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Manley Labs Stingray II integrated amplifier

Its enthusiasm for vinyl doesn’t actually extend to sitting underneath a turntable, however; that caused mine to hum so I dropped the amp down a few shelves and all was well. Then it was possible to enjoy the fulsome bass of Conjure’s Untitled II [Music For The Texts Of Ishmael Reed, American Clavé] where the dynamics of the saxophone are spot on (at sensible levels) and the tune proves to be utterly charming. Ornette Coleman’s ‘Ramblin’’ [Change of the Century, Atlantic] also offers up a joyousness through blasting but not aggressive horns and fat double bass, the result being close to what they might have heard in the control room back in 1960 when this sort of tube technology was at its peak. The track reinforced the notion that the Stingray II is not an amplifier to sit in front of and stroke your beard but one for moving your body, or at least clicking your fingers (man).

It occurred to me that most of the music I had played through the Stingray II was not exactly power hungry so I dropped a few weighty tunes including contributions from Kraftwerk and Beck. These lacked a little in the low-end power department and anyone with a taste for visceral impact would be advised to get more sensitive speakers for the purpose, that would go a long way to delivering the required power. But this Manley is not about power… it’s about musical engagement and in this respect it has a lot to offer, making a good case for the EL84 pentodes in its output stage and a better case for kicking back and enjoying the vibe.



  • Type: Vacuum tube, 2-channel integrated amplifier with built-in headphone amplifier
  • Analogue inputs: Three single-ended line-level inputs (via RCA jacks), one single-ended rec input (via RCA jacks), one single-ended line-level inputs (via 3.5mm minijack)
  • Digital inputs: None
  • Analogue outputs: One rec output (via RCA jacks), one subwoofer output (via RCA jacks)
  • Supported sample rates: N/A
  • Input impedance: 12kOhm nominal
  • Output impedance (preamp): N/A
  • Headphone Loads: Not specified
  • Power Output: triode 18Wpc, ultra-linear 32Wpc (both 1.5% THD @ 1kHz into 5 Ohms)
  • Bandwidth: 22Hz-22kHz Source = 1kHz Sine wave
  • Distortion: THD+N Ratio: typically 64 db at 1W output
  • Signal to Noise Ratio: typically 72 dB A-WGT, 1W output, 20dB gain
  • Dimensions (H×W×D): 190 × 483 × 356mm
  • Weight: 15.9kg
  • Price: £6,499


Manufacturer: Manley Laboratories



UK Distributor: Elite Audio

Tel: 0800 4647274 (UK only number)


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Meet Your Maker: Robert Koch of Robert Koda

Originally from South Africa, Robert Koch now lives in Japan and his amplifiers are both made in Japan and realise many of the best aspects of ultra-specialist Japanese audio electronics. Perhaps more importantly, however, high-performance audio has been a passion for Robert from a very young age. We spoke to him about how he created Robert Koda and where the company goes from here…


How did you start out in audio?

Our family home had two music rooms, both with decent kit. By the time I was 12 or so audio quality became important to me. With the interest in audio came an interest in electronics and radio. I became a licensed radio ham as soon as legally able at 16 years old. Through the club, I was able to get a hold of plenty of technical information but as it happened our city library had all the AES (Audio Engineering Society) journals. A golden find leaving me immersed for days on end, and building huge files stacked with photocopies.


What was your first big break?

As a youngster, I was approached by a chap who wanted me to build him an Audio Research M300. I turned his offer down, but he gave me an after-school and weekend job at his high-end audio store. I spent a decade or so at that store and we were always looking for the “Holy Grail”.

My other big break was to meet Kondo San (Kondo Hiroyasu of Audio Note fame, who died in early 2006) who was kind enough to take me under his wing. I remain incredibly thankful for the opportunity and care Kondo San – and later Ashizawa San – gave me.


What did you learn from working with Kondo San?

Perseverance and patience first. Materials and technique second. Then perseverance and patience again – Completing the task you set out upon without any loss of interest or focus.


Is this why your amplifiers use both valves and solid-state as a base?

As a teenager I learned how tubes work before learning about transistors. I have always loved tubes, but I have come to better understand their inherent limitations and fields of usefulness. On the other hand, I have learned how to better harness semi-conductors in such a way that mitigates their (mostly) soluble flaws. So, it’s a natural flow to follow what can lead to the desired result.


Your products are minimalist yet use balanced and single-ended inputs and outputs. Why?

A pre-amplifier needs to be useful in a number of settings. Some power amplifiers are best run with a single-ended input, others not. The same goes for source components. If there is no or at least very little sacrifice a pre-amplifier should be able to support all these conditions unless specified for a particular niche. In the case of K-15 there is no sacrifice but there is added cost since in our application at least the volume control becomes twice the monster…


Why are your preamplifiers low gain?

It’s all in the pursuit of ‘the purest signal path’! I tried passive pre-amps and found that even though greater voltage gain was not required to achieve a desirable listening volume, there was a definite collapse in sound quality as compared to a decent active pre-amp. Our pre-amps are built with sufficient gain (x2.5) to reach suitable volume even on older digital mastering, and our pre-amps offer loads of power gain. For example, the K-15 might consume 80µW from the source while delivering 27,000µW into a load.


What is the secret to your amplifiers’ absence of sonic signature?

“Dynamic simplicity” is a strong theme and key word in our designs. Music is in a constant state of flux and in order not to displace this delicate time and amplitude relationship we need inherently stable electronics that does not introduce additional moving parameters. Every aspect of the design needs to be ‘sorted.’ For example, a Class A/B output stage would place a music/loudspeaker related shifting load on the power supply and if the power supply was imperfect, time shifted voltage fluctuations could influence other parts of the amplifier resulting in a corrupted outcome… Quite the opposite of our vision of “Dynamic simplicity”.


Robert Koda K-15 EX review

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Robert Koda K-15 EX line preamplifier

The Robert Koda is something of a departure for high-end audio and for the high-end distributor behind the product. The distributor – Ten – is effectively an artisan-led company within the confines of the already quite artisan-led Absolute Sounds company. It’s like a diffusion label in reverse; where Armani has its Emporio line and Prada has Miu Miu, this is what happens when you go in the other direction… Privé Haute de L’Audiophile, if you will. As the equipment here is so uncompromising, it demands people who have a true understanding of the implications of such an approach; not simply retailers, but even the listeners themselves. This is not simply some status symbol product, or some kind of Veblen good. This is the result of a team already thoroughly well versed in what audio can do, and still striving for something over and above that already lofty audio performance.

Robert Koda K-15 EX rear panel
Balanced and single ended inputs are all replicated.

As much as anyone who writes for a living about audio, you get to hear a lot of equipment, a lot of which is exceptionally good. Even the traditionally difficult preamplifier has some really good examples out there. But even set against such exalted company, the Robert Koda K-15 EX stands out above its rivals in pure performance terms. But, it’s far beyond my threshold of affordability, so I have to face up to the fact that the best preamplifier I’ve ever heard is likely always going to be beyond me and I will forever move in reduced circles as a result.



  • Type: Line level preamplifier
  • Inputs: Five pairs true balanced (pin 2 is Hot). Five pairs RCA
  • Output: Two pairs RCA, Two pairs true balanced (pin 2 wired Hot)
  • Voltage gain: +8dB at maximum volume
  • Signal to noise ratio: 114dB A-weighted at 1Vrms output, 147dB at full output
  • Frequency response: 20Hz–20kHz ±0.05dB
  • Maximum output: 30Vrms single-ended, 60Vrms balanced
  • Input impedance: 50kΩ single-ended, 50kΩ per phase balanced
  • Output impedance: 60Ω Single ended, 30Ω per phase balanced
  • Total harmonic Distortion: Less than 0.0003% at 2V RMS out, 1KHz, balanced input
  • Dimensions (W×H×D): 389 × 158 × 385mm
  • Weight: 29kg
  • Price: £60,000

Manufactured by: Robert Koda



UK Distributor: Ten


Tel: +44(0)208 971 3909

Meet Your Maker: Robert Koch of Robert Koda

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Shunyata Research Omega QR-s power cord and DF-SS cable elevators

This also comes with a marked increase in soundstage size and solidity. Instruments have their own three-dimensional space marked out in many systems, and often that comes with a sense of being rooted to the floor, but here that doesn’t just take on a three-dimensionality; it gains a visceral, physical presence that’s almost unnerving. Playing Mozart: Piano Concerto No 23 in A [Momo Kodama, Seiji Ozawa, Mito Chamber Orchestra, ECM] and the spacing and the spaces around the orchestra are perfectly portrayed, and the piano is both beautifully rendered and sits in its own rooted position in space more ably than with other cables. It adds to a sense of focus both in audio and musical terms that is sublime.

I expected quiet backgrounds (it’s a Shunyata thing) but they fall away still further than anticipated with Omega QR-s. It’s like even the quietest electronics have more to give, and even the quietest power feed has noise to be removed. Omega QR-s does that brilliantly. Actually, ‘brilliantly’ is not the right word, as there is no additional ‘brilliance’ to the sound. The tonality of the system remains unchanged… Omega QR-s just brings out the best in the kit you have, whatever kit you have.

Shunyata Research DF-SS cable riser

The trio of DF-SS ‘Dark Field Suspension System’ cable elevators act like a little suspension bridge for your Omega QR-s, with the cable resting on a stretchy black polymer between the two towers of each riser. The riser itself is made of a hard black polymer, is mass loaded (you can hear the contents move if you shake it) and has a little set of adhesive feet to stop it from sliding around on a hard floor. The idea is the cable never touches the floor, thereby keeping ground-based vibrational energy at bay. Given the proximity of power cords and speaker cables to loudspeakers and the vibrations loudspeakers can put into the floor around them, this sounds like a sensible idea. And DF-SS is one of those “I kind of wish they didn’t work to keep me sounding credible” devices that damn well ends up doing good. I mean, by the standards of the ‘self-appointed keepers of the hard science’ end of audio, the idea that power cords make a justifiable difference is nonsense, so placing said power cord on cable risers is about as close as it gets to literal nonsense on stilts. I guess me saying they further focus that already focused sound of QR-5 enough to justify their inclusion probably makes me the Mad Hatter. More tea, anyone?

Although there are those who insist on the top of the tree no matter what, in reality, Omega QR-s is the top of the Shunyata tree for everything except Class AB power amps delivering more than about 200 watts per channel. If you are bringing some really heavy amplifier firepower to your listening room, then Omega QR has the extra fortitude you might need. For everything else, QR-s is probably your best bet.


Price and Contact details

Price: £7,500 (C15/C19 socket)


Manufactured by: Shunyata Research



Distributed in the UK by: the Shunyata Distribution company

Tel: +44(0) 330 223 3769


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Innuos PhoenixNet network switch

The PhoenixNet is very good at revealing reverb of both natural and artificial varieties, on The Weather Station’s beautiful ‘Thirty’ [The Weather Station, Paradise of Bachelors] there is a sense of real space around the singer and her guitar in the quiet intro, it’s like sunlight but not bright in the acoustic sense, just crystalline. It also allows the energy of live recordings like Keith Jarrett’s Carnegie Hall Concert [ECM] to pervade the room, the occasional sounds from the audience mapping out the scale of the venue and the player’s foot making the stage reverberate, all of which adds to the transcendent experience that a good recording can create.

Innuos PhoenixNet rear
The four-connection switch is designed for sound, not speed!

You need a good system to do this of course but if you have one adding a switch that minimises the noise floating around the network is more than the icing on the audio cake, it feels like a critical element, the missing link between the recording and the listening experience. The PhoenixNet is an expensive switch with the minimum of ports but it’s extremely good at the job thanks to its dedicated nature, if you want to know what your streaming system is really capable of I recommend you have a listen.



  • Type: Streaming audio network switch
  • LAN Ethernet ports: 4 (via RJ45)
  • Fibre optic ports: none
  • Clock: OCXO
  • Packet data buffer: not specified
  • Features: Isolation transformers, linear PSUs
  • Finish: Siver/black
  • Dimensions (H×W×D): 87 × 215 × 342mm
  • Weight: 5kg
  • Price: £2,599


Manufacturer: Innuos

Tel: +351 308 800 826



Distributor: Innuos UK

Tel: +44(0) 2475 200 210



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AURALiC Launches Amazon Music Unlimited on All Products

Beaverton, Dec. 17, 2021 – AURALiC Inc., today announced that it will now offer the capability to stream Amazon Music Unlimited on all of its streaming products.

Owners of AURALiC products may now control and play Amazon Music from within Lightning DS, a feature-rich and intuitive control app designed in-house by the AURALiC engineering team. With Amazon Music Unlimited, subscribers can stream more than 75 million lossless, High Definition (HD) songs, with a bit-depth of 16 bits and a sample rate of at least 44.1 kHz (CD quality). Customers can also stream more than 7 million songs in Ultra HD (better than CD quality), with a bit-depth of 24 bits and a sample rate up to 192 kHz, which reveals even more nuances that were once lost in files compressed for digital streaming.



The team at AURALiC continually seeks out new, high-quality music subscription services to integrate with their award-winning product range as part of an ongoing effort to provide customers with as many options as possible when streaming music at the highest levels of quality.

About AURALiC Founded in 2009, AURALiC designs innovative, high-performance audio products focused on getting the most out of your music. Whether stored on a hard drive at home, or streamed to you from an online service, AURALiC products will bring all your music to life.

Contact:EU/UK: Richard Bates, [email protected] 

Russ Andrews RANS-1 Network Switch

My sample came pre-used through the review circuit (we’re not the first to review the RANS-1, and the box it came in free from instructions and was more ad hoc than we’ve come to expect from Russ Andrews), so there was no need for running in and the box was good from the get-go. I used it to connect the Linn Klimax DSM tested in this issue, both to the outside world and to a range of servers (Naim and Melco) during the test. I also compared it with the Melco S100 switch and a baseline Netgear eight-porter. Finally, I compared it to the Network Acoustics ENO filter and used that in and out of the digital chain.

The RANS-1 fared extremely well in all settings, demonstrating a quieter, more controlled sound throughout. Naturally, its biggest differences were heard comparing this to the Netgear baseline switch. This budget device seemed to give the sound a nasality and unsatisfying forward-brightness to the sound that might seem initially ‘clean’ but was ultimately ‘grating’. This applied whether streaming locally or online. Swapping that Netgear box out for the Russ Andrews
RANS-1 switch (with no other changes) was a subtle shift in the right direction, making music more approachable and listenable. It replaced that fake ‘clean’ sound with a sense of balance and musical order.

The results were less clear cut between the Melco and the RANS-1, with the Melco going more for the sheer detail of performance and the Russ Andrews going for a more sonorous and relaxed approach. Both were extremely musical sounding, just musical in different directions. Finally, in the ‘compare and contrast’ part, the ENO filter levelled the playing field somewhat, making all three options less marked in performance boosts. Nevertheless, the combination of ENO+RANS-1 works extremely well… and sounds like a German experimental album title from the 1970s.

Russ Andrews RANS-1
A Kimber Kable joins the two sections of the switch

Taken on its own, the Russ Andrews RANS-1 really does demonstrate just why the audiophile network switch is a viable product in today’s audio. It’s a subtle performer, gently and quietly improving the lot of streamed audio by making it sound more ‘human’. Backgrounds are distinctly quieter, the treble is more refined and less harsh and forced sounding. There’s a sweetness and ease to the sound, but it’s one with a gently-focused sense of rhythm too. In a medium that is often accused of being loud and shouty at times, the RANS-1 shows it’s possible to be deft and delicate, without being ‘flaky’ sounding.

In truth, I’ve been sort of avoiding the whole audiophile switch due to my own digital preconceptions. Packetised data should be unfazed by its transfer through a network, but the RANS-1 makes a convincing argument that there’s more to the topic than it first appears. This is a true eye-opener.



  • Type: Network Switch with external power supply
  • Ports: 8 RJ45 gigabit ethernet ports with additional shielding and damping
  • Clock: internal re-clocking with custom made Trichord unit
  • Internal wiring: Kimber Kable
    Russ Andrews 0.3m DC link cable made with Kimber PBJ and locking connectors
    4mm grounding socket
  • Casing: Custom, matching ABS cases
  • Dimensions (W×H×D): 187 × 47 × 130mm per unit
  • Price: £956.50

Manufacturer: Russ Andrews


Tel: +44(0)1539 797300

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REL Serie T/7x subwoofer

Set-up remains the same for audio purposes; use the Speakon cable and high-level input, with the cables connected to the left and right positive and a single negative terminal of your power amplifier. Now use a vocal recording and dial the subwoofer down until it is just past audibility. Then confirm with a record with good bass; you can combine the two if you use ‘Ballad of the Runaway Horse’ by Rob Wasserman and Jennifer Warnes [Duets, Universal]. Now come back a week later and turn it down a notch, then make a cup of tea or coffee, sit back down to your system, and be a bit amazed!

So far, so REL. What the T/7x does is introduce some extra speed and weight to the bass, the sort of performance normally expected from more upmarket models in the line. Weight here is a difficult subject because the Serie T/7x does not make a small speaker seem ‘weightier’, just ‘bigger’ and more importantly ‘better’ across the midrange. I used this in particular with the Rogers LS3/5A SE tested in this issue and this proved to be both an ideal test subject and an ideal candidate for the Serie T/7x. The REL added depth to the sound, but not in the way that it changed the tonality of this well-known speaker system; more that it filled in the bottom end in the same way the SE version fills in the midrange over the original; thoroughly, but paradoxically almost imperceptibly.. The REL was fast enough to pass the Trentemøller test [‘Chameleon’, The Last Resort, Poker Flat] and provided enough reinforcement to make out a few more left-hand piano notes on the Liszt B-minor Piano Sonata played by Martha Argerich’s during her Début Recital {DG], but more importantly on this recording, it also gave that recording the sense of space and gravitas needed to make it something truly outstanding. Switch the sub off and seemingly not a lot happens to the sound, but the sound also collapses and becomes insubstantial. Put it back in and the bass is not overt or oppressive, in fact, it’s almost not there, but the way the T/7x delivers that ‘almost not there’ bass makes all the difference. And, if you compare that bass delivery to previous REL designs under about £1,500, the new T/7x has both more substance and form and less intrusion into the sound of the speakers.

REL Serie T/7x rear panel
The REL controls are easy to navigate

The speed of the Serie T/7x is an outstanding feature. Few do bass depth and bass speed like this subwoofer at anything like the same price, and for that alone it deserves very high praise because that means the REL sub can keep up with fast musical transients played through equally fast and reactive loudspeakers. Couple that with the sort of depth to fill out floorstanders in this category and it’s an exciting addition to the audio canon.

While we aren’t geared up for home cinema here, it must be noted that the REL Serie T/7x is not just for us music lovers. When used as a bass channel instead of bass reinforcement, it has the sharp transient response and directness that makes it so good for two-channel, but with more of an oomph needed to resolve what home cinema does so well. In fact, I’d argue that where previous REL subs at this price point were hi-fi subs that could be used in cinema, the Serie T/7x straddles the divide almost perfectly; home cinema enthusiasts will view this as a powerful sub that can also do two-channel music, where two-channel enthusiasts see this as the audiophile’s friend that can also speak cinema.

In audio settings, a good subwoofer should be seen and not heard like a Victorian schoolchild. REL has consistently been one of the few subwoofer brands to achieve that goal, and the REL Serie T/7x does it better than before. No, it’s not going to out-do a No. 25 or the big 212/SX from the brand, but it does draw heavily from the S/510. While in absolute terms, the S/510 is a better sub all round, the gap has closed significantly. The Serie T/7x at £999 throws down a gauntlet to other subwoofers. It’s the one to beat right now.



  • Type: Front-firing active woofer, down-firing passive radiator
  • Inputs: Hi Level Neutrik Speakon, Lo Level single phono, LFE phono
  • Active drive unit: FibreAlloy™, 200mm long-throw, inverted alloy dust cap, steel chassis
  • Passive radiator unit: 254mm long-throw, inverted dust cap
  • Power output: 200w (RMS)
  • Lower frequency response: 31Hz at -6dB
  • Gain control range: 80dB
  • Dimensions (W×H×D): 36 × 32  ×36cm
  • Weight: 17.5kg
  • Price: £999


Manufactured by: REL Acoustics


Tel: +44(0)1656 768777

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Enleum AMP-23R integrated amplifier

This amplifier does all the hi-fi stuff well; it images precisely, has plenty of punch and delivers voices like you wouldn’t believe. I put on the first Nicks/Buckingham Fleetwood Mac [Fleetwood Mac, Warner] album to hear ‘Landslide’ which was lovely but decided that ‘World Keep Turning’ is equally good, that never seemed the case in the past. And that’s a rare and valuable quality in any piece of audio gear, showing the listener just how good the music really is. A lot of stuff makes the better recordings sound great but fails to reveal the musical beauty of less polished productions, but the Enleum gets to the heart and soul of the matter in a very convincing style. Its low power output does limit speaker choice to an extent and headbangers will have to find really sensitive models to get their fix. But music lovers are catered for very well indeed, and that’s before we hear what Enleum’s proprietary connectors can do.

Enleum AMP-23R back panel
The rear panel of the AMP-23R shows you can fit a quart in a pint pot after all!


  • Type: Solid-state, 2-channel integrated amplifier with built-in headphone amplifier.
  • Analogue inputs: Two single-ended line-level inputs (via RCA jacks), one ‘current’ input (via BNC connectors).
  • Digital inputs: N/A
  • Analogue outputs: Five way loudspeaker binding posts. & ¼” Headphone Jack
  • Input impedance: Line-level: 10kOhms, Enlink: 10 Ohms
  • Output impedance (preamp): N/A
  • Power Output: 25Wpc @ 8 Ohms, 45 Watts @ 4 Ohms
  • Bandwidth: 10 Hz to 100 kHz
  • Distortion: 0.25% (1 kHz, 8 Ohms, 1 W)
  • Signal to Noise Ratio: 96.5 dB (1 kHz, 8 Ohms, 5 W, A-weighted)
  • Dimensions (HxWxD): 55 x 230 x 230mm, H with isolation 82.5mm
  • Weight: 4kg
  • Price: £4,995 (AMP-23R) or £5,495 (AMP-23R & Anti-Vibration Feet)

Manufacturer: Enleum

homepage –

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Lindemann Musicbook Source II and Power II

From the Lindemann press release

Following the recently announced Musicbook POWER II, the Musicbook SOURCE is now available from LINDEMANN in its second generation as well. Both models have been carefully revised and now, as a team, offer even more musical information together with an amazing sense for timing and interplay. Sound quality at the limits of technical feasibility! 

Important to know: despite considerable bottlenecks of the electronics market LINDEMANN continues to manufacture the musicbooks in series. The production is secured for the upcoming years! This works not least owing to 100% made in Germany. 


In its current version, the Musicbook POWER II has become some kind of hybrid amplifier: The voltage amplification is largely provided by an ultra quality analogue J-FET gain stage; the adaptation to the speakers is handled by proven N-Core circuit technology which is used as a power buffer. The result is impressive: sparkling verve and a wealth of detail, combined with total control over the loudspeaker. 

Prices: Musicbook POWER II 500 = EUR 2,690.– / Musicbook POWER II 1000 = 3,590.– 


Likewise, the Musicbook SOURCE II has been systematically developed further – with a focus on the analogue preamp. The headphone output sounds even better now and can also drive 16-ohm headphones. 

Even more effort was put by LINDEMANN into the further development of the firmware where initial bug fixes and patches have finally turned into a completely new stack. The most important novelties are the implementation of Spotify Connect and TIDAL Connect. Moreover, there are minor and major new features such as the elimination of the lipsync problem when connecting a TV set, network standby, fixed-level line output with analogue volume control bypass, dB-linear volume control in 80 incremental steps, sampling rate display for the digital inputs, Spotify selection via remote control without using the app and many others. 

Lindemann Musicbook Source II
Lindemann’s latest preamplifier in the Musicbook line: Source II

Owing to 1-bit re-sampling, the great-sounding AKM converter modules and the upgraded preamp, the new Musicbook SOURCE II once again raises the sound benchmark for the best streaming DACs. By the way: despite worldwide supply shortages LINDEMANN will also in the future relies on the probably best converter modules from AKM and the already legendary 1-bit re-sampling process for the SOURCE II! 

Prices: Musicbook SOURCE II = EUR 3,590.– / Musicbook SOURCE II CD = 3,890.— 


As you may well expect from LINDEMANN, “ancient“ models – as far as possible – can always be kept up to date. Since early November existing users of the Limetree BRIDGE, Limetree NETWORK and Musicbook SOURCE I models can also enjoy almost all features of the SOURCE II with a general and, as usual, free firmware update (if not already present)! 

For more information see 


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Rogers LS3/5A SE stand-mount loudspeakers

The Rogers LS3/5A SE maintains the BBC legacy while adding to it just enough to make the speaker that bit more exciting sounding, yet not so much as to undermine what makes the speaker so beloved. Meanwhile the stand will make a group that often dismisses such things sit up and take notice. And the combination of the two makes a LS3/5A sound that I always wanted to hear, but never quite worked out in the real-world.




Type: Two-way infinite baffle stand-mount loudspeaker

  • Frequency response: 80Hz–20KHz +/-3dB
  • Nominal Impedance: 15 Ohms
  • Bass/midrange: 110mm Bextrene cone
  • Tweeter: 19mm Mylar dome
  • Crossover frequency: 3KHz
  • Sensitivity: 82.5dB/W/M
  • Recommended amplifier range:
    30-80 Watts
  • Finish: Amazaque (other finishes on request)
  • Grille: Black Tygan
  • Dimensions (H×W×D): 305 × 190 × 165mm
  • Weight: 4.9Kg (per speaker)
  • Price: £3,499 per pair

Type: dedicated loudspeaker stands

  • Base plate: 210mm (W) × 290mm (D)
  • Top plate: 190mm (W) × 160mm (D)
  • Height: including base and top plate 610mm excluding spikes
  • Weight: 4.3 Kg each, excluding spikes
  • Construction: Panzerholz wood
  • Finish/: Black
  • Price: £1,499 per pair


Manufactured by: Rogers International UK Ltd

Tel: +44(0)333 533 0135


Reproduced from Issue 195

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Line Magnetic LM-512 CA preamp/LM-845 Premium integrated/power amp

The balance here was more mid-forward, which meant that voices and brass were more prominent but not to the detriment of the musical whole. The quiet atmospherics at the start of Michael Chapman’s ‘Aviator’ [Fully Qualified Survivor, Harvest] seemed so natural and intriguing with lots of depth in the violin and bass, the amp raising this song up and revealing its sad beauty in full effect.

Good tube amplification puts back what the recording, mastering and pressing process leaves out. It may do this thanks to what are in essence subtle colorations to the sound that can be picked up on the test bench, but they are not perceived as distortions by the ear, and the effect is more of an enhancement. This Line Magnetic pairing is a lot of amplifier for the money, even at the official price, definitely one to hear if you want to get to the heart and soul of your music collection.



LM-512 CA

  • Type: Valve-driven line-stage preamplifier
  • Valve complement: Two RCA 22DE4, two 6922, two Mullard 6KZ8 valves
  • Analogue inputs: Three pairs of single-ended inputs (via RCA jacks), one pair of balanced inputs (via XLR connectors)
  • Analogue outputs: One pair of balanced outputs (via XLR connectors), one pair of single-ended outputs (via RCA jacks)
  • Input impedance: 600kOhms (RCA)
  • Output impedance: Not specified
  • Bandwidth: 17Hz–100kHz (–3dB, RCA)
  • Gain: 24dB
  • Distortion: 0.5dB (1kHz)
  • Signal to Noise Ratio: 90dB
  • Dimensions (H×W×D): 196 × 430 × 383mm
  • Weight: 20kg
  • Price: £8,499

LM-845 Premium

  • Type: Valve-driven stereo integrated/power amplifier
  • Valve complement: Two 12AX7, two 310A, two 300B, two 845 valves
  • Analogue inputs: Three pairs single ended (via RCA jacks), one pair balanced (via XLR), one preamplifier input (via RCA jacks)
  • Analogue outputs: Two sets of speaker taps for 4, 8, and 16 Ohm loads (via 5-way binding posts)
  • Power output: 30Wpc
  • Bandwidth: 15Hz–35kHz (-1.5dB)
  • Sensitivity: Line 250mV, pre in 1V
  • Distortion: 1% THD
  • Signal to Noise Ratio: 87dB
  • Dimensions (H×W×D):
    Control Chassis: 460 × 435 × 456 mm
    Output Chassis: 165 × 435 × 410 mm
  • Weight: 40kg + 20kg
  • Price: £9,999

Manufacturer: Line Magnetic Audio Co. Ltd


UK Distributor: VAL HiFi

Tel: 0333 577 2005



Reproduced from Issue 195

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