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Peachtree Audio nova 220SE

Three essential insights have driven Peachtree Audio from the beginning. First, the firm was quick to grasp that computer audio would likely become the preferred music delivery vehicle for growing numbers of music lovers, young and not-so-young. Second, Peachtree understood that genuinely good sound quality is a gift that keeps on giving and that never goes out of style. Third, Peachtree recognised that, in order for its products to win the hearts and minds of newer generations of audiophiles, accessible pricing would be a vitally important factor. This is the basic ethos that Peachtree has followed for years and it is one that has served the company well.

Over time, Peachtree created successive families of versatile integrated amplifier/DACs that were computer-friendly, easy to use, attractive, and that offered an awful lot of sound per pound. First came the entry-level Decco-series amp/DACs, then the larger Nova-series models, then the second-generation Deccos and Novas, which were followed by the top-of-the-range Grand X-1 model, and now the new Nova SE (for Special Edition) range. The most powerful and accomplished of all the new SE models is the nova220SE (£1,499), which is the subject of this review.

What makes Peachtree’s SE models special? The answer is that all novaSE models borrow the discrete Class A preamplifier section that Peachtree originally developed for its flagship Grand X-1 integrated amplifier. Sonic benefits of this preamplifier section are said to include reduced noise, plus greater resolution and finesse. Having listened to Peachtree’s earlier, non-SE version nova125 amplifier at length, I can vouch for the fact that the nova220SE does take sonic steps forward relative to its predecessors, though the improvements it offers can at first seem subtle in character. Going further, though, the nova220SE adds design features not shared with other SE models; namely, a preamplifier that, says Peachtree, “delivers a balanced signal to the internal amplifier,” along with a dual mono, balanced stereo Class D power amplifier section that puts out a substantial 220 Wpc @ 8 Ohms, or 350 Wpc @ 4 Ohms.

The nova 220SE provides four digital inputs: one asynchronous USB (24/192), one coaxial S/PDIF (24/192), and two TOSLINK (24/96), but the unit also includes a stereo analogue input to provide connections for an outboard phono stage or other analogue component. The DAC section of the nova220SE is based upon the ESS Sabre Hyperstream 9022 DAC device whose signature “Hyperstream Modulator” is, according to Peachtree, “capable of 100% jitter rejection for maximum fidelity.” Growing numbers of manufacturers have jumped on the ESS bandwagon of late, but it is worth noting that Peachtree was one of the earliest adopters of ESS technology and now has four generations-worth of design experience with ESS components.

The nova220SE DAC requires no device drivers for Mac environments and can, with the proper rear panel switch settings, run at up to 24/96 resolution limits without a device driver in Windows environments. However, to take advantage of the nova220SE’s 24/192 capabilities, Windows users will need to install a (supplied) device driver.

One important point to note is that while the nova220SE DAC supports PCM files at resolutions up to 24/192, it offers no provisions for decoding DSD or very high resolution (e.g., 32/352.8) DXD files. Some will see this as a non-issue given that the majority of digital audio files in play today are in PCM format and at resolutions at or below 24/192. However, for listeners who have embraced or simply wish to try DSD and/or DXD–format files, the absence of DSD/DXD capabilities might be seen as a serious limitation (and frankly, their absence seems somewhat odd given that Peachtree has so often been ‘ahead of the curve’ in all things pertaining to computer/digital audio). Nevertheless, the fact is that the nova220SE’s PCM DAC is easy to use and sounds very fine indeed.

Peachtree’s integrated amps have long been known for flexibility and versatility, and the nova220SE is no exception. Thus, to address the never-ending valve-versus-solid-state debate, the 220SE (like many Peachtree models before it) incorporates a sophisticated, switch-selectable 6N1P valve-type buffer stage that can be engaged or bypassed ‘on the fly’ to suit the listener’s tastes or preferences. Also recognising the growing wave of interest in high-end headphone listening, the nova220SE is designed to serve double-duty as a high-powered (1170 mW @ 32 Ohms) headphone amp.

Visually, the nova220SE looks similar to but notably taller than past Nova-series amp/DAC, but with a few interesting twists of its own. Specifically, the 220SE gets treated to a distinctive and beefy 6mm-thick aluminium faceplate whose front surfaces feature a brushed texture and dark grey anodized finish not used on any other Peachtree model. For added impact, the nova220SE’s model name is deeply engraved into the faceplate’s surface, which helps give this most accomplished Nova model a classy look of its own.

The nova220SE ships with a simplified version of Peachtree’s traditional remote control, where the available control options include a standby/on switch, a muting switch, volume up/down controls, input buttons for the four digital inputs and one analogue input, plus a valve buffer stage on/off button (labelled, in American fashion, “Tube”). Unlike button-festooned remotes that can leave users perplexed, the new Peachtree remote is—like the nova220SE itself—a model of intuitive simplicity.

But, how does the nova220SE sound? Let me begin by stating that the nova220SE is at once the subtlest, most refined, and by far the most powerful Nova-series amp/DAC offered to date. In short, this best-ever nova220SE offers a heady combination of sonic virtues, especially in light of its moderate price.

Early generation Novas were thought to have good front-ends, but power amplifier sections whose output capabilities were somewhat limited—especially in terms of driving current-hungry, low impedance loads. Happily, the powerful nova220SE has no such limitations. On the contrary, the 220SE tends—to borrow a phrase made famous by the American President Theodore Roosevelt a century ago—to “walk softly and carry a big stick.”

To give the nova220SE a thorough workout, I used it drive a pair of seriously power and current-hungry, 4-Ohm, Magnepan 3.7i quasi-ribbon/ribbon type loudspeakers. Frankly, the Maggies have a reputation for chewing up wimpy amplifiers and spitting out the remains, but to my surprise and delight they got on quite well with Peachtree’s big Nova. Indeed, the 220SE drove the 3.7i’s with discernable exuberance and with a palpable dash of dynamic brio.

On powerful, propulsive tracks such as ‘Rapunzel’ from The Dave Matthews Band’s Before These Crowded Streets [RCA], for example, the nova220SE captured the full depth and weight, but more importantly the sheer articulacy and speed, of Stefan Lessard’s Warwick bass guitar, in the process demonstrating robust output modulated with admirable subtlety and agility. Likewise, the 220SE helped the Maggies make the most of the intricate, lithe, and beautifully textured drum and cymbal grooves created by percussionist Carter Beauford on the same track. One of the most consistently impressive things about the nova220SE is that it is not only powerful, but also quick and well controlled. The only observation I might add is that the amp’s voicing is shaded ever-so-slightly toward the warm side of strict neutrality. This characteristic never comes across as any sort of colouration, but rather it helps to ensure that the sound stays focused on the music as a whole—not on clinical dissection of individual musical pieces and parts. Above all, the 220SE manages to sound taut and free flowing at the same time, which is no easy feat.

The nova220SE power amplifier is based on the latest generation of Class D ICEpower technology (using a pair of bridged ICEpower modules for a true dual mono configuration), but frankly it sounds nothing like the sometimes softly focused and overly warm-sounding ICEpower-driven amps of yesteryear. On the contrary, the 220SE has its pace, timing, and definition house in order and sounds all the better for it. But ample power is only part of the nova220SE’s recipe for performance; the other key ingredients are resolution, dynamic nuance, and low noise—all three of which are positively influenced by Peachtree’s decision to use the discrete, Class A preamplifier section from the Grand X-1 integrated amp in the nova220SE.

To evaluate the subtler, more delicate, and more textural aspects of the nova220SE’s performance envelope, I connected the unit to a pair of GoldenEar Technology’s easy-to-drive and very revealing Triton One floorstanders (which we will cover in a future Hi-Fi+ review). The results were most impressive.

While Peachtree’s earlier nova125 amp/DAC was no slouch in terms of resolution, nuance, etc., the nova220SE is audibly superior. Interestingly, I found the sonic improvements did not so much manifest themselves in the form of dramatically increased resolution of low-level detail, although there was certainly some forward progress in that area, but rather as a marked improvement in overall three-dimensionality and resolution of delicate—almost subliminal—spatial and reverberant cues in the music. Thus, when I listened to a carefully produced studio recording such as ‘Dead Man’s Handle’ from Steve Strauss’ Just Like Love [Stockfisch], the 220SE let me hear precisely when, where, and how various reverb and spatial effects (along with other natural reverberant sounds) were applied and layered into the mix. Importantly, this meant I could also listen through (or beyond) the technology of the recording, per se, to enjoy a clearer, more coherent understanding of the artist and producer’s musical intentions.

Similarly, when I listened to a good recording captured in a natural performance space without any electronic processing such as ‘Calypso Blues, Part 1’ from Monty Alexander’s Calypso Blues: Songs of Nat King Cole [Chesky, 24/192], the nova220SE did a fine job of helping the speakers to convey a sense of place, allowing me to hear the myriad small cues that together showed the instruments interacting with the acoustics of the performance venue. Happily, though, the nova220SE doesn’t confront listeners with a jumbled and disjointed box full of random sonic details. Rather, it’s more organic than that, always directing the listener’s attention toward the sonic whole, never becoming unduly fixated on (or distracted by) the constituent musical elements that create the whole.

The nova220SE’s front end was well balanced, so that the sound quality of the asynchronous USB input (arguably the best sounding of all) was very closely matched by the quality of the coax S/PDIF input. Likewise, the analogue input offered a good measure of resolution and, with the right source components, delivered a remarkably spacious and three-dimensional sound. My only wish is that Peachtree would provide more than just one analogue input (as it used to do in the early generation Novas). My only other critique is that I wish the 220SE DAC could decode DSD and DXD files. Granted, those file formats are not yet in widespread circulation, but as the Boy Scouts would surely tell us, it pays to “be prepared”.

What of the switch selectable valve buffer stage? Interestingly, when I reviewed Peachtree’s nova125 I preferred that amp/DAC with the buffer disengaged, but with nova220SE, which offers a higher baseline level of resolution than the nova125, I found the valve buffer stage offered meaningful, albeit subtle, benefits. Specifically, the valve buffer changed the amp/DACs harmonic signature, making harmonics sound richer and more complete, but not in an over-dramatised way. But more to the point, I found that engaging the valve buffer helped unlock the depth dimension of soundstages—often in a significant and beneficial way. As a result, I did perhaps 70% of my listening with the valve buffer engaged, though this is a choice listeners will want to weigh for themselves.

Finally, we come to the 220SE’s headphone amplifier section, which—as Peachtree claims—is powerful enough to handle virtually any dynamic (as opposed to electrostatic) headphone owners might choose to use (even the Abyss AB-1266). However, I found the headphone amplifier’s voicing differed considerably from that of the 220SE’s main power amplifier, presenting a sound this was brighter and also more lightly balanced in the bass region, meaning the headphone amp missed out on some of the main amp’s admirable richness and density of tonal colour. Still, the headphone amp is a nice feature to have and one that, on the whole, adds to the nova220SE’s versatility.

Overall, the £1,499 nova220SE offers astounding performance for the money. The funny if not shocking part about this is that one might instinctively feel compelled (purely on sonic grounds) to compare the Peachtree against preamps, DACs, headphone amps, and power amps that individually cost more than the entire 220SE does. The question, then, is not whether the nova220SE can be surpassed (it can be, if you’re willing to invest a good bit more money), but rather whether anything near its price can do so many things so well.

In terms of sound per pound and far-ranging versatility, I think the nova220SE deserves recognition as one of the benchmarks in its class. Best of all, it offers the elusive and desirable combination of sonic finesse and dynamic clout—qualities that free listeners to explore virtually any sort of loudspeakers they might wish to try. For all these reasons and more, I think the nova220SE makes a great place to start (or perhaps conclude) a quest for high-end sound at a sensible price.

Technical Specifications

Type: Two-channel integrated amplifier with built-in DAC, with hybrid valve/solid-state preamplifier and solid-state Class D power amplifier section.
Analogue inputs: One stereo Auxiliary input (via RCA jack)
Digital inputs: One asynchronous USB input, one coaxial S/PDIF input (via RCA jacks), two TOSLINK optical inputs.
Analogue outputs: One stereo headphone output (via 6.35mm headphone jack), one pair of loudspeaker taps (with 5-way binding posts), one stereo variable-level preamplifier output (via RCA jacks).
Supported sample rates: Coaxial S/PDIF: 16-bit/44.1kHz – 24-bit/192kHz; TOSLINK: 16-bit/44.1kHz – 24/bit/96kHz; Asynchronous USB: 16-bit/44.1 – 24-bit/192kHz
Input impedance (AUX input): 15kOhm
Output impedance (preamp): <50 Ohm
Power output: 220 Wpc @ 8 Ohms (both channels driven, <0.5% THD), 350 Wpc @ 40 Ohms (both channels driven, <0.5% THD)
Headphone amplifier output:1170 mW @ 32 Ohms, <0.1% THD; 182mW @ 300 Ohms, <0.1 THD
Bandwidth: Preamplifier: 20Hz -20kHz, ± 0.2dB; Power Amplifier: 20Hz – 20kHz, ± 0.5dB; Headphone Amplifier: 20Hz – 20kHz, ± 0.1dB
Distortion: Preamplifier: 0.004% THD + noise; Power Amplifier: 0.001% IMD; Headphone Amplifier: 0.006% THD + noise
Dimensions (HxWxD): 126 x 377 x 343mm
Weight: 11kg (shipping weight)
Finish: Graphite grey faceplate, gloss black lacquer enclosure sleeve.
Price: £1,499

Manufacturer: Peachtree Audio

URL: www.peachtreeaudio.com

UK Distributor: Anthem A/V Solutions

Tel: 44 (0) 1825 750858

URL: www.anthemavs.co.uk

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Burmester 101

The standard audio industry autumn roll-out of shows and factory visits had a strange, unexpected side-effect. It made me understand something fundamental about the Burmester 101 integrated amplifier, and Burmester products in general.

You see, most people think that chrome front panel on Burmester products is there as a spot of bling. It’s not; it’s there because Burmester thinks very long term. You begin to understand this when staring at the 23^rd chromed shower tap in almost as many days; kitchen and bathroom designers use chrome brightwork because it doesn’t tarnish even after years of installation in an inherently wet environment. An audio amplifier doesn’t spend its days in shower stall humidity, but that thick chrome front panel means the 101 integrated amplifier will look as new in a quarter of a century as it does today.

Burmester is mostly about pre-power amplifiers; the company’s best known product (still in production after 34 years) is the 808 preamplifier and its best seller is the 911 power amplifier. However, Burmester has made several integrated designs over the years, and currently produces three models; the 101 is the latest (the first two numbers of the three number product code here denote the original launch date; the 808 being launched in 1980 and the 101 first saw the light of day in 2010), and least expensive in the whole catalogue. Unlike the other integrated designs in the range, the 101 is smaller, slimmer, lighter, and more conventional looking than its stable-mates. In truth, the conventional looks belie the fact that the 101 is perhaps the most radical design in Burmester’s long amplifier history.

The 101 amplifier is a 120W design, and uses Class D power sections, in place of the predominantly Class A topology of other amps in the Burmester range. Class D operation polarises audio enthusiasts, but the 101 takes the Class D concept and runs with it. Instead of using off-the-shelf modules and the standard-issue switch-mode power supply, the 101 features custom-designed filters, and a high-grade linear supply. Both the preamplifier and the high-grade headphone amplifier are DC coupled, thereby limiting the number of capacitors in the signal path.

Also outside the signal path is a protection circuit, designed for overload, overheat, and DC offset protection. As a result, you don’t necessarily need to observe good housekeeping and turn the amplifier off before swapping speakers. However, I strongly advise you do power down the amplifier between speaker changes, as it ensures the amplifier modules react properly to the new loudspeaker. This is important in order to get the best from the 101, and Class D amps in general. This won’t trouble most people in reality, but if you audition the 101 and the demonstrator fails to cycle the power between speaker changes, you probably aren’t hearing the amp at its best.

There’s two points to note about the 101, the first being very transitory. It takes some time to bed in. The out of the box 101 bears bears little sonic resemblance either to the typical Burmester ‘house sound’ or to the sound the 101 will eventually achieve after some hours of careful run-in. Its new in box sound is hard, flat, and small sounding, but all of those aspects go away over a weekend of listening, and they don’t seem to come back even after a week or so of downtime. I was worried that the inclusion of a ‘smooth’ button on the front panel meant the 101’s basic sound was going to stay as hard as its first hours, but in reality it runs in to sound almost valve-like in day to day operation, with the ‘smooth’ function just acting as a slight roll-off (one that is surprisingly useful when dealing with brick-wall mastered casualties of the loudness war).

The second point is, like a lot of Burmester equipment, it’s designed as a balanced audio circuit that can do single-ended, and not the other way round. It has only two single ended inputs, alongside the three combination XLR/jack sockets rarely seen this side of a pro rig. This is best used with balanced sources and, although the drop in performance between balanced and single-ended is not massive, it is fairly noticeable. It’s even noticeable when using pseudo-balanced devices (such as the Primare NP30 tested in this issue), and the sound was more integrated and had more ‘zest’ when used in fully balanced mode from DAC to speaker terminals. Naturally, it also worked well with Burmester’s own (we used the 113 DAC, and this proved an excellent side-kick for the 101).

All the above (power cycled, used balanced, run in for a few days) represent the only concessions under ‘appropriate fettling’ rules, and in all other aspects the 101 simply works as any good amplifier should; without fuss or bother, and consistently driving the sorts or loudspeaker loads a good integrated amp might see hanging off the end of some speaker wire. As suggested, the 101’s basic sound is very Burmester, combining an almost valve-like roundness and effortless dynamics, with a lot of detail. And, as described above, engaging the ‘smooth’ switch just increases the rounded off sound somewhat, and will tame some of the more excessively ‘hot’ mixes out there (it can tame some slightly ‘spitchy’ tweeters, too). It also seems to act as an ‘unloudness’ filter, making it great for some late-night, low-volume listening.

What the 101 does exceptionally well is rebuild the too-often severed link between ‘enjoyable’ and ‘detailed’. We’ve all become accustomed to amplifiers (at least, amplifiers that don’t cost as much as an S-Class Mercedes) that make a relaxed and enjoyable sound, but do this at the expense of the detail. We’ve also become used to detailed sounding amps, but all too frequently that analysis costs a listenable sound. The 101 manages to do both; so you listen to Tom Waits Rain Dogs album [RCA] and you not only get the insight into the studio and the performance, but you get that sense of Kurt Weill-style story telling and musical flow. In many cases, you either get the energy without the musical insight (which makes Waits sound like a carney barker), or you get the musical coherence without the sharp detail (in which case the openness of the mix is lost).

The ace up the 101’s sleeve is its sense of grip over the loudspeakers. I played perhaps the least audiophile, well-recorded tracks I own; ‘Still D.R.E.’ from 2001 by Dr Dre [Interscope]. There’s a tendency for less grippy amplifiers to drown in the drone, and lose some snap to the percussion loops. Here, it sounds as fresh and gangsta. Word! In a perhaps more appropriate idiom, the sense of grip means instruments like timpani and double bass never get out of hand, even when the music rises to crescendo, as in the last movement of Mahler’s Eighth Symphony [Solti and Chicago SO, Decca].

In the manner of classic Apple launches, there’s just one more thing; the built-in headphone amplifier. This is something of a star, because it’s capable of driving very difficult headphone loads without blinking, and does so with the same rich, warm, effortlessly powerful, and detailed presentation for which the 101 (and, by extension, Burmester) is prized. No, it’s not going to dissuade true headphone devotees from a full-thickness, dedicated headphone amplifier and DAC combination, but it suggests much of that devotion might be as more blind faith than blind listening, as the 101 is one of the best headphone sounds you will hear from the traditional audio world.

You need to think about the 101 with the kind of very long term outlook that Burmester works to. Integrated amplifiers don’t change that much, but despite this we often change them regularly. It’s conceivable that someone might go through two or three integrated amps in a decade, but that’s not how the 101 works. It’s either a stepping-stone to bigger Burmester pre/power combinations, or it’s an end in and of itself. There’s no other way here; people who buy Burmester don’t commonly ‘churn’. This means the 101 will be bought by people who will tend to keep the same product for years and years, and it’s possible – likely even – that the 101 will either end up in a second system, or form the backbone of system of the family’s next generation audio enthusiast. In other words, this one’s a keeper.

The Burmester 101 might just be one of those silently ‘disruptive technology’ products. Class D operation is going to be an increasingly important element in 21st Century music listening, and Burmester joins the small, but growing number of serious audio brands that are realising the potential of the circuit topology. We need more products like the Burmester 101, for making the right noises to the environmental brigade, and making the right noises for the listener, too!

Technical Specifications

Inputs: 3x XLR balanced, 2x RCA single-ended

Outputs: 1x XLR balanced pre-output, speaker terminals

Power output: 120W per channel (four ohms)

Frequency Response: 5Hz-60kHz (-3dB)

Distortion (THD+N): 0.015%

Signal/Noise ratio: >74dB

Damping factor: >250

Dimensions (HxWxD): 9.2×48.2x35cm

Weight: 12kg

Price: £5,088

Manufactured by Burmester

URL: www.burmester.de

Tel: +49 30 787 968 0

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Peachtree Audio nova220SE Integrated amplifier/DAC/headphone amplifier Competition

Hi-Fi+ has teamed up with Peachtree Audio to bring one lucky winner the company’s outstanding nova220SE integrated amplifier with DAC and headphone amplifier, worth £1,499.

Tested in issue 117, the nova220SE wowed our Publisher Chris Martens, for its extraordinary flexibility at a superb price. But most of all, he was bowled overby its outstanding performance. We urge you to check the review by clicking here.

Here are just a few examples of what he found so exciting about this 220W per channel, hybrid integrated amplifier with built-in DAC and high-performance headphone socket. He felt that, “the nova220SE is at once the subtlest, most refined, and by far the most powerful Nova-series amp/DAC offered to date.”. Martens also stated that, “Peachtree’s integrated amps have long been known for flexibility and versatility, and the nova220SE is no exception. And he concluded by saying, “In terms of sound per pound and far-ranging versatility, I think the nova220SE deserves recognition as one of the benchmarks of the class.” And we are giving one of these excellent products away.

Competition Question

What tube/valve is used by the nova 220se?

A. H2N1

B. 205GTi

C. 6N1P

To enter please visit www.peachtreeaudio.com/nova220se-competition.html

Alternatively, send your answer on a postcard (including your name and address and contact details) to nova 220se Competition, Peachtree Audio, 2045 120th Ave NE, Bellevue, WA98005, USA

Competition Rules

The competition will run from December 4th 2014 until February 5th 2015. 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, on our website and in our newsletter.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 do not pass on your details to any third party without your consent.

Peachtree Audio Nova 220SE integrated amplifier/DAC/headphone amplifier

Technical Specifications

Type: Two-channel integrated amplifier with built-in DAC, with hybrid valve/solid-state preamplifier and solid-state Class D power amplifier section.
Analogue inputs: One stereo Auxiliary input (via RCA jack)
Digital inputs: One asynchronous USB input, one coaxial S/PDIF input (via RCA jacks), two TOSLINK optical inputs.
Analogue outputs: One stereo headphone output (via 6.35mm headphone jack), one pair of loudspeaker taps (with 5-way binding posts), one stereo variable-level preamplifier output (via RCA jacks).
Supported sample rates: Coaxial S/PDIF: 16-bit/44.1kHz – 24-bit/192kHz; TOSLINK: 16-bit/44.1kHz – 24/bit/96kHz; Asynchronous USB: 16-bit/44.1 – 24-bit/192kHz
Input impedance (AUX input): 15kOhm
Output impedance (preamp): <50 Ohm
Power output: 220 Wpc @ 8 Ohms (both channels driven, <0.5% THD), 350 Wpc @ 40 Ohms (both channels driven, <0.5% THD)
Headphone amplifier output:1170 mW @ 32 Ohms, <0.1% THD; 182mW @ 300 Ohms, <0.1 THD
Bandwidth: Preamplifier: 20Hz -20kHz, ± 0.2dB; Power Amplifier: 20Hz – 20kHz, ± 0.5dB; Headphone Amplifier: 20Hz – 20kHz, ± 0.1dB
Distortion: Preamplifier: 0.004% THD + noise; Power Amplifier: 0.001% IMD; Headphone Amplifier: 0.006% THD + noise
Signal to Noise Ratio:
Dimensions (HxWxD): 126 x 377 x 343mm
Weight: 11kg (shipping weight)
Finish: Graphite grey faceplate, gloss black lacquer enclosure sleeve.
Price: £1,499

Manufacturer: Peachtree Audio

URL: www.peachtreeaudio.com

UK Distributor: Anthem A/V Solutions

Tel: 44 (0) 1825 750858

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Audiodesksysteme Vinyl Cleaner Competition

Hi-Fi+ has teamed up with the good people at The Audio Consultants and Audiodesksysteme to bring one lucky vinylista the chance to give beloved LPs the ultimate clean with the excellent ultrasonic Vinyl Cleaner worth £2,199.

Designed to loosen even the most buried-in grit, grime, and release agents used in pressing the LP, the Audiodesksysteme Vinyl Cleaner uses more than the usual brushes, cleaning agent, and driers to bring your vinyl back to life. It uses a series of ultrasonic generators to clean your vinyl better than ever before. Ultrasonic cleaning has been the industry standard for precision engineering and jewelers for decades, and now it comes to the microgrooves of an LP.

The process itself is entirely automated, and filters collect any stray dirt so even the cleaning fluid is good gor hundreds of records at a stretch. Your albums go from “ow!” to “wow!” in around five minutes a disc, and they will thank you for the gentle bathing by sounding better than you could ever imagine – as one lucky reader is going to find out!

Competition Question

What does the Audiodesksysteme Vinyl Cleaner use to remove dirt from LPs?

A. Hydrolastics

B. Ultrasonics

C. Extrasolars

To enter please visit http://www.audioconsultants.co.uk/competition.html

Alternatively, send your answer on a postcard (including your name, address and contact details) to: Audiodesksysteme Vinyl Cleaner Competition, The Audio Consultants, 7 Comet House, Calleva Park, Aldermaston, Reading, Berkshire, RG7 8JA, United Kingdom

Competition Rules

The competition will run from December 4th 2014 until February 5th 2015. The competition is open to everyone, but multiple, automated or bulk entries will be disqualified. The winner will be chosen at random from all the valid entries, will be contacted via email (where possible) and their name will be published in the magazine, on our website and in our newsletter. 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.

Issue 118 Hot Preview – GoldenEar Technology Triton One

Hi-Fi+ Issue 118 will be available from December 4. As ever, the magazine is stuffed to the gills with the latest and greatest audio equipment, but here is a preview of one of the hottest topics in the new issue – the excellent GoldenEar Technology Triton One loudspeaker.

Our Publisher Chris Martens was fortunate enough to receive one of the first pairs of the £5,000 flagship Triton One loudspeakers to leave the GoldenEar factory. “At first glance,” he says, “the design of the Triton One might appear similar to that of earlier Triton-series models, but the closer one looks, the more obvious it is that the Triton One breaks new ground in terms of design and—especially—sound quality.

Chris Martens also suggests, “the Triton One is a tall, slim, three-way floorstanding loudspeaker that combines a passive tweeter-mid/bass section positioned near the top of its enclosure with an active subwoofer section down below.” However, he also points out that “GoldenEar’s new subwoofer crossover network is arguably the most precise that the firm has ever built,” and that, “together, the new passive/active crossover and powerful woofer amplifier do a terrific job of preserving bass transient speed, focus, and pitch definition.”

In sheer performance terms, Chris Martens felt that “the Triton One’s design elements coalesce in a synergistic way, giving the speaker a far more taut, well-focused, and coherent sound than any of its earlier-generation Triton-series predecessors could have provided.” He also felt that, “the T1 is able to maintain a very high level of continuity from top to bottom.”

The benefit to the listener, according to Chris Martens, is you can, “put all these design elements together and you get a loudspeaker that sounds far more sophisticated, expressive, expansive, and refined than its mid-level price would lead you to expect.”

This marks a significant change for the company, and a change for the better for audiophile listeners. “Where earlier GoldenEar models tended, conceptually and sonically, to have one foot in the world of high-end audio and the other in the arguably less demanding (or at least differently prioritised) world of home cinema,” says Chris Martens, “the new Triton One is, by design, a true connoisseur’s high-end loudspeaker, with no ifs, ands, or buts about it.”

But if you want to know more, if you want to know just how good the Triton One really is, as well as the latest Kuzma and Transfiguration products from the Vinyl Frontier, great power with great responsibility from B.M.C. and Resolution Audio, a CD player (yes, new players still exist) from Roksan, top loudspeakers from Crystal and Kudos, plus the greatest little headphone amp and DAC (not that much) money can buy… well, you just have to buy the magazine, in print, on PDF, or through all good tablets and smartphones. Don’t miss out!

Atoll IN200 integrated amplifier

The French audio brand Atoll began building electronics in the late 1990s, which was a tough time to carve out a niche in the audio marketplace. Simply surviving the last decade and a half means Atoll is officially On To Something, and this is evidenced by its integrated IN200.

In fairness, one of the big feathers in Atoll’s cap was not an issue when the brand began in 1997, but it is worth stating today. The company designs in France, and builds in France. It out-sources its circuit-board build like many small electronics companies, but chooses to use technology specialists within its own country, rather than half a world away. Whether this is worthy of praise is perhaps a moot point, but such is the change within the electronics industry in general and the audio industry in particular, that this mode of construction is rare enough today to be worthy of note.

Atoll’s IN200 is an attractive if understated 120W per channel dual mono amplifier with a nice curve in its 8mm thick aluminium fascia. To keep the lines clean, however, it uses buttons in place of knobs and dials, which form the ergonomic brief of other integrated amps in the Atoll line. However, the IN200’s control surfaces (shared with the IN400 flagship) are well laid out with volume and balance buttons laid out in a logical diamond configuration. It’s tempting to throw in the ‘Gallic flair’ cliché here; the combination of its curves, ovals, and graphics gives the Atoll line a common, almost Art Nouveau look.

Apart from the volume and balance button diamond, the IN200 has a row of buttons for each input. There are five line-only inputs – a phono stage can be added to one line input at a small premium – and a sixth marked ‘by-pass’. This allows you to use the power amp side of the IN200 only, which is useful in shared stereo/multichannel systems, or if you are upgrading to a pre/power system in stages. The IN200 also sports a fixed line input and output for a tape recorder (should you still own one) on the rear panel, and a solid ¼” headphone socket on the front.

The display in the central oval window shows input and volume level, the latter avoiding the rather obtusely technical decibel scale and instead going for the more intuitive ‘bigger is louder’ numbering system. There are no options to name inputs nor adjust the gain of each – features that might not enhance sound quality, but improve ease of use. The display has two settings, on or off, accessible from the multifunction remote. This handset can operate any piece of Atoll electronics, and is great if you have an all-Atoll system, but there are a lot of extra functions on the remote that do nothing if you only use the amplifier.

Under the lid lies evidence of the IN200’s claim for dual-mono construction in the form of two mains transformers and a set of heatsinks on either side of the chassis. This explains how a fairly normal sized amplifier gets to specify an output of 120 Wpc at eight Ohms that almost doubles to 200 watts into four Ohms. Two pairs of MOSFETs per channel should be up to delivering a decent amount of current when backed up by that kind of power supply.

Listening kicked off with a new to me album, Hubert Laws’ Afro-Classic, a top piece of early seventies flute-based soul-jazz on the essential CTI label. It’s not the greatest of recordings in truth, but the Atoll managed to extract a lot of depth from the various acoustic instruments and present them in a spacious soundstage. The fact that the flute itself sounded a little crude can be blamed on the recording, because this amp is remarkably clean and relaxed in its delivery. More up-to-date recordings confirm this, revealing the IN200’s wide bandwidth, strong dynamics, and vibrant instruments and voices. Like any decent piece of audio equipment, the Atoll amplifier reflects what it’s given and has the grip to deliver it in a clear and largely unmannered style. I love the way it gives both the depth and shape of the bass line on Betty Davis’ ‘Nasty Gal’ from the This is It! compilation [Vampisoul], all the while delivering the raunched out vocals in salacious style. You really can’t beat funk when it’s this, well, nasty.

Modern recordings do, however, have lower noise floors, and this is something the Atoll is adept at revealing. Besides power, this is the key to the IN200’s success; it is an impressively quiet amplifier for the price. Many amps can carry you away with good timing and some low-end punch, but it takes a good one to open up recordings and show you what’s going on deep in the mix. This is where the nuances are hidden – the reverb tails and the harmonics that combine with the fundamentals to give a fuller picture of the recording. The mute trumpet work on Henry Threadgill’s excellent ‘Bermuda Blues’ from You Know The Number [BMG] is presented in such complete and real form that it’s more interesting than usual. To an extent this is because the Atoll favours this part of the spectrum; the midrange is where it excels, and for that matter where we hear the most, so there’s some sense in doing it well. The bass is taut and strong, better than average in terms of depth and tone, but not as fast as the best in class. This means that timing could be more spritely, but that’s difficult to achieve in the context of good bass extension and low noise. At this price, and above for that matter, there is a choice to be made about what matters most to you.

It’s worth noting that these results were achieved with the redoubtable PMC fact.8 loudspeakers, which are rather more revealing than you’d normally partner with an amp of this price, albeit not difficult to drive. I also tried the Atoll with the Egglestonworks Nico standmounts reviewed this month, and the combination produced plenty of scale, a clear open midrange, and deep if not very well defined bass. Voice was particularly strong. More appropriate in price terms is ATC’s SCM11 standmount (£1,200). This sealed box design is quite demanding of amplifiers but the Atoll remained unperturbed, delivering the sumptuous sheen of Herbie Hancock’s River: The Joni Letters [Verve], particularly the title track sung by Corinne Bailey Rae, who does the song many favours with a totally different rendition to the original.

Switching to the considerably less expensive Rega Brio-R, I was surprised to hear an apparent increase in dynamics. This could be because the smaller amp produces a cruder version of events, or possibly a reflection of its slightly forward nature, but it sounded rather more lively as a result. Extended listening showed that the little Rega is ultimately no match for the IN200, the French amp’s sophistication and relatively relaxed delivery making for a rather more comprehensive picture of musical events, meaning listening is a more pleasurable if less intense experience. Putting on ‘The Expert’ by Yello [Touch, Universal] results in a lovely low end grumble in the bass and a massive soundstage, with as much width as the room can contain, and genuine rhythmic precision. As an industry, we owe that band big time; for example, few musicians have made so many recordings that can turn a modest system into a giant slayer in quite the same way as ‘The Race’.

Small Faces recordings are considerably less refined. In fact, they’re at the other end of the scale, but they have an energy and inventiveness that makes them essential listening. The Atoll reflects both the crudeness of their creation and the genius behind the likes of The Autumn Stone [Immediate], their unfinished swansong album. It’s a dense arrangement of competing instruments that this amplifier has no difficulty presenting in a coherent and inviting fashion. It’s a good sign when you put on something new and a little bit different, and the system lets you hear what the musicians were aiming for. The Atoll’s low noise and subtle character combine to do this very effectively.

Having reviewed two Atoll products in recent times, I have been impressed with their no-nonsense build quality and overall sound quality. There aren’t many brands that manufacture in Europe and are able to offer this sort of value, but it’s the sort of thing you have to do in order to compete in the world market today. The IN200 is an understated and revealing amplifier, and with its combination of finesse and power on offer, the competition had better get busy.

Technical Specifications

Atoll IN200 integrated amplifier

inputs: 5x single-ended stereo RCA
Power Output: 120 watts/channel (8Ω), 200 watts/channel (4Ω)
Frequency Response: 5Hz-100kHz
S/N ratio: 100 dB
THD+N: 0.05% @ 1kHz
Input impedance: 220Ω
Power supply: 660 VA
Total capacity: 62,000µF
Sensitivity: 100 mV
Rise time: 2.5µs
Dimensions (WxHxD): 440x90x280mm
Weight: 13kg
Finishes: Black or silver
Price: £1,495

Manufacturer: Atoll Electronique

URL: www.atoll-electronique.com

Distributor: HDH ELECTRONICS LTD

URL: www.atoll-gb.com

Tel: +44(0)208 4297504

Back to reviews

Tsakiridis Devices Aeolos Super Plus integrated amplifier

It’s easy to make a cheap valve amp today. It’s a lot harder to make one that’s cheap, good, and built on this side of the planet. And yet, somehow, Tsakiridis Devices manages to design and build quality valve amps that don’t cost a fortune, all from its base in Athens, Greece. The Aeolos, Aeolos Plus and now Aeolos Super Plus are currently the brand’s only integrated designs, with an additional seven different power amplifiers, two preamps, a phono stage, and three power conditioners elsewhere in the catalogue. All in the realm of ‘affordable high-end’.

The integrated amps are all Class AB designs, with four line inputs and the same ‘narrow, but chunky’ case. The principle difference between the Aeolos models is output tubes; the standard model sporting four EL34 pentodes, the Plus featuring KT88 or 6550s, and the Super Plus tested here sporting KT120s. In the process, this gives the amplifier a power boost to 60W over the Plus’ 45W and the standard version’s 35W per channel. Otherwise, everything remains identical. All three use four 12AT7 double-triodes in the preamplifier and gain stages.

Unlike many high-end for low-cost designs, concessions to economy are on the outside, rather than in circuit. The component quality is actually pretty high; there are few ‘name’ components in the circuit (the Alps potentiometer and the Chemicon caps are notable exceptions), but the Tsakiridis uses metal film resistors, high-quality polypropylene capacitors, porcelain tube bases and solid (Tsakiridis-matched) Tung-Sol tubes throughout. The chassis itself is in a powder grey with a contrasting black crackle finish; not exactly exotic, but strictly no-nonsense. The grey elements include the front panel, and the top cover for the transformers and the valve cage. Cleverly, the company also provides a neat extendable screwdriver with a magnetic tip that allows the user to reach into the otherwise-inaccessible regions of the valve case to insert or remove its screws. This might be a simple touch and nothing whatsoever to do with the performance of the amplifier, but it makes life a little less sweary at installation time. This attention to detail is, sadly …rare.

There’s one more concession to economy. Biasing the valves is an easy task, but not as easy as the automated systems now in place in more exotic equipment. It means you need to tangle with a multimeter and probes, in the way you always had to in the good ol’ days of audio. But with this, comes a little treat, albeit one that ‘is not recommended’ (but, curiously, mentioned) in the manual. The bias voltage and current has set recommendations for the type of output tube; turning the bias current up beyond that recommendation takes the amplifier out of Class AB1 and into pure Class A. This is ‘not recommended’ because it causes the valves to run hotter and shortens their working life. However, moving to pure Class A is tempting, because the sound is sweeter (and a lot of today’s valve amp makers push their amps into Class A by default). Just remember that turning up the bias means gently pushing the tubes out of their comfort zone; it does not mean cranking the bias so high you have four incandescent lamps burning bright (and burning out) before your very eyes.

The other options open to the listener are two sets of toggle switches that switch the amp between triode-strapped and full (ultralinear) pentode mode (triode is generally sweeter, but not as powerful) and a cut in global feedback (sort of ditto; lower feedback sounds a little more direct). As with all these concepts, the best answer is ‘experiment’. Try it with and without, depending on loudspeakers. Don’t expect profound changes though; it’s more subtle than that.

The one design hiccup in my opinion is the switches for adjusting feedback or changing bias are hidden behind the valve cage. As are the neat retro power meters. The cage hides all this from view, and the cage itself undermines the elegance of the overall design. I can’t suggest playing the amplifier without the cage for the same reason the manufacturer can’t recommend turning the bias up to put the amplifier in Class A. From a Euromentalist viewpoint, hiding the tubes behind a cage prevents them from escaping into the wild, burning, cutting, and electrocuting any life-forms that happen to be in the room at the time. Pragmatically, unless you have young kids, you might want to consider using the amplifier nude – the amp, not you.

We found the amplifier’s happy place was in a system comprising the excellent B.M.C. Audio BDCD1.1 and DAC1pre (in DAC mode) driving the Triangle Antal Anniversary also reviewed in this issue. Cables in this case were from the Chord Sarum TA range. At the time, I had no idea of the cost of the amplifier, but in assembling this particular package I made a system where the ancillary components all wound up costing more than the amplifier does (OK, so taken individually, runs of Sarum TA cost less than the amp, but as a complete system, they significantly exceed the cost of the Aeolos Super Plus).

The thing is, this shows I approached this in the manner you should approach all things audio; namely, with a completely open mind. More specifically, I approached it with a completely open mind as to price point. I had no idea whether this was a £2,000 amp or a £20,000 amp (it’s sometimes hard to tell). This means relying on gut feel as to its place in the world, and as such I felt the aforementioned system was ideal. It was only later, that I realised the amp was the cheapest part of the whole deal, which highlights just how good the Aeolos Super Plus really is. It more than stepped up to the task I had given it.

The amplifier has a lovely midrange, and ‘lovely’ is the best word that fits the job. It makes a sound that is warm, yet energetic, inviting, clear, and open. And lovely. It’s almost made for female vocals, whether solo voice or something like Elizabeth Fraser’s vocal on the excellent ‘Teardrop’ by Massive Attack [Mezzanine, Virgin]. Her voice has an intrinsic sense of beauty anyway, but the Aeolos Super Plus really brings that front and centre. You find yourself seeking out vocal and piano music as a result, because that midrange is so enticing.

This sweet midrange also extends to the treble, too. Overall, the sound is extremely civilised, as you might expect from a society that gave us Plato, Euclid, Sophocles, Homer, and Gerald Butler in his battle shorts. It’s a sound of great refinement, control, and honesty, which is at home with a wide variety of sounds. It is perhaps more geared away from the more ‘full-on’ aspects of music; there are amplifiers more comfy with pumping out Metallica – or for that matter, Mahler – at full tilt, but if you are in the market for some sophistication, whether in string quartet or jazz combo, the Aeolos Super Plus is a refined and elegant sounding performer. It carefully avoids the pitfalls of sounding ‘too’ valve like and warm, but makes its music sound so very sweet in the process.

There are a few sonic limitations that make their presence felt, however. I did find the bass was a little soft at times, more in line with classic Leak amplifier chassis than the more meaty, beaty, and beefy sound of, say, a McIntosh or Audio Research. This did vary very slightly from speaker to speaker, but was very comfortable with the Triangles. That being said, while the slight question over broad compatibility prevents the amp from achieving ‘panacea’ status, the fact remains that when suitably partnered, the Tsakiridis’ bass can take on a fast-paced, precise tonality, that gets you closer to the stickwork of Steve Gadd on Steely Dan’s ‘Aja’ from the album of the same name [MCA]. Gadd’s fills here are some of the most complex drum sounds you can hear on record, so to nail them so effectively is a tough call.

The Tsakiridis Devices Aeolos Super Plus does all the right things in the right places. It’s decidely European in design and build, without costing a fortune. It sounds like a good valve amp always did, before they became synonymous with ‘warm and rich’ sounds. And it’s unpretentious and doesn’t cost a fortune. Care is needed in matching it to speakers, but get it right and the sound is hard to beat. Especially at the price.

Technical Specifications

Push-pull, Class AB valve integrated amplifier

Tube complement: 4x 12AT7, 4x KT120

Power output: 60W per channel

Inputs: 4x RCA stereo line level

Outputs: 1x RCA tape loop, WBT speaker terminals

THD+N: 0.38% (1W at 1kHz)

Intermodulation distortion: 2.1% (60Hz/7kHz, @ 1W)

Frequency response: 20Hz-20kHz ±0.2dB

Signal to noise ratio: 85dB

Dimensions (WxHxD): 28.5x40x20cm

Weight: 12kg

Price: £1,745

Manufactured by: Tsakiridis Devices

URL: www.tsakiridis-devices.com

Distributed by: Flamingo Audio

URL: www.flamingoaudio.co.uk

Tel: +44(0)121 212 9288

Hi-Fi+ 2015 Calendar

Once again we have put together our limited edition stylish calendar. Twelve months of the finest looking hi-fi electronics, this is the perfect Christmas gift for the audiophile who has everything.

We were going to get the editorial team to pose in the nude this year, but that would be a violation of basic human rights – yours!

No components were harmed in the making of this calendar. A loudspeaker got a bruise on his speaker terminal, and one of the CD players has a hurty knee, but that’s it!

Order today (while stocks last) for only £9.99 + p&p

To order please email [email protected]

Tellurium Q digital cable range

Let’s get the difficult part of this review out of the way. Tellurium Q doesn’t publish specifications – in part because it doesn’t want to hand over its trade secrets to its rivals, and in part because there’s a tendency for people to make odd proclamations about sound based on materials alone (“it’s a silver cable, and as such it sounds shiny”). While this is entirely understandable from a commercial proposition (Tellurium Q is not alone in this; Kubala Sosna is also reluctant to disclose details of its designs), it does make it difficult to explain ‘how’ Tellurium Q cables sound as they do, and ‘why’ one cable might perform better than the next in line. The nearest we get is that the cables are designed to eliminate phase distortions in general and the digital cables are good at removing the demon problem for all things onesy-noughtsy… jitter!

Worse, there is an increasing rejection of the need for aftermarket cables, and that rejection is focused in particular on digital cables, and most especially USB. In a way, that isn’t important; ‘how’ and ‘why’ a thing makes a difference becomes academic when you are ideologically opposed to it making a difference in the first place. The growing ‘bits-is-bits’ chorus would likely reject any description of the concepts underlying Tellurium Q’s cables as so much snake oil anyway. So, maybe dispensing with the ‘why it does it’ is not such a bad idea, after all – for the manufacturer, at least.

We were given a range of Tellurium Q digital cables for test; five in total. Black and Graphite (in USB and 75-ohm coaxial S/PDIF configuration) and Black Diamond (available in USB only). The prices of these cables ranged from a smidgeon under £300 for the Black USB, right up to a frisky £740 for the Graphite coaxial. There are also digital XLR cables for AES/EBU installations in the Black and Graphite lines, priced identically to their S/PDIF brethren. They all have a common character to the performance, and that performance does improve as we move up the lines in fairly clear steps, so most of the test concentrated on extracting the most from the best; the aforementioned Graphite, and the £660 Black Diamond.

To do this, I simplified my system to its barest bones; a computer, a CD transport, a Wadia 121 DAC, which I used as headphone amplifier into a pair of Philips Fidelio X1 headphones. By way of comparison I used my usual Nordost Blue Heaven USB. The only hiccup here was the CD transport; although I’ve still got all my CDs, most of my digital listening is now through computer and I had to borrow that front end (the B.M.C. Audio BDCD1.1 tested by AS last issue) and acclimatise myself once more to spinning discs. I also borrowed a Nordost Blue Heaven S/PDIF for consistency.

This turned out to be an interesting and almost immediate overtuning of any ‘bits is bits’ mentality I might have still been harbouring. It’s actually irrelevant which Tellurium Q cable you select to compare against its Nordost opponent, it’s more that the difference in the nature of the performance of both ‘families’ is so huge as to render the ‘bits is bits’ idea laughable to any listener. Curiously, I had expected this difference to be less significant, because both Nordost and Tellurium Q have a reputation for leading the field in leading-edge resolution. This turned out to be correct, but after that things went in very different directions. Put simply, the Nordost had more energy, and the Tellurium Q cables were darker sounding.

Neither is an inherently ‘right’ or ‘wrong’ presentation; even though I use – and continue to use – Blue Heaven, I could appreciate the Tellurium Q cables as walking the same path, just in slightly different shoes. And the more I listened, the more I came to appreciate that other choice of footware.

After the comparison session, I spent greater time listening to just the Tellurium Q range, in a way acclimatising myself to its performance in its own right. I put myself on a strict diet of moderns for this process, as I believe the combination of the sonorous Debussy to the riotous Stravinsky right through to the experimental Webern cover a good overall spread of sounds to cleanse and reinvigorate the palette.

Once de-Nordosted, I could hear that the cables have a potent solidity to the way the music is structured, and this is especially noticeable in music that doesn’t stick to old musical patterns, like Schoenberg. This, coupled with the overall speed of the cables in general (and Black Diamond USB in particular), gives a sense of drive and order to music that can easily appear chaotic. It’s perhaps a less immediate sound than I’m used to (hence the need to ‘decompress’ after the comparison session), but over extended listening reveals itself to have subtlety of texture and shade that is extremely attractive. It remains a rich sound, but not in a false and certainly not in a thick or bloated manner. Nor is it a tone control, although those with an exceptionally dark sounding system might find the addition of Tellurium Q’s digital line ‘a step too far’. Instead, it’s a tonal character trait, and one I personally find positive; a Richard Burton in a world of Tiny Tims.

I’m not one profoundly driven by rhythm; the music I enjoy rarely places great accent on the tempo. However, I was impressed by the way the Tellurium Q cables seemed to approach transients (both leading and trailing edge) and cohere the sound of the music temporally. Although I am not sure how a digital cable can influence the timing of a musical signal, it’s clear through audition that the Tellurium Q cables do just that.

Perhaps the one of the strongest things the Tellurium Q cables have in their favour is their consistency, both vertically and horizontally. By that, I mean that the cables have a distinct and common sound, whether S/PDIF or USB, and they improve across the range in several important aspects, including inner detail retreival, dynamics, and solidity of instruments in the soundstage. That rich, dark chocolate presentation gets richer and darker as you go up the lines too. It’s a consistency that is rare, and a sure sign the company behind the product is not simply ‘in it for the money’. Finally, Black Diamond USB is a true gem! All highly recommended.

Price and contact details

Cable: Tellurium Q Black Digital

Connection type: RCA (tested) and XLR

Price: £390/1m

Cable: Tellurium Q Black USB

Connection type: USB A/USB B

Price: £298.80/1m

Cable: Tellurium Q Graphite Digital

Connection type: RCA (tested) and XLR

Price: £740/1m

Cable: Tellurium Q Graphite USB

Connection type: USB A/USB B

Price: £450/1m

Cable: Tellurium Q Black Diamond USB

Connection type: USB A/USB B

Price: £660/1m

Manufactured by: Tellurium Q

URL: www.telluriumq.com

Tel: +44(0)1458 251 997

Distributed in the UK by: Kog Audio

URL: www.kogaudio.com

Tel: +44(0)24 7722 0650

Classic Albums: Hot Rats by Frank Zappa

Frank Zappa might not be your run-of-the-mill rock star. He was not one for recreational pharmaceuticals. As a teenager, when his contemporaries were listening to Bill Haley & His Comets, Zappa was paying attention to Edgard Varèse. And there are precious few 1960s guitarists who could include sophisticated musique concretè works in their portfolio. But then, not many musicans could turn out an album like Hot Rats.

Having virtually invented the concept album (and narrowly missing releasing rock’s first double album by about a week) with Frank Zappa & The Mothers of Invention’s Freak Out! debut, Zappa’s second solo project saw the polymath turn his attention to multi-track recording. Although multi-track recording dates back to the early-1950s experiments made by guitar legend Les Paul, it was only in the latter part of the 1960s that the technology had matured enough to be commercially viable. Pioneering recordings by The Beatles and The Beach Boys created a buzz about this entirely new way of recording, but the technology was changing at such a rate, the four- and eight-track recordings of 1966 and 1967 were very much behind the technological curve, and Zappa was one of the first to notice.

In mid 1969, Zappa (who had been a very early adopter of multi-track, learning his craft at Paul Buff’ Pal Recording Studio way back in 1961) headed out to TTG Studios in Los Angeles to record the five instrumental and the single vocal cuts on Hot Rats. TTG was only the second studio in the world to utilise the new 16-track recording system, on reels of two-inch tape. TTG had built the recorder itself the year before, based closely on the Ampex design first seen in 1967 and installed in New York’s CBS Studios. The first released album made using CBS’ Ampex 16-track was the epynomous second album by Blood, Sweat & Tears, but the recording utilised the system more for greater flexibility than for greater creativity. Zappa, ever the creative mind at play, went for both. Big time.

Zappa used those 16 tracks to create complex, layered overdubs, pioneered the idea of recording different drums to different tracks, and experiemented with the concept of using the tape machine as a musical instrument in its own right, such as recording at a range of speeds to change instrument pitch. All of these concepts would be taken up by later artists and formed the basis of the sound-scape of everyone from King Crimson to The White Stripes and beyond. Not bad for someone who reputedly hated studios!

The album is more than just technologically important; it’s musically and culturally significant, too. The opener, ‘Peaches En Regalia’ is an early example of jazz fusion (this time from the rock side of the fusing process) and features a young Shuggie Otis on bass. The vocals on the one non-instrumental track ‘Willie The Pimp’ is a result of Zappa’s “mutually useful but volatile” friendship with Don Van Vliet (better known at the time as Captain Beefheart), ‘Son of Mr. Green Genes’ is considered by many in the guitaring cognoscenti to be one of the most complete guitar parts in rock, with two of the best solos ever recorded. Even the closing ‘It Must Be A Camel’ (featuring the violin of Jean-Luc Ponty) is an intricate arrangement of jumps in melody set against a surprisingly complex rhythm. What is still shocking today is that just five people cut that track!

45 years after its launch, Hot Rats is still not an immediately accessible album for many. It’s as challenging as it is ultimately rewarding. But it’s worth the effort.

Recorded: 1969

Recorded at: TTG Studios, Los Angeles

Produced by: Frank Zappa

Released: October 10, 1969

Label: Bizarre/Reprise/Zappa Records

Noble Audio announces 72-hour Black Friday pricing on IEMs & CIEMs

November 28, 2014 –Earlier this week the Hi-Fi+ received word that Noble Audio would offer a 72-hour programme starting mid-day on Black Friday wherre the firm would offer special, reduced prices on its well-regarded in-ear monitors, custom-fit in-ear monitors and related accessories.

Regular followers of the Hi-Fi+ website may recall our blog on Noble’s flagship Kaiser 10 in-ear monitors (click here to see the blog). The Kaiser 10 will soon be the subject of a full-fledged review in Hi-Fi+. Below we present the text of Noble’s press release on its Black Friday pricing programme.

__________

NOBLE AUDIO BLACK FRIDAY ANNOUNCEMENT

In celebration of Black Friday and the holiday season all Noble IEMs, CIEMs, and Accessories will be available for 15% off beginning November 28^th at 12:01 am PST.

The event will run through Sunday, November 30^th, for a total time of 72 hours.

*Discount does not apply to Wizard Design, Wizard Reprint, or Rush Order CIEM options

Website: www.nobleaudio.com

Head-Fi: www.head-fi.org/noble-audio
Facebook: www.facebook.com/nobleaudio
Twitter: www.twitter.com/noblebywizard
Instagram: www.instagram.com/nobleaudio

Technical Specifications

Manufacturer: Peachtree Audio

Technical Specifications

Manufactured by Burmester

Manufacturer: Peachtree Audio

Technical Specifications

Manufacturer: Atoll Electronique

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