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Editor
Alan Sircom
Email: editor@hifiplus.com
Contributors this
issue include:
Dennis D. Davis, Roy Gregory,
Jimmy Hughes, Neil, Hussey,
editorial
W
Jason Kennedy, Chris Martens,
Paul Messenger, Chris Thomas,
Pete Trewin
elcome to the 100th issue of Hi-Fi Plus.
GRAPHIC DESIGNER
Alison Cutler The world of hi-fi and magazines has
Fonthill Creative, Salisbury
been through some radical changes since
Photography
Simon Marsh that first issue rolled off the presses at the
The Hi-Fi Plus Team
end of the last century, and there have been
Advertising
Tom Hackforth
Tel: +44 (0)1425 655255
plenty of The Sky is Falling cries of woe along the way, but now in
Email: tom@hifiplus.com
2013, we are seeing recovery in all sectors of audio.
ASSOCIATE PUBLISHER:
Pete Trewin
Tel: +44 (0)1425 655699 Looking back over the last 14 of better sound quality, and many spend
Email: pete@hifiplus.com
years, I dont think anyone would have hundreds or even thousands making their
Publisher predicted the place audio is in today. Yes, headphone rig sound sublime.
Chris Martens
people were beginning to use computers Its likely the next decade and a half
The Editorial Office in audio, but the rise of Apple as the will be just as fascinating and just as
can be contacted at:
Hi-Fi Plus Editorial worlds music provider and the fall of unpredictable as the last. Will people still
Absolute Multimedia (UK) Ltd the studios was simply not foreseeable, be listening to vinyl in 2027? Will they
Unit 3, Sandleheath Industrial Estate,
Sandleheath, Hampshire at least not to those of us outside the have their music beamed straight into
SP6 1PA boardrooms of the big studios. And their heads? With the rise in 3D printing,
United Kingdom
Tel: +44 (0)1425 655255 yet, this has had its benefits the will reviews simply be a series of printing
Fax: +44 (0)1425 655477 unsigned movement, coupled with the instructions, sparking a return to hi-fis
Net: www.hifiplus.com
far lower cost of professional recording DIY days? The exciting thing is no
Absolute Multimedia (UK) Ltd is a
equipment as computers replaced tape, one knows.
subsidiary of Nextscreen, LLC, Inc.
8868 Research Blvd., Ste. 108 mixers, processors and the rest, has Best of all though, to mark our 100th
Austin, Texas 78758, USA
Net: www.avguide.com
democratised the music business. It has issue, were giving away more than the
Chairman and CEO also had its downsides. magazine has ever done before. We are
Thomas B. Martin, Jr.
Whats fascinating today is, no giving away 100 subscriptions, and there
matter how put upon by fashion, by are 100 pairs of excellent Final Audio in-
All Rights Reserved.
Not one word of Hi-Fi Plus may be economy and by music trends, the drive ear monitors and even a fantastic Music
reproduced without the written consent to pursue the goal of better sound has First Audio Classic V2 passive magnetic
of the Editor. We are perfectly happy
to co-operate, but we dont want not gone away. Whod have thought in preamp that must be won.
quotations to appear out of context. 1999 that, at the very point where music Heres to issue 200!
Printed By was becoming nothing more than a
Advent Print Group, Andover downloadable data file, people would set
Hi-Fi Plus is published ten times a aside iTunes and Spotify for the good ol
year by; Absolute Multimedia (UK) Ltd
record player? Yes, some of LPs rebirth
is down to fashion, some of it is down to
ISSN 1465 5950
teenage rebellion, but most people buy
vinyl today because it just sounds better.
Even that lost generation of millennials
who abandoned loudspeakers for Alan Sircom
headphones are not immune from the pull editor@hifiplus.com
ISSUE 101 ON SALE: UK July 4, 2013 ... US August 8, 2013
1 ISSUE 100
01 HIFI+100 Editorial_AS.indd 1 23/05/2013 17:05

The Absolute
Dream
The Worlds First

100%
Mono-crystal Cable
...just music
- Alan Sircom- HiFi+ 95 review
an abundance
of detail...
- Jonathan Valin - the absolute sound
...clarity &
closeness that is
truly captivating
- Chris Thomas - the audio beat
absolute sounds ltd.

Int er national Dis tr ibut or s & Consult ants of Specialised Hi-End Audio & V ideo Sys t ems
58 Durham Road, London, SW20 0T W T: +44 (0)20 89 71 39 09
W: www.absolut esounds.com E : info@absolut esounds.com
02 Crystal Cable
CC_Ad.indd 1 FullHiFi97.indd 2 23/05/2013
19/02/2013 11:12
10:16
contents
EQUIPMENT+
ISSUE 100
COMMENT 68 REGA/DYNAVECTOR/NAIM/FOCAL
vinyl and integrated streamer system
76 PRIMA LUNA PROLOGUE PREMIUM

valve integrated amplifier
5 80
INCOMING!
Enough about us, what do you
think about us?
FUNK FIRM LITTLE SUPER DECK
turntable and tonearm
FEATURES 84
METRUM HEX
digital to analogue converter
8 91 MUNICH HIGH-END 2013

Europes premier hi-fi event
MARTEN DJANGO L
floorstanding loudspeakers
17 96 ISSUE 100 SPECIAL

Our writers highlight the best
DARED RD-1
digital table radio
100 hi-fi of the last 99 issues LAVARDIN MODEL IS

integrated amplifier
60 109
HOW HI-FI CHANGED
14 years on, and nothing is
the same in audio anymore
MUSICAL FIDELITY EB-50
in-ear monitors
113 COMPETITIONS
THE BEST OF THE BEST MUSIC
Our writers pick their personal
favourite pieces of music
MUSIC 53 MUSIC FIRST AUDIO CLASSIC V2

Win! A stunning passive magnetic
preamplifier worth over 2,600!
120 CONTEMPORARY,
AUDIOPHILE AND
CLASSICAL MUSIC 83 FINAL ADAGIO III
100 pairs of excellent in-ear monitors
must be won!!!
128 EVERY HOME
68
SHOULD HAVE ONE
King Crimson - Larks
Tongues In Aspic
+
106 SUBSCRIPTIONS
125 BACK ISSUES
127 ADVERTISER INDEX
3 ISSUE 100
03 HIFI+100 Contents_AS.indd 3 23/05/2013 09:30

HiFi+ add CG.pdf 15/5/13 19:20:31
100ISSUES DISTRIBUTION AND CONSULTANCY OF FINE AUDIO INSTRUMENTS

FOR THE LOVE OF MUSIC
Well done...
C
CM
MY
CY
CMY
...with our best wishes for at least another 100 issues!!!
Benz-Micro Cardas conrad-johnson finite hi-fi High Resolution Technologies Karan Acoustics Kuzma
Magnum Dynalab McCormack Muse Electronics Rogue Audio Running Springs Audio Zanden Audio
04 Audio Freaks Full HiFi100.indd 4 23/05/2013 11:12

Please send your letters to Hi-Fi Plus, Unit 3, Sandleheath Industrial Estate,
Sandleheath, Hampshire, SP6 1PA, United Kingdom.
Or email them to editor@hifiplus.com
incoming!
Time enough to read
Ive got all 99 issues of the magazine. Sadly, because of the change in size
from a few years ago, they dont neatly stack, but they form a body of useful
audio information. As I guess you did, in the run-up to your 100th issue, I
looked back through the earlier issues. I miss some of the pioneering spirit of
the first few editions (restaurant reviews came and went pretty quickly), but I
found I dont miss it as much as I thought I did.
Just as the magazine has changed, so have I. I no longer have the time and
energy to devote to reading page after page of impassioned argument or even
definitive review. What I used to find as a measured tome, I now find verbose
and meandering. Whether that change in me is as a result of the change in the
magazine, or whether we have dumbed down at once is not certain, but I find
the more concise and entertaining form today fits me well now.
That being said, I sometimes wish for the more extravagant and
thought-provoking features and if you are ever looking to publish
restaurant reviews once more and you are in need of a writer, Im your man.
Ben Nicholas, via email
Foundation findings
Ive got to say, when first I read Hi-Fi Plus, I thought it was an exercise in You dont look a day over 99
lunacy and massaging the editors ego. With that first cover, Roy Nordost Congratulations on making it to 100! Does
Gregory showed his true colour purple, like Nordosts SPM Reference of the Queen still do telegrams?
the time. I found Roys near-constant pushing of what became foundation Major Tom, via email
theory to be almost messianic in its preachy proselytising. The final straw
came when the magazine suggested (in a review of Nordost Odin, I believe) New hi-fi, New Jersey
that the quality of the power cord was more important than everything else in When Hi-Fi Plus started, I thought my high-
the audio system. end days were behind me. I had a built a
That was it! I stopped buying the magazine for several years in disgust. fine-sounding system (Meridian 508.20 CD
Unfortunately, I later discovered he was more right than wrong. I moved player, c-j PV-12L preamplifier, Sonographe
house and my existing cables were too short to reach the loudspeakers and SA-250 power amp and Vandersteen 2c
I ended up buying a complete Nordost loom for a knock down price on loudspeakers), more than enough to keep
eBay. I had intended to use the speaker cables and resell the rest, but I tried me satisfied for the next dozen or so years.
the whole system from power cords to speaker terminals. It took a while for Audio could take a back seat, and I could
the change to set in, but damn it he was right all along! get on with obsessing over golf clubs and
I dont think Ill ever quite make the complete jump to thinking the cables horsepower and f-stops.
are more important than the speakers or the source. I may be a reluctant I picked up a copy of Hi-Fi Plus at
convert, but I am a convert, and my system never sounded better. I made London Heathrow airport a few years ago.
my peace with Plus and started reading it again, only to find the King of I was shocked that anyone would be bold
Foundation had become the Prince of Darkness and now worked for the enough to print a Salvador Dali-esque cover.
company whose products he so vociferously espoused. Now, Plus is all I read it on the flight and by the time I got
about computer audio and streaming and Im definitely not going down that back to Newark, my hi-fi obsession had
route. Yet! reignited. Ive been an on-again, off-again
Edwin Tubbs, via email reader ever since.
5 ISSUE 100
05, 07 HIFI+100 Incoming_AS.indd 5 23/05/2013 16:53

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Hi-Fi
06 Plus, Design
Henley Xtension 10, October 2012.indd
FullHiFi97.indd 6 1 12/02/2013
23/05/2013 11:02
11:13
INCOMING
A few months ago, that same son sent me a Like (grand)father

When he left for university in 2004, my son
photo of my grandson, his smile beaming out told me in no uncertain terms he had no
from under his fathers headphones a pair interest in hi-fi and all he would ever need
is his iPod and his laptop speakers for his
of HiFiMAN HE-500s he bought on the basis music needs.
of a review in Hi-Fi Plus... its strange how Fast forward to today. A few months
the audio bug hit him just like it did me, ago, that same son sent me a photo of
my grandson, his smile beaming out from
when I was in my late 20s with a young son. under his fathers headphones a pair of
HiFiMAN HE-500s he bought on the basis
of a review in Hi-Fi Plus. OK, so he still
doesnt get the whole loudspeaker thing
and he reads the magazine on his iPad (Im
almost convinced Ill do the same thing
soon), but its strange how the audio bug
Since then, my system has changed completely. Where I was resolutely hit him just like it did me, when I was in my
CD only then, I now mostly listen to vinyl on a VPI Classic turntable and a late 20s with a young son.
Dynavector DV-20x, VAS Citation Sound 1 preamp, three VAS CS-2 power Keep up the good work.
amps and three Aurum Cantus V2M speakers. The three-channel stereo Simon McDougall, via email
sound was something of a surprise to me, but it works wonderfully, especially
on vinyl. Recently, I swapped the Meridian for a Cayin CDT-17A tube CD Theres always one!
player. OK, so a lot of the system is a Jersey thing, but it sounds great. Im surprised that a magazine like Hi-Fi Plus
One day, Ill probably add a DAC and a computer to the system. In made it to 100 issues. Rather than slapping
fairness, Hi-Fi Plus has probably influenced my return to audio more than the you on the back, I think recommending
things I buy, especially as the price of audio equipment you regularly review 10,000 loudspeaker cables should be
is way beyond my reach, but its never far from my iPad. exposed as fraud, and the magazine be
Thank you Hi-Fi Plus, for re-igniting my passion for audio and music. closed down. The continued success of
Even my wife thanks you, because I had the choice of hi-fi or Hog, and you your tawdry rag proves that high-end hi-fi is
helped me realise Im getting too old for a Harley now. just another religion, and like all religions
Marc Pini, via email you prey on the weak-willed and the
feeble-minded to part with their money in
Funny ha ha exchange for a whole lot of nothing.
I know that many Hi-Fi Plus readers mourned the change in leadership, Like most grown ups with an IQ
but I prefer the magazines tone under Alan Sircoms control. OK, so it has larger than their shoe size, I grew out of
less direction, but it also seems to have less of an agenda too. Most of all having imaginary friends before I made it
though, its funnier now. OK, so the humour is sometimes a bit stretched to teenage. I have no need of a god, and
and occasionally misses the spot, but the magazine does have a touch of I have no truck with religious zealots of all
much-needed irreverence and makes me chuckle far more often than it kinds trying to push their nonsense on me.
ever did when Roy Gregory made hi-fi seem ever so worthy. I doubt youll print this, because it might
Most of all though, the magazine recently made Half Man Half Biscuits inspire some of your sappy followers to
Back in the DHSS one of its Every Home Should Have One albums. That start thinking for themselves, but for me the
alone puts Plus ahead of all of its rivals, in my book! sooner hi-fis lunatic fringe die off, the better.
Dave Tamworth, via email Free-thinker, via email +
7 ISSUE 100
05, 07 HIFI+100 Incoming_AS.indd 7 23/05/2013 16:54

Munich High End 2013 By Chris Martens and Alan Sircom
O
ver the years, Munich has become the most crazy brands no-ones ever heard of making lunatic products
important audio event on the hi-fi calendar in that no-one in their right mind would ever buy.
the West, arguably even surpassing CES as Of course, while the nutcase products were conspicuous
the prime place to show off the latest audio by their absence, the number of prices that registered on
devices. And this year saw the show put on the Richter Scale were not. But even here, there are signs
numbers, with more visitors, more foreign distributors and of some sanity creeping into the ultra-high end, because the
assorted walking the halls, rooms and atria of a packed show. number of new products costing six or more figures seemed
The Eurozone crisis did make its mark, though. The to be in decline. Is this the start of a new trend in sensible
number of rooms taken by companies was down. Also this audio? Perhaps, but not yet; judging by Munich, the audio
year with a few notable exceptions the show was less full of world is still obsessed by shiny, big expensive things.
The big story for many at the show PMCs Fact 12 floorstander is the The German TW Acustic has pulled
was Devialet. The company has companys new domestic flagship. out all the stops to create a new
a complete new three-and-a-half The 12,000 three-way also marks flagship model called the Black Night
strong range, from the 4,990 110 one of the first designs to be a (29,500). Somehow, it manages
to the 22,900 two box 500, now all product of PMCs work with the to look massive, purposeful, and
with USB and Ethernet connections UKs National Physical Laboratory elegantall at the same time
8 ISSUE 100
08, 10, 12-15 HIFI+100_Munich_AS.indd 8 23/05/2013 17:41

AH 8200 Series AD-2-210x297mm-1-ok.pdf 2013/1/16 18:47:55
CM
MY
CY
CMY
09 IAG Full HiFi100.indd 9 23/05/2013 11:14

SHOW SPECIAL / Munich High End 2013
Simaudio is replacing its base Moon Burmester was demonstrating Lindemanns four-strong Musicbook
range with the new Moon Neo its new 101 integrated amplifier, range of streamer-CD player, two
products. More Evolution than showcasing a radical upcoming DACs (one also with CD replay) and
revolution is true because the new loudspeaker design and was proudly Class D amplification (priced between
Neo line owes much of its design showing off Burmester brand audio 1,500-4,000) is a radical departure
cues from the brands Evolution line electronics in top German cars for the innovative German brand
Kevin and Lynn Scott of Definitive Wilson Audios new boundary-only Astell & Kerns ambitious AK120
Audio demonstrated the 450,000 Duette 2 standmount speaker is (1299) sports dual Wolfson
Living Voice Vox Olympian horns a more backswept design than 8740 DACs, even lower output
alongside a fabulous Kondo/CEC the original, with a new tweeter, impedance than the AK100, a higher
system driven by the companys own an exceptionally inert cabinet and specification battery, and the ability
battery version of the National grid! reworked crossover network to support two 64GB MicroSD cards
Audiovector added a clever aptX- Audio Researchs new VSi75 Focal announced the new Stella V-2,
based Bluetooth wireless active integrated amp shoe-horns most a trio of Chorus loudspeakers and
module set to its loudspeaker of a Reference 75 power amp into the Easya lossless wireless system.
upgrade path. The active modules one $8,000 box. The company And a gold Diablo! Meanwhile, Naim
added 5,000 to the 8,000 cost also showed a $30,000 two box showed UnitiQute 2, Naim Radio,
of a pair of Si3 Avantgarde Arretes Reference 10 flagship phono stage FLAC ripping and multiroom partying!
10 ISSUE 100

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23/05/2013 11:15
JR/Transrotor introduced three new The French-Canadian firm Kronos Kuzmas new moving coil cartridges
models; Dark Star Silver Shadown revealed that a cost-reduced version (including the 1,755 CAR-30)
(2,900), the Classic.3 Chrom of its exotic, dual-platter turntable is feature Kuzma-built bodies and
(5,625), and Classic.3 Gold (6,815) now under development Japanese-made motor assemblies
van den Hul showed the new Well Tempered showed its Ken Ishiwata of Marantz was
Crimson moving coil cartridge hydraulically damped LTD Symmetrix justifiably proud of the DSD replay of
(c4,100) and The Grail SB balanced tonearm, sporting a machined the companys new 4,000 NA-11S1
phono stage (13,000) aluminium upper bearing section network streaming device
Serie R
Serie R delivers the perfect complement
of leading edge design, performance and
engineering coupled with a pricing structure
that defines the term value. Perched comfortably
between our Reference-grade Gibraltar and
our affordable Serie T range, R represents the
balance point in the REL family.
R features high current power supplies in

its NexGen digital power amplifiers, heavy duty
die-cast frames for quietness and control in
our large bass engines, and RELs proprietary
filter circuits that permit seamless mating with
ones main speakers. Most models feature
carbon-carbon down-firing radiators that
produce the driven surface of much larger
drivers, whilst retaining the power and speed
of smaller primary drivers. R delivers ruggedly
good looks and performance.
12 ISSUE 100

An unclothed shot of the Soulution After a lengthy gestation period, US Neat Acoustics popular Motive
700 Series integrated amplifier shows cable manufacturer Cardas has finally range has undergone a SX change.
its one farad of reservoir capacitance released its Ear Mirror EM 5813 The trio of new Motive SX models
and wire-free construction Ear Speaker in-ear monitors ($425) dont normally come in shocking pink!
Raidho is adding its striking diamond Vitus Masterpiece range isnt seen Danish air-bearing turntable maker
bass drivers to yet more of the at shows that often. This pair of Bergmann announced a standalone
products in its line up. The latest Masterpiece MP-M201 mono amps version of its Magnes radial tracking
model is the 50,000 D3 tower cost a cool 120,000 arm priced at 5,600
13 ISSUE 100
Nor th Road . Bridgend Industrial Estate . Bridgend CF31 3TP . Great Britain . Tel: +44 1656 768 777 . w w w.rel.net

ReQuest Audio of Switzerland Sonus fabers new trio of Olympica Nordosts new Valhalla 2 range of
has taken streaming to the high- models all sport a duck tail hybrid cables represents the current acme
end extreme. This technological lyre shape, an elegant wood and of design principles that went into the
extravaganza has a built-in screen, leather finish, and the arrow-point Norse 2 range, together with the new
weighs a ton, costs a cool 36,000 DAD (Damped Apex Dome) tweeter Holo:Plug technology that allows a
and is (of course) called The Beast derived from the top Aida speaker full 360 termination of the cable
Crystal Cables new Dreamline Plus British power expert IsoTek Creek launched its latest models in
use the same technology as its top announced its three-strong Mosaic its Evolution range. Designed by ex-
Absolute Dream, but with a twisted range of power conditioning and Cyrus engineer Dave Gamble (and
pair instead of a twisted quad set of mains regeneration products, reputedly with digital design input
cables, and is expected to cost near designed for top power performance from John Westlake) the new amps
to half the price of the top cable line without SuperTitan-level price tags sport Class D power modules
It wouldnt be Munich without some Alpha Design Labs newest product Beyerdynamic rolled out its new cost-
legitimate craziness, and the Varios was the X1 portable, iDevice- reduced A20 desktop headphone
range of loudspeakers certainly fits compatible DAC and headphone amplifier (499). A brief listen
that bill. The designs were intrinsically amplifier (449). It features one suggested to us that a lot of the
sensible, but looked like disappointed analog and two USB inputs16/48 design DNA that went into the top
one-eyed cartoon characters. Weird for iDevices and 24/192 for PC A1 carries over into its little brother
14 ISSUE 100

Japanese specialist Final Audio Focal followed its initial Spirit One Fostex flagship TH-900 headphone
Design previewed its Pandora headphones with a new, audiophile- (1,695) now has a lower priced
headphone, which uses hybrid drive centric model called the Spirit Classic companion model called the TH-600
unit technology where each earcup (299). We look forward to hearing (999), which at first audition shows
is fitted with a 65mm dynamic driver the new model and to comparing it many of the traits that make its
and balanced armature-type tweeter with the already good Spirit Ones bigger brother so desirable
Lehmann Audio offered a 3D printed Musical Fidelity offered a preview of The German firm Ultrasone was
preview of its upcoming, micro its plainly very ambitious balanced previewing its new Edition 12
USB-powered portable headphone output MX-HPA headphone amp. headphone (1,299), which should
amplifier, which will feature a stout Precise information will have to wait, become available before the end of
4000 mAH battery and should sell but speculation was that the amp July. The prototype pair sounded
for about 400. would sell for around 2,000 terrific and were very comfortable
US-based firm V-MODA announced NuForce showed its second- The Italian computer audio experts
the new Vamp Versa portable DAC/ generation NE-700X and NE-700M M2Tech showed a preproduction
headphone amp/smartphone charger earphones, as well as a pre-release prototype of its impressive new
(c600). Conveniently, V-MODA also sample of the firms tiny new MMP Marley Class A headphone amplifier
offers add-on cases to fit iPhones Mobile Music Pump amp, which (1000), which is expected to arrive
and Galaxies (c$100) should be priced between 50-60 in September
15 ISSUE 100

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16 Argento Full HiFi96.indd 16 23/05/2013 11:16

100 PLUS
B
ack in the late 1990s, there was a magazine wheel of audio forwards. Whether you agree or not is likely the
called Audio Quarterly. It was a distinctly high- subject of forthcoming email and letters bring it on!
end, thought-provoking title about all things Editors note: After his departure from the editors chair,
audio. It didnt last that long, but the idea did, Roy Gregorys role as Vice President of Marketing for Nordost
and in 1999 Hi-Fi Plus was born. Fourteen meant that Roy no longer wrote about any product that
years and 99 issues later, were still here! Nordost or its rivals manufacture. That still holds, despite
Weve asked some of the best reviewers who work for Roy no longer having any connection with Nordost.
Hi-Fi Plus today to look back at some of the most innovative However, it would be impossible to discuss the early
products they have encountered since that first edition of the years of Hi-Fi Plus and it would be impossible for Roy Gregory
magazine, and why they are so important. Weve also taken the to list his most significant products over the last 99 issues
opportunity to survey the land; to think back to how the audio without making reference to these products, because of the
world has changed in the last decade and a half and possibly to importance they hold to him. I have therefore chosen to give
look forward to what the future holds, for music and audio. Roy Gregory limited, Issue 100 only strength, disposition to
I have given the reviewers a completely blank slate to discuss these products in the past tense. Please read his
work from. They are not encumbered by concepts of what entries in that light. +
they should like, what fits or what readers, advertisers or
anyone else would want to read. This is just a round-up of
what our reviewers thought fascinating (and potentially game-
changing) over the last 99 issues.
The results, as you will see, do not form a coherent list
of products, but products that they consider push the great Alan Sircom
17 ISSUE 100
17 HIFI+100_Intro_AS.indd 17 23/05/2013 16:12

Congratulations to Hi-Fi+, the ~ COOL GALES
most authoritative voice in
audio, on the occasion of ~ an
extraordinary milestone:
COOL GALES
100 not out.
With all best wishes, your

friends at Cool Gales
www.coolgales.com
0800 043 6710
The Victoria School House ~ Bath
www.coolgales.com
0800 043 6710
The Victoria School House ~ Bath
18 Cool Gales FullHiFi100.indd 18 23/05/2013 11:17

100 issues of Hi-Fi Plus
Best of the Best By the Hi-Fi Plus Team
W
hen we first established Hi-Fi Plus,
the inevitable question that everybody
asked, be they manufacturer, distributor,
dealer or potential reader was, So what
makes this magazine different? It got If you run a magazine or
asked so often that we developed a stock reply, almost a
statement of intent, This is a magazine about hi-fi, not one
review equipment as a full-
about buying hi-fi. That might seem like a strange response, time occupation, you invariably
but at a time when at least one magazine used the tag-line,
come into contact with products
We Tell You The Best Hi-Fi To Buy, and all the others were
in the point-scoring and recommendation game, it was that rearrange your notions of
definitely a different stance, echoed in the approach we took what is possible and reset your
to the subject and the products we reviewed, selected for
their interest value rather than the value of their associated ad
expectations.
budget. But nothing made the point more clearly than the time
and energy expended on questions of system set up and the
ancillary equipment involved. Rather than some massive tube more importantly, as a result a strategy which can be applied to
amp, the first issue featured cables on the cover, a decision each and every system, often with spectacular results. Unlike
that certainly set the tone for things to come. most upgrades this doesnt involve the boxes in your system,
If you run a magazine or review equipment as a full- those cherished products on whose selection we lavish almost
time occupation, you will inevitably come into contact with obsessive levels of time, effort and money. This is all about the
products that rearrange your notions of what is possible and bits around the boxes, those unsung parts of the system that
reset your expectations. But none of those products are allow those big, flash boxes to do their thing. The ancillaries
or can be universal. After all, even if we could all afford may not be as glamorous or catch the eye as easily, but just like
them (and they are almost inevitably expensive) would we all Didier Deschamps to Zinidine Zidane, unless they get it right
choose to? A very few, a select band indeed, achieve what the stars of this particular show simply wont shine.
might be termed benchmark status, but even these rare About hi-fi rather than about buying hi-fi? Absolutely. This
beasts only stand astride their own particular field. Instead, is all about realizing the untapped potential in the system you
its the experience and knowledge we gain from using them already own before spending money improving the boxes it
that lives on and informs the whole, nowhere more obviously contains. That way, once upgrade time rolls round, youll not
than in the realm of system tuning and optimization, one field just be able to actually hear what the new unit contributes,
in which universal truths can and do apply. For all the great youll get full value from that too. But this approach and the
products that have passed through our hands, the real legacy techniques and technologies that go with it didnt just spring,
of the first 100 issues of Hi-Fi Plus is a change in attitudes to fully formed into our listening rooms. Our understanding
the way we put systems together and the relative importance evolved over time, prompted and stimulated, cajoled and
of the different parts. Not of course that everybody agrees. But occasionally bullied by the inescapable (and occasionally
at least we have consistently made the effort to demonstrate uncomfortable) conclusions that inevitably followed exposure
these effects and benefits at shows, not only putting our time to certain key products or components. In fact, looking back
and money where our mouth is, but allowing you, the readers, its possible with the benefit of 20/20 hindsight to identify
to make up your own minds and that too, is a first! those points in our collective developmental history when
When it comes to assembling systems, the way we do things took a sudden left turn, deviating from the accepted
things now is very different to the way we started out. It has straight and narrow, deflected by a particular product or
been a long and occasionally convoluted road, but we have encounter. What follows is the abridged version, the way
eventually arrived at some level of better understanding and, markers on this particular journey.
19 ISSUE 100
19-58 HIFI+100_Best of Best_AS.indd 19 23/05/2013 17:47

ISSUE 100 SPECIAL / BEST OF THE BEST
The Russ Andrews Audio Quality Mains Supply by Roy Gregory
Our first instance occurred as early as Issue three, with the terminal to allow its connection to a clean, external ground
review of the Russ Andrews Audio Quality Mains Supply. point. The beauty of this is that by simply disconnecting the
This was far from the first time that wed come across the ground wire connected to that terminal, you hear exactly
suggestion that mains leads and distribution arrangements what the benefits of the arrangement are and they are
made a difference to audio performance. The idea of simply huge, especially when you consider the cost of
dedicated ring mains for hi-fi systems was familiar, if not a length of wire and the post it is connected to. Sonically
commonplace, while companies like Audioplan in Germany and musically, this experience cemented once and for all,
were already offering complete ranges of power related the crucial importance of clean grounding in audio systems.
cable and distribution products. But what the Russ Andrews Since then, other companies may have taken things further,
approach did was take things way back beyond the wall with the Entreq grounding boxes springing to mind as one
socket and in doing so, to a whole new level of execution obvious example, but the simple provision of a star grounded
and understanding. The hardware from cable and DCU distribution block coupled to a clean ground is still one of
to the purpose built distribution block was impressive the most fundamental and cost effective provisions you can
enough, but what really underlined the importance of the make to ensure the performance of your hi-fi system and
whole standard domestic ring to Audio Quality Mains Supply that really emerged from the whole AQMS experience.
upgrade experience, a step by step process that took the Since then, Russ Andrews (or rather, the Kimber
best part of a day, was not just the huge sonic improvement power cords he sells) has been the target of ill-considered
that resulted, but a pair of significant realizations that went and vindictive attacks from scientific reductionists claiming
with it, one philosophical and the other technical. that these products make no difference. Dont be fooled.
This was the first time that I ever really considered the A judgment from the ASA doesnt mean that the approach
AC power source as the systems raw material. Once you doesnt work; what it does mean is that the wording in an
grasp that concept then the vital importance of mains quality ad cant be supported by scientific evidence. In this case,
becomes self-evident even if the way to achieve it is anything despite providing copious independent evidence that the
but Essential flaws in the AC supply will undermine the leads do perform as claimed, what he couldnt prove was
very substance of the music produced by your system. Now that youd definitely hear the difference especially if you
start to look at those flaws and relate them to the musical werent prepared to try! Thousands of happy listeners are
shortcomings of almost any audio system and theres an sensible enough to treat this noisy minority with the disdain
uncomfortably close correlation: poor timing or rhythmic they deserve, ignoring them while enjoying the all too
integrity, limited dynamic range, a lack of transparency audible musical benefits of a dedicated and optimized mains
or tonal colour? All can be attributed wholly or in part with supply for their audio equipment. What is now accepted
inadequacies in or pollutants carried by your domestic supply. wisdom was once considered dangerously tweaky and
Improving it will in turn produce a dramatic improvement in the Russ Andrews is to be applauded for not only drawing our
audio performance of your system. But the best part is that attention to this fundamental aspect of system performance,
compared to the vast majority of audio upgrades, this one is but for providing sensible, cost-effective and practical advice
incredibly cheap, even if (as wed strongly advise) you get an on the subject. The reactionaries might not like his power
outside contractor to do the work. cords, but even they have trouble arguing with the benefits of
The second revelation from the AQMS session was the a dedicated supply and clean ground arrangement!
primary importance of grounding arrangements and quality.
Where previous dedicated ring advocates had suggested
furnishing a whole row of (preferably un-switched) sockets,
one for each component, the AQMS committed heresy
by suggesting that you connect the entire system to a
The reactionaries might not like
single socket via what amounted to a glorified extension his power cords, but even they
block exactly what the dedicated ring, multiple socket have trouble arguing with the
arrangement was supposed to eliminate. But the Russ
Andrews distribution block (like the Audioplan Power Star benefits of a dedicated supply
that preceded it) was a star-earthed component, with a and clean ground arrangement!
20 ISSUE 100

HIGHER HIGHS.
LOWER LOWS.
AND EVERYTHING IN-BETWEEN.
Our new TD 5 series unsurpassed construction and
drive technology makes it more powerful, yet more
accurate with a wider breadth and range. Because to
reach unbeatable clarity, you really cant miss a thing.
June 2013 August 2012

for TD508MK3 for TD510ZMK2
THE NEW
Just for the pure performance.
My experience is that Im not aware that Im listening to speakers,

only music, and thats the highest compliment that I can give any speaker.
Jim Anderson, recording engineer with 10 Grammy Awards and 25 nominations for his recordings,
Chairman of Audio Engineering Society 2008 2009.
To nd your nearest stockist visit

Fujitsu Ten (Europe) GmbH, UK Office +44 (0)20 7328 4499 www.eclipse-td.net
21 Eclipse FullHiFi100.indd 21 23/05/2013 11:17

Eclipse_500_297_210.indd 1 17/05/2013 12:11
Going Deeper: From the Vertex AQ Kinabalu Equipment Support Platform to the
LeadingEdge by Roy Gregory
It might seem strange to single out something as prosaic as that energy. In essence, what Vertex AQ were saying was
a support platform as a significant step in the development that wed been building systems upside down. Take the
of system performance, but the Vertex AQ Kinabalu easily thinking a little further and you start to realize why all those
justifies its inclusion in this list. What made the Kinabalu equipment support cones worked the way they did and
stand out in the first place was its performance. Indeed, why speaker spikes sound the way they do. The Kinabalu
first exposure to the Kinabalu came as something of a took that thinking to its logical extreme and the result was a
shock, such was the musical improvement, quite outside performance that was, by any standards, pretty remarkable.
the norm and easily exceeding expectations for something That approach has been evolved and developed
which, lets face it, does nothing more than sit underneath over the years. Companies like Syposium in the USA
the more important stuff in the system! have followed much the same path, while products from
The Kinabalus saving grace was that not only did it offer companies such as Stillpoints are extremely effective used
an easily demonstrable and sonically as well as musically in this way, even if their initial design subscribed to the
significant upgrade, it did it without threatening any of the old isolation model. After all, this story demonstrates quite
major players even if that was only because they didnt clearly the universal truth that knowing that something
really see its implications. In practice, the performance works isnt the same as knowing why. The Kinabalu has
of the Kinabalu made you take its thinking seriously and itself developed, becoming even more impressive and
at least put it to the test. Its central premise was that eventually evolving into the LeadingEdge racks, with their
rather than isolating equipment from external mechanical elegant, multi-functional, modular approach to system
feedback, what really mattered was dealing with spurious support. But its real importance lies in the thinking behind
mechanical energy generated inside the equipment itself it, the realization that its not about isolating the equipment
and so often trapped there by the soft feet fitted to most but isolating the signal inside it. Take that idea to its
products. The concept was simplicity itself; provide a hard logical conclusion and it doesnt just impact on the way
drain path from the chassis into the supporting surface, we support systems, but on the whole way we build the
ensuring that that surface can both accept and dissipate electronics themselves.
22 ISSUE 100

Burmester 101 Integrated Amplifier & 102 CD Player
News from the Classic Line
The 101 Integrated Amplifier is the latest integrated amplifier in the Burmester
product range and a supreme example for the perfect combination of efficient
class D power sections and an analogue power supply. With its power reserves
thus made available the 101 easily achieves in a compact design the warm and
well-balanced sound which is known to be a trademark of the Burmester tone.
The switchable Smooth function produces a rounded and detailed sound
image even with low volume levels. Within the Burmester sound world the 101
integrated amplifier commends itself as a perfect game partner for the 102 CD player.
Audiosysteme GmbH
WilhelmKabus Strasse 47 10829 Berlin Phone +49307879680 www.burmester.de
Germany
23 Burmester Full HiFi100.indd 23 23/05/2013 11:19

Nordost Valhalla cable Nearly all of these key events took place in the earlier
loom by Roy Gregory issues of the magazine, a fact that reflects how long
it takes to develop and articulate generalized theories
When Nordost launched the Valhalla cables from specific conclusions. But make no mistake about
(reviewed in Issue nine) its not like they didnt the importance of these products. As impressive as they
already have a reputation for pricey products. might be individually, what marks them out is the part they
The highly regarded SPM had set lips and played in the evolution of a wider understanding of system
wallets aflutter, but Valhalla tripled the cost of mechanics and performance, set up and optimization.
what was already considered a ruinously They might have exposed particular shortcomings in
expensive cable. What it also did was existing practice, but collectively they contributed to
significantly raise the performance a generalized approach to system architecture, an
bar for audio cables and single- understanding of not just what to do, but why.
handedly reinvigorate the cable debate and an Issue 48 featured what was, in retrospect,
almost moribund market sector. Such was its obvious something of a watershed article. It was an awards
sonic superiority that it forced us to totally reconsider the issue, so things are always a little different. Id asked
importance of cables to audio performance and the value reviewers to specify a system, along with an upgrade,
of their contribution compared to other components in the that was to be reviewed by one of the other writers.
chain. In remarkably short order it had achieved the singular With an unusual (almost uncanny) degree of prescience,
distinction of benchmark status: every cable manufacturer the system I specified consisted of basic, UK specified
on the planet was heard touting their latest creation as, but Chinese built electronics from Pure Sound, driving
better than the Valhalla! an unintended compliment that a pair of Wilson Duette loudspeakers, the sort of cost
merely underlined their competitors hegemony. imbalance that would make flat earthers squeal. Even
But the real significance of the Valhalla cables worse, the upgrade package consisted of power cords,
goes way beyond their market influence. As Ive already supports and a parallel RFI shunt filter, all from Vertex AQ
suggested, they forced us to reconsider the importance and none of them so much as touching the signal path.
of cabling in the great scheme of things. But in promoting The reviewer confronted with this apparent conundrum
the notion of a systems cables as component in their and believe me, the performance of the initial system
own right, they also started the move towards a more was flabbergasting enough, without the significant hike
consistent and coherent cable strategy. The whole point from the upgrades was none other than current editor
about Valhalla was its introduction of a unique topology, AS. If not exactly a passing of the baton, then certainly a
the air space micro mono-filament construction that salutary shared experience.
was present in every product in the range, from tonearm What that system review represented was the first
cable to power cord. Throw in the sheer breadth of real expression of the musical importance of the systems
products offered and suddenly it was possible to hear infrastructure. Subsequently dubbed Foundation Theory,
what happened when every cable in a system employed the systematic approach that evolved is genuinely general
exactly the same conductor material, insulation and and remarkably effective in its application. Even abiding by
construction. It was an ear opening revelation not just its most basic tenets will create a significant improvement
because these were seriously good cables but because in the performance of almost any system at least any
we were finally using them to their best advantage and system that doesnt already incorporate this thinking
delivering on their huge sonic potential. Its a lesson that and degree of attention to detail. While the industrys
hasnt been ignored and now, consistency across our reductionist tendencies have tried to separate and
better cable ranges is something that can be taken for isolate the individual components and aspects of audio
granted. In fact, its largely what separates those better performance, we have lost sight of the system as a whole
cable ranges from the competition. Nordost have proven and stopped dealing with it as such. Do that and you mark
their point at progressively lower price points with equal time, changing the performance of your set up rather than
success, as have a number of other suppliers, but it improving or elevating it. If the first 100 issues of Hi-Fi Plus
was Valhalla that got this ball well and truly rolling, to the magazine have a legacy at all, then this is it, a universal
wider benefit of anybody who took the time to listen to approach to system optimization and an appreciation of
the results and learn that lesson. the system as a whole.
24 ISSUE 100

25 Oppo FullHiFi96.indd 25 23/05/2013 11:20

26-27 Kog Full HiFi100.indd 26 23/05/2013 11:20

26-27 Kog Full HiFi100.indd 27 23/05/2013 11:20

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28 PMC FullHiFi100.indd 28 23/05/2013 11:21

VPI JMW tonearm, Lyra Titan i cartridge, Zanden 1200 mk III phono stage and
the Feikert Protractor by Roy Gregory
The 12 VPI JMW Memorial tonearm (to give it its full title) The Feickert protractor
first appeared in these pages as early as Issue 10 and raised the bar another notch,
it, along with the Lyra Titan has been a stalwart member providing significantly better
of the supporting cast in just about every review since, either as source precision when it came to cartridge
component or benchmark for comparison. Its not just the sound or sheer alignment. With the Titan positioned in
practicality of the tonearm (with its readily interchangeable arm-wands) that exactly the right place, adjusting VTA
has made it so indispensible. What it offered was a combination of virtues on a record-by-record basis became a
its 12 length and associated reduction in tracking error, along with its necessity rather than a luxury. Throw into
precisely adjustable VTA) that when paired with the astonishing resolution, this mix the Zanden 1200 Mk III phono-
transparency and dynamic discrimination of the Titan i, really brought home stage with its adjustable EQ facility and the
just how much more there was on my records. With CD performance finally performance and consistency of records
starting to deliver on its promise and other, higher resolution formats waiting as a source entered a whole new universe.
in the wings, LP needed to step up a level if it was to maintain its relevance. This ability to optimise replay, disc-by-
The JMW/Titan i team did just that, providing a degree of sonic insight and disc maintained the position of vinyl LP as
musical connection that Id never previously enjoyed. the source of choice for serious listening;
We always seem to forget the lessons weve learnt and that was but it also brought home the importance
never truer than when it comes to the insidious influence of tracking error, of precision when it comes to setting
a creeping corruption that develops so slowly, ebbing and flowing across up a hi-fi system. Theres level and then
the surface of the record, that we assimilate it subconsciously to the point theres really level. Theres judging a thing
where we almost no longer notice it. Except that tracks two and four on the by eye or using a tape measure and laser
average LP still always seem to sound best. As a longtime user of parallel alignment tool. Theres placing speakers
tracking tonearms, I was well aware of the issues associated with tracking exactly in the right place, or having them a
error. But I was also aware of the mechanical and operational issues with millimeter or two astray. All of these things
those arms themselves. What the JMW offered was, if not the best of both matter and all of them erode the musical
worlds, then the best of one and a hearty slice of the other, a fact driven performance of a system, undermining its
home by the sheer resolution of the Lyra cartridge. ability to connect and convince.
29 ISSUE 100

Back to the future by Roy Gregory
Having picked over the bones of the past, it only remains to shine
a light on where things might be going. For so long, the elephant in
the corner of the listening room has been the whole issue of room
acoustics. We all pay lip service to their importance and then promptly
ignore them, filing them under too big, too hard or too expensive
(and Id rather spend the money on a shiny new box). Compounding
this indifference is a fundamental lack of understanding or any real
appreciation of what is possible or what is involved.
At least a part of this attitude lies in the clumsy inadequacy of
most of the architectural or studio related products that domestic
users get to play with. Most of us have a fairly basic understanding (if
any) of acoustic theory and the problem with all of the established or
familiar approaches is not just that you really need to know what you
are doing to get them to work, but that if you get it even slightly wrong
theyll do more damage than good. Like I said, too big, too hard or
too expensive. But that could be about to change. SD recently wrote
two pieces, in Issues 97 and 98 that featured amongst other items,
a set of micro-perforated acoustic panels that extend the notion of
system infrastructure beyond the realm of supports and cables and
out into the room itself. But what makes these panels so interesting
is that they work in a fundamentally different way to the more familiar
absorbent/pressure related products, designed to soak up specific
problem frequencies. These panels work in the velocity domain and
that has two really significant implications: they are broad bandwidth
devices that are also essentially self-adaptive to different acoustic
environments; they are easy to position, placement being the opposite
of pressure-based solutions (velocity being highest where pressure is
lowest). Finally and possibly most importantly of all they appear to
have no downside. Get the placement slightly wrong and you might limit
their effectiveness, but they do no damage.
Ive been using these panels at home for nearly six months now
and I find the benefits astonishing, offering both a massive uplift in
musical performance and one that I couldnt achieve in any other way.
These products use proven technology that is widely applied in both
Most of us have a fairly basic

understanding (if any) of acoustic theory
and the problem with all of the established
or familiar approaches is not just that you
need to know what you are doing to get
them to work, but that if you get it even
slightly wrong, theyll do more damage
than good.
30 ISSUE 100

31 Engima FullHiFi97.indd 31 23/05/2013 14:19
Back to the future continued
aerodynamics and architectural acoustics. They are relatively affordable and potentially
low-impact, circumventing at least some of the standard domestic obstacles. They
also release a whole hidden level of system performance. When it comes to hi-fi
space is indeed the final frontier. Following the conspicuous failure (at least to date) of
heavy-handed digital room correction approaches, are we seeing the first emergence
of simple, effective acoustic treatments? I think we are. I think the future is bright I
think the future could well be micro-perforated
But also asked to nominate a harbinger of things to come, picking the KEF Blade
was easy. Its combination of evolutionary, in-house engineering and assembly from an
established UK company, and Chinese money and manufacturing sets not just a new
paradigm for high-end audio performance, but a new price point too. Lets make no
bones about this; the KEF Blade is a serious high-end performer that sits comfortably
alongside some of the most respected and successful, high-profile designs out there,
big speakers from big names. It matches them for size and overall quality and certainly
matches them in terms of its striking appearance and quality of fit and finish. But most
importantly, it does it at rather less than half the price!
At first glance it would be easy to dismiss the Blade as a triumph of style over
substance, but nothing could be further from the truth. In fact, and in true Bauhaus
tradition, this is a case of form directly following function. The way the Blade looks is
a direct result of the thinking and technology behind it. Indeed, once you understand
the design aims it quickly becomes apparent that no other shape is actually possible.
It all started a good twenty years ago, with KEFs original UniQ driver design. Since
then, the concept has been refined through multiple generations, employing different
materials and driver dimensions along the way (not to mention the visually impressive
Tangerine wave guide). But the Blade takes the concept a whole stage further, aiming at a
full range, point-source output. Short of adding a third ring to the UniQ and there are all
sorts of reasons why thats not such a great idea placing the bass drivers at right angles
to and as close behind the UniQ unit as possible is the obvious way to go. Once you
make that decision, it pretty much defines the form of the rest of the cabinet. The narrow
profile offers a low diffraction housing for the critical mid-band and tweeter, while it also
allows the bass drivers to be mounted back to back in a force-canceling arrangement.
Continuing the curved theme across all the surfaces in the composite cabinet adds rigidity
and reduces internal standing waves. Indeed, there isnt a flat surface on the speaker,
necessitating the inclusion of a spirit level in the molded base.
One potential problem is the distance of the bass drivers from the floor. In conventional
designs, placing the bass units in the bottom of the cabinet means that the speakers low-
frequency output benefits (in terms of weight at least) from boundary reinforcement. The
Blades get no such boost, but KEF have actually turned this to their advantage. With no
boundary reinforcement, generating the low-frequencies comes down to the drive units
themselves. Thats why there are four of them, 9 units built onto 4.5 voice coils of a size
more normally found in 15 drivers. The result is phenomenal acoustic power without the
dynamic drain of thermal compression. Normally, building that much driver into this compact
a cabinet would produce massive colouration problems as the enclosure tried to struggle
with the excess mechanical energy. But the force cancelling arrangement deals with a
lot of that, while the ultra-rigid, self-damped composite cabinet deals with the rest.
Remove the integration and colouration issues that inevitably go with boundary
reinforcement and what you get left with is incredibly fast, clean and tuneful bass
32 ISSUE 100

HEGEL
H300
Reference integrated amplifier with digital inputs

The alchemists of old devoted their lives to finding a way to make gold out of stone. As far as we know
they never succeeded. However, with the H300, we finally feel that we have. At least, from an audio
perspective.
On one side, the H300 is a spectacular integrated amplifier. With its 250 watts per channel, it is
powerful enough to pair with even the most demanding loudspeakers on the market. Hegels patented
SoundEngine technology ensures completely undistorted and natural sound with a dynamic and power-
ful bass response. The H300 is, to a large extent, based on Hegels Reference products rather than its
smaller brothers.
On the other side, it has 5 digital inputs and this is where the alchemy comes in. Hegels digital inputs
are designed with unique technology that can make your computer, streamer or other digital device
sound extremely good. You can take some of the most affordable digital music players on the market,
connect them to the H300s digital inputs, and get fantastic musical and dynamic sound.
www.hegel.com
33 Hegel FullHiFi94.indd 33 23/05/2013 11:26

Back to the future continued
with real dynamics and timing. Theres nothing snake-oil or Line the KEF up beside its price competitors and it
foo-foo about this speaker. Its all about solid engineering, makes them look pretty silly, on grounds of fit, finish and
solidly executed by people whove been working to reach material content; and thats before you listen to them. Just
this point for many, many years. dont be tempted to cheapskate on the driving amps, or
Get the Blades working well and youll need to work youll live to regret it. Tube amps at least have an output
at that because these speakers are so coherent that they transformer to hide behind, but when the Blades suck
are unforgiving of any inadequacies in system set-up or out a solid-state design, they celebrate by spotlighting
optimization and they will reward you with an incredibly their tweeter something chronic. To give you some idea
seamless, natural and contiguous presentation; a bit like of the lengths required, the otherwise excellent Rowland
a pair of Quad ESL 63s that suddenly grew a pair and 625 wasnt up to the job, it taking a pair of the 725 mono-
the bandwidth, dynamics and sheer musical impact that blocs to restore order. But when this speaker sings, it
goes with them. There is a subtlety to their timing and really sings as the procession of practiced listeners
tonal shadings that is quite beguiling, but it is the temporal and industry notables who enjoyed their performance in
integrity and the sense of performance and drama that my listening room attests. I lost count of the number of
goes with it that makes the Blades so special. How visitors who arrived, casting glances at the speakers that
special? Special enough that Ive chosen to use them for ranged between suspicion and downright hostility only
show seminars partly to let people hear them sound to be shocked, surprised, seduced and sent home, all with
the way they can, partly because of how clearly they slightly wobbly legs and stupid, fixed grins. Several have
tell you when they dont. How special? Special enough been disappointed to return and find the KEFs absent,
to provoke a complete meltdown from one of those big even when the current incumbents cost many times the
name designers I mentioned earlier, incensed by the price of the Blade. Ive rarely met a product that has divided
proposition that any speaker with sideways firing drivers opinion so starkly between those who think theyve heard
could possibly compete with his masterful creations. Was it and those who actually have.
he really upset by the KEFs topology or by its price? So the KEF Blade isnt a recipe for champagne sound
I guess its possible it was the former, but if his brain is on a beer budget. But it does represent a considerable
as big as he thinks it is, it really should have been the saving when it comes to getting the sort of sonic and
latter! What the Blade does is totally rewrite the cost/ musical results that used to rely on a 50K loudspeaker.
performance equation, fronting up the established 50K It still demands the very best and very particular partnering
speakers and saying, Okay, so what have you got? equipment, but it answers once and for all the question
The answer in too many cases is not enough not when thats hanging over the entire audio industry; what happens
confronted by this speaker at this price. when the Chinese get serious? Heres the news flash guys;
Its not all plane sailing though. The Blades have a nasty they already did!
kick in their crossover that will suck an amplifier dry quicker
than a student downing free tequila shots. And while they
are controlled enough to work in a small room, they really
benefit from the sort of space that lets them breathe. Roll
those two things together and you have a product that
is demanding when it comes to partnering amplification
in terms of quality and quantity and likes the room to The KEF Blade isnt a recipe
stretch its legs. Which is pretty much a showstopper when for champagne sound on a beer
it comes to show sound. Ive not heard the Blades deliver
even a fraction of what they are really capable of under
budget. But it does represent a
show conditions, either because the space is too small considerable saving when it
(or way too big) and the driving amps either arent butch comes to the sort of sonic and
enough or arent good enough. Dont get me wrong Ive
heard the Blades sound good at shows; just nowhere near
musical results that used to rely
as good as they can. on a 50k loudspeaker.
34 ISSUE 100

High End Cable
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35 High End Cable FullHiFi97.indd 35 23/05/2013 11:26

36 ISSUE 100

The MusicWorks Revo equipment rack by Steve Dickinson
Ive chosen the MusiWorks ReVo because it was this product, more than any respect to each other. So, taking the four
other, which brought home to me the importance of the foundation theory elements of a note envelope: the attack,
approach developed by Hi-Fi Plus. sustain, decay and release, if any of these
Its a rather literal application of lateral thinking the shelves have elements treads on the temporal toes of
become the vertical supports, and the verticals have become the shelves any of the other bits, the effect of that note
and Im not sure Edward DeBono really had this in mind, but full marks to is confused, we talk of time-smear. Most
the MusicWorks guys for taking a fresh, and sideways, look at the problem. often, the problem is that the attack takes
For me, the proof is in the unexpected nature of the benefits its not longer than it should, to do its attacking,
as though I had anticipated the outcome and somehow convinced myself or the sustain and decay has left the stage
that it worked. The system gained intelligibility, timing cues were much more before the release is released or, worse,
consistent and not so smeared, and the music became much more of a the note lingers longer than it should, and
cohesive whole. All those indifferent musicians Id carefully collected over the blurs the attack of the next note.
years suddenly upped their game and turned into, well, pretty good musicians, This then feeds into the broader
actually, thanks for noticing. Its a phenomenon Ive come to recognise, since aspect of the timing of the musicians
that first day, but the ReVo wasnt just an incremental improvement, it forced playing, because it becomes harder to tell
a new appreciation of what the boxes Id assembled were actually capable of, whether they are in time with themselves,
given half a chance. So my system could no longer be defined purely in terms and with each other, when your brain
of the hardware, because what those boxes could do was clearly dependent is not sure where each note begins, or
on how well they were set up and supported. As a reinforcement of the validity ends. The human ear/brain system is,
of foundation theory, it was convincing, and exciting. apparently, much more acutely sensitive
And foundation theory, the idea that attention paid to using the proper to these timing cues than we often give it
supports, an optimised mains supply and signal cabling, is the only way to get credit for, and it does seem to be rather
your system to perform as it should, was integral to the approach of Hi-Fi+ right fundamental to our enjoyment of music,
from when I started writing for the magazine. For me it was a path which happily whether we consciously realise it or not.
kept me from making many of the classic audiophile mistakes. Its not difficult to A stand which works to resolve these
implement, the hardest bit is the leap of faith you need in order to free yourself fundamental timing cues more finely will
from the tyranny of the box-fetishist, but once done it is liberating. work across the board to improve the
The ReVo isnt to all tastes, some people hate its looks, others are drawn overall coherence and musicality of the
to it precisely because it looks so radical. Me? I quickly came to love it, once Id equipment it supports, it moves beyond
heard what it did, and now most other racks just look dull and unimaginative. the realm of a tone control and becomes
It manages to look organic, and to all but disappear, all at the same time. It an essential component in the replay
does demand a modicum of commitment, and using it for vinyl takes a wee chain. It was the ReVo that showed me
bit more thought and planning than just plonking down your turntable and this, and it remains the only stand Ive
levelling, but I rather like the fact that it wont let you compromise, and rewards heard at anything approaching its price,
you handsomely when you dont. that achieves this degree of effectiveness
Its generally true that stands influence the sound of the system, albeit to a in resolving these infinitesimally subtle, yet
greater or lesser degree. Sometimes the effect of the stand is tonal, perhaps bass fundamentally essential, timing issues.
goes deeper, or midrange is more prominent; sometimes it may be dynamics Quite apart from the Revos benefits
which leap out at the listener, or leading edges of notes which are more clearly when it comes to the timing and overall
articulated. In such cases, the stands are sometimes used to compensate for musical coherence, those tiresome humps
perceived shortcomings elsewhere in the system. Using the ReVo showed me and bumps in the bass response in my
that this is not the smartest way to choose your equipment stand. room are much more controlled and less
The ReVos great strength is in timing, and by that I dont just mean bothersome. I put it down to the likelihood
rhythm, and whether the musicians are playing in time with each other (though that bass modes create something of a
that is certainly an important aspect), but a more fundamental aspect of timing feedback loop, a bit like the howl-round
- namely whether the various elements of the note arrive at the right time with that you can get in a PA system - energy in
37 ISSUE 100

MusicWorks Revo equipment rack continued
the sustain part of the note envelope finds Ive heard other support systems which have similar beneficial effects,
its way back into the signal, which is then notably from Stillpoints and, recently, Leading Edge, but none which achieve
amplified and reproduced, delaying the what the ReVo does at its very affordable price. To be fair, both Stillpoints
decay and release and creating, in effect, and LeadingEdge go further down the same road as the ReVo, but as a way
an additional layer of reverberation which is to get the basics right, the ReVo does take some beating. The problem is
neither on the recording, nor in the listening that once you get what the ReVo does, conventional supports that dont do
room itself. Reducing the bass energy, er, it, just wont do. And, like all good systematic approaches to audio, its only
feeding that feedback means that room one aspect of a wider approach to good audio. There are cable supports,
modes dont have such a distracting, and loudspeaker supports and stands, power cords, mains blocks and a whole
destructive, effect on the sound. lot more that build upon the ReVos strengths. As it should be!
The HRT Streamer digital converter range by Alan Sircom
Just to be contrary (editors Audiophiles are a conservative lot, and we dont give
privilege), the products Im up on our formats quietly. We are still buying CDs (were
choosing are not lodged firmly still buying LPs!) and have no intention of changing that
in the systematic approach unless something better comes along. The HRT Streamer
nor in one case, at range was an agent of change here; it showed people that
least punishingly a computer and USB DAC could be capable of producing
expensive. However, an extremely good performance that was at the very least
I think they best a match for many highly recommended, highly respected
represent the diverse and popular CD players. It also managed to show this at a
and the forward- price that was within reach of real people.
thinking drive of some parts There are still compelling reasons to stay with CD as
of todays audio world. a format, whether as a one-time data carrier for ripping
The first is the HRT Streamer. music to a computer audio system, or as a playing medium
It could just as easily be the Meridian in its own right. Not least the daunting prospect of having
Explorer, the Audioquest Dragonfly, the Rega to rip decades of music collecting. But increasingly, what
DAC, the Micromega MyDac or even the ever-popular begins for many as a toe in the water quickly turns into total
Arcam rDAC, Musical Fidelity v-DAC or Cambridge Audio immersion, and the CD player gets less frequent use.
DACMagic Plus. Or a host of other DACs at a price that When first I took over the reins at Plush, the reaction
is on the right side of sanity. But Ive chosen the HRT to any discussion of computer audio was a resounding
Streamer above the others because I use it (well, the not interested. By last year, that had changed to is there
updated Streamer II+) more regularly than any of the others. an automated method of correctly populating classical
Familiarity breeds familiarity. metadata? We went from widespread disinterest to
What these products did (and still do), is change the widespread understanding of computer audio in just three
way we think about audio. They all share the common trait of years. Yes, there is still a significant proportion of listeners
connecting a computer to a hi-fi system through a USB port. still using CD and the concern going ahead is that they may
Adding a computer to a hi-fi system was at best pointless, feel increasingly disenfranchised by an industry seemingly
and probably unthinkable back when Hi-Fi Plus was first set on handling products they currently have no intention of
hitting the streets at the end of the last century. Now, though, using. We will still support the format for as long as there is
these products became computer audios beachhead in the still a format to support, but it would be folly to ignore what
war for your digital audio listening. has become an important part of 21st Century Audio.
38 ISSUE 100

Reaction
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common with a jet engine? Bristol S
how
Both cause a lot of unwanted noise This principle of creating aerodynamic drag, that
but theyre treatable with thousands of removes unwanted energy across the spectrum, is far more
effective than using conventional foam-filled panels that work
carefully calculated holes. only at narrow frequency bands.
In the Airbus jet engine the front compressor noise is cut
Significantly, drag increases with the
down with a special micro-perforated lining for the air intake.
square of the velocity when the velocity
In your listening room the sound waves that slop from end doubles, the drag increases four times!
to end, and side to side like the water in a fish tank thats
In this way, the LeadingEdge panels
being moved can be treated in a similar way.
are reactive the more unwanted
How does that matter? It matters because that unwanted air energy bouncing round the room, the
movement interferes with and modulates the music signal. more effective they become.
An amazing amount of fine detail is annihilated.
Visitors to our room at the Bristol
The room is killing off the information you have paid so much to Show earlier this year were truly
retrieve. astonished as we played music and first
covered then uncovered the panels.
There were spontaneous reactions like
Wow and Thats amazing! Thousands of micro-
perforations create
Panels are available in different sizes aerodynamic drag
and three standard finishes: Cherry, to absorb energy
White, and Light Oak though almost any
finish can be ordered to match dcor.
But you say, I couldnt possibly fit those into my living room.
Perhaps not free-standing ones but had you considered they
can be wall-mounted and become part of the room design,
even a feature with a beautiful, rich veneer finish?
An ideal solution is to place panels on the ceiling, where
they absorb energy from
Air movement reaches peak velocity in the middle of the room all directions. In this room
(only end-to-end shown here) where the panels are most effective with 60% glass windows
and hardwood floors
In effect you are propagating new music signals into old air. the panels are a feature,
Think of the interference between fresh waves that break on with recessed lighting.
a beach and meet the previous retreating wave. The result is a quiet,
comfortable room despite
The solution When you energise the room with a music all those hard surfaces.
signal thousands of carefully-calculated micro-perforations
in the LeadingEdge panels create turbulence as the air,
Customers say we make some of the best sounds in
slopping to and fro between walls, passes over their surfaces.
our studio they have ever heard, so you know we can do
We hear air pressure changes as excess bass at the room the same in your home. Our advice takes account of your
boundaries, where the air is at zero particle velocity and best components and guides you where change is needed, in
maximum pressure change. It reaches maximum velocity (and stages you can afford.
zero pressure change!) in the centre of the room where the
You avoid expensive mistakes, enjoy music and save money
perforations create aerodynamic drag and the panels
in the long run.
absorb this velocity energy into an internal honeycomb. Just listen and youll know
CD: Accustic Arts, Bel Canto, dCS, Gamut, Resolution Audio,Vertex AQ dac-1.Vinyl: Aesthetix, Clearaudio, Graham, Spiral Groove,Transfiguration.
Tuners: Magnum Dynalab. Amplifiers: Accustic Arts,Aesthetix, Bel Canto, CAT, Gamut, Sonneteer, Storm Audio,VTL.
Loudspeakers: Avalon, Gamut, Kawero!, NEAT,Totem. Cables: Chord Co., DNM, Nordost, Siltech,Tellurium,VertexAQ.
Mains: Aletheia,Vertex AQ. Supports: Arcici, Black Ravioli, Hi-Fi Racks, LeadingEdge, Stands Unique,Vertex AQ
www.rightnote.co.uk
01225 874728 or lo-call: 0845 230 7570
39 The Right Note Full HiFi100.indd 39 23/05/2013 13:27

40-41
AAFF DPFonoAcoustica
426X297.indd Full
1 HiFi93.indd 40 23/05/2013 11:28
40-41 FonoAcoustica Full HiFi93.indd 41 23/05/2013
11/10/1211:28
22:45
Nottingham Analogue Studios Space 294 Turntable and Tonearm by Chris Martens
On the occasion of publishing the 100th issue of Hi-Fi Plus its way, proved every bit as unorthodox as the 294 turntable
our writers have been invited to take a look back at audio did. Thus, the arm featured a carbon fibre armtube with
products of particular merit that have greatly influenced a press fitted, machined aluminium cartridge carrier or
them over our first 100 issues and then to look forward headshell. According to Nottingham, the geometry of the
toward products likely to be equally influential in the future. arm is such that very little azimuth adjustment is needed
Some will construe this project as a search for the best of with many phono cartridges, but where necessary the only
the best, but for my part I thought it might be best to focus method for adjustment involves grasping the arm tube in
on products that simply taught me a lot about recorded one hand and the headshell in the other, then vigourously
music and about the enjoyment thereof. In short, Ill focus yet carefully twisting the headshell within the armtube until
on products that have been, for me, true game changers the desired geometry is achieved. What is more, Fletcher
products that helped open my eyes and ears and to some cautioned that fasteners as used throughout the turntable
of the deeper joys that high-end audio can provide. in general, and on the tonearm in particular, were to be
Some years back and writing for our US-based sister cinched firmly, but not too firmly (the notion being that
publication The Absolute Sound I had the opportunity to overly tight fasteners would adversely affect the sound).
review the intensely iconoclastic and decidedly British Plainly, Nottingham setup is not for the fainthearted, nor
Nottingham Analogue Studios Space 294 turntable and for those lacking in manual dexterity or patience.
tonearm. Coming upon the turntable/tonearm package Why subject oneself to all the bother and aggravation?
at first, I found that almost everything about it seemed to The simple answer is this: the sound. The not so simple
march to the beat of a different drummer. For starters, the answer is that the Nottingham Space 294, much like certain
Nottingham machine was designed to play 12-inch LPs, yet fine British automobiles such as the Morgan Aero 8, gives
it sported a massive 14-inch platter said to provide superior much greater results than the apparent sum of its parts
stability and a higher level of rotational inertia for greater would lead one to expect. Ive used a Space 294 in my
speed stability than a 12-inch platter would have afforded. system for many years now and it has shown an uncanny
Plainly the late Tom Fletcher, who designed all Nottingham ability to get the very best from almost all of the phono
products, was not afraid to think outside the box. cartridges Ive used with it (though a particularly great
Next, the table featured an ultra low-torque pairing is that of the Space 294 with Shelters gorgeous
synchronous motorone so low in torque, in fact, that it Harmony MC cartridge). But apart from revealing the subtle
was quite incapable of bringing the platter up to speed from intricacies of various phono cartridges and phono stages,
a dead stop. In practice, this meant two things (both of Nottinghams Space 294 does something more. It not only
which have given some audiophiles fits). First, users must affords great sound in a hi-fi sense, but more importantly
start the Space 294 by grasping its platter rim and giving consistently sounds like real music. And that, my friends, is
it a firm spin; when the record is done, users reverse the what makes all the quirks and foibles of the Space 294 not
process, grasping the spinning platter and gently forcing only tolerable, but a privilege and a joy.
it to a stop. Second, the turntable has no on/off switch of
any kind. Instead, the turntable motor remains powered
up at all times; you simply spin the platter when you want
it to go, and stop it (using your hands like the calipers of
disc braking system) when the record is finished. Why put
up with all of this? The simple answer is that Mr. Fletcher It not only affords great sound in
believed the best way to prevent motor-induced turntable a hi-fi sense, but more importantly
noise was to use motors that had just enough torque to hold
the platter at the desired rotational speed (but not enough
consistently sounds like real music.
to haul the platter up to speed from a stop). Judging by the And that, my friends, is what
remarkably quiet backgrounds the 294 affords, Mr. Fletcher makes all the quirks and foibles of
may indeed have been on to something.
Third, the table featured a 12-inch (or 294mm, hence the Space 294 not only tolerable,
the name) mechanically damped unipivot tonearm that, in but a privilege and a joy.
42 ISSUE 100

Stax SR-009 Electrostatic Headphone system by Chris Martens
As we move into the second decade of the 21st century, it seems apparent At its best, the SR-009 might arguably
that not only is traditional high-end audio thriving, but there has also sprung be the most transparent, most resolving,
up an alternate, parallel high-end audio universe whose music-loving citizens most focused, and most well balanced audio
have chosen to focus on headphone and earphone-based audio systems. transducer on the planet. If you happen to
We at Hi-Fi+ have, in sharp contrast to some highbrow audio publications, love fine electrostatic loudspeakers, which
embraced this brave new high-end world in a wholehearted way. Naturally, I do, yet have been disappointed by their
this means we have got a whole new world of equipment to explore, new limitations in terms of dynamics and/or low-
benchmark products to evaluate, and new ways and means of listening. frequency extension, then hearing the Stax
I suppose each of us, in his or her own way, wonders from time to in action may well prove to be a revelation
time what the very best product in any given class of audio component for you. In essence, you get all the light,
might beespecially if we throw caution to the winds, forget about pricing, lithe, fast, finely resolved sound you could
pull out all the stops, and look for products that, in the truest sense of the ever want from an electrostat, but with
phrase, represent the state of the art. powerful low bass that effortlessly extends
In the top-tier headphone realm, Ive found a product I believe represents down to 20Hz, plus downright breathtaking
the state of the art in the here and now, and that points the way toward even dynamics that no full-range electrostatic
greater things headed our way in the future. That product is the Stax SR-009 loudspeaker could ever hope to match. The
Electrostatic Headphone. Lets begin by acknowledging that the Stax is very result is downright amazing.
expensive; in the US (my home country) the SR-009 sells for a staggering Is listening to the Stax SR-009 actually
$5,250, making it by far the most costly headphone currently available. What more rewarding than listening to top-tier
is more, the Stax cannot be run from a conventional headphone amplifier, loudspeakers? I would say the experiences are
but rather requires a dedicated electrostatic amplifier (or in Stax parlance, a comparable, but different. Loudspeakers will
headphone energiser). Somewhat dauntingly, most of the dedicated amps always enjoy a certain edge in terms of realistic
thought to be best for use with the Stax phones are apt to cost roughly as 3D soundstaging and imaging, but conversely
much (or even more) than the headphones themselves. Can a $10,000+ you will have to spend the proverbial kings
headphone system possibly make sense? You need only to spend about ransom in order to find a loudspeaker system
five minutes listening to a good SR-009-based system to be able to answer that will have even a prayer of keeping up with
this question with a resounding, Yes, and heres why. the blazing transient speed, transparency, and
focus of the Stax. One point to be aware of,
though, is that the Stax has very little sound of
its own, so that it behaves much like a sonic
chameleon, reflecting the various tonal colours
and characteristics of the components used
to drive it.
What unique sonic joys does the Stax
SR-009 bring to the party? Well, if you
are the sort of listener who, down deep,
wishes to access every last minute bit of
sonic information that passed through
the record producers mastering console,
then your transducer of choice has most
definitely arrived. In fact, as you listen
carefully to your favourite records through
the SR-009, you may come away with the
impression (quite possibly an accurate
one) that you now know even more about
the inner workings of the records than the
producers did. How cool is that?
43 ISSUE 100

The Vertex AQ systematic approach (not so slight return) by Paul Messenger
Hi-Fi Plus first appeared in early 1999. did shortly thereafter, and I was soon convinced that this operation had
Thats about as far back as I can date any something significant to offer.
material that I wrote, and I seem to recall Elfords background in ultrasonic test techniques led him to realise
contributing to the first (and subsequent) just how far vibrations can be transmitted, especially through metals. And
issues. Some four years later (issue No since the electrical conducting cables used to connect everything together
29) I was wandering the corridors of the are (almost) invariably made of metal, its easy to see how vibrations can be
Penta hi-fi show when I came across a passed around a system, unless efforts are made to control and absorb them.
completely new brand with a funny name Strategic vibration absorption really represents the original heart of
that was unknown to me. That was my first Vertex AQ, though the techniques have undergone (and are still undergoing)
encounter with Vertex AQ, and the meeting numerous refinements over the years (as well as costing me a fair amount
turned out to be one of my most interesting of cash). For example, the original Kinabalu platform simply consisted of a
hi-fi discoveries of the past decade. carefully shaped slab of SPI Grey Granite, placed on four rubber pucks;
The Penta hotel room I entered late that the supported component then sits on a hardened steel tripod coupler and
afternoon was virtually empty, apart from a two decouplers. Above the standard Kinabalu are two rather more elaborate
couple of exhibitors. The decidedly modest Super and Hi-Rez variations. Weighing 9kg and 11kg respectively, these
looking components that were playing incorporate extra labyrinth absorbers beneath the granite slab, improving
seemed to be making much more music the performance in consequence. Interestingly, even though both my Naim
than one had any right to expect, and this pre-amp and CD player feature spring-decoupled subchassis, the Kinabalu
was apparently due to the various Vertex platforms still improved their sound quality.
AQ treatments that had been applied. Interestingly, Vertex AQ isnt the only company that has identified the
Vertex AQ has only very recently importance of mechanical vibration transmission between components.
begun building hi-fi components as Some years after I first encountered the Vertex AQ accessories, Naim Audio,
such. The company started out making introduced its Power-Line mains cable and Hi-Line interconnect. Both of
a rather strange range of items with these adopt a rather different approach to achieve at least somewhat similar
even more curious names, of the type aims. The Naim cables make no attempt to damp or absorb any vibrations,
normally classified as accessories. These but they do incorporate spring type mechanical decoupling.
consisted of various Kinabalu platforms Although the original blocks used in the mains cables and conditioners
(named after a mountain in Borneo) and were designed to remove acoustic vibrations and reduce and/or remove
a number of cables equipped with small unwanted RFI (radio frequency interference), during the evolution of
but heavy metal boxes, also named after the products it was also found that shielding from EMI (electromagnetic
several obscure mountains. interference) was also important.
The modus operandum behind all Consequently, many of Vertex AQs products are now available in
these various devices was to reduce and a hierarchy of increasing performance. For example, the companys first
minimise any low level mechanic-acoustic product was the Jaya, a passive shunt-type RFI mains filter that also removes
vibrations generated within and around the vibrations within the mains circuitry. Still available in standard form, enhanced
hi-fi system. Such vibrations may derive versions include the Silver Jaya, with silver conductors and superior filtering,
from a number of sources, and its Vertex and the HiRez variation that also incorporates EMI absorption.
AQs contention that they can not only I havent tried all of Vertex AQs various products, possibly because I
adversely affect the low level reproduction live in the extreme East of the country, which is a long way from Vertex AQs
of hi-fi components, but that its various base somewhere in Wales. Those that I have tried have invariably impressed
devices can remove them and expand a me, to the point where a number have found themselves semi-permanent
systems dynamic range in consequence. positions within my hi-fi system.
My appetite was well whetted by that My pre-amp has long been sitting on a HiRez Kinabalu, the CD player
Penta experience, so I invited Vertex AQs is placed on a Super Kinabalu, and other Kinabalu and Super Kinabalu
principal, Steve Elford, to bring the stuff supports are and will continue to be used as required. However, the
over to my place and try and convince me Kinabalu platforms are now apparently history, replaced by the LeadingEdge
in my own home system context. This he racks and platforms, of which more later.
44 ISSUE 100

A particular personal favourite is the HiRez Moncayo speaker cables, towards creating the best possible
which are unquestionably costly, but also seem to lower the hash and environment to allow the complete hi-fi
noise level of the system to a significant degree, yet manage to do so system to work at its best, whatever the
without adversely affecting the dynamic expression of the loud bits. components used. Instead of changing
Other devices that I use all the time are the Mini Moncayo Links, the speakers or amplifier, perhaps for the
which take the place of wire or brass strips in joining together bi- or tri-wire umpteenth time in an unfulfilled quest for
terminals. Once again, these seem to clean up the sound of the speakers hi-fi nirvana, it might make sense to give
significantly, expanding the dynamic range by lowering the hash floor. the alternative Vertex approach a try.
After nearly a decade concentrating on a number of accessory devices
aimed at making the most out of any existing hi-fi system, Vertex AQ has begun
to extend its activities into complete components, christened Aletheia. Thus
far there are just two basic units the dac-1 digital-to-analogue converter, Unlike most hi-fi
and a balanced power supply that comes in psu-1 and psu-2 versions. accessories, its both
The LeadingEdge products are being developed in conjunction with
a company called Kaiser Acoustics based in the extreme South East of
systematic and oriented
Germany. Steve Dickinson recently tried some examples and described his toward creating the best
experiences in some detail (Hi-Fi Plus Nos 96, 97), so Ill try and avoid too possible environment
much repetition.
Kaiser makes a modest range of high class loudspeakers, and is
to allow the complete
also involved in architectural acoustics, thanks in part to the micropore hi-fi system to work at
technology to manipulate acoustics that it has developed and manufactures.
its best.
While the Kaiser speakers do incorporate some Vertex AQ techniques,
for example in the crossover networks, the LeadingEdge items currently
consist of three components room acoustic panels, complete equipment
support racks, and the new platforms. These incorporate a number of
extra performance refinements over the earlier Kinabalu devices that they
are replacing, and are available as platforms or incorporated into the
racks. Steel inserts ensure better energy transfer between the labyrinth
absorption and the couplers, EMI shielding is improved, and the under-
surface has micro-pores to avoid interfering acoustically with the unit
on the shelf below. The platform is also supported on new and very
effective stop-choc isolation feet, fashioned from a mesh of fine
stainless steel wire.
Partly to provide a neat finish to this article, and partly out of
personal interest, I managed to obtain a LeadingEdge platform
and was able to compare it with the HiRez Kinabalu supporting my
pre-amplifier. The result certainly showed improvements, though they
were perhaps a little more subtle than Id expected. The most obviously
audible change was in the stereo imaging, which was clearly better formed
than before, with improved focus and especially depth. Background
ambience real or artificial was now more obvious, and placed well
behind the line of the speakers, with instruments themselves more
clearly layered in depth terms. After a bit more experience,
instruments and voices began to sound a little more real, and
some extra dynamic punch together with an expanded
overall dynamic range also started to become apparent.
The crucial feature of the Vertex AQ/
LeadingEdge approach is that, unlike most hi-fi
accessories, its both systematic and oriented
45 ISSUE 100

46 Chester Group Full HiFi100.indd 46 23/05/2013 11:33
The dCS U-Clock by Steve Dickinson
I remember adding the dCS U-Clock to my system and thinking Wow! havent yet been reached, and theres
It was another of those epiphanies that was all the more epiphanaceous more to come.
because it was unexpected. Thanks to the ReVo table Id acquired a Again, the benefits were not in the
bunch of better musicians, and now here they were, playing much better areas you might expect, if you havent
instruments as well. And playing them better than ever. given it much thought. The clock isnt
It got me thinking. Conventional wisdom, and some bloke called really about timing in the musical sense,
Nyquist, has it that a 44.1kHz sampling rate is good enough to accurately though the general tightening-up, and the
reproduce any frequency up to 20kHz. Fair enough, if thats how the maths consequent greater degree of resolution
turns out Im not going to argue. So there had to be something else causing of harmonic structure and sense has
my dissatisfaction with CD. And here it was. Timing, again. The secret of associated benefits in terms of which
great comedy, and much besides, it seems that ensuring that each sample musicians are playing what, where and
being delivered with great precision was pretty fundamental to doing the job precisely when. I think the dCS U-Clock is
right, and good enough simply wasnt good enough any more. the product Ive encountered which best
Even for CD replay were, in effect, slicing the waveform into sections shows the direction audio is heading over
44,100 times per second. Ideally, each of those slices will be exactly the next 100 issues of Hi-Fi+, because
the same thickness, and exactly the same distance apart. The slicing is it shows us what is possible with what
controlled by a clock signal, a stable time reference which tells the sampling weve already got, and clears the way for
device when to take each sample. something even better.
So, if we reconstruct our waveform, using these slices, and the slices The U-Clock also introduced the
are slightly misaligned with respect to each other, then the accuracy of the implementation of asynchronous USB,
waveform shape we create will differ from the original. Having used the a jitter-busting way to adopt the most
U-Clock, it turns out that a more accurate clock makes an audible difference, universal, and convenient, connection
and the difference is musically significant. standard we currently have, and made
What this taught me was that sweating the small stuff, in this case the it possible to make a start on achieving
teeny weeny stuff, to a much greater extent that you thought could possibly some genuinely decent performance
make a difference, sometimes makes all the difference in the world. And from computer audio. I cant get excited
thats why I think the dCS U-Clock points toward the future of high-quality about computer audio, just yet, but then
audio reproduction. Because it shows us that the limits of the technology Im not what youd call an early adopter.
I bought my first CD player 10 years
after Philips and Sony brought them to
market because I didnt like anything Id
The clock isnt really about timing in heard up to then, and if Im honest, CD
the musical sense, though the general didnt replace vinyl in my affections for
tightening-up, and the consequent greater another 10 years. So its still early days for
computer audio as far as Im concerned,
degree of resolution of harmonic structure but based on previous experience Im
and sense has associated benefits in terms prepared to accept that, sooner or later, it
will be good enough, and I mean properly
of which musicians are playing what, good enough, not merely good enough
where and precisely when. good enough.
47 ISSUE 100

48 ISSUE 100

David Berning Quadrature Z power amplifiers by Chris Thomas
The mechanics of reviewing are dealt with very differently by each of us who a whole new level of performance. So what
do it and many of the pieces that I write have a sub-plot that run alongside is it that I love about their musical abilities?
the finished article. But every now and again that routine is shattered when In a similar way to the Lyra, they are
something gets plugged in that is a game-changer and the impact and extremely fast and to follow that theme,
excitement of this is what all reviewers live for. This may actually be a very never actually sound like it. They have none
short, sharp jab to the head or it may creep up slowly. It unfortunately doesnt of the slow, warm tonality of conventional
happen that often and several years may pass between each revelation. Often tube amplifiers but actually seem the perfect
my whole view of a product might be formed in a single experience when combination of the speed and transient
the realisation that this is different, but extremely wonderful strikes home. delivery and recovery of the best solid-
I need to feel I understand what a system is doing musically. By its very state amplifiers and the harmonic integrity
nature, reviewing is a personal view and I also think that it offers an opinion as and sheer tonal range of the very best tube
a snapshot in time that also encapsulates the musical experiences of many designs. After a very short time you will
years and thousands of listening sessions with hundreds of components. forget they are tube amplifiers completely.
Back in 2008 when RG asked me to review a pair of David Bernings Top to bottom their musical coherence is
24k, 200-watt tube mono amplifiers I did a double take. Why me? I said, remarkable and this gives them a sense
reasoning that he had much, much more experience with both tube amplifiers of rhythmic precision and non-mechanical
and equipment of this cost. I was a solid-state devotee at that time and flow that is beguiling and a mighty musical
though I loved the tonal glow that tubes bought to my system, I never thought presence that is about as real as I have
I could live with one as they had always stumbled over too many of the musical heard. But what I love most about them
questions I had asked them. As I began to research them though, I grew was something that came to me in that
more fascinated. These were an OTL (no output transformer) design with spark of a moment I mentioned earlier. I
a quite extraordinary matching device, designed by David that matched the can only express it as note-transition or the
impedance of the loudspeaker to the output tubes, which drove them directly way that one note follows another. I am one
without the inconvenience and deleterious effects of a transformer. I am no who spends a lot of time fiddling with guitars
amplifier designer but the more I spoke to those who are, the more I began or sitting opposite other people playing
to understand that, good or bad, what I was about to hear was pretty unique. instruments. When I listen closely to what is
Some who understood these things even said, after seeing circuit diagrams, actually happening through the envelope as
that they didnt see how such amplifiers could actually work at all notes move - and this means the way they
In the same way that the Lyra gave me a very early musical jolt as start, develop and end plus the way that
notice of its arrival, so it took the QZs only a couple of minutes longer to sear they grow from each other, I have heard
themselves into my mind. I find that I usually know pretty quickly if something only one or perhaps two amplifiers that are
is right or not, except for those times when it takes literally months to fully anywhere near as expressive. So, when it
run a component in. The problems for a writer come when you have to stop comes to understanding and enjoying what
enjoying it on a purely musical level and start to try and work out exactly why is being played and more importantly, how
you love it so much to let others know. it is being played the Berning amplifiers
As with all of these special products, I simply had to own a pair and even take you right there- straight to the art and
several years on I still find the QZs quite amazing amplifiers. In truth, there is sensitivity of the musician. They have the
still nothing else quite like them though this, I hasten to say, does not mean that charisma to move you emotionally like very,
there are no other absolutely superb amplifiers out there, because there are. very few others.
David builds each and every one himself, solders every component to every So, a pair of astonishingly good
board and even winds the transformers that power the individual sections of the products that left their mark on me over
circuit. They are large, but light in weight, run cool and have quite astonishing the past 100 issues. The strange thing
tube-life. I am still on my original output tubes after 4 years and have only had is that I am not convinced that they are
one failure, a driver tube that was quickly rectified by swapping it for a new one. actually completely ideal partners though,
I have experimented with nos tube rolling (a novel experience) and settled on a despite their individual brilliance. But that is
configuration, with some advice from others, which have taken the amplifier to a whole other story for another day.
49 ISSUE 100

Vivid Audio loudspeakers by Jason Kennedy

Looking back at the mountain of products that Ive reviewed since Hi-Fi
Plus was launched does not make it easy to pick one that could be said to
have had the greatest impact on the last fourteen years. But a few come
to mind; the Townshend Seismic Stand equipment support that started a
trend away from spiking and toward genuine isolation, or the consistently
remarkable speakers coming out of PMC that have made a very strong
case for transmission line loading, also sadly missed is the Resolution Audio
Opus 21, a design that showed the musical potential of CD.
But then I considered the way that loudspeakers have been
progressing over the period and had to plump for one of the Vivid
Audio models. These speakers were among the first to take a serious
look at controlling cabinet resonance by a means other than mass.
Designed by Laurence Dickie who built the Nautilus for Bowers &
Wilkins and created a legacy for that company in the process, the
Vivid speakers were built out of GRP to produce a very stiff cabinet
at audio frequencies that had the advantage of being light as
well. Low mass restricts the ability to store energy, in high mass
systems that energy that usually appears as sound rather later
than the sound you want to hear and blurs the result. Dickie also
designed all of the drivers for the Vivid speakers and challenged
conventional thinking there as well, in this respect his speakers
remain a portent for the future, a time when others might
consider that the perfect shape for a dome might not be
hemispherical after all but catenary as is the case with
Vivids drivers. The elegant shape of Vivid cabinets is not
merely styling it is a means of avoiding reflections within
and without, so standing waves are broken up internally
and high frequencies have no edges to diffract from on
the outside.
But its the way that so many have taken up the
cause of cabinet control that proves this companys
foresight. Nowadays its all the rage, Q-Acoustics is the
latest to come my way, its Concept 20 cabinet is made
up of two MDF layers with a flexible adhesive between
These speakers were among

the first to take a serious look at
controlling cabinet resonance by
a means other than mass... the
Vivid speakers were built out
of GRP to produce a very stiff
cabinet at audio frequencies that
had the advantage of being light
50 ISSUE 100

soulution_213x276+3mm_Steinway 21.05.2010 12:57 Uhr Seite 1
soulution
nature of sound
Highend Audio Equipment

made in Switzerland
Distributed by Select Audio

Tel 01900 601954
www.selectaudio.co.uk
51 Select Audio FullHiFi100.indd 51 23/05/2013 17:28

Vivid Audio loudspeakers continued
them, thats a 350 speaker by the way. Wilson Benesch uses carbon fibre in amplifiers being used at the time had
its bigger models and energy absorbers in the Square range, likewise Boston on the result. These are phenomenally
Acoustics current M-Series speakers use constrained revealing loudspeakers so the quality of
layer damping to kill off cabinet resonance. The list amp and source is magnified. I got very
goes on but theres no denying the trend. In truth good results with all manner of equipment
theres only so much further you can get with from Naim NAP 500 and Digital Do-Mains
refinements to driver technology because so short lived B-1a to Leemas big Pyxis
much has been done in this field already, catenary pre and Altair monoblocks but in each
domes aside. So cabinet improvement is the instance the character of the amplifier
area where speakers have the most potential for was obvious. I remember that one of my
reducing coloration. Cabinet resonance is the earlier Vivid reviews was undermined by
dark matter of high fidelity, if it is identified then we the fact that I couldnt put my hands on
get considerably closer to our goal. an amplifier that really did them justice.
For Dickie, who had worked on precisely This is a natural state of affairs for a
this problem with the Nautilus back in the early transparent loudspeaker but a warning
nineties, it was a logical step but the way that that should you audition a pair dont
it was achieved is far from straightforward and assume that the speaker is the dominant
must have taken a lot of R&D to get right. The source of character within the system. As
Vivid cabinets as seen on the Giya range are this is so often the case its something
built out of two skins of GRP (glass reinforced that tends to be presumed but that is
plastic) that sandwich a solid bamboo always dangerous and doubly so here. I
core. This core is made up of hundreds of would love to hear a pair of Giya with the
hexagonal slices of bamboo that are hand Constellation Audio Virgo and Centaur
placed on the inner skin prior to being that I reviewed recently, these amps have
wrapped by the outer. It seems insanely a combination of power, transparency
time consuming and explains why the Vivid and pace that would let the Vivids strut
speakers are hardly inexpensive, but as their stuff in no uncertain terms.
a means of creating a quiet cabinet is What always strikes me about these
extremely effective. I have reviewed two speakers is their effortlessness. This is
Giya models, the G1 and smaller G2 something that you get with some high
as well as the relatively compact B1 sensitivity speakers but rarely in the
and Ki and in each case the lack of context of an even tonal balance. The
cabinet character has been evident Vivids manage to not sound, to produce
by virtue of the fact that the speakers music without getting in the way in such a
sound so clean, even handed and fashion as to make the sound totally free
revealing. Not to mention extremely of mechanical qualities. That in my view is
entertaining, this isnt one of those what high fidelity is all about, equipment
products that is so neutral it kills the that can sublimate itself in service to the
music its one of the far rarer types music. Vivids do this to a greater extent
that lets you genuinely hear more of than all other speakers and the industry still
the music and less of the hardware has a lot to learn from the way they have
in a precisely timed, dynamic and been designed. The cabinet material plays
gripping fashion if the ancillaries allow its part but so does the shape and the drive
it to do so. units within it, there is nothing conventional
Looking back through my reviews about these speakers and this fact makes
of Vivid speakers its interesting to them as relevant to what is coming in future
note just how much of an influence the as it has to products of the past.
52 ISSUE 100

COMPETITION
WIN! 100 pairs of Final

Audio Adagio III in-ear
monitors must be won!!!
To help celebrate our 100th issue, the good people at Final
Audio will give away a pair of its excellent 70 Adagio III Competition Question
in-ear monitor earphones. Now in its 40th year, the Japanese
Final Audio company is a small, extremely specialist audio What is Final Audios BAM mechanism?
company that has made everything from small, lightweight
amplifiers powered by an array of D-Cell batteries to horn A. Balanced Air Movement
loudspeakers that weighed as much as a car. All that changed
in recent years, as the company began to concentrate B. Bridged Audio Module
exclusively on headphones and in-ear monitors, although the
company still applies exactly the same passion and energy to C. Bi-passed Absolute Monitoring
the in-ear and headphone world.
When we tested the Adagio III in-ear monitors in the last Please send your answer either A, B or C via
issue, our in-ear expert Chris Martens praised the IEMs email to competitions@hifiplus.com, placing the words
From the outset, said Martens, I was struck by how open, Final Audio Adagio Competition in the title.
transparent, lively, and generally well balanced the Adagio IIIs
sounded He was also taken by the way the 8mm dynamic Remember to include your name and address in the email.
drivers deliver a vibrant live sound atmosphere and the
Balanced Air Movement (BAM) mechanism that is claimed Alternatively, send your answer on a postcard (including
to help the earphones produce powerful bass and deep 3D your name and address and contact details) to
spatial expression. Even the way the two ear modules have Final Audio Adagio Competition,
different colours to make channel identification Unit 3, Sandleheath Industrial Estate,
easy shows this is a company thinking Sandleheath, Hampshire SP6 1PA.
outside the box.
And weve got many sets The competition closes on August 8, 2013.
of these fantastic Final Audio
Adagio III IEMs to give away,
to 100 lucky readers. + Competition Rules
The competition will run from June 6, 2013 until August 8
2013. The competition is open to everyone, but multiple,
automated or bulk entries will be disqualified. The winners will
be chosen at random from all valid entries, will be contacted
via email (where possible) and their names will be published in
the magazine.
The Editors decision is final and no correspondence will be

entered into. Absolute Multimedia (UK) Ltd. is compliant with the
Data Protection Act and UK laws apply. Our policy is such that
we will not pass on your details to any third party without your
prior consent.
53 ISSUE 100
53 HIFI+100_Final Audio Compeition_AS.indd 53 23/05/2013 17:09

The Devialet D-Premier by Alan Sircom
While not quite at the other end of the scale (the high- few products that has actually been on show instead of
end scale goes up to a lot more than 11 today), Devialets hidden from view.
D-Premier is not exactly chicken feed. But the innovative Having used the D-Premier virtually since its launch,
and elegant category-jumper (is it an amplifier, a DAC, a it has remained a constant part of the listening arsenal. Its
wifi hub?) has come to represent one of the most important not without its limitations the phono stage in particular is
shapes found in the next generation audiophiles listening not as good as its cracked up to be, and while it has giant-
room. It perhaps best typifies the no more black boxes killing properties, it hasnt single-handedly obsoleted all of
reaction to high-end audio product design that is likely to high-end at a stroke. However, it remains the most cogent
dominate the next decade. simple high-end solution in the 10k-25k bracket and is
The thing about the D-Premier is it is style AND still the concept to beat. And for many, still the only thing
substance. An innovative combined high-specification DAC, better than a D-Premier is more D-Premiers!
coupled to an equally innovative current-dumping Class A/ With exciting rivals now emerging from companies like
Class D hybrid amplifier design all wrapped in an elegant, slim Wadia, and its own new three-and-a-half product line to
chrome case (likened to set of high-end bathroom scales, or contend with, its clear the Devialet concept is still making a
a pizza box made by Tiffanys) and a distinctive, minimalist big splash in the high-end audio pond.
remote. Subsequent and no-cost updates to the system
included a built-in wifi card with the provision to beam iTunes
sounds wireless and lossless directly to the DAC, provision
to use multiple D-Premiers in multi-room, bi-amped or mono
operation and potentially even active drive with a customised
(The Devialet D-Premier)
software-driven digital crossover. remains the most cogent simple
But perhaps more important than its specifications is
high-end solution in that
what it did for the high-end audio market. Downshifting is all
the rage now, and a room full of boxes is not domestically 10k-25k bracket and is still the
acceptable for those sacrificing their man caves. The concept to beat. And for many,
D-Premier represents the alternative for those who want
to have or retain a true high-end experience without
still the only thing better than a
taking up too much room real estate. Its also one of the D-Premier is more D-Premiers!
54 ISSUE 100

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23/05/2013 16:52
Steve Dickinsons musical choices are

intrinsic to the products he selected for our
Best of the Best list...
As far as music goes, as my system has improved, my tastes

have drifted more and more towards jazz, with a preference for
fairly modern stuff (excepting free jazz, which I consider best
served to people who like Schoenberg and Webern). I think
this is at least partly because modern jazz makes the sort of
demands on reproduction equipment that have, until fairly
recently, been tricky to meet. The sort of performance leaps
that Ive experienced courtesy of the MusicWorks ReVo table,
and the dCS U-Clock are exactly those which show up time
and again when playing modern jazz.
A good example would be the bass playing of Stanley Clarke. You Hes done a fair few albums, Playing
could pick any of his albums, but The Stanley Clarke Band from 2010 would is one of the more accessible, it even
be my choice. Clarke has this whipcrack way of playing, his bass attack is includes a rather fine, and individual, cover
very physical, fast and emphatic, and demands great things of amp and version of Take Five. As an illustration
speakers. Ive heard him play live, and even the very best systems only of the art of the possible, it makes a
approximate to the physical impact of a Clarke bass riff, but in a domestic good case for the application of modern
setting, approximately is plenty, trust me. But all that speed, dynamism technology as a servant, rather than a
and low-frequency energy can wreak merry hell on a system if it isnt well- master. Too many modern bands lean
managed, so if you dont get the supports, the mains and the cabling rather too heavily on technology in place of
somewhere near to sorted, it doesnt really matter what youve got by way talent; Bugge Wesseltofts approach uses
of boxes, its going to sound like a muddled and overblown mess. the technology to create a world of sound
But get it right, and his playing hits you between the eyes, and his (sometimes even drawn from his audience)
energy and effervescence, on tracks like Bass Folk Song No.10 or Soldier which he then shares with that very same
bounds into the room like an overexcited puppy, and yet he never loses audience, moments later. I reckon John
touch with his lyrical side. Lots of systems will do deep bass, or fast bass, Cage would approve.
or bass rich in harmonics and textures. Some systems will make a decent
stab at two of these, perhaps all three, but if they dont leave you amazed
and uplifted by The Stanley Clarke Band, you can keep them. Bugge Wesseltofts
Bugge Wesseltoft Playing is an interesting combination of thoughtful
piano-based jazz, and electronica. If that sounds like a nightmare Playing is an
combination of lift music and Little Chef ambience, stay with me. To see interesting
Wesseltoft perform live is an experience. He plays piano, and uses ambient
noises and found sounds to construct an accompanying rhythm backing.
combination of
See him disappear into the innards of his piano, pinging, flicking and tapping thoughtful piano-based
the various bits, or sampling the chatter of the audience, then moulding and jazz and electronica.
shaping the resultant noises into a clever sampled loop, to which he plays
his excellent and tuneful jazz, is a genuinely novel experience.
If that sounds like a
It pays homage to John Cage and his prepared pianos, and the notion nightmare combination
that all sound can be musical in the right context. The sampling, and real-
of lift music and
time processing, tweaking and manipulation of the sounds, bending pitch,
rhythm and sometimes the entire note envelope, is a use of technology Little Chef ambience,
which is pretty recent. I doubt if hed have had the necessary processing stay with me. To see
power in a desktop machine from 2005, but a modern MacBook, a pedal
box and a small sampler and microphone are pretty much the entire tools of
Wesseltoft perform
Wesseltofts trade. Oh, and a decent piano, obviously. live is an experience.
56 ISSUE 100

Lyra Connoisseur 4.2 L SE preamplifier by Chris Thomas
When I began thinking about the

But RoHS meant that Jonathan (Carr)
contenders for this article it took me
about 5 seconds to come up with the could not use the same components he
Lyra Connoisseur preamplifier. The had so determinedly assembled and
introduction of ROHS has sadly caused
its demise and I have to say that the
chosen for that circuitry and it also
world of audio is a poorer place because dictated that a completely compliant
of that. Whether we will ever see a new re-design would be needed.
Connoisseur preamplifier I do not know. I
have hopes, but that is all they are. The
mere fact that it ever existed in the first Jonathan Carr, the designer of Lyra cartridges, was the man behind this
place was something of a miracle, as the beautiful device. Only the 4 series was imported into the UK and I had the
building of such a product was so intense great pleasure of using a 4.2 L SE for several years. The L denotes the line
and demanding that there were only one version but there was also a phono stage that I have no personal experience
or perhaps two people that could actually of but am told is equally, if not even more impressive. But RoHS meant that
even attempt it. Once you had an idea Jonathan could not use the same components that he had so determinedly
of the open architecture principle where assembled and chosen for that circuitry and it also dictated that a completely
the voltage regulators on one board are compliant re-design would be needed requiring a long, long development
mounted so close to the relevant circuitry period and a huge investment in both time and money. Even then it would
on the other and understood the way have emerged as a very different product and we can only speculate whether
those twin pairs of circuit boards were it would have been as good as Jonathan told me that acceptable components
stitched together using air dielectrics, would require extensive experimentation. For a man constantly stretched to
it only needed a look inside the case to meet the worldwide demand for Lyra cartridges, it would be a big ask.
understand that this was truly a hand-built So, what was all the fuss about? The Connoisseur 4.2 SE was conceived
product- assembled with the care and and designed purely for music lovers and to that end, was an object lesson
precision that one usually associates with in minimalism. A single dual concentric knob in the centre of a gorgeously
high-end complication watches. sculpted wood shrouded case connected to a Shallco volume control and input
selector. It drew its power from an aluminium boxed supply through a single
umbilical and asked only that it be fed with the absolute best analogue
signal that money could buy. Nothing less would do. There
was no point in buying a Connoisseur unless you
were prepared to go all the way. Likewise,
it was only really happy when driving a
power amplifier of deadly serious intent
though, as always, compatibility was a
consideration. There are no magic bullets
in audio that I have experienced.
I well remember the first time I
ever heard one as it was one of those
moments in a hi fi reviewers life that
comes along about every decade, or
even longer. It was sitting in the hall in its
box awaiting audition, having arrived without
fanfare (in true RG style), as I had never heard
of it before. I had spent the afternoon listening
to some review equipment before moving on to the
first of the Spectral DMC 30 preamplifiers driving the
57 ISSUE 100

Lyra Connoisseur 4.2 L SE preamplifier continued
Spectral power amplifier I was using at the time. After a fairly lukewarm
few hours wondering if its high-impact, steely view of the world would ever
Vocals were in a
grow into something more organic and touchable, a friend who had been different league from
helping with the donkey work suggested we get the Lyra from its box and anything I have heard
fire it up. Despite being a bit fed up with the constant unpacking, re-packing
and shifting around involved I agreed, reasoning that it would probably take
before or since. The
months to warm up and run-in anyway so I may as well get the ball rolling. crying shame is that
The Connoisseur was installed with the prevailing power amplifier and
so few will get to hear
cables and a disc was spun up. A period of silence between us followed
as jaws gradually sunk toward the floor as we listened. What the hell is the musical vision of
this thing? was I believe, uttered in unison after about a minute. The rest, Jonathan Carr, one of
as they say, was to become history. By the time I had gone to bed after an
epic listening session, I really couldnt see how I could carry on with my own
the worlds truly great
personal musical development and journey without one of these in my life. audio designers. I miss
Looking back it is hard to comprehend just how right the Lyra you Connoisseur, old
sounded and just how quickly it had got there. At the heart of its
spellbinding attraction was its speed and complete lack of any feeling friend. We may never
that the sound was being processed and shaped through audio circuitry. see your like again!
Spectral amplifiers are fast for sure, but they sound it. The Lyra never
did. The music just happened. Its enormous competence to deal with
dynamic shading and transients at whatever frequency or level was never game ahead by several levels. The musical
made obvious. Rather, it was a consequence of its musical abilities. Tonally abilities of the model I had at home were
it also remains the best preamplifier I have heard with a colour palette and mesmerising, particularly on acoustic music
a refusal to bleach any of the natural warmth from any instrument through where it managed to capture the essence
compression or dynamic overcrowding. of tone and instrumental presence in a way
But there was always something else about the Connoisseur and this that could bring a tear to the eye. Vocals
is probably where so much of the magic lay. It sounded beautiful, really very were in a completely different league from
alluring and seductive and as other preamplifiers came along which could anything I have heard before or since. The
match it for pure resolution and may have seemed technically its equal, the crying shame is that so few will get to hear
Lyra remained totally unmatched for sheer, thrilling beauty and the way it the musical vision of Jonathan Carr, one of
hooked you straight into the music. You simply could not ignore it. the worlds truly great audio designers. I
About eighteen months ago I had the great pleasure of listening to miss you Connoisseur, old friend. We may
Jonathan Carrs latest upgrade for the 4-series preamplifiers. At that time never see your like again! +
it was a first realisation of a circuit design that
he had been working on for consideration
to existing owners who are
always looking to move their
preamplifiers forward. What I
heard was absolutely stunning
and moved the sound forward
several notches to a place
where I have never heard
audio go before. If the 4.2
SE ever was being caught
by the opposition then the
4.3 upgrade just moved the
58 ISSUE 100

Introducing VIVALDI
Its almost unfair;
dCS seem to play in
a league of their own.
STEREOPHILE
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approach to product design of input and output configurations it is easily set
up and optimised for music systems with various
setting a new standard for the digital sources.
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Featuring the latest groundbreaking technology
from dCS, Vivaldi will transform your listening
experience, taking your music collection to levels
you have not heard before.
info@dcsltd.co.uk | dCSonlythemusic | www.dcsltd.co.uk
Manufactured in the UK by Data Conversion Systems Ltd Unit 1, Buckingway Business Park, Anderson Road, Swavesey, Cambridge, CB24 4AE
59 DCS-Vivaldi Full HiFi92.indd 59 23/05/2013 11:35

FEATURE
How Hi-Fi has Changed By Alan Sircom
L
ooking back to 1999 shows how significantly the audio world
has changed in the last decade and nearly a half. Back then, we
were frantically buying our final vinyl record players, because the
continued descent of the vinyl market suggested it wouldnt be
around for too long. We werent sure whether the forthcoming as discerning, every bit as audiophile a market
DVD-Audio or just announced SACD would be the true replacement for CD as those in the process of buying their next
and although it was almost off the radar for the average audio enthusiast at pair of loudspeakers.
the time distant rumblings about MP3 and something called Napster were Although sales of iPods are in their own
sending shockwaves around the record companies. right in decline (because the functionality of
Back then, Apple was only a computer company, people bought their an iPod can be completely replicated in a
music on CD from record stores (both independents and chains like Virgin and smartphone or tablet), Apple still dominates
Tower), the term DAC had all but vanished from the audiophile vocabulary, the music download market. Discussions
the biggest threat to hi-fi sales was the flat-screen television, and if youd about releasing lossless 16/44 or 24/96 files
asked anyone about YouTube or Spotify, they would have likely directed on iTunes seemed to stop with the death of
you to a pharmacist. Apples Steve Jobs in 2011, but an increasing
It was another century. Things have changed. number of premium audio download sites
Jean-Baptiste Alphonse Karrs best known epigram plus a change, now supply high-resolution audio files at or
plus cest la meme chose (the more things change, the more they stay the better than CD quality.
same) simply doesnt apply to audio in the 21st Century. The landscape The interest in post-CD music replay
has changed beyond recognition, and many are struggling to find their way solutions varies from country to country.
today. While there were slight inklings of how the audio world might change In the US and UK, for example, CD player
like many, my first forays into computer audio began around the turn of the sales are dropping by between 25%-40%
century the future was viewed (as ever) as an expression of how things are year on year (because so many people are
at the time, but with hoverboards and more neon. now turning to computer-DAC or streaming
solutions), but in China (where computer
Change two times audio is still rare) sales of CD and CD/SACD
The biggest changes to audio since the turn of the millennium have been players are still buoyant. This can lead to
part technological, part economic. The technological change is clear, but one large and complex product catalogues, in
reaction to such change was entirely unexpected. Sales of music in general order to meet the demands of different parts
peaked around the year 2002, but sales of CD began to decline significantly of the world.
compared to overall music sales after the year 2004. This ties in fairly perfectly
with the success of Apples iPod and subsequent devices; the winter of The vinyl frontier
2004 was nicknamed iPod Xmas by many pundits because the sales of the A recent reaction to the shift to file-based
product rose exponentially during the last quarter of 2004. audio has been a return in interest in all
This had a fairly significant impact on new people coming into the audio things vinyl. Sales of new turntables have
world, in that many in the industry worried that the iPod and Napster before increased by as much as 50% per annum
it had created a lost generation of millennials who would entirely disengage in recent years and is looking set to stay
with the audio world and just listen through little white ear-buds. It took a few buoyant for some years. While this interest
years, but in fact the reverse appears to be the case. Those early iPodders were is largely directed at the lower and second-
the first to buy into the whole Beats by Dre headphone world, and were the first hand ends of the market, latest indicators
to leave it too. Many of these iPod users are now buying elaborate headphone suggest that just as audiophiles started
systems that can cost into the thousands, many of which sport extremely high- small and built up their systems over time
end audiophile DACs and exceptionally high-quality amplifiers. This is every bit the newly minted vinylphiles are beginning
60 ISSUE 100
60-62, 64 HIFI+100_How Hi-Fi has changed_AS.indd 60 23/05/2013 16:13

FEATURE / How Hi-Fi Has CHanged
Stores need to be more proactive: Loud & Clear runs

special events, including seminars from former editors!
Colleen Cosmo Murphys Classic Album Sundays

Products like the Devialet D-Premier redefine what can be movement is gaining ground, and is at the forefront of
done in audio, not just from a sonic perspective, but in a an unexpected but more than welcome return to LP
not looking like spare parts design-led way being considered as high-quality audio
The law of unintended consequences to listening to music through

Despite downturns, the CD player remains the primary ear buds has meant a significant increase in interest and sales in
means of replay for many audiophile music lovers top-end headphone systems, even the best-of-breed Stax designs
61 ISSUE 100

FEATURE / How Hi-Fi has changed
to look beyond their Pro-Ject Debuts, Rega While the charts are dominated by
RP1s and trusty old Pioneer PL-12Ds and
at more up-market turntables.
Simon Cowells revolving door policy of one
The economic forces are fairly easy to quasi-talented troupe of decorative
document. Until 2008, the audio world was teenagers after another, just one or two
close to a continuum; there was an entry-
level, a mid-price, an upper echelon and a steps away from the charts, music has
millionaires club. It had been that way for been liberated by being released from the
decades. And, while there are still products
that fill all those categories, the level of interest
demands of the music biz.
in some of those categories has changed
significantly. The entry level has always
been dominated by the price of individual throughout the 1990s, famous names in the audio business were being bought
components, but this has become an up at knock-down prices by wealthy Chinese businessmen, and manufacture
overarching concern as the economic turmoil was increasingly moving to the East, the overall market was still principally
began to bite. However, in line with that well- designing products for Western buyers; the design, implementation and
documented squeezed middle, interest sticker prices of these products were filtered through the tastes and pockets
and activity in the mid-price market has been of enthusiasts in the West. That has changed significantly of late, but whether
weak in the years following 2008. Things that change is a temporary one (reflecting the shift in financial clout from West
pick up as the price rises, however; although to East in the wake of the economic turmoil of recent years) or reflects a more
the market for top-end products is small, it is fundamental change in tastes and trends across the planet is hard to detect.
steady and savage recent economic forces
seemingly have less of an effect. As to the Back to the 1980s
millionaires market well, there seems to be The reaction to this in the West, has been to create a curious and relatively
no upper limit to the spending power of the recent return to the fractured and parochial nature of the audio market as it
exceptionally well-heeled, despite the recent was 30 years ago. Walk into an audio store in the UK today and chances
financial maelstrom. Weve been constantly are youll be faced with products from Linn, Naim or Rega. Do the same in
surprised that in the high-stakes poker game Germany and youll see Burmester, ELAC and Transrotor, while in the US, youll
the audio industry seems to be playing, no- find Audio Research, Wilson and VPI. Fortunately, scratch the surface and youll
one has folded yet. find dealers who are more receptive to a global view, and in some respects
twas ever thus, but despite living in a truly connected world, it remains difficult
Green shoots of recovery? to find a retailer in the West that rises above this kind of parochialism.
Fortunately, as the world begins to recover, The dealer space itself has changed inexorably, both for the better and
there are signs of new growth in the value for the worse. Dealers have declined in numbers fairly significantly (although
end of the audio market once more. The this varies from country to country), although there have also been exciting
recent flourishing of new, hungry brands newcomers into the fold too. There are still hold-outs; companies that
with high-performance without high-cost established store policies in the 1970s or 1980s and see little interest in
has begun the process of transforming the changing. If it worked then, it will work now! seems to be the (deeply flawed)
lower to middle ends of the market. Weve maxim at such places. But for the most part, retailers surviving and, in some
already seen some of these products in print cases, thriving in 2013 have become more encompassing of change and
brands like Just Audio ably demonstrate a are actively providing a service, over and above simply processing orders. I
commitment to performance that is every bit have to declare my own interests here: I have been the chair of a new industry
as strong as from existing brands that supply body known as The Clarity Alliance since its foundation a year ago. Among the
products costing 100x more than Justins goals of this alliance of audio trades is the attempt to drag the audio industry
fantastic little headphone amps. sometimes kicking and screaming into the 21st Century.
Its impossible to extract the influence of So, where will the next decade and almost a half take us? If theres one
geopolitics on audios recent past. Although thing we can learn from the first 100 issues of Hi-Fi Plus, its that our little
62 ISSUE 100

RAIDHO C1.1 RAIDHO C1.1 RAIDHO C1.1
and
RAIDHO C4.1
FEATURE / HOW HI-FI HAS CHANGED
world can be extremely unpredictable. But there are common themes. At band today. In addition, while theres nothing
this years New York Audio Show, VPI showed a new armtube for its JMW quite so bad as All The Gear, No Idea types
Memorial tonearm. Nothing groundbreaking about this in theory, but the arm making good music sound bad, the inherent
itself was made of a single epoxy structure, grown in a 3D printer. I suspect simplicity of most home studios mean the
as the technology behind 3D printing develops and matures and those in worst excesses of brick wall mastering are
engineering begin to think of it as a maker of products, rather than a maker of often reduced, which could mark a truce in
product prototypes so we will begin to see key structures (such as drive-unit the Loudness War.
cones and complex internal cabinet bracing) printed rather than fabricated. While the charts are dominated by Simon
This could spawn a renaissance in DIY loudspeaker construction; with Cowells revolving door policy of one quasi-
enthusiast home engineers sent a file of 3D loudspeaker printing files instead talented troupe of decorative teenagers after
of a parts list in a loudspeaker cookbook and more. another, just one or two steps away from the
We are also likely to see more importance placed on streaming and charts, music has been liberated by being
downloading music and less placed on physical media. Although the rebirth released from the demands of the music biz
in interest in vinyl suggests reports of physical medias death are greatly and more exciting new material has appeared
exaggerated, it is likely that over the next decade or so, CD and SACD will in the last five years than at almost any time
join LP as purely niche market products, and that will mean all but the most since the 1980s. Even classical orchestras
conservative of listeners will have some form of digital streaming/downloading are getting in on the act, with self-published
service connected to their home audio system. Whether this remains just recordings from the LSO competing with
another shelf on the rack or it supplants an existing product (such as the anything Decca or DG can muster.
CD player or even tuner) is unclear and largely depends on the individual. While there will always be those who
Certainly we have reports of people replacing their CD players for a computer think music is just a fashion accessory, the
source, but we also have reports of a few of those people quickly putting the death of the audiophile has been greatly
CD player back. It seems we cant quite shake off the concept of collecting exaggerated. It seems that the drive to like
things rather than collecting files music and the sound it makes is hard to kill.
A fascinating by-product of this is the rise in the unsigned band movement. Maybe now we listen on headphones as well
When Hi-Fi Plus first appeared in 1999, the music business was still dominated as loudspeakers, we play through LP, CD
by vast multinationals, effectively controlling what was and was not published. and downloads, but as long as theres an
If you werent signed to a label, the chances of making and selling a record interest in music, it seems there will always
were slim, due to the expense of recording studio time, the cost of distribution be someone wanting to make that music
and promotion. This has changed; now anyone can build and run their own sound just that little bit better.
studio, and selling music from your own site is a legitimate way of managing a Isnt that reassuring? +
The Naim SuperUniti spearheads a revolution in high-end listening,

successfully moving the music source to a computer
64 ISSUE 100

65 QAT FullHiFi99.indd 65 23/05/2013 11:39
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everal years back I was given an assignment site (www.hifiplus.com) and have begun publication of email
I regarded (and still regard) as a dream job; newsletters distributed to a worldwide database of over
namely, to assume the position of Publisher for 200,000 subscribers.
Hi-Fi Plus. I consider this a dream job for several I wish I could personally claim credit for these exciting
reasons. First, even before working with the developments, but that would be untrue. The real truth is that
magazine, I regarded Hi-Fi Plus as one of the finest audio we owe our continued growth to three things.
publications in the world. What an honour it is, then, to be First, we enjoy the most wonderful (and wonderfully
able to work for such a publication. Second, speaking as an inquisitive) group of readers any high-end audio publication
individual who has lived his entire adult life as an audiophile, could possibly have. Readers, we owe you a huge debt of
I regard my role as an opportunity to do what I love. Third, I gratitude. Second, we enjoy the support of some of the most
enjoy doing jobs where the principal aim is to help make good dedicated and passionate audio manufacturers and retailers
things grow, and growthI am pleased to sayhas been one on the planet. In a very real way, they provide the goods and
of the hallmarks of our publication over the last several years. services that make our well-loved hobby possible (and so
Think about it for a moment. Over the past few years, very rewarding). Finally, we have a fantastic editorial team,
Hi-Fi Plus has gone from publishing six issues per year led by the capable, insightful, articulate, and ever-witty Alan
to eight issues per year, and in 2013 has taken a further Sircom. It is, for me, a true privilege to work with Alan and the
quantum leap to commence publication of monthly issues. entire Hi-Fi Plus team. +
What is more, over that same time period the magazine has
begun regular distribution of digital (PDF), iPad, and Android
editions, which steps have enabled us to reach more music
lovers and audio enthusiasts than ever before. Even more
recently, we have launched a new and sophisticated web Chris Martens
67 ISSUE 100
67 HIFI+100_Outro_AS.indd 67 24/05/2013 10:56

EQUIPMENT REVIEW
Rega RP6/Naim SuperUniti/

Focal 1028 Be system By Jason Kennedy
T
he co-mingling of Naim and
Focal last year came as
something of a surprise to
many in the industry. How could
two brands whose identities are
so closely aligned with their places of origin
coexist in peace and harmony? Before the
union, it was rare to find Naim electronics
paired with Focal loudspeakers, but this
had more to do with the rather conservative
nature of retailing than with any intrinsic
lack of synergy between the products. The
commercial aspect of the situation was
the only real barrier. We may have a long
standing rivalry with the (pesky) French but
have to begrudgingly admit that they are
quite good at some things, and Im not just
talking about wine and croissants.
This system was put together because it
looks good, with luck we will be able to find a
white RP6 to go with 1028Be speakers in the
same shade, it does a lot with the minimum
of boxes and it makes a great sound. A style
system for the quality conscious if you like,
the speakers arent diminutive enough to
be described as lifestyle, they are proper
speakers with the capacity to move air and
quicken the pulse. Turntables are of course
68 ISSUE 100
68, 71-72, 74 HIFI+100_EqRev_Naim Focal_AS.indd 68 23/05/2013 16:21

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70 Flamingo Audio Full HiFi100.indd 70 23/05/2013 11:43
EQUIPMENT REVIEW / REGA RP6/NAIM SUPERUNITI/FOCAL 1028 BE SYSTEM
the accessory of choice for the young

sophisticate today and no self respecting
resident of Hackney would admit to
not having one, whether they have
many vinyls is of course another
matter. But the point is that vinyl is
once again king both in and out of the
hi-fi salon so it seemed like a good excuse
to get my favourite midprice turntable out
for another spin. It needs a cartridge and a
phono stage so I chose two fine examples
from the Dynavector range, a DV-20X2H
moving coil and a P75 Mk3 from the same
brand. A stonking combo with the RP6
because all three elements pull in the same
direction yet have complimentary balances,
the DV-20X2H is a very secure and strong
MC while the RP6 has the pace of the devil
and an awful lot of panache for the price.
Naims SuperUniti is the top streaming
integrated in its extensive range of network
oriented components. All you really need tablet, phone or iPod Touch to be able to get full use from the Naim, it is possible
to get sound out of it is a hard drive and a to combine the remote with the front panel display but with big music collections
length of ethernet cable, preferably green its not a lot of fun. The iPad is the ultimate controller for SuperUniti, its large
cable as its a Naim and CAT6 as its only display lets you see album artwork and you can access pretty much all of the
10p more expensive than CAT5 but nothing features of the amp including volume control. There are rumours of an Android
special. What Naim recommends you use app but it wasnt in Googles Play Store when I last looked.
however is an Airport Express network hub As an amplifier SuperUniti is specced at 80 watts per channel and has both
and a (preferably gigabit) switch. Hook the digital and analogue inputs, most of which are on conventional RCA phono
Airport up to your wi-fi router then take the rather than Naims preferred DIN sockets. It has a front panel USB socket for
signal from there to the switch and connect iPods but cant be used with a computer, its own streaming abilities essentially
it to both SuperUniti and HDD. This creates making this unnecessary. There are also outputs for a power amp, sub and
a network thats specific to the audio system headphones plus digital on a BNC. Its a well equipped and highly flexible device
and isolates it from noise in the general that replaced three boxes in my home system (amp, streamer and DAC).
traffic going to the household network. Its It sounds like other Naim amplifiers inasmuch as it has excellent musical
relatively inexpensive (sub 120 plus cable) communication skills but a less transparent presentation than its competitors.
and creates a stable and consistent network This means that it fares rather better when you are seeking musical enjoyment
that doesnt take a rocket scientist to set up. than analysing resolution levels, it reveals why Naim has never been keen on
SuperUniti is also a very competent group tests where detail usually takes precedence over musicality. As a result
DAB/FM/internet radio although in truth I did I found it a much better fit in the living room than the listening room if that
not use it to receive terrestrial broadcasting makes any sense.
on account of the rather more interesting and The Focal 1028 Be is an elegant three-way floorstander with a pair of
niche stations available online. The SuperUniti 6.5inch bass units, a midrange unit of the same diameter and an inverted
is particularly good for finding online stations, dome tweeter made from Beryllium, hence the Be in the name. The cones are
podcasts and on-demand radio with if you Focals W type which are a sandwich design with a foam core that like the rest
have a suitable iDevice with which to sift of the speaker are built in-house at their Lyon facility. The Beryllium tweeter is
through them. In fact you need an Apple derived from versions made for the Grande Utopia range and a pretty exotic
71 ISSUE 100

EQUIPMENT REVIEW / REGA RP6/NAIM SUPERUNITI/FOCAL 1028 BE SYSTEM
beast, this is Focals least expensive floorstander to feature a

pure Be driver.
The final part of the system is the Rega RP6 with
its bracing between tonearm base and bearing housing
designed to provide maximum stiffness with minimal mass.
It has a bonded glass platter, external power supply and the
RB303 arm which is a major refinement of the old RB300 in
both bearing quality and casting finesse. Its way better than
a turntable at this price deserves to be and warrants rather
better cartridges than the Rega magnets usually offered.
I mentioned the analysis versus musical appreciation
conundrum earlier, this should only be an issue for critics like
myself but in reality it is the crux of audiophilia nervosa, the
problem of hearing the equipment and not the music. This
system does a great job of curing this condition without
abandoning the tenets of high fidelity musical reproduction.
It presents the voices and instruments of the musicians in a
clear and highly coherent fashion, it makes you think about
the way pieces were composed and the way that each artist
has decided to present the piece, it is truly insightful in all the
right ways. I do like the sound of a good streaming system
and as a result of using the SuperUniti with a Unitiserve have
come to the conclusion that as things stand the networking
approach delivers more of the musical goods than computers
connected with USB cables. The latter are very good at detail
and finesse but struggle to produce the coherence, grip and
musicality of the packet data system used here.
I put on an old favourite in Tori Amos Pretty Good Year
(from Under the Pink) and thoroughly enjoyed the openness
of her voice and the way that the soundstage escaped the
speakers to an extent that Ive not heard from a CD player. The
Focals are extremely clean and let you know precisely what the
source is doing. This of course is directly related to the amp
which is likewise more sophisticated than its predecessors, the
tweeter is both clean and very revealing and it doesnt expose
anything of a grainy or edgy nature coming down the cable.
Putting on some vinyl, Keb Mos Back by Popular Demand,
reveals the bass heavy nature of the record but bass lines that
are controlled, even taut on occasion. The system is this way
inclined, it has a tight grip on when things stop and start but
allows the music to flow in a very convincing manner. The vibe
is strong and Keb sounds easy even when hes singing protest
songs, the guy is just too mellow to really sound angry. The kick
drum does a better job with some full force welly underpinning
the lively percussion higher up.
The emphasis if there is any is on energy, drive and
engagement rather than air and filigree detail, put something
72 ISSUE 100

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73 VividAudio Full HiFi93.indd 73 23/05/2013 11:44

EQUIPMENT REVIEW / Rega RP6/Naim SuperUniti/Focal 1028 Be system
with a groove in it and thats what comes across first. This is partly because
Technical Specifications the system encourages you to focus on that aspect of the sound, there is
Rega RP6 in fact plenty of detail even, the early instruments on La Folia for instance
Size HxWxD inc plinth: 120x450x365mm sound more like they should with a ruddiness that separates them from
Weight: 6.3kg modern alternatives. Its still not what you would call tonally rich but there is
Tonearm: Rega RB303 plenty of texture and no shortage of detail, you can hear right into the mix on
Speeds: electronic 33/45 multitracked tunes like Missy Elliotts Dangerous Mouths (Da Real World), all
External power supply the layers are separated out which means its easier to hear what goes into the
24V AC twin phase motor piece. At this stage I began to crave a little more bass solidity and tempted
Colours: red, green, white, black, fate by replacing the speaker cable with Townshend Isolda. This is the polar
orange, yellow, blue, pink opposite of Naims NACA5 in all respects but the inductor at the send end is
Price: 798 sufficient to keep things stable and the combination works rather well even if
youd be risking your warranty to try it at home.
Manufacturer: Rega Research There was a time not so long ago that combining a Rega turntable, Naim
Tel: 01702 333071 amp and Focal speaker would have resulted in a lean, fast but ultimately
URL: rega.co.uk forward sound. Not a sound that I used to enjoy in truth but Naim in particular
has been making rather more evenly balanced amps for some time now and
Dynavector 20X2H cartridge: 549 while this system could never be called lush it is by no means hard edged. The
Dynavector P75 mk3 phono stage: 649 balance does emphasis leading edges but in a pretty subtle fashion, it could
also be related to the Be tweeter, these are very clean things indeed and have
Naim SuperUniti no sense of grain which has not always been the case with metal domes,
Analogue Inputs: 1 x 5-pin DIN, 2 x RCA inverted or otherwise.
pair, 1 x 3.5mm front panel jack Its a sound thats well suited to vinyl and I revelled in the chunky bass
Digital Inputs: 6 x S/PDIF on Ricki Lee Jones Flying Cowboys album, an album on which her voice
Dimensions HxWxD: 87 x 432 x 314mm can often sound strained and/or nasal, but both of these pitfalls are adeptly
Weight: 12.8kg avoided with this system leaving you with the pure joy of the music. With the
Price: 3,350 fairly simple track Ghost Train there is a presence and an edge to the sound
that makes you feel like youre in the control room at the studio. Not a bad
Manufacturer: Naim Audio result for a format that many would have buried 30 years ago. I said its not
Tel: 01722 426 600 lush but with a really sweet album like this there is plenty of tonal richness to
URL: www.naimaudio.com enjoy, if he knows nothing else Walter Becker knows how to make a luxurious
sound and his craftsmanship is abundantly clear here.
Focal 1028 Be I had a lot of fun with this system, its aim is unlike most that I encounter,
Type: 3-way bass-reflex that is it sets out to get the message in the music across first and the detail
Sensitivity (2,83 V/1 m): 91.5dB second. This is something that all systems should do but its very easy for
Nominal/Minimum impedance: 8/3.5 designers and enthusiasts alike to get caught up with detail for its own sake,
Ohms it would seem to be the essence of high fidelity after all. But ultimately music
Crossover frequency: 350Hz / 2 200Hz is about artistic expression not intellectual analysis even though plenty apply
Drivers: Two 165mm W woofers. the latter to the former. The Rega Naim Focal combination manages to extract
165mm W midrange 27mm pure a lot of detail but keeps the rudder aimed straight for the heart of the matter. I
Beryllium IAL inverted dome tweeter spent rather longer listening to this system than the review warranted, I think
Dimensions (HxWxD): 111x 26.4 x 35cm its around nine months now (so much for efficiency) but thats because it
Net weight: 33kg Price: 5,075/pr takes a while to get used to and appreciate. So dont expect to be converted
Manufacturer: Focal JMLAB UK Ltd. immediately, but look forward to life filled with music rather than hi-fi. +
Tel: 0845 660 2680
URL: www.focal.com
74 ISSUE 100

DB AD (Vinyl Revival).pdf 1 07/05/2013 10:33
VINYL REVIVAL
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75 Doug Brady FullHiFi100.indd 75 23/05/2013 11:45

EQUIPMENT REVIEW
Prima Luna Prologue Premium

integrated amplifier By Alan Sircom
W
hen the history of this interesting period of the chassis in the latter amp, youd be hard pressed to
in hi-fi history is written, Prima Luna will spot where the additional thousands go. Prima Luna has
have its time in the sun. It was one of developed an enviable reputation for being the valve amp for
the first valve amp brands to design in those who dont have the time to play with valve amplifiers,
Europe (specifically, by Herman van den and that holds here too. This is well built not extravagantly
Dungen in Holland) and build in China. Its a road well-trodden so, but as befits the task in hand and built to last.
by Prima Luna, and all the potential pitfalls and issues are But its not just about build quality, although youd be hard
behind it, and the company can leverage all the advantages pushed not to be impressed by the overall fit and finish, which
of both sides of the equation. In other words, high quality extends outward to the nicely finished tube cage (the glass
valve performance without high quality valve price. sided curved protector is more Bauhausdesigned fire guard
Im not one to hark back to a previous review, but if you cool than Old Submarine chic) and inward to its hard-wiring
look at the Prologue Premium and compare it to the latest and its use of Solen and Nichicon caps and a wonderful-feeling
offering from conrad-johnson, aside from the sheer size motorised ALPS Blue Velvet potentiometer. There are design
aspects here that bespeak of a company keen to help the
thermionic world move into the 21st Century. Things like its
Adaptive Auto Bias, that not only allows the amp to adjust to
new sets of tubes, but gives the listener the chance
to swap between EL34s and KT88s without
tears. It also has a Bad Tube Detector
and protection circuits on the power
and output transformers to prevent
nasty accidents occurring to tubes
of loudspeakers in the event of
something calamitous. These
should be standard issue on
practically any valve amp in
production today the fact
they are rare enough to
discuss in print shows
just how far many
brands have to come.
Even the remote control
a thin, elegant wand
with basic functions
in tow is well thought
out. Short of things like
a headphone socket, balance on the
front panel and hiding the rocker switch under the
amplifier (elegant but arguable its probably best placed at
the side where it currently resides), theres nothing about this
76 ISSUE 100
76-78 HIFI+100_EqRev_PrimaLuna_AS.indd 76 23/05/2013 10:17

EQUIPMENT REVIEW / PRIMA LUNA PROLOGUE PREMIUM INTEGRATED AMPLIFIER
I found myself playing

along to every part of
Memphis Soul Stew...
I did this with eyes
closed, only to
discover an audience
of my postman, peering
through the window
with a look of bemused
entertainment. Its that
kind of amplifier.
small, potent little amplifier, design-wise to find fault with that Having to purge myself for mentioning jazz fusion, I turned
isnt high-order nit-picking. the amps attention to matters more orchestral, like the classic
Its a relatively simple line-level circuit four 12AU7 double Jansons/Oslo PO rendition of Tchaikovskys 6th Symphony,
triodes in the preamp and power amp input stage, two pairs the Pathetique. Here, the amplifier showed its true mettle,
of either EL34 or KT88 in the output, four line inputs, a unity making a sound as dynamic and expansive as the orchestra
gain tape loop, four and eight ohm WBT speaker connectors. needs to bring the music out. Yes, this dynamic range should
It gives 35W in push pull (with the EL34s as supplied, 40W be constrained by the 35 watts on offer, but it always sounded
with the KT88s). Theres a remote control. The clever part bigger and nicer than those 35 watts suggest. Scaling back
next to some amps is the use of a choke regulated power none of the passion but only the size of the orchestra and
supply, although even that is becoming more commonplace image to a more close knit, closer miked Eroica Trio playing
among more up-scale valve power amps. Brahms, the Prologue Premium is a subtle seducer; the sound
Theres a stupid, but surprisingly effective, rubric in valve is not warm but satisfying and right sounding. Ive heard all
amplifiers. The heavier the transformers, the better the bass, three instruments portrayed with more accuracy and more
and a 4x EL34/KT88 design should feel reassuringly weighty. finesse, but rarely with such passion and involvement. This isnt
The Prima Luna Prologue Premium does the weighty thing an amplifier you listen to, its one you use to engage you with
well. Its a fairly compact chassis, but one that doesnt flex the music. As a result, I found myself listening less intellectually
and those transformers weigh it down neatly at the back. and more from the gut it did not change the running order
Do not fall into the obvious trap of equating valves with of what I listened to, but I found myself doing the whole air
warmth just because they glow. In fairness, a lot of the conductor and air guitar parts more readily than usual. And
warm sound of valves comes down to valve amplifiers and when it came to soulful voices, like Donny Hathaway singing
their propensity to deliver even order harmonics. This amp Misty or his co-conspirator Roberta Flack singing The First
straddles that romanticised view of valve-sound with a more Time Ever I Saw Your Face its like they were singing just for
modern, crisp presentation. Theres little of the wayward you. Its an emotional experience.
bass lines and blunted edges of traditional tube systems on Perhaps the most telling certainly the most personally
some modern speaker systems, although the snap to focus embarrassing part of the whole Prima Luna listening
bass precision and control of good solid-state remains at experience was I found myself playing along to every part of
arms length. What this means in musical terms is a deep, Memphis Soul Stew on King Curtis Live At Fillmore West.
rounded bass-line, that brings out the harmonic structure of Bernard Purdies epic drumming, Cornell Duprees guitar licks,
a Rickenbacker and the fullness of a Fender Jazz Bass, but the full nine yards. I did this eyes closed, only to discover an
lacks some attack needed for Stanley Clarkes well-known audience of my postman, peering through the window in a
slap-bass opening to the title track of School Days. look of bemused entertainment. Its that kind of amplifier.
77 ISSUE 100

EQUIPMENT REVIEW / PRIMA LUNA PROLOGUE PREMIUM INTEGRATED AMPLIFIER
In fairness, I didnt have a quartet of KT88s knocking

TECHNICAL SPECIFICATIONS about in order to test the difference between the two valve
Inputs: 4x RCA pairs line level (optional internal MM sets, but neither did I feel the need to tube-roll in this manner.
phono), 1 pair in/out HT bypass RCA The sound of the amp as I got it was refined and detailed,
Speaker terminals: four and eight ohm with just a hint of softening at the frequency extremes, but
Valve Complement: 4x 12AU7, 4x EL34/KT88 unless you really pushed the design with some huge full-
Power Output: 35W per channel with EL34 power valves range devices, this should never be an issue.
40W per channel with KT88 power valves What I like about the Prologue Premium most of all is it
Frequency Response: 20Hz-30kHz (0.5dB) makes the whole high-end system building thing fun again.
THD: Less than 1% at full power OK, so 35W isnt a powerhouse and that precludes its use
Signal to noise ratio: 89dB with the likes of B&W, but I found it sang with ProAcs and
Input Sensitivity: 300mV even a pair of German Physiks omnis in for review in an
Available in black or silver upcoming issue.
Dimensions (WxHxD): 37x20x40cm There are several in-head questions reviewers ask
Weight: 21kg themselves when approaching a conclusion, some of which
Price: 2,300 (EL34), 2,600 (KT88) become more prominent when its a valve amp in front of you.
The key one is would I trust this to a real person? as in not
Manufactured by: Prima Luna an audiophile, but someones granny. Tube amps generally
URL: www.primaluna.nl have the bonus of an uncomplicated layout, but also have
hot, fragile and high voltage things that require periodic
Distributed by: Absolute Sounds maintenance in a world that no longer knows the meaning
URL: www.absolutesounds.com of the term. Fortunately, the Prologue Premium makes the
Tel: +44(0)208 971 3909 process of ownership as safe and as smooth as any good
solid-state amplifier. If its not the Gold Standard of valve
amplification, it must be among the best valve amplifiers you
can buy today that doesnt a small fortune.
The only thing against this is that Bad Tube Indicator
can be twitchy and has a habit of kicking in at random
occasionally. Prima Luna suggest the standard issue
computer cure-all turning it off and turning it on again. This
turned the BTI light off every time, but if it stays glowing, its
tube-replacement time (that didnt happen during its
stay, however and no tubes were harmed in the course
of this review). Id prefer it didnt have to run through
the power cycle to confirm a valves demise, but
it is still streets ahead of blithely listening to a
slowly worsening sound as a valve blows.
The great thing about transglobal
audio manufacture is when it works well,
it makes outstanding products without
outstanding price tags. The Prologue
Premium is one such device. Its
innovations make a valve amp
a genuine proposition for the
more casual audio buyer, its
looks give it obvious appeal
and its sound is more than up
to the task. If you dismiss this
as oh, its just some Chinese
built amp, you are missing out
on a real sweetheart. +
78 ISSUE 100

Masters of High-End Sound
The new MC Anna from Ortofon sits at the highest echelon The stylish Xpression cartridge from Ortofon bridges the
of Moving Coil cartridges. This state-of-the-art product gap between SPU-type designs and High-End models like
is representative of numerous design elements and the MC Windfeld and MC Anna, which are designed for
ideals pioneered by one of the world-leaders in analogue headshell mounting. The result is a high-performance moving
technologies. As a result, the MC Anna is truly capable of coil cartridge with the convenience of a standard headshell
the highest degree of performance possible, and will provide connector. By using some of the best technologies available
a sound which is literally unsurpassed. The MC Anna is to them, Ortofon have made the Xpression into not just a
named after and inspired by the world-renowned operatic convenient and attractive design, but also one of the finest
soprano, Anna Netrebko. sounding cartridges available on the market.
Cadenza Series
The Cadenza series represents another example of Ortofons constant push toward technological perfection.
By taking various design characteristics acquired through market leaders, such as the MC Jubilee and Kontrapunkt
series, Ortofon have developed Cadenza to elevate any decent Hi-Fi system to a whole new level.
The range consists of 5 different models, including a Mono version, but they all adhere to Ortofons core principles of
accurate information retrieval and phenomenal sound performance.
Ortofon is distributed in the UK by Henley Designs Ltd.

W: www.henleydesigns.co.uk | T: 01235 511 166 | E: sales@henleydesigns.co.uk
79 Henley Design FullHiFi97.indd 79 23/05/2013 11:46

EQUIPMENT REVIEW
Funk Firm Little

Super Deck turntable By Alan Sircom
A
couple of decades ago, the must-have
affordable turntable was the Pink Triangle Little
Pink Thing. Alongside the standard PT and
the Anniversary, the entry-level LPT turntable
was a simple design, but one that in no-way
highlighted its own limitations. Those days are long gone, as this? moments; the counterweight is used as a counterweight,
is Pink Triangle itself, but in some ways the new LSD (Little placing the arm in dynamic balance, then a collar on the arm-
Super Deck) is its spiritual replacement. tube is extended toward the cartridge in order to dial in tracking
The LSD is a fully integrated affair. Available in pure force. There are a series of markings on the top of the arm-tube
acrylic colours or black and wood, the relatively slimline deck to get the right tracking force, but Id use a stylus gauge to
has a timeless, almost 1970s appeal. That its one of the few get things absolutely correct. However, this in essence makes
turntables with a lid, helps too. Its driven from a plug-top the arm a variable mass design, and means the choice of
power supply feeding the DC motor and the combined off- cartridges is thrown wide open.
switch 33/45 speed control on the bottom left of the top plate Meanwhile, anti-skate works like every other thread-
is the sole automation on the machine. This sends a nice hanging anti-skate mechanism only backwards. Instead
glow around the side of the deck when powered up. Speed of the weight moving as the arm travels, the weight stays in
adjustment is performed thanks to two screws in the plate the same position and a wand along the top of the bearing
beneath the switch. It sits on three adjustable feet. housing moves. This insures more accurate anti-skate
The deck incorporates Funks Vector Drive. This uses performance over the whole travel of the arm itself.
one motor with a pulley and two passive pulleys close to the The headshell is removable, but very thin, and fits snug
inner platter of the deck. This gives a remarkable precision to the end of the arm-tube with a single screw. The latter isnt
to the speed, perhaps unsurprisingly similar to the venerable as much of a problem as it seems, as they fit tight together
three-motor Voyd deck of the early 1990s. That deck used a and theres little room for play. It also allows for azimuth and
trio of PAPST motors, where this one uses a single DC motor, even overhang adjustment at the point where the headshell
but if anything the stability of one motor, three pulleys are meets the arm-tube, although a keen eye and a steady hand is
better than motors on every pulley. required here. The former might require an additional spacer if
The big changes here to anything formerly from Funk you are using a relatively thin-bodied cartridge. On the subject
(and PT before that) is the use of a glass platter and a felt of carts, its the kind of deck that is happy with all kinds of MMs
mat. There is an optional upgrade of Funks own Achromat and MCs, although the more neutral the transducer, the better.
(an expanded vinyl mat, because Funk claims the perfect There is a vogue for using the LSD with a Denon DL-103 in a
interface for vinyl is, er, vinyl) which comes in a host of funky kind of all-round-giant-killing stance, but I found if you raise
(pun intended) colours. the game still further and partner it with even my resident Benz
The arm is perhaps the thing people will notice least at Gullwing SLR it was still capable of delivering a fine result.
first, but in fact its perhaps the most exciting part of the whole Two early observations. First, the manual (as received)
LSD trip (you knew that was coming, didnt you?). Although it was somewhere between dreadful and terrible. Deliberately
doesnt sport the reinforced drinking straw arrangement of so, because it is intended to be a dealer installation. If you are
the F*X arm designs, the big and clever changes here are the determined to go the DIY route, you need to know your way
way tracking force and anti-skate are applied. The first is so around a turntable, because this manual wont give you much
bloody obvious, its one of those why didnt anyone think of in the way of clues. It does tell you to grease the pulleys and
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EQUIPMENT REVIEW / Funk Firm Little Super Deck turntable
81 ISSUE 100
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EQUIPMENT REVIEW / Funk Firm Little Super Deck turntable
comes with a small baggie of transparent

gloop for that purpose. While there is
nothing that anyone who built something
like a Systemdek couldnt muster, setting up
a deck is both a skill set not well understood
by all of the new generation of vinylistas and
is a degradable skill set even for those who
know their way around the underside of a
turntable, and I think more thorough instructions
(and a better protractor) is in order. My advice
place yourself in the hands of the person who you
bought it from.
Second, consider the Acromat something more
than an optional extra. Think it mandatory, if you are to
get the most from the LSD. The felt mat isnt bad, but it
gives the upper bass a spot of unnecessary bloom. The
Acromat makes it a far more right sounding turntable.
This is one of those rare decks that gives its all, all of presentation of a big SME or the sheer wow! factor of one
the time; you dont need a particularly expensive system to of the extremophile turntables that live at the bank robbery
hear what the LSD brings to the table, but if you do have a end of the continuum. In a way though, a lot of that ultimately
high-performance, high price system in place, the LSD never doesnt matter unless you have a burning desire to out full-
lets the side down. It has none of the bloat that can come range your audiophile rivals.
when trying to shoe-horn a big turntable into a little system Although this is a one-product review, its actually two
and none of the screechy brightness when going in the other products in one. The LSD is a fine turntable in its own right
direction. It just has that getting out of the way quality that a Im trying desperately not to call it the LPT of today, but its
handful of good decks have. just so right in the same ways the LPT was just so right, its
Its odd. The decks that have a sonic signature to them hard not to make the comparison. I think in fact its probably
end up getting thousands of words spent on the sound quality the LPTs better in many ways, especially precision and pitch
and yet when it comes to the LSD, descriptions of its sonic accuracy and bass depth. In some respects. And then theres
performance are all but irrelevant. You pick a piece of music, the F5 arm, which could be used in any Rega arm hole. Thats
play it and you know its doing something very right indeed. the real gem here. Its got it right where it counts, in the sound
For me, it was an almost worn out copy of the first Stone quality stakes.
Roses album. Not something youd use for fidelity purposes, The whole is not better than the sum of the parts here.
but an enjoyment quotient off the scale. Here, suddenly, the But the parts are extremely good in their own right. No bad
enjoyment quotient was kept high, but with it came a sense acid here, just a remarkably good turntable and arm. +
of order in the Madchester chaos, and a sense of looking
past the tech and the equipment, into something that was
just natural sounding. No need to discuss detail, imagry, TECHNICAL SPECIFICATIONS
transparency, dynamics, tonal balance or any of those things,
it made your records sound like music. From 1,100 (including F5 arm)
In a way, my biggest regret about this turntable is that my Acromat (optional extra, supplied) 57.50
copy of Acid by Ray Barretto is on CD, because it would have (3mm thick design)
been an obvious anecdote. I do have some psychedelia on Arm and power supply upgrade options (not tested)
vinyl, but Im all over the purple elephant picking strawberries Available in Gloss Black, White, Red and Walnut finish
in the car park stage, and the joke will wear very thin, very
fast. But the reality is you have to go quite far up the high- Manufactured by: The Funk Firm
end turntable food chain to find something that outright bests URL: www.thefunkfirm.co.uk
the LSD. No, it doesnt have big Kuzma bass or big VPI Tel: +44(0)1273 585042
expansiveness, it doesnt have the beauteous and majestic
82 ISSUE 100
80-82 HIFI+100_Funk_AS.indd 82 23/05/2013 10:25

COMPETITION
WIN! A Music First Audio

Classic V2 preamplifier
worth 2,640 must be won!!!
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A good preamplifier is hard to find,
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Music First Audio takes a different route.
It does without the offending active line
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not a new idea, but traditionally they suffered significant
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Competition Question Sandleheath, Hampshire SP6 1PA. The competition

closes on August 8, 2013.
Music First Audio uses what kind of preamplifier design
A. Active Bionic
B. Lazy Cybernetic Competition Rules
C. Passive Magnetic The competition will run from June 6, 2013 until August 8 2013.
The competition is open to everyone, but multiple, automated
Please send your answer either A, B or C via or bulk entries will be disqualified. The winner will be chosen at
email to competitions@hifiplus.com, placing the words random from all valid entries, will be contacted via email (where
Music First Audio Competition in the title. Remember to possible) and their name will be published in the magazine. The
include your name and address in the email. Alternatively, Editors decision is final and no correspondence will be entered into.
send your answer on a postcard (including your name Absolute Multimedia (UK) Ltd. is compliant with the Data Protection
and address and contact details) to Music First Audio Act and UK laws apply. Our policy is such that we will not pass on
Competition, Unit 3, Sandleheath Industrial Estate, your details to any third party without your prior consent.
83 ISSUE 100
83 HIFI+100_Music First Compeition_AS.indd 83 23/05/2013 13:59

EQUIPMENT REVIEW
Metrum Hex DAC By Jason Kennedy
S
cale doesnt always count in this business. Sure, the bigger
companies have the marketing clout to get their products the
widest exposure, and some of them have the R&D facilities to
do things that small brands can only dream about. But, when it
comes to inspiration, one man is as likely to succeed as 20 and
that seems to be the case with Dutch electronics company Metrum Acoustics. means six, as it turns out the name is short
The Hex is its latest and most ambitious converter, but it was preceded by two for hexadecagon which is a sixteen sided
others of which the Octave still remains. That 699 non-oversampling (NOS) object. The Hex is a single box converter
DAC is the best Ive heard at its price point and some way beyond. Its small, with multiple S/PDIF inputs including BNC
comes in two boxes and only has S/PDIF inputs, so no USB, but delivers and the option of both asynchronous USB
stunning sound quality. As the name infers, it has eight DAC chips (four per and/or AES/EBU. Outputs are both single
channel) and these are of a type that Metrum describes rather vaguely as high ended, with Lundahl output transformers,
speed for industrial applications, the point being that they are not off the shelf and balanced which reflects the fact that Hex
24/192 chips that are found in most other DACs. is a balanced or dual differential converter. I
The Metrum converters will run at up to 24-bits/15MHz, so in speed used the RCA phonos single ended output
terms are considerably more capable than they need to be, but apparently are for this review.
not straight forward to implement in an audio circuit. The lack of a USB input It is solid rather than elaborate in
was about the only thing standing between the Octave and global domination, construction, with buttons for each input
that and the fact that Metrum is a small operation with rather limited clout in and an LED on each that blinks when there
the market-place. is no signal. This is useful during set-up
The company released its latest DAC in 2012, Hex has twice as many but slightly irritating when the DACs not in
converter chips as Octave which makes you wonder why it has a name that use. The key is to select the input that has
a connection when you are using another
source, presumably its only reviewers who
have multiple converters powered up but
only one connected to the source so this will
not be an issue in normal situations.
In the system with a Naim UnitiServe
hooked up to the BNC input Metrum Hex
is a truly inspirational sounding DAC,
it is relaxed, open, extremely
revealing and has superb
timing and dynamics. The
Octave is good, but this is
in another league to most
of the other converters on
the market, I dont know
which converter chips it
uses but I urge other DAC
makers to investigate at
the earliest opportunity. I didnt
have one to hand but the DAC that comes
to mind as being close in many respects is
the MSB Platinum IV Signature, a 12,000
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84, 87-88 HIFI+100_Metrum_AS.indd 84 23/05/2013 10:27

85 SME FullHiFi87.indd 85 23/05/2013 11:48
hifisound
Stockton on Tees the Norths
hotbed of audio delights
Martin Logan Loudspeakers are on permanent demonstration at:
hifisound
Castlegate Mill, Quayside, Stockton on Tees, TS18 1BZ, England.
t: 01642 267012 w: hifisound.co.uk e: simon@hifisound.co.uk
Selected other brands include
Anatek EAR Koetsu Nordost Stax
Audeze Esoteric Lyra Notts Analogue Sugden
Chord Focal JMLab Michell Pathos Transfiguration
Clearaudio Funk Magneplanar SME Unison Research
Dynavector Grado Naim Sonus Faber & many more
86 ISSUE 100
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EQUIPMENT REVIEW / METRUM HEX DAC
converter last time I looked and among

the very best on the planet. The Hex really
The Hex really does punch at that level.
does punch at that level. It is high definition It is high definition in terms of detail
in terms of detail resolution, very strong on resolution, very strong on dynamics and
dynamics and beaufituly timed. You get all
the life out of a recording without the grain
beautifully timed. You get all the life
that often accompanies vibrant sounding out of a recording without the grain
digital audio. It is vinyl standard in all except
that often accompanies vibrant sounding
noise levels which are naturally much lower.
It doesnt sound like vinyl because there isnt digital audio.
the character of mechanical playback that is
intrinsic to the format but it does all the good
things that vinyl can; energy, excitement and
considerable musical communication. Put
on a decent hi res recording like Antonio
Forciones Meet Me in London (Naim Label, something that the original CD had not revealed last time I played it. Sadly
24/192) and the musicians are placed firmly this was not to be; it remains one of his more difficult works both tonally and
in the room in such living, breathing form in performance terms but at least it revealed the reggae guitar on the Black
that only your eyes will tell you it aint so. Page and inspired the notion that Zappa was the Ellington of his era, even if
Despite Forciones undoubted skill on the the music he chose to make didnt win quite such a wide audience.
acoustic guitar, its the fretless bass playing When using the Hex with a computer it needs the M2Tech Hiface driver
that caught my attention. It comes across and with this installed on a MacBook Air alongside the Decibel software player
because the Hex reveals almost as much I discovered that the DAC doesnt need the 5volt connection to the PC I had
about the quieter instruments in the mix as it a prototype cable from CAD that cuts this link. This set-up revealed the Hexs
does for those at centre stage. This is clearly open and detailed presentation rather well, bringing out the depth of tone
an extremely quiet converter, one that keeps in voices and an all round subtlety with lots of reverb if less muscle than the
highs clean and presents them in a solid, UnitiServe. It worked particularly well with string quartets where the openness
tangible fashion so that they recreate the served the melody beautifully and revealed the timbre of the instruments.
defining edges of each note in a convincing On a higher level it also revealed the mercurial playing of Keith Jarrett on
fashion. the piece Flying Pt.1 (Changes, ECM), the piano has a very strong presence
Inconveniently it cant turn an OK in the room almost as powerful as that of the player with all his verbalisations.
recording into a great one, someone But they dont matter, nor do the slightly glassy high notes of the recording
suggested I revisit Zappas Make A Jazz because the focus is totally on the mesmeric nature of the performance. A
Noise Here, which I did in the hope of finding better and younger recording of Jarrett playing solo (Testament, ECM) reveals
87 ISSUE 100

EQUIPMENT REVIEW / METRUM HEX DAC
more of the instruments scale and weight which helps to produce the visceral The Hex worked well with a number of
power of the live experience. components including Naim, Townshend
The CAD 1543 I reviewed a few months back has quieter backgrounds and and Valvet amps and PMC, Bowers & Wilkins
a calmer more revealing presentation but it is three times the price. The Hex is a and ATC loudspeakers alongside various
bit more upbeat, it seems to emphasis leading edges and so times better and digital sources. In each case different facets
produces a less refined but equally compulsive musical experience. Thats not to of its abilities were revealed and all of them
say that the Hex is forward or lacking in refinement, its just that most DACs suffer were enthralling.
in this respect next to the CAD. The Hex is in fact more subtle and transparent Will this DAC get the recognition it
than the majority of converters on the market which at the price is a remarkable deserves? I think so, Metrum may not have
achievement. Next to DACs that are strong when it comes to pace, rhythm and the marketing budget of a major but the
timing it ups the ante and makes them seem merely eager to please. Next to word will spread once enough early adopters
some well regarded alternatives at pretty exalted prices it improves both focus and have enjoyed it. Its interesting to look up the
coherence, imaging is precise and soundstages are fully extended both in depth Octave on various forums, it seems many
and width, the only limitation appears to be the rest of the system in this regard. have traded in more expensive converters
More important than that is the degree of musical enjoyment it can extract and use S/PDIF to USB converters to play
from a CD transport or digital file player, so much so that I sat on the Hex files through it. Not only do you not have to
for several months before I told the editor about it. Once a review has been do that here but you get a genuinely high end
commissioned and the deadline met its inevitable that the product will be DAC with balanced and SE outputs. Perhaps
wanted by its owner and I was keen to hold onto it for as long as I could. In I should put this plainly: Hex is a beg, borrow
truth I contemplated establishing what I could buy it for. Then I remembered all or become a banker high end bargain. +
the more pressing expenses that get in the way of the pursuit of audio nirvana,
I really must get a proper job!
TECHNICAL SPECIFICATIONS
Non oversampling
S/PDIF digital inputs: 2x optical Toslink,
RCA coax, BNC
USB: 24/192 option
AES/EBU: 110 ohm option
Outputs: RCA Neutrik SE, XLR balanced
Output impedance: RCA 40 Ohms, XLR
80 Ohms
Sampling frequency: Optical 44- 96kHz,
Coax, USB, AES/EBU 44 192kHz
Size WxDxH: 320 x 320 x 85mm
Weight: 5.5kg
Price: 2,299
Options: USB input 163.20, AES/EBU
input 163.20, USB & AES 325.99
Distributor: iStereos
URL: www.istereos.co.uk
Manufacturer: Metrum Acoustics

URL: www.nosminidac.nl
88 ISSUE 100

89 ISSUE 100
89 AdPage Iss100.indd 89 23/05/2013 11:49

The brand new ACOUSTIC Insight FocalStage Floorstander
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90 ISSUE 100
90 AdPage Iss100.indd 90 23/05/2013 11:50

Equipment Review
Marten Django L By Alan Sircom
M
arten speakers run like a red thread woven Supreme and all of them set a powerful standard to beat. But
through much of the magazines history, few realise the dynamic range of Marten; yes, you can buy
so its fitting to celebrate our century a pair of speakers for more than the price of a new S-Class
with a review of one of the magazines Mercedes, but the Django L costs not much more than a
best-loved brands. Most loudspeaker Dacia Sandero.
companies would love to be judged by the best they can Perhaps obviously, the Django L is the smaller brother of
do. Sometimes though, that best is so lofty as to be from the Django XL, the currently two-model Django series having
another world. Such is the case with Marten; its top Coltrane more curved lines than either the more up-scale Heritage
range of loudspeakers runs from the reassuringly expensive range or the cinema-chummy and angular Form models.
Soprano to the how many oil fields do you own? Coltrane This is a two-way, three driver design; the tweeter retains the
91 ISSUE 100
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EQUIPMENT REVIEW / Marten Django L
inverted ceramic Accuton unit common to many models in

Its that insight into the music
the Marten range, but the ceramic-only domes and cones
found elsewhere are replaced by two custom 200mm SEAS that marks the Django L out.
aluminium-ceramic sandwich. Music of all kinds work well with
A backswept reflex design (with a downward firing port)
finished in piano black or silver grey and no sign of a grille in
this, but perhaps not surprising
sight, this is not a shrinking violet of a loudspeaker. It doesnt given the name, small tight
need to sit too far out into the room compared to other acoustic bands sitting in a natural
products in the range, and is as such the Marten for those
lucky owners of small rooms. That being said, the depth of acoustic fare best
the loudspeaker does give it a physical presence that makes
it seem larger than it actually is in a smaller room, and some
might find that somewhat imposing. But perhaps its time not
to try to apologise for good audio and enjoy the physicality of
the speaker design. This, I believe comes down to tonal balance. The Django
Besides, the speaker has a bluff charm to its looks. Ls insightful sound gives a similar sense of immediacy as
Take the plinth for example; two black metal outriggers with something like a Naim amplifier, but it does it in the presence
large cone feet that bolt to the underside of the loudspeaker. region, where the Naim has that strength in the brilliance and
Simple and elegant, albeit in a fairly functional manner. Armed presence region. And the two in combination seem to form a
with a spare pair of hands to set up the speakers, you can go distinct hardness to the sound.
from box to positioning inside of a quarter of an hour, which is Its that insight into the music that marks the Django L
a rare joy. A single wire set of terminals at the back panel later out. Music of all kinds work well with this, but perhaps not
and you are into the positioning part of the whole equation. surprising given the name, small tight acoustic bands sitting
This is possibly the most drawn out part of the whole in a natural acoustic fare best of all. Its an obvious thing to
Marten process, in that the longer you spend positioning the partner loudspeakers named after jazz greats with that jazz
loudspeakers, the better the overall performance. But even great, but the music of Django Reinhardt is not really the best
here, the stuff of Marten legend remains mostly just legend. thing to assess modern hi-fi, as his best work was around
Truth is, the review pair of Django L had a lot of air miles 70-80 years ago and varies according to transfer. But modern
under their belt before they got to me. So, any discussions interpreters of Djangos work fare much better, and its that
about run-in are academic at best. They were a well-thumbed small and cool jazz combo (or, for that matter, a string quartet)
pair and came ready to roll. You may find your pair of speakers that really allow the Django L to shine. It scales well I even
takes minutes or months to settle in; I have no accurate frame played the last movement of Mahlers Eighth to good effect
of reference, aside from Martens past form (in the horse- but while the sound of the Django L gives good image size
racing sense, nothing to do with the brands other speaker line). and depth to big orchestral passages, I was more drawn to
Unfortunately, past form doesnt seem to hold much sway the less sturm und drang end of the musical spectrum.
with the Django L. Where Marten speakers are notoriously Although many focus on the performance of high-end
fussy about positioning, these are more forgiving. Where bigger loudspeakers with acoustic instruments in live spaces, an
Martens need very careful system matching to give of their acid test that should be used more is playing music with
all, these could be summed up in three soundbytes good, more bombast to it. Big graunchy rock guitars, wubby-wubby
moderately powerful and solid state. Even the last is more of a bass lines from dub sound systems or dubstep bedroom
guideline (Marten speakers traditionally partner well with valves), superstars something with a bit of meat to it. There are a
but the aluminium/ceramic sandwich bass cones do seem to surprising number of very good speakers that ultimately sound
need some damping factor behind them. As a rule of thumb, the not so very good fed even the lightest diet of AC/DC, but
Martens responded better to smooth, clean, detailed and here the Martens stepped up to the plate well. Predisposition
slightly soft sounding solid-state electronics than a drop of the toward lean or no, they made a powerful, rockin sound
hard stuff. This is a loudspeaker that will sing with the likes of that might make lesser mortals don inappropriate shorts and
Electrocompaniet, but sing a bit off-key with the likes of Naim. headbang like Angus Young. Thats the joy of the Django L
92 ISSUE 100

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93 ISSUE 100
93 AdPage Iss100.indd 93 23/05/2013 11:51

EQUIPMENT REVIEW / Marten Django L
they do all the audiophile things well, but they do it with some
Technical Specifications fun too. Cerbral, civilised speakers with a wild child side it
Type: Two-way bass reflex gets no better.
Drive units: 2x200mm alumimium/ceramic, Theres an interesting paradox with loudspeakers. We often
1x30mm ceramic discuss speed in speaker design, but its a very difficult thing
Frequency range: 27-30000 Hz +-3dB to pin down in print. As a consequence, its one of those terms
Power rating: 200 W (like PRaT) that is easily dismissed as so much audiophool hot
Sensitivity: 88 dB / 1 m / 2.83V air. And yet, when you hear the Django L, one of the first things
Impedance: 6 ohm (3.8 Ohm min) most people will comment on is their speed. Things sound fast
Crossover frequency: 2nd order 1800Hz through the Django L; not accelerated or fast-paced, just quick
Terminals: WBT single-wiring and clean and detailed. Play something with fast tabla runs (like
Internal wiring: Jorma Design the delicious cover version of Take Five performed by the Sachal
Cabinet: 22 mm MDF Studios Orchestra of Pakistan) and many good, big speakers
Stands: Anodised aluminium with Marten cones almost fall over themselves trying to render the speed and attack
Dimensions (WxHxD): 25.3 x 120 x 41.5 cm of this little drum-like instrument. Not here, the Django L makes a
Net weight: 34 Kg tabla sound like a tabla; fast, percussive and the underpinning of
Available in Piano Black or Silver Grey this remarkable rendition. Naturally, the sound of sitar, guitar and
Price: 6,900 per pair the rest of the orchestra is equally well resolved too, but its the
correct speed of that tabla that gets you every time.
Manufactured by: Marten From a UK perspective, theres one big thing about the
Tel: +46 31 20 72 00 Martens? Why arent they here? These are fabulous speakers
URL: www.marten.se at a keen price and should be on many folks shopping list,
and yet, if you want a pair, its off to mainland Europe with you.
Surely we cant all be this inward looking as to not want to
hear such a fine speaker as the Marten Django L? +
94 ISSUE 100

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95 ISSUE 100
95 AdPage Iss100.indd 95 23/05/2013 11:52

EQUIPMENT REVIEW
Dared RD-1 table radio By Jimmy Hughes
S
peaking as an audiophile, radio as a hi-fi source
kind of passed me by. Sure, I owned a hi-end
tuner (the legendary Yamaha CT-7000, no less),
but in thirty years it never saw much use. Living
at ground level, surrounded by tall buildings,
and not having an external aerial, good FM reception was
always something of a lottery
Had Dareds RD-1 been around back then, things missing is a USB input to allow direct connection to a router
mightve been very different. The RD-1 is a funky retro-looking for internet radio. The front panel carries an OLED display,
valve table radio offering FM and DAB/DAB+ reception. It can and two rotary controls which function as switches when
be used as a tuner with a hi-fi system, or as a stand-alone unit pressed, allowing a wide range of features to be accessed.
with its own built-in loudspeakers. There are two analogue A supplied handset provides infra-red remote control,
line inputs, plus an output for headphones. and gives access to extra functions such language (English,
The RD-1 is also capable of working with Bluetooth Traditional Chinese, and Simplified Chinese) and equalisation.
devices, so its a pretty versatile unit. Perhaps the only thing The latter feature allows the sound of the RD-1 to be tweaked,
96 ISSUE 100
96, 98 HIFI+100_EqRev_Dared RD_AS.indd 96 23/05/2013 10:31

VALHALLA 2
Reference Redefined.
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97 ISSUE 100
97 AdPage Iss100.indd 97 23/05/2013 11:52

EQUIPMENT REVIEW / Dared RD-1 table radio
and includes fixed EQ settings labelled Jazz, Live, Bass Its compact size and ability to function as a stand-alone
Boost, Vocal, etc, unit also makes it great for those times when you want to
The sound delivered by the RD-1 through its own listen to the radio in other rooms. Quick and simple to set
loudspeakers is clear and pleasing, albeit somewhat curtailed up, the RD-1 is almost totally fuss-free during use. And of
at frequency extremes. Dialling in the various EQ settings course, theres the whole retro look of the thing. It looks
juices-up the basic sound, but the differences arent massive. fabulous! Practically everyone whos ever cast eyes on it is
With the in-built loudspeakers being so close together, theres whisked back to a time when they used to tune in to Listen
limited stereo separation. With Mother, or sneaking down stairs after bedtime to listen
But the sound itself is very pleasant, being clear and to Radio Caroline. Even those who were born in the 1980s
open with good depth and breadth. Basically, youve got are whisked back to a time long before they were born. When
an extended mid-band, minus extreme highs and lows. it first arrived, I literally couldnt take my eyes off it, and I kept
Musically, the presentation is impressively clear and detailed; expecting to hear the Light Programme playing every time I
surprisingly-so, given the limited bandwidth. Speech sounds turned it on. So, it looks great and sounds good too. Hey - I
natural and properly articulated, without harsh sibilants. think Im in love +
Hooking the RD-1 up to a hi-fi system reveals the full
capabilities of the unit. I mainly used my review sample on
DAB radio largely because good FM reception proved tricky
due to my location. DAB gave clear clean noise-free results
Technical Specifications
with the supplied aerial, and sounded very good.
As befits a tube product, the RD-1s sonic presentation Power output: 25W
is smooth, well balanced, and refined. It avoids the bright Loudspeakers: 3.5in x2
forward immediacy of CD, and consequently can seem a tad Tubes: 12Ax7 x1, 6N1 x1, 6E2 x1.
restrained. Its slightly lacking in extremes both in terms of Dimensions: 320 x 170 x 165mm
dynamics and upper and lower frequencies but musically Weight: 7kg
the results are always very listenable. Price: 499.99
Absolute quality of sound varies from station to station, and
programme to programme, of course. But the RD-1 itself always URL: http://www.dared.com.hk
delivers consistent results in terms of a smooth even tonal
balance and freedom from background noise and interference. UK Distributor: Real Hi-Fi
Once its playing, you can easily listen for hours at a time. It holds Tel: 01257 473175
your interest musically, and never becomes fatiguing.
98 ISSUE 100
96, 98 HIFI+100_EqRev_Dared RD_AS.indd 98 23/05/2013 10:31

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99 ISSUE 100
99 AdPage Iss100.indd 99 23/05/2013 11:53

EQUIPMENT REVIEW
He aint heavy the Lavardin

IS integrated amplifier By Steve Dickinson
T
he IS is the entry-level integrated amplifier in Lavardins range.
Its modest (for a transistor amp) 45W per channel output, four
inputs and minimalist styling, means it lacks a certain something,
on paper. The dainty, folded aluminium casework and simple
anodised front plate are smart and functional, rather than eye-
catching. It costs near as dammit 2,000 and doesnt even get a blue LED. It turn its hand to most things, rather well, and
would be easy to overlook, or dismiss as overpriced. Which would be rather it seems made for jazz or complex modern
silly, as the Lavardin IS is also, in my opinion, something of a high-end bargain. music. Joanna Macgregors rendering of a
From the moment it starts working, there is something very right about Nancarrow player-piano piece is offered with
the way the Lavardin goes about its business. In fact, some minor reservations all the minute variations in rhythm and metre
aside, Id almost characterise it as a lack of wrongness. Many amplifiers in this in their proper place, so the way the parts
price bracket play to particular strengths, which often as not offset other areas ebb and flow with respect to each other is,
of performance that fail to keep pace. Thus, you end up choosing your amp to if not necessarily a doddle to follow, then
suit your personal priorities. The Lavardin is quite unusual in that it has an all certainly presented in a lucid and insightful
round competence which is, in my experience, rarely seen at the price. Weve way. You can quite easily tell that the timing
discussed Lavardins memory distortion concept in these pages before, and mismatches are deliberate, not simply flaws
I dont intend to revisit it here, but whatever it is, it unquestionably makes in the performance.
Lavardin amplifiers a bit special. Its not perfect. Being French, I suppose,
The IS has an uncommon degree of clarity, agility and deftness, an ability the manufacturer likes to find subtle and
to follow a line of music, no matter how fast, or complex. This means it can amusing ways to confound the user, and
100 ISSUE 100
100, 103-104 HIFI+100_EqRev_Laverdin_AS.indd 100 23/05/2013 10:33

IN S EARC H O F T H E P E R F E C T L OU D SP E A K E R?
CHAPTER 2: LOUDSPEAKERS AND ROOMS
The most critical and most neglected aspect of any high-end frequency response of the sound we hear, creating serious
Hi-Fi system is the interaction between the loudspeakers and peaks and troughs
the room. This is greater than the effect of changing any other The issue is made more complex because every room
component in the Hi-Fi chain. is different, so even the sound from the finest high-end
What we hear (unless we are in a field!) is a combination loudspeakers will vary in different rooms. What you hear in a
of sounds (a), direct from the loudspeaker and (b), reflected dealers demo room will NOT be what you hear at home.
from room boundaries: walls, ceiling, floor, windows, curtains, At Walls of Sound, we design, measure and adjust the
furnishings, etc. The direct-versus-reflected ratio can often be loudspeaker to create the best possible sound IN YOUR
less than 50%, which means that reflections can dominate ROOM, at your listening position, taking into account room
what we hear. In the 1960s and 70s it was believed that boundaries, furnishings, etc, and removing the damaging
reflections should be suppressed, but that led to dead peaks and troughs that these have created.
rooms. In a concert hall, an even greater proportion of sound The result: a bespoke loudspeaker system optimised
is reflected than in our lounges, so reflections (in moderation) to your room and the rest of your equipment and listening
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101 ISSUE 100
101 AdPage Iss100.indd 101 23/05/2013 11:54

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102 ISSUE 100
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EQUIPMENT REVIEW / Lavardin iS integrated ampLifier
Lavardin has chosen to eschew any form

Lavardin has chosen to eschew any
of channel labelling on the rear panel. So
you have to hope it has followed the usual form of channel labelling on the rear
conventions in positioning the speaker panel. So you have to hope the company
terminals. As its not followed the usual
convention for the inputs, this is something
has followed the usual conventions in
of a leap of faith. There are no L/R labels positioning the speaker terminals. As its
at all, and the manual is resolutely silent on not followed the usual convention for the
the subject. So its not clear whether theyve
declined to follow the, obviously bourgeois, inputs, this is something of a leap of faith.
convention of putting the right channel input
under the left, or elected to ignore the input
convention of using red for right and black
for left. When first hooked-up, mine sounded
odd. A left/right channel check revealed that
Id got the speaker connections transposed;
or perhaps it was the inputs Id swapped. piano lacking a little power in the bottom octaves, for example; even in quieter
Who, apart from an existentialist philosopher, passages the sense of mass in the instrument is rarely more than hinted at.
can really say? Either way, a quick furkle That said, itll rock loudly enough with most loudspeakers and do it without
around the speaker cable binding posts and falling apart: the bass in Seals Killer drives hard enough and the other parts
a minute later all was well. Of course, with the keep their place in a deep acoustic space, where some amps, when pressed,
benefit of hindsight I could have just hooked tend to splash the vocals out across the soundstage, or lose the plot in a variety
up one channel at a time, but wheres the of amusing, if not entirely pleasing, ways. Big orchestral or choral climaxes
fun in that? come across cleanly and without blaring out at the listener. Dvorks New
Confronted with a mere 45W its World Symphony was full of life, drama and grandeur, without any real sense
tempting to reach straight for the volume of restraint or holding-back. The modest output will restrict the sort of levels
control and examine available loudness ultimately achievable. For the Dvork Id liken it to listening to a performance
levels. That output can be limiting, with solo by a slightly smaller orchestra, in a slightly more distant seat, but it was still
103 ISSUE 100

EQUIPMENT REVIEW / Lavardin IS integrated amplifier
indisputably the first team who were playing, not the reserves. Current-hungry Interestingly, a quick comparison with
or inefficient loudspeakers might be best avoided if realistic levels are required: the (3,000) IS Reference version shows that
I used it with Focal 1028Bes and Raidho S2.0 floorstanders (both of which the slight tendency to flatten detail is much
are reasonably efficient and present straightforward loads) and achieved some less apparent in the dearer amp and, given
pretty special results. the extra funds, the IS Ref is definitely to be
On paper, the Lavardins 45W output isnt too far removed from my regular preferred. But at around the 2,000 mark,
Albarrys 60W, but the Albarrys have a ludicrously over-specced power supply the IS has little serious competition. The lack
which does give them a spine of steel. They stand fast when others wilt, and so of wrongness I alluded to at the beginning
it was here. Leonard Cohens Take this Waltz had a very pleasing lilt, and sense of this review, the honest-to-goodness
of sway and forward motion, so the waltz element was nicely portrayed by the rendering of the signal, irrespective of level,
Lavardin. As were the layers of intrigue and interest; all very Cohen-esque and is the Lavardins single greatest attribute. It
satisfying. Turned up, Cohens head just seemed to get bigger and bigger within is beautiful when the music is beautiful, but
the same soundstage, something that happens less obviously with grippier it doesnt invent that beauty by overlaying
amps, so there are practical limits to the Lavardins levels of control. That said, a saccharine sweetness or an airbrushed
a little courage with the volume knob (usable for a goodly proportion of the dial, niceness, it just tells it as it is. +
not just the usual 8-11 oclock) gives plenty of usable power and energy and,
in fairness, it is only when pushed quite hard that the modest output becomes
noticeable, but in many ways that misses the point
What separates the Lavardin from the crowd is the way it plays quietly;
Technical Specifications
back off the volume and the amp manages to maintain the musics dynamic
range, keeping things interesting and entertaining. Dynamic expression and Type: Stereo integrated amplifier
musical nuances are not suppressed, just rendered in scale. The IS exhibits Power Output: 45 watts RMS per
all the Lavardin house specialities, digging deep into the music and giving you channel, 8 Ohms
the performance, regardless of level. Yes, it is ultimately limited by the power Max. 95 watts per channel, 2 Ohms
output and its more expensive (albeit scarcely more powerful) siblings do fare Inputs: 4 x line level
a little better under pressure - but what the Lavardin IS will do, which many more Factory option: phono input
powerful amps wont, is get you energised and enthusiastic about the music Input Sensitivity: Line level - 330mV
without relying on sheer volume to do so. If you have neighbours, or family, who Total harmonic distortion: 0.005% at
dont appreciate concert-hall levels in a domestic setting, the little Lavardin will max. output
give you the music you crave, without having to pin you back in your seat Output: 1 pair loudspeakers
There is a hint of chalky, dusty overlay to the IS sound. Its nothing Id Factory option: line output
want to describe as grain Lavardin doesnt really do grain rather there is Dimensions (W x H x D): 430 x 80 x 340mm
an almost subliminal flattening in ultimate levels of detail and colour. Despite Weight: 6.5 kg
the amps undisputed speed and agility, the subtlest of inflections are slightly Available finishes: Black
glossed-over or averaged-out. This should be kept in context, mind you, and Remote Control: No
these comments must be taken in an absolute sense, compared to amps of Price: 1999.00
considerably greater stature and price. Against its peers, the Lavardin stands Phono input add 439.00
proud, and when its at its best it can make anything else its likely to go up
against sound clumsy and gauche. Mourning Grace, from Patricia Barbers Manufacturer: Lavardin Technologies,
Caf Blue retains the ethereal feel of the vocals above the relentless bombast France
of the bass and percussion, something few other 2000 amps manage with Tel: +33 (0)247 497092
any real, er, grace. Arvo Prts Spiegel im Spiegel had that numinous quality URL: www.lavardin.com
which can sometimes be airbrushed out by amps which sound pretty and
sweet, but lack the Lavardins depth and sophistication. Similarly, powerful- UK Distributor: Midland Audio X-change
but-blunt amps tend to fare badly with Arvo Prt because he doesnt trade in Tel: +44 (0)1562 731100
mass and volume, but delicacy and subtlety. For the money, I cant think of an URL: www.midlandaudiox-change.co.uk
amp that does delicate or subtle better than the Lavardin IS.
104 ISSUE 100

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108 ISSUE 100
108 AdPage Iss100.indd 108 23/05/2013 11:57

EQUIPMENT REVIEW
Musical Fidelity EB-50 in-ear

monitors By Alan Sircom
A
big name in the traditional hi-fi business, Musical Fidelity has
always had an ear (pun intended) to the ground. The company
has survived for the longest time by always being proactive
toward changes and trends in the audio business. So its
perhaps no big surprise that the first traditional hi-fi brand
that isnt a loudspeaker maker to grasp the personal audio nettle would be over-ear hooks and a multitude of sets of ear
MF, with its EB-50 IEMs. tips (10 pairs, not including the set they are
The clever thing about these IEMs is they manage to continue typical shipped with).
Musical Fidelity product design values into the ear. So, the exposed part of the The key part to the EB-50s design is it
IEM is a large alloy cylinder, with nicely knurled ends and cleverly colour- uses a balanced armature (or BA). That
coded screws to show orientation (think, red is right, whats left is left in this allows treble to be both in the acoustic centre
case, bluey-turquoise is left). The IEMs include a generic microphone/play/ and time aligned with the mid and bass, but it
pause control; MF hasnt gone down the additional iThing control route, in part comes with a fairly heavy caveat. A balanced
because the whole smartphone market is now more open than its ever been armature design can be easily misaligned in
and having controls that do nothing may even unconsciously ward off an the ear; not knocked out of alignment youd
ever-increasing group of Android and Blackberry users. Apparently. pretty much have to break the sturdy alloy
The cables join in a little metal woggle. The cables themselves are shell of the EB-50 to do that but it means you
standard black plastic sleeved copper; for 150, Id have preferred need to be exceptionally thorough in matching
something more textured and with less propensity to tangle, but the little the right tips. Musical Fidelity does supply an
rubber cable tidy is useful and the angled mini-jack plug is the right balance extremely comprehensive set of tips in the box,
of being designed for wrapping the cables round the player (admit it we all but the difference between getting it right and
do it) and being in the right place for general playing. Overall, microphonic getting it almost right is the difference between
conduction from the cable is relatively low, although suit-wearing commuters a peaky or a rolled off IEM sound and one
might consider using the supplied clip to prevent the microphone banging thats engaging and impressive.
against your lapel every few minutes. This holds for any BA design, but is
Im not a fan of unboxings, but its worth talking up the whole package especially important with the EB-50 because
here, because MF delivers an extensive and handy box of tricks with the EB- they sit relatively high in the ear-canals for
50s. Alongside the little leather pouch, the jack and the two-pin made IEMs and the alloy cylinders that at the back
for aircraft, theres a hard case with a cleaning cloth, a plastic croc clip, the makes them liable to work loose. Looping
109 ISSUE 100
109-110 HIFI+100_EqRev_Musical Fidelity_AS.indd 109 23/05/2013 10:35

EQUIPMENT REVIEW / MUSICAL FIDELITY EB-50 IN-EAR MONITORS
the cable over your ear helps (the package ear can be a discomforting experience, especially when faced with something
comes complete with useful little plastic clipped and compressed and brash enough to sell millions of downloads. The
guides to better facilitate this), but the more super-clean high frequencies are a boon when listening to well-recorded music
secure the fit, the better the performance. especially well-recorded classical music but can shorten your desire for
A set of Comply foam tips would be a exposure to lo-fi sounds. Similarly, those who measure their bass by the yard
worthwhile add-on here. might find the sound of the EB-50 too lean; but in fact, the balance is about right
No matter how you use them, the play female vocal, solo piano or spoken word (the three great arbiters of tonal
common factor is a great midrange. Vocals accuracy) and the EB-50 doesnt disappoint. They are inherently uncolored,
are clear and distinct, acoustic guitar clear dynamic and fast, just as good hi-fi always should be.
and vivid and precise and theres nothing A product should be judged in absolute, but also in context. The EB-
in the way of fatigue in the midrange 50 ultimately does better in the first than the second. I sat and listened to
presentation at all. Get the right tips and the complexity of Stravinskys conducting (in the early 1960s) his own Rite
that great midrange extends up and down. of Spring and marvelled at his unique and impeccable timing, I was taken
Musical Fidelity has patently gone after a very by Bill Evans perfect phrasing on Portrait and the subtle bitterness of Nick
flat overall frequency response, which might Caves Higgs Boson Blues, but if I wanted the wub-wubby-wubness of the
come as a bit of a surprise when used to the first James Blake album to shake out my sinuses, this goes for precision over
more tailored sound of many earbuds and flub. Id chalk that one down as a good thing.
IEMs, especially some of the more popular Theres a curious thing about the EB-50, though. Although they arent
crowd pleasers with big, overblown bass or made uniquely for use with phones (microphone notwithstanding), they are
a gently rolled off treble. perhaps the only IEM I have ever encountered that shines brighter when used
The EB-50s do none of these things. with a phone than with a dedicated amp. Not that they sound poor through
They do honesty. Studio monitor-like honesty. a headphone amplifier; its just they work so well through something like an
And honesty whispering this close to your iPhone you feel no compulsion to bring more amplifier to the party. This is
more of a good thing (save you hundreds on a dedicated amp) than a bad
thing (so unresolving the difference between the two is not audible).
The Musical Fidelity EB-50 IEMs are not the best thing ever; as they will
be joined by in-ear and headphones above (and below) the EB-50s price of
TECHNICAL SPECIFICATIONS
admission, they probably arent even the best well see from Musical Fidelity.
Sensitivity: 100dB SPL/mW (1kHz) But they are good. You need to be extremely thorough in your choice of ear
Impedance: 26 Ohms 15% tip, otherwise youll never hear quite how good they can be. But when its
Max input power: 11mW right, its very, very right. +
(rated power 5mW)
Frequency range: 10Hz-20kHz
Distortion: <1%
Noise Isolation: better than 96%
Driver: 6mm balanced armature
Weight: 28g
Cable length: 1.2M
3.5mm Gold plated Stereo jack plug
Microphone and answer button
included
Price: 149
Manufactured by: Musical Fidelity

Tel: +44 (0)208 900 2866
URL: www.musicalfidelity.com
110 ISSUE 100
109-110 HIFI+100_EqRev_Musical Fidelity_AS.indd 110 23/05/2013 10:35

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112 ISSUE 100
112 AdPage Iss100.indd 112 23/05/2013 12:13

MUSIC FEATURE
Writers Choices Music

By Alan Sircom, Jason Kennedy, Chris Thomas and Paul Messenger
J
ust as we asked the writers to pick their most It demands a story if you can
important pieces of equipment since Hi-Fi Plus
began, we also asked them to pick some of their
say something like Yeah, it skips
top music choices. The editorial brief here was just a bit here because it got hit by an
as brief as before pick an influential record from
ashtray during a drunken knife
this century, and preferably one from the last. Nothing more.
We didnt want to influence writers to choose their best fight with a monkey. No biggie!
test LP or the album they thought they should like weve you get bonus points. The only
even stripped out the format chosen for that reason and
instead we asked them to concentrate on the music.
downside to this album is no
Not only is this an attempt to highlight good music made matter what, you will never be
since the time of Plus, but it also addresses a key grumble oft as cool as Jack White. Ever.
heard muttered by audiophiles that theres no good music
anymore. Here is the proof that statement is complete nonsense!
The White Stripes: Elephant (2003) This is one of those albums you need to own on vinyl,
and it needs to have been played to death, because its the
OK, so Elephant is pretty far from audiophile approved , and kind of music where pops and scratches actually improve the
its not the first, last or (arguably) even the best album from the sound of the album. Not because its a lo-fi recording, but
ex-husband and wife team, but it was this album that really because its the kind of music that makes a pristine pressing
pushed my buttons. In post-millennial slough of despond that sound sterile and prim. It demands a story if you can say
the music world went through (the business is dying, theres something like Yeah, it skips a bit here because it got hit by
no good music anymore), the White Stripes lo-fi Grammy an ashtray during a drunken knife fight with a monkey. No
winning move to big label success showed just how wrong biggie! you get bonus points. The only downside with this
the nay-sayers (including this one) could be. album is no matter what, you will never be as cool as Jack
Recorded all-analogue in Londons valve and tape Toe White. Ever.
Rag Studios in two weeks, Elephant cemented Jack Whites
reputation as Rock God (with one of the best collections of
weird guitar ephemera and old blues records) with its 14 tracks Mozart: Piano Concertos 20-25
of mostly short, mostly loud, mostly twisted-blues masterpieces. Vladimir Ashkenazy, LPO
From the treated acoustic guitar as bass line of Seven
Nation Army that opens the album, through the classy Made in the 1970s and 1980s, re-released as a two-disc set by
blues wig-out of Ball and Biscuit, to the almost post-punk Decca in the late 1990s, this is very much old-school classical
rocking out Girl! You Have No Faith in Medicine, it was full- recording technique. Its got none of the down the gullet close
on genius, with the sort of loud, shouty guitar solos that you mic technique popularised by the recordings of Mitsuko Uchida,
know divided the rock world into why didnt I think of that? this is piano and orchestra, recorded in a public concert hall
and people learning every single note. Loud, shouty and thin (although these are not live recordings and you are the audience).
on a good system, but who cares it woke up a music biz But its not some made for audiophiles bland recording, its one
(for a while at least). of the finest interpretations of Mozart around, in my opinion.
113 ISSUE 100
113-116 HIFI+100_Music Best of AS.indd 113 23/05/2013 17:53

MUSIC FEATURE / Editors ChoiCEs MusiC
My take on classical music has been mostly something live without overdubs, a move that ensured great interplay
close to the philistine for most of my years. The powerful between musicians and a genuinely live and direct sound, this
orchestral side I got in a kind of film score kind of way. is where the New Conception is most apparent. Its the way
The technical brilliance of Bach I get in a failed musician that Kind of Blue and many of the classics were recorded and
respect style. But Ive always considered Mozart to be just has been recognised by music lovers and musicians alike as
too chocolate box. Outstanding virtuosity, but essentially a good recipe for great sound if the talent is there.
musical confectionary. Then I heard Ashkenazy play. It wasnt What makes makes Moving prescient 12 years after it
so much as he opened Mozart to me, but he opened up all that was released is its fusion of styles, something that has been
comes after you get Mozart too. String quartets that I thought happening across the music world but which is still scarce in
were cerebral noodling. Lieder that I dismissed as well-tuned what is supposedly the least restricted genre of all. It is simpler
gargling. Im even beginning to open my mind to opera. than straight ahead jazz which makes it more accessible yet
Yes, its a good recording, showing what middle-period its full of variety and subtlety, and it sounds excellent too. Its
Decca engineers could do with an orchestra and a piano. an album that has remained fresh since its release thanks to
Yes it has a lot of the separation round the instruments that Wesseltofts inventiveness on the keyboards and his bands
audiophiles like to hear. But ultimately none of that matters ability to build up a dynamic and fluid groove. The combination
its the aha moment that came when I got Mozart, which of electronics with live instruments was not revolutionary at the
means I dont tend to play this much as a test disc. Its too time but extremely well arranged, the use of samples bringing
important to me for that. voices to the instrument compositions and the variety of
textures and colours giving the music real depth.
Bugge Wesseltoft: Herbie Hancock:

New Conception of Jazz (1994) RIVER the joni letters (2007)
Moving (2001)
I have been a massive fan of Herbie Hancock for literally
Bugge Wesseltoft was in the vanguard of the exploding decades now. He is a magical musician of supreme
scandinavian new jazz scene and remains its pivotal accomplishment, ability and integrity and through the years
character. His first New Conception of Jazz appeared in I always seem to go back to his music when my current
1994 and reached its apogee with Moving released in 2001. favourites had been temporarily played out. On River -
Its very much a new conception, few lovers of jazz in its the joni letters, he struck gold by bringing so many young
usual sense (if such a sense could be agreed upon) would musicians together with some of his old buddies to provide
necessary identify it as jazz primarily because it often has a alternative views of some Joni Mitchell songs and also throws
very distinct beat. What Wesseltoft does is play keyboards in Miles Davis classic Nefertiti as a stunning bonus. It is
and then sample and loop his playing, repeating the process an enormously intense and serious work by a musician who
to build up a multi-layered rhythmically shifting sound that his has been at the peak of his powers for so very long through
band augments with proper jazz instruments including double constant refreshment and new material.
bass and drums as well as sax, percussion and sampling. For Sensitive and endlessly creative, Herbie plays as sparingly
Moving Wesseltoft took the band into the studio to record as ever, with incredible touch and a way of shaping a chord
114 ISSUE 100

MUSIC FEATURE / Editors ChoiCEs MusiC
that is within the gift of so very few musicians. I love slow music and the astonishing musical arrangements he came up with.
and on River the spaces are as important as the playing. It is Notoriously serious and incredibly demanding, the Zappa gig
very atmospheric and an object lesson to anybody interested in must have been like no other. On Joes Garage he pushed
phrasing and timing, two of the greatest tools in the musicians Ike Willis forward as the leading protagonist and what a voice!
bag and two that seem almost lost as so many songs seemed Listen to him on Fembot In A Wet T-Shirt and the incredible
to be played square-on the leading edge of the beat these musical arrangements that Zappa has orchestrated. Or
days. Perhaps it is this sense of intrigue and expression that Lucille Has Messed My Mind Up a love-song of regret
keeps me so interested in this album. with a beautiful chugging reggae-style guitar. My particular
Joni Mitchells work has always had a strong, poetic favourite is scene 14, near the end of the story when Joe is
sense about it and the way that Herbie and Larry Klein arrested after an unfortunate incident with a robotic sex toy
(Mitchells ex) have arranged and recorded these songs is a and sent to prison where he reflects on his predicament in the
huge tribute to their depth and lyrical beauty. As you might heartrending Outside Now as he sings All I ever wanted to do
expect from a musician of this calibre, everything he does is was play the guitar and bend the string.
understated whether he is lighting the harmonic path ahead Watermelon In Easter Hay remains one of my all-time
or by sitting in the background almost experimenting with favourite guitar-based tracks too with its wild concoction of
chord inversions making suggestions as to where he could reverberation and spacey ambience.
take the song. Norah Jones, Corinne Bailey Rae, Luciana
Souza, Leonard Cohen and Joni herself supply the vocals.
Herbie provides the inspiration. A great album and a fairly
decent recording too.
Frank Zappa:
Joes Garage Acts 1, 2 and 3 (1979)
Over 30 years old now, Joes Garage was as influential on

me as any vinyl I ever bought. I always loved Zappas take
Over 30 years old now, Joes
on the world and his three-part opera about the music Garage was as influential on
business caught my imagination perfectly. I had spent quite
me as any vinyl I ever bought. I
a while thrashing my guitar around in the garages of south-
east London with various bands so perhaps that resonance always loved Zappas take on the
was the hook. Zappa was a genius really. Not so much as world and his three-part opera
a guitar player, though I have come to like his playing more
and more since his untimely, tragic death in 1993. I was
about the music business caught
attracted to the quality of the musicians he had around him my imagination perfectly.
115 ISSUE 100

MUSIC FEATURE / Editors Choices Music
If it sounds like a mess, thats personalised examples for her own use, and also regularly
and deliberately uses electronic voice processing.
partly because it is a mess, Homeland is not an easy listen, and can collectively be
as material from all sorts of seen as a paean to the decline of the American Empire. But
it is full of wit, variety, invention and stimulating surprises.
different studios and live concert As a critique of the USA today, it can be viciously sardonic,
performances are stitched together, yet always with enough of a ring of truth to infuriate the
albeit with considerable dexterity. American patriot.
Grateful Dead: Anthem of the Sun (1968)

The CD transfer is certainly on the bright side but the
recording is as good a piece of multitrack mixing as you will What a mess is many listeners reaction on first hearing this
hear. The levels of instrumental detail and the magnificent vocal album. However, this is a mess that has carried on keeping my
arrangements that Frank packed into this amazing work is a attention after forty five years, and that cant be bad. Anthem
measure of just what a seriously brilliant artist he was. I cant of the Sun (1968) is hardcore Grateful Dead, the bands
listen to Joes Garage too often but every now and again I like second album, well before the band met up with Crosby, Stills
nothing better than to put some time aside and just enjoy Joes and Nash, learned a lot about singing together, and came up
sad story, normally after I have had a guitar session myself. with the pretty vocal harmonies found on Workingmans Dead
Outside the Zappa catalogue, there is nothing else like it. and American Beauty (both 1970).
If it sounds like a mess, thats partly because it is a mess,
Laurie Anderson: Homeland (2010) as material from all sorts of different studios and live concert
performances are stitched together, albeit with considerable
Choose something from the current century, said the dexterity. But maybe another reason is that the hi-fi system
Editor. It took only a few seconds to pick Laurie Andersons isnt doing a particularly good job of unscrambling this
2010 release of Homeland, much of which is a devastating complex and layered recording.
critique of America today and the banking industry debacle in The sides of the vinyl album are unbroken, though Side
particular, and provides proof positive that some Americans one is notionally divided into three tracks. An extended Thats
at least do indeed get irony. It for the Other One wanders through a number of different
Andersons career stretches back some 30 years, yet themes (sometimes with a little too much of the studio trickery
she has only released eight albums during that time. This that was all too prevalent at the time), but never quite loses
parsimony is partly because shes actually a performance the plot, then merges almost seamlessly into New Potatoe
artist rather than a mere musician, pursuing lots of activity Caboose and thence into Born Cross-Eyed. Side two
outside music. Consequently, Anderson only writes the shows a rather more obvious transition from Alligator to the
material for an album when she feels ready to do so. bluesy Dont Stop on Tracks.
I first encountered her particular musical weirdness when All the musicians are on fine form, and the use of two
O Superman hit the UK charts back in 1982. The associated drummers adds a very unusual flavour to some sections.
album, Big Science, was easily the most original work Id heard For me at least, the bass playing of Phil Lesh dominates the
in a decade, and she has maintained this level of originality proceedings, driving the music along with great momentum
throughout her second album, Mr Heartbreak, for example, and inventiveness but others might easily focus on Garcias
features a very impressive recitation by William Burroughs. fine lead guitar work.
Strange Angels (1989) is the most accessible album; like Just as The Jeff Beck Groups Truth album laid down
all her discs, its beautifully recorded, standing the twin tests an unequalled template for heavy metal, so Anthem of the
of time and originality remarkably well. But whereas Strange Sun might well be regarded as the progenitor of prog rock,
Angels seems essentially timeless, Homeland manages to delivering a definitive statement of creativity while deftly avoiding
sound much more topical and contemporary, partly through the pretentiousness of many subsequent imitators. +
the lyrics, yet also perhaps through greater use of electronics.
Anderson has always liked exploring the possibilities of
new electronic instruments. She has developed a number of
116 ISSUE 100

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PS Audio P5 Power Regenerator 2250 Beyond Frontiers Audio Tulip w/ DAC 8500 5990 Garrard 401 750 Hovland MG 2 phono cable 395
Bel Canto Ref 1000 monos 1990 Bryston 28BSST-2 12750 ATC SCM 20 SL (Active) & WA Active Sub 2990 Goldmund Studioetta 895 Kimber Cu Crystal 40
Tag Mclaren 125M 575 Cello Duet 350 stereo power amplifier 3490 ATC SCM100 ASL active on stands 5795 Goldring- Lenco l75 250 Krell 3.5m CAST (Marcus) 490
Arcam T31 AM/FM 400 Classe Audio CA2300 3990 ATC SCM300AT based custom model 8550 Goldring- Lenco tonearm 100 Mark Levinson CZ-Gel 1 XLR
Audio Note ANVx - 2 meters 950 Conrad Johnson Prem 8A monoblocks 4950 Audio Acoustics FUNDAMENTAL K2 5995 Jan Allaerts MC1B mk1 250
1495 MIT Oracle V2.1 ic (2m Bal) 2450
PS Audio perfect wave dac mk2 +bridge 2950 Crimson Electronics 640 E3 Monoblocks 3250 Audio Acoustics Sapphire Ti-C 12990 Koetsu Rosewood Standard 1400 Nirvana audio 1m RCA
Stax 007 Mk ll Earspeakers 999 Edge G6 2250 Audio Physic Virgo 3 1950 Kuzma Stabi (wood) & Ref psu 690
1990 Nordost Blue Heaven 3m Bi Amp 350
Wheaton Tri-Planar MK IV 1795 Edge NL12.1 8900 Aurousal A1 MKII 645 Lehmann Black cube 200 Nordost Odin Supreme Reference
Renaissance Audio Blue 6m Speaker cable 990 Electrocompaniet AW180 mono-blocks 2490 Avalon Arcus 3450 Linn Axis 7500
300
Mark Levinson No. 390S CD 2750 Gryphon Colosseum 22500 Avantgarde Acoustics Trio & subs 11990 Oracle Delphi V, turbo PS, Lid & hinges 3750 Renaissance Audio Blue 6m Speaker cable 990
Rotel Michi RHQ 10 Phono Stage 690 Halcro DM38 with 220/110 V transformer 8500 B&W CDM7 NT 495 Origin Live Conqueror 3c (carbon arm) 2000 Russ Andrews 8TC 200
Tara Labs Phono Ground Station 290 Halcro DM 88 Monoblocks 24950 B&W DM 70 Continentals 1800 Origin Live Digital Stylus Force Gauge 65 Siltech Cables Signature Series Eskay Creek G5 1600
Tara Labs Analogue floating Ground Station 290 Jadis Defy 7 (KT90) 3750 B&W Matrix 800 9990 Origin Live Sovereign Mk1 / Illustrious Mk2 2350 Stealth Audio Varidig AES/EBU 500
Hovland MG 2 phono cable 395 Jadis ja-250 15000 Beauhorn B2.2 Revelation 1800 Origin Live Ultra phono stage 1250 Tara Labs The 0.8 ISM Onboard Digital 995
Elevators (set of 7) 195 Jeff Rowland model 3 2450 Dali 300 MK2 in Rosewood 1650 Ortofon Jubilee (VdH re-tip) 695 Tara Labs The One + Solo FGS (1m XLR) 890
Elemental Audio 2 +1 Tier Stand 1295 Jeff Rowland Model 3 Monoblocks 2500 Eclipse TD512, A502 + Stands 2000 Ortofon MC2000 mkII 495 Tara Labs Analogue floating Ground Station 290
Tara Labs The One + Solo FGS (1m XLR) 890 Krell EVO 302 5500 Eggleston Works SAVOY 15000 Passlabs XP15 Phono pre 2500 Tara Labs Phono Ground Station 290
Isotek 2K qube 690 Krell FPB 250M 2690 Ferguson Hill FH 001s 3990 Pink Triangle Export/ Zeta 1495 TelluriumQ Black Speaker 1.1m pair 130
Nirvana audio 1m RCA 690 Krell FPB 600 4450 Focal JM Lab Diablo Utopia III & Stands 8100 Plinius M14 mm/mc Phono Stage 990 TelluriumQ Ultra Black 5.5m speaker pair 1995
REL Stentor III 1595 Krell FPB 350m 3995 Focal JM Lab Electra 1028 be 2990 Rotel Michi RHQ 10 Phono Stage 690 Transparent Audio Digilink 125
Analysis Plus Solo Crystal Oval 8 890 Krell kav 150i 950 Focal JM Lab Grande Utopia III EM 121999 Shure V-15 TYPE lll 90 Transparent Audio Reference interconnect
Analysis Plus Silver Oval 7m XLR 1395 Luxman B-1000f 18500 Focal JM Lab Mezzo Utopia 2999 SME Model 20/12A 11567 with MM technology 1390
Isotek Substation (6x150) 890 Mark Levinson 33H 9900 Focal JM Lab Micro Utopia Be 1850 SME Model 30/12A 21995 van den hul Revelation speaker 295
Clear Audio Insider Gold 1000 Mark Levinson 532H stereo power amp 4995 Focal JM Lab Scala Utopia 3 18999 SME Series 312 1350 van den hul integration rca 1 metre 99
VPI TNT & stand 2490 Mark Levinson No 532 17362 Focal JM Lab Scala Utopia 3 11990 SME Series V (gold print) 1995 Virtual Dynamics Master LE 970
YBA Passion 1000 Stereo Power 4990 Mark Levinson No 532H Reference High current Dual Focal JM Lab Stella Utopia III EM 63500 SME Model 10A turntable 4250 Wireworld Platinum Eclipse 1m XLR 1795
YBA Passion 1000 pre & phono 3450 Mono Power Amp 7500 Focal JM Lab Stella Utopia III EM 44990 SME Model 20/3A 7990
Sonus Faber Extrema & Stands 4590 Naim Audio NAP150x 500 Focal JM Lab Stella Utopia III EM 39990 SME Model 30/2A 8790 Pre & Power combos
Yamaha A S1000 500 Perreaux 750 Prisma Monoblocks 3500 Genesis Technologies 5.3 5490 SME Series V Gold plated arm 2295 Plinius P10 and M8 4300
Mark Levinson CZ-Gel 1 XLR 250 Plinius P10 2100 Goodmans Maxim 400 SME Series V-12 3249 Spectral Audio DMA 100s & DMC 12 3490
Plinius SA 250mkIV 3495 Hansen Audio Emperor 32500 Sonic frontiers SFP-1 Phono 750
CD Players & DACS PS Audio Classic C-250 2450 Hansen Audio Prince V2 18000 Sony TTS8000 with Resinamic Sound RS-8000 plinth
Power Cables
Arcam CD72T 150 Sony TA N1 monoblocks 9990 Hansen Audio The Knight 9900 1500
Audio Aero Capitole Signature 3300 Soulution Audio 710 Stereo Power 24990 Heco celan 500 550 Sumiko Pearwod Celebration II Damiel Mk Ix 70
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Audio Aero La Fontaine 17500 Sugden Masterclass stereo Power 1995 Infinity PRELUDE 40 4000 Thorens TD 126 mkIV 590 Multi Channel Amps
Audio Aero La Source 29500 Tag Mclaren 125M 575 JBL 250 Ti 2890 Tri-Planar MKVII 2890 Bel Canto eVo 6
AVI Series 21 MC4 Reference 690 Tenor HP 300 15500 KEF Moun 80000 Tri-Planar MkVII UII 1895
2595 Proceed 5 channel amp 995
Ayre Acoustic C5 xe CD/SACD 2750 Tom Evans Linear A 3850 KEF Reference 207/2 7500
Bel Canto Dac3 2199 Tube Technology Genesis Monoblocks 1499 Lowther EX4 pair 650 Tube Technology MM MC Phono stage 995
Bel Canto USB Link 24/96 349 VTL MB 450-III Signature Monoblocks 17500 Magneplanar 1.4 690 van den hul Colibri PXC 2750 SubWoofers
BLACK EVO 505 (110v) 3395 YBA Passion 1000 stereo 5990 Martin Logan SL3 1050 VPI TNT & stand 2490 B&W ASW 4000 1450
Blacknote SACD 300 3530 YBA Passion 1000 Stereo Power 4990 Merlin VSM MXR 6495 VPI TNT 4 Flywheel RB1000 4500 Naim Audio n-Sub 1100
Bluenote Stibbert valve improved 1800 Mission 752 200 Wheaton Tri-Planar MK IV 1795 REL Stentor III 1595
Cambridge Audio Dacmagic plus 200 Pre Amplifiers Mission 765 400 Wilson Benesch ACT 0.5 750 Velodyne DD15 1595
CEC TL0X 9990 Acurus LS11 295 Monopulse S 600
Chord Electronics Blu & DAC 64 & Choral Rack 4995 ATC SCA2 1490 Naim Audio DBL 6100 Intergrated Amplifiers Stands
Cyrus CD8X 400 Audible Illusions Modulus 3A 2250 Naim Audio N-CENTER 350 Bel Canto Evo 2i 1200 CD Racks CD Racks Bespoke 350
dCS Delius Digital to Analogue Converter 1200 Audio Innovations L1 240 NHT 2.5i 495 Gamut DSi100 2550 Elemental Audio 2 +1 Tier Stand 1295
Densen B400 PLUS 650 Audio Research PHONO 7 MM/MC 2999 PMC Loudspeakers DB1i 700 Jungson Class A CA-280IA 800 Music Tools ISOStatic 20 & 38 650
Esoteric P05 D05 Transport/DAC 7990 Ayre Acoustic K-1xe Pre and phono 3950 Proac Studio 150 575 KR Audio Electronics VA 350i 3995 Partington Superdreadnoughts 150
Krell SACD MKIII 1790 BORDER PATROL Level3 1750 Quad 11L 175 Lizard Wizard Audio 995
Krell Evo 505 SACD 3490 BORDER PATROL Contol unit exd 2250 Raidho X-3 5500 Marantz KI Pearl Lite 529
Linn Unidisk 2.1 750 Boulder 1010 Pre 6950 Revel Ultima Studio 2 NEW 13500 Marantz PM7003 220 Tuners (AM/FM/DAB)
Marantz CD-63 MK11 KI Signature 150 C.A.T SL1 Ultimate 4895 Rogers LS3/5a 995 Musical Fidelity A300 575 Accuphase T107 590
Marantz SACD1 1995 Classe Audio CP - 800 4000 Shahinian diapson 11990 Musical Fidelity AMF 35i 4450 Arcam T31 AM/FM 400
Mark Levinson 31 & 30.5 Transp/Dac 7450 Classe Audio CP 500 2100 Sonus Faber CONCERTO GRAND PIANO 900 Naim Audio NAIT 3 295 Burmester 931 Reference Tuner 2290
Day Sequerra FM Studio Monitor 2200
Mark Levinson 39 1495 Concordant Exquisite + Exclusive 1250 Sonus Faber Concerto Home & Stands 990 NEODIO NR600 SIGNATURE 3250
Mark Levinson No 512 CD/SACD 7995 Conrad Johnson Premier 14 1790 Sonus Faber Cremona 2990 Plinius 9100 1095 Magnum Dynalab FT101 295
Mark Levinson No 512 CD/SACD 12255 Crimson Electronics 710 Pre Amp 4250 Sonus Faber Electa Amator II & Ironwood Stands 1990 Primare I32 +MM30 Media board 3200 Magnum Dynalab MD108 T 2495
Mark Levinson No. 390S CD 2750 Herron Audio VT SP2 2250 Sonus Faber Extrema & Stands 4500 Storm Audio Vertigo V35 Integrated Amp 1750 Marantz 10B 2690
Meier Audio Stagedac 350 Jadis JPS2S 9990 Sonus Faber Extrema & Stands 4590 Tube Technology Synergy 4990
Meridian Audio 508 600 Linn Kairn 490 Sonus Faber Guarneri Homage Palladio Reference LE Vecteur I 4-2 or Club Six 475 Accessories
Micro Seiki CDM2 1490 Mark Levinson 380 1895 6750 Yamaha A S1000 500 Arcam AVR300 250
MICROMEGA Microdac 295 Mark Levinson No 326s Reference Dual Mono Pre Sonus Faber Stradivari 17950 Elevators (set of 7) 195
MSB Platinum III 950 8170 Stax 007 Mk ll Earspeakers 999 Cables Hi-Fi Tuning fuses 35
Musical Fidelity A3.2 CD 345 MBL 5011 3800 Titan 3Way 1295 Analysis Plus Solo Crystal Oval 8 890 Isotek 2K qube 690
Naim Audio CD5 350 Musical Fidelity A1 FBP Preamplifier 625 Transmission Audio M1I 1750 Analysis Plus Silver Oval 7m XLR 1395 Isotek Substation (6x150) 890
Opera Consonance Droplet CDP 5.0 1295 Musical Fidelity Kw Phono 1450 Verity Audio Tamino 1990 Argento Silver Reference ic 1295 Kimber Ring Main Cable 250
Orelle CD 100e CD Engine 250 Nagra PL-P 4500 VOLENT PARAGON VL-2 2650 Argento VDM Reference 1.5m ic 3250 LP Storage Boxes Record Storage 75
Primare BD32 3500 Naim Audio NAC112x 350 wharfedale 1950s Corner Horns 6990 Argento VDM Reference 1m ic 2495 Ringmat Full Version 95
Proceed CDP CD/HDCD player 995 Nakamichi 410 198 Wilson Audio Maxx 3 49500 Atlas Asimi 2m pr spk cable 2495 Sonus Faber Guarneri Homage 2x Bass drivers + 1
PS Audio perfect wave dac mk2 +bridge 2950 Sony TAE 900 4990 Wilson Audio Watt Puppy 7 7490 Audio Note KSL-SPc (2x Stereo pair, price each) 550 Tweeter1290
R&T Audio Design Orpheus mk2 500 Tom Evans The Vibe pre & Pulse power supply 2750 Wilson Audio WP8 10995 Audio Note ANVx - 2 meters 950 Stax SR202 & SRM252II 790
Theta Compli 1595 TRON Seven Reference Phono 2490 Wilson Benesch ACT 1 2890 Cardas Audio Golden Cross XLR 2m 790 Stillpoints Ultra 5 (Pack of 4) 2200
Theta Pearl CD Transport 350 Vitus SL 101 13995 YG Acoustics ANAT III Pro Signature 54990 Chord Company (The) Signature Speaker cables 300 Stillpoints Ultra SS (pack of 4) 760
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DEALER DIRECTORY
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01884 243584 The Music Room ... since 1979
info@angelsoundaudio.co.uk info@audiodestination.co.uk Home of Burmester, Esoteric, Gryphon, etc
www.audiodestination.co.uk
01923 352479 Hi-FiShop.com ... since 1995
Suite 7a Market walk, Tiverton, Devon, EX16 6BL Our online bargains website
BS HiFi+ Magazine Dealer Directory AD 2013_La
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enquiries@basicallysound.co.uk Wilson Benesch
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UK DISTRIBUTORS FOR
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Dealing in musical Hifi Equipment since 1988
Some of our major brands are:-
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Contact Dave on:- 01634 389004 or
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118 ISSUE 100
118-119 DealerDirectory Iss100.indd 118 23/05/2013 12:41

DEALER DIRECTORY
signals
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119 ISSUE 100
118-119 DealerDirectory Iss100.indd 119 23/05/2013 12:41

record
reviews
How To Read Them
The information contained in the
record reviews is presented in the
following way. Albums are identified
by label and where possible
serial number. Beneath this you
will find one or more icons which
denote the available formats for the The Rise and Fall of 180g CD Ready To Die 180g CD
recording. The first icon refers to the Ziggy Stardust and Iggy Pop and the Stooges
format reviewed. the Spiders From Mars Fat Possum
The ratings at the bottom of (40th Anniversary Edition)
each review reflect the reviewers David Bowie Ahh Iggy Pop. Age will not wither
opinion of the recording quality, EMI him (although at 66, its doing a fair
and musical merits of the album. job of turning him into some kind of
Youll soon realise that a great many Despite all the hype over Bowies leather), nor will depression or fashion
musically significant albums offer The Next Day, I was somewhat non- trends or anything else. Its been a
less than wonderful sound. Dont let plussed. But this this is part of the tough time; 2007s The Weirdness
it put you off! For your information, Bowie Must Have line-up. played to awful reviews and two
the scale rates a standard, good Traditionally Bowies output has years later, Stooges stalwart guitarist
quality pop recording as slightly never been the stuff of good audio Rod Asheton died.
below average. quality. First pressings aside, the Ready To Die starts well. Burn
LPs were plagued by oil crisis vinyl is fairly typical Stooges fare,. Others
This issues featured reviewers are: and each successive transfer and join it; Job is four-on-the-floor pre-
DD Dennis D Davis remaster to CD was worse than the punk blue-collar malcontent and the
AS Alan Sircom one it replaced. Originally recorded title track is suitably angular. And,
PT Pete Trewin at Trident Studios under the auspices unlike many superannuated rockers,
of Ken Scott, the reissue was worked it doesnt sound false.
from the original tapes at Air Studios But then theres the other
by Ray Staff, who cut his musical teeth side. Tracks like Unfriendly
at Trident. World are actually thoughtful and
The package has several contemplative. And theres the
options, from 180g LP, CD and tweeners like Beat That Guy, a
CD CD 120g 120g LP download to super special 5.1 hybrid between jangly acoustic
channel DVD remaster with out- guitars, soaring harmonies and Iggy
CD Gold CD 150g 150g LP takes, instrumentals and new mixes. being guttural.
But even the base CD isnt bad. The However, its worth it for the
HD HDCD 180g 180g LP packaging could be better, but the excellent The Departed; starting
sound is excellent. TIt still sounds as an acoustic riff from I Wanna
XR XRCD 200g 200g LP slightly dark and muffled at times, Be Your Dog, but then mourns
but Bowies voice is brought out of both the end of Asheton and
CD Double
10"
10" LP the mix slightly better and the strings potentially the Stooges. The worry
Disc
separate from the band better on Five after The Weirdness is the Stooges
Years and Moonage better yet, had become The Stones and were
DVD DVD 1 Availability
As S/H LP it doesnt have that thin, weedy and turning into a pastiche; this might
compressed sound of the previous just be the bands swangsong, and if
SA SACD 120g Vinyl Double
Album remaster. Go get it. AS it is, its something of a high note. AS
Hybrid
SA CD SACD 45rpm 45 RPM
RECORDING RECORDING
5.1
MUSIC MUSIC
SA Multi-
Channel
120 ISSUE 100
120-121 HIFI+100 MusicRev-Contemp_AS.indd 120 23/05/2013 16:25

MUSIC REVIEW / contemporary
Wakin On A 180g CD Crooked Smile CD Fandango CD 180g

Pretty Daze Mark Harrison The Phoenix Foundation
Kurt Vile Highway Records Memphis Industries
Matador
Ive got a lot of time for the unsigned This has to be my album of the
Kurt Vile (great name, and its not bands movement and Mark Harrison month. Kiwi psych-pop-rocksters The
made up) sounds like one of those spins a tale a lot of us can relate to. Phoenix Foundation have come up
drifters who might be the smartest The London based singer-songwriter with some excellent cuts in the past
dumb person youll ever encounter. took many years out from his first with albums like Pegasus and Buffalo,
Vile is American Indie Royalty (War On love of music to pursue a real job. but this ones a real star. The band
Drugs, The Violators) and this (his fifth But, his muse came back to him, he has been likened to Ummagumma-
studio work and his first sort-of solo started playing again a few years ago era Pink Floyd (for good reason)
album) finds him in slightly distant and this is his second album of self- played by mid-1980s era China Crisis
yet not aloof form. penned bluesy-rootsy numbers. (for equally good reason) but this is no
Its a departure from the more Harrisons got a fine style on that mere backward glancing pastiche.
commercial Smoke Ring for My Resonator guitar. That hiatus put him Right from the opener Black
Halo, at once more sculpted and on fine form when it comes to playing Mould you know you are in for
more open to some flexibility in song slide and its clear he studied the something special. Lets face it, any
structure. Vile is more prepared to masters of the craft. Theres the more band that can make the kind of grot
break out of the three-minute indie up-beat style of Blind Willie Johnson you find under a fridge sound like
song cycle here and rises to the and Blind Willie McTell to his style than something vital is on the right track.
challenge the title track, Too Hard the guitar-splitting Death Letter Blues Its also the kind of album that benefits
and Goldtone are all in that difficult of Son House, but hes certainly got from repeated listening. Im about
eight-to-ten minute length, and are the licks to count. And he surrounds five plays into the whole album from
all outstanding cuts. himself with some excellent musicians front to back and the appreciation
OK, this is a three-gear album in their own rights. Its also very nicely for the quality of the writing and the
played on a five speed gearbox. It recorded, although slightly dry and musicianship hasnt waned one iota.
goes nowhere with style and aplomb. close micd. Its also extremely well recorded;
And, although its not exactly This is going to sound contrary, the songs are possibly too slow build
demonstration quality (it borders on but its all a bit too up-beat. Tracks and too electronic to make it to the
lo-fi at times), its recorded with the like Crematorium Blues should be demonstration set (although that
same laid back charm as the album real wrist-slitters, but his voice is never stopped Pink Floyd), but they
itself. And no, that doesnt make it just not cracked enough, sounds are expansive and draw you deep
The Eagles for 2013. This is more a touch thin and the strength of the into the music.
like Lou Reed with excellent guitar writing ends up a touch arch because And to think, I only bought this
skills and a Party Pack of Mogodon. of this. Which is a shame, because one because I thought saying Ill just
Oddly brilliant. AS everything about the album otherwise whip my Fandango out sounded
is truly excellent. AS funny. AS
RECORDING RECORDING RECORDING

MUSIC MUSIC MUSIC
121 ISSUE 100
120-121 HIFI+100 MusicRev-Contemp_AS.indd 121 23/05/2013 16:25

MUSIC REVIEW / AUDIOPHILE & JAZZ
Blood, Sweat 180g 45rpm Blonde On Blonde SA The Dave Brubeck 33rpm
& Tears Bob Dylan Quartet At
Columbia/Original Recording Columbia/ Mobile Fidelity UDSACD Carnegie Hall
Group ORG 133 2097 Columbia/Speakers Corner C2S 826
In the span of a week, audiophile While the release of this LP in 1966 Dave Brubeck released countless
releases of two bands arrived, one never inspired me to take blurry record albums over one of the longest
from Blood, Sweat & Tears and the photographs, I was forever on the careers in jazz. Some are great and
other from Earth, Wind & Fire (Thats lookout for a girlfriend with a leather others not so good, but among the
The Way Of The World on Speakers skinned pill box hat. Its not easy to fill cream of the crop is this live recorded
Corner PC 33280). Both groups two LPs with good material, but Dylan performance at Carnegie Hall from
were known for their brass section, exceeded that goal and filled both 1963. Brubeck brought something
and each seemed to be named by discs with some of the best songs special to his live performances and this
the same public relations firm. EWF he ever composed. This was Dylans release is among his very best recorded
was a black disco group that stuck Rubber Soul, the culmination and performances. This is midway through
together, while BST was a white jazz- perfection of his writing up until then, the period of Brubecks classic quartet,
rock group and could not get along after which he launched into quite which included Paul Desmond on alto,
and flamed out (except for the latter different territory. It contains his most Joe Morello on drums, and Eugene
day reunion concerts) rather quickly. inventive wordplay and completes his Wright on bass. The mastery of that
This was BSTs second album evolution from folk to rock musician. rhythm section is on full display during
released after founder Al Kooper exited The recording style follows suit, and the this concert.
and lead singer David Clayton-Thomas sound is hard edged and in your face, Included in the song list are
joined the group. The band hit gold the final response to his folk critics who many of Brubecks greatest hits
with this 1968 release, with three hits demanded a more gentle acoustic Bob. and the concert concludes with a
from the LP ruling the airwaves. The All but one of the songs was rousing version of Take Five. The
band then went on a State Department recorded in Nashville, unlike Dylans album opens with a unique take on
sponsored and then played Las Vegas, earlier albums recorded in Columbias Handys St. Louis Blues, turning
a bad career move in the time of LSD New York studios. The gold SACD is Bourbon Street into pure Brubeck.
and the Black Panthers. packaged in a foldout cover with a Paul Desmond is up to his usual fine
Looking back on the album booklet of photos including most of form during his solos, but Brubeck
after 45 years, that baggage seems those on the original LP inside cover. seems the most unleashed by the
less important now than the great Rob LoVerde and Shawn Britton at enthusiastic audience. The recorded
arrangements and energy that hold up Mobile Fidelity remastered the tapes sound is quite good, but not in
remarkably well almost a half-century and the SACD sounds fabulousso the same category as some other
down the road. Bernie Grundmunds good that it compares favorably with famous Carnegie Hall recordings.
mastering job is equally accomplished an original pressing of the LP. I can Willem Makkee did his usual fine
and the sound is excellent. DD only imagine how good the upcoming job of remastering the tapes. Highly
LP reissue will sound. DD recommended. DD

MUSIC MUSIC MUSIC
122 ISSUE 100
122, 124 HIFI+100 MusicRev-Jazz_AS.indd 122 23/05/2013 10:40

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MUSIC REVIEW / AUDIOPHILE & JAZZ
Takin Off 180g 45rpm Welcome To The Club SA The Chase Is On

Herbie Hancock Nat King Cole Paul Quinichette
Blue Note/Music Matter 84109 Capitol/Audio Fidelity AFZ 153 and Charlie Rouse
Bethlehem/Pure Pleasure BCP 21
Each album Herbie Hancock released The incomparable Nat King Cole is
for Blue Note is a masterpiece, and backed here in a 1958 performance Pure Pleasure has pried open the
this 1962 release led off the series. with members of the Count Basie Bethlehem tape vaults and the results
Freddie Hubbard, Dexter Gordon, Orchestra in one of his most swinging are poring in. Every title announced
Butch Warren and Billy Higgins sessions. If all you know of Nat is the so far is worthy, and proves that there
back Hancock on six Hancock greatest hits compiled from his great are still veins of ore that remain to be
compositions. Although Hancock Capitol years, than this SACD will be mined by reissue companies. Kudos
became more experimental in a discovery. Coles great small group to Tony Hickmott for exercising such
later Blue Note albums, this more jazz sessions (After Midnight) have good taste in these selections.
approachable album blended hard been released by Pure Pleasure and The title of the album gives the
bop and funk into a signature sound Analogue Productions, but Welcome game up without listeningtwo horn
for Hancock that remained integral to To The Club brings the first audiophile players chasing each other in what
his music throughout his career. Go taste of Cole with a larger orchestra. promises to be a blowing session.
to a Hancock concert today and you The orchestra is on fire, and Cole reins Charlie Rouse is best known from his
can only marvel at how young looking them in just enough to keep the joint years as a sideman for Thelonious
and acting Hancock appears, a swinging while his smooth delivery Monk, and Quinichette played with
reflection of the energetic spirit in this carries the day. Basie and sounded remarkably like
early release. Despite the album name, Lester Young. Sometimes they play
Originally released in both mono this is a studio session recorded dueling solos, but as often they
and stereo, collectible copies of at Capitol Studios in Hollywood; play along with each other leaving
Takin Off are rare. The LP has been the same facilities that provided generous solo space for Freddie
released many times, by Blue Note outstanding sound for Coles pop Green on guitar (on two tracks).
in a nasty sounding DMM pressing, recordings. The original LP stereo The songs were recorded at
and on Japanese and French labels. version of this album had the sound two sessions in 1957 with a rhythm
Those were all eclipsed a few years mixed to an artificial sounding left/ section of either Wynton Kelly or Hank
ago with the Cisco 33 RPM reissue right channel separation, leaving the Jones on piano, along with Wendell
mastered by Kevin Gray in excellent rather flat sounding mono release Marshall on bass and Ed Thigpen
sound. Now Kevin has teamed up as the preferred version. Steve on drums. Ray Staff remastered
with Ron Rambach of Music Matters Hoffman remixed the sound and the the mono tapes at Air Mastering in
to remaster the album once again. difference is remarkable. The stereo London and the sound is excellent.
This 45-RPM stereo set is outstanding presentation on this SACD is now very The horn sound of the two tenors is
and easily eclipses Kevins earlier realistic with great dynamics. Coles well defined and pure and the music
version. DD mellifluous vocals are captured with making is mesmerizing. DD
the signature great Capitol sound.
Great music and sound. DD

MUSIC MUSIC MUSIC
124 ISSUE 100
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HIFI+ BACKISSUES.indd 1 11/05/2011 10:35

MUSIC REVIEW / CLASSICAL
Hector Berlioz CD The Edge of Light Messiaen/ Sonatas for piano & violin CD
Les nuits dt & Saariaho Carl Maria von Weber
La mort de Cloptre Gloria Cheng Piano, Alexander Melkinov- fortepiano,
Scottish Chamber Orchestra, Robin Calder Quartet Isabelle Faust - violin, Boris
Ticciati Conductor, Karen Cargill Harmonia Mundi HMU 907578 Faust viola, Wolfgang Emanuel
Mezzo-Soprano Schmidt cello
Linn Records This album comprises of the works of Harmonia Mundi HMC902142
Olivier Messiaen, The eight preludes
Les nuits dt was adapted by Berlioz were, completed in 1929 when he Weber was one of the first composers
to add a part for Mezzo-Soprano was just 21. In complete contrast who began to define Romanticism.
when he became entwinded with a Piece pour piano et quatuor a This collection of sonatas and the
certain soloist who later became his cordes was written in 1991 the year quartet are overflowing with romance.
wife! His musical ability shines through before Messiaens death. Webers ability to display passion
in these pieces as at times it is clearly Gloria Cheng is a Grammy award- and emotion within the music is well
obvious that he is writing about his winning pianist. She is renowned displayed in the sonatas, particularly in
feelings and emotions. for her intrinsic ability to understand the Adagio of Opus 8, where the violin
Scne damour, is an extract contemporary music, has appeared appears at times to be weeping. There
from Romo et Juliette, much of with many of the worlds leading music are moments that sound Chopinesque;
which is orchestral. At the centre of groups and also doubles up as a perhaps not surprising as they were
this work is this piece, the love scene, lecturer at UCLA (in her spare time!). composing at the same time.
it is a beautiful piece and interestingly The Calder Quartet were formed in The composer is able to convey
Romo is written for a female as Berlioz 1998 and have been hugely successful passion in both the slow movements
is famous for his dislike of tenors! across the globe. They also have the such as in the Adagios with their long
La mort de Cloptre was written ability not only to perform contemporary flowing phrases, where Weber uses
in order to try win a competition. music but also to understand it and the full length of the strings bows to
Sadly the piece was played before pass their understanding on to the emphasise the longing and sorrow. In
the jury on a piano with a stand-in listener through their instruments. They contrast the Allegro movements use
soloist who was vastly inexperienced are in demand to work with many arpeggioic techniques and fast flowing
and he did not win! leading composers. scales particularly within the piano parts.
The Scottish Chamber Orchestra Kaija Saariaho, born in 1952, The musicians on this disc are
under Robin Ticciati performs all over has seven tracks on this disc. Tracks individuals who are not part of a
Scotland and within Europe and since 10and 11 Prelude and Ballade, are regular quartet, this is very surprising
its inception in 1974 has become first recordings. Similarly to Messiaen given their ability to play so well
known as one of the finest Chamber her works are deeply complex and together and understand each others
orchestras in the world. They are emotional. Prelude includes some very parts and directions. It is a formidable
a well funded orchestra and have complex phrasing and requires great album and I would highly recommend
commissioned over 100 new works. dexterity on behalf of the pianist. I was it. Great served with a glass of your
This album is one a a series produced very impressed with these works. PT favourite tipple and a seat in your
in associated with Linn. PT favourite chair! PT

MUSIC MUSIC MUSIC
126 ISSUE 100
126 HIFI+100 MusicRev-Classic_AS.indd 126 23/05/2013 10:42

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Audiofreaks 4 EnigmAcosutics 31 Nordost Corporation 69 & 102 Stirling Broadcast 111
Basically Sound and Vision118 Enjoythemusic.com 105 OPPO BD UK Ltd 25 studioAV Ltd 119
Burmester Audiosysteme 23 Epiphany Acoustics 108 Oranges and Lemons 127 The Audio Consultants 95 & 99
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127 ISSUE 100
127 AdPage+Index Iss100.indd 127 23/05/2013 17:33

Every Home Should Have One
King Crimson:
Larks Tongues In
Aspic box set By Neil Hussey
O
n the face of it, this should be a a 30-minute improvisation, followed by a
real curates egg. King Crimsons couple of unrecorded new tracks.
The studio material is no less
original 46-minute opus
interesting. Theres a disc of very different-
from 1973 has been expanded sounding alternate takes and mixes. Theres
into a gargantuan 15-disc set, a brand-new album remix in both stereo
and 5.1 surround sound by Fripp and
comprising 13 CDs, one DVD-Audio and one Porcupine Trees Steven Wilson, and a
Blu-ray disc. disc of session reels, a fascinating audio
It seems like a prime example of the kind of demented excess documentary of the band at work in the
which blighted 70s progressive rock, and not only is there a lot of studio, mapping out the tracks, and working
repetition of material, the first nine discs consist of bootleg-quality judiciously on ideas and arrangements.
live recordings. A rather dubious, fan-only enterprise then, one Naturally, this is an expensive item,
would think. but its worth every penny because its
Not so. Larks Tongues mapped out the routes/roots of succeeded in its aim to present a near-
post-punk, math-rock, avant-rock call it what you will, but its complete recorded document of one of the
not just flaky art rock posturing. most uniquely creative and exciting bands
After the previous Crimson line-up had folded at the end of of the era. Crimson fans need this, but even
US tour in early 72, founder member Robert Fripp rebuilt the agnostics like me will find much to surprise
group from the ground up, taking on drummer Bill Bruford from and delight them in this set. +
Yes, and bassist/vocalist John Wetton (an old college friend of
Fripps) from Family. He located violinist David Cross when his
band were auditioning for Fripps management company, and
percussionist Jamie Muir arrived from the improv scene.
Muir left abruptly to join a monastery and follow his Buddhist
leanings in early73. From first rehearsal to final show, the five-
piece Crimson lasted for just five months, and this set chronicles
pretty much everything this remarkable band laid to tape. Its
possible to trace their evolution here from first gig to (almost) last,
and therein lies its importance.
This was a formidable band while it lasted. The live
recordings here, though of variable quality, show Crimson were
fantastic high-wire performers, who married the energy and
abandon of rock to the fluidity of jazz, the intellectual rigour of
free improvisation, and the odd tonalities of the avant-garde.
There was genuine audacity too. Included is video footage King Crimson - Larks Tongues in Aspic
of a German TV broadcast, which took place only a few days Originally released 23 March 1973
Recorded January-February 1973
after their first gig, at which point they had only been together for
Produced by King Crimson
around six weeks. Never content to play it safe, they opened with
128 ISSUE 100
128 HIFI+100 EveryHome_AS.indd 128 23/05/2013 13:04

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100ISSUES DISTRIBUTION AND CONSULTANCY OF FINE AUDIO INSTRUMENTS

...with our best wishes for at least another 100 issues!!!

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Delivering dynamics, detail Iwasblownaway.

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