Articles Archive - Page 141 of 267

The Hi-Fi+ Top 100: Lyra to Roon

The third 25 of our round-up of the best products from the finest brands of the last 20 years, covering products made from early 1999 to 2019. Please note, this feature was in celebration of Hi-Fi+ twenty years of high-quality audio reviews and accompanied our 170^th printed issue. Audio is a fluid, dynamic market, and reviews published after Hi-Fi+ Issue 170 are also relevant!

Lyra Lydian Beta

Reviewed in Issue 1

Lyra’s original moving coil cartridges were musical milestones, but it’s the second-generation nude Lydian Beta – first tested in issue 1 – that showed Lyra the way for its 21st Century successes.

Reviewed by Roy Gregory

Magico M-Project

Reviewed in Issue 123

https://hifiplus.com/articles/magico-m-project-loudspeakers/

A limited-run ‘thank you’ to Magico’s strongest supporters, this high-end floorstanding speaker was the launch-pad for Magico’s most recent innovations. The Rosetta Stone of Magico is a stellar performer, too.

Reviewed by Alan Sircom

Magnepan 30.7

Reviewed in Issue 163

https://hifiplus.com/articles/magnepan-307-fourpanel-dipolar-planar-loudspeaker-system/

This four-panel planar magnetic floorstanding loudspeaker has had a long gestation period, but the results speak for themselves. The Magnepan 30.7 is the affordable flat-panel face of super high‑end audio.

Reviewed by Chris Martens

Mark Levinson No 39

Reviewed in Issue 1

Mark Levinson’s digital arm made its name from huge separates players with enormous price tags. The No 39 showed how close you could get with an attainably-priced one-box CD player.

Reviewed by Chris Thomas

Marten Coltrane

Reviewed in Issue 35

Packing a lot of loudspeaker into a comparatively small and beautifully-finished (if expensive) floorstanding cabinet, the refined Marten Coltrane is one of the most effortlessly musical sounding loudspeakers we’ve heard.

Reviewed by Roy Gregory

MartinLogan CLX

Reviewed in Issue 61

Although concentrating on hybrid designs, the all-electrostatic CLX showed MartinLogan at its best, and the curved electrostatic full-range panel threw down the gauntlet to its rivals in outright performance terms.

Reviewed by Roy Gregory

Merging NADAC

Reviewed in Issue 129

https://hifiplus.com/articles/merging-nadac-digital-converter/

Merging is a Swiss digital pro-audio brand, and the robust NADAC has a belt-and-braces approach to music making. It also delivers one of the most accurate and enticing sounds around.

Reviewed by Alan Sircom

Merrill Element 118

Reviewed in Issue 169

https://hifiplus.com/articles/merrill-audio-element-118-mono-power-amplifiers/

People associate Class D amplifier operation with small, relatively low-powered, and affordable amplifiers, none of which apply to the uncompromisingly excellent balanced only Merrill Audio Element 118 mono power amplifiers.

Reviewed by Alan Sircom

Moon 390

Reviewed in Issue 165

https://hifiplus.com/articles/moon-390-network-playerpreamplifier/

Moon’s latest version of its MiND network architecture will cope with practically everything you can throw at this multi-faceted source-meets-controller, and best of all it sounds insightful and extremely musical.

Reviewed by Rafael Todes

Music First Audio Baby Reference V2

Reviewed in Issue 124

https://hifiplus.com/articles/music-first-audio-baby-reference-v2/

The passive preamplifier took on a new lease of life with Music First Audio, and the Baby Reference V2 is the brand’s top model. No active preamp sounds this transparent.

Reviewed by Jason Kennedy

Nagra HD DAC

Reviewed in Issue 122

https://hifiplus.com/articles/nagra-hd-dac/

This two-box DAC from the well-loved Swiss brand is one of the most important digital audio components of recent years, because it’s one of the least ‘digital’ sounding of all.

Reviewed by Alan Sircom

Naim Statement

Reviewed in Issue 130

https://hifiplus.com/articles/naim-audio-statement-amplifiers/

This three-chassis amplifier showed the high-end what Naim Audio could do when unfettered by price constraints. The price was a shock, but so was the extraordinary ‘PRaT done right’ sound!

Reviewed by Alan Sircom

Neat Ultimatum XL6

Reviewed in Issue 165

https://hifiplus.com/articles/neat-acoustics-ultimatum-xl6-loudspeaker/

Neat’s top stand-mount loudspeaker features forward and up-firing tweeters and an internal isobaric bass chamber, all of which makes a huge and rhythmic-sounding speaker larger than its size would suggest.

Reviewed by Alan Sircom

Nordost Odin 2

Reviewed in Issue 128

https://hifiplus.com/articles/nordost-odin-2-cables/

Nordost has been a popular choice at Hi-Fi+ since the beginning, but we were unprepared for the sonic game-raiser – in terms of speed and detail resolution – that is Odin 2.

Reviewed by Alan Sircom

Pass Labs XP-25

Reviewed in Issue 94

https://hifiplus.com/articles/pass-labs-xp-25-phono-preamp-hi-fi/

This two-box RIAA-only solid-state phono stage allows extreme flexibility in set-up and cartridge loading, which means if you put the effort in, you get an outstanding performance out of the XP-25.

Reviewed by Alan Sircom

PMC fact.12

Reviewed in Issue 107

https://hifiplus.com/articles/pmc-fact12-loudspeakers/

These elegant towers were the product of PMC and the National Physical Laboratory in London, creating a loudspeaker with innovative dispersion properties for a narrow baffle. The result sounds fantastic!

Reviewed by Jason Kennedy

Primare I35

Reviewed in Issue 163

https://hifiplus.com/articles/primare-i35-integrated-amplifier/

The latest Primare platform is a highly modular amplifier system, but even as just an amplifier the I35 integrated is one of those products that you just love to enjoy!

Reviewed by Alan Sircom

ProAc Response D20R

Reviewed in Issue 128

https://hifiplus.com/articles/lindemannproac-system/

Taking ProAc’s popular D18 floorstanding loudspeaker and adding a ribbon tweeter would be good enough, but the company also improved the bass loading and made a sweet-sounding speaker with oomph!

Reviewed by Alan Sircom

PS Audio DirectStream

Reviewed in Issue 125

https://hifiplus.com/articles/first-listen-ps-audio-directstream-dac-with-pikes-peak-operating-system/

This impressive DAC just keeps getting more impressive with each iteration of its operating system. It’s like getting a new and better-quality DAC for free each time you upgrade.

Reviewed by Chris Martens

PSB M4U 8

Reviewed in Issue 160

https://hifiplus.com/articles/psb-m4u-8-wireless-noise-cancelling-headphones/

These clever yet affordable wireless headphones combine very good sound quality in passive mode, even better sound in active mode, and musically sensitive noise cancellation for music on the move.

Reviewed by Chris Martens

Questyle QP2R

Reviewed in Issue 154

https://hifiplus.com/articles/questyle-audio-qp2r-highresolution-portable-digital-audio-player/

Questyle’s second portable Digital Audio Player is a solid, refined, and powerful performer that hooks into the brand’s digital architecture. Its current-mode amplification means the DAP can drive difficult headphones.

Reviewed by Chris Martens

Raidho TD-4.8

Reviewed in Issue 161

https://hifiplus.com/articles/raidho-td-48-floorstanding-loudspeakers/

The narrow, wing shaped TD-4.8 is an imposing, if slim, structure, but its 5-layer ceramic-tantalum Diamond drivers give the Raidho tower loudspeaker uncanny speed and precision that sets a new standard.

Reviewed by Alan Sircom

Rega Osiris

Reviewed in Issue 72

https://hifiplus.com/articles/rega-isis-osiris-hifi-plus-72/

Rega was best known for making affordable turntables, so the high-end integrated Osiris came as a shock. The detailed, inherently musical, deceptively powerful amp is still the one to beat.

Reviewed by Jason Kennedy

REL 212/SE

Reviewed in Issue 145

https://hifiplus.com/articles/rel-acoustics-212se-subwoofer/

Arguably REL’s most musical subwoofer in the range (without spending a fortune), the powerful 212/SE, when correctly installed makes your speakers do less work, and the soundstage blossoms and expands.

Reviewed by Alan Sircom

Roon Nucleus +

Reviewed in Issue 159

https://hifiplus.com/articles/roon-nucleus-music-server/

The Nucleus + is a grab-and-go music server capable of storing up to 120,000 tracks and makes them sound good while incorporating all the track-wrangling joys of Roon.

Reviewed by Chris Thomas

The Hi-Fi+ Top 100: dCS to Linn Products

The second 25 of our round-up of the best products from the finest brands of the last 20 years, covering products made from early 1999 to 2019. Please note, this feature was in celebration of Hi-Fi+ twenty years of high-quality audio reviews and accompanied our 170^th printed issue. Audio is a fluid, dynamic market, and reviews published after Hi-Fi+ Issue 170 are also relevant!

dCS Vivaldi 2.0

Reviewed in Issue 141

https://hifiplus.com/articles/dcs-vivaldi-20-digital-playback-system/

dCS is the best of British digital audio and the four-box Vivaldi is the best of that best. Imagine our surprise when it was transformed by its v2.0 firmware upgrades!

Reviewed by Chris Thomas

Devialet D-Premier

Reviewed in Issue 75

https://hifiplus.com/articles/the-devialet-d-premier-integrated-ampdac-hifi-75/

This shiny chrome pizza box-sized amplifier came packed with the highest of high-tech audio electronics, and the hi-fi industry sat up and took notice. The ultimate in disruptive audio technology!

Reviewed by Alan Sircom

Dynaudio Special Forty

Reviewed in Issue 153

https://hifiplus.com/articles/dynaudio-special-forty-standmount-loudspeaker/

The Special Forty sports a treated Esotar tweeter, magnesium-silicate polymer bass driver, first order crossover, and subtly trapezoid thin-ply birch cabinet, which adds up to something sounding a bit special.

Reviewed by Chris Martens

Eclipse TD508MK3/TD725swMk2

Reviewed in Issues 106 and 116

https://hifiplus.com/articles/eclipse-td508mk3-loudspeakers/

https://hifiplus.com/articles/eclipse-td-td725swmk2/

Eclipse’s distinctive full-range, crossoverless TD508MK3 is a phase correct point source favoured by recording engineers and audio enthusiasts alike, and the TD725swMk2 is the only subwoofer that can keep up!

Reviewed by Alan Sircom

ELAC Adante AS-61

Reviewed in Issue 158

https://hifiplus.com/articles/elac-adante-as-61-standmount-loudspeaker/

Visionary loudspeaker designer Andrew Jones developed these excellent three-way loudspeakers as one of his first projects with ELAC, featuring a dual concentric driver and an aluminium cone bass driver. Wow!

Reviewed by Alan Sircom

Ensemble Natura

Reviewed in Issue 89

https://hifiplus.com/articles/ensemble-natura-loudspeakers-hi-fi-89/

Swiss-made Ensemble builds systems, but if you want to typify what the brand stands for, look no further than the Natura floorstanding loudspeaker; its extremely natural sound is ideal for classical music.

Reviewed by Alan Sircom

Final D8000

Reviewed in Issue 157

https://hifiplus.com/articles/final-d8000-planar-magnetic-headphone-with-air-film-damping-system/

A unique planar magnetic headphone system that incorporates Final’s own air film damping system, the D8000 doesn’t just look good; it has the sonic performance and the technology to match.

Reviewed by Chris Martens

Focal Diablo Utopia

Reviewed in Issue 63

Now replaced by the similar-looking Diablo Utopia III Evo, the original Diablo Utopia remains one of Chris Thomas reference loudspeakers today, as it delves deep and delivers the detailed goods!

Reviewed by Chris Thomas

German Physiks Borderland Mk IV

Reviewed in Issue 141

https://hifiplus.com/articles/german-physiks-borderland-mk-iv-floorstanding-loudspeaker/

German Physiks builds and develops omnidirectional loudspeaker designs, and the Borderland Mk IV is a perfect example of why that exceedingly rare approach really is a good thing!

Reviewed by Alan Sircom

GoldenEar Technology Triton Reference

Reviewed in Issue 151

https://hifiplus.com/articles/goldenear-technology-triton-reference-floorstanding-loudspeaker/

GoldenEar combines outstanding AMT ribbon tweeter refinement with oodles of active sub-bass power in a conventional looking and extremely affordable tower loudspeaker. High-end audio and video speakers better watch out!

Reviewed by Chris Martens

Gryphon Diablo 120 and Mojo S

Reviewed in Issue 147

https://hifiplus.com/articles/munich-preview-exclusive-gryphon-diablo-120-amplifier-and-mojo-s-loudspeaker-system/

This is the first rung on the ladder to greatness from the grandmasters of Scandinavian high-end audio systems, Gryphon. Both phenomenally well-made and exceptionally well-matched, this power duo work beautifully.

Reviewed by Roy Gregory

Hegel H590

Reviewed in Issue 163

https://hifiplus.com/articles/hegel-music-systems-h590-integrated-amplifier/

Hegel makes giant killer amplifiers, so making its own giant in the H590 could have gone wrong. Instead, it shows what can be done when the price constraints are removed.

Reviewed by Alan Sircom

HiFiMAN Shangri-La Jr

Reviewed in Issue 168

https://hifiplus.com/articles/hifiman-shangri-la-junior-electrostatic-headphone-and-valve-driven-amplifier/

HiFiMAN shocked the personal audio world with its very high-end Shangri-La system, but in the Shangri-La Jr it produces similar levels of performance for a fraction of the original price.

Reviewed by Jim Hannon

iFi Pro iDSD

Reviewed in Issue 164

https://hifiplus.com/articles/ifi-audio-pro-idsd-dacheadphone-amppreampstreamer/

We review a lot of iFi Audio, but the Pro iDSD Streamer/DAC/headphone-amp/preamp is the best yet, thanks to it covering a lot of ground and sounding great in the process.

Reviewed by Chris Martens

Innuos Statement

Reviewed in Issue 168

https://hifiplus.com/articles/innuos-statement-music-server/

Taking the already excellent ZENith SE platform to its conclusion, the two-box music server from Innuos is proving to be a tough act to beat in today’s music server world.

Reviewed by Jason Kennedy

IsoTek EVO3 Mosaic Genesis

Reviewed in Issue 123

https://hifiplus.com/articles/isotek-evo3-mosaic-genesis/

IsoTek’s skills in making power conditioners and power cables extend to making power regenerators. With indicators for voltage and distortion, the benefits of clean power are both visible and audible.

Reviewed by Nicholas Ripley

Jeff Rowland Continuum S2

Reviewed in Issue 120

https://hifiplus.com/articles/jeff-rowland-design-group-continuum-s2-integrated-amplifier/

Jeff Rowland Design Group products always look great, but this 400W Class D integrated amplifier with optional DAC or phono modules sounds holographically transparent and detailed too. Best used balanced.

Reviewed by Alan Sircom

KEF Blade

Reviewed in Issue 91

https://hifiplus.com/articles/kef-blade-loudspeaker-hi-fi/

The distinctive Blade is a high-tech tour-de-force. Using KEF’s UniQ driver set in among four equidistant side-firing bass units in a blade-shaped cabinet, the Blade is a detail-retrieving high-end superstar.

Reviewed by Roy Gregory

Kii Audio Three

Reviewed in Issue 162

https://hifiplus.com/articles/kii-three-active-loudspeaker-system/

One of the few active loudspeakers that even the most curmudgeonly audiophiles approve of, the Kii Three is a complete Class D, DSP-driven, great-sounding streaming system inside a speaker cabinet!

Reviewed by Jason Kennedy

Kimber Kable Axios

Reviewed in Issue 149

https://hifiplus.com/articles/kimber-axios-headphone-cable/

Years of making great cable for conventional two-channel audio does not automatically transfer to good personal audio sounds, but Kimber Kable’a Axios is different, and is a true in-ear revelation!

Reviewed by Chris Martens

Koetsu Blue Onyx

Reviewed in Issue 116

https://hifiplus.com/articles/koetsu-blue-onyx/

Everything about this remarkable moving coil cartridge is the stuff of legend, from the hand-fashioned blue Onyx body shell to the platinum sheathed copper wires used in the coil windings.

Reviewed by Jimmy Hughes

Kronos Sparta and Helena

Reviewed in Issue 131

https://hifiplus.com/articles/kronos-sparta-turntable-and-helena-tonearm/

The Sparta is the more attainable turntable from Kronos. This can start as a single platter deck, with a counter-rotating underplatter upgrade. And the Helena arm is a magical counterpart.

Reviewed by Alan Sircom

Kuzma Stabi R

Reviewed in Issue 164

https://hifiplus.com/articles/kuzma-stabi-r-turntable/

The latest turntable from Kuzma is solid aluminium with a built-in power supply. It can support up to four tonearms and can be finished in a range of wooden frames.

Reviewed by Alan Sircom

Linn Selekt DSM

Reviewed in Issue 164

https://hifiplus.com/articles/linn-selekt-dsm-digital-streaming-platform/

Linn has long trod its own path, but things are changing. The new Selekt DSM streamer/amplifier is designed specifically to play nice with other people’s speakers, and it does so brilliantly!

Reviewed by Alan Sircom

The Hi-Fi+ Top 100: 1More to Dan Clark Audio

Over the last 20 years, Hi-Fi+ has amassed a significant number of product reviews. More than 2,800 in fact, which at a rough guess works out at almost three million words of reviews about some of the best products in audio. Looking through that archive gives one a unique perspective on audio in the dying embers of the 20th Century and the first years of the 21st. Fascinatingly, although some brands have changed hands (sometimes more than once), surprisingly few companies have entirely disappeared; of the 22 different brands featured in that first issue, 19 of them are still going strong.

Perhaps even more remarkably, you don’t need to look much further to find products that remain in production; the Digital Stylus Force gauge made by The Cartridge Man is still made to this day, and a metal version of Clearaudio’s acrylic cartridge alignment tool is also available. The VPI HW16.5 record cleaning machine is also in production but is no longer sold in the UK. To find the first product in the signal chain that is in production to this day, you need to fast forward to issue three (Oct/Nov 1999) and the Shahinian Starter loudspeaker, followed closely by that evergreen amplifier, the Naim NAP 250 in issue four (Dec 1999/Jan 2000). That last amplifier may have been boosted by DR (Discrete Regulator) upgrades in recent years, but at the time we reviewed it, the NAP 250 was already approaching 25 years old, and shows no signs of slowing down as it reaches its 45th birthday. There are few other branches of consumer electronics that can lay claim to such product life cycles.

What follows is a round-up of some of the best products from some of the best brands we have seen in the last 20 years. We have set a couple of criteria: that the company should still be in business and – whenever possible – we select products that are still in production, or at least a variant of the product is still in production. Each brand stands on the shoulders of dozens of other companies that could just as easily make the cut, and out of the 300 or so initially selected, we thinned the pack out by selecting brands that featured regularly enough to suggest success was not a one-off. In addition, almost every product from these 100 names was picked from a number of very positive reviews for that brand in Hi-Fi+. In that case, we have gone for what we feel is the most significant product in the line-up. That’s not to say products or brands not in our top 100 are inferior; in fact, we had something like an embarrassment of riches.

In this line-up, we have highlighted where possible review and/or the relevant issue in which that review is published. Of course, with an archive that runs right back to the last days of the 20^th Century, not all our original reviews are available online, and some of our issues are now completely sold out. But just as we were surprised by how many products from our early years are still in production, you might be surprised by just how many back issues we still have!

First published in issue 170

https://hifiplus.com/publications/hi-fi-plus/issues/170/

1MORE Quad Driver

Reviewed in Issue 147

https://hifiplus.com/articles/1more-quad-driver-universal-fit-earphones/

Of the brands in Hi-Fi+, few have combined high performance with value for money as successfully as 1MORE. The company’s excellent Quad Driver in-ear universal-fit earphone is a perfect example.

Reviewed by Chris Martens

Abyss AB-1266 Phi CC

Reviewed in Issue 166

https://hifiplus.com/articles/abyss-ab-1266-phi-cc-edition-planar-magnetic-headphones/

The distinctive looking Abyss design is a continual search for the best headphone sound and the AB‑1266 Phi CC planar magnetic is our resident personal audio guru’s reference standard model.

Reviewed by Chris Martens

AKG N5005

Reviewed in Issue 164

https://hifiplus.com/articles/akg-n5005-earphones/

AKG’s current in-ear flagship is an ambitious design for both wired and wireless listening. Spend some time getting the right ear tips and the result is a wonderfully balanced sound.

Reviewed by Alan Sircom

Astell & Kern AK380

Reviewed in Issue 126

https://hifiplus.com/articles/astell-kern-ak380-high-res-digital-audio-player/

The company that revitalised the portable Digital Audio Player, and the product that best typifies what A&K does best – a no-compromise powerhouse performer for the home and on the move.

Reviewed by Chris Martens

Audeze iSINE 20

Reviewed in Issue 152

https://hifiplus.com/articles/audeze-isine20-planar-magnetic-universal-fit-earphone/

Audeze squeezed a planar magnetic quart into a universal-fit earphone pint pot, all with a TIE fighter aesthetic. Designed to be driven by smartphones on the go, these sound amazing!

Reviewed by Chris Martens

Audio Research REF 160M

Reviewed in Issue 163

https://hifiplus.com/articles/audio-research-ref-160m-mono-power-amplifiers/

Audio Research is on a roll at the moment, but that didn’t prepare us for what might just be the best hybrid power amplifier ever made from this high-end titan.

Reviewed by Alan Sircom

AudioQuest Niagara 7000

Reviewed in Issue 168

https://hifiplus.com/articles/audiouest-niagra-7000-power-conditioner/

AudioQuest makes everything from small DACs to giant power cords, but it’s the super-heavy Niagara 7000 flagship of its conditioner range that really caught our eye. Perfect power properly produced!

Reviewed by Roy Gregory

AURALiC VEGA G2

Reviewed in Issue 156

https://hifiplus.com/articles/auralic-vega-g2-streaming-dacpreamp/

AURALiC makes some of the best streaming systems we’ve ever heard. The VEGA G2 is the core platform for its highest range to date. It’s a great sounding digital multitool!

Reviewed by Chris Martens

Avalon Isis

Reviewed in Issue 46

We struggled to choose between the Eidelon Diamond and the Isis, but the flagship Avalon’s refinement so impressed Roy Gregory at the time it’s almost impossible to beat. Even today.

Reviewed by Roy Gregory

Ayre KX-R

Reviewed in Issue 62

Using Ayre’s sophisticated Variable Gain Transconductance volume control, the original KX-R line preamplifier so impressed Chris Thomas that he used it as his reference. Now replaced by the KX-R Twenty.

Reviewed by Chris Thomas

Benchmark HPA4

Reviewed in Issue 167

https://hifiplus.com/articles/benchmark-media-systems-hpa4-headphone-amplifier-1/

Benchmark is perhaps best known for its range of DACs, but the new HPA4 shows just what the brand can do with a take-no-prisoners headphone amplifier design. A real game-changer!

Reviewed by Tom Martin

Benz-Micro SLR Gullwing

Reviewed in Issue 79

https://hifiplus.com/articles/benz-micro-slr-gullwing-mc-phono-cartridge-hi-fi-79/

Until a cat took a swipe at the cantilever, the nude SLR Gullwing was the Editor’s reference moving coil thanks to its crisp, rhythmic, detailed yet inviting, and dynamic presentation.

Reviewed by Alan Sircom

Bowers & Wilkins 802 Diamond

Reviewed in Issue 81

The 802 Diamond featured an innovative diamond tweeter with one of the last iterations of B&W’s one-time signature Kevlar midrange. A powerful, yet domestically-acceptable, statement. Replaced by the 802 D3.

Reviewed by Jason Kennedy

Burmester 151 Musiccenter

Reviewed in Issue 121

https://hifiplus.com/articles/burmester-151-musiccenter-media-player/

Burmester famously keeps products in production for decades, so a media server needs to get things very right. Fortunately, in the 151 Burmester made a truly world-class CD-ripping music server.

Reviewed by Alan Sircom

Computer Audio Design 1543 Mk II

Reviewed in Issue 121

https://hifiplus.com/articles/computer-audio-design-cad-1543-mkii-digital-converter/

The austere CAD DAC has just one USB input and uses a ladder array of vintage Philips chips to deliver perhaps the best non-oversampling 16-bit PCM sound you’ll ever hear! Now in Mk III guise.

Reviewed by Jason Kennedy

Cardas Audio Clear

Reviewed in Issue 66

Starting with the original Clear, Cardas has replaced many of its long-standing cables throughout the range with Clear-related versions. Clear is always neutral yet entertaining, and it can revolutionise systems!

Reviewed by Alan Sircom

Cayin HA-300

Reviewed in Issue 161

Cayin’s 300B powered headphone amplifier with an external power supply can also act as a single-ended triode or push-pull stereo integrated amp in its own right. A very fine all-rounder.

Reviewed by Chris Martens

CH Precision L1, P1, X1, M1

Reviewed in Issue 159

https://hifiplus.com/articles/ch-precision-wilson-benesch-and-nordost-system/

A complete line preamp, phono stage, power supply, and mono power amp system from Switzerland. The line and phono stage can each be upgraded to full four-box dual mono, too!

Reviewed by Roy Gregory

Chord Company Sarum Super ARAY

Reviewed in Issue 135

Taking Chord’s Tuned ARAY geometry to the max, Sarum represented the pinnacle of Chord’s performance until its Taylon insulation raised the game. Existing owners can upgrade to the latest Sarum!

Reviewed by Roy Gregory

Chord Electronics DAVE

Reviewed in Issue 141

https://hifiplus.com/articles/chord-electronics-dave-dacheadphone-amp/

Short for ‘Digital to Analogue Veritas in Extremis’, DAVE is the pinnacle of Chord’s sophisticated FPGA-based digital conversion systems delivering a whopping 1000x the processing power of conventional DAC chips.

Reviewed by Alan Sircom

Clearaudio Goldfinger Statement

Reviewed in Issue 104

https://hifiplus.com/articles/clearaudio-goldfinger-statement/

At the very top of Clearaudio’s extensive range of moving magnet and moving coil cartridges, the distinctive-looking Goldfinger Statement is one of the most insightful LP components money can buy.

Reviewed by Roy Gregory

conrad-johnson GAT Mk II

Reviewed in Issue 137

https://hifiplus.com/articles/conrad-johnson-gat-series-2-preamplifier/

Using just one double-triode per channel, this hybrid line-only design relies on a minimalist circuit to make one of the best preamplifiers we’ve ever heard. Original owners can upgrade too.

Reviewed by Roy Gregory

Constellation Hercules II Stereo

Reviewed in Issue 125

https://hifiplus.com/articles/constellation-audio-hercules-ii-stereo-power-amplifier/

Available in mono or – as we tested, stereo – form, the mighty Hercules II is the mainstay of Constellation’s top Reference series thanks to an incredibly detailed, musical, and dynamic sound.

Reviewed by Alan Sircom

Crystal Cable Absolute Dream

Reviewed in Issues 95 and 96

https://hifiplus.com/articles/crystal-cable-absolute-dream-part-one/

https://hifiplus.com/articles/crystal-cable-absolute-dream-signal-power-cables-hi-fi/

Absolute Dream was Crystal Cable’s first design to feature a monocrystal silver solid-core conductor wrapped in twin sheaths of Kapton and PEEK and then wrapped in a braid of both silver-plated monocrystal copper and gold-plated monocrystal silver. It’s not cheap, but the best never is!

Reviewed by Alan Sircom

Dan Clark Audio VOCE

Reviewed in Issue 170

https://hifiplus.com/articles/mrspeakers-voce-electrostatic-headphones/

Electrostatic headphones are rare, and it’s a sign of Dan Clark Audio’s (née MrSpeakers) commitment to personal audio that it has produced the Voce. It helps that it’s one of the best headphones around.

Reviewed by Chris Martens

Lateral Audio Stands LAS-4 Integral

The name sounds a bit like a piece of military hardware, but the Lateral LAS-4 Integral is, in fact a high-performance and inherently upgradable equipment support.

Equipment supports seem to be evenly divided between those that are affordable and lightweight, but a bit rudimentary, those that are expensive and heavyweight, but also a bit rudimentary, and those that actually try to address some of the demands placed on an equipment support by the devices that rest upon it. Lateral is very much in the latter camp.

The Lateral LAS-4 Integral is a two-to-five tier equipment support system that uses a combination of oak-veneered machined birch ply/mystery lightweight wood platforms with machined solid oak legs. Each of these platforms is CNC milled not only for the basic shape of the platform, but to mill out the two crescent shaped spaces cut into the centre of the platform, which are designed to lower resonance and vibration (the ideas come from the aerospace industry, in particular how modern jet engines manage to be both more fuel efficient and quieter using similar anti-vibration techniques).

Assembly is almost straightforward, and shows the, er, lateral thinking involved in the platform design. Quite literally; faced with a set of long bolts and uprights, you might be forgiven for thinking they screw-in top and bottom to each leg. In fact they bolt the legs to the platform at a 90° angle. This is far smarter than just a design feature, as it means the interface between platform and upright is a classical tensioned bolt arrangement. If you want to know why that’s important, go to a modern city and look up; those cranes rely on tensioned bolts to prevent them from disintegrating when lifting a heavy load. Here it means the mass of whatever sits on the stand is limited by the sheer strength of the bolt, and it’s an excellent way of getting vibrational energy away from the equipment itself. The ‘almost’ part comes in because until you bolt top and bottom platforms together, the whole thing acts like bagpipes in the wild.

If you have more than three tiers, you connect the separate sections (think of a four tier stand as two sets of two-platform tall stands) with four dedicated leg cones that you set between sections, then ensure everything is as level as possible (that is vitally important) and tightened. The leg cones are not designed to be an interference fit. A good plan here is to ‘offer up’ top section to base and then insert the cones one at a time. We come from an industry that equates ‘tightened’ to ‘near breaking point’ – Lateral takes a more common-sense engineering approach to tightening bolts.

The whole stand rests on four spikes, and Lateral suggests leaving the stand to ‘settle’ before installing equipment: how much settling time is not given, but I’d give it enough time to enjoy a rewarding cup or two of tea.

Once installed though, the Lateral system makes a lot of musical sense. There’s a stated goal of Lateral to help bring out the best from reasonably priced audio equipment, and the Lateral system achieves that goal almost perfectly. There’s a lightness of touch to the sound; not insubstantial (in fact bass is clear, distinct, and deep), but deft and fleet-of-foot. The sense of rhythm is entirely unconstrained and the stand helps bring out the best of that aspect in any component it rests upon. One of my most recent tests in this is to try and decode the frankly crazy Flamagra album by Flying Lotus [Warp]. It’s not the best mix on the planet, but there is a lot of stuff going on in that mix and any help in teasing apart the compressed sound is worth noting. Here, playing on a Primare I25, the sound was more separated, melodic, and easier to follow. It was more spacious too, although the platform doesn’t fill in the blanks creating a soundstage where there is just a wall of sound. With better quality recordings (such as the ECM recordings of Schiff playing Beethoven Piano Sonatas), that lightness of touch coupled with a soundstaging boost made the system seem just that bit more ‘real’.

There is also more substance to the sound, alongside the lightness of touch. Music rises from a darker sounding background, and the placement of instruments within the musical presentation seems more solid and precise, yet at the same time more detailed and airy. Even on the orchestrated retro-bleeping of Nils Frahm’s ‘All Melody’ [Erased Tapes], you got the feeling of a more coherent overall performance rather that any kind of disassociation between the instrument voices. This is a subtle nudging of the system into a more musical and beat-driven direction, but the effect itself is not subtle!

There’s an upgrade path too. You can add Concert isolation platforms to one or more standard Integral shelves. Along with the platform itself, the £400 Concert is supplied with three cup-ball-puck cone feet and one that is effectively a cup with a rounded tip threaded height-adjustment. This is icing on the cake, but it’s one hell of a good icing! There is even an additional option that removes the original Integral shelf and replaces it with a centre-less shelf base with a black anodised front panel for an additional £200. If Concert is icing on the cake, this is the cherry on the top of that icing. Both options are worth taking as both give benefit, but it’s Integral that does the heavy lifting.

Lateral’s LAS-4 Integral stand is British engineering in the Lotus tradition, but in a good way. It’s the ‘simplify, and add lightness’ kind of engineering, rather than ‘at the roadside with a carrier bag full of sheared gearbox parts’ version. In its Integral guise, it’s a consistent performance boost without an electronics swap. Adding Concert improves on that improvement. What more can you ask of a support system?

TECHNICAL SPECIFICATIONS

Dimensions (W×D): 65 × 49.5cm
Height and weight dependent on specification
Two, three, four, and five tier versions available, four tier version tested
Height (as tested): 89cm
Maximum shelf load: 50kg (bottom tier), 30kg (upper tiers)
Finish: oak as standard, black oak
Prices: from £1,300 (price as tested, £1,800)
Concert Isolation platform upgrade for LAS-4 stand: £400

Manufactured by: Lateral Audio Stands

URL: lateralaudiostands.co.uk

https://hifiplus.com/reviews/

Hegel Audio Systems H390 integrated amplifier

Here’s how you make a good modern integrated amplifier. Start with the best bits from the last generation of good modern integrated amplifier and mix in many of the best bits of the new flagship integrated amplifier. In the case of Hegel Audio Systems, that means putting the older Hegel H360 in a room with Hegel’s current top of the tree H590, dim the lights, put on some Barry White, and let nature take its course. The result is the Hegel Audio Systems H390 amplifier.

OK that’s too simplistic and more than a little too odd to think about in any kind of deeper sense, but there’s a grain of truth in this. No, not in the Barry White way, but the notion that this is pretty much the amplifier component of the H360 spliced with the digital platform first seen in the Hegel Röst and H190 – and taken to its ultimate in the H590 – is not so far-fetched. Roll that round your brain-pan for a few moments; a lot of Hegel’s H590, a product so good the company had to work out whether or not it would cannibalise sales of its own popular HD30 DAC, exists in the H390.

Granted the H590’s DAC section is more advanced than the one in the H390, but not by much. In fact, the only real limitation made to the H390 from previous models and what marks it out against the H590 is the big boy uses a full aluminium chassis, and the H390 saves weight and cost by going for some moulded parts in less sonically critical areas. Little wonder then that Hegel gave this project the code-name ‘Robin Hood’ during its development because it really does take from the rich… not that you’d call putting that richesse of technology in a five grand amp ‘giving to the poor’, but you get Hegel’s drift.

We could just say baby H590 and stop there, but there is more to it than that. Even though the H390 uses a slightly simplified version of the H590 DAC there are a few bits of the design that are actually taken further too, as reflects another year down the digital rabbit hole. In the H390, all digital inputs are given the same extra jitter reduction treatment as used in the USB and Network inputs. This means lower jitter on S/PDIF inputs too. The H390 supports MQA, DSD64 on S/PDIF inputs, and USB up to DSD256. The H390 also supports internet updates, like the H590, so you can update via the menu. Developing this upgradablility allowed the technology to trickle down to the H190 (it will be available after you install firmware update v.20). This also unlocks aspects like adding a Roon endpoint, improvements to MQA and DSD replay, and better sounding Ethernet streaming. Add in AirPlay 2, UPnP, Control 4 conectivity, and volume control from USB, and you have an extremely flexible platform.

You can now even see the amp’s IP address in the menu. This was something that was harder to do when Macs still clung to Bonjour, but with that out of the way, being able to eye-ball the IP address allows you to go to the amplifier’s home page on a web browser and customise a lot of settings.

In the process of squeezing the H590s digital quart into the H390’s pint pot, Hegel discovered some things along the way. Such as, routing all digital inputs through the USB’s DSP. That is a first for the H390. In addition, Hegel came up with ‘down-clocking’; reducing the frequency of the system clock of important circuits whenever possible to minimise noise. This is almost the antidote to the audio arms race where every device needs more processing power. By effectively letting those circuits run below their limits, there are clearly audible and apparently measurable benefits to be had.

If Hegel just threw all this digital nicety at the H360 and left the amplifier effectively unchanged, the company would be on to a good thing. However, Hegel went right back to the drawing board (well, drawing tablet) and not a single analogue board in the H390 is shared with its predecessor. That allows the H390 to have fully configurable inputs, so they can be variable or line-level inputs. The H390 also has higher gain on the pre-output compared to other Hegel amplifiers, which is especially useful for those who run their music system in a 2.1 configuration with a powered subwoofer. Naturally, the amplifier was given Hegel’s listening test treatment; the H590 was voiced, then members of the team were handed out early pre-production samples and asked to live with them for a while and report back. That gives a multiplicity of sources and loudspeakers used in the ‘beta test’ phase.

It’s hard not to dub the H390 as the ‘baby 590’ and for good reason. But, in fact it’s so much more, both in terms of performance and on a gut level. Let’s be clear here, the H590 is the better amplifier with the better DAC; it’s smoother sounding, more insightful, and more powerful sounding. But it’s also £9,000 and there is an expectation that an amplifier that costs that much delivers the goods as a matter of course. The H390 isn’t nine grand… you get £100 change from five grand, and the ‘wait… what’ moment is just how much the H390 closes that gap.

I logged many an hour with the H360. Some time had passed between those hours and the hours spent with the H390, but I’m sure of the difference. The H360 was good – in competition to its peers at the price, great in fact – and the H390 makes it sound almost broken. That slight leading edge sheen that we all but ignored because there was nothing at or near the price that could do better, now sounds edgy and harsh in the presence of the H390.

I popped track after track through the H390, playing everything from dying man complaint rock (the title track to Leonard Cohen’s You Want It Darker album on Columbia), through Glenn Gould playing wispy Bach inventions, and out through the medium of Infected Mushroom belting out ‘Noon’ from IM the Supervisor [Yo-Yo], to Jackie McLean’s Bluesnik album [Blue Note]. I played these tracks and more through a CD player into the analogue inputs, through S/PDIF, USB, Ethernet, in fact so many inputs were I to describe them all this would read like a Dr Seuss book. Nothing fazed the H390. Nada.

It had that effortless dynamic range and grip over the loudspeakers we have come to expect from Hegel, with a comprehensively good performance in all other aspects, and as I said that mild upper-frequency zing of its predecessor has been replaced with ear-opening neutrality and honesty. But most of all, it’s a fun thing; listening is a journey of musical discovery that is never dry or fusty. It’s got passion and energy in its output, and it expresses that on every loudspeaker I paired it with, even ones that normally wouldn’t get out of bed for a £4,900 amp. In fact, that little jaunt through any loudspeakers I had to hand was telling; the amp’s character was like musical smoke in all the right ways – aside from a universal grip over the bass units from its high damping factor and an innate sense of musical space and rhythm, descriptions of performance were loudspeaker-related, not amp-related. I would say that I can’t recall the last time an integrated amplifier did that, but I can… it was the Hegel H590. The H390 doesn’t quite get out of the way as much as the ‘straight wire with gain’ H590, but it gets damn close.

Downsides are few. There’s no headphone amp or phono stage. And having an amp with a built-in DAC means fewer analogue inputs with which to plug in a DAC. But if you read that aloud you realise how daft that sounds. Sonically though… there’s nothing.

I expected the Hegel H390 to be good because of its foundations, but I didn’t expect it to be this good. This has to be one of the best integrated amplifiers money can buy at the moment, and its only really bettered by its bigger brother, unless you spend truly epic amounts of money. Wow!

TECHNICAL SPECIFICATIONS

Type: Integrated amplifier with network connected DAC
Power output: 2 × 250 W into 8 Ohms
Minimum load: 2 Ohms
Analogue inputs: 2 × balanced (XLR), 3 × unbalanced (RCA)
Digital inputs: 1x BNC 75Ω S/PDIF,
2 × coaxial S/PDIF, 3 × optical
S/PDIF, 1 × USB, 1 × RJ45 Ethernet
Line level output: 2 × unbalanced variable (RCA)
Diigital outputs: 1x BNC 75Ω S/PDIF
Frequency response: 5 Hz–100 kHz
Signal-to-noise ratio: More than 100 dB
Crosstalk: Less than -100 dB
Distortion: Less than 0.01%
@ 50 W 8 Ohms 1kHz
Intermodulation: Less than 0.01%
(19 kHz + 20 kHz)
Damping factor: More than 4000 (main power output stage)
Dimensions (H×W×D):
17.1 × 43cm × 44.5cm
Weight: 22kg
Price: £4,900

Manufactured by: Hegel Music Systems

URL: hegel.com

Tel: +44(0)7917 685759

https://hifiplus.com/reviews/

Final B Series earphones: Part Two

Last time, I wrote the first section of a two-part review of the new B-series (B1, B2, and B3) earphones from Final. This is part two of that review and it focuses on the B1—the only hybrid design in the range.

To recap, please note that Final is a Japanese personal audio specialist with a reputation for offering products exhibiting very high build quality, innovative designs, and fine sound quality. With the B-series models Final’s engineering team worked specifically on three critical aspects of earphone design: perceived spatial presentation, perceived dynamic range, and the ergonomics of the earphones’ earpieces.

Final emphasises that each B model is optimized to exploit the specific sonic characteristics of certain commonly encountered approaches to music recording. For example, says Final, the B2 is “particularly well suited to rich spatial recordings…” and “…well suited to classical music recordings that take adequate advantage of the reflections and reverberations of a concert hall.” In turn, Final says the B3 is “designed with particular emphasis on clarity…” meaning that it “…caters to those who wish to have the delicate sound of each instrument delivered gorgeously even from live recordings, and enjoy tight vocals from animated soundtracks and EDM.” Last, Final says the B1 is, “designed with particular emphasis on proximity of sound and sense of reality…” such that “clarity of vocals and each musical instrument is extremely high, (offering) overwhelming presence and (a) feeling of liveliness as if standing in the centre of a live stage.”

All “B” models share an angular two-piece earpiece design with shells made of injection-moulded stainless steel. Final likens the shell’s shape to a ‘tripod’ that holds the earpieces in a stable position with “no sense of pressure” in the ear. The B1 is treated to a handsome, Rose Gold-plated, mirror-like finish and it employs one dynamic and one balanced armature-type driver with no crossover network. All B models need run-in to sound their best, but I found the B1 needed more break-in than either the B2 or B3 models—perhaps because it takes longer for the dynamic driver to free up to a point where it can keep pace with the balanced armature driver.

In Part 1 we found the B2 emphasized a wide dynamic range and retrieval of spatial information in recordings, while the B3 sounded “almost like a B2 that has had its imaginary ‘Clarity’ knob turned up to ‘11’.” In comparison (and once it has had sufficient run-in) the B1 offers a vivid, emotionally expressive, and up-close-and-personal perspective on the music. This point was brought home to me as I listened to several tracks from Hildur Gudnadóttir’s dark, brooding, and at times downright unnerving soundtrack for the HBO miniseries Chernobyl [Deutsche Grammophon, MQA]—first through the B2 and B3, and then through the B1.

While the former two earphones did a fine job with the Chernobyl soundtrack, the B1 gave a rendition so intimate and so powerful that it triggered in me almost involuntary sensations of anxiety, foreboding, and dread—the acute sense that a catastrophe was unfolding. It is greatly to the B1’s credit that it was able to evoke such real and strong emotional reactions to the music.

Like the B2 and B3, the B1 (eventually) offers a quality of cut-from-whole-cloth sonic integrity and cohesion. I use the qualifier ‘eventually’ because—until the B1’s were fully run-in—I did hear subtle signs of discontinuity between their dynamic and balanced drivers. Over time these gradually melted away until the drivers at last coalesced to speak with one coherent and emotionally compelling voice.

Each B model offers specific sonic merits and a distinctive listening perspective on the music being played; which you prefer, then, will have much to do with the types of music you enjoy and the listening perspectives you require. It is a good bet, though, that at least one of the B models will speak in musical terms that hold meaning and beauty for you.

TECHNICAL SPECIFICATIONS

Final B1 universal fit earphones
Type: Universal-fit earphones with hybrid dynamic and balanced armature driver array
Driver complement: One balanced armature driver, one dynamic bass driver, with no crossover network
Frequency response: Not specified
Impedance: 13 Ohms
Sensitivity: 94dB
Weight: 36g
Finish: Mirror-finish, rose gold-plated
Accessories: Saucer-shaped silicon protective carry case, five pairs of silicone ear tips (XS, S, M, L, XL). 1.2m signal cable with MMCX earphone connectors and silver-plated OFC conductors in a smooth clear twisted-par jack, clear slip-on rubber ear hooks
Price: £599 UK, $699 US

MANUFACTURER INFORMATION

Final/S’NEXT Co. Ltd.
3-12-7 Kitakase, Saiwai-ku, Kawasaki-shi,
Kanagawa 212-0057, JAPAN | URL: snext-final.com
UK Distributor
KS Technology Ltd.
A4 Dolphin Way, Shoreham-by-Sea, BN43 6NZ United Kingdom

URL: ksdistribution.co.uk | +44 (0) 1903 768919

US Distributor

Final Audio USA | URL: facebook.com/FinalAudioUSA

https://hifiplus.com/reviews/

Gold Note PA-10 power amplifier

Florence, Italy – December 5, 2019 – Gold Note is pleased to announce the immediate release of the new stereo amplifier PA-10. The PA-10 is a part of the 10 Series, the conveniently sized entry level line of the Italian manufacturer.

The PA-10 has been developed to offer great power considering its small size (200mm W x 80mm H x 260mm D; 4kg) being only half as big as standard amplifiers. The product is designed as the perfect companion of the DS-10 4in1 DAC (released in July 2019) and the famous multi-awarded PH-10 phono stage and therefore completing a stylish smaller sized High-End System without renouncing to the power and Gold Note sound quality.

The PA-10 is a fully balanced amplifier featuring a BTLdesign (Bridge-Tied-Load) which allows the unit to be easily bridged and work as a mono amplifier increasing its power rate from 75Watt per channel @ 8Ω to a considerable 600Watt @ 4Ω load.

The PA-10 features a lot of innovations which have always distinguished Gold Note’s design. Its most unique function is a GN property Adjustable Damping Factor that allows for an ideal matching of the power amplifier with almost any kind of loudspeaker. Use the default setting for large speakers or activate the low damping factor via an easy button on the rear when driving high sensitivity or mini-monitor speakers.

Moreover, the proprietary GN LINK technology allows putting the PA-10 into a Master-Slave-Mode with other sources like the DS-10 or a second PA-10. When connected via the GN Link cable, the unit will go in standby mode and will re-activate itself only when receiving a signal from the master unit. The GN Link-Function guarantees major user-friendliness since you will be switching ON/OFF the entire audio chain from one source only.

The PA-10 is built around a very solid steel chassis completed by massive panels of aluminium to avoid RFI and EMI. Featuring our iconic air vent design and the same finishes (black, silver or gold), PA-10 integrates itself seamlessly into the look of the 10 Series and completes a coherent design concept that is inspired by the native Italian design tradition. With Gold Note you’re able to create a system where every unit matches the other. The high level of build quality of the PA-10 is completed with top-level electronic components, flexible RCA and XLR outputs and gold-plated speaker terminals.

Orders of the PA-10 Power Amplifier can now be placed with authorized Gold Note dealers worldwide. Suggested retail price: 1390€

www.goldnote.it

Totaldac d1-core digital converter/streamer

Owning a Totaldac product is like an audiophile badge of honour. You fought valiantly in the Mainstream Wars and this is your reward. It will never be That Brand Everyone Knows because it’s just too ‘tweaky’ for the poor schlubs who just buy the normal stuff, and yet it’s not deliberately obscure. It’s digital done right, and that filters out the brand-obsessed. To buy a Totaldac product means you are an individual; almost a feet-astride, chin-in-the-wind Ayn Rand-style hero, only without all the neocon mansplaining.

To even describe the d1-core you own requires some discussion, which is best entirely side-stepped by saying “it’s the right one for me!” You didn’t get DSD (DoP) replay as just another acronym on the spec-sheet; you put it there. Streaming was your choice. Those BNCs were your decision, and the bass-boost circuit and the heavy aluminium front panel… yeah, you chose them, too.

The ‘core’ part of the name is one of the few things in which you, the end-user, don’t get a say. In a world of off-the-shelf chips and full digital application notes boards used as end products, that ‘core’ is ‘key’. The Totaldac core means a custom-designed R2R (or ‘resistor ladder’) DAC, sporting 100 Vishay bulk-foil resistors. These were chosen because of their 0.01% tolerance, although this makes for a very expensive DAC. This puts the Totaldac in with some very lofty company. Vincent Brient of Totaldac was one of the first and remains one of the leading-lights in the R2R world (others often build a R2R DAC out of chips, rather than the ‘no-retreat, no-surrender’ true resistor-ladder array approach), and his discrete components approach remains a world-class option. Others can fashion a DAC out of a clutch of DAC chips working together, lines of code on a FGPA, or even monolithic resistor-ladder chips, but only a DACmeister like Brient goes the whole hog and builds a fully discrete resistor-ladder DAC.

Our review sample came configured in the way apparently most d1-cores are configued today; the d1-core DAC with embedded streamer board, which brings UPnP, RoonReadyness, and Airplay to the basic spec. We also included a DSD replay option, and the USB GIGAFILTER cable to connect the streamer to the DAC itself. The entry-level d1-core essentially becomes three (well, four if you include the power supply) boxes in one; streamer, reclocker and DAC.

The use of the GIGAFILTER cable is the measure of the DAC itself; where most would connect the streamer card to DAC using an internal bus connection, Totaldac takes the streamers reclocked output as a USB datastream to be input to the d1-core’s own USB input. The operating system for the streamer can be upgraded by microSD. The online manual for the streamer is comprehensive and will guide you through the set-up and basic operation, but it’s pretty black-belt stuff by today’s ‘just use Google Home’ standards.

It’s worth the effort, though. The DAC sounds just fantastic. It’s one of the most natural-sounding, almost vinyl-and-valve like converters you can get for the money and beyond. I ran the DAC both as a DAC and as a streamer in its own right, but primarily as a DAC for Naim Uniti Core and the Innuos ZENmini Mk 3/LPSU music server combination tested in this issue. Both worked extremely well, although you could go a lot further in the server stakes and still the d1-core would not run out of road.

The first thing that struck me about the d1-core was a sense of harmonic richness and musical structure that analogue systems seem to do effortlessly, and digital often struggles to achieve. It also resolves a lot of spatial information, throwing out a soundstage that is big and muscular, but also deft and subtle.

If you think this is some rose-tinted fake-analogue sounding DAC, that’s not the case at all. It just has that same ‘you are there’ realistic quality to the sound that is often associated with good vinyl. This comes across so well with something like ‘Pale Blue Eyes’ from the last Velvet Underground studio album [The Velvet Underground, MGM]; the purity and simplicity of the track, coupled with Lou Reed’s plaintive, almost broken vocal, makes the song take on a degree of beauty it rarely displays except on vinyl.

Time and again, it was the naturalness of the recording that pulled you in. It’s not a ‘smoke and mirrors’ trick, and the d1-core isn’t smoothing every recording over; playing ‘You Gotta Roll With It’ from Oasis’ massively compressed 1995 LP What’s The Story (Morning Glory) [Creation], the d1-core did not hide the thin, loud, and brash recording style, but it also teased out as much music as its possible to extract from a wall of ‘loud’.

It’s on more well-balanced music where the d1-core really shines, however. Paul Galbraith’s Bach Sonatas & Partitas [Delos] is a remarkable transcription for an eight-string guitar played like a plucked cello. They are both well-thought out and very well recorded, and through the d1-core it’s total goose-bumps time. The guy is there, physically in the room with you, with none of the artifices or mechanics of stereophonic sound in the way. Or rather, any such constraints are functions of the rest of the system rather than the DAC itself. It’s just music, with all its texture, vivacity, and colour. This also shows the DAC to be extraordinarily detailed, exposing in the process the lie about this being a deliberately softened sounding DAC.

The d1-core’s dynamic range isn’t quite as remarkable as its naturalness, and this comes across as a lack of scale and solidity to Mahler’s Eighth Symphony [Solti, Decca]. The staging is generally very good, reproducing the huge hall filled with musicans well, but the crescendo doesn’t quite blow the doors off their hinges. Other DACs are more dynamic, although many trade range and scale for timbral honesty, and – while I’d like both – I’d go with the honest approach.

The best of all possible digital worlds in Totaldac-land is to bypass as much as possible upstream, and that means using the Totaldac’s playing files from a thumb drive slotted into the converter itself. Think of this like inserting a CD to play an album, rather than trying to squeeze your whole CD collection into the same player at once. Yes, it’s more fiddly and that flies in the face of the fingertip convenience of modern digital audio, but it works. This is the best sounding way of playing digital audio, in terms of stability of image, and just focus to the sound. Impractical, yet fabulous… it’s the audiophile dream!

There’s another feather in the Totaldac’s cap. The d1-core is ‘merely’ the base model in a seven-strong range of converters, and fully upgradable too. Of course, moving up to the d1-twelve mk2 requires separate mono DAC boxes with a separate reclocker box, and a lot of power supply boxes. It also requires changing that single ladder array to six arrays per channel, and something close to €30,000… and this would be even better with a dedicated d1-streamer and d1-player, cables, and so on. In reality, the next step up is a more managable jump and brings twice the DAC and yet more flexiblity .

A Totaldac is not high-maintenance, and it’s not so ideosyncratic that it will only appeal to a really narrow band of audio enthusiasts, but neither is it a universally applicable recommendation. Normally that would be a bad thing, but here it’s more of a ‘many are called, few are chosen’ design. Put it this way; if you think digital audio is an immediately-impressive sound in a very shiny box, look elsewhere, but if you are as uncompromiing in your playback as Vincent Brient is in designing playback equipment, you might have just found your next DAC.

TECHNICAL SPECIFICATIONS

Type: R2R discrete DAC with optional Streamer and DSD

Analogue outputs: 1 pair Stereo XLR (6Vrms) and 1 pair RCA (3Vrms)

Digital inputs (DAC): 2 x S/PDIF (1x RCA with optional BNC, 1x TOSlink), 1x AES/EBU, 1x USB Type B

Digital Inputs (streamer): RJ45 Ethernet, USB-2, microSD (for software updates)

Digital outputs (streamer): USB (for DAC input)

D/A converter: custom R2R converter

Embedded reclocker: 192kHz asyncronous XMOS USB circuit

Dimensions (WxHxD): DAC: 110×360×290 mm

power supply: 65x122x180mm

Weight: 4kg

Colour options: Black or Silver

Price:

d1-core DAC: €4,700

DSD option: €350.

Streamer board mounted in the DAC: €1,000

Manufactured by: TotalDAC

URL: totaldac.com

Facebook: facebook.com/totaldac.vincent.brient

Tel: +33 2 90 02 11 39 (European time zones only)

Win! One of three pairs of Final B-Series Universal-Fit earphones

We have teamed up with our friends at Final to bring you an exciting competition worth almost $1,500 in total, and a chance to win one of three pairs of their B-Series universal-fit earphones.

Chris Martens reviewed these in Hi-Fi+ issue #177 (pages 118 & 119) where he wrote, “Final says the ‘B’ models offer three distinctive listening perspectives, any one of which might best fit a given listener’s musical preferences or listening tastes, and are predicated on common recording techniques that tend to be used by specific musical genres. Final describes ‘B’ models in terms of two axes of performance; the continuum between ’Wide’ and ‘Narrow’ dynamic range, and the continuum between ‘Clarity’ and ‘Spaciousness’.”

He went on to say, “The B1 features one dynamic and one balanced armature-type driver with no crossover network and a Rose Gold-plated, mirror-like finish. The B2 features a single balanced armature-type driver and a gunmetal grey satin finish. The B3 uses two balanced armature-type drivers with no crossover network and a silver satin finish”.

He concluded, “I encourage listeners seeking earphones in the price range of Final’s B models to hear all three variations. Odds are one of them will provide a listening perspective that perfectly fits their musical sensibilities and tastes”.

PRIZES:

1st Prize: Final B1 Universal-fit earphones worth $699

2nd Prize: Final B3 Universal-fit earphones worth $499

3rd Prize: Final B2 Universal-fit earphones worth $299

Competition Question

Which ‘B’ model has two balanced armature-type drivers?

A. B1

B. B2

C. B3

To answer, please visit the Audio64 dedicated competition page at https://audio46.com/pages/final-audio-giveaway

Alternatively, send your answer on a postcard (including your name, address, and contact details) to Final B-Series Competition, Audio46, 29 West 46th Street, New York, NY 10036

Competition Rules

The competition will run from December 5th 2019 until February 6th 2020. The competition is open to everyone, but multiple, automated or bulk entries will be disqualified. The winner will be chosen at random from all valid entries, will be contacted via email (where possible) and their name will be published in the magazine. The Editor’s 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.

SHOW DEMO UNIT SALE

As we come to the end of another successful show season which has seen us visit 4 continents and participate in over 10 world shows and events, we have decided to create a special one-off offer for our followers.

We have some pristine 2019 ‘single-show use’ Sonoma M1 headphone demo systems that we are selling at an incredible 45% off MRRP(£4,995) at only £2,750 inc VAT.

There are a limited number available and they are available on a first-come basis.

All our Sonoma M1 demo systems have been fully tested and come with a 1-year warranty.

To reserve yours, contact the sales team at Warwick Acoustics Ltd at [email protected]. But hurry, once they’re gone, they’re gone!

Terms and Conditions apply and Warwick Acoustics Ltd has the right to change or remove this offer at anytime.

TERMS & CONDITIONS

– Warwick Acoustics has the right to change or remove this offer at anytime
– This offer is for the UK region only.
– Each demo unit on sale has been used for one exhibition / show only.
– The sale price of £2,750 includes VAT (45% off of MRRP) and delivery to a UK address.
– All units will be delivered in its original packaging.
– This offer is available while stocks last as there is only a limited number available.
– All units fully tested and with come with a one year warranty.

– No returns accepted on this special offer

A.I. Pioneer Appointed President of Nextscreen Publishing Group

December 2, 2019 (AUSTIN, TX) — NextScreen, LLC, publishers of The Absolute Sound and HiFi+, is announcing today that Lee Scoggins will be joining the team as President, NextScreen Publishing Group. The newly formed Publishing Group will house The Absolute Sound and HiFi+, two leading high-end audio journals. The Absolute Sound is based in Austin, Texas and HiFi+ is based in Salisbury, England. Lee will be responsible for the day to day operations of the Publishing Group. Lee will also be Executive Vice President for New Business development at NextScreen and will also work on strategy projects across the NextScreen portfolio. Lee will report into Tom Martin, CEO of NextScreen.

Tom said, “We are very happy to have Lee join the team here at NextScreen. Lee has a unique blend of business expertise and genuine audio knowledge gained from work in the recording studio and work as a professional audio reviewer. I believe Lee can help us improve growth and customer engagement in our own business and across the greater high-end audio community.”

Lee said, “I am very honored and excited to join the teams on these two prestigious journals. I have been a lifelong audiophile who has benefitted greatly from reading TAS and HiFi+ cover to cover for decades. Both journals have an established record of excellent writing and, indeed, historical contributions to the formation of the high-end audio business. Music is highly important to society and high-end audio offers the best path to maximum enjoyment. My work in digital transformation and analytics suggest there are additional ways that NextScreen can grow the audience for better quality audio and enhance the engagement between the advertiser and their customer.”

Lee Scoggins is a former McKinsey & Company analytics leader following a career on Wall Street where he pioneered machine learning models for risk analysis. Lee also has been active on over one hundred professional recordings since 1990 when he started work as a production assistant, assistant engineer, and assistant producer on sessions at Chesky Records. Recently, Lee wrote for Part-Time Audiophile as a reviewer. Lee graduated with honors from the University of Virginia in 1988 and has completed several post-graduate programs at the business schools of Northwestern and New York University.

Media Contacts:

Pete Collingwood-Trewin, Publisher, HiFi+

Unit 3 Sandleheath Industrial Estate

Sandleheath, Hampshire SP6 1PA

+44 (0) 1425 655699

[email protected]

Jim Hannon, Publisher, The Absolute Sound

2500 McHale Court, Suite 100A

Austin, TX 78758

503-746-7846

[email protected]

Final B Series earphones: Part One

Final is a Japanese personal audio specialist with a reputation for offering products exhibiting very high build quality, innovative designs, and fine sound quality. Lately, Final has been pushing both the envelopes for performance (through its D8000 and new D8000 Pro planar magnetic headphones) and for value-for-money (through its affordable E-series earphones). Now, Final breaks new ground with its new B1, B2, and B3 earphones. With these B-series Final’s engineering team focuses on three critical aspects of earphone design: perceived spatial presentation, perceived dynamic range, plus the ergonomics of the earphones’ earpieces.

The B-models are named in order of their development and Final advises listeners not to read any sort of performance hierarchy into the products’ names or prices. Rather, Final says the ‘B’ models offer three distinctive listening perspectives, any one of which might best fit a given listener’s musical preferences or listening tastes, and are predicated on common recording techniques that tend to be used by specific musical genres. Final describes its ‘B’ models in terms of two axes of performance: the continuum between ‘Wide’ and ‘Narrow’ dynamic range, and the continuum between ‘Clarity’ and ‘Spaciousness.’

The B3 offers the strongest emphasis on clarity, followed by the B1, and then the B2. In turn, the B2 offers the greatest emphasis on wide dynamic range, followed by the B3, with the B1 skewed toward narrow dynamic range—a voicing that, on narrower dynamic range recordings, helps “each of the instruments and vocals to ordinarily appear before the listener’s eyes.”

The ‘B’ models share a common earpiece design featuring somewhat angular two-piece shells made of injection-moulded stainless steel. The shell’s shape provides three touch points in the ear (in the auditory canal, the Tragus, and the Concha cavity), which Final likens to a ‘tripod’ that holds the earpieces in a stable position with “no sense of pressure” in the ear.

The B1 features one dynamic and one balanced armature-type driver with no crossover network and a Rose Gold-plated, mirror-like finish. The B2 features a single balanced armature-type driver and a gunmetal grey satin finish. The B3 uses two balanced armature-type drivers with no crossover network and a silver satin finish.

All three B models need run-in to sound their best, but the B1 needs more than the others. Hence, Part 1 of this review focuses on the B2 and B3 models (in Part 2, we’ll revisit the B1 once it is fully run-in).

As advertised, the B2 offers greater clarity than many like-priced earphones and a strong emphasis on wide dynamic range, which works well for many genres of music and especially for classical music and acoustic jazz. As an example, consider the B2’s performance on the Barbirolli/Philharmonia Elgar: Enigma Variations [Warner, 16/44.1]. As the Variations unfold, the B2 does a fine job of conveying the richness and sonority of the orchestra, plus a spectacular job of revealing the sharp dynamic contrasts heard within and between the Variations. The B2 also offers “cut from whole cloth” coherency that is very appealing.

In contrast, the B3 sounds almost like a B2 that has had its imaginary ‘Clarity’ knob turned up to ’11’. This, too, works well for classical and acoustic jazz recordings, but has the effect of pulling the listening perspective much closer than with the B2. Where the B3 really thrives is on recordings that offer panoply of rich musical details to explore. A superb example would be “1 Speed” from bassist Dean Peer’s Airborne [Eles Records, 16/44.1], which features mind-bendingly fast and precise, staccato bass guitar runs. Many earphones turn these into a sonic mush, but the B3 renders Peer’s rapid-fire notes with exceptional levels of clarity and definition, thus showcasing the bassist’s masterful fingering dexterity.

I encourage listeners seeking earphones in the price range of Final’s B models to hear all three variations. Odds are one of them will provide a listening perspective that perfectly fits their musical sensibilities and tastes.

TECHNICAL SPECIFICATIONS

Final B2 universal fit earphones

Type: Universal-fit earphones with single balanced armature drivers

Driver complement: One balanced armature driver

Frequency response: Not specified

Impedance: 41 Ohms

Sensitivity: 109dB

Weight: 32g

Finish: Satin-finish gunmetal grey

Accessories: Saucer-shaped silicon protective carry case, five pairs of silicone ear tips (XS, S, M, L, XL). 1.2m signal cable with MMCX earphone connectors and OFC conductors in a smooth black jacket, black slip-on rubber ear hooks

Price: £259 UK, $299 US

Final B3 universal fit earphones

Type: Universal-fit earphones with dual balanced armature drivers

Driver complement: Two balanced armature drivers with no crossover network

Frequency response: Not Specified

Impedance: 19 Ohms

Sensitivity: 102dB

Weight: 36g

Finish: Satin-finish silver

Accessories: Saucer-shaped silicon protective carry case, five pairs of silicone ear tips (XS, S, M, L, XL). 1.2m signal cable with MMCX earphone connectors and silver-plated OFC conductors in a clear twisted -air jacket, clear slip-on rubber ear hooks

Price: £439 UK, $499 US

MANUFACTURER INFORMATION

Final/S’NEXT Co. Ltd.

3-12-7 Kitakase, Saiwai-ku, Kawasaki-shi,

Kanagawa 212-0057, JAPAN

URL: snext-final.com

UK Distributor

KS Technology Ltd.

A4 Dolphin Way, Shoreham-by-Sea, BN43 6NZ United Kingdom

URL: ksdistribution.co.uk | +44 (0) 1903 768919

US Distributor

Final Audio USA

URL: facebook.com/FinalAudioUSA

TECHNICAL SPECIFICATIONS

Manufactured by: Lateral Audio Stands

TECHNICAL SPECIFICATIONS

Manufactured by: Hegel Music Systems

TECHNICAL SPECIFICATIONS

MANUFACTURER INFORMATION

US Distributor

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