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LATERAL releases Aria audio stand range

19 June 2024 – The new Aria audio stand range by LATERAL makes its first audio show appearance this weekend at the North West audio show June 22nd / 23rd at Holmes Chapel. The Aria brings a high level of quality and performance to this price category, with technical details that are directly related to the their high end ‘Counterpoint Reference 1.0-1.1 series’. 

Solidly positioned at the centre of their range the Aria audio stand is capable for any audio system, and will partner the Counterpoint stand as a key pair in their range, whether configuring a start or high end system.

The Aria has the size and capacity that enables it to carry the weight and heights for the placement of all types and sizes of electronics components. With leg spacings of a substantial diameter and with heights of upto 440mm, the Aria has a modularity that allows a large 2 tier stand for the simplest of systems and yet has the full capability of carrying significant and complex 5 tiers setups and more.

Important to mention too that it has a full width rear clearance and accessibility for the cleanest of cables layouts or required space for the most stubborn of esoteric audio cables around the back.

The full compliment of spacers are 160mm, 220mm, 320mm and 440mm.

Its audio surface makes an elegant and substantial design statement too, with a full size of 600mm wide x 450mm deep. With real wood veneers of oak, black oak and American walnut that are then finely lacquer finished the surface brings an essential high quality and high end audio feel.

Like the rest of the Aria design this is a UK applied technique.

For more information about LATERAL audio and to find your nearest UK dealer visit their website.

www.lateralaudiostands.co.uk

 

Campfire Audio INTRODUCES OUT-OF-THIS-WORLD LIMITED EDITION MOON ROVER earphones

19 June 2024 – Campfire Audio, the brand renowned for its exceptionally crafted and strikingly beautiful in-ear monitors, has launched the Moon Rover limited edition earphones in the UK – a giant leap for passionate audiophiles’ portable entertainment systems.

Meticulously built by hand by a dedicated team in Portland, Oregon, USA and with just 888 units available worldwide, Moon Rover represents the best of what is currently available from the brand, as well as being a unique part of Campfire history.

Each individual IEM piece is hand finished, encased in a beautifully flame-treated aircraft grade titanium shell to create a subtle, striking, organic texture. Each colour reflected on Moon Rover, which also features a PVD steel spout and gold-plated screws, is created by the gradient of temperature applied during treatment, with wonderful blues, purples, and yellows being revealed as they catch the light.

Elegance in defined sonic expanse

With a sound to match the precision of the craft, Moon Rover offers the most neutral, analytical sound signatures of the brand’s current line-up. Delivering crystalline detail, the IEMs bring astounding impact and resolution to the upper register and impressive sonic balance to the mid-low frequencies.

The Moon Rover’s 12mm magnetic planar dynamic driver boasts a previously unseen level of rapid impulse response, enabling listeners to enjoy an unmatched, completely unique signal reproduction quality. And thanks to an even distribution over the entire surface of the diaphragm which stimulates the IEM’s driver movement, Moon Rover boasts a class-leading accuracy and note definition over that of other, larger dynamic drivers.

Lightyears-ahead listening

The Moon Rover’s planar drivers are capable of moving at incredible speeds, delivering sharp details in sound reproduction. Its completely unique character, and blend of size and speed, helps foster Moon Rover’s reference-like sound signature. Offering a frequency response of 5Hz-20kHz, an impedance level of 22.5 Ohms at 1 kHz and less than 1% total harmonic distortion, Moon Rover’s performance levels match that of the design innovation injected into the IEMs.

Stellar ownership

Moon Rover includes a hand-crafted, premium waxed leather case. This, along with a Super Smoky Litz 3.5mm cable, marshmallow (foam) tips and silicone tips, all in S/M/L, an earphone cleaning tool and Campfire Audio label pin as well as a Campfire Audio premium microfibre cloth, keep your earphones protected and in pristine condition for prolonged longevity that will keep you listening for years to come.

Specifications

Frequency Response: 5Hz–20 kHz

SPL: 94 dB @ 1 kHz: 66.37 mVrms

Impedance: 22.5Ω @ 1 kHz

THD: Less than 1%

Pricing and availability

Campfire Audio Moon Rover are available now priced at £1,199/$1,199 from select retailers including Audiologica and Audio Sanctuary via HEA Distribution. For further information please see https://www.campfireaudio.com/pages/moon-rover

 

Chord Company launches new Epic Digital Tuned ARAY interconnect

19 June 2024, Wiltshire, England: Chord Company has launched the Epic Digital Tuned ARAY interconnect, a premium cable which introduces the benefits of its proprietary Tuned ARAY coaxial conductor geometry to an increasingly digital AV world. (£560 1 m)

The new hand-built Epic Digital Tuned ARAY interconnect is the latest addition to Chord Company’s premium-tier Epic range, which sits in the middle of the specialist’s portfolio.

Designed to enhance digital connection quality between streamers, CD players and transports, and suitably equipped AV devices, the new Epic Digital Tuned ARAY benefits from the company’s exclusive Tuned ARAY mechanical tuning for enhanced performance.

The cable also receives premium Chord Company VEE3 plugs finished with the company’s unique ChorAlloy multi-metal plating system, which provides a significant musical improvement over previous silver-plating techniques, offers much lower intermodulation, is tarnish-free, RoHS-compliant and solderable.

Structured around two high-quality 75 ohm silver-plated oxygen-free-copper conductors with PTFE insulation, the cable benefits from a high-density, silver-plated combination braid and foil shield, offering effective protection from high-frequency interference.

Offered with a lifetime guarantee, the Epic Digital Tuned ARAY is available in RCA/BNC/AES-EBU terminations. Custom lengths are available to order.

The Epic Digital Tuned ARAY will debut at the UK’s North West Audio Show, 22-23 June.

Price and availability

Epic Digital Tuned ARAY £560 (1 m) available now.

Tannoy’s latest PRESTIGE Series models at the NWAS

18 June 2024, Hamilton, Scotland: Tannoy will be demonstrating the very latest technologies from its flagship Scottish-assembled PRESTIGE Series at this weekend’s North West Audio Show, Cheshire.

The iconic loudspeaker company, which will be celebrating its centenary in just over 18 months, will be taking two demonstration rooms at the show. The first will showcase the recently launched Stirling III LZ, and the second the new SGM 10 from the three-strong Super Gold Monitor Series.

Both speakers are assembled in Tannoy’s factory in Hamilton, Scotland and benefit from the latest versions of the company’s legendary Dual Concentric drivers.

The partnering system electronics continue the British theme, with sources from Rega and Linn, with amplification from Sugden and Naim, cabled by Chord Company.

A third room from Tannoy retailer DNA Audio will give attendees yet another way to hear Tannoy at the show.

Find Tannoy in rooms 130/134 (Symphony Distribution), plus 138 (DNA Audio.)

Chord Company debuts new product & more at NWAS

18 June 2024, Wiltshire, England: Chord Company is set to demonstrate its very latest technologies and introduce a brand new Tuned ARAY technology digital interconnect at this weekend’s North West Audio Show, Cheshire.

Chord Company will be showcasing the benefits of its unique Tuned ARAY and Super ARAY conductor technologies, its proprietary Taylon® and XLPE insulation materials, plus the specialist’s advanced shielding materials, using a selection of premium products from its AV cable, mains power product and noise-isolation ranges, including those from English Electric.

Visitors can experience two Chord Company areas: there will be musical demonstrations in the Nobel Room, plus expert factory staff on hand in the main entrance lounge area.

The North West Audio Show has also been selected to unveil a brand new Tuned ARAY technology interconnect, designed to maximise performance from today’s digital sources.

In addition, Chord Company will have special show offers and exclusive competition prizes (for demo attendees) throughout the weekend.

RENAISSANCE TO DEBUT AUDIOVECTOR’S TRAPEZE REIMAGINED LOUDSPEAKER AT THE NORTH WEST AUDIO SHOW

June 13th, 2024 – High-end audio distributor Renaissance is pleased to announce the UK debut of Audiovector’s Trapeze Reimagined loudspeaker. The stunning speaker will be showcased for the first time in the UK as part of an extraordinary system featuring products from MOON and Nordost at this year’s North West Audio Show.

The new Trapeze Reimagined is a classic piece of Danish design. It borrows its styling from 1979’s Trapez speaker and adds the latest audio technology to give an intoxicating performance that will captivate even the most difficult to please listener.

Renaissance’s system at the show will feature a pair of Trapeze Reimagined speakers driven by a pair of MOON 761 power amplifiers and a MOON 791 network player/preamplifier. A full loom of Nordost’s Valhalla 2 reference cables will unite the system and Nordost’s QBase Reference QB10 will manage the power distribution.

Valhalla 2 is Nordost’s Reference range of high-performance audio cables that are designed to allow a recording to be heard at its best. The QBASE Reference is a multifaceted, reference-level AC distribution unit that operates as a filter-less alternative to power conditioners, delivering pristine power to audio components.

The MOON 791 combines a high-performance streamer and an exceptional phono stage in a state-of-the-art analog preamplifier with a brilliant new colour display for album cover art, track details, and set-up functions. Its abundance of features is surpassed only by its unmatched build and sound qualities. The MOON 761 power amplifier effortlessly produces every detail in a recording with authoritative finesse and transparency. The 791 and 761 are a natural pairing which perfectly complements the Trapeze Reimagined.

Renaissance Managing Director, John Carroll, said, ‘Audiovector’s Trapeze Reimagined is one of the most versatile loudspeakers that I have ever heard. I was at its press launch in Copenhagen earlier this year and the performance put a smile on everyone’s face. In creating a system that also features MOON and Nordost reference products, we plan to present the best sound at the show.’

The North West Audio Show takes place on Saturday 22nd and Sunday 23rd June at De Vere Cranage Estate, Byley Lane, Holmes Chapel, Cheshire CW4 8EW
Opening Hours: Saturday: 9:30 – 18:00, Sunday: 10:00 – 17:00

 Renaissance will be in room Stephenson 4

 For more information, visit: www.renaissanceaudio.co.uk

 Renaissance distributes Audiovector, MOON, Nordost & VPI Industries products in the UK and Ireland.

Audio-Technica sets new standard for vinyl excellence with AT-ART1000X cartridge

Thursday 13th June 2024  Today, Audio-Technica reveals the AT-ART1000X – the brand’s most advanced cartridge to date and the pinnacle of more than 60 years spent crafting the world’s finest turntable components.

Developed and manufactured in Japan, the AT-ART1000X has been designed to deliver an unparalleled analogue music listening experience for discerning audiophiles.

Harnessing the philosophy and design of the acclaimed AT-ART1000, the next generation cartridge takes Audio-Technica’s pursuit of sonic excellence to new heights, with a more refined direct power system for improved efficiency and enhanced bass reproduction.

Like its predecessor, the AT-ART1000X’s direct power system places the dual moving coil directly above the stylus tip, rendering even the most subtle details in music and ensuring the audio quality is uncompromised by the cantilever’s length and material.

The newly developed coils for the AT-ART1000X are rectangular rather than round, positioning more of their surface area in the magnetic field. The result is an improved output voltage and an expanded low frequency range for rich, powerful, and supremely accurate bass.

Each non-magnetic core coil is constructed of 20 μm (0.79 mil) diameter PCOCC (Pure Copper by Ohno Continuous Casting) wire, hand-wound exactly eight times by skilled experts to create the innovative rectangular shape. The coils are contained in an ultra-thin 25 μm (0.98 mil) special film and placed in the tiny 0.5mm (0.020″) gap of a powerful magnetic circuit, enabling each coil to generate an output voltage of 0.22 mV with a coil impedance of 3.5 Ω, despite having a non-magnetic core.

The AT-ART1000X retains the high-performance line contact stylus and solid boron cantilever of the previous model to deliver an exceptionally precise reading of the record groove. Meanwhile, the sturdy titanium base provides consistent playback and works in tandem with the cartridge’s rigid cover and aluminium housing to disperse resonance that would negatively affect sound quality.

Designed to last, a special coating protects the magnetic circuit from corrosion for a stable performance throughout the cartridge’s lifetime.

Features

  • An innovative direct power system for an unsurpassed transient response, resulting in reproduction of even the most subtle sonic details
  • Newly designed rectangular coils to improve the cartridge’s efficiency and extend low-frequency output
  • Threaded mounting holes for easy installation with a headshell or integrated tonearm
  • Special line contact stylus and solid boron cantilever with a 0.26mm diameter to ensure an extremely accurate reading of the record groove
  • Non-magnetic core coils to provide exquisite, full-dimensional audio reproduction
  • A titanium base for the magnetic circuit, hard plastic cover, and aluminum housing to disperse unwanted resonance
  • PCOCC (Pure Copper by Ohno Continuous Casting) coil for pure signal transfer
  • A special coating to protect the magnetic circuit from corrosion for stable performance throughout the life of the cartridge
  • Developed and manufactured in Japan by skilled experts

The Audio-Technica AT-ART1000X will be available from 13th June 2024, RRP £4,700 / €5,500. Find out more at www.audio-technica.com.

Buchardt Audio Anniversary 10

There’s been no end of compact, active, wireless speaker systems flooding the market over the past half-decade or so. There’s been no shortage of excellent, even landmark products in this sector either – though always with the qualifier ‘within its category’. The majority of these models are designed to bridge the gap between these largely convenience-driven middle-market wireless speaker systems and serious high-end audiophilia – and many of them are still cost several thousand Pounds, Dollars or Euros, Denmark’s Buchardt Audio seeks to do much the same at a keener price point.

The A(nniversary) 10 not only marked the tenth anniversary (who’d have thought?) of Mads Buchardt’s eponymous company (the anniversary was actually in 2023), but also represents a departure in several ways. Despite the rear panel containing the inputs and controls reading ‘Made in China’ (which only applies to the electronics, which are by Platin Audio, a division of Hansong Technology), in fact these are the first Buchardt speakers built in Denmark. Unusually at any price, the cabinets are hand-crafted out of CNC-machined pieces of solid wood.

Huge margins

The A10 uses the latest RFA 19 aluminium dome high-frequency unit made for Buchardt by fellow Danes SB Acoustics with the huge CDC-profiled aluminium waveguide that already featured on previous Buchardt designs; the woofer in this two-way system is a bespoke triple voice coil version of the Purifi Audio PTT6.5W04 (a unit that retails for well over €400 on its own) – according to Mads Buchardt “the best woofer in the world by a huge margin.” For a speaker in this price range, also including 200 Watts of amplification and a quad-core DSP processor, that’s some going…

The key to this level of material value for money must lie in the company’s worldwide direct sales model. When you place an order, the price includes all local taxes, import duties, and shipping. From the day the speakers arrive on your doorstep, you have 45 days to decide whether you want to keep them, although Buchardt does charge €100 if you return them.

Buchardt Audio Anniversary 10

The upshot is that Buchardt Audio, through a myriad of online audio magazines and YouTube channel reviews, comes across as a new-age brand firmly rooted in the digital domain (though Buchardt does offer passive as well as active and wireless speakers) finding acceptance in circles of streaming listeners and amateur music producers, a demographic which is more varied of age (and on average rather younger) than the typical visitor to bricks and mortar high-end stores.

As someone who does nearly all his ‘serious’ listening from physical media, most of it being analogue records, disposing of a sizeable music collection and a myriad of ancillary equipment, my main interest has been to find out how well the A10 aligns with those sensibilities (the people bought their first ‘real’ hi-fi  – turntable or CD player, amp, speakers, cables – as a college student back in the 1980s) – that is, how far you can take them in sonic terms as loudspeakers in the context of a high-end setup, in addition to assessing them as an all-in-one, digital/wireless system.

Haptic delight

After all, there’s two ways to use the A10s – wireless using the Platin Hub that Buchardt kindly provided with the speakers along with a Zen microphone to be used for automatic room correction (or, alternatively, with a Primare SC15 Mk II streamer/preamp if you are willing to spend a modest 1,000 euro more) by plugging a line-level signal directly into the single XLR input (per channel) on the back of the speakers. Unlike the speakers themselves and the provided remote (which is made out of metal and a haptic delight), the Platin Hub is a relatively insubstantial looking and feeling plastic box which provides USB Audio, HDMI, coaxial and three optical digital inputs plus a single stereo pair of analogue RCA line inputs and has Bluetooth connectivity as well as supporting Spotify Connect, Apple AirPlay, Google Chromecast, DLNA and Roon.

For the Platin Hub to work, you must install the Google Home app, which works seamlessly on my Android phone. Pairing the speakers and assigning them to left and right channels (the Stereo Hub, despite its name, also supports multichannel set-ups) was a bit fiddly. While the remote features a volume control, the USB input is configured to maximum volume by default—something I only realised as soon as LFO from the eponymous techno outfit was blasting from the speakers at full tilt!

Buchardt Audio Anniversary 10

This neatly brings me to the focal point of many a YouTube A10 review: the bass. Buchardt claims an essentially flat response from 28Hz upwards, which sounds like one of Elon Musk’s outlandish claims for his upcoming products and projects when you realise this is a sealed design of which the internal volume in litres is in the single figure range, sporting a single 6.5-inch low-frequency driver. The thing is, the claim is probably accurate. Buchardt chose to exploit the extreme capabilities of the Purifi woofer – in particular, the ability to move lots of air for a driver of this size by way of their ultra-long stroke, with very low total harmonic and intermodulation distortion figures – by digitally EQ’ing it to within an inch of its life to drop down to regions where no six and a half-incher is supposed to go, especially one that’s working against such a tiny air volume that has nowhere to go.

Fast, not thick

The bass doesn´t just go low – it’s also fast with no discernible hangover or thickening of the sound, exceedingly well controlled and seamlessly integrates with the rest of the frequency band. What it doesn´t achieve is the pure effortlessness of a quartet of 12-inch drivers working a large vented enclosure – ideally a horn – tuned to give the same frequency response au naturel. It also means that despite having that superhero bass driver, this is not a speaker to be taken way out of its context by putting it in a huge auditorium and expecting it to handle large orchestral works at realistic levels or shake the walls when playing dub reggae. It is, after all, a stand-mount monitor – albeit an overachieving one. Its comfort zone remains smaller to midsize rooms, and sound pressure levels comfortably the social side of those at an AC/DC stadium concert. Of course, you could add a subwoofer (Buchardt offers a downloadable ‘Master Tune’ that features a 60Hz low pass for this purpose, as well as several others for specific sets of conditions and listening preferences) – not, in this case, to make it go deeper still, but to free up some dynamic bandwidth.

As a second and rather significant observation, the Buchardts do everything you want from them (and, in some ways, more) as a wireless speaker system using the Platin Hub, but they really come alive when foregoing the wireless capability (and with that, the option for room correction using the Zen microphone (you can still use the alternative Master Tunes, though) and connecting a properly good preamp – in this case, a custom Pink Faun job based on their last-version Tube Pre – direct with their XLR inputs. With a front end consisting of Michell Gyro SE/TecnoArm 2A turntable, Hana Umami Blue cartridge and Allnic H-1500 II SE phono stage and placed on their optional tripod stands using Omex Symphony 2A isolating devices between speakers and stands, about 0.8 metres from the rear walls and a metre (give or take) from the sides in a medium-sized room, the A10s displayed the sort of precision and transparency, and the wide open soundstage making the speakers effectively disappear – that one expects (but far from always gets) from all-star casts with cumulative price tags deep into six figures.

Layers

It delivers this kind of clarity, unravelling layer after layer of even very complex and dense arrangements effortlessly without being ‘forward’ or displaying a hint of aggressiveness – its treble is as well-behaved as it is well-extended – is all the more impressive. Razor flat, full-range frequency response and very good dynamics (up to a point) notwithstanding, what they don´t do is emulate the scale, weight and drama of a really large high-end speaker system in an appropriate room; they are no substitute for Wilson ALEXXs or Avantgarde Trios – even when you might occasionally marvel at a detail on a recording you thought you knew well that had previously flown under the radar on such ‘big’ systems. They might be small monitors on steroids, but as monitors, they are empathic.

Buchardt Audio Anniversary 10

Not that this matters a jot to those at whom the Buchardt’s are aimed – those vast majority of music people who need their speakers to work in spaces that have more in common with the infamous hotel rooms at hi-fi shows than the halls were the big hitters of the industry tend to reside, rooms where speakers large enough to achieve a similar low-frequency extension naturally, are almost guaranteed to result in a soggy mess of a sound. For them, the sheer transparency, soundstaging capability and incisiveness of the A10 combined with an inability to sound nasty while delivering all that, must be manna from heaven. They can be the best wireless all-in-one or desktop monitor system you ever had, or go a big step further than that on the end of a serious high-end system (less power amps). Either way and also considering their classy, essentially Scandinavian appearance and build – real wood is so much more interesting and tactile than any veneer – their value for money is pretty much off the scale.

Technical specifications

  • Type: two-way, stand mount, sealed box design, active loudspeaker with WISA wireless capability
  • Driver Complement: 1×19 mm SB Acoustics aluminium dome tweeter, 1×165 mm Purifi midbass speaker with triple voice coils
  • Amplification: Texas Instruments Power DAC, 3 x 50W Class D (midwoofer), 1x 50W Class D (tweeter)
  • Frequency Response: 28 – 40,000Hz (+/-1.5 dB)
  • Dimensions (H x D x W): 37 x 17.8 x 24.5 cm
  • Weight: 6.8 kg
  • Price: €3,800 – €4,050 per pair (depending on finish); Platin Hub €300 when bundled with the speakers

Manufacturer

Buchardt Audio

Home Page: www.buchardtaudio.com

Product Page: https://buchardtaudio.com/collections/active-speakers/products/anniversary-10

Contact Buchardt Audio: https://buchardtaudio.com/pages/contact

Back to Reviews

Read more Buchardt reviews here

NORDOST LEIF 3 CABLES AVAILABLE THIS SUMMER

June 11th, 2024 – High-end audio distributor Renaissance is pleased to announce the availability of the first cables in Nordost’s new Leif 3 range. The Leif 3 series represents the latest evolution of Nordost’s entry-level cables, which have set benchmarks in the hi-fi industry for over three decades. This new range is the result of years of technological breakthroughs and advancements in craftsmanship, utilising optimal materials, unique geometry, and filter-less technology to deliver dynamic, low-loss, and lifelike performances from any audio system. The Leif 3 line includes four ranges: White Lightning, Purple Flare, Blue Heaven, and Red Dawn, each offering power cords, interconnects, and loudspeaker cables.

Leif 3 Power Cords provide a better foundation than ever. Benefiting from Nordost’s trickle-down technology, they utilize FEP extrusion, as well as Nordost’s proprietary Micro Mono-Filament technology to deliver the brand’s signature sound. Each range within the Leif 3 series benefits from heavier gauge sizes and updated connectors. The improvements include expanded dynamic expression, increased musical nuance, and realistic precision in timing.

Leif 3 Interconnects boast a complete redesign. Their silver-plated, solid core OFC conductors are arranged in twisted pairs to reduce noise interference. Each pair is then individually shielded before being bundled and secured in a second braided shield, providing 95% coverage. Leif 3 Interconnects have been further upgraded with Profi Neutrik gold-plated RCAs, ensuring the same great RCA and XLR termination is available throughout both the Leif and Norse families, from White Lightning to Tyr 2. The new Leif 3 Interconnects enhance the textural aspects of music reproduction, intensified by the quiet background they provide.

Leif 3 Loudspeaker Cables continue to offer the radically thin, durable and flat cable design of their celebrated predecessors. However, Leif 3 Loudspeaker Cables now provide even more. Extra conductors, and heavier gauge sizes improve the drive and dynamic realism of the music that these cables produce.

Renaissance Managing Director, John Carroll, said, ‘The new Leif 3 range delivers a performance improvement that is literally another level: the new Blue Heaven series is now as good as the old Red Dawn series. Whether you are a long-term audiophile with an elite system or you are taking the very first steps in making entry-level upgrades to your setup, there is a Leif 3 cable for you.’

Manufacturer’s Suggested Retail Price (MSRP): Power cords starting from £250, Interconnects from £320, and Speaker Cables from £450.

For more information, visit: www.renaissanceaudio.co.uk/nordost

Joe Armon-Jones and Maxwell Owin: Archetype

Joe Armon-Jones and Maxwell Owin may not be household names, but in and around the bustling, incredibly vibrant south London underground music scene they enjoy headliner status. Producer and DJ Owin operates in the grimier, more urban end of the musical spectrum, while Armon-Jones is best known as a permanent member of pioneering London Jazz outfit Extra Collective, where he provides exquisitely funky keys to complement the bold brass and exquisite percussion the group are famed for. But he has also appeared on recordings by Moses Boyd, Binker Golding and as part of the house band on Giles Peterson’s excellent, London-scene-focused MV4 album.

Together they promise a heady mix of Jazz, Hip-Hop and the UK’s own Grime and Dubstep. This is an incredibly fertile musical space right now, with crossovers, guest appearances and mutual respect very much the order of the day. All of which is to the listener’s benefit, because there are some cracking records coming out of there.

The dynamic duo first worked together on 2017’s Idiom EP, with Armon-Jones on keyboards and Owin on production duties, plus the exceptional Nubya Garcia on tenor sax on one of the tracks. The six-track offering was purely instrumental and more focused on Armon-Jones’s undoubted ability on the keys; but it definitely suggested that the pair should collaborate again.

A full five years on we have Archetype, a 12-track LP that takes that early promise and doubles down on it magnificently. However, Archetype takes a different approach to Idiom. There are still Jazzy elements in there, and London Jazz master Shabaka Hutchins appears on the track Rago’s Garage, but the softer tones of his clarinet playing (he claims to have now given up the saxophone) are a far cry from Garcia’s sax on Idiom.

From the opening title track, electronic beats, the sound of sirens (subtly in the background) and considerably more loops than keyboards let you know this isn’t going to be another album of Armon-Jones simply doing his thing. Alongside this, the addition of vocals add considerably to the overall feeling of a move away from Jazz, while also anchoring the record solidly south of the Thames. Vocalists include the excellent Lex Amor, who on the track Grief delivers one of the standout performances of the whole album, and Rocks FOE, a French-Ghanaian Hip-Hop artist who brings his own intense styling to the excellent 4Seasons.

One track that is solidly Jazz-based and does feature vocals is the wonderful Don’t Tip Me Over featuring Fatima. It also boasts some of Armon-Jones’ most dexterous keyboard work on the album, with a subtle waterfall of notes perfectly accompanying the sensational soul-fused vocals.

Elsewhere, Pedal Bike takes the intensity down a notch or two, away from the clubs and into the chill out tent – it even has the chirping of birds and nature to calm things down. It’s a beautiful moment and provides a well-crafted respite before things start to heat up again.

The closing Adrenaline/Oxygen rounds things off in the same manner they started. A hectic, punchy finisher that clocks in at nine minutes but still manages to leave you wanting more – both in the sense of getting that first disc of this double LP out again and going back to the title track, but also to hear just how far this pair of creative powerhouses can push our understanding of established genres, in a way that makes us want to both dance and cry.

Back to Music

Vinius Audio TVC-05

If there is ever an audiophile medal of honour, owners of passive preamps should be the first recipients. The Vinius Audio TVC-05 is probably one of the most approachable examples of the breed. However, compared to a modern full-function preamplifier, this Polish-built “high-performance magnetic volume control” has rudimentary functionality, making it great!

You have a choice of TVC-05 in a balanced or single-ended version. One has three XLR inputs and one output, and the other has RCAs. There’s a motorised magnetic induction-controlled volume control, and the circuit has a transformer wired to Vinius’ patented design. There are no electronic components in the basic TVC-05 RCA version. The RCA+Remote and the XLR versions have a remote volume driven by an Apple handset. This also has the briefest of displays. There’s an even more hair-shirt version of the TVC-05 called the TVC-05 Special Edition. This one even looks at input switching as a form of musical heresy. Just one RCA input, one output and a volume knob. Set against that, the ‘standard’ TVC-05 positively bristles with extra features.

Popularity contest

Passive preamplifiers have been an alternative for the audio hardcore for decades. However, in the early days, they were beset with problems, the biggest of which was high-frequency roll-off. Because there are no gain stages, the connection between a source and an amp can be as simple as a couple of lengths of wire separated by a potentiometer. The moment you construct something like that, you are at the mercy of the length and construction of the wire—mostly length.

Something too long or too capacitive, and the high frequencies roll off fast. In the worst cases, “too long” could mean less than a few inches. Combine this with even minor impedance mismatches between the components, and it becomes nightmare fuel. The passive preamp was always at the core of the most immediate, unforced, and effortless-sounding systems, but this meant next to nothing if the system was too undynamic and rolled off in the treble.

Fortunately, the early days of ‘pot in a box’ gave rise to more sophisticated transformer-coupled and passive magnetic preamplifiers. While these still don’t have the gain of an active line stage, they have the transparency of passive designs without the deal-breaking high-frequency roll-off. The TVC-05 continues that trend. However, the absence of gain (and additional features like a balance control or an array of lights) means they still represent a highly specialised choice and have never broken significant ground in places like the US.

Care and feeding

A passive in any guise is still not as easy to put into a system as active components. You still need to be careful in the choice of components and cables. It’s a popular partner with a tube power amplifier, partly because the input sensitivity and impedance of many all-valve power amp designs are a good match for the output of a passive design. Ground lift is also an important consideration in XLR versions. The TVC-05 has a ground lift switch on the rear panel. Try it… it can make your system even quieter.

I don’t know why, but there seems to be a rule amongst passive preamp makers. The better the product, the further it gets from modern aesthetics. In fairness, I like the wooden finish to the front and rear and the big shiny black knobs, but I’m not sure others will find the 1970s retro look as appealing. However, the finish is rich and deep in the flesh and doesn’t look quite so mid-century G-Plan.

Matryoshka doll

Given its relative paucity of functions, it’s a deceptively heavy, well-made product packed like a Russian Matryoshka doll. The TVC-05 is tightly packed in a bag, in a box that also houses the Apple remote and the power supply, which is packed in a box within a box. All of which means it could survive a few miles in a courier’s van unscathed. Impressive… but a flight case would be even better!

That big black central knob has 24 click stops, each with a 2dB step. These steps relate to the EI 105 transformers wound to Vinius own patented design. If we started listing the components chosen or selected by Vinius because of sonic performance, this review would have to list every part in the TVC-05. Small-brand artisan obsession drives its build quality. Thanks to its chassis, it’s galvanically isolated. Given that hum from ground loops is a real concern on any passive preamp or volume control, the more the TVC-05’s internal organs are shielded from the outside world, the better. Despite this, I would still hesitate to stack the Vinius directly on the top plate of your source (or especially the power amplifier).

It’s a long story

As described above, the days of very short interconnects to prevent signal loss are gone. However, I would still avoid using cables that are more than a metre long. This might also explain why passive preamps never ‘broke’ the US market, as many American audiophiles prefer a system layout that physically sites the sources and preamps along the side wall (near the listening position) and the power amps close to the loudspeakers. As this often requires up to 5m cables, even an XLR-equipped volume control like the TVC-05 might struggle to keep the treble in place.

Vinius Audio TVC-05

Fortunately, that kind of layout isn’t so popular elsewhere. People either have the entire system between the loudspeakers or have it away from them and rely on longer lengths of loudspeaker cable. Such systems can highlight what the TVC-05 does so well. And that can be summed up in a single word: clarity.

The Vinius Audio TVC-05 is so clear and transparent that – were it not for the volume attenuation – you could be forgiven for thinking you had forgotten to plug it in. To some, it’s your source… attenuated. To others, it’s your power amplifier… attenuated. Either way, when you hear how much the gain stages of even a good preamp ruin the relationship between source and amplifier, you can’t help but be impressed by the TVC-05. That’s the big point of the TVC-05; other preamps – even good ones – sound like they are introducing their own characteristics to the overall sound. The TVC-05 never does that. Ever.

I can’t overstress that last part. Even by the standards of other passive preamplifiers and transformer-coupled devices, the Vinius Audio TVC-05 introduces so little of its own character as to make it simply the most honest part of your system.

Keep it clear

The TVC-05 also brings clarity to the party! That clarity means the Vinius Audio TVC-05’s sonic performance hangs on to that of the devices in front and after it, but its sonic invisibility means that’s a good thing.

Pick whatever musical trigger yanks your audiophile chain. It might be detail, soundstaging, vocal clarity and articulation, dynamic range, microdynamics, bass depth and/or resolution, or treble detail… you name it, the TVC-05 does it and does it exceptionally well.

I find myself drawn to products that cope well with changes in scale as you move through recordings. A small jazz venue differs from La Scala, so why do many systems try to impose a single sense of scale? As you spend time with the TVC-05, you quickly learn that the main protagonist in the scale-compromising game is the preamp, and when faced with just the best volume control between source and amp, those scaling concerns go away fast.

Don’t go changing

The best part of the TVC-05 is how it doesn’t change the sound one iota as the volume rises or falls. OK, at very low levels, the absence of gain means you are digging deep into the source. The non-linearities of a power amplifier input at low levels will inevitably begin to emerge. Also, at very low levels, 2dB steps are more noticeable than regular listening levels; many gain stages stagger the step sizes to accommodate very low or very high listening levels. However, I’d take the more uniform 2dB steps if it means you get the sheer honesty of the TVC-05. And even here, the TVC-05 changes neither tone, scale, nor soundstage.

I am blown away by the absence of performance demonstrated by the Vinius Audio TVC-05. It does precisely what a good preamplifier should do: take the sound of a source and give it the right volume level with nothing getting in the way of that goal. Basically, it’s a volume control in a box, and that’s so rare. If you see that as ‘minimalism done right’ instead of a ‘hair-shirted gain-remover’, the Vinius Audio TVC-05 is not only for you but might be the best of the breed.

Technical specifications

  • TVC-05 with passive volume adjustment
  • A balanced or single-ended version with a remote control
  • Galvanic chassis ground separation
  • EI 105 transformers coiled following Vinius patent
  • Directivity-oriented enclosure
  • Motorized volume switch 24-level volume adjustment (2dB steps)
  • Input 3× XLR pair (XLR version), 3× RCA pair (RCA version), 1× RCA pair (Special Edition)
  • Output 1× XLR pair (XLR version), 1× RCA pair (RCA version, Special Edition version)
  • Maximum input signal 3,5V (XLR), 2.5V (RCA)
  • Product dimensions width 360mm, depth 400mm, height 125mm
  • Optimal directivity of the elements designed for minimizing sound quality loss
  • Weight 15kg
  • Price £8,500

Manufacturer

Vinius Audio

www.viniusaudio.pl

UK distributor Fi Audio

www.fiaudio.co.uk

+44(0)1563 574185

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finite elemente pagode Signature mkII

finite elemente is the company that taught the European high-end community that equipment support can make a difference. Its pagode and pagode Signature ranges have stood the test of time. This is why you rarely see finite elemente equipment on the second-hand market. The new finite elemente pagode Signature mkII will not change that!

The recent rationalisation of the finite elemente range—and the return of Luis Fernandes as the brand’s head—has meant that many of the ‘nursery slopes’ products have disappeared. The company now focuses on its Cera products and just two pagode ranges. These are the top-end mkII Carbon Edition, Edition and Master Reference, and the Signature mkII.

This is likely a good idea; these intricate stands cannot easily scale down to ‘affordable’. Meanwhile, the lower-level finite elemente stands often struggled to compete with more mass-produced designs. By thinning the line, finite elemente can concentrate on the good stuff again. And Signature mkII is a drop of ‘the good stuff’.

Taking a new stand

The finite elemente pagode Signature mkII is the latest product from Luis Fernandes. It uses much of what went into the Edition mkII. However, it does without the Resonator Technology featured in the more elaborate cost-no-object stands. However, pagode Signature mkII uses the new HCCT lightweight honeycomb core platforms and shelves. These are internally braced and replace the solid wood platforms of the original Signature. This uses a double honeycomb platform for the amplifier stand or the base of the multi-tier stands, with a single honeycomb platform used elsewhere. These platforms are clamped in place from the two upright arms (and crossbar) of the equipment stand; this is called ‘sidespike technology’ in finite elemente speak and is a very effective way of channelling vibrational energy at 90° to any possible means of transfer into or out from a product.

finite elemente pagode Signature mkII E14 four-tier rack

As with the mkII version of pagode Edition, the overall lines of the equipment support system have been cleaned up from the previous version. That is outstanding, as the lines of the original Signature were already good-looking. The previous version had platforms sitting in what looked like picture frames. It looks sufficiently similar to be able to sit next to the originals without drawing attention to itself, but also sufficiently different to form the start of a new relationship with finite elemente from scratch.

My new relationship starts with the E14 four-tier stand and the E21 amplifier platform. Both are easy to build, relatively quick to install and reassuringly heavy without being so heavy that light cannot escape its clutches.

The relaxed approach

In moving to mkII, finite elemente had to improve something that doesn’t intrinsically need improving. Fortunately, the move has only improved the stand and platform. But the reason why people didn’t want pagode Signature to change is it has one of the most graceful sounds you can get from a stand. And that is improved in the mkII version. It brings out the lithe sound of anything that rests on the stand. It’s almost a blood-pressure-reducing sound, although I think that’s asking a bit much for an equipment stand unless it’s made of beta blockers.

finite elemente pagode Signature mkII E21 platform

Also, where pagode Edition began to create more of a performance gap between Edition and Signature, the pagode Signature mkII has raised its game. Like the mkII Edition, there’s a improved transient response, although this is not in the same league as the Carbon Edition, finite elemente has clearly learned a few tricks in developing that platform. There is an improved dynamic range, a lower noise floor and a more actively neutral tonal balance. Of course, you need high-grade electronics to hear what the pagode Signature mkII does well. On the other hand, no one contemplating using a stand costing just shy of £5,500 will be using it with an entry-level amplifier.

Calming Influence

Used in the right context, pagode Signature mkII has a calming influence on good audio. Not that such audio is in any way ‘excitable,’ but it manages to ‘chill out’ audio components all the same. It brings a much-needed sense of calm and order to this unruly world, and the best audio is all the better for its degree of naturalness.

I think the pagode Signature mkII has significantly improved over its predecessor. It’s a step change, but there probably won’t be a sudden surge in second-hand finite elemente. If you’ve got the existing pagode Signature, the new mkII is better… and better in almost every way. It looks sharper, builds up slightly easier and is more detailed, tonally balanced, dynamic and ‘relaxed-focused’ than its predecessor. But the pagode Signature sets a very high standard that people will (mistakenly) think there isn’t much more to gain by upgrading. They are wrong. However, ‘upgrade your equipment support’ is not high on the audiophile list of priorities. This is in part because it usually means removing and replacing many heavy boxes.

This is a shame because many systems with pagode Signature could benefit from pagode Signature mkII.

Effortless neutrality

I like the new look of finite elemente pagode Signature mkII. Its clean lines, reassuring build quality, and the sort of effortless neutrality and focus it brings to high-end equipment make it one of the obvious choices for top-notch audio systems. Aside from the fun of lifting hundreds of kilos of audio electronics out of one rack and into another, there are no downsides. It also has this remarkable calming ability that can chill out all bar the most teeth-grinding of angry individuals. Your music sounds like it always did, but just a little more calm and relaxed when played on the pagode Signature mkII. And yet, if you think that leads to soporific and saccharine sounds, you are very much mistaken.

Price and contact details

finite elemente Signature Mk II E14 stand in any wood finish with anodised side pillars, £5,490. Optional high polished side pillars and logo insert, £550.

finite elemente Signature Mk II E21 support in any wood finished with anodised metal insert (Q or L version), £1,490. Optional high polished logo insert, £160

Manufacturer

finite elemente GmbH

www.finite-elemente.eu

UK distributor

Audiofreaks

www.audiofreaks.co.uk

+44(0)20 8948 4153

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