200M chug of ‘Dinosaur’, and it’s to the
headphone amplifiers, but as selecting the physical digital comes from a 200M’s credit that it’s possible to
the £449 DacMagic 200M inputs. There are optical and coaxial plugtop 12V DC listen in to the superb musicianship

has an impressive pedigree. Indeed, ins on both the ‘D1’ and ‘D2’ inputs, supply, while on offer while still enjoying the

a full 27 years have passed since the but each will accept only one of the pin-hole LEDs on massive overall effect of the set.

launch of the original DACMagic-1 as two connections provided. the fascia indicate And with Jean-Michel Jarre’s

a very affordable ‘CD upgrade’ DAC. Input format detection is 44.1-768kHz Amazônia [Columbia/Sony], which

Yes, this latest arrival still has the automatic, with ten miniature sample rates and combines recreated ‘natural’ sounds

same optical and coaxial inputs as LEDs to indicate the sampling rate DSD64-512 input with soft electronica, the DacMagic

that inaugural model, but now we being processed, from 44.1kHz to streams 200M’s open, explicit sound is

also have both asynchronous USB-B 768kHz, the last four also showing heard to good effect, both with

and Bluetooth 5.0 with aptX, which the DSD format incoming – 64, 128, the sweeps of keyboard and the

allows wireless connectivity with 256 and DSD512 in conjunction occasional bursts of percussion. It’s

with a DSD indicator. A final not only a reliable performer, but an

‘This little wireless lamp will illuminate when an entirely ‘musical’ one too.
MQA file is being processed.
DAC can certainly rock Only file formats up to VERDICT

out when required’ 96kHz/24-bit are supported While excellent as a ‘desktop audio’
on the optical inputs, as is device, the DacMagic 200M can

usual, with the coaxial ins also justify its existence in a main

portable devices. In addition, the extending to 192kHz/24-bit. To go audio system. Its sound may be a

new model, thanks to its ESS Sabre beyond this you’ll need to use a little on the light side, but it remains

ES9028Q DACs, also handles MQA computer, or a standalone music both detailed and rewarding.

files and DSD512 in native form, as server, with a USB connection.

well as PCM to 768kHz/32-bit. As for the digital filters – ‘Fast’, HI-FI NEWS SPECIFICATIONS

Most of the everyday functions ‘Slow’ or ‘Short Delay’ – these are

are on the front panel, including a mix of linear and minimum phase Maximum output level / Impedance 3.85Vrms / 45-61ohm (XLR)

source selection, the choice of three types. We suggest the user adopts A-wtd S/N ratio (S/PDIF / USB) 115.1dB / 115.1dB

digital filter options and the volume a ‘suck it and see’ approach – listen Distortion (1kHz, 0dBFs/–30dBFs) 0.0001% / 0.0005%

control. But there are hidden menu to a few favourite tracks and stick Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.0003% / 0.0005%
items activated by multiple button with whichever minutely different Freq. resp. (20Hz-20kHz/45kHz/90kHz) +0.0dB to –0.1/–0.65/–1.4dB
presses. For example, the analogue presentation is favoured.

output can be switched from fixed Digital jitter (LPCM / USB) 11psec / 10psec

to variable by pushing the volume BRAVE HEART Resolution @ –100dB/–110dB ±0.3dB / –20dB

and filter buttons together. Whether being used as a source Power consumption 7W
The source selection button also component into a conventional Dimensions (WHD) / Weight 215x52x191mm / 1.2kg
amp or preamp, as a preamp in
serves to set up Bluetooth pairing,

YEARBOOK 2021 | www.hifinews.co.uk | 53

NETWORK AUDIO LIBRARY

Network-attached music library/Roon core/digital server
Made by: Grimm Audio BV, The Netherlands

Supplied by: Sound Design Distribution Ltd, Cardiff, UK
Telephone: (0)800 009 6213

Web: www.grimmaudio.com; www.sounddesigndistribution.co.uk
Price: £9495

came into its own. It was, quite

simply, easier to listen deeper

into mixes, with detail previously

obscured made easier to discern.

This was as true with the finer

nuances of the percussion on ‘Six

Blade Knife’ from Dire Straits’ debut

album [Vertigo] as the textures of

the instruments on the Andrew

Manze/Rachel Podger/Academy of

Ancient Music recording of Bach’s

concertos [Harmonia Mundi].

Even with a tortuously dense

mix such as ZZ Top’s ‘La Grange’

Grimm Audio MU1 [Tres Hombres; Warner Bros], the
combination did a masterful job
of maintaining information in

each instrumental line, bringing

the listener even closer to the

performances. And the same held

A t first glance, the company up, you can select how the MU1 ABOVE: The true with complex orchestral
has delivered what seems accesses your music library. A range 3.5in TFT display recordings such as the Bernstein/
to be a closed system. of internal storage options are dominates, with NYPO reading of Holst’s ‘Jupiter’
Grimm Audio makes the available, from 1TB to 4TB, but the the little power [The Planets; Sony Classical], in

entire reproduction chain, from MU1 can also access libraries on light in the ‘i’ of which the finest details of the

the MU1 player here – yours from USB drives, or network shares. the brandname. percussion and other instruments

£9495 – through to its active LS1 You point the Roon Core running Hands-on controls were conveyed to winning effect.

speakers [HFN Mar ’11], to which on the MU1 to whichever store(s) are on that top- And the USB output? Well,

this source component connects you have, and all the music will be panel disc, via a albums such as the Holst and the

using a link on an RJ45 connector. drawn together into one library, as combination of Bach afforded an opportunity to

Yet while the MU1 would seem well as bringing in services including twists and long/ compare a direct DSD feed via

to make most sense in an all-Grimm Qobuz and Tidal plus Internet radio. short pushes USB with Grimm’s proprietary PCM

system, there’s rather more to this The MU1 also features an downsampling and reclocking via

machine than that. For example, it extremely low-jitter master clock, AES3 where, as already suggested,

can feed out digital audio to a DAC Grimm describing the effect of its the company’s approach seems

using one of its two transformer- custom code and clock as ‘regained entirely justified. So, whereas the

resolution’. This begins to resampled/reclocked output via

‘It was, quite simply, that explain why the data from the AES3 connection has all the
the AES3 digital outputs, characteristics mentioned above,
much easier to listen our direct DSD feed to the DAC
which passes through

deeper into busy mixes’ the proprietary signal sounded rather thin and papery by
processing, can deliver comparison, with less fullness and

better sound than that body to instruments and vocals.

balanced AES3 ports, the latter also from the USB ports, which is derived

used in tandem to pass multichannel directly from the Linux motherboard VERDICT

streams to suitable hardware. and has little or no advantage over Not just ‘a computer and some

There’s also the option of using audio from any other PC. That was storage’, the MU1 is all about

a USB DAC connection from one borne out in our listening, however delivering the best possible digital

of two Type A ports provided on illogical it may seem to get a better data to your DAC. To that end, this

the rear panel. But while this route sound from downsampled audio is an entirely convincing ‘transport’

supports the widest range of file rather than a direct DSD feed into a solution, giving sparkling results.

formats, including DSD, the output suitable DAC.

does not avail itself of Grimm’s HI-FI NEWS SPECIFICATIONS

custom downsampling/re-clocking FUSION POWER Digital inputs Ethernet; USB 2.0; AES3; 2xS/PDIF
code – this is the preserve of those
Which brings us on to the way the

AES connections. MU1 performs. Hooked up to a Digital outputs 2x USB 2.0; 2xAES3; RJ45 (for LS1)

The MU1 is based firmly around Tambaqui DAC from fellow Dutch Digital jitter (dCS Vivaldi One) 40psec (AES) / 50psec (USB)

the Roon platform, so you’ll need brand Mola-Mola [HFN Nov ’19], the Digital jitter (Mola Tambaqui) 6psec (AES) / 9psec (USB)

a subscription and a means of sound was wonderfully powerful Digital jitter (Mytek Brooklyn) 4psec (AES) / 6psec (USB)
controlling Roon – computer, and expressive. If the Mola-Mola Power consumption 13W
or handheld device – in order DAC impressed us in 2019 then Dimensions (WHD) / Weight 355x100x295mm / 4.5kg
to operate it. With Roon fired now, fed from the MU1, it really

54 | www.hifinews.co.uk | YEARBOOK 2021

NETWORK-ATTACHED DAC

Network-attached player/DAC
Made by: Citech Co., Ltd, South Korea
Supplied by: Henley Audio Ltd, UK
Telephone: 01235 511166
Web: https://eng.hifirose.com; www.henleyaudio.co.uk
Price: £3899

HiFi Rose RS150 even with a simple recording such
as Javier Laso’s set of Schubert
One of the great benefits and there’s also a slot to accept ABOVE: The and Schumann sonatas [Eudora],
of streaming – network or Micro SD memory cards. 14.9in-wide a pure DSD256 recording played
online – is the flexibility display – yes, at its native resolution. If there’s a
it gives manufacturers Meanwhile, conventional it switches criticism of the sound, it’s merely
digital connections, in and out, into English! one of a slight lack of space and
– provides atmosphere. That aside, there’s a
to create just about any product are provided on optical, coaxial touchscreen close focus on the solo piano, and
control of the excellent weight to the instrument
they like. That isn’t lost on HiFi Rose, and AES/EBU sockets; USB-B for RS150, from not to mention a real sense of the
input selection to delicate touch of the pianist.
whose £3899 RS150 is the more connection to a computer; I2S menu set-up. You
can even have Switch to hard-driving pop – in
expensive of two models being used digital output available on RJ45 or multicolour ‘VU’ this case Tame Impala’s Lonerism
meters set [Fiction/Caroline/Arvato] – and
to launch the Korean brand. DVI sockets; and networking via right from the thumping percussion
of the opening ‘Be Above It’ the
Aside from its machined from wired or wireless connection. RS150 thrills. Freed from the need
to deliver a credible acoustic
solid aluminium casework, your Are we there yet? Not quite, as soundstage, it just lets the music
surge out, with excellent thump
eye can’t help being drawn to the the RS150 can also accept audio and punch, while carving persuasive
instrumental textures without overly
high-res display filling the front IPS from a video device using the ARC deconstructing the wash of sound.

touchscreen panel, which can show (Audio Return Channel) protocol on And it really doesn’t matter
too much whether you play it via
everything from menus to cover a separate ‘HDMI in’ port and the the network or digital inputs, or
employ the internal streaming or
art, not to mention 4K HD video, USB ports can output audio to a use it as a Roon endpoint, for the
‘sound’ is broadly maintained. It’s
suitable DAC. And there’s a rich, dynamic and consistently
rewarding, with only that slightly
‘With hard-driving pop, set of analogue inputs. soft soundstage focus in evidence
the sound surged out Under that very solid lid, with very ‘atmospheric’ recordings.
with thump and punch’
the RS150 runs a customised Play Taylor Swift’s vibrant,
Android 7.1-based system mature Fearless [Republic] and the
using the company’s own RS150 displays the set’s qualities in
spades. The slight sins of omission
here are easily overlooked when
music is being played this well.

Rose OS. This interfaces with VERDICT

which the RS150 can play out to a the proprietary Rose Connect app An accomplished player/DAC, its
slight softness – very content-
connected screen via an HDMI port. running on Android or iOS devices, dependent – is easily overlooked
given the richness and levels of
It’s well equipped too, with and offers day-to-day operation detail on offer. It’s an impressive
debut for the Korean brand.
playback from a wide variety of along with basic elements of set-up.

sources, both local and networked, Digital conversion, meanwhile, is

extensive capability with a in the hands of Asahi Kasei’s Verita

huge range of file formats, and AK4499EQ, which can handle LPCM

compatibility with Airplay, TIDAL up to 768kHz/32-bit, as well as HI-FI NEWS SPECIFICATIONS

with MQA, Qobuz and Roon among native DSD64, 128, 256 and 512.

others. What’s more, it can act as a Whether video or audio, you’ll find Maximum output level / Impedance 8.65Vrms / 579-555ohm

source component or a streaming/ this unit happy to stream and play a A-wtd S/N ratio 118.7dB

digital preamp, thanks to variable- huge range of file formats. Distortion (1kHz, 0dBFs/–30dBFs) 0.00009% / 0.00009%

level outputs on both unbalanced Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.0007% / 0.0003%

RCAs and balanced XLRs. BIG DEAL

It even offers the option of Once configured, this remarkably Freq. resp. (20Hz-20kHz/45kHz/90kHz) +0.0 to –3.5dB/–6.6dB/–8.5dB

becoming both a player and a flexible player revealed itself to Digital jitter (48kHz / 96kHz) 22110psec / 22150psec

streamer – remove a panel in the be an entertaining and inherently Resolution (re. –100dBFs / –110dBFs) ±0.03dB / ±0.1dB

base-plate, and you can install an very enjoyable listen. It delivers Power consumption 25W (1W standby)

SSD drive for onboard storage to a sound that’s certainly big and Dimensions (WHD) / Weight 430x123x316mm / 13kg

complement its USB-A host ports, bold yet comes packed with detail,

YEARBOOK 2021 | www.hifinews.co.uk | 55

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AUDIO SYSTEMS

Distributed by Signature Audio Systems, call: 07738 – 007776
or by e-mail to: [email protected] Web: www.vac-amps.com

NETWORK-ATTACHED DAC

Network-attached DAC/streamer/headphone amp
Made by: Matrix Electronic Technology Co. Ltd, China
Supplied by: Signature Audio Systems, UK
Telephone: 07738 007776
Web: www.matrix-digi.com/en; www.signaturesystems.co.uk
Price: £2795

Matrix Audio sounds fast, tight and punchy when
Element X
required, yet with excellent bass
It may be a compact box just control. For a start you can select ABOVE: With a warmth and detail retrieval.
350mm wide and standing inputs and outputs, the Element X push, a twist and
60mm tall, but the £2795 a click or two, That ability to deliver a full-scale
Element X is not only capable of DAC having two coaxial, two optical you can access a
driving a wide range of headphones, comprehensive sound, rammed with information
and an LVDS/I2S digital input, as well menu system,
as a USB-B for computer connection. while sockets and its drama intact is in evidence
accommodate
it can also be used as a DAC/preamp It also provides two USB-A host both balanced on Queen and Adam Lambert’s Live
XLR headphone
source, with variable output, to ports for storage devices. outs and a Around The World [EMI], which is
feed conventional amplification. On the fascia you’ll find a 6.35mm feed treated to a spectacular live mix.
The Element X makes it big, rich and
There’s also the option of a 10dB choice of headphone outputs –
full of vitality, just as it should be,
boost should this be required. two XLR/6.35mm combination
proving that this DAC/amp isn’t just
It offers multiple digital inputs sockets, and a 4-pin balanced
an exercise in technical excellence
and supports everything from XLR output – the company using and ‘hi-fi-ness’ but also very much
built by people who love music.
network streaming to MQA, Roon, a pair of TI’s high specification
Change pace to the classic EMI
768kHz PCM and DSD1024 via an LME49600 buffers per channel for
Abbey Road recording of Martha
ESS ES9038Pro DAC. To put it mildly, its headphone preamp, each rated
Argerich playing Chopin [EMI Japan;
it’s pretty much future-proofed. at 500mW/32ohm. You can also
DSD64], and all that freshness and
output analogue audio via
detail comes to the fore, along
‘This network-attached XLRs or RCA phonos.
All these options are able with a lovely sense of the studio
DAC/amp is built by acoustic. The passion, dexterity and
to be selected or disabled lightness of touch in the C-sharp

minor Scherzo is nothing short of
breathtaking via the Element X.

Lightness of touch doesn’t come

into it with Stokowski’s lush and

overblown Rhapsodies set for RCA
‘Living Stereo’ [RCA Red Seal]. Subtle
it ain’t, but the Element X brings

out all the gloriously over-the-top

dynamics of this still-staggering
recording. It’s a riot. And with a
fine amp and speakers on the end
of the Element X, things get even

more thrilling with Widor’s Toccata,

played on the Notre Dame de Paris

organ [BNL] – when those pedals

start your body will shake!

people who love music’ in the menu system, delving VERDICT
deeper into which reveals
In a world becoming heavily
It’s possible to use this unit such niceties as seven digital populated with big-ticket DAC/
filters, a choice of DSD low-pass headphone amps, this modestly-
proportioned contender has the
straight out of the box, whether settings, dither, ‘jitter elimination’, wherewithal to soar to the top,
thanks to its flexibility and sound,
as a DAC to feed your system, a DPLL bandwidth for tackling shaky which is never short of thrilling.
streamer or a headphone amp. digital feeds, and headphone gain.

A large part in that is played by There’s also a slimline remote to

the company’s MA Remote app, access basic functions including
available free for both Android volume and input selection.

and iOS. Plug in the Element X and HI-FI NEWS SPECIFICATIONS

fire up the app on your phone or THRILL OF IT ALL

tablet, and it will walk you through The sound here is direct, superbly Max. output (<1% THD, DAC/Pre) 4.34Vrms at 97ohm (Balanced)

network connection and set-up. scaled and never short of entirely Max. output (<1% THD, headphone) 10.2V/600ohm / 1250mW/32ohm

The Element X’s front panel thrilling, whether listening with Headphone output impedance 700-1000mohm (20Hz-20kHz)

controls are no more than a power headphones or using the unit as a A-wtd S/N (S/PDIF / USB / headph.) 116.2dB / 116.1dB / 115.9dB
button, what looks like just a source/preamp. Of course, you can
Dist. (20Hz-20kHz, DAC/headph.) 0.00003-0.0002%/0.0005-0.0048%
volume knob and a pair of further while away the hours playing with
buttons. But this is an exceptionally the digital filters, but we found no Freq. resp. (20kHz/45kHz/90kHz) +0.0dB to –0.02dB/ –0.1dB / +0.1dB

flexible device, with all manner of consistent reason to stray from the Digital jitter (48kHz/96kHz) 5psec / 55psec
user options selectable via a menu default ‘MOD1 filter’, which is a fast
Power consumption 13W
roll-off, minimum phase setting.
accessed by those two buttons Dimensions (WHD) / Weight 340x60x281mm / 4.2kg

and pushes and twists of the main With this in use the Element X

YEARBOOK 2021 | www.hifinews.co.uk | 57

ULTIMATE DESKTOP chordelectronics.co.uk
AUDIO

Anni offers the ultimate desktop audio experience. A compact
integrated amplifier, Anni introduces our next-generation ULTIMA
technology to both headphones and compact loudspeakers for
the first time. Anni: class-leading amplification for desktops
everywhere.

SACD PLAYER/USB DAC

CD/SACD player/USB DAC
Made by: McIntosh Labs, Binghamton, NY, USA
Supplied by: Fine Sounds UK
Telephone: 01592 744710
Web: www.mcintoshlabs.com; https://finesounds.uk
Price: £4995

That’s no drawback, especially

if your musical tastes run to

recordings not exactly the last word

in detail and resolution. And what

the MCD85 loses in the nuances of

ambience and presence, it more

than makes up for with its sheer

ease of presentation.

Playing the slick production of

The Police’s Reggatta De Blanc via
SACD [A&M Records], the MCD85

does a fine job with the Sting/

Copeland rhythm section, all

growling strings and taut skins,

propelling the familiar tracks crisply

and infectiously while giving plenty

of space for the slightly hoarse

vocals and chopping guitar work.

The same went for the gloriously

over-the-top Rage Hard Frankie

Goes To Hollywood compilation on
SACD [ZTT], where the bass weight

and punch of the MCD85 more than

compensated for the slight lack of

top-end space and ambience.

Change pace to a modern SACD/
CD release, in the form of Ragnhild

McIntosh MCD85 Hemsing and Tor Espen Aspaas’s

Beethoven’s Testaments Of 1802
[2L], and the big-boned McIntosh

sound is at ease with the simple

violin and piano performance on
the ‘Kreutzer’ sonata. The ambience

Take a quick look at the input and 12V trigger connections. ABOVE: The here – a 2L hallmark – is more
£4995 McIntosh MCD85, It comes with a second USB-B port design rather hinted at rather than explicitly
used for service functions too. dictates the
and you’d probably think controls – basic painted, even when playing the
Think of this player as a transport functions are source DXD file via the MCD85’s
it was another in the and DAC in one box, and you’re not USB input, but both instruments are
seemingly endless line of amplifier

variations from the US company. too far from the truth. The loader either side of the persuasively weighted and delivered

In fact, what we have here is and its dual-laser disc-reading display, while with excellent timbral detail.

a combination SACD/CD player, mechanism – one lens, but separate the left knob

with a loading tray within the lasers for CD and SACD operation – combines set-up VERDICT

lower, slope-fronted part of the are in the lower section, while the and track skip, As big and bold in its sound as it is

control electronics, display and the right one in the metal, and while arguably a
power and input bit too lush for conservative tastes,
‘The Police track on and an ESS ES9016S DAC selection this player remains an exceptionally
reside in the upper part. easy listen, thanks to its warmth and
SACD was all growling And while the digital
strings and taut skins’ section has wide-ranging generosity of presentation.
file format capability, the

same goes for the transport, HI-FI NEWS SPECIFICATIONS

housing, combined with a digital for as well as standard CDs and Maximum output level / Impedance 4.01Vrms / 99-349ohm (XLR)

section hosting inputs on a range SACDs, it can also read recordable A-wtd S/N ratio (LPCM / CD / SACD) 113.5dB / 110.5dB / 108.8dB
media, including DVD data discs
of connections. There are two (to 48kHz/24-bit on CD±R/RW Distortion (1kHz, 0dBFs/–30dBFs) 0.011% / 0.010%
discs, and up to 192kHz/24-bit and
optical, two coaxial, and a USB-B DSD128 on home-burned DVDs). Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.002% / 0.011%

computer connection that will Freq. resp. (20Hz-20kHz/45kHz/90kHz) –0.0 to +0.3dB/+0.6dB/–8.1dB
accept files at up to 384kHz/32-bit
and DSD256/11.2MHz.

Along with its digital inputs and EASY DOES IT Digital jitter (LPCM / CD / SACD) 115psec / 265psec / 30psec
fixed-level RCA and balanced XLR
Its performance is typically rich and Resolution @ –100dB (LPCM / CD / SACD) ±0.3dB / ±0.8dB / ±0.2dB

line-outs, the MCD85 also has ‘data’ warm, with excellent bass extension Power consumption 15W (1W standby)
and definition, even if it’s not the Dimensions (WHD) / Weight 309x197x413mm / 9.3kg
sockets for system control, as well
as RS232, external infrared sensor most open and airy-sounding player.

YEARBOOK 2021 | www.hifinews.co.uk | 59

NETWORK-ATTACHED DAC

Network-attached/USB DAC
Made by: EMM Labs and Meitner Audio, Calgary, Canada
Supplied by: Audio Visual Technology Solutions, Coventry

Telephone: 07974 735998
Web: www.emmlabs.com; www.av-techsolutions.co.uk

Price: £9750

Bros] was rendered in a super crisp

way, yet it still sounded supple,
fluid and tuneful. What’s more, the

vocal line seemed to function as a

rhythmic instrument as well as a

melodic one. The phrasing of singer

Mike Mills was dialled-in perfectly

with the backing instrumentation

making for a rousing rendition.

The MA3 is great at tracking

the dynamics of a recording, too.

Meitner Audio MA3 Via the USB input from a MacBook
Pro, some classic rock from Rush
really drove this point home. ‘Red

Barchetta’ from the band’s Moving
Pictures [Mercury] can sound quite

a dirge via lesser digital sources, but

This USB DAC is a deceptively from enhanced processing power – ABOVE: The this DAC got its teeth right into the
sophisticated high-end densely layered recording.
source which, by virtue working alongside Mariusz Pawlicki MA3’s dimmable
of the provenance of its display is flanked It conveyed the power of the
company’s founder, claims serious who was in charge of the adaptive multitracked lead guitar work, the
audiophile kudos. Yet the £9750 MDAT2 filter code. by a ‘lossless’ explosiveness of the drumming and
Meitner MA3 is no niche product, the pulsating bass guitar with heady
designed for a few tweaky purists. Apparently it took two years to digital volume abandon, producing a captivating
Its ‘lossless’ volume control makes it control and result that was real edge-of-the-seat
a digital preamp, there’s streaming fully develop – remember, there input select stuff. All that detail and dynamic
are no ‘flavour of the month’ DAC button. Network articulation was a powerful cocktail.
solutions from TI, ESS or AKM, etc, streaming
functions are
in here but bespoke DAC and digital
filtering code executed via an FPGA,

functionality and a choice of front à la dCS, Chord Electronics, MSB and accessed via Of course, the MA3 is not just a
panel, remote control, or app the generic basher-out of stadium rock tunes,
operability via mConnect Control. other progressive companies. mConnect as the same ingredients that made
Meanwhile, a Nexel chip was Control app rock such fun worked wonders
As well as PCM with support for
bought-in for network music playing

MQA, it caters for DSD128 and DXD duties, though, as you might with classical music too. With
conversion over USB and network expect, its implementation has
connections. The latter enables Beethoven’s Piano Concerto No 3
been carefully fettled to suit. Ed [Linn], soloist Artur Pizarro could be

access to high-res streaming services Meitner says that the company’s heard singing like a bird. There was
such as Tidal and Qobuz, plus own MFAST2 asynchronous ‘jitter
also a tangible sense of the concert
avoidance’ technology, hall, while the piano, for example,

‘It boasts a natural tone and custom-built MCLK2 was located so solidly it might
and a terrier-like grip of clock, play an important as well have been nailed to our
rhythms and dynamics’ role in getting the best out listening room wall.
of the streaming platform
as well as the discrete VERDICT

support for popular music services DAC elements themselves. A highly impressive performer, the
Furthermore, a custom-designed Meitner MA3 is one of the finest

like Spotify and vTuner – it’s also switching power supply was chosen streaming DACs at or near its price.

Roon Ready. Meanwhile, multiple in order to further reduce noise It offers a taste of the best high-end

digital inputs and connectors are across all digital sources. designs in a slightly more affordable
joined by both balanced and single- and flexible package.

ended analogue outputs via XLRs WHIPCRACK FAST

and RCAs, respectively. But, of course, sound is where it HI-FI NEWS SPECIFICATIONS

Bespoke is the operative word really counts, and here the MA3 is Maximum output level / Impedance 4.21Vrms / 145ohm
here, defining where the MA3 undoubtedly a top-tier performer. It A-wtd S/N ratio 112.8dB
displays Meitner’s characteristically
stands out from the crowd. It sports

brand founder and CEO Ed Meitner’s enjoyable presentation, which Distortion (1kHz, 0dBFs/–30dBFs) 0.00055% / 0.00014%

fully discrete single-bit MDAC2 means a spacious soundstage, Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.0018% / 0.005%
natural tone and a terrier-like grip Freq. resp. (20Hz-20kHz/45kHz) +0.0 to –3.0dB/–5.3dB
converters, driven via custom of rhythms and dynamics.
upsampling/digital filter code Digital jitter (48kHz / 96kHz) 112psec / 105psec
running on the MDAT2 DSP. This, in part, comes courtesy of

Ed Meitner headed up the this DAC’s lightning-fast transient Resolution (re. –100dBFs / –110dBFs) ±0.05dB / ±0.2dB

engineering team for the MA3 response – the bass guitar work Power consumption 24W (1W standby)
Dimensions (WHD) / Weight 435x92x400mm / 7.4kg
project – an evolution of Meitner’s on a hi-res Qobuz stream of REM’s
proven technologies now benefiting ‘Texarkana’ [Out Of Time; Warner

60 | www.hifinews.co.uk | YEARBOOK 2021

USB DAC

USB & S/PDIF DAC
Made by: Niedal Audio Lab, Switzerland
Supplied by: Whole Note Distribution, Angus, Scotland
Telephone: 0203 9115 549
Web: www.merason.ch; www.wholenotedistribution.co.uk
Price: £4195

Merason DAC1 as that would be a sweeping
generalisation too far! Instead, we
Taking a stand against what Under the lid can be found a ABOVE: The think ‘organic’ just about covers it.
it sees as the complexity pair of TI PCM1794A converters DAC1 is available
found elsewhere in the deployed in differential mode. with a black or, as With Ella Fitzgerald – The
market sector, Merason has Downstream is a proprietary stage pictured, white Complete Piano Duets compilation
Perspex fascia or, [Verve] the Merason DAC1 affords
designed this £4195 converter to that converts the DACs’ current at extra cost, a the opportunity to revel in the
heavier stainless singer’s glorious intonation,
be a simple, straight-down-the-line output to a voltage that feeds a steel panel. A diction and phrasing, delivered
unit. You plug in a digital source, Class A buffer and low-pass filtering. pushbutton with both force and delicacy. It’s
serves to select an enchanting sound, with weight
connect the output to your amp In practice, the signal path is between the in Fitzgerald’s lower registers
indicated input juxtaposed against a featherlight
or preamp via unbalanced RCAs or fully balanced from the output of options sweetness in the upper, and the
effect is entirely captivating.
balanced XLRs, and you’re done. the DACs to the output stage of
All that warmth and generosity
That’s not to say care hasn’t the unit, and uses symmetrical L/R is still in evidence almost regardless
of source or genre. So the DAC1
been taken in the build of the unit. signal paths, with foil capacitors to handles just as well the looser
sound of Patti Smith’s 2005 Royal
Great play is made of the ‘Swissness’ protect against DC at the output. Festival Hall take on her Horses
album [Sony/BMG], delivering
the product, from the precision of The designers also say that with conviction the rawness and
spontaneity of the live performance.
the construction to the accuracy of ‘great attention has been paid to
With the murky ‘wall of sound’
the crystal clock. And while, at just the layout of the motherboard so production of Alice Cooper’s Detroit
Stories [Ear Music], the big, powerful
8kg, the DAC1 doesn’t exactly boast that an extraordinarily high signal- bass is a delight, as is the drawl and
slur of the lead vocal, showing this
to-noise ratio could be DAC can rock with the best of them.

‘This elegant USB DAC achieved’, claiming it to be Switching to large scale
greater than 120dB. orchestral music, such as the
beautifully light-of-touch Budapest
might be considered as As you might expect Festival Orchestra/Iván Fischer
the “antidote to digital”’ from its brief, the DAC1 is recording of Dvorák’s Suite In A
easy to set up and use: one major [Channel Classics], the full
orchestral weight is deployed
both deftly and with precision, the
DAC1 never sounding less than
passionately committed.

button on the front powers VERDICT

bank-vault heft, it feels both solid it on and off, while the other selects The richness of the sound won’t
and beautifully finished. between optical, coaxial, AES/EBU be to every taste, but it’s never
cloying or overplayed. Otherwise
The unit is designed purely for and USB-B connections. Indicators the DAC1’s singularity of purpose
pays off in a presentation that’s as
PCM-based files, from 44.1kHz/ for these various inputs are provided appealing as it is easy to enjoy.

16-bit up to 192kHz/24-bit. The on the front, along with a ‘lock’

company says the idea ‘was not to lamp and one to show a USB link is

build a unit to enable the adoption connected. And that’s about it.

of multiple, new formats using new- HI-FI NEWS SPECIFICATIONS

to-market technologies. Rather, the SMOOTH TALKER Maximum output level / Impedance 2.955Vrms / 145-335ohm
goal is to take proven concepts and
Whether fed via S/PDIF connections

components, that are assembled or USB using a variety of forms A-wtd S/N ratio (S/PDIF / USB) 111.4dB / 111.4dB

with care and attention’. of playback software, the DAC1 Distortion (1kHz, 0dBFs/–30dBFs) 0.018% / 0.0003%

That stance may dissuade some presented music in a way that was Distortion & Noise (20kHz, 0dBFs/–30dBFs) 0.028% / 0.0012%

potential buyers – we’re not sure always warm, rich and smooth Freq. resp. (20Hz-20kHz/45kHz/90kHz) +0.0 to –0.7dB/–2.8dB/–6.6dB

we’d buy a DAC unable to play our without submerging what’s being Digital jitter (48kHz / 96kHz) 111psec / 85psec
collection of DSD files in native form played in excessive lushness.

– but it does allow the company to Merason’s elegant DAC1 might Resolution (re. –100dBFs / –110dBFs) ±0.2dB / ±0.5dB

keep the construction of the DAC1 be considered an ‘antidote to Power consumption 17W

simple and direct, optimising the digital’ but we wouldn’t describe it Dimensions (WHD) / Weight 450x100x290mm / 8kg

circuitry for its singular task. as sounding especially ‘analogue’,

YEARBOOK 2021 | www.hifinews.co.uk | 61

DAP/HEADPHONE AMP

Battery-powered storage, player and headphone amp
Made by: Astell&Kern, Seoul, South Korea

Supplied by: Armour Home Electronics, Herts
Telephone: 01279 501111

Web: www.astellnkern.com; www.armourhome.co.uk
Price: £1099

Astell&Kern
KANN Alpha

A s modern smartphones Battery life is said to be
are able to offer high-
resolution audio playback, around 14.5 hours while
the market for dedicated internal memory is fixed at
64GB, which frankly feels

portable audio players is now fairly somewhat parsimonious.
niche. One of the biggest fish in this This can be expanded via

relatively small pond is Astell&Kern, a microSD card at extra

its £1099 KANN Alpha slotting cost, with cards up to

in between the KANN and KANN 1TB supported.

Cube players on price while being Finally, there is

physically more portly than similarly- the matter of the

priced models in its other ranges. KANN Alpha’s size. At

This extra capacity means more 68x117mm, the frontal

space for amplification with a area isn’t terribly large but

view to meeting a ‘drive anything, the depth of 25mm can make

anywhere’ mission brief. Astell&Kern it a challenging device to carry

claims the KANN Alpha can deliver around. Build quality is extremely

6Vrms via its single-ended output good, however, with the metalwork ABOVE: A 4.1in
and 12Vrms via balanced, which finished to a very high standard and (720x1280px)
touchscreen
should be sufficient to give the user the volume control and buttons is set into a supporting instrumentation. And
laser-cut alloy none of these qualities are lost
pretty much a free choice when it feeling solid. case with high- using the Kann Alpha via its line out,
gloss ceramic as we discovered when hooking it
comes to partnering headphones. cover. Knurled up to a Chord Electronics CPM2800
volume knob MkII integrated amplifier.
What’s more, there are three OUT OF THE GATE is illuminated
according to The Bluetooth implementation is
selectable gain settings. The lowest Beyond its basic ability to go loud, sample rate and a good one too. The performance
LPCM/DSD file via a pair of B&W PI7 true wireless
of these drops its maximum output the player leverages its power type earphones wasn’t simply ‘good for
wireless’, but proved a genuinely
to 2Vrms and 4Vrms respectively, to deliver a muscular and potent enjoyable listen in its own right.

and the intermediate one to 4Vrms presentation that feels effortlessly VERDICT

and 8Vrms. This should avoid the dynamic. With Peter Gabriel’s third Viewed as a compact, mobile
headphone amp, the KANN Alpha’s
undesirable ‘hair trigger’ effect of eponymous solo studio album excellent sound quality, impressive
connectivity and superb build
[Charisma], released in quality make it a very compelling
choice for many headphone users.
‘It leverages its power 1980, the KANN Alpha
succeeded in handling the

to deliver a sound that’s gated drumming on ‘No
Self Control’ without any
muscular and potent’ sense of congestion. Each

drum strike had a weight

using sensitive headphones with and presence that captured the
relatively powerful amplification. All attention without overpowering the

three gain settings can be switched song’s overall tonal balance. Indeed,

to a fixed line out if the KANN Alpha no matter how quickly the scale of a

is being used with a device having piece of music changed, the KANN HI-FI NEWS SPECIFICATIONS

its own volume control. Alpha always had its measure.

Digital conversion is handled via The player also demonstrated Maximum output (<1% THD into 47kohm) 6250mV (single-ended)

a pair of ESS ES9068AS DACs with a commendable balance between Maximum power output (<1% THD) 85mW/32ohm (single-ended)

support for PCM up to 384kHz and tonal accuracy and sweetness. Output Impedance (20Hz-20kHz) 730-1140mohm (single-ended)

DSD to 11.2MHz. Meanwhile, the A FLAC rip of Depeche Mode’s A-wtd S/N ratio (re. 10mW/0dBFs) 105.5dB / 117.0dB

KANN Alpha is the first Astell&Kern Violator [Mute] demonstrated this Distortion (20Hz-20kHz, re. 10mW/0dBV) 0.001-0.008/0.0002-0.0005%

player to feature Bluetooth 5.0. to excellent effect with the song

Thanks to aptX HD and LDAC ‘Waiting For The Night’ sounding Frequency resp. (20Hz-20kHz/45kHz) +0.00dB to +0.0dB/–0.45dB

support, this DAP should also be appropriately intimate and rich. Digital jitter (48kHz / 96kHz) 55psec / 50psec

able to send a 44.1kHz/16-bit file Dave Gahan’s vocals are the centre Battery 5600mAh/3.8V Li-Polymer

to suitable partnering equipment of attention here, but this wasn’t Dimensions (WHD) / Weight 68.3x117x25 / 316g
without significant compression. achieved at the expense of the

62 | www.hifinews.co.uk | YEARBOOK 2021

USB DAC/HEADPHONE AMP

USB DAC/headphone preamp
Made by: iFi Audio (Abbingdon Global Group), Merseyside
Supplied by: iFi Audio
Telephone: 01900 601954
Web: www.ifi-audio.com
Price: £699

even demanding loads to levels

way beyond wise or sensible while

retaining poise and dynamics.

Playing bassist Brian Torff’s live

Manhattan Hoedown [2xHD] the
speed and definition apparent on

his subtle, precise playing of the

upright bass is thrilling on this

DSD128 release. And when you
change tack to a recording with

really low electronic bass, such as

iFi Audio NEO iDSD Jean-Michel Jarre’s Welcome To The
Other Side ‘virtual concert’ [Sony],
the NEO iDSD’s combination of
attack, detail and sheer weight is
striking right from the very dramatic

opening chords.

However, it’s also all about

Packed into the slender form thanks to the TI DSD1793 DAC. The ABOVE: The detail and refinement, as is clear
of the £699 NEO iDSD is NEO iDSD also offers MQA decoding, OLED display with the Pittsburgh SO/Manfred
but the digital implementation is indicates audio Honeck recording of Beethoven’s
not just a DAC/headphone simpler than that in, say, its Pro format, sample 9th [Fresh!/Reference Recordings],
amp configuration but iDSD [HFN Sep ’18], with the latter’s rate, input and which mixes that massive scale
also the choice of balanced XLR various filter and upsampling volume, with the with the finest of touches in the
and single-ended RCA line/preamp rotary also used instrumental timbres.
options left out here in the cause of to set brightness
outputs. And while it’s not as tiny simplicity, and economy. and mute Job done on the headphone
as some of iFi Audio’s offerings, the front, then, but the NEO iDSD also
Meanwhile, the front-panel
unit is still compact – just 21.4cm headphone outputs, which run to delivers when used in the system
a standard 6.35mm unbalanced rack, whether at line-level into a
wide and a shade over 4cm tall
– and boasts the usual sense of

quality and precision about its build socket, and 4.4mm Pentaconn conventional amp or preamp, or

that’s a hallmark of the brand. for balanced working, are fed via straight into power amplification.

The NEO iDSD’s input provision a digitally-governed ‘analogue’ Here it powered out everything
and format compatibility ensures volume control, as are the variable- from Eva Zaïcik’s exuberant Royal
wide-ranging flexibility: coaxial and level line outputs. This single rotary Handel recital [Alpha Classics],
optical digital ins are provided, on the NEO iDSD also combines with a glorious balance between

‘The combination of with the two little buttons voice and the accompaniment of
attack, detail and sheer Le Consort, to The Foo Fighters’
weight was striking’ on the fascia – for input slamming Medicine At Midnight
selection/Bluetooth pairing set [RCA] with just the right mix of

and power – to switch control and snarl.
between fixed and variable
mode, mute the output, and

adjust the brightness of the VERDICT

along with a ‘stacked’ USB-B port display. Finally, the NEO iDSD comes If you need a desktop audio/head-fi

for connection to a computer. There with iFi Audio’s 5V iPower plugtop solution, or a slimline DAC for your
supply, which can be upgraded to main system – or both – the NEO
are Windows drivers for download the company’s £99 iPower X. iDSD has much to commend it, from
from the iFi Audio website, but none

are needed for Mac or Linux. In its powerful and weighty sound to

addition, there’s Bluetooth wireless POWER PLAY broad file format compatibility.

connectivity in the form of the This DAC/headphone amp swiftly HI-FI NEWS SPECIFICATIONS
reveals two things – one is that it’s
Qualcomm QCC5100 module. exceptionally simple to use while Max output/Imp. (<1% THD, DAC) 5.60Vrms / 50ohm (balanced)
Maximum output (headphone) 3.25V/600ohm / 269mW/32ohm
This chipset handles not just the other is that it sounds very
AAC/SBC/aptX and aptX HD, but good indeed. And that’s whether
also aptX Adaptive, aptX LL, the

LDAC format used by Sony devices hooked up to high-quality ’phones Headphone Output Imp. (20Hz-20kHz) 0.24-0.75ohm (single-ended)
and Huawei’s HWA/LHDC. In short,
if your portable device can output or connected into a main system. A-wtd S/N ratio (DAC / headphone) 109.5dB / 107.5dB
hi-res audio wirelessly, then the NEO Used with headphones including
iDSD will be sure to accept it. Distortion (20Hz-20kHz, DAC/headph.) 0.0012-0.0045% / 0.005-0.048%
Oppo’s PM-1 [HFN Jul ’14], Focal’s
Otherwise the highest Spirit Pro [HFN Dec ’15], B&W’s P9 Freq. resp. (20kHz/45kHz/90kHz, DAC) +0.0 to –0.14dB/–0.8dB/–2.6dB
resolutions are only possible over Signature [HFN Mar ’17] and Philips’
the USB-B connection, extending to Fidelio X3, it was clear that this Digital jitter (48kHz / 96kHz, DAC) 550psec / 555psec
768kHz/32-bit PCM and DSD512, unit offers excellent clarity, and
more than enough power to drive Power consumption 3W

Dimensions (WHD) / Weight 214x41x146mm / 1kg

YEARBOOK 2021 | www.hifinews.co.uk | 63

Winning performance

Audiophile quality at a realistic price

The multi-award-winning Chord Company cables
feature the latest high-performance shielding and
our unique ARAY technology, first introduced on our
flagship products and now benefitting all ranges.
A wide variety of analogue and digital interconnects are
available alongside high-performance speaker, tone arm,
mains power and HDMI cables. We also supply stand
feet, contact cleaner and the acclaimed English Electric
8Switch and 16Switch.
Proudly designed in England since 1985 by a dedicated
team of music, cinema and game lovers. Used and
recommended worldwide by a host of professionals,
including record producers, studio engineers, musicians
and hi-fi manufacturers.
Ask your nearest Chord Company retailer for a
demonstration/loan - including the new Chord
Company GroundARAY.

Find out more: www.chord.co.uk

NETWORK-ATTACHED HEADPHONE AMP

USB/Network DAC & headphone amp
Made by: Naim Audio Ltd, Salisbury
Supplied by: Naim Audio Ltd
Telephone: 01722 426600
Web: www.naimaudio.com
Price: £2399

in impact and clarity to be had,

whether or not balanced ’phones

are being used, with just one.

And that ‘useful gain’ in quality is

sufficient to take the Atom HE from

excellent to superb.

This device brings out the best

in a wide range of headphones,

from easy-going moving-coil types

to demanding planar magnetic

designs. The essence of the Atom

HE is that it drives with ease and

conviction, while at the same

time maintaining those Naim-

esque qualities of detail and

rhythmic acuity. A raw recording

like Motörhead’s No Sleep ’Til

Naim Audio Uniti Hammersmith [Bronze] sounds
suitably thrilling, for all its abrasive
edge, while a characterful vocal
such as Sonja Kristina’s cover of

Atom Headphone ELP’s ‘Still… You Turn Me On’ [Purple
Pyramid] is beautifully resolved.

It puts in a good showing with
the scale and drama of classical

Edition music, too, whether it’s the
gentle, small-scale scoring of the
Brazilian Landscapes album [OUR
Recordings], which is treated to a

lucid, beautifully-measured view

of the instruments, or the weight

The latest iteration of deliver online services including ABOVE: To the and power of the Budapest Festival
Naim’s networked all-in- Qobuz and Tidal. This functionality left of the large Orchestra recording of Brahms’
one carries the same price is best accessed through Naim’s colour display Third Symphony [Channel Classics].
tag as the standard Atom, app, although the unit also comes are a USB-A port,
Whatever music you throw at

which remains on sale, but sheds with an RF remote handset. 6.3mm and it, the wide-ranging ability of this

the power amplification to be Regardless of input, all signals balanced 4.4mm compact but substantial streaming

re-purposed as a dedicated device pass through Naim’s long-refined headphone headphone amp is never in doubt.

for ‘head-fi’ enthusiasts. It’s not SHARC-based digital signal outputs while

the UK company’s first headphone processing, and the company’s buttons to the VERDICT

amplifier, but it’s certainly its most favoured TI PCM1791 DAC, and right cover play/ Naim is a latecomer to the

complete offering. thence to the output stage. stop, input and streaming head-fi arena, but the

There are 6.35mm unbalanced ‘favourites’ Atom HE was worth waiting for. It

and 4.3mm Pentaconn balanced EASY DOES IT settings sounds magnificent across a range

sockets on the front panel, plus a Most of our listening was carried of styles and partnering ’phones,

four-pin XLR balanced headphone out using headphones, but we also combining fine detail, power and

ran it as a preamp into our main control. It’s even a respectable

‘That “useful gain” in system. It acquitted itself well in streaming preamp, too.
both roles, although we wouldn’t
HI-FI NEWS SPECIFICATIONS
quality takes it from have minded a fixed output
option on the preamp sockets,
excellent to superb’ enabling it to be used as a source Maximum output (<1% THD into 47kohm) 7.8V (Balanced XLR preamp)

as well as a streaming pre. With Max. power o/p (<1% THD; 8/32/600ohm) 2225mW / 1190mW / 89mW

output to the rear. Adjacent to headphone listening, Naim says all Output Impedance (20Hz-20kHz) 5.2-5.3ohm (22-296ohm, XLR)

this are RCAs and XLRs for preamp three of the amp’s outputs can be A-wtd S/N ratio (re. 10mW/0dBV) 85.5dB / 103.7dB (DAC/pre)
connection, plus optical and coaxial connected simultaneously, but for Distortion (20Hz-20kHz, re. 10mW/0dBV) 0.004-0.01%/0.002-0.009%
digital inputs as well as a single set optimal performance it’s best to Frequency resp. (20Hz-20kHz/30kHz) +0.dB to –0.6dB/–14dB
of analogue ins. stick to using one at a time.

Via Naim’s in-house platform, the This we agree with – while the Digital jitter (48kHz / 96kHz) 15psec / 12psec

Atom HE will stream music from the Atom HE doesn’t sound laboured Power consumption 12W

user’s own collection, be it from even if you do use all the outputs Dimensions (WHD) / Weight 245x95x265mm / 7kg
network storage or USB device, and simultaneously, there’s a useful gain

YEARBOOK 2021 | www.hifinews.co.uk | 65

NOTHING
BUT
MUSIC

factfenestria fenestria in Tiger ebony

Introducing PMC’s most beautifully
transparent ATL™ loudspeaker
\HW ZKHUH HQJLQHHULQJ GHÀQHV
and complements the aesthetics.
Featuring cutting-edge cabinet and
driver design, PMC’s aerodynamic
Laminair™ venting and literally
groundbreaking vibration cancelling
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all unwanted colouration, leaving
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“It’s a striking piece of engineering, and delivers
speed and detail, along with exceptional
soundstaging and an involving effortless listen.”
HiFi News, June ‘21

Book a demonstration to hear your favourite music.
See: www.pmc-speakers.com/fenestria

USB DAC/HEADPHONE AMP

USB DAC/headphone amplifier
Made by: SPL electronics GmbH, Niederkruechten, Germany
Supplied by: SCV Electronics Ltd, Herts
Telephone: 03301 222500
Web: www.spl.audio/en; www.scvdistribution.co.uk
Price: £1899 (£2499 with DAC768 option)

SPL Phonitor xe Two DIP switches built into the
underside of the chassis increase
Y es, you can have the The more complex-looking stuff ABOVE: The the gain of the headphone amp, or
German-made SPL Phonitor starts with the ‘uniquely finely red fascia the gain (sensitivity) of the analogue
xe USB DAC/headphone resolved laterality control’ – actually option is a riot! line input. We’d suggest these
amp, which starts from just a fine balance control – and a Angle, crossfeed are best left in their ‘off’ position
and Laterality unless you have a truly feeble line
£1899 depending on specification, variable crossfeed adjustment to (balance) matrix source. Moreover, the Phonitor xe
may be defeated, has a prodigious output capability,
in silver or black if you want, but bleed some of one channel’s output leaving input particularly with high impedance
select and volume headphones, in no small part due
it’s also available in the bright red to the other, countering some of plus balanced to its proprietary VOLTAiR op-amps
and single-ended that operate at a very high voltage.
anodised finish you see here. Not that ‘left and right’ headphone headphone With this extra headroom on tap,
sockets those DIP switch boosters really
that it needs colour to catch the effect. Slightly trickier is the ‘angle’ won’t be needed.

eye. An unusual battery of features control, which aims to create the If by now you’ve formed an
impression that this is a very
makes it either intriguing or effect of virtual speakers positioned superior headphone amp capable
of handling anything you might
something of a head-scratcher. at various angles to the listener, throw at it, you wouldn’t be wrong.
Whether revealing the fine detail
Fitted with the optional DAC768 from 22o to a fairly wide 55o. It’s an in a recording or pounding out
the likes of The KLF’s The White
module, which adds £600 to intriguing effect, and one whose Room [KLF Communications] at
very serious levels, the Phonitor xe
the base price, the Phonitor xe subjective palatability varies with proved a captivating and musical
companion, with none of that sense
is unmistakably a piece of studio your choice of material. of an over-analytical sound often
ascribed to studio equipment.
equipment – hardly surprising
Used both with headphones
given the manufacturer’s catalogue GRAND SCALE aimed at professional users and
more ‘civilian’ models, the sound
includes recording and mastering Even with orchestral recordings was always intimate and convincing,
with fine space and presence. A
play of Paul Weller’s album Fat Pop
(Vol 1) [Polydor] found dense mixes
open for inspection without ever
detracting from the quality of the
performance and recording.

devices. Its panelwork certainly feels such as the LSO/Pappano set

of Vaughan Williams’ VERDICT

‘Williams’ Symphonies Symphonies 4&6, which It’s hard not to be impressed by
were delivered with was delivered with superb the Phonitor xe despite the lack of
scale and power yet also line outputs. This purist headphone
solution is built like a tank and it’ll
superb scale and power’ bags of internal detail, drive a wide range of headphones
adjustment of the ‘angle’ to ridiculous levels with real ease.

control was interesting

robust, and the controls have that but not convincing. To our ears

‘machined from solid’ feel. it certainly allowed a gradual HI-FI NEWS SPECIFICATIONS

The Phonitor xe has inputs for progression from soundstage width Maximum output (<1% THD into 47kohm) 44.5V (single-ended)

analogue and digital sources, the and dimension to a tighter focus,

former on unbalanced RCAs and but without any sense as to which Maximum power output (<1% THD) 865mW/32ohm (93mW/8ohm)

balanced XLRs, the latter on USB-B, setting actually sounded ‘right’. Output Impedance (20Hz-20kHz) 1.00–1.14ohm

coaxial, AES/EBU and Toslink optical. With more intimate recordings, A-wtd S/N ratio (re. 10mW/0dBV) 99.1dB / 110.9dB

Headphone outputs, meanwhile, the ‘zoom’ effect of this control Distortion (20Hz-20kHz, re. 10mW/0dBV) 0.013-0.25%/0.0012-0.0016%

are standard 6.35mm and balanced became almost comical. However,

4-pin XLR sockets, duplicated on the a little increase of crossfeed proved Frequency resp. (20Hz-20kHz/100kHz) +0.0dB to –0.06dB/–1.35dB

amplifier’s front and rear. There’s beneficial, dependent on the Digital jitter (48kHz / 96kHz) 500psec / 560psec

no standard line/preamp analogue ’phones used, to create a more Power consumption 19W

output to allow it to function as a speaker-like impression of an ‘out of Dimensions (WHD) / Weight 278x100x330mm / 4.9kg

fully-fledged DAC, however. the head’ sonic image.

YEARBOOK 2021 | www.hifinews.co.uk | 67

TUBE POWER AMPLIFIER

Stereo tube power amplifier. Rated at 70W/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: £14,998

Audio Research style, the panoramic richness of the
Reference 80S 105 players – including guests! –
revealed across a gloriously wide
While this 70W-rated Other production engineering ABOVE: Under and deep soundscape. From violins
stereo power amp may updates enjoyed by the REF80S the ‘GhostMeters’ to oboes to tympani and harps, all
well be a new model include the four-layer PCBs debuted are four buttons are all sharply drawn but their union
and, at £14,998, an in the REF160M/S. However, we’re catering for is a richly coloured tapestry, not a
power on, meter contrasty black-and-white sketch.
‘affordable’ step into the realm tempted to suggest that many illumination,
tube monitoring It does intimacy too. Chip Taylor
of Audio Research’s Reference of the core circuit features that and Ultralinear/ and Carrie Rodriguez’s ‘Sweet
Triode modes, Tequila Blues’ [Let’s Leave This
series, in practice its genetics can actually inform the sound of the the LED changing Town; Train Wreck Records] is about
green to blue as undemanding but sensitively-
be traced back through a few REF80S owe more to the earlier played a C&W set as will caress
your ears, Chip’s world-weary
generations of ARC thinking. 6H30/KT120-equipped VT80 [HFN lament juxtaposed by the punchier
quality of his more youthful fiddler
The industrial design, which is Oct ’17]. This was not only the first and vocalist companion. With the
REF80S in tow you are not so much
dominated by etched-onto-acrylic ARC amp to utilise an auto-bias invited as compelled to drum your
fingers and tap your feet as you are
regime but its custom-built wrapped in the close, but never
cloying, acoustic of this honest,
‘Can this amp rock? output transformer is the stripped-back recording.
blueprint for the lump of iron
But can the REF80S rock?
You bet! We could feel and copper weighing down You bet! We could feel the raw
the rear of the REF80S. electricity generated by Lifeson’s
the raw electricity’ Incidentally, ARC’s opening riff to the 96kHz remix
of Rush’s one-time chart hit ‘The
transformers have been made Spirit Of Radio’ [Permanent Waves
40th Anniversary; Mercury Records].
Peart’s drums, and the backing
sequencer, possessed all the
impact and energy that I’d expect
to hear. The REF80S has genuine
‘slam’, delivering bass with richness,
texture and speed and none of the
laziness or overhang you might hear
from a more ‘traditional’ tube amp.

VERDICT

The REF80S is surely the most
compelling gateway to ARC’s
Reference range yet. It’s not beer-
budget stuff, but the fiscal strain
will likely prove secondary to the
emotional wrench if you hear this
amp but then must walk away.

‘GhostMeters’, is a masterwork in North America for some 40 years

in its own right, while the frontal – a third-party relationship that HI-FI NEWS SPECIFICATIONS

aesthetic and footprint of the gives it control over the sound and Power output (<1% THD, 8/4ohm) 79W (38W) / 80W (38W)

REF80S is clearly modelled on the consistency of its tube amplifiers.

bigger REF160M and REF160S Dynamic power (<2% THD, 8/4/2/1ohm) 85W / 85W / 140W / 92W

amplifiers [HFN Aug ’18 & Feb ’20]. MUSIC ON TAP Output imp. (20Hz–20kHz/60kHz) 1.04–1.30ohm / 2.06ohm

These big beasts also feature The REF80S commands sufficient Freq. response (20Hz–20kHz/100kHz) +0.0dB to –0.3dB/–4.0dB

6H30 double-triodes as phase- presence, and down-to-earth Input sensitivity (for 0dBW/70W) 165mV / 1395mV (balanced)

splitters/drivers and bulbous KT150 ‘grunt’, to marshal tremendous

output tubes, albeit twice as many sonic forces – necessary in A-wtd S/N ratio (re. 0dBW/70W) 98.0dB / 116.5dB

as we find in the REF80S. They also realising the likes of Wagner’s Ring Distortion (20Hz-20kHz, 10W/8ohm) 0.095–0.88%

offer switchable Ultralinear (UL) and Cycle [Duisburger Phil/Jonathan Power consumption (Idle/Rated o/p) 211W / 400W

Triode tube configurations, again Darlington; Acousence]. This it Dimensions (WHD) / Weight 470x260x470mm / 28kg

carried over into the REF80S. does with not a little substance and

68 | www.hifinews.co.uk | YEARBOOK 2021

INTEGRATED AMPLIFIER

Integrated amp with DAC/phono modules. Rated at 150W/8ohm
Made by: Audia Flight, Civitavecchia (RM), Italy
Supplied by: Elite Audio Ltd, Fife
Telephone: 01334 570 666
Web: www.audia.it; www.eliteaudiouk.com
Prices: £5950 (+£1100, phono module; +£1850, DAC module)

‘Every Breath You Take’ [The

Police (Singles); A&M Records] made

more demands on the amp’s power

delivery, yet still sounded dreamy,

a medley of ethereal keyboards

and muted guitar underwritten

by buoyant basslines and punchy

drums. Sting’s vocals range from

quietly sombre to anguished on

this track, and the amp put all this

emotion centre-stage.

AC/DC’s ‘Live Wire’ [High

Voltage; EMI] proved to be a real

eye-opener, as the FLS 9 made

Audia Flight FLS 9 this rough-and-ready hard rock
classic sound positively operatic in
its construction. In fact, this amp
delineated the band’s playing like

nothing else I’ve heard. Would we

prefer more bite and edginess to

Boutique brand Audia There’s an element of future ABOVE: The the presentation of this ’70s rocker?
Flight promises products – proofing and customisation. In basic fine-brushed Perhaps, but if this involved a trade-
predominantly amplifiers form the FLS 9 is as an all-analogue aluminium fascia off with the FLS 9’s organisational
– offering a ‘synergy of integrated, with three unbalanced is complemented prowess we wouldn’t be interested.

sophisticated original circuit design RCA and two balanced XLR inputs, by a blue OLED Best-of-breed in terms of

and Italian style’. And the FLS 9 plus balanced/unbalanced pre outs display set an ability to lay out a track’s

auditioned here showcases the and an unbalanced tape output. above a curved composition, the FSL 9 is also no

brand’s audiophile philosophy at a Yet adjacent to its connection bank edge, with the slouch when it comes to delivering

price more manageable – beginning are two slots for optional cards – control buttons, scale and bass heft, and plays loud

at £5950 – than that of its other our sample was fitted with both volume knob – once you’ve coaxed its volume

high-end creations. £1100 phono stage and £1850 and headphone control, which lacks hysteresis,

Available in either silver or black, DAC modules, the former including socket below to where you need it – without

it joins the company’s earlier and separate, fixed-gain MM/MC inputs, sounding in any way like it’s losing

more expensive FLS 10 [HFN Dec the latter including asynchronous composure. It easily transitioned

’17] integrated amp in borrowing USB (768kHz/32-bit and DSD128), from tick-over to full-throttle with

circuit ideas from the reference AES/EBU, optical and coaxial. Wagner’s surging ‘Ride Of The

Strumento range, while channelling Valkyries’ [Der Ring des Nibelungen

elements from the company’s DIVINE RIGHT – Symphonic Excerpts; Tidal Master],

Classic series. Power is rated at Sumptuous. Sonorous. Smooth. handling the ebb and flow of the

The FLS 9 found us reaching music with aplomb.

‘The FLS 9 amp found for the ‘S’ section of our VERDICT
us reaching for the “S” thesaurus. Essentially this
amp sounds ‘just right’ via The gorgeous-looking FLS 9

pages of our thesaurus’ analogue or digital inputs amplifier is right on the money
– warm but not cloying, in performance terms, offering

well-resolved but not clinical, imperious imaging, majestic

150W/8ohm (290W/4ohm), and up powerful but not boisterous. musicality and a smooth, sensuous

to 500W into ‘impedance critical’ The Mance Lipscomb track sound. Time to book a flight…

2ohm loads, via a transimpedance/ ‘Texas Blues’, recorded in 1969

current feedback approach that can for his eponymous Vol 5 album HI-FI NEWS SPECIFICATIONS

be traced back to the company’s [Arhoolie; 44.1kHz/16-bit FLAC], Power output (<1% THD, 8/4ohm) 160W / 280W
1997 Flight 100 debut model. is as stripped-down as the blues

It’s therefore very much a chip gets – tenor voice, acoustic guitar Dynamic power (<1% THD, 8/4/2/1ohm) 180W / 338W / 615W / 1015W

off the old block, but a lot smarter and nothing else. The FLS 9 took Output imp. (20Hz–20kHz, Pre/Amp) 10ohm / 0.019-0.043ohm

looking than its ancestor. Hand- control of these two elements, Freq. resp. (20Hz–20kHz/100kHz) +0.00 to –0.11/–1.0dB
built at Audia Flight’s Civitavecchia presenting Lipscomb’s slurry vocals Digital jitter (USB / S/PDIF) 48psec / 25psec
facility, the 25.5kg FLS 9 exudes the with a light touch, and conveying

air of being lovingly put together, the mixture of twang and tock from A-wtd S/N ratio (DAC/Amp) 104.8dB (0dBFs) / 83.1dB (0dBW)

and has a stately look that certainly his ‘dead-thumb’ picking technique. Distortion (DAC, 0dBFs/Amp, 0dBW) 0.011–0.060% / 0.0075–0.027%

separates it from other amps that Yet the amplifier also created space Power consumption (idle/rated o/p) 111W / 505W (3W standby)
dabble with two-tone finishes and between them, and an appropriate Dimensions (WHD, each unit) 450x150x440mm / 26kg
‘look-at-me’ aesthetics. sense of depth and intimacy.

YEARBOOK 2021 | www.hifinews.co.uk | 69

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AUDIO SYSTEMS

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TUBE HYBRID INTEGRATED AMPLIFIER

Integrated tube/hybrid amplifier. Rated at 150W/8ohm
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: £11,995

BAT VK-3500 matching the drive and dynamics
later on beat for beat.
A rriving this year as part For the asking price, you might ABOVE: Cut alloy
of a wave of products expect an integrated amp with fascia and chassis Meanwhile, Queen’s ‘Death
celebrating Balanced myriad features and extensive is available in On Two Legs’ from A Night At The
Audio Technology’s 25th connections. Yet the VK-3500 is black or silver, Opera [EMI] left us grinning. Each
the faceplate note of the piano sounded cleanly
anniversary, the £11,995 VK-3500 a strictly analogue design, and its hosting a large struck, and then, as if snapping its
volume rotary fingers, the VK-3500 launched into
replaces the outgoing VK-3000SE rear is therefore uncluttered. Here, and discreet the guitar riff, bringing bite and
buttons for input edge to Brian May’s tone. Musical
(launched in 2014) and is once balanced XLR inputs and three selection, phase, flourishes sparkled left and right.
mono and mute.
again the only hybrid model in the single-ended RCA inputs (one for an One of the three Low-end transients come and go
RCA line inputs like momentary explosions, giving
Wilmington, Delaware company’s integrated MM/MC phono stage) is given over a physical dimension to Regina
to the ‘Victor Spektor’s ‘Fidelity’ [Begin To Hope;
stable. The claimed 150W/8ohm are joined by a balanced preamp Khomenko- Sire 9362-44112-2]. The track’s
designed MM/ title certainly proved apt here, too,
power output matches BAT’s output plus an RCA tape loop. MC phono as the amplifier relished Spektor’s
module’ lilting, articulate vocal.
solid-state VK-255SE power amp, BAT’s machined aluminium
So the VK-3500 sounds detailed
and comfortably exceeds the remote is less handsome than the and alive, speedy and rhythmic.
Does it have a weakness? Some
specification of its all-tube power amplifier itself, and its IR ‘window’ might prefer a softer edge to its
upper registers – high-volume
amps and integrateds. is quite narrow, so make sure you’re listening to the likes of Aerosmith
and AC/DC did throw up the
Read through BAT’s literature aiming it properly! occasional shrill moment.

and you quickly get a sense that the Yet we were never deterred
from continuing to enjoy these
VK-3500 isn’t just a hybrid design, ATTENTION ALL! rock ’n’ roll dinosaurs, such was the
verve and snarl this BAT amplifier
but something of a Frankenstein’s The VK-3500’s sound mixes crisp, brought to the party. And when we
moved on to more tonally nuanced
monster, comprising tried-and- sparky treble and fast, precise material, the three-dimensional
soundstaging and textured trumpet
trusted technologies, including the bass with a dynamic delivery and of Nils Wülker’s ‘Just Here, Just
Now’ [eponymous, Ear Treat Music;
‘zero global feedback’ appellation, confident, detailed soundstaging. It 88.2kHz/24-bit], was spine-tingling.

gives a mostly transparent VERDICT

‘Its sound mixes crisp, view of recordings without A fine celebration of 25 years in
sparky treble with a descending into clinical the ‘balanced audio’ business,
indifference while treble is BAT’s VK-3500 amplifier offers
an imperious blend of lush looks,
quick and precise bass’ more wholegrain mustard audiophile engineering and stellar
than buttery smooth. It’s performance across all musical
flavours. As birthday presents go,
it’s far better than a pair of socks.

an attention-grabbing

from the company’s wider range. performance, buoyed by a power HI-FI NEWS SPECIFICATIONS

Even the etched styling that output beyond ‘up to scratch’. Power output (<1% THD, 8/4ohm) 170W / 275W

graces this amp’s gorgeous chassis Dire Straits’ ‘It Never Rains’ [Love

is borrowed from the marque’s Over Gold, Vertigo] begins with a Dynamic power (<1% THD, 8/4/2/1ohm) 220W / 425W / 390W / 215W

flagship REX 3 components. major key keyboard melody and Output impedance (20Hz–20kHz) 0.215–0.235ohm

Under the hood, the ‘Unistage’ gentle percussion, but ends with Freq. response (20Hz–20kHz/100kHz) –0.1dB to –0.25dB / –3.6dB

topology of BAT’s range-topping an instrumental section where Input sensitivity (for 0dBW/150W) 19mV / 245mV

REX hardware – a single-gain/ the drumming gains intensity,

single-stage 6H30 triode circuit – guitar notes fly and a phase effect A-wtd S/N ratio (re. 0dBW/150W) 79.1dB / 100.9dB

is married to a ‘wide bandwidth’ threatens to render it a sonic soup. Distortion (20Hz-20kHz, 10W) 0.095–0.12%

complementary bipolar output BAT’s VK-3500 artfully handled both Power consumption (Idle/Rated o/p) 77W / 570W (40W standby)

stage derived from its reference sides of the coin, approaching the Dimensions (WHD) / Weight 483x146x394mm / 23kg

VK-6200 power amp. introduction with a light touch but

YEARBOOK 2021 | www.hifinews.co.uk | 71

PRE/POWER AMPLIFIER

Preamp & power amplifier. Rated at 150W/8ohm
Made by: Bricasti Design Ltd, MA, USA

Supplied by: SCV Distribution, Hertfordshire
Telephone: 03301 222500

Web: www.bricasti.com; www.scvdistribution.co.uk
Prices (preamp/power amp): £13,500/£19,500

Thus with the Boulez/New York

Philharmonic recording of Ravel’s La

Valse on SACD [Sony Classical], the

richness of the M20/M25’s sound

increases the ominous feel of the

muted opening, before developing

into a powerful wash of sound as

the orchestral forces swell.

Similarly, with Sam Cooke’s ‘You

Send Me’, from the Portrait Of A

Bricasti M20/M25 Legend compilation [ABKCO], there
are few if any new insights into the
recording, but instead a wonderfully
warm, generous and organic sound

encouraging further listening.

Indeed, this pairing will see you

W hile it began in the the preamp’s menu. Other options ABOVE (AND relaxing out of audio trainspotting
pro-audio market, allow the temperature of the mode and have you immersed in the
US company Bricasti circuitry to be monitored. BELOW): Built music. A romp through Level 42’s
now offers a dozen to last and ‘The Hit Combination’, the closing
consumer products, including the The £19,500 M25 power amp, immaculately track on the Remixes compilation
another dual-mono design, is finished, this line-

pre/power pairing we have here. deeper and bulkier but also rests its only pre/power [Polydor] is just that via the Bricasti

The £13,500 M20 preamp is a substantial 45kg frame on the same combination combo – a romp, and all the more
true dual-mono design with three Stillpoints feet as the M20 preamp. is dual-mono fun for it, with gutsy, punchy bass
inputs – two sets of balanced XLRs, Rated at 150W/8ohm, it has little throughout, with held well in control, and the rest of
and one of single-ended RCAs, with to show for its power beyond solid both all-alloy the mix stinging rather well.
duplicated XLR and RCA outputs to build and simple connectivity that chassis supported
feed power amplification. includes RCA and balanced XLR VERDICT
on Stillpoints

While there’s just the one rotary inputs, ‘winged’ terminals for one isolation feet This is a combination that puts the
on the front of the M20, this is an pair of loudspeakers, 12V trigger music first, and the hi-fi second.

encoder and not simply a volume sockets and an RS232 connection Approach it with that in mind,

control. Its function is determined currently only used for diagnostics. rather than hoping to hear every
by a row of buttons below the red As with all Bricasti products, superfluous nuance, and you’ll find

dot-matrix display panel, so it’s the casework is ‘milled from it has a very satisfying sound.
slightly too easy to find yourself solid’ aluminium, while within the

balanced design extends to

‘It’s a romp, and all the a healthy array of output
more fun for it, with devices fixed straight
the gutsy, punchy bass’
to chunky heatsinks on

either side of the unit. One

slightly hidden feature is
the amplifier’s trim control,

changing input or balance rather which can be found on a tiny

than adjusting the output level. screwhead down with the trigger

Within the preamp, that dual- sockets. This allows four steps of

mono layout is clear to see, with 6dB attenuation should the M25 be

separate ceramic circuit boards, used with a preamp having higher

multiple linear PSUs, a Class A gain than that of the M20.
output buffer and a fifth board that

looks after the control functions. REAL SWELL HI-FI NEWS SPECIFICATIONS

The construction is all-discrete, with If there’s character to this duo, it’s Continuous power (<1% THD, 8/4ohm) 304W / 585W

the volume control implemented one of relaxed, confident music-

using a resistor ladder boasting a making, some way from the sonic Dynamic power (<1% THD, 8/4/2/1ohm) 320W / 615W / 458W / 279W
near-perfect channel balance. fireworks other amplification can Output imp. (20Hz–20kHz, pre/power) 28ohm / 0.002–0.009ohm

There’s also a programmable deploy. The bass is big and rich, and Freq. resp. (20Hz–100kHz, pre/power) +0.0 to –0.13dB / +0.0 to –1.2dB
input offset, along with the option with some recordings can seem in
of setting and storing a ‘reference’ some danger of overwhelming the Input sensitivity (for 0dBV/0dBW) 725mV (pre) / 129mV (power)
level (which would be handy if the whole presentation, but there’s no A-wtd S/N ratio (re. 0dBV/0dBW) 99.5dB (pre) / 98.9dB (power)

M20 was used with an AV processor) denying that with a big orchestral Distortion (20Hz-20kHz, 1V/10W) 0.0001–0.0003%/0.0002–0.016%

and the choice to rename the inputs work, or even just a well-recorded Power consumption (idle/rated o/p) 135W/490W (27W, preamp)
from a selection of descriptive grand piano, it offers both a weight Dimensions (WHD, Pre/Power) 425x115x320/425x260x457mm
labels – DAC, CD, etc – preset in and scale that’s addictive.

72 | www.hifinews.co.uk | YEARBOOK 2021

PRE/POWER AMPLIFIER

Preamp and power amp. Rated at 300W/8ohm
Made by: Boulder Amplifiers Inc, Louisville, CO, USA
Supplied by: Padood, Cambridge, UK
Telephone: 01223 653199
Web: www.boulderamp.com; www.padood.com
Prices (preamp/power amp): £22,500/£30,000

to re-evaluate our understanding of

a well-worn test track and album.

So this is not only a ‘big picture’

amplifier but one that has its own

ideas about the scene itself.

Again, we were never in doubt

of the power available, even when

playing at relatively low levels, as

the leading edge of notes remained

especially sharp and articulate.

Play a piece with jangly guitars

or a prominent bassline, such as

The Ox’s grumbling figures in The

Who’s ‘Won’t Get Fooled Again’

[Who’s Next; Geffen Records], and

the 1110/1160 latches cleanly

onto those elements. We’re not

sure we’ve ever heard that bassline

sound quite so obvious or potent,

set as it is against a mix that’s

otherwise ‘all of a piece’.

And running at full pelt these

amps are an absolute riot. The

Brothers’ take on ‘Whipping Post’

Boulder 1110/1160 from the Allman Brothers Madison
Square Garden tribute concert
[Nugs.net download] is full-on and
hard-charging, and while it might

be argued there’s less of some fine

detail than with some other high-

It’s the style of the Boulder ARM processor for all those set-up ABOVE: The end amps, the overall presentation
1100 series amplification that and operational functions, while 3D front panel remains infectiously involving.
grabs you first. It’s very different the audio is carried on dual-mono design of the
from the common image of boards, employing the company’s in-house Without doubt, what the Boulder
1110/1160 does well, it does very

US-made high-end hi-fi, the £30,000 983 gain stage, designed for machined well indeed. Even with orchestral

1160 stereo power amp and ‘excellent buffering and current ‘non-resonant’ works such as Britten’s testing

£22,500 1110 line-only preamp drive for long cable runs’. alloy chassis is ‘Young Person’s Guide To The

having a much softer look. As for the 1160, the headline taken from the Orchestra’ [Reference Recordings]

The 1110 is little more than five specification here is the 300W topographical there’s just no denying the sense of

sets of inputs – on balanced XLRs output, which the amp obliterated map of nearby orchestral scale and weight on offer.

in our independent lab Flagstaff

‘The 300W power rating tests. All this is delivered Mountain, west VERDICT
was obliterated in our from circuitry that uses of Boulder
independent lab tests’ the same gain stage found While they have a remarkable
in the preamp, and is ability to ‘reimagine’ complex
dual-mono in design, fully recordings, majoring on the attack
of instruments, it’s hard not to

balanced and powered find much to enjoy in this exciting-

only – and three sets of outputs, by twin DC-filtered power supplies sounding, dynamic duo.

two main and one auxiliary, plus within a welded steel case. Inputs

source selection and Boulder’s own are, of course, on XLRs only. HI-FI NEWS SPECIFICATIONS

balanced volume control. However, Power output (<1% THD, 8/4ohm) 550W / 950W

each input can be adjusted for MASSIVE ATTACK

polarity (as can the output of the It’s immediately evident that the Dynamic power (<1% THD, 8/4/2/1ohm) 668W / 1.25kW / 2.19kW / 750W

whole preamp), trim (by up to 1110/1160 has some remarkable Output imp. (20Hz–20kHz, pre/power) 48.9ohm / 0.005–0.0085ohm

25dB) and balance (by 12dB in sonic qualities, not least in its Freq. resp. (20Hz–100kHz, pre/power) +0.0 to –0.5dB / +0.0 to –1.5dB
either direction), or converted into ability to seemingly deconstruct
a unity-gain passthrough for use very busy, dense and/or musically Input sensitivity (for 0dBV/0dBW) 100mV (pre) / 141mV (power)

with a home cinema processor. complex recordings before, in A-wtd S/N ratio (re. 0dBV/0dBW) 102.2dB (pre) / 99.5dB (power)

You can also connect the preamp some instances, reimagining a Distortion (20Hz-20kHz, 1V/10W) 0.0001-0.0003%/0.0002-0.0074%

to a PC for detailed set-up, such as once-familiar acoustic space and Power consumption (idle/rated o/p) 124W/1.35kW (28W, preamp)
changing the name labels on each the position of instruments within. Dimensions (WHD, Pre/Power) 457x146x389/457x236x565mm
input. Within, the 1110 uses an More than a few times it caused us

YEARBOOK 2021 | www.hifinews.co.uk | 73

Where some follow, others choose to lead.

SXR Standard SXR Standard SXR Standard SXR Signature

Two versions: Signature and Standard You never have to sell or trade from one stand to
another to achieve this exceptional level of
You can purchase the SXR Signature all at once or performance.
upgrade any SXR Audio Stand frame to become an
SXR Signature Series frame by buying the additional The SXR can accommodate all the highly acclaimed
SXR Solid Brace Inserts when you are ready to HRS isolation bases (E1, R3X, S3 and M3X2) by
upgrade your system. You can even buy the SXR directly loading them into the SXR frame shelf
Solid Brace Inserts one component location at a time. system.

This makes the SXR Signature Series exceptional
value as the upgrade path is 100% additive.

t: 01727 865488 e: [email protected] w: www.symmetry-systems.co.uk

NETWORK-ATTACHED PREAMPLIFIER

Network streaming/USB DAC/preamplifier
Made by: Bryston Ltd, Canada
Supplied by: PMC Ltd, Luton
Telephone: 0870 4441044
Web: www.bryston.com; www.pmc-speakers.com
Prices: £7500 (HDMI module, £1200; phono module, £950)

Bryston BR-20 the whole thing was carried along
by a swinging rhythm. Yet it was
Considering its lengthy While connections are extensive, ABOVE: As the sheer dimensionality of the
feature list, you might and include double sets of AES/EBU, simple as it is soundstage that really grabbed us.
wonder where to start coax and Toslink optical, USB-B, and comprehensive
with Bryston’s BR-20. balanced XLR/ unbalanced RCA ins, with rows of James Horner’s ‘Apollo 13
contoured (Main Theme)’ [Apollo 13 Original
We would suggest the manual – the preamp’s outputs are balanced buttons servicing Motion Picture Soundtrack; Geffen/
the myriad digital Universal] again sounded cavernous
this £7500 networked USB DAC/ only, on two sets of XLRs. You’ll and analogue but here it was a massive orchestra
inputs. Remote, of strings, brass and military-style
preamplifier isn’t the most instantly therefore need an adapter if you network control drums. These are harder timbres
via Bryston’s and textures to pull off, but the
intuitive of system hubs. But the want to pair the BR-20 with an RCA- ‘Manic Moose’ BR-20 did so with an excellent grasp
platform is the of detail and dynamics. Long-held
effort is worth it though… equipped power amp. A 6.35mm icing on the cake bugle notes carried an attacking
leading edge and gentle decay,
Named in honour of Bryston headphone out is fitted too. followed by shimmering strings.

president Brian Russell, who passed Visually, this Bryston is far The BR-20’s articulate and
descriptive disposition is almost too
away in September 2020, the BR-20 removed from the slick machines insightful, as it can encourage you
to focus on musical details rather
of rivals. Its row of front- than, perhaps, the music itself. This
suggests that careful consideration
‘It sounded wonderfully panel buttons, status LEDs of partnering equipment will be key,
for PCM and DSD sampling as it should be at this price, in order
to avoid emphasising the BR-20’s
huge, and carried along rate, illuminated motorised vivid mid and high detail.
by a swinging rhythm’ volume control and text-
based LCD display are a Its resolution of bass – timbres
and rhythms – majors on poise and
nod to the company’s pro- focus, something apparent with the
metallic throbs and forceful beats of
The Prodigy’s dance track ‘Poison’
[Music For The Jilted Generation;
XL Recordings]. Meanwhile, the
double-bass of Norah Jones’ ‘Cold
Cold Heart’ [Come Away With Me;
Parlophone] steered clear of bloom
or colouration.

is the third stereo preamp in the market leanings. It’s also surprisingly

manufacturer’s current lineup. Yet lightweight at 5.5kg. VERDICT

it’s a different beast to the £4600 DAC, network streamer and preamp
combined, Bryston’s BR-20 gives you
BP-173 and venerable £6995 BP-26 A DEEP DIVE a lot for its ticket price. In an ideal
world there’d be more refinement
[HFN May ’07], as both of those are The BR-20’s soundstage has to both its physical appearance and
control platform, but the insightful
all-analogue models with the option depth in spades. Its imaging sound of this astonishing performer
carries the day.
of adding DAC boards. is holographic, and when you

The BR-20 retains that modular add to that its exquisite detail

approach – options include an HDMI reproduction, you get a component

platform and MM phono stage – but that (cliché alert) breathes new life

integrates a 384kHz/24-bit DAC as into familiar recordings. Tracks that

standard. It also features Bryston’s we’d previously considered run-of- HI-FI NEWS SPECIFICATIONS

networked streaming platform, the-mill became works of art.

controlled by a web-accessed user- A perfect example of this Maximum output / Impedance 13.5V / 70-77ohm (balanced)

interface that we found to work was Lynyrd Skynyrd’s cover of Input sensitivity (re. 0dBV) 250mV (balanced)

best on a laptop or tablet, though it ‘Heartbreak Hotel’ [Endangered Freq. resp. (20Hz-20kHz/100kHz) +0.0 to –0.01dB/–0.26dB (pre)

supports smartphones too. Species; Capricorn Records]. The Freq. resp. (20Hz-20k/45k/90kHz) +0.0 to –0.2dB/–3.5dB/–10dB (DAC)

The BR-20’s analogue preamp BR-20 opened up this fun, loose, Digital jitter (USB at 48kHz/96kHz) <5psec / <5psec

stage is, says Bryston, ‘a result of three-minute acoustic jam, laying

years of R&D’, with its fully balanced out each element for us to survey A-wtd S/N ratio (re. 0dBV/0dBFs) 99.6dB (Analogue) / 118.5dB (Dig)

signal path, ‘tightly matched’ and savour, from the fast picking Distortion (20Hz-20kHz; 0dBV/0dBFs) 0.00009-0.0002%/0.0011-0.012%

components and compact circuit of an acoustic guitar to big- Power consumption 22W (2W standby)

footprint promising a low-noise, bottomed bass. The vocal track Dimensions (WHD) / Weight 430x116x330mm / 5.5kg

high-purity performance. sounded wonderfully huge, and

YEARBOOK 2021 | www.hifinews.co.uk | 75

PREAMP/STREAMER & POWER AMPLIFIER

DAC/preamp and mono power amps. Rated at 200W/8ohm
Made by: Cambridge Audio Ltd, PRC

Supplied by: Audio Partnership PLC, London
Telephone: 0203 514 1521

Web: www.cambridgeaudio.com
Prices (DAC/Preamp & Monoblocks): £4499/£3999 (each)

via a line input using Naim’s ND555

[HFN Apr ’19] as a source, this

Cambridge trio proved just about all

the amplifier one could ever want.

Playing Alpha Classics’ recent

release of Handel’s Brockes-Passion,

the Cambridge NQ/Ms revelled in

the work’s near-operatic scale, with

glorious detailing on the voices

plus speed and definition with the

accompanying ensemble. There’s

drama, persuasive soundstaging and

imaging and, if you don’t mind the

pun, no shortage of passion. It’s a

fabulous experience.

Lucinda Williams’ Live @ The

Fillmore double LP [Lost Highway]

is well served by both the massive

slam these amps can deliver and

their ability with the finest detail of

tonality and technique. Meanwhile,

Cambridge Audio the multilayer, multi-instrumental
Help! set [2xHD], recorded originally
in DXD, sings through via the Edge
NQ’s streaming section and the

Edge NQ/M powerful Edge M monoblocks,
creating an enthralling sonic picture
in which every performance can
be appreciated.

What the combination also does

so well is carry its massive power

Cambridge Audio’s Edge The NQ is a network player, ABOVE: Seen lightly. There’s a lot on tap here,
series arrived in 2018 as DAC and analogue/digital preamp atop just one but there’s never any harshness or
part of the brand’s 50th all-in-one, controlled by a supplied Edge M mono excessive brightness. What’s more,
anniversary celebrations. handset or, most likely, Cambridge amp – with the amplification keeps a ruthless

Designed to take on the best in Audio’s Edge (for setup) and matching curved grip on speakers, but does so

high-end audio, these separates StreamMagic apps. Digital inputs alloy fascia – the without trading any exuberance.

also serve as ‘halo’ products for the include optical, coaxial, USB-B NQ streamer can We tried to wrongfoot this

company’s lower-tier ranges. (supporting 384kHz/32-bit and be navigated system – we really did – but every

The Edge M monoblock is the DSD256), and USB-A for storage via its remote, time it came up trumps.

newest addition, and good for media. There are also three sets custom app and

200W/8ohm. Its natural partner is of analogue inputs, one on XLR. full colour display VERDICT

the Edge NQ streaming preamplifier, The balanced M monoblock This streaming DAC/power amp

which launched in the first wave follows the Edge ethos in that, combo has a lot going for it –

while mighty powerful, it’s gorgeous looks and a sound and

‘This Cambridge trio anything but huge, and build quality to match. Cambridge
speaks the same design Audio has got its ‘no limits’ series
is just about all the amp language as the NQ. Power pretty much bang-on.

one could ever want’ comes from Cambridge’s HI-FI NEWS SPECIFICATIONS
in-house Class XA amp tech,

alongside the Edge W stereo power which offsets the crossover Continuous power (<1% THD, 8/4ohm) 259W / 435W
point of the audio waveform in an

amp and Edge A integrated. effort to yield much of the benefit Dynamic power (<1% THD, 8/4/2/1ohm) 293W / 535W / 835W / 885W

From the engineering within to of pure Class A operation, but Output imp. (20Hz–20kHz, Pre/Amp) 91ohm / 0.015-0.120ohm

their looks and user experience, without the inefficiency and heat. Freq. resp. (20Hz–20kHz/100kHz) +0.0 to –0.15dB/–1.6dB
the NQ and M give nothing away Digital jitter (USB / S/PDIF) 10psec / 11psec (48kHz/24-bit)
to the pricier models they’ve been PASSION PLAY

created to challenge. With hefty High-end hi-fi without the high- A-wtd S/N ratio (DAC/Amp) 118.2dB (0dBFs) / 92.4dB (0dBW)

build, simple styling and minimal falutin’ installation? You bet – these Distortion (DAC, 0dBFs/Amp, 0dBW) 0.0002-0.0009%/0.00018-0.001%

controls, they are designed to be substantial separates just work, and Power consumption (Preamp/Amp) 27W / 368W (98W idle)
chic and easy to operate, while still how! Whether running in network Dimensions (WHD, each unit) 460x120x405/460x150x405mm
delivering in their performance. mode, fed via USB from a Mac, or

76 | www.hifinews.co.uk | YEARBOOK 2021

PRE/POWER AMPLIFIER

Pre/DAC and mono power amps. Rated at 300W/8ohm
Made by: Sound United, Shirakawa Audio Works, Japan
Supplied by: Sound United UK, Kingston-upon-Thames
Telephone: 0208 103 4770
Web: www.classeaudio.com
Prices (Preamp & Monoblocks): £9999/£10,999 (each)

Apple/Parlophone] sounding quite

so vibrant, with every nuance of

the percussion and the studio
reverberation so clearly defined.

Next we unleashed the system

with ‘Brighton Rock’, the opener

from Queen’s Sheer Heart Attack

[Island]. The presentation was

nothing short of energising, the

rhythm section of John Deacon

and Roger Taylor surging the track

along and Brian May’s guitar ringing

Classé Audio through the mix, then chugging,
snarling and fluting through that

extraordinary ‘all analogue delays’
solo. For a track nearly 50 years old,

Delta PRE/MONO it sounded never less than fresh and
vibrant driven by the Classé amps.

The last element, and the
winning goal scored by the Classé

PRE/MONOs? The Michael Stern/

Kansas City Symphony recording

W hen it comes to prosaic the two outputs then able to drive ABOVE: Delta of ‘The Young Person’s Guide To
model naming, Classé PRE features The Orchestra’ [Britten’s Orchestra;
has it nailed: its Delta two mono or stereo subs. All of this a touchscreen Reference Recordings]. It’s a self-
series preamp, selling is configured in the preamp’s menu display – the explanatory test of any system’s

system, controlled by the front-

for £9999, is called ‘PRE’, and the panel touchscreen display, USB-A is purely for ability to convey orchestral timbres,
matching monoblocks at £10,999 The PRE hosts 15 inputs. On
iOS devices scale and dynamics, and one these

apiece, are called ‘MONO’. They the digital side these run to an amps passed in a blaze of glory.

are plenty powerful too – rated at Ethernet port for DLNA streaming BELOW: MONO VERDICT
300W/8ohm with the first 35W in and AirPlay via a home network; a amp (one shown)

Class A – and with inputs on both USB-B for computer connection up has accurate Classé is back with a bang – its
unbalanced RCAs and balanced metering and highly flexible third-generation
XLRs. These are partnered by two to 384kHz/32-bit and native DSD intake louvres for
up to DSD256; plus one AES/EBU, Delta amps sounding as thrillingly

sets of Furutech ‘Torque Guard’ three coaxial and three optical. the bespoke fan- no-nonsense as ever. By any

speaker terminals, designed to There’s also a USB host port on the cooling system standards, they are a triumph.

protect against over-tightening. front panel, curiously only for the

There’s also a range of remote connection of iOS (iPhone) devices.

connections, including 12V trigger Meanwhile, there are two sets

and IR in and out; and Ethernet, of XLR balanced analogue inputs

and two on RCAs, plus

‘These third-gen Delta a dedicated phono
amps sound as thrillingly
no-nonsense as ever’ input, with the option of
reconfiguring one of the
line-ins to take another

turntable. There’s also an

extensive range of gain/

RS232 and Classé’s own CAN- loading adjustments in the phono

Bus remote system. A USB-A port menu. Each of the amp’s inputs can

services updates while a series of also be set-up with its own level HI-FI NEWS SPECIFICATIONS

LED signals on the front provide trim. One thing’s for sure: this duo is Continuous power (<1% THD, 8/4ohm) 410W / 760W
status and warning information. nothing if not flexible.

On test, these power amps were Dynamic power (<1% THD, 8/4/2/1ohm) 420W / 790W / 1361W / 1203W

fed from the PRE using balanced BLAZE OF GLORY Output imp. (20Hz–20kHz, Pre/Amp) 96ohm / 0.010-0.025ohm

connections, the preamp having The Classé amps immediately Freq. resp. (20Hz–20kHz/100kHz) +0.0 to –0.19dB/–6.4dB (Pre)
Digital jitter (USB / S/PDIF) 50psec / 45psec (48kHz/24-bit)
not just main outputs on RCAs and impress with the mighty power A-wtd S/N ratio (DAC/Amp) 115.2dB (0dBFs) / 92.5dB (0dBW)
Distortion (DAC, 0dBFs/Amp, 0dBW) 0.0002-0.0003%/0.0004-0.0008%
XLRs, but also a further pair of ‘Aux’ they can deliver, and the sheer
refinement with which they do so.
outs, and a subwoofer out. This The sound simply bursts with life
second pair can be configured to

duplicate the main preouts or act – we have never heard the simple Power consumption (Preamp/Amp) 36W / 540W (255W idle)
as line outputs, or one of them can two-track recording of The Beatles’ Dimensions (WHD, each unit) 445x121x445/444x222x492mm
be assigned as a second sub out, ‘And I Love Her’ [A Hard Day’s Night;

YEARBOOK 2021 | www.hifinews.co.uk | 77

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TUBE HYBRID INTEGRATED AMPLIFIER

Integrated tube/hybrid amplifier. Rated at 150W/8ohm
Made by: Copland, Copenhagen, Denmark
Supplied by: Absolute Sounds Ltd
Telephone: 0208 971 3909
Web: www.copland.dk; www.absolutesounds.com
Price: £4988 (+£198 Bluetooth module)

revealed the similar tasting notes:

excellent tonality, grin-inducing

detail and a wide-open soundstage.

The CSA150 also has a way with
bass that puts rivals to shame. Low-

end notes had a rich, pure quality,

sounding deep and purposeful but

entirely in keeping with the rest of
the audioband. With Grooverider’s

evocative ‘Where’s Jack The Ripper?’

[Mysteries Of Funk; Higher Ground],

it lapped up the deep dives and

midrange snarls.
Jostling for attention alongside

this bass handling was the CSA150’s

Copland CSA150 expression and graceful grasp of

the high notes. Indeed, this is a

product where it’s hard to put a
finger on one specific standout

aspect. Call it holistic hi-fi. Listening

to Pink Floyd’s immaculate ‘Brain

Not long into our audition Copland doesn’t like to rush ABOVE: Milled Damage’ on SACD [The Dark Side
of Copland’s CSA150, we things, or follow the hi-fi herd, rotaries select Of The Moon; Capitol Records],
began to feel annoyed source and we were presented with far-away
that, at some point, we’d which explains why the CSA150 volume with a guitar licks, harmonised vocals, the
have to send it back. Reviewer smaller control dynamic surge of the drums, and
has no interest in networking. For
£200 it can be fitted with an aptX

remorse isn’t quite as bad as buyer Bluetooth module, but we’d imagine stepping through the quivering of a Hammond organ.
remorse, but it is still ‘a thing’, and
more buyers will opt instead for an the digital input We drank it all in.

this £4988 hybrid tube integrated external network player. options. Central Nor is the CSA150 short on

had given us a bad case of it. Or maybe they won’t, as the dial carries the IR dynamic ability. It leapt into Michael
Hybrid? Yes, for the CSA150 CSA150 offers plenty on its own. ‘eye’ and input/ Jackson’s ‘Bad’ [eponymous; EPC]

looks to be an upscaled CSA100 Analogue sources are handled by status LEDs from the opening bar of stabbed
balanced XLR and a quartet of
[HFN Aug ’20] combining a 6922 RCA inputs (including tape and synth chords, locked into the track’s

double-triode and solid-state FETs phono); digital hook-ups are on funk rhythms and let the percussion
roam across the stereo field. It was
in its preamp stage, driving a USB-B, two optical, and one coaxial.
bipolar transistor amplifier output. snappy, upbeat and bold. The song
There are also pre-out and tape ends with Jacko asking ‘Who’s bad?’.
Perhaps keen to avoid overselling
the benefits of this architecture, out connections, plus a full-sized Not this Copland, that’s for sure.

the Danish marque warns buyers headphone socket serviced by

not to expect ‘the warm and nice, Copland’s custom preamp. VERDICT

coloured charm of some older tube This amp doesn’t so much cut the

designs’ – although our listening CHARACTER BUILDING mustard as slice through it with an

reveals it does lean that way. If you want clarity, subtlety and Ulfberht sword – if you appreciate
precision, Copland’s flagship doesn’t its character it’ll give you hours of
This amp looks spectacular in listening pleasure. It also picks up
its aluminium finish (black is also disappoint. It has the punch and

drive of a solid-state amp, points for looking smart and being

‘It’s hard to put a finger but treble harshness is not well-connected. Audition alongside
on one standout aspect. a concern, the tuning here the more affordable CSA100.
Call it holistic hi-fi’ favouring silk over sparkle.
And while this means it’s HI-FI NEWS SPECIFICATIONS
not an obvious match for
your Motörhead collection, Continuous power (<1% THD, 8/4ohm) 175W / 270W

offered as an alternative), and it’s still a characterful performer Dynamic power (<1% THD, 8/4/2/1ohm) 184W / 341W / 570W / 767W

operationally it’s a pleasure to whatever the genre. Output imp. (20Hz–20kHz, Pre/Amp) 192ohm / 0.027-0.055ohm
use. The question is whether the Mark Knopfler’s ‘Yon Two Crows’ Freq. resp. (20Hz–20kHz/100kHz) +0.00 to –0.25dB/–2.7dB
CSA150 is enough of an upgrade Digital jitter (USB / S/PDIF) 29psec / 33psec
over the aforementioned CSA100, [Privateering; Mercury] was a
good first choice; a captivating,

which offers mainly the same intimate listen from the moment its A-wtd S/N ratio (DAC/Amp) 103.4dB (0dBFs) / 80.1dB (0dBW)
uilleann pipe/keyboard intro oozed Distortion (DAC, 0dBFs/Amp, 0dBW) 0.0017-0.027% / 0.0014-0.041%
feature set, a lower claimed power Power consumption (idle/rated o/p) 42W / 550W (1W standby)
output (100W/8ohm rather than from our speakers. And switching Dimensions (WHD, each unit) 435x164x370mm / 15kg
150W/8ohm) and, at £3498, a from analogue to a 96kHz/24-bit
FLAC download of the same piece
more accessible price tag.

YEARBOOK 2021 | www.hifinews.co.uk | 79

TUBE POWER AMPLIFIER

Mono tube power amplifiers. Rated at 70W into 8 or 4ohm
Made by: Engström, Sweden

Supplied by: Boyer Audio Ltd, UK
Telephone: 0330 223 3769

Web: www.engstromsound.com; www.boyeraudio.com
Price: £136,950 (pair)

Engström
ERIC Encore

It’s fair to say no other amp there are actually two
we’ve encountered looks quite mains transformers
like the ERIC Encore. And being connected in series,
rated at 70W apiece, it’s almost with four 6CH3 tubes

certainly the priciest per watt (W) forming the bridge

we’ve tested, each stereo unit of rectifier and filtered via

power costing some £1950! two chokes and three

Each monoblock’s 65kg weight polypropylene caps.

is largely divided between its The other power

custom German-sourced glass, the supply is a 400V line

machined alloy plates that form the for the driver stage

chassis and the host of coupling and with its own mains

PSU transformers that fill its interior. transformer, GZ34

But let’s start at the input. Here rectifier, choke filter

there’s a switch to select between and capacitor. There’s

RCA and XLR sockets and a third also a choke-filtered

position labelled ‘DIR’ that connects DC filament supply for

directly to the EC8010 frame- the input gain stage,

grid triodes. These are configured regulated down from the 400V PSU.

as a long-tailed differential pair This is as close to ‘solid-state’ as

that’s capacitor coupled, using you’ll find in the ERIC Encore! We rounded up our session with ABOVE: The
a favourite test track: the dense and thickness of
‘audiophile’ foil and Teflon SCR caps richly detailed ‘The Carousel Waltz’ Engström’s two-
from The John Wilson Orchestra’s piece glass cover
from France, to the driver stage. THE HOT SEAT Rodgers & Hammerstein At The is evident here,
Movies [Warner Classics]. This utterly its shape forming
The latter comprises a pair of These amps warmed to their task delighted us, with propulsive detail a ‘chimney’ that
and the sense of the conductor and draws air from
6L6GC beam-power pentodes, in minutes, sounding gorgeously orchestra having an absolute ball. the rear, venting
up and out.
wired as triodes here, in a balanced lush and refined, but never slow VERDICT Complemented
by a frosted
configuration transformer-coupled or leaden. Instead, they delivered The ERIC Encore power amp boasts glass top-plate,
a sound every bit as glorious and Engström’s
crisp, tight rhythms allied to unique as it looks, being able to ERIC Encore is
captivate and enthral, all the while an ‘audio art
‘They offer a big, warm a sonorous, close-focused seemingly designed to challenge installation’ in its
view of vocals. Playing all the old clichés about what valve own right
amps do (and don’t) do.
and free-breathing view Kate & Anna McGarrigle’s
Dancer With Bruised Knees
of the performance’ [Warner Bros] also showed

the Encores to be capable

to the main power amp stage. of bags of detail and definition.

Here’s where we find the glowing There was a beautiful, natural

ER845 power tubes from Germany’s generosity to the impeccable and

ELROG, one push-pull pair per side delightful harmonies, everything

connected to the outside world via in the mix sounding clear and with

a custom-wound transformer. mesmerising presence. HI-FI NEWS SPECIFICATIONS

These heavyweight lumps of iron Switching to the 2014 Gustavo Power output (<2% THD, 8/4ohm) 56W / 72W

and copper include two secondary Dudamel recording of Mahler’s

windings, connected in parallel 3rd [Berliner Philharmoniker Dynamic power (<2% THD, 8/4/2/1ohm) 56W / 72W / 78W / 83W

to achieve 4ohm or in series for a Recordings] and the ERIC Encores Output impedance (20Hz–20kHz) 1.45-1.26ohm

notional 16ohm tap. A different instantly delighted with their big, Freq. response (20Hz–20kHz/100kHz) –0.85dB to –0.1dB / –9.8dB

output transformer is used if the warm, free-breathing view of the Input sensitivity (for 0dBW/70W) 140mV / 1100mV (balanced)

amp is ordered in 8ohm guise. performance. And there is that

More transformers service the sense of performance, thanks to the A-wtd S/N ratio (re. 0dBW/70W) 76.2dB / 95.0dB

various power supplies. The largest, massive bass weight available here, Distortion (20Hz-20kHz, 10W) 0.085–9.1%

also with custom windings, is the fabulous rosiny bite to the low Power consumption (Idle/Rated o/p) 430W / 430W

centre-stage in the 1kV (1000V) HT strings and the silky violins, and the Dimensions (WHD, each) / Weight 360x480x750mm / 65kg (each)

supply for the ER845s. In practice feeling of air around the performers.

80 | www.hifinews.co.uk | YEARBOOK 2021

INTEGRATED AMPLIFIER

Integrated amplifier. Rated at 100W/8ohm
Made by: Sound United/D&M Holdings, Kanagawa, Japan
Supplied by: D&M Audiovisual Ltd, UK
Telephone: 02890 279830
Web: www.marantz.com/en-gb
Price: £2899

Speed Of Now, Vol.1 [Capitol

Nashville/Keith Urban]. This album is

a glorious mash-up of country, soul

and R&B with a stellar supporting

cast, and the Model 30 opens up

the often busy mixes to bring out

the performances, for example in

the Urban/Pink duet with bar-room

backing vocals on ‘One Too Many’.

In fact whatever you play

through this amp, be it via disc,

Marantz Model 30 streaming or even LP through that
excellent on-board phono stage, the
Model 30 makes it a complete blast.

What’s more, chances are you’re
going to find all kinds of music

you may have dismissed delivered

To launch two products with use of Marantz’s in-house designed ABOVE: The in a manner that’s involving and
seemingly similar features HDAMs. Outputs extend to one set Model 30 does sonically satisfying.
at much the same price of speaker terminals, plus line and something
might be seen as inviting preamp outputs, plus a headphone different while When you do play ‘audiophile’
– or at least exceptionally well-

customer confusion. Yet that’s just socket. Finally, the front panel retaining classic recorded – jazz, the Model 30
sports physical tone controls, unlike Marantz cues, amplifier really shines. The Espen
what Marantz chose to do, releasing the PM-12SE which has them hidden such as the
the £2700 Model 30 amplifier Eriksen Trio’s set, End Of Summer

within just weeks of its PM-12SE away in its menu system. amp’s ‘porthole’ [Rune Grammofon], has that almost

[HFN Nov ’20], which costs £2999. WINNING WAY display. Note the tangible sense of soundstaging and
Yet it’s not quite as baffling as front panel image focus we’ve noted with the

it may look. The 30 Series models One of the most attractive elements phono selector band’s previous recordings.

have a whole new look, albeit one of the 30 Series products is that and conventional With the Model 30 again hooked
tone controls up to the SACD 30n player and
Marantz says is influenced by classic the well-established Marantz

designs of the past, while the price presentation hasn’t been lost driving Neat Iota Xplorer speakers

of the Model 30 amp undercuts that along the restyling path, and that’s [HFN Jul ’18], the amp cast a

of the ’12SE by a healthy 10%. exceptionally clear as soon as superbly three-dimensional image,
Rated at 100W/8ohm, the ’30 you fire up the Model 30. What’s with all the dynamics and speed

is based around tried-and-tested more, you don’t have to resort to you could want. This is a group

Hypex Ncore NC500 Class D power audiophile jazz or ‘girl with guitar’ some of us have seen live several

‘It’s a glorious mash-up recordings to hear just what times in small, close-up venues,
of country, soul and this amp is capable of. and their free-flowing playing, yet
R&B, with a stellar cast’ with quartz-locked precision, is
With the Live At The absolutely nailed by the Model 30.
Roundhouse set from Nick
Mason’s Saucerful Of Secrets VERDICT
[Legacy/Sony] streaming

amp modules. Feeding that power via a partnering Marantz It’s a bold step, taking the familiar
SACD 30n SACD/network player, it’s Marantz look and re-defining it

amp section is a preamp design in easy to realise what a remarkable completely, but the Model 30 amp

many ways similar to the one found recording this is. It’s live, but it’s has got what it takes to succeed
also weighty and crisp with no with its attractive blend of flexibility,
in the PM-12SE. It’s analogue-input- shortage of detail and punch to go
only, having five line-ins, a pre out/ performance and – yes – style.

power amp in, and a proprietary with the superb musicianship.

MM/MC phono stage. The same goes for the rather HI-FI NEWS SPECIFICATIONS

The latter uses the ‘Marantz more intimate opening of Eric Power output (<1% THD, 8/4ohm) 199W / 329W
Musical Premium Phono’ EQ circuit, Johanson’s recent Below Sea Level

a two-stage affair with a low-noise album [Nola Blue], the Marantz 30 Dynamic power (<1% THD, 8/4/2/1ohm) 240W / 445W / 577W / 315W
Output imp. (20Hz–20kHz/100kHz) 0.006–0.015ohm / 1.3ohm
J-FET input combined with the latest series player/amplifier pairing having

example of the company’s, by now, a winning way with the close-up Freq. resp. (20Hz–20kHz/100kHz) +0.0 to –0.60dB/–5.7dB
sound of the more downbeat Input sensitivity (for 0dBW/100W) 22mV / 220mV
very familiar HDAM (Hyper-Dynamic tracks and the driving slam of those
Amplifier Module) op-amps.

Meanwhile, the line preamp bluesier rock-outs. A-wtd S/N ratio (re. 0dBW/100W) 81.3dB / 101.3dB

section has its own power supply, Even really bustling mixes don’t Distortion (20Hz-20kHz, 10W/8ohm) 0.031–0.073%

fed from a double-shielded toroidal throw the amp off its stride, as Power consumption (Idle/Rated o/p) 40W / 260W (1W standby)
transformer to reduce interference, is clear even from the opening Dimensions (WHD) / Weight 440x123x453mm / 14.8kg
while the circuit also makes liberal moments of Keith Urban’s The

YEARBOOK 2021 | www.hifinews.co.uk | 81



INTEGRATED AMPLIFIER

Integrated amplifier with phono/DAC options. Rated at 150W/8ohm
Made by: Mola-Mola, The Netherlands
Supplied by: Sound Design Distribution Ltd, Cardiff
Telephone: 0800 0096213
Web: www.mola-mola.nl; www.sounddesigndistribution.co.uk
Prices: £9900 (+£5999, DAC; +£1799, MM/MC phono)

Mola-Mola Kula combination of deep bass reach

Never judge a book by its internal logic decides how those ABOVE: and speed. Those qualities carry
cover… or an amplifier
by its industrial design. inputs are processed in the preamp. Adorning the the listener right through this
Take the Kula integrated now-familiar
If the phono option is installed, wave-like remarkable album, recorded over
you can use Mola-Mola’s Bluetooth casework are
input select a decade ago and now revealed as
from Mola-Mola – at first glance app to set up all the parameters – buttons and a some of the artist’s best work.
fine-stepped
you might raise an eyebrow at this gain, loading, equalisation and bass motorised The resolution here isn’t of the
volume. The Kula
relatively compact if undeniably and treble roll-off – for a particular is fully accessed kind to enhance every foible of a
via its Bluetooth recording, instead it’s all about
stylish amplifier’s £9900 price input, and assign that to one of six Mola-Mola app
communicating the music as
tag. Then, complete with optional presets on offer.
onboard DAC (£5999) and £1799 The digital option here is slightly directly as possible, as is the case
with the cover of ‘Sail On Sailor’
MM/MC phono stage, it adds up to unusual – yes, it has optical, AES/EBU from Los Lobos’s Native Sons [New
West]. This is far from the cleanest
just under £17,700, which should and asynchronous USB, the latter production job you’ll find, but it’s a
great listen, with the band’s cover
raise the other brow… supporting 384kHz/32-bit and of War’s ‘The World Is A Ghetto’
The Kula looks distinctive with DSD512, but there’s no traditional sounding jazzy, big and magnificent

its swoopy, wave-like casework. coaxial digital input. Otherwise, an in the hands of the Kula.

But only by looking beyond this Ethernet connection allows the Kula And this amp is pretty much

does the concentrated talent to function as a Roon endpoint, a agnostic when it comes to musical

inside become clear. This one-box brief it fulfils rather well. styles, delivering bags of presence
with Tiffany Pollack’s suitably
solution brings together all its ON SOLID GROUND
manufacturer’s expertise – uncut, swampy and reverb-laden Bayou
Liberty set [Nola Blue Records]. With
undiluted and uncompromised. It This is one of those amplifiers
similar effortlessness, it sounds crisp
and detailed with Raffi Besalyan’s

solo piano album, The Sound Of
Black And White [Sono Luminus],
delivering a fine impression of the

instrument in the spacious studio
acoustic. It’s a focused, but not

spot-lit, performance of both detail

and ambience, creating a glowing,

attractive sound that encourages

the listener to keep on exploring

their full music collection. If the
Mola-Mola Kula were a novel, you’d

be hard pressed to put it down!

doesn’t just draw on the company’s that’s so easy to enjoy you rapidly

‘It slips easily into the take for granted all the VERDICT
groove thanks to its deep good things it’s doing. If
and quick, slick bass’ This is an unashamedly upmarket
you do concentrate on integrated amp, especially in the
fully-loaded guise reviewed here,
the sound, rather than but one that lives up to its striking
the music, then it’s not looks and company pedigree with
a sound that’s not just captivating,
hard to appreciate the but entirely more-ish.

Makua preamp [HFN Aug ’17] and solidity and focus of the
Tambaqui DAC [HFN Nov ’19], but soundstage it creates with a good
pair of speakers, the ease with

unites them with an in-house power which it paints instrumental and HI-FI NEWS SPECIFICATIONS

amplifier, a new design evolved vocal timbres, and the effortless

from its previous work with Ncore dynamics even when playing at high Power output (<1% THD, 8/4ohm) 150W / 285W

Class D technology. basic levels. But most of all, it’s the Dynamic power (<1% THD, 8/4/2/1ohm) 155W / 300W / 175W / 104W
Mola-Mola doesn’t do simple – way the amp just gets out of the
way of the music. The Kula lives ups Output imp. (20Hz–20kHz/100kHz) 0.004-0.001ohm / 0.10ohm
instead it makes flexible products
Freq. response (20Hz–20kHz/100kHz) +0.02dB to –0.50dB/–5.0dB
with real-world facilities, leveraging to its billing of both transparency
Digital jitter (USB / S/PDIF) 25psec / 25psec
its know-how to offer a range of and ‘putting the music first’.

options. For example, while the Kula With the well-crafted recordings A-wtd S/N ratio (Digital/Analogue) 84.3dB (0dBFs) / 88.0dB (0dBW)

has three sets of analogue inputs on on Prince’s Welcome 2 America Distortion (DAC, 0dBFs/Amp, 10W) 0.00006-0.002%/0.00025-0.015%

RCAs, and three balanced on XLRs, set [Legacy], the amp slips easily Power consumption (Idle/rated o/p) 57W / 497W (1W standby)

you choose between them using into the groove of the opening Dimensions (WHD) / Weight 420x110x370mm / 11kg

switches on the rear panel, while track, thanks in no small part to its

YEARBOOK 2021 | www.hifinews.co.uk | 83

POWER AMPLIFIER

Stereo power amplifier. Rated at 185W/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: £1700

NAD C 298 The C 298’s dynamic ability is
astonishing, particularly when you
W e sometimes hear a hi-fi streaming via the BluOS platform, ABOVE: Softly remember its price tag. ‘Streets
component described Dirac Live room correction, and rounded edges Of Fire’ from Bruce Springsteen’s
as ‘a wolf in sheep’s MQA decoding, while saving some aside, the bluff Darkness On The Edge Of Town
clothing’, but the idiom pennies. You would then have two matt black fascia [Columbia] was thrilling. The
and ventilated amplifier sat in cruise control during
seems particularly apt for NAD’s C boxes to wrestle with, however. casework the opening verse, enunciating
comes directly The Boss’s vocal, before firing on
298. From the outside, there’s little from the 1980s all cylinders when the piano and
NAD playbook. rhythm section joined for the
to distinguish this £1700 black box DOUBLE TAKE But don’t chorus. With tracks like this you
judge this very really get your money’s worth.
from market rivals, but lift the lid We partnered the amplifier with sophisticated
Class D ‘book’ by With less dramatic recordings, or
and you’ll discover it’s the brand’s both standmounts and power- its cover... those without real low-end heft, the
C 298 did sound more pedestrian,
first stereo power amp to use Class hungry floorstanders, and it brought although its knack for creating a
spacious, unmuddied soundstage,
D Eigentakt technology from Purifi. out the best in both, such is the and emphasising musical detail, was
still in evidence. With Patsy Cline’s
The Purifi circuit has its roots tangible grunt and dynamic ability country ballad ‘I Fall To Pieces’
[The Complete Releases 1955-62;
in the innovative Hypex Class D on offer. The smaller loudspeakers Acrobat Music] it brought a plump
feel to the walking bassline and
module, and later Ncore derivative, responded with a performance that the clear, transparent nature of its
sound allowed us to focus on Cline’s
designed by Bruno Putzeys. NAD caused a visitor to our listening despondent lyrics.

first featured Eigentakt modules room to do a cartoon-style double We’ll not fall into the ‘but it’s
Class D’ trap. Yes, it might not
in its M33 streaming DAC/amp take, while the larger towers awoke bring the warmth and smoothness
expected from a more traditional
[HFN Aug ’20], and in the C 298 like giants from a slumber. amp, but that’s because the C 298
is voiced for a very direct sound,
they’re optimised for use with NAD’s Of course, it shouldn’t be a presenting music without gloss. The
joy to be had from its exuberance,
‘highly efficient’ switchmode power surprise that our main takeaway power and rhythmic ability means
that any craving for something
mellower doesn’t last long.

from a power amplifier was

‘The Purifi circuit has its its expression of power. VERDICT
But the C 298 proved to be
This NAD C 298 is impressively
roots in the innovative more than ‘just’ a power powerful, and combines its heft
Hypex Class D module’ amp in the same way that with speed and detail. The result is a
a Ford Mustang GT is more sound that’s exciting and revealing,
and likely to put all but the most
than ‘just’ a car. There’s reluctant loudspeakers on the front
foot. So while the C 298 is not quite
supply and input stage to deliver a serious bang for your buck here, ‘entry-level’, it’s still serious value.

claimed output of 185W/8ohm and married to a clean, pure delivery.

340W/4ohm – specifications that ‘Owner Of A Lonely Heart’ from

we found to be on the conservative Yes’s 1983 classic 90125 album

side in our lab measurements. [ATCO Records] revealed the C 298’s HI-FI NEWS SPECIFICATIONS

Unlike the just-add-speakers clout. Here it lent a cut and thrust

M33, the C 298 is a pure stereo to the track’s reverbed guitar riff, Power output (<1% THD, 8/4ohm) 235W / 475W
Dynamic power (<1% THD, 8/4/2/1ohm) 265W / 526W / 750W / 450W
power amp, with connections before folding the soundstage Output imp. (20Hz–20kHz/100kHz) 0.005–0.004ohm / 0.001ohm
Freq. resp. (20Hz–20kHz/100kHz) +0.0dB to –0.04dB/–11.5dB
limited to balanced XLR and inwards and nailing the transition Input sensitivity (for 0dBW/185W) 104mV / 1418mV
A-wtd S/N ratio (re. 0dBW/185W) 88.1dB / 110.8dB
single-ended analogue in, stereo from expansive to tight. Distortion (20Hz-20kHz, 10W/8ohm) 0.00019–0.0065%
Power consumption (Idle/Rated o/p) 25W / 430W (1W standby)
line-level output, and 12V triggers Snare and kick-drums had that Dimensions (WHD) / Weight 435x120x390mm / 11.2kg

for automated set-ups. An obvious in-the-room quality you get from a

partner would be NAD’s C 658 power plant with sufficient guts and

networked DAC/preamp. This sells transient snap. The music sounded

for £1500, and when added to the alive, and the follow-up track, ‘Hold

C 298 you’ll arrive at much of the On’, made me jump as drummer

functionality of the M33, including Alan White’s intro arrived.

84 | www.hifinews.co.uk | YEARBOOK 2021

INTEGRATED AMPLIFIER

Integrated ‘Class A’ amplifier. Rated at 25W/8ohm
Made by: Pass Laboratories Inc, California, USA
Supplied by: Select Audio, Cumbria
Telephone: 01900 601954
Web: www.passlabs.com; www.selectaudio.co.uk
Price: £7195

But this was just an amuse-
bouche. A greater understanding

of the amp’s musical quality and

soundstaging came from Johannes

Pramsohler and Ensemble Diderot’s

recording of Montanari Violin
Concertos [Audax Records]. With
No 6(i) the amplifier exhibited a

seductive liveliness, which helped
emphasise the piece’s overt jollity

and had violin and harpsichord
notes dancing from our speakers.

The dynamic peaks and troughs of

Pramsohler’s playing demand an

Pass Labs INT-25 amp with a deft touch and transient
ability – and, via Pass Labs’ INT-25,
that’s what they got.

Really great hi-fi experiences
have a ‘wow’ moment. Ours came

There’s comfort to be had architecture. The preamp is a ABOVE: Custom from a replay of Al Kooper and Mike
from a product with a simplified single-ended version of heatsinks are a Bloomfield’s blues jam ‘Albert’s
little sharp but Shuffle’ [Super Session; Columbia].
singular focus, and Pass the balanced JFET circuit used in the are not for show
Labs’ INT-25 fits that bill. as the INT-25 This superb recording dovetailed
costlier INT-60 while the Class A FET gets ‘comfortably
A line-only integrated, it eschews power amplifier is culled from Pass warm’ in use. No- with the INT-25’s abundant
Labs’ XA-25 model.
digital inputs, network functionality expression and sheer believability,
or onboard phono stage. Instead, Incidentally, if that 2x25W seems leaving us imagining a smoke-filled

backroom bar, our feet tapping
while watching virtuosos at work.

it presents itself solely as a conduit parsimonious, especially for owners nonsense volume, The tone of Kooper’s guitar

between source(s) and speakers, of insensitive speakers, then do not input select was startling, picked notes given

combining a FET-based preamp and despair because that conservative and display also a piercing leading edge followed
specification only denotes the indicate it’s ‘built by textured highs. Then came the
Class A power amp and nothing for business’
else. Of course, if that sounds amp’s Class A reach, determined by wider instrumentation, including
its standing bias current. In practice,
somewhat ‘basic’, the company’s Hammond organ, horn and tenor
it’ll deliver a lot more as the INT-25 sax. Each had its own distinct sound,
history and the amp’s £7200 ticket ventures out into Class AB.
should suggest it’s anything but. was afforded its own space and was
staged with utter precision.
The INT-25 is the entry-level amp

in Pass Labs’ integrated INT series, VELVET UNDERGROUND VERDICT
and is rated at 25W/8ohm. It’s
This amplifier is an unfatiguing

overshadowed by more powerful listen, but there’s no feeling of If your test for an integrated amp is

(Class AB) stablemates in the form details being glossed over or one that sounds extremely musical

thrown away. The sound is without lacking muscle, then the
INT-25 passes – if you’ll excuse
‘When the basics are succinct and clean, resolving the pun – with flying colours. The
musical minutiae with finesse. specification may hint at a back-

as good as this, who Just as importantly, this to-basics approach, but when the
needs the extra frills?’ notionally 25W amp behaves
like something beefier, basics are this good, who needs the

powering through percussion extra frills?

of the £8750 INT-60 and the and bouncing along with the most HI-FI NEWS SPECIFICATIONS
£11,495 INT-250 [HFN Nov ’17]. robust of basslines. There’s a rich,

All are only available in silver yet velvet quality to its low-end that’s Power output (<1% THD, 8/4ohm) 68W / 120W
have slightly different stylings. The Dynamic power (<1% THD, 8/4/2/1ohm) 75W / 147W / 281W / 255W
as appetising as its upper-band Output imp. (20Hz–20kHz/100kHz) 0.010–0.015ohm / 0.081ohm
INT-25 misses out on the circular acrobatics and tonal nuance. In Freq. resp. (20Hz–20kHz/100kHz) +0.0dB to –0.10dB/–1.25dB
short, it’s deeply compelling. Input sensitivity (for 0dBW/25W) 151mV / 770mV
meter of its brethren, but remains A-wtd S/N ratio (re. 0dBW/25W) 89.6dB / 103.5dB
Take Moby’s ‘God Moving Over Distortion (20Hz-20kHz, 10W/8ohm) 0.0017–0.025%
good-looking; two side-mounted The Face Of The Waters’ [Everything Power consumption (Idle/Rated o/p) 180W / 298W (2W standby)
Is Wrong; Mute]. This sweeping Dimensions (WHD) / Weight 432x153x454mm / 22.2kg
heatsinks add a slightly industrial
synthetic piece swelled from our
feel to an otherwise glamorous three-way floorstanders, creating
visage. Controls are minimal – just
a soundstage that combined light
a 63-step volume, input selectors,
and mute and power buttons. and dark as sweet-sounding strings
faced off against deep, surging bass.
This purity of design carries

through to the INT-25’s internal

YEARBOOK 2021 | www.hifinews.co.uk | 85

WE DARE

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it poorly, we can guarantee you that. A
KRYO XLR connector from ETI Research
will set you back a solid 70 quid. But
it’ll sound like a million. It is scientifically
proven, a fact of life. Just try it, we dare
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MONOBLOCK POWER AMPLIFIER

Mono hybrid Class D power amp. Rated at 600W/8ohm
Made by: PS Audio, Boulder, Colorado
Supplied by: Signature Audio Systems
Telephone: 07738 007776
Web: www.psaudio.com; www.signaturesystems.co.uk
Price: £5999 (pair)

PS Audio M1200 these amps reason to let their
high-power hair down, creating
Sold in pairs for £6000, this Otherwise, the M1200’s styling ABOVE: PS a searing midband that perfectly
new addition to PS Audio’s follows the trend set by other Audio’s Stellar captured Matt Heafy’s sinewy
Stellar range combines a components in the Stellar range. range plays it guitar tone, and drums hitting
high-power Class D output Indeed, it looks almost identical to slender and with the speed and aggression of a
simple, its champion boxer. The smoothness of
stage with Class A vacuum tube the M700. The chassis is the same substantial the M1200’s upper ranges helped
input, in pursuit of both efficient width (432mm), and while a shade casework split here, taking some of the edge off
into upper and the avalanche of distorted guitar.
speaker-driving muscle and spine- taller it’s certainly slim enough to lower half shells.
Class D modules The resolution and nuance on
tingling musicality. It’s described as make placement simple. It’s the run cool so offer comes with the usual caveat
there’s no need – that lower-quality sources sound
a ‘dream project’ by the company’s Class D design that informs this for external like, well, lower-quality sources.
heatsinking Soundstaging and production
lead designer Darren Myers. form factor, with vents on the top differences are illuminated by the
M1200’s transparency, rather than
It certainly appears up to the and sides for passive cooling. buried under its own character.

challenge of providing some serious STEEL ’N’ SILK That said, there wasn’t anything
grunt. Claimed ‘minimum’ figures the amps didn’t have a whale of a
time with, from hip hop and dance
of 600W/8ohm and 1200W/4ohm This monoblock is not only devoted music to live jazz and orchestral
pieces. Across them all, the same
are supported by Editor PM’s to room-shaking power. It has qualities came to the surface:
weighty bass, impressive agility, and
measurements, and the new ‘Edge’ that capability, but a relish for its a real grasp of tonal subtleties.

Billy Joel’s ‘Travelin’ Prayer’ [Piano
Man; Mobile Fidelity Sound Lab]
sounded up-tempo and deliciously
pointy, without smearing of the
staccato bassline or rat-a-tat
percussion. Similarly impressive was
‘Fuego’ by KOAN Sound [Sanctuary;
Introspective Records], where
pulsating electronic beats and synth
stabs appeared to flit in and out
of our vision, split-second bursts of
energy benefiting from the Stellars’
abundant power.

punch comes with an

‘Hip-hop, dance, to live appreciation of its grace. VERDICT
jazz – the Stellar M1200s The sound is a confluence
had a whale of a time’ of steel and silk – fast, From a package small enough
to easily share shelf space with
rhythmic and able to the rest of your system comes a
performance that’s big and bold,
respond astutely to the yet also impressively emotive. The
best of both worlds? A pair of these
shifting dynamics of the power amps just might be.

circuit design of ICEpower’s Class D music. A smooth treble lifts it high

module enables a more predictable above the realms of the rough-and-

response/distortion behaviour ready, and there’s an energetic

regardless of loudspeaker load than delivery of the midband. HI-FI NEWS SPECIFICATIONS

earlier implementations. But the star attraction – the one

Also in the Stellar series is the that gets your blood pumping – is Power output (<1% THD, 8/4ohm) 628W / 1246W

less powerful but more affordable its exceptional bass handling. Chris Dynamic power (<1% THD, 8/4/2/1ohm) 597W / 1080W / 1985W / 1311W

(£2700-per-pair) M700 monoblock. Rea’s ‘Daytona’ [The Road To Hell; Output imp. (20Hz–20kHz/100kHz) 0.024–0.055ohm / 0.83ohm
That amplifier features PS Audio’s
Magnet Records] arrived with a Freq. resp. (20Hz–20kHz/100kHz) +0.0dB to –0.65dB/–7.05dB
‘Analog Cell’ technology, a ‘Class A slippery, fluid and authentic bass
Input sensitivity (for 0dBW/600W) 83mV / 2093mV
MOSFET input stage [that] closely sound that we weren’t prepared for,

mirrors the sonic characteristics of a the kind that has you wondering A-wtd S/N ratio (re. 0dBW/600W) 83.9dB / 111.7dB

vacuum tube’. On this hybrid model, why you haven’t always done your Distortion (20Hz-20kHz, 10W/8ohm) 0.0115–0.065%

however, you have the real thing listening through 600W monoblock Power consumption (Idle/Rated o/p) 29W / 707W
– a 12AU7 triode which is fed by its amplifiers. Trivium’s What The Dead
Dimensions (WHD) / Weight 432x95x330mm / 12kg (each)
own power supply. Men Say [Roadrunner] then gave

YEARBOOK 2021 | www.hifinews.co.uk | 87

INTEGRATED AMPLIFIER

Integrated amplifier with USB DAC. Rated at 200W/8ohm
Made by: The Rotel Co. Ltd, Tokyo, Japan
Supplied by: Rotel Europe, Worthing, UK
Telephone: 01903 221 710
Web: www.rotel.com
Price: £4300

Rotel Michi X3 drums to rasping vocals. Keeping
it Caledonian, the gentler sound
Substantial, beautifully Outputs are provided for two ABOVE: A visual of Heron Valley’s Erie Storm EP
designed and finished, and sets of speakers and headphones, clone of the [Wee Studio] then plays to the
hefty at getting on for 30kg, and there are also mono subwoofer Michi P5 preamp amp’s speed and deft touch. The
the X3 is the base model of outs, and a pair of pre-outs. The [HFN May ’20], instrumental and vocal definition
the X3’s front here is as notable as the way the
two integrated amplifiers in Rotel’s last of these should be considered panel remains rhythms drive along with a mixture
simple and clean of refinement and outright slam.
revived Michi range. The bigger as a means of adding a second with source and
volume selectors We spent time comparing the
X5 (£6300) claims 600W/4ohm, power amplifier to bi-amp suitable flanking a large, digital section of the amp with an
crisp display. external alternative, switching to
but this ‘lower powered’ model loudspeakers. In practice the X3 is Headphone iFi Audio’s NEO iDSD [see p63]. This
socket is also fine £699 DAC maybe had a slight
(350W/4ohm) is still able to deliver not configured to be used purely included edge on bite and snap with some
tracks – especially multi-DSD media
quite a wallop when required. as a preamp as there’s no way to beyond the X3’s capability – but it
was a close-run thing, and shouldn’t
Of course, sheer power isn’t disengage the power amp section. detract from the ability here.

everything, and the sensibly priced The Michi X3 has all the speed,
warmth and control to make the
X3 combines it with a space- NO PROBLEM most of Bob James’s Lost 1965 New
York Studio Sessions [2xHD; DXD],
efficient chassis. While slightly wider This amp’s massive power output and that held true whether enjoyed
through our big old PMC OB1
than the hi-fi norm at 485mm, it’s – both continuous and dynamic speakers or the smaller, faster Neat
Iota Xplorer [HFN Jul ’18].
clearly been designed to slot into – makes it especially suited to
And if there was any doubt
most equipment racks, standing just speakers of lower sensitivity or of its massive, clean power, the
magnificent LSO/Noseda recording
of Shostakovich’s 9th Symphony
[LSO Live; DSD256] shows it off to
great effect. Despite the dynamic
swings involved – and you can crank
the volume level as high as you
want – there’s no hardening of the
sound or suggestion of the amp
raising a bead of sweat.

challenging impedance,

‘Cue up an exuberant but more impressive is its VERDICT
track and the X3 rolls ruthless control, allied to
out a whole barrel of fun’ unfettered dynamics and The Michi X3 carries its power
crisp cleanliness, with just lightly, combining ‘drive anything’
about any loudspeaker. confidence with speed and warmth.
Add in its flexibility, build quality
You don’t need to be using and sheer style, and you have an
amp able to take on rival super-
150mm tall. Indeed, it could almost ‘problem’ speakers to justify its integrateds and show most of them
a clean pair of heels.
be called svelte, an impression inclusion in your system.

heightened by the mixture of matt The X3 delivers clout and sparkle

and gloss black in its styling. in equal measure, wonderfully

The X3 is also comprehensively open and detailed soundstaging HI-FI NEWS SPECIFICATIONS

specified, and will handle complex where the recording permits, and Power output (<1% THD, 8/4ohm) 255W / 425W

multi-source systems if needed. In reliably sharp focus and clarity. And

addition to four sets of line inputs, while it sounds excellent with fine Dynamic power (<1% THD, 8/4/2/1ohm) 307W / 585W / 1080W / 1775W

one on balanced XLRs, it has a recordings, there’s nothing po-faced Output imp. (20Hz–20kHz, Pre/Amp) 96-99ohm / 0.029-0.11ohm

rather good MM phono stage and about the sound here. Cue up a Freq. response (20Hz–20kHz/100kHz) –0.10dB to –0.12dB/–1.05dB

a strong lineup of digital inputs to rough but exuberant track or two, Digital jitter (USB / S/PDIF) 250psec / 245psec

feed its 768kHz/32-bit AKM DAC. and it rolls out a whole barrel of fun.

These include a trio each of optical With Peat & Diesel’s Live At A-wtd S/N ratio (DAC/Amp) 103.0dB / 79.8dB

and coaxial inputs, aptX Bluetooth, Barrowlands set [Wee Studio], the Distortion (DAC, 0dBFs/Amp, 10W) 0.0015–0.0045%/0.0013–0.02%

and a USB-B port to push digital amp conveys all the excitement of Power consumption (Idle/rated o/p) 77W / 695W (1W standby)
Dimensions (WHD) / Weight 485x150x452mm / 28.9kg
audio – up to 384kHz/24-bit and the sell-out gig, and delivers it red

DSD128 – directly from a computer. in tooth and claw, from powerful

88 | www.hifinews.co.uk | YEARBOOK 2021

TUBE PRE/POWER AMPLIFIER

Pre & power amplifier. Rated at 200W/8ohm (mono)
Made by: Valve Amplification Company, Inc., Florida, USA
Supplied by: Signature Audio Systems, UK
Telephone: 07738 007776
Web: www.vac-amps.com; www.signaturesystems.co.uk
Prices: £28,000 (pre +£12,000 phono)/£14,500 (power each)

VAC Master Preamp bordered on the cavernous while
& Signature 200iQ performer placement was so precise
you could trace any movement with
the smoothest of lateral transitions.
If you’re a soundstage and imaging
obsessive, this will knock you out.

We dug out the same recording
on LP [RCA]. The A/B comparison
was an ear-opener, because the
VAC phono stage is so lush, rather
than hygienically forensic, that it
was more of an exercise in degrees
of analogue excellence. In other
words, it tested the cartridges as
much as it did LP-vs-tape.

Allied to the silkiness and warmth
of the VAC Master Preamp, with the
seemingly limitless power reserves
of the Signature 200iQ, it was an
overall sound that proclaimed
freedom from constraint.

Switching to The Doors’ Morrison
Hotel [Rhino/Elektra] on CD, we
were seduced by the sinuous,
supple guitar work. The VAC amps
have an ameliorative effect on
digital. Yes, even streaming. They
just seem more lifelike than many
kick-you-in-the-gut rivals.

Founded in 1990, the Valve The power amp comes with four ABOVE: The pre VERDICT
Amplification Company, aka 6SN7s and four KT88s, but the latter and mono power
VAC, is resolutely focused can be replaced with KT120s or amps (below) all The sound of these amps boasts
on the high-end, as this KT150s, abetted by the amp’s auto- feature point-to- detail and scale to match the best
point hand wiring of solid-state, yet with luscious
pairing’s £69,000 cost attests. That bias system – the ‘iQ’ in the name. warmth to never let you forget it’s a
tube affair. Or a love affair...

includes the addition of the optional As for the Master Preamplifier,

MM/MC phono stage at £12,000 the massive volume control and

on top of the Master Preamplifier’s source selector dominate the front,

£28,000 base cost. Here we are while smaller knobs deal with mute,

using a brace of Signature 200iQ logo illumination on/off, power on/

power amps at £14,500 apiece. off and ‘cinema’ for the bypass

stage if integrated into a

‘If you’re a soundstage home theatre system.
Inside are one 6922

and imaging obsessive, double-triode per channel
this will knock you out’ for the Class A line stage,
the optional phono stage

adding six 12AX7s. The

The Signature 200iQ is rated at phono section provides MC load HI-FI NEWS SPECIFICATIONS

100W/ch or 200W in mono mode impedances of 470, 300, 250, 200, Continuous power (<1% THD, 8/4ohm) 145W / 205W (4-8ohm tap)

(selected via a toggle switch) and 150, and 100ohm and MM loading

features speaker terminals feeding at the standard 47kohm, plus 30k, Dynamic power (<1% THD, 8/4/2/1ohm) 151W / 235W / 232W / 210W

off separate output transformer 25k, 15k, and 10kohm, all chosen Output imp. (20Hz–20kHz, pre/power) 45ohm / 0.76–0.78ohm

secondaries. The secondary via a rear panel rotary. Freq. resp. (20Hz–100kHz, pre/power) –0.7 to –3.6dB / +0.7 to –0.4dB

windings are configured in parallel Input sensitivity (for 0dBV/0dBW) 358mV (pre) / 178mV (power)

when in mono mode, halving the THE GOOD LIFE

specified 4-8ohm, 2-4ohm and What grabbed us immediately A-wtd S/N ratio (re. 0dBV/0dBW) 98.2dB (pre) / 93.9dB (power)

1-2ohm taps. This influences the was the sense of space. With the Distortion (20Hz-20kHz, 1V/10W) 0.011–0.68%/0.056–0.15%

available power and, here, the high Broadway performance of Fiddler Power consumption (idle/rated o/p) 240W/345W (94W, preamp)

frequency response realised by the On The Roof [RCA] on open-reel tape Dimensions (WHD, Pre/Power) 457x109x368/457x222x439mm

chosen tap/speaker combination. the soundstage these amps created

YEARBOOK 2021 | www.hifinews.co.uk | 89

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The RS-250 from HiFi Rose is a true high-end device. From its elegant, sturdy RSA-780 is a low noise, isolated
aluminium construction through its extensive DAC functions and on to its CD drive enabling you to
bespoke transformer design – no element of this prestigious product is left import and playback CDs on
to chance. your HiFi Rose player in just
one touch with Rose OS.

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INTEGRATED AMPLIFIER

Integrated amplifier. 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
Price: £4999

Other amplifiers are more

revealing, but they can make an

edgy recording sound harsh and

irritating. Not so the A-S3200. Even

with Big Audio Dynamite’s ‘Medicine

Show’ [This Is Big Audio Dynamite;

Columbia] at high volume levels, the

presentation is focused and clear.

It pounds along catchily, the

A-S3200 doing that trick of keeping

control without being controlling.

The New York Philharmonic/

Boulez recording of Ravel’s La

Valse [Boulez Conducts Ravel; Sony

Classical] is dramatic right from

the off; the sound is lush but with

insight into the orchestra, and

Yamaha A-S3200 faultless soundstaging. The strings
sound silky, but the bass rumbles
the room. The Yamaha A-S3200

then delivers magnificent slam and

bass power with ELP’s ‘Toccata’

[Brain Salad Surgery; Sanctuary/

The flagship of Yamaha’s transformer through to high-quality ABOVE: As well Universal]. The sense of drum skins
integrated amplifier range, speaker outputs fed by very thick as uncommonly in Carl Palmer’s kit is remarkable,
the £4999 A-S3200 is big, internal cabling. This, incidentally, accurate ‘retro’ and you can almost hear the
bold and unashamedly seems to be one of the major VU meters, the oscillators working in Emerson’s

old-school with its silver finish (black distinguishing factors between the A-S3200 features synths, with Palmer driving hard and

is available as an option), polished A-S3200 and the ’3000, along with a motorised the synths going off like a firework

piano-black side panels and large improved ‘mechanic grounding’ via volume, tone, display. It’s magnificent stuff!

illuminated meters. Weighing in upgraded feet and chassis. balance, input, It also proves more than capable

at the better part of 25kg and with The A-S3200 isn’t exactly frill-free speaker and of getting a shift on when the music

a quoted output of 100W/8ohm, either. One slick touch is found headphone demands it. On Queen’s ‘Doing

there’s little at first glance to set when you press the ‘mute’ button, switching Alright’ [Queen; Island] the opening

for rather than an instant is delicate and well-judged, the mid-

‘The synthesisers were cut-off of sound, the volume section tight and jazzy, and then
fades away. Then there’s the track slams into flat-out rock.
The Yamaha A-S3200 delivers all the
going off like a firework that pair of illuminated
display – magnificent!’ power meters, which are power anyone could want, but with
not pure retro decoration absolute refinement.

but are very accurate at

this latest model apart from the displaying the amount of power the VERDICT

A-S3000 it replaces [HFN Nov ’13], amp is delivering into 8ohm. The idea that Yamaha amps are all

but then that’s no bad thing as about smooth lushness is dispelled

there’s much to like here. THE RIGHT STUFF when listening to the A-S3200: this

Yamaha has avoided the Emblazoned on the front of every is fast, dynamic and exciting, and

temptation to load the A-S3200 Yamaha hi-fi product used to be the carries its sonic armoury with total

with digital inputs and multiroom legend ‘Natural Sound’. That may ease. It’s a bit of a star.

capability – despite the existence be missing here, but it’s still what

of its excellent MusicCast wireless you get – a presentation that at HI-FI NEWS SPECIFICATIONS

system – and has instead gone for first seems understated, but swiftly Power output (<1% THD, 8/4ohm) 120W / 195W
an all-analogue design, complete creates a realisation of ‘rightness’.

with MM/MC phono stage in The A-S3200’s iron fist is very Dynamic power (<1% THD, 8/4/2/1ohm) 140W / 260W / 447W / 380W

addition to two sets of balanced much clad in the finest of kid gloves. Output imp. (20Hz–20kHz/100kHz) 0.026–0.068ohm / 0.42ohm

and four unbalanced line inputs. The dense mix of Yes’s ‘Yours Is No Freq. resp. (20Hz–20kHz/100kHz) +0.0dB to –0.09dB/–1.55dB
There’s also a single line output, a Disgrace’ [The Yes Album; Rhino Input sensitivity (for 0dBW/100W) 19mV / 192mV
preamp output and direct power Atlantic] was delivered with plenty

amp input, plus headphone output of drive and bite, but all in a mature A-wtd S/N ratio (re. 0dBW/100W) 96.4dB / 116.3dB

with its own trim control, offering and measured manner. The sound Distortion (20Hz-20kHz, 10W/8ohm) 0.0045–0.011%

–6dB, 0dB, +6dB and +12dB gain. communicates directly, with bass, Power consumption (Idle/Rated o/p) 70W / 358W (1W standby)

The amplifier is built on a grand drums and all instruments rich and Dimensions (WHD) / Weight 435x180x464mm / 24.7kg
scale too, from its hefty toroidal warm, with impressive bass growl.

YEARBOOK 2021 | www.hifinews.co.uk | 91

LOUDSPEAKER

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: £1499

B&W 603 S2
Anniversary

Launched to celebrate 25 surroundless FST design. Below that RIGHT: The
years since the debut of the sit a pair of 165mm bass drivers S2 Anniversary
original 600 Series models, using reinforced paper cones, Edition of the 603
this Anniversary Edition tuned via a rear-venting ‘Flowport’. features B&W’s
‘Decoupled
represents one of the company’s Finally, there are two sets of decent Double Dome’
aluminium
shortest model cycles. After all, the terminals, connected using jumper tweeter, a
150mm FST
last revamp of the 600 Series was bars for single-wire use. midrange driver
with Continuum
just a few years ago [HFN Dec ’18]. cone, plus two
165mm paper-
So what sets the £1499 603 S2 JUST SAY YES coned bass
drivers reinforced
Anniversary model apart? To describe these speakers as with Kevlar

Aside from the finish – the having a ‘commercial sound’ is not

existing matt black and white a criticism. They may not be the

options are joined by a white/light last word in definition and detail,

oak two-tone (or in some markets but they’re a very enjoyable listen,

red cherry) – and a new anniversary especially when you wind up the

logo, the changes encompass level and let them shift some air.

uprated crossover components They’re polite yet informative

including specially treated bypass with the Academy of Ancient

capacitors from Mundorf, and Music/Rachel Podger Bach Violin

improvements to the main high- Concertos [Harmonia Mundi].

frequency and midband capacitors. Perhaps there’s a little too much

Not radical stuff, but the company soundbox and not enough strings in

the sound of soloists, but

‘The speakers really got for the money the sound is
more than respectable.
their growl on with the
Yet with ‘Roundabout’,

track’s tight bass’ from Yes’s 1971 Fragile
[Atlantic], the speakers

soar, the band’s engine

claims it delivers ‘greatly improved room working hard, the vocals

resolution and transparency’. singing out and the keyboards

Otherwise there’s much that’s arpeggiating like a good ’un.

familiar in these speakers, which are They really get their growl on

a relatively compact floorstanding with the tight bass here, doing an

design at just a metre tall, and impressively room-shaking job.

with the supplied stabilising plinth Yes, there’s an element of

(not shown here) taking that up to ‘don’t shoot the messenger’, but it

105.5cm. It’s relatively slender, too, illustrates that a little care must be

with the main cabinet just 190mm exercised with choice of listening

wide – about as narrow as it could material. Play the loudspeakers at

be while still accommodating those low volume levels, and you might be

165mm bass drivers – and 340mm left wanting a bit more excitement. HI-FI NEWS SPECIFICATIONS

deep, though the plinth increases Stick to clear, crisp recordings, listen Sensitivity (SPL/1m/2.83V – 1kHz/Mean/IEC) 88.6dB / 86.9dB / 85.5dB

that footprint to 320x370mm. at decent levels, and you certainly Impedance modulus: minimum 2.85ohm @ 124Hz
& maximum (20Hz–20kHz) 27.3ohm @ 53Hz
The drivers are a mix of in-house won’t go far wrong. Impedance phase: minimum –72o @ 66Hz
& maximum (20Hz–20kHz) 51o @ 1.26kHz
B&W units: the tweeter is a 25mm Pair matching/Resp. error (200Hz–20kHz) 1.3dB/ ±4.3dB/±4.2dB

Decoupled Double Dome driver, VERDICT LF/HF extension (–6dB ref 200Hz/10kHz) 42Hz / 51.3kHz/52.8kHz
THD 100Hz/1kHz/10kHz (for 90dB SPL/1m)
in which the main aluminium There’s much to like about these 0.45% / 0.05% / 0.1%
Dimensions (HWD) / Weight (each)
diaphragm is reinforced by a ring speakers. With a powerful amp they 985x190x340mm / 24kg

of the same metal, adding stiffness, can deliver a rich, well-layered and

while the midrange driver is a involving sound. But you really do

woven Continuum Cone, 150mm in have to let them flex their muscles

diameter and using the company’s if they’re to truly spring to life.

92 | www.hifinews.co.uk | YEARBOOK 2021

BUDGET ESOTERICA – LOUDSPEAKER

Compact two-way floorstanding loudspeaker
Made by: Cambridge Audio Ltd, PRC
Supplied by: Audio Partnership PLC, London
Telephone: 0203 514 1521
Web: www.cambridgeaudio.com
Price: £399

Cambridge
Audio SX-80

W ith head-turning prices, to deliver ‘a wide and effortless RIGHT: The
a modern finish and soundstage’. The 165mm bass/mid SX-80 is a true
dimensions that won’t with its treated paper cone benefits two-way (not
upset your interior from a ‘carefully optimised’ magnet two-and-a-half-
way) compact
designer, Cambridge Audio’s SX system to craft what is described floorstander
with vinyl-
loudspeaker range is likely to garner by Cambridge Audio as a ‘deep, wrapped MDF
cabinet. It hosts
considerable interest. The SX-80 is punchy bass with high efficiency’. a pair of 165mm
treated paper
the ‘flagship’ of the series, inverted cone mid/bass
drivers mounted
commas necessary as it’s still priced WIDE APPEAL D’Appolito-style
above and below
at an agreeable £399 per pair. Yes, it’s a tower speaker, but rather a 25mm silk
dome tweeter
The speaker’s PVC-wrapped MDF than try to blow buyers away with

cabinet – which features 18mm- boisterous bass and epic scale, the

thick side walls and offers a 37-litre SX-80 majors on midrange and high

internal volume – is resolutely frequency detail, a good balance

square, suggesting the CAD across the audio band, and tuneful

modelling conducted by the design low frequencies. For £400, it’s an

team was focused on the inside, accomplished all-rounder.

rather than the outside. More low-end volume would

However, making up for what have better served club anthems

some will view as an unimaginative and drum and bass tracks, but the

aesthetic is that the SX-80 is easy SX-80 locked into the melodic stop/

to install. A moderate 16.9kg start riffs and simple drum track

of AC/DC’s ‘Hold Me Back’

‘It stomped along to [Stiff Upper Lip; Columbia]

and stomped along to a Tidal
Daft Punk’s funky and stream of Daft Punk’s funky
infectious “Get Lucky”’ and infectious ‘Get Lucky’.
These speakers also

created a wide image with

weight means moving it around for effective placement of instruments

performance fine-tuning is never a and vocals. Lining up innovative

chore, and it comes pre-installed mixes, such as David Essex’s ‘Rock

with its four-corner feet ready for On’ and the ringing clocks of Pink

the supplied spikes. Lace up via the Floyd’s ‘Time’ [both Tidal], picking

solid speaker terminals and you’ll be out positional details was a doddle.

good to go in a matter of minutes. With a challengingly dense

The SX-80 is a two-way speaker, composition, such as James Horner’s

using a pair of identical bass/ orchestral ‘A Kaleidoscope Of

mid units above and below its Mathematics’ [A Beautiful Mind;

tweeter in a D’Appolito array with Tidal 44.1kHz/16-bit], the surging

a 1.6kHz crossover. Given that the strings sounded a little dominant

speaker measures just 98cm tall, but the way this speaker built its HI-FI NEWS SPECIFICATIONS

this arrangement doesn’t follow wide soundstage, and retained its Sensitivity (SPL/1m/2.83V – 1kHz/Mean/IEC) 88.6dB / 87.8dB / 85.8dB

the general rule of mounting the sense of detail as more instruments Impedance modulus: minimum 5.5ohm @ 37Hz
& maximum (20Hz–20kHz) 22ohm @ 1.5kHz
high-frequency driver at ear height. joined the fray, was very impressive. Impedance phase: minimum –28o @ 24Hz
& maximum (20Hz–20kHz) +40o @ 865Hz
At this price point, however, it’s Pair matching/Resp. error (200Hz–20kHz) 1.4dB/ ±2.6dB/±2.4dB

unlikely that such an audiophile VERDICT LF/HF extension (–6dB ref 200Hz/10kHz) 45Hz / 23.4kHz/24.1kHz
THD 100Hz/1kHz/10kHz (for 90dB SPL/1m)
concern will be of key interest to all This two-way tower offers a 0.25% / 0.3% / 0.65%
Dimensions (HWD) / Weight (each)
users in the target market. performance that’s surprisingly 950x200x276mm / 13kg

The treble unit is a 25mm silk mature and well-balanced. It’s

dome, fitted with an internal foam excellent value for money and an

damper to absorb rear output and interesting option for those bored

limit reflections, and is claimed by budget bookshelf models.

YEARBOOK 2021 | www.hifinews.co.uk | 93

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LOUDSPEAKER

Two-way standmount loudspeakers
Made by: DeVore Fidelity, NY, USA
Supplied by: Absolute Sounds Ltd
Telephone: 0208 971 3909
Web: www.devorefidelity.com; www.absolutesounds.com
Price: £13,500

DeVore
Fidelity O/96

New York-based company voice-coil and Kapton former.
DeVore specialises in Behind this there’s a large ferrite/
high-sensitivity, easy-to- ceramic magnet – so no fancy rare-
drive loudspeakers, its earth materials here.

£13,500 ‘wide baffle’ O/96 having a

rated 96dB sensitivity. The speaker INVISIBLE TOUCH

also comes with matching wooden Long before we had the O/96s

stands, raising the O/96 to 0.9m. singing so sweetly they’d reminded

The cabinets are fashioned from us of another wide-baffle two-way

a mix of MDF (rear panel), MDF/ply speaker, one we used during the

(bottom), HDF for the sides and top, 1990s – the AN-E from Audio Note.

plus a machined US-made Baltic The O/96s have a similar ability to

birch for the 1in-thick baffle. Up to cast very plausible stereo images

ten coats of hand-polished lacquer over a wide listening area although

are applied across all the cabinet they are less inclined to favour a

surfaces except the underside, the corner or near-wall siting. Rather,

latter playing host to inset 4mm they deliver their most open and

Cardas-copper speaker terminals. transparent sound when positioned

The stands are also lacquered, clear of boundaries and toed-in

this time to a glorious piano-black towards the listening position.

finish and have no metal spikes or Transparency is a term too

fasteners, so the speakers are both readily bandied about in reviews,

but the O/96s truly exhibit this

‘Other loudspeakers see-through quality. The instant
you hear these boxes in action

sound like they need then 99% of other ‘boxes’ will
a kick up the pants’ sound, well, like they need a kick
up the pants to get them going.

The O/96s simply do not reveal while each layer in the multi-track ABOVE: O/96’s
recording was explicitly clear fibreboard
mated and decoupled to/from the themselves as a ‘sound source’ – and utterly in harmony with its cabinets and
partnering ‘performers’, albeit 25mm Baltic
stands’ surface by four small pellets their ‘touch’ is so light that the played and sync’d by just one man. birch baffle host a
250mm bass/mid
of white tack at each corner. faintest of sounds seem to slip VERDICT unit (with Kurt
Müller blue paper
The custom drivers are produced unhindered into the room. To every audiophile wedded cone) and 28mm
to high power and statuesque silk dome. There
for DeVore by long-term partner If you ever wanted to contrast floorstanders, spend an evening are two 75mm
with the O/96. You’re guaranteed ports at the rear
SEAS and include a 28mm silk fabric the vocal styles expressed in Kate an experience you’ll not forget!

dome tweeter and a long-throw Bush’s 50 Words For Snow [Fish

250mm paper-cone bass/mid driver People; 96kHz/24-bit] with Rebecca

with soft rubber surround. The Pidgeon’s ‘Spanish Harlem’ [The

treble dome works into a wool- Raven, Chesky; 96kHz/24-bit] then

damped rear chamber, is equipped the O/96s will conjure both these

with a double magnet and is gently performers for a very up-close and

horn-loaded, the flare only really personal inspection. Every breath, HI-FI NEWS SPECIFICATIONS

taking effect below 7kHz or so. every subtle sibilant, every lick of Sensitivity (SPL/1m/2.83V – 1kHz/Mean/IEC) 93.8dB / 91.5dB / 89.3dB

The bass/mid unit is really the lips – ‘vivid’ fails to convey the Impedance modulus: minimum 7.15ohm @ 190Hz
& maximum (20Hz–20kHz) 108ohm @ 20Hz
something special and those startlingly palpable presence of Impedance phase: minimum –63o @ 73Hz
& maximum (20Hz–20kHz) +52o @ 53Hz
readers steeped in audiophile lore these voices before you. Pair matching/Resp. error (200Hz–20kHz) 0.75dB/ ±4.9dB/±4.7dB

may well recognise the classic There was power too, a realistic LF/HF extension (–6dB ref 200Hz/10kHz) 37Hz / 19.3kHz/19.7kHz

Müller blue paper cone. This uses a sense of edge and bite where notes THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 0.5% / 0.08% / 0.5%

similar pulp to the larger of Tannoy’s would rise without inertia and Dimensions (HWD inc stand) / Weight (each) 902x457x254mm / 25kg

iconic coaxial drivers, untreated decay without haste. During Mike

here except for some reinforcing Oldfield’s Return To Ommadawn

lacquer at the cone’s throat where [Mercury; 96kHz/24-bit], the room

it’s bonded to a multi-layer copper was shaken by African table drums

YEARBOOK 2021 | www.hifinews.co.uk | 95

LOUDSPEAKER

Standmount two-way loudspeaker
Made by: FinkTeam, Essen, Germany

Supplied by: Kog Audio
Telephone: 0247 722 0650
Web: www.finkteam.de; www.kogaudio.com

Price: £8900

FinkTeam KIM

The £8900 price tag may casting a coherent ‘free of the
seem pretty punchy, speakers’ sonic picture. Indeed,
but as well as being the this is a remarkably open and well-
smallest FinkTeam speaker
integrated design, as is clear with

design to date, the KIM is also the one of our well-worn test-tracks,
most affordable. It sits below the Lake Street Dive’s stripped-back take

floorstanding £21,000 Borg and the on The Jackson Five’s ‘I Want You

135kg-apiece WM4, which is – let’s Back’ [Fun Machine EP; Signature
say – comfortably more expensive. Sounds Bandcamp download]. Each

However, while it may be smaller, of the elements – percussion, bass

measuring 85.4cm tall with stands, and trumpet, and especially Rachael
the KIM has had everything thrown Price’s powerful, plaintive vocal – is

at it by Fink. The tweeter here is a crystal clear, and set in a credible,

110mm AMT design, with a passive intimate soundstage.

delay to adjust the phase in relation The same is true with more

to the 200mm paper-coned bass/ substantial musical forces, as in the

mid driver, as was done on the Borg. ‘Lacrimosa’ from Mozart’s Requiem

As for the bijou woofer, this [LSO/Colin Davis; LSO Live], with

features a rubber surround, the the hushed tones of the opening

company explaining that too many delicate and detailed, and then

compromises would have been the orchestral/choral crescendos

involved in using a cloth surround. delivered with real power and slam,

Meanwhile, the driver is tuned via plus that sofa-troubling bass.

a slot-type port integrated into the Switch to the snappy funk

rear panel and the crossover uses of Bowie’s ‘Golden Years’, from

air-cored inductors and capacitors. the 2016 remaster of Station To

Station [Rhino] and the

‘They did a very good track, which can seem
job of rumbling the sofa
to be swallowing the
vocal via other speakers,

and thumping our chest’ sounds crisp, forthright
and above all downright

danceable on the KIMs.

What’s more, a mix of Mundorf Even Bowie’s echoing handclaps are

components and others custom- brightly resolved here.

made for Fink are used, including Asked to do more than a credible

low-inductance bifilar resistors. soundstage, the KIMs shine with an

Two controls are provided on effects-laden track such as Jean-

the rear of the speaker to tune the Michel Jarre’s ‘Souvenir Of China’
sound to the room and system with [Jarre In China; Warner Music].

which they’re used. The cabinet Ping-pong balls and myriad camera ABOVE: The AMT treble driver crosses over to a 200mm
paper-coned bass driver at 2.2kHz while a slot/port and short
itself is pure ‘Fink’, from the shaping shutters ricochet from loudspeaker transmission line is integrated into the rear of the cabinet. The
of the front baffle, designed to to loudspeaker, but even more integral tubular stand combines light weight with high rigidity

reduce diffraction around the impressive is the sheer depth

tweeter, to the walls which are a and impact these modestly-sized

sandwich construction featuring enclosures bring to the percussion, HI-FI NEWS SPECIFICATIONS

strategically-placed bracing and which is truly striking, and will be

Helmholtz resonators to manage sure to get that sofa moving again. Sensitivity (SPL/1m/2.83V – 1kHz/Mean/IEC) 86.0dB / 85.6dB / 83.9dB
standing wave modes.
Impedance modulus: minimum 5.8ohm @ 165Hz
VERDICT & maximum (20Hz–20kHz) 42ohm @ 60Hz

CRYSTAL CLEAR It’d be easy to spend the same Impedance phase: minimum –60o @ 75Hz
& maximum (20Hz–20kHz) +46o @ 18Hz
If you’re thinking ‘small speakers, money on bigger floorstanders. Yet
Pair matching/Resp. error (200Hz–20kHz) 0.6dB/ ±2.6dB/±2.7dB
small sound, not much bass’, you’re the KIM’s weighty and refined sound

on the wrong track here. The KIMs has a precision and conviction that’s LF/HF extension (–6dB ref 200Hz/10kHz) 46Hz / 28.7kHz/28.9kHz
THD 100Hz/1kHz/10kHz (for 90dB SPL/1m) 0.3% / 0.08% / 0.5%
proceeded to do a very good job of hard to overlook, creating almost

thumping our chest and rumbling magically focused and extended Dimensions (HWD, w. stand) / Weight (each) 854x300x412mm / 25kg

the sofa, while at the same time sonic images that draw you in.

96 | www.hifinews.co.uk | YEARBOOK 2021

LOUDSPEAKER

Floorstanding three-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: £12,998

Franco Serblin

Accordo Essence

No kidding: when we first its own domain, and yet at no time RIGHT: Behind a
fired up the £12,998 did they seem disembodied or tensioned ‘elastic
Franco Serblin Accordo artificially placed. Turning to a live band’ grille lies
Essence, we figured it classic, the Allman Brothers Band At an example
of the iconic
sold for around £20,000. In our Fillmore East [Classic/Capricorn], the 29mm Ragnar
Lian silk-dome
excitement we somehow failed to notion one was in a concert hall was tweeter together
with a 150mm
recall that the standmount Accordo unmistakable, a perfect example of ‘microspheres’
mid/woofer
[HFN Jan ’18] from which it is hi-fi fooling you into thinking that and, lower in the
cabinet, a reflex-
derived sells for only £7500. you have been transported. loaded 180mm
bass driver with
The Essence iteration of the What surprised us, irrespective alloy dust cap

Accordo adds another drive unit, a of the increased driver count and

180mm woofer with ‘microspheres’ cabinet size, was the bass – and

cone and aluminium dust cap, more for quality over quantity. This

to complement the 29mm silk- is not a demerit, we hasten to add,

dome tweeter and the 150mm because we would posit that it’s

microsphere-coned mid-woofer. exactly like Goldilocks’ preferred

As important to this up-scaling porridge, being just right.

of the Accordo design is the much That, however, was not what

larger, aluminium-and-magnesium- had us wishing we owned these

braced, floorstanding cabinet loudspeakers: it was hearing the

measuring 1100x230x430mm ache and the passion in Gregg

Allman’s vocals throughout

‘Vocals with ache and ‘Whipping Post’. Blues in
passion made us wish excelsis. Vocals are what rule
to own these speakers’ our heart, Allman’s being
powerful and energetic, but
we could not think of any

trial more worthy than Sophie

(hwd). The cross-section, too, has Madeleine’s ‘Stars’ from The Rhythm

increased, so the Accordo Essence You Started [Xtra Mile]. This is a

isn’t solely gaining in height. The voice of such delicacy and clarity

much larger volume suggests that she makes Dolly Parton sound

greater bass performance, while the like Louis Armstrong.

crossover has also been addressed. We repeated this CD so many

As with the ‘baby’ Accordo, the times that our enthusiasm bordered

Accordo Essence is an asymmetrical on the obsessive, but the Accordo

design, so the speakers are provided Essence unveiled so many fine

in left- and right-handed pairs. Like details that it only added to our

the company’s £25k flagship Ktêma conviction that Ms Madeleine

[HFN Sep ’20] model, however, should come out of retirement.

there are rear ports which demand So the Accordo Essence couples

free space around the speakers, refinement with realism, delivers a HI-FI NEWS SPECIFICATIONS

the company recommending a truly convincing recreation of the Sensitivity (SPL/1m/2.83V – 1kHz/Mean/IEC) 85.7dB / 85.4dB / 83.4dB

minimum of 1m from all walls, but sound-space, and wraps everything Impedance modulus: minimum 2.75ohm @ 160Hz
& maximum (20Hz–20kHz) 16.8ohm @ 51Hz
we reckon 0.5m will suffice. in craftsmanship of the highest Impedance phase: minimum –72o @ 64Hz
& maximum (20Hz–20kHz) +34o @ 515Hz
order – including the cabinet itself. Pair matching/Resp. error (200Hz–20kHz) 1.5dB/ ±3.2dB/±3.5dB

IN CONCERT LF/HF extension (–6dB ref 200Hz/10kHz) 45Hz / 35kHz/30kHz
THD 100Hz/1kHz/10kHz (for 90dB SPL/1m)
The strengths of this design were VERDICT 0.3% / 0.2% / 0.3%
Dimensions (HWD) / Weight (each)
immediate: the recreation of a If you desire a speaker that’s 1100x230x430mm / 30kg

physical soundstage with vivid physically gorgeous with sound

three-dimensionality, precision, that puts spatial concerns and

specific image placement and ‘air’ refinement at the top of its abilities,

or atmosphere. Every sound had this speaker must be on your list.

YEARBOOK 2021 | www.hifinews.co.uk | 97

NEW

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LOUDSPEAKER

Two-way, dual-concentric loudspeaker
Made by: GP Acoustics (UK) Ltd, Maidstone, Kent
Supplied by: GP Acoustics (UK) Ltd
Telephone: 01622 672 261
Web: www.kef.com
Price: £1000

KEF LS50 Meta

Hardly a curse, but it’s Meta version. Given the choice,
still a massive challenge the ‘LS50 Black’ would be our
preferred look overall.
for any manufacturer to
improve on a smash hit. Meanwhile, the cabinet’s

KEF faced this with the LS50 which port opening is now flush to

(terrifyingly) will be ten years old further reduce turbulence,

in 2022. In the interim, there have and the cavities in the corners

been active and wireless versions of for the baffle retention bolts

the speaker, but the passive original have been eliminated. In

[HFN Jul ’12] is a much-loved default addition, the rear surface is

purchase in the under-£1000 now slightly domed, while a

sector. The new LS50 with the Meta step between the rear panel

suffix (£999) is KEF’s The Godfather and the sides of the cabinet

Part II. Yes, it’s really that good. has been introduced.

The headline differences

between the LS50 and new ‘Meta’ RISE AND SHINE

version are not only driven by Of course, KEF has retained

the re-engineered crossover and all of the LS50’s virtues in

Uni-Q driver but by KEF’s novel making the transition to the

disc-shaped metamaterial insert, LS50 Meta. Simply playing the

which absorbs rear-radiation from first track, we could identify

the Uni-Q tweeter via a matrix of a drier, more open upper-bass

30 tuned resonators. This is said to and airier percussion across

ensure the new speaker enjoys a the spectrum, plus a trace

smoother, cleaner response at low more realism in vocals. All this

and mid/presence frequencies. The with no loss of the warm, ear-

cosseting bloom that made

‘There was certainly the original LS50 loudspeaker Similarly, the bottleneck guitar in ABOVE: The
no shortage of attack, undeniably more-ish. Keb’ Mo’s Peace... Back By Popular LS50 Meta houses
scale or sheer power’ Demand [Pure Pleasure/Epic/Okeh] a 12th-gen
Set up on stands measuring was as fluid and serpentine as ever. 130mm Uni-Q
24in tall and firing, as per the As you might have gathered by now, array with 25mm
instructions supplied, straight we love this little loudspeaker! tweeter. The
duct at the rear
ahead, so convincing was the VERDICT of the driver has
been enlarged
term ‘metamaterial’ is potentially LS50 Meta that we found ourselves The LS50 Meta – especially given its as a ‘waveguide’
~£1000 price tag – ticks every box back to the
confusing because its application cranking up the volume to levels for a compact loudspeaker: huge metamaterial
soundstage, generous bass, terrific absorber
here has nothing to do with a well above our comfort zone. It imaging. And the gains over the
original LS50 are obvious to hear.
material. Instead it’s a method of was then we discovered something Satisfying? Try ‘supernatural’.

achieving a property, which in this we had not anticipated – that this

case is sound absorption. little speaker can fill a big room far

As for the Uni-Q coincident driver more convincingly than most other,

array with its distinctive ‘Tangerine’ comparably bijou boxes.

waveguide, like the cabinet, this With ‘Up On Cripple Creek’ on

has been revised extensively. It is The Band’s eponymous second LP

effectively the 12th generation [Mobile Fidelity] we detected a

Uni-Q in just over 30 years, and further unexpected gain when the

joined here by a major change in decibels increased: the LS50 Meta HI-FI NEWS SPECIFICATIONS

the crossover design. Says KEF’s appears to recreate greater image Sensitivity (SPL/1m/2.83V – 1kHz/Mean/IEC) 84.6dB / 84.6dB / 82.4dB

Head of Acoustics, Jack Oclee- height than the original LS50. Impedance modulus: minimum 3.65ohm @ 220Hz
& maximum (20Hz–20kHz) 31ohm @ 93Hz
Brown, ‘the transfer function/slopes On to something less cluttered, Impedance phase: minimum –62o @ 110Hz
& maximum (20Hz–20kHz) +48o @ 860Hz
are 4th-order electrical/acoustic by way of the luscious-sounding Pair matching/Resp. error (200Hz–20kHz) 0.5dB/ ±2.2dB/±2.1dB

(combined), yielding much improved Julie London on Julie Is Her Name LF/HF extension (–6dB ref 200Hz/10kHz) 40Hz / 54kHz/59kHz
THD 100Hz/1kHz/10kHz (for 90dB SPL/1m)
on- and off-axis smoothness’. [Analogue Productions], every track 1.2% / 0.2% / 0.7%
Dimensions (HWD) / Weight (each)
Arranged side-by-side, it’s almost sounding ‘in the room’. Gears into 302x200x280mm / 7.8kg

impossible to tell the difference, reverse for the pounding ‘Glad All

beyond the change of the driver’s Over’ from The Dave Clark Five –

colour from orange/copper in the All The Hits [BMG]. No shortage of

LS50 to a more muted hue in the attack, scale or sheer power here.

YEARBOOK 2021 | www.hifinews.co.uk | 99

LOUDSPEAKER

Three-way loudspeaker with mid/treble horns
Made by: Klipsch Group, Inc., Indianapolis, USA

Supplied by: Henley Audio, Oxfordshire, UK
Telephone: 01235 511 166

Web: www.klipsch.com; www.henleyaudio.co.uk
Price: £3500

Klipsch
Heresy IV

A merican speaker marque Joining the Heresy
Klipsch has a longer IV’s refreshed drivers is a
history than many, its complex crossover based
Heresy model able to on the ‘steep slope’ model

trace its roots back to 1957. This of the company’s La Scala

was when founder Paul W Klipsch [HFN Jun ’19], Cornwall and

first developed a compact three- Klipschorn models. The

way floorstander to act as a centre bass/mid crossover is set

speaker within a stereo installation. at an optimistically high

It has remained in the Klipsch 850Hz, while the tweeter

stable ever since, undergoing patrols from 4.5kHz

revisions first in 1985 and then upwards. Meanwhile, the

2006. Now it has been relaunched spec sheet implies this is

as the Heresy IV, priced £3500 per a very sensitive speaker

pair and forming the entry point to and thus easy to drive.

the Klipsch Heritage range.

Measuring 63x34x40cm, this LIVE ’N’ DIRECT

update introduces several new From the perspective

features over the 2006 Heresy III of driving ability alone,

[HFN Mar ’10]. Chief among these the Heresy IV is special. It plays

is a rear port, the first ever on a loud with minimal effort, its

Heresy model, which enables the dynamic ability is impressive and

loudspeaker to claim improved there’s a direct nature to its mids

sensitivity and bass extension. and highs, along with a grippy bass.

This new addition borrows from However, while there’s a drum track enjoying enormous ABOVE: Klipsch’s
reverb. But this speaker isn’t all reflex-loaded
the Klipsch loudspeaker playbook, distinctive sound here to go with about club anthems and upbeat
rock ’n’ roll. With Sting and Melody cabinet hosts a
the distinctive aesthetic, it Gardot’s Latin-infused duet ‘Little 305mm fibre-
Something’ [Tidal Masters], Gardot’s
‘And the trance track? won’t be to everyone’s taste. breathier vocal had an intimate feel coned bass unit
The speaker’s forceful and to match the delicate guitar. and horn-loaded

Forget foot-tapping, this energetic nature does leave VERDICT 45mm polyimide
less room for sweetness
was fist-pumping’ and light. The changing Easy to drive, this three-way will mid and 25mm
bolt on to any amp and make you
dynamics of the piano on sit up and listen. It brings music to titanium treble
life in a style that many rivals don’t,
using its familiar Tractrix horn Simon and Garfunkel’s ‘Bridge Over and while it looks ol’ fashioned, it compression
sounds thoroughly modern.
geometry. Meanwhile the ports, Troubled Water’ [Columbia] were drivers. This is
the first Heresy
it claims, have ‘the most efficient, well presented, as were the tonal to employ a rear-
firing Tractrix-
fastest air transfer in their class’, variations of the duet, but lovers of profile port

just as internal flares work to reduce this emotional ballad may prefer a

both air turbulence and port noise. smoother feel to high frequencies.

The Heresy IV’s HF compression Yet there were many moments

driver is an evolution of the when this speaker seemed totally

Heresy III’s, mounting a K-107-TI in tune with our listening. Paul van HI-FI NEWS SPECIFICATIONS

1in titanium diaphragm within a Dyk’s trance track ‘For An Angel’ Sensitivity (SPL/1m/2.83V – 1kHz/Mean/IEC) 96.7dB / 95.4dB / 93.5dB

Tractrix horn. Klipsch has made [MFS/Deviant; Tidal] emerged Impedance modulus: minimum 4.15ohm @ 118Hz
& maximum (20Hz–20kHz) 28ohm @ 72Hz
changes here, too, fitting a new packed with detail, while the bass Impedance phase: minimum –58o @ 82Hz
& maximum (20Hz–20kHz) +42o @ 61Hz
phase plug to improve dispersion. drums that pound out the rhythm Pair matching/Resp. error (200Hz–20kHz) 2.3dB/ ±4.5dB/±5.4dB

Underneath the tweeter horn felt as if they were beating directly LF/HF extension (–6dB ref 200Hz/10kHz) 47Hz / 23.7kHz/23.0kHz
THD 100Hz/1kHz/10kHz (for 90dB SPL/1m)
sits the loudspeaker’s most up-to- against our chest. Forget foot- 0.25% / 1.8% / 0.3%
Dimensions (HWD) / Weight (each)
date driver, a 44.5mm midrange tapping, this was fist-pumping. 630x394x337mm / 20kg

compression unit (the polyimide The Rolling Stones’ ‘Start Me

K-702), again horn-loaded. Finally, a Up’ [Tattoo You; Virgin] was equally

305mm fibre-coned woofer can be infectious, the opening guitar riff

found at the bottom of the cabinet. sounding rich and resonant, the

100 | www.hifinews.co.uk | YEARBOOK 2021