Articles Archive - Page 57 of 270

GIK Acoustics Introduces the SlatFusor Series: Modern Elegance meets GIK Acoustics’ Performance

Atlanta, October 12, 2023 – GIK Acoustics, proudly introduces the SlatFusor Series, a fusion of modern elegance and unparalleled acoustic design. Engineered to elevate any listening environment, the SlatFusor Series offers control of echoes and reverberations as well as solutions for effective absorption of low-frequency resonances.

Preserving Acoustic Brilliance

The SlatFusor Series excels in preserving the energy of mid and high frequencies while smoothing out any inconsistencies in frequency response and decay times. It is the optimal choice for those seeking a balanced listening environment with the aesthetics of natural wood and peerless acoustic performance.

Aesthetics Meets Acoustics

Crafted with a premium, furniture-grade ﬁnish, the SlatFusor Series is a statement of sophistication. The natural oak veneer exudes natural beauty, while the option to stain the slats opens up endless possibilities. Whether at home or in a professional studio, the SlatFusor Series seamlessly complements any environment.

Pioneering Design

SlatFusor panels come with a set of sawtooth hangers, allowing for effortless arrangement on your wall. The proprietary design ensures each individual panel extends the pattern, leaving no unseemly gaps. This makes the SlatFusor Series the perfect choice for acoustic wall paneling.

Versatility in Size and Thickness

Available in two sizes—Rectangle (23.5″ x 45.5″) and Square (23.5″ x 23.5″), and different thicknesses, including 2″ acoustic panels as well as 4″ and 6″ bass traps, the SlatFusor Series provides versatility in design and application.

Key Features:

Scatters mid & high frequency reﬂections.
Reduces noise, echoes, reverb, and bass buildup without
Combining wood slats on black felt with high-performance
30% more effective than standard
Premium ﬁnish: furniture-grade, stainable Oak
Seamless covering of the entire wall or use as individual
Mounted with sawtooth hangers – no glue or adhesive

Availability

The SlatFusor Series is available now and ready to elevate your space. Experience the perfect blend of modern elegance and acoustic performance.

For more information, please visit www.gikacoustics.com

Say hello to ESOTERIC’s New Line of Remastered Vinyls & CDs: Remastered classics for the modern audiophile

October 2023 – ESOTERIC, the ultra-high-end brand nested within the renowned Japanese audio company TEAC, proudly unveils its remastered collection of SACDs and Vinyl records – where sound quality isn’t just superior; it transcends the ordinary.

With meticulous craftsmanship and an unwavering commitment to detail, ESOTERIC’s latest SACDs and Vinyl records stand as more than mere music formats; they encapsulate the essence of music at its purest. Experience the unparalleled depth of sound, the richness of tone, and the clarity of each note that make ESOTERIC’s offerings a must-have for audiophiles and music aficionados. ESOTERIC’s collection promises to transport listeners into a sonic realm that reflects the true nature of the original performance. This collection redefines standards with its depth, richness, and pristine clarity – attributes that have become synonymous with the ESOTERIC name.

In a commitment to upholding unparalleled music quality, ESOTERIC has harnessed the unique “ESOTERIC Mastering” technique, introduced in 2022. By integrating cutting-edge sound technologies and forging collaborations with industry leaders like MIXER’s LAB and the renowned Neumann VMS80 team, ESOTERIC guarantees that their records transcend typical listening, offering listeners a profound emotional connection to the music.

For those with refined auditory palettes and a deep appreciation for unparalleled sound quality, ESOTERIC’s latest collection is a sonic treasure trove waiting to be explored.

The limited edition SACD´s and LPs are now exclusively available from the TEAC website: https://eu.teac-audio.com/en-GB/sacd-vinyl

Introducing the Børresen X2 Loudspeaker

October 2023 – Børresen is thrilled to introduce the X2 speaker, a sleek and elegant, three-unit, floor standing loudspeaker, that is the smallest model in the award-winning X series. This new loudspeaker reflects Børresen’s commitment to meeting diverse needs of listeners while maintaining the brand’s hallmark standards of authentic and natural music reproduction. At the heart of the Børresen X2 is a fusion of cutting-edge technologies adopted from the prestigeous M, O, and Z series.

These exclusive components are the result of Børresen’s constant pursuit of excellence in audio performance and provide an exceptional and authentic music experience. The distinctive cabinet design in piano lacquer finish with its carbon fiber inserts, makes it easy to recognize that the X2 speakers belong to the X series.

The X2: A Gateway to Børresen’s Audio Universe

The X2 is designed with the intent of bringing authentic and outstanding music experiences to a broader audience. The Børresen X2 is now available to audiophiles and music lovers, at a price point that makes it more accessible while maintaining Børresen’s signature performance and quality standards. The Børresen X2 speaker complements the X3 and X6 models in the X-series, continuing their legacy of outstanding performance and aesthetics, which defines all Børresen speakers. Like all speakers in the X-series, the new X2 is offered in black or white piano lacquer.

“Our philosophy is to bring people closer to the music by creating access to great, authentic, and emotional music experiences. Everyone deserves these kinds of wonderful moments. That is why we have developed the X2 speaker. Making the Børresen speaker universe accessible to even more people. The X2 represents our commitment to providing music lovers with a gateway to experience the magic of Børresen audio without compromise.” (M. Børresen)

The X2 features the same remarkable technologies that define the X series. Equipped with the X-series Børresen Ribbon tweeter and two 4.5 inch Børresen X-series speaker drivers, the X2 delivers surprisingly rich and detailed sound, despite its compact size. The X2 also features exclusive components from the M, O, and Z series, including the spread-tow carbon membrane, the Børresen ribbon tweeter, and copper caps in the magnetic motor system, all designed in-house and reflect Børresen´s flagship category of audio innovation.

The refined, authentic and natural sound characteristics of the X2 loudspeakers create an amazing sound stage that unleashes a rich and pristine sound spectrum so unique to all Børresen loudspeakers.

Don’t miss out on the opportunity to audition the new Børresen X2 loudspeakers. Immerse yourself in a Børresen sound experience of high-end music with amazing dynamics, natural lightness and emotional passion.

Specifications/dimensions:

Availability and Pricing

Intro price – MSRP

EUR: 8.000

USD: 8.800,

Available from: November 2023

Computer Audio Design USB II-R USB cable

Esoteric cables tend to raise eyebrows outside the world of high-end audio. And when those cables are developments of familiar computer leads – as here, the humble USB cable – it’s easier to understand the scepticism. After all, computers demand the same bit-perfect fidelity of data as audio, lest the text document sent over a cable arrives with missing words or random spelling mistakes.

That’s the naïve way of viewing the value of specialised USB wiring anyway, here based on the faulty premise that digital audio sent over a USB cable is bit-perfect. Except, it’s not. Unlike the protocols used for transferring file system data, for example, the USB audio standard has no robust error checking and correction.

The USBasics

An identical USB cable can serve to connect your scanner, hard drive, mouse or DAC; but quite different comms protocols are used by different devices. And, in the case of audio, there is no guarantee of perfect transmission of the bits. If your text document was somehow converted to digital audio and sent over a USB cable, by the time the sound is translated back into text it is quite possible we’d see a page hiding several typos.

So now we have an argument for a certain level of quality in our USB cable. However, the principal difference between the cable that came free with your printer and its expensive audio counterpart may be just gold-plated plugs and a reassurance that only the finest components have been used. USB cables made for audio may be marketed as being built to exacting standards, but they rarely step outside of industry specifications.

There has been one USB audio cable though that challenged the state of the art, applying sound electrical engineering to make a demonstrably better connection for audio than a simple standards-compliant USB 2.0 wire.

Computer Audio Design showed it could build a better mousetrap when the CAD USB audio cable was first previewed some 10 years ago. Originally known as the Revelation, the ground-breaking design was updated in 2018 with two variants known simply as USB I and USB II. These were closely related, with the latter literally adding a twist to its wiring topology, along with three shapely bulges down the cable length packed with compounds to address microphony and reduce RFI.

The CAD USB cable earned awards for its, well, revelatory ability to maintain musical clarity. Now the design has been subtly tweaked, outwardly at least, with a return to a single high-performance cable that strives to improve on previous models. It’s been designated the USB II-R.

Meanwhile the place of an entry-level cable has been taken by a different approach – a plug-in USB adaptor that can be used with any existing cable. It’s called the USB Filter, costs £750, and will be the subject of a later review.

Patently clear

Before we look at the new cable it would be useful to recap what sets the CAD USB cable apart. Universal Serial Bus was devised by Intel in the late ’90s as a user-friendly replacement for the serial and parallel ports on PCs. Most audio applications still use USB 2.0 and its plentiful 480 Mb/s specification. The plugs, sockets and cables accommodate a four-wire connection – two for differential signal data, and two to optionally power 5 V peripherals from the host.

CAD designer Scott Berry’s aim was to provide an improved differential signal data cable by addressing voltage noise in the system, focusing on reducing unwanted RF noise from being inadvertently passed from source (PC) to DAC by the conductive USB cable.

The nitty-gritty of how this is achieved is not discussed by CAD in its marketing – and it’s likely many music lovers would not understand or care either. But in contrast to the brands that only make unsubstantiated or pseudoscientific claims for their products, the principles behind the CAD USB cable have been peer-reviewed by other engineers, leading to a GB patent award.

However, while the published patent presents an outline of the invention, specifics remain uncertain, as CAD understandably declines to detail the final product’s construction. When it comes to commercial rip-offs, the law may be on the side of a patent holder but defending it can be a costly process.

A summary of the patented invention follows, parts of which are only assumed to be included in the latest II-R cable. Four main aspects differ from a conventional cable. The +5 V wire, not even required by most hi-fi DACs, is literally distanced from the data lines by running external to the main trunk. The power ground line is RF filtered through a series inductor and/or resistor. One end of the outer screen is left unterminated. And the critical signal lines pass through a common-mode noise rejection choke. Hinting at the amount of R&D the design must have undergone, the chosen choke takes a non-obvious value for its characteristic impedance.

In the case of every CAD USB so far, the filter components seem to be housed in the fat Type A plug at the PC end. Earlier versions were hand-made by Scott and had the plug set in resin, likely over a tiny PCB, then covered in shrink-wrap. The II-R cable is now produced with a manufacturing partner and has a sleeker design that sandwiches the plug between two plates of black acrylic.

Sound quality

The difference between the old CAD cable and just about any other USB cable must be heard to be believed. Maybe there already is another contender for best USB audio cable in the world? It’s a subjective call, but I’ve heard examples up to and beyond £5000, and they can’t hold a light to it. Which left me wondering, upon hearing of an impending update, where to go from here?

To find out, I made a quick comparison of the II-R with the USB I and made an initial judgement – it is better, but how exactly? It took more time to answer that, and it necessitated a return to a non-CAD cable to set a baseline. Going back to the proverbial printer cable, along with some audiophile USB examples, showed the gulf that the first CAD cable opened.

The popular orchestral favourite of Holst’s ‘Mars’ showed the difference. Using an Apple Mac mini and Audirvãna Plus 3.2, with modified OS to allow kernel streaming, the sound with a regular USB cable to Chord Hugo TT2 DAC is flat and uninspiring. Brass and string sections are fighting each other, and both sides are losing. Most of the orchestra is jumbled together spatially and all lie in the same depth plane. In one word, it’s messy; musically unrewarding and almost a relief to get to the end.

The original CAD USB cable brings a transformation into something a vinyl listener would understand. Atmosphere and intrigue are introduced, and the piece’s drama becomes palpable. Stepping up to USB I, details are added – the tympani mallet strikes that vary the timbre of the drums, the way the Chinese gong swells and ebbs behind the orchestra. And in the case of the 1966 vintage recording here with Adrian Boult and the New Philharmonia, some dynamic recording tricks become all too obvious, the limiter or compressors that periodically cut in to keep the full orchestral envelope inside the window of the day’s tape machines.

CAD USB II brings a slight lift again, with a tighter soundstage showcasing more precise instrument placement, like the ratatat snare marking the 5/4 rhythm. USB I is in no way bright or glary, but II is faintly smoother, darker and more damped.

Which brings us to the CAD USB II-R. This is easily the most ‘analogue’ sounding of them all, erasing the tiniest hints of what we think of as ‘digital’. You can hear the minute shifts in timing between players, where Boult appears to have relaxed his grip deliberately or otherwise between orchestra sections. With the II-R in place I felt like I was hearing the Boult version anew, and with it the work as a whole. What impressed most was perhaps how this familiar piece still has the capacity to create menace and inspire awe, when reperformed in the context of a well-fettled digital system.

Pays dividends

So, the main dividend of using the CAD cable is to sever most of the hallmark vices of digital audio, and in particular computer audio where RF hash can so easily ride roughshod through the system. Assuming that the main issue is RF noise superimposed on the signal electronics, it really would appear to be performing as a most effective firebreak.

And specifically, the USB II-R is now the cable that can preserve the most authentic account of the music so far, acting almost like an analogue conduit from PC to DAC. Against any known contender, this winner takes them all.

Price and contact details

Type USB 2.0 cable, Type A to Type B connectors
Price £1,500/1.1m length

Manufacturer

Computer Audio Design

www.computeraudiodesign.com

+44(0)2033 970 334

Back to Reviews

Ortofon MC Diamond moving coil cartridge

Put the name of this Ortofon cartridge into a search engine and you get a lot of references to its predecessor, the Anna MC Diamond. This evolved from the plain Anna but has now dropped that moniker to become the straight MC Diamond. Anna was a reference to opera singer Anna Netrebko; an artist who clearly made a big impression on Ortofon’s Leif Johansson, but latterly made the mistake of backing Putin when Russia attacked Ukraine last year. You can understand a famous Russian singer wanting to stay on the right side of that particular dictator but the latest Ortofon range topper no longer carries her name.

The MC Diamond is a distinctive cartridge in more ways than one. For a start, the body is made of titanium rather than more popular cartridge materials like aluminium and wood. In this instance, the titanium has been formed using selective laser melting, a technique which allows Ortofon to control the density of the metal and deliver higher internal damping than can be achieved with machining alone. Titanium is a lot denser and heavier than aluminium and favoured by another Danish company Ansuz who prefer its sonic character when used in isolation products and casework. A third example is in the counterweights on Rega’s top tonearms, there is more to this metal than most are aware.

What distinguishes this from preceding Diamond models is the suspension material which is made of a rubber compound that’s based on multi-wall carbon nano tubes; the first example of this ground breaking material being used in this way to our knowledge. The suspension is based around a heavy platinum disc that’s sandwiched between rubber absorbers with different properties in order to allow “exceptional tracking” with “perfect damping”. It’s safe to say that Ortofon has pushed out the proverbial boat with the MC Diamond.

Diamonds are Forever

The cartridge’s name derives from the solid diamond cantilever, virtually all decent cartridges have a diamond tip but very few go as far as to make the connection between tip, suspension and armature out of this extremely hard material.

The benefit is extremely high stiffness, way beyond that available with more popular materials in high end MCs such as boron. The drawback is cost and fragility, cartridges are always vulnerable things but the fact that Ortofon makes an easy to use stylus guard for the MC Diamond gives you some idea of just how easy it might be to damage this tiny jewel.

The tip that Ortofon has selected is called the Replicant 100 Diamond, which is not a reference to Blade Runner but a name chosen for a line contact shape that is narrow and long and “as close as possible to original cutting stylus”. The Replicant 100 stylus can be found on a number of Ortofon’s high-end MCs, but this example is the only one to enjoy the benefit of a diamond cantilever. The coils attached to the armature are made of ultra pure oxygen-free copper but there are apparently not very many of them as the output voltage is a low 0.2mV. This is not so low as to be an issue with phono preamplifiers in the same general ball park pricewise and you would be ill advised to use this MC with anything else. The alternative favoured by Johansson and many in Japan is to use a step-up transformer, which could be chosen to suit the low 6 Ohm internal impedance of this cartridge. Ortofon suggests a load impedance of over 10 Ohms, as few active phono preamplifiers offer less than 100 Ohms it’s easy to see that a step-up transformer might well produce the best results.

Heavy metal

The high 17.5g mass of this cartridge allied to a relatively high 2.6 gram tracking force mean that it’s suited to a high mass arm, fortunately these are more common than the increasingly rare low mass alternative, but in both the arms tried for this review an extra-heavy counterweight was required. Installation is relatively straightforward thanks to the decent stylus guard and threaded inserts in the top of the titanium body. The cartridge’s rounded body doesn’t aid alignment but the cantilever is long enough to be seen against a gauge without too much squinting.

I used the MC Diamond on an SME Model 20/3 with a Series V arm in the first instance and fired its output into a Tom Evans Groove+ SRX MkII phono stage with impedance set as low as it will go; an unconventional 112 Ohm. After a few sides to warm the Ortofon up many qualities started to become apparent, not least speed. I am used to fast cartridges (they are my preferred variety) but this is ‘next level’ fast, properly turn on a dime, quicksilver stuff. That diamond cantilever isn’t just there to hike up the price, it works incredibly well. Unlike many nimble cartridges the MC Diamond is also very solid and controlled in the bass, it goes down all the way and inspires a confidence that nothing is likely to deliver anything deeper. That’s a great feeling when combined with beautifully open and sparkly highs, tonal range is clearly a strong point and allows this MC to deliver acres of reverb whenever it’s present in the recording.

Tea up

Felix Laband’s ‘Whistling in Tongues’ (Dark Days Exit) produces a soundstage that is positively holographic with this cartridge, it’s not exactly a natural recording but nonetheless this South African artist puts some real acoustic magic in front of your ears when the groove is tracked with this degree of precision and absence of distortion. This three dimensional quality is apparent on a wide range of LPs thanks to the degree of detail resolution on offer, it puts Michael Franks in the room to a degree that is uncanny on his The Art of Tea album. The vintage and nature of the recording is abundantly clear but so is this plush production from 1975, it’s also pretty damn clear that the Larry Carlton, Wilton Felder, Joe Sample et al were at the top of their respective games at the time.

I was missing the sprightliness of my Rega P10 however so swapped the Ortofon over and hung the heaviest (titanium) counterweight I have rather close to the end of its stub to get the tracking force right. This turntable is not really designed for such meaty cartridges, Rega’s top MC weighs 6g, but the results were nonetheless superb.

I had a particularly good time with Melanie di Biasio’s album No Deal. This has black backgrounds to the voice and pared back instrumentation. Here the singer was placed front and centre in the room, the treatment of the vocal making it eerily present and intimate while the silence of the backdrop meant that all the fine details that usually blur into one another were resolved and defined to a remarkable degree. The track ‘With All My Love’ was particularly powerful, the sense of musicians being the room positivity visceral and the low pulse of the bass synth notes at the end so velvety and deep that you could take a bath in them.

Being a truly high resolution component the differences between recordings are obvious and there were some tracks on Stephen Stills’ eponymous album that sounded very grungy, it’s an old pressing and could perhaps be cleaner. However when ‘Black Queen’ came around the zing and vitality of the acoustic guitar was electrifying, quite how one track can sound so much better than the rest is very strange but is probably down to the relatively simple nature of the arrangement. It inspired me to put on Deja Vu (Crosby, Stills, Nash and Young) where the song ‘Almost Cut My Hair’ proved to be a lot more powerful and engaging than usual, the guitars again proving the highlight although Crosby’s voice was also excellent.

Ortofon have been refining the tech behind their finest moving coil cartridge for more than a few years now and the results fully warrant the effort involved. It’s hard to say what the nano tube suspension has added to the mix but this is a superb cartridge that extracts more detail from the groove than most. It’s high mass and low output require careful partnering for maximum thrill power but even in less than perfect systems the results are in another league. Give it the right turntable and amplification and I’ll warrant that it’s up there with the very best in the vinyl cosmos.

Technical specifications

Type Low output moving coil phono cartridge
Stylus/Cantilever Special polished Nude Ortofon Replicant 100 line contact, diamond cantilever
Tracking Force 2.5g–2.8g (2.6g recommended)
Load >10 Ohms
Compliance 11 µm/mN
Output (at 1 kHz @ 5cm/s) 0.2 mv
Weight 17.5g (without stylus cover)
Price £7,349

Manufacturer

Ortofon A/S

www.ortofon.com

UK distributor

Henley Audio

www.henleyaudio.co.uk

+44 (0)1235 511 166

Atma-Sphere Music Systems Class D amplifier

Atma-Sphere Music Systems is the audio company I have known the longest personally. Going on forty-two years from when I first met Ralph Karsten in St. Paul, Minnesota. During that time, I have enjoyed both listening to and looking at his gorgeous tube focused, class A, OTL creations. I thoroughly enjoyed reviewing the M-60 amplifiers in issue 192. I also have a definite soft spot for his Novacron monobloc’s. Imagine my surprise when in our conversation at the inaugural Florida Audio Expo he mentioned he was working on a new Class D amplifier! No tubes? Class D!!?? What a departure from the tube-based history of the company.

It took a couple of years, but the new amps finally arrived in one very manageable box. Unpacking them, a couple of things were evident. First like all Class D amps, the new Atma-Sphere’s were a much lighter affair at only 6.35kg per monobloc. Indeed, they measured only 33 × 28 × 8 cm, so placement was a breeze. I stacked them and they were still shorter than a typical Class AB Monobloc. The second thing was they are still physically very attractive with their champagne coloured front plate and classic Wrinkletex chassis finish. Each amplifier has both single ended and balanced XLR inputs with one unit offering a red Single Ended and the other a white to differentiate the pair. I hooked them up to a Pass Labs preamp and my DeVore O/93 speakers. My sources were the Cary DMS-800PV Streamer/DAC and my venerable Denon DP-60L turntable with an Ortofon Cadenza Bronze MC cartridge.

Making Modules

I had asked Ralph whose class D modules he was going to use. His own, he replied. “I am an engineer. I can design my own modules.” And so, he did, using GaNFET output transistors. In fact, all aspects of the Atma-Sphere Class D amplifiers are exclusively developed and manufactured in house. One goal was to develop an amp that was stable at all current loads and for all input conditions yet still deliver that first watt to equal the tube goodness of a classic Atma-Sphere OTL. If that could be done while producing less noise so much the better. In fact, the new module produces much less noise than tube amps. And what noise it is producing comes primarily from the op amp input buffer, so it is a practical amplifier to use with horns.

One interesting aspect of the Atma-Sphere Class D is that it is not a massive watts per channel Class D amp. 100 watts is modest compared to the typical Class D in the marketplace. Another design goal was to have minimal distortion rather than max power. Often Class D amps produce as much as 10% distortion at full power. Lots of watts is impressive but the distortion is generally too high. Distortion is the source of the amplifiers’ sonic signature. You need some to create its sonic identity, however too much and it is not what you would want to listen to for a nice evening’s listening session. In this case there is just enough to sound like a great OTL and join the sonic legacy of other Atma-Sphere amplifiers.

In Atma-Sphere’s Class D circuit, there are two sources of non-linearity. The encoding scheme and then in the output section there is a certain amount of dead time. When you have two output devices one is on, and one is off simultaneously. With any semiconductor or tube there is a finite amount of time to go from fully on to off. That is a very measurable amount of time. GaNFET’s are really good at this because they are so fast. There is a moment where both devices are partially on and off. So a Dead Time circuit is also in the chain. Dead Time is a circuit that causes the transistor to wait so both circuits are completely on or off, so resistance does not form and build up heat. This causes the on and off pulses to be not as wide as they are supposed to be. This results in distortion. It turns out in a Class D amplifier the resulting distortion is a lower order 2nd or 3rd harmonic which is not readily distinguished by the ear. That is also a distortion spectra that is very similar to Atma-Sphere OTL’s.

Put to the test

This was a design I was keen to put to the test. The M-60’s had paired beautifully with the DeVore’s, and I was hoping the new Class D could uphold its family’s tradition in tone. My first selection for this session was the same one I started with for the M-60’s. Pink Floyd’s Dark Side of the Moon SACD. I had to give the whole SACD a listen but what was really striking was comparing notes from ‘The Great Gig in the Sky’. Once again, the raw emotion of Clare Torrey’s voice was startling. What had me chuckling was my comment that using the M-60’s. “A more visceral presentation that I enjoy from a high-end tube amp.” I chuckled because I was receiving that same visceral presentation from a Class D amplifier. The comparison was somewhat spooky as Ralph had managed to transport the classic Atma-Sphere OTL presentation to a Class D amplifier! I certainly appreciated the technical explanation. This was wonderful.

What I was enjoying were several aspects of the sonic presentation that were favorites. First the carry through of the singers’ emotions was terrific. Moving from Clare Torrey and Pink Floyd to Led Zeppelins’ ‘Whole Lotta Love’ I got the same energy from Robert Plant. Raw and powerful the vocals flowed with a terrific sense of dimensionality. Sound staging was broad but distinct and there was an uncanny 3D depth. What I was experiencing was also very clean.

The Class D’s have a Total Harmonic Distortion of 0.1% with Intermodulation distortion of 0.04% at full power. I was getting the soul of the OTL voicing with even less noise. Some people will say distortion is bad. In Ralph’s words, what is important is for the distortion and for the distortion spectra to be benign. This is, in Ralph’s words why there is an Objectivist vs Subjectivist camp. An amp may have low distortion and measure well, but its distortion spectra is not benign, so it does not sound good because the ear is keenly sensitive to the distortion spectra. This is the best explanation I have heard to bridge the Objectivist vs Subjectivist debate and it answers the question if it measures great but does not sound good why is that?

Moving to vinyl I queued up Vanessa Fernandez’s 180-gram 2-disc 45 RPM LP Use Me. The title track is my favorite version of the Bill Withers classic. The smooth back beat and support of her band lent great PRaT to the song. Vanessa’s cool vocals put you at the front table in the dark and smokey club. You could point to each member of the band and Vanessa materialised in front of me as the song unfolded. The quality of this presentation equalled any I have had in the room including sessions with tubes or solid state with significantly more expensive pieces. One side note. The fantastic M-60’s had one real world accommodation to consider. They raised the temperature in my room by 8℃. No such issues with the Class D Mono’s. They barely got warm after hours of listening.

Back to Birds

Moving back to streaming I selected Dominique Fils-Aime’ song ‘Birds’ from the Album Nameless via Qobuz and upsampled the file via the Cary DMS-800PV to 176.6 kHz 24 bit. The hands clapping were crisp and real sounding. Dominique’s lovely voice was centreed in the sound stage and was incredibly clear. Once again, the dimensionality was striking. Her breathy phrasing was seductive as I took in every word. It was a masterclass in sound, and I was pleased to spend an evening with this quality of amplification.

Atma-Sphere has been producing award winning amplifiers since 1974. Almost fifty years later the company not only still build them well but it has added a new modern wrinkle that fans of solid-state devices should explore. And forget that old mantra that Class D sounds digital. What these monoblocs sound is like music, regardless of amplifier class. Move over Class A, there is a new flagship in town, and you will want to use it year-round, no air conditioning required.

Technical specifications

Features Single-ended and True Balanced input; GaNFET output transistors; rugged chassis; Monoblock; No adjustments needed; Exclusive Atma-Sphere class D module; Precision components used throughout; Low-noise even on horn speakers; Over-current protected; Stable with all input and load conditions; Classic Wrinkletex™ finish; Three-year general coverage warranty
Output power 100 watts per channel into 8 Ω; 200 watts per channel into 4 Ω
Input Impedance 100 KΩ balanced/single-ended
Output Impedance ~0.010 Ω
Input 2.15 Vrms for full output
Gain 22dB
Power Bandwidth 1Hz–20KHz
Frequency response 1Hz–20KHz
Distortion Total Harmonic Distortion less than 0.1% at full power. IM distortion less than .04% at full power
Feedback 35 dB
Power consumption 5 watts at idle (per channel)
Dimensions & Weight 13” deep × 11” wide × 3” high (33 × 28 × 8 cm) per chassis 14 lbs. (6.35 kg), per chassis
Warranty Three-year general coverage
Price $5,700.00 USD

Manufacturer

Atma-Sphere

URL: www.atma-sphere.com

Tel: +1 651-690-2246

McIntosh Announces MQ112 Enviromental Equalizer

BINGHAMTON, NY (October 12, 2023) – McIntosh is delighted to announce the launch of the new MQ112 Environmental Equalizer, a sophisticated 8-band stereo equalizer that can transform any home audio space into the ultimate listening experience.

The MQ112’s power lies in its analogue equalisation features, which enables listeners to adjust audio signal levels by an impressive ±12dB range at 8 key bands between 25Hz and 10kHz. Rather than tinkering with room treatments, speaker placement, or even reorganizing the entire room to optimize the acoustics of their sound system, the MQ112 lets enthusiasts fine-tune the mix and balance of frequencies to craft the ideal sonic profile for any listening space – or compensate for the imperfections in vintage recordings for the clearest reproduction of their sound.

Inclusion of both balanced and unbalanced inputs and outputs ensure that the MQ112 is optimally versatile for integration within any sound system and can be connected between the preamplifier and power amplifier (balanced or unbalanced) of any audio configuration. A secondary pair of outputs allows for connection to two separate stereo systems, bi-amped between a single pair of speakers, or up to two subwoofers. In more intricate stereo systems, the MQ112 can be connected through processor loops or tape monitor record/play connections on many preamplifiers and integrated amplifiers.

“The new MQ112 puts McIntosh’s powerful EQ capabilities in a standalone unit, giving listeners more options to customise and fine-tune their system’s equalisation than ever before,” said McIntosh President Charlie Randall. “We are excited by the possibilities that the MQ112 offers audio enthusiasts to take control of their sound.”

The design of the MQ112 features all the hallmarks of McIntosh’s timeless and distinct aesthetic, including the illuminated logo, black glass front faceplate, rotary control knobs, and custom machined aluminium end caps.

Additional key features include:

TILT knob allowing for tonal balance shift of ±6dB to boost bass or treble across the entire frequency range
EQ Control IN and OUT settings bypass equalizer circuit for easy comparison of the EQ output to original unaltered signal

AVAILABILITY

The MQ112 will be available through authorised McIntosh dealers beginning October 2023, retailing for £3,745 / €3990 / $3,000 USD.

Gryphon Unveils Diablo 333 at Two Dealer Events

Omaha, NE—November 15, 2023 – Gryphon’s highly anticipated Diablo 333 Integrated Amplifier will make its North American Dealer Debut today, Thursday, 16 November at The Sound Environment, Omaha, NE. Anthony Chiarella, Gryphon’s North American Director of Sales and Marketing, will present the amplifier and be available to answer questions and discuss The Gryphon Brand. The showroom will be open from 11 Am to 6PM and appointments are recommended. After 6PM, The Sound Environment will host an Official Presentation with all invited. For more information or to book an appointment, please contact Charlie Santmire [email protected] or by phone (402) 391-3842

The following day, Friday, 17 November, Anthony will present the 333 at Gryphon’s Chicago Dealer, Kyomi Audio, Addison, IL. Kyomi’s owner, George Vatchnadze, is a world-renowned Concert Pianist and Professor whose knowledge of music and its reproduced sound is unsurpassed. Anthony will present during showroom hours and George will host a Special Event after 7 PM. For more information, please contact George Vatchnadze [email protected] or by phone (312) 513-2759

“Gryphon is proud and grateful to both The Sound Environment and Kyomi Audio for their superb commitment to our brand,” said Mr. Chiarella. “We’re greatly looking forward to introducing both dealers’ customers to what we believe is the finest Integrated Amplifier available.”

About Diablo 333: First shown in prototype form at Munich High End 2023, Diablo 333 is the successor to Gryphon’s renowned Diablo 300, acknowledged to be among the finest Integrated Amplifiers ever built as well as the best-selling “Ultra-Luxe” integrated in High End history. Utilizing technologies and components developed for the State-of-the-Art Apex Power Amplifier, 333 represents a significant step forward in both performance and functionality from Gryphon’s class-leading Diablo 300. Industrial Design is equally tour-de-force, evocative of both Apex and it’s partnering Preamplifier, Commander. Diablo 333 carries an MSRP of $24,990, with DAC and Phono Modules available separately.

Ultrafide Audio launches debut pre/power combo

October 7, 2023 – Taking MC² Audio’s industry-leading pro sound to the domestic market, today (7th October 2023) Ultrafide Audio formally launches its debut hifi amplification products – the Ultra Sigma pre/power combo.

This includes the never-seen-before quad output analogue preamplifier, the U4PRE, alongside the U500DC amplifier that was soft launched earlier this year, with its initial batch selling out immediately.

The pair now can be purchased together for the first time, offering audiophiles worldwide a new level of sonic quality for their home systems – as showcased at the UK Audio Show.

Ultrafide stands for ultra-fidelity audio and following MC²’s pioneering work in live and studio sound for three decades, it is now laser-focused on the domestic market. No application constraints, no logistical hurdles, no compromises – just the best engineering, design and components to bring the finest possible sound to the home.

Lead product designer and audio engineer Alex Cooper was given a blank canvas with which to operate for Ultrafide products and freedom to over-engineer, with the sole goal of audio quality, sonic purity and unrivalled stereo image – resulting in the Ultra Sigma combo.

The U4PRE quad output analogue preamplification system has been designed with a minimal signal path philosophy resulting in super low noise and distortion. It features a state-of-the art Ultrafide designed adjustable phono stage that’s suitable for both MM/MC cartridges, single ended RCA inputs/outputs, balanced XLR inputs/outputs and a digitally controlled analogue circuit volume control – complete with digital display screen and remote control.

Next in the chain is the U500DC ultra fidelity audiophile power amplifier – featuring an all-new passive cooling system and push/pull modular output stage for ultra-low noise operation. Add to this a dc coupled input-output, a massive 250W at 8 ohms (500W @ 4 ohms) stereo power delivery, this amplifier can be used in all manner of home/studio applications with astonishing results, leaving plenty of headroom and delivering unparalleled high-end definition and low-end response.

Designed to work perfectly in tandem but equally as effective individually, both Ultra Sigma units are priced at £4,500 inc. VAT (each).

Mark Bailey, product specialist at Ultrafide Audio and MC², said:

“Ultrafide is here to bring pro sound to the home, using decades of sonic pedigree to provide a new level of hifi amplification and audio quality to the domestic market.

“We’re also here to be honest about what that means – and that’s simplicity. After all, audio is about using your ears and doing what’s best for the music, not just satisfying a spec sheet.”

“With that ethos in mind and without the constraints or design fundamentals that come with the professional market, we viewed this project as a completely fresh start. What would we want our ideal home system to sound and look like? Harnessing this approach and having no compromises on engineering and component quality, Alex and the team got to work and we couldn’t be prouder of the results.”

“We firmly believe the Ultra Sigma combo stacks up next to anything on the market and we’re offering a new perspective for audiophiles with our U4PRE and U500DC products. One thing’s for sure, pro sound is homebound!”

Ultrafide Audio is showcasing both the U4PRE and U500DC at the UK Audio Show 7-8 October, alongside two pairs of Quested high-fidelity loudspeakers. Find the team in syndicate 9.

For more information, please visit https://ultrafideaudio.co.uk/ or follow our Instagram at @ultrafideaudio.

Sonus faber Launches Duetto A New Active Stereo Wireless Loudspeaker

VICENZA, ITALY (October 5, 2023) – Sonus faber is excited to announce the launch of its new active wireless stereo speaker – Duetto, a wireless stereo speaker system featuring a multi-component HiFi system with distinct characteristics across design, sound quality, connectivity, and ease of use.

The external design of Duetto follows the Sonus faber decades old philosophy of the most natural sound reproduction through the use of natural materials. The Duetto lute shape wood cabinet merged with an elegant and custom designed heatsink guarantees stiffness and musicality while avoiding internal resonance, creating the Sonus faber signature Natural Sound. It also has a leather top interface SENSO™ which allows for the user to control and set up the speaker functions such as volume, input selection, and connections.

“Our intention behind expanding into the wireless speaker category is to provide our consumers with the Sonus faber authentic sound quality they know and love combined into one versatile package. Duetto is a true Sonus faber stereo system, blending 40 years of premium speaker design, Italian style and materials with the modern technology and streaming features,” said Chief of Design Livio Cucuzza. “Today’s streaming capabilities does not compromise quality but rather offers an even higher quality for an almost infinite choice of music. Place the Duetto in your preferred space, choose your favorite source, close your eyes, and enjoy a one-of-a-kind listening experience”.

Duetto is a 2-way stereo system, featuring a 0.7” tweeter and a 5.25” mid-woofer, all formulated from scratch in Vicenza, Italy by the Sonus faber research and design team.

The silk dome tweeter is equipped with a copper cap to amplify the driver’s emphasis on the lower frequencies, while keeping the highest notes smooth and clear, and encompasses a waveguide ring that increases an out-of-axis response and guarantees an astonishing listening experience from every part of the room.
The paper pulp mid-woofer is rigged with surround suspension and a neodymium magnet to achieve the deepest frequencies and is enclosed in the new Sonus faber Organic Basket which prevents resonance and eases the air flow production by the long excursion of the driver.
The speaker also includes two amplifiers – a 100W class AB amplifier that takes care of the tweeter for accurate and smooth high frequency reproduction and a 205W class D amplifier that supports the power needed from the mid-woofer to deliver deep and firm basses.

Duetto furthers Sonus faber innovation into a world of analog and digital connection by taking connectivity to the next level.

Sonus faber developed the Sonus faber app that allows the user to customize all the settings for all Sonus faber wireless products (Omnia and Duetto)
Users can easily connect to a TV through the HDMI and optical inputs, to a turntable through the Turntable ready phono built-in, and to an active subwoofer that can be automatically recognized through the Duetto setup system
Duetto is WiFi CertifiedTM and features a full suit of digital connection to popular audio streamers including AirPlay, Chromecast, Tidal, Spotify, Roon ready, and Bluetooth
Duetto is fixed with UWB (Ultra Wide Band) technology that avoids latency and interference in the connection between the two speakers. UWB also guarantees a very wide frequency spectrum to send data signals at high speed

AVAILABILITY

The Sonus faber Duetto will be available through authorized Sonus faber dealers starting October 2023 for $3,999 USD per pair.

Duetto stands are sold separately for $749.

Chord Company’s Burndy upgrade for Naim Audio

3 October 2023, Wiltshire, England: Chord Company has launched new and upgraded versions of its British-designed-and-built Burndy cables, for Naim Audio equipment.

There are two new models: BurndyX and BurndyT, both of which have been designed to provide Burndy-equipped Naim Audio devices with a trusted upgrade path.

The new upgraded BurndyT (from £1,760) directly replaces the previous generation model, while the BurndyX (from £880) is an all-new entry-level cable that brings Chord Company’s near-40-year cable design and UK manufacturing expertise to a more accessible price point.

The new models build on Chord Company’s debut Burndy cables (2020) with extensive upgrades, including the company’s proprietary insulation XLPE in the entry-level BurndyX.

The BurndyX cable is handmade to order and benefits from multi-stranded silver-plated OFC conductors (with XLPE), complemented by high-density, silver-plated braid and foil combination high-frequency shielding. The complex umbilical link is terminated with the company’s unique, crimped ChorAlloy-plated connector pins. The BurndyX is designed to connect all compatible Naim Audio products, including the 12-way and 23-way- (Type 3 and Type 4) equipped models.

The BurndyT cables are hand-built to exacting standards by Chord Company’s UK technicians, using precision-engineered components finished with a complex termination process. They feature the highest quality materials and standards of mechanical fabrication, from the company’s flagship Taylon-insulated conductors to the multiple, layered screens which protect delicate signals from high-frequency noise.

The BurndyT connector pins are also ChorAlloy-plated: a multi-metal plating system that provides a significant musical improvement over previous gold/silver-plating techniques and one that offers a major step forward in Burndy performance.

As part of the Burndy upgrade programme, the Bridge shorting plug (£500), which works with unused (Naim Audio) power supply upgrade ports to reduce high-frequency noise, has also been updated to include proprietary ChorAlloy-plated connector pins.

Chord Company used a Burndy-equipped Naim Audio NAP 300 amplifier in listening tests during the development of the new Burndy cables; the company’s first-ever cable was created for Naim Audio equipment back in 1984.

Price and availability

Chord Company Burndy cables are available now in a wide variety of configurations priced from £880 (BurndyX) and £1,760 (BurndyT); Bridge £500.

Stax SR-X9000 headset and SRM-T8000 headphone amplifier

Only one company has been making electrostatic headphones almost exclusively since its inception (the only exception being its portable electret in-ears), and that firm is Stax. Its Lambda line of headphones were the reference standard in electrostatic headphones for many years. Only recently have other firms embarked on electrostatic designs. Currently there are offerings from Audeze, Warwick Acoustics, Shure, Koss, Dan Clark, Sennheiser, and HiFiMAN vying for audiophile dollars. Given all this intense competition, Stax has introduced a new flagship, the SR-X9000 (£5,195). Coupled with the SR‑X9000 headset, Stax has its top-of-the-line amplifier (all electrostatic headphone designs require a dedicated power amplifier that is different from conventional headphone amplifiers), the hybrid SRM-T8000 (£4,395). We reviewed the amplifier (back when Stax still called them ‘energizers’) in Issue 167, but both headphones and amp will be reviewed primarily as a package here—and what a powerful package it is.

Technical Tour

The electrostatic technology employed by the SR-X9000 was originally developed for the SR-X headset. It has evolved over the years. The latest design, which Stax calls MLER-3, which stands for Multi-Layer Electrodes, evolved from the MLER‑2, which can be found on the Stax SR‑009 headset. There are four separate layers to the MLER‑3 stator. Stax is especially proud of its latest manufacturing prowess, which involves bonding the etched electrode and metal-mesh electrode using a diffused junction via thermocompression bonding.

The SR-X9000, like the previous flagship, the SR‑009, has a round shape to the headset rather than the rectangular one used for many years in Stax’s Lambda line. The circular shape makes it possible to employ a metal mesh for the fixed electrodes. But the problem with a mesh is its lack of rigidity. When first employed on the SR‑Ω, Stax reinforced the mesh with a special adhesive which could only be applied by hand. For the SR-X9000 Stax developed a less labour-intensive solution for mass production that accomplishes the same result.

Diaphragm diameter on the SR-X9000 has been increased by 20% over that of the SR-009, which, according to Stax, improves performance. Like all electrostatic designs, the SR-X9000 diaphragm is made of an extremely thin plastic film. To protect the film surface there’s always a grille guard. On the SR-X9000, this guard has been angled slightly via different length stand-off pillars, so it does not directly reflect the sound coming from the diaphragm.

The SRM-T8000 headphone amplifier is a hybrid design that uses two 6922 dual-triode tubes in the first stage and a high-current emitter follower transistor amplifier in the output stage. With its balanced amplifier configuration Stax eliminated the need for a transformer or inverting stage after the XLR balanced input. Stax even looked at the rubber feet and opted for a new, fire-resistant, extremely hard rubber that according to Stax “hardly slides when placed on a table etc. Please lift up when you move it.”

Ergonomics and Setup

What are the ergonomic considerations when deliberating on a pair of headphones? For me the primary consideration has always been fit. While heavier than the Stax SR-407 (one of my pairs of Stax), the SR-X9000 will be a more comfortable listening experience for many potential users, especially those with large heads and ears. That added comfort is due in part to the larger ear openings and thicker earpads. The SR-407’s opening is just wide enough to fit my whole ear in comfortably (I have small ears) and make a decent seal around them; however, many other users will find that their ears are cramped. The SR-X9000 provides quite a bit more space around your ears, so that a wider range of ear sizes will remain comfortable.

The SR-X9000 headband is metal rather than the plastic used on the SR-407 and earlier Lambda models. Unlike the SR-407’s headband, which can be easily broken (I’m on my third SR-407 headband), the SR-X9000 headband should be able to withstand normal abuse. My only quibble with the SR-X9000 headband is that it does not allow for quite as small a head size as the earlier models. I needed to wear a baseball cap to raise the headphone’s position slightly on my tiny head.

Unlike earlier Stax designs, the SR-X9000 has a removable and replaceable cable. The connections are robust with excellent strain relief. The cable itself is a bit lighter and even more flexible than the cables permanently attached to the Lambda and SR-407 model. This also opens up the possibility of third-party cables. While I find the stock Stax cable to be perfectly adequate, I’m sure that some audiophiles will relish the opportunity to add ‘cable swapping’ to their potential Stax modifications.

The primary reason for listening through headphones has always been for private, single-party listening that does not disturb others. The Stax, like other open-capsule headphones, does not attenuate the escaping sound as much as a closed-enclosure design. While certainly quieter than a loudspeaker, the SR-X9000 still produces a high enough volume level to the outside world that you can hear music, when it’s being played at medium levels, from several feet away. In comparison, the Dan Clark Stealth headphone is silent at that same distance.

The SRM-T8000 amplifier’s back panel has three analogue inputs (but four input options on the front input selector). One of the inputs is a balanced XLR while the next two are single-ended RCA. The back panel also has a ‘Parallel Out,’ which can be attached to a power amplifier, active loudspeaker, or second headphone amplifier. The SRM-T8000 front panel provides for two ‘Pro bias’ Stax headphones, but no connections for earlier ‘Standard bias’ models. The front panel is dominated by the centrally located volume control, which allows you to change each channel level individually to adjust balance, if needed. The front panel also has an input selector knob and a three-way ‘level control,’ which allows you to use either the internal volume control or bypass it and allow the external input level to be passed through to the headphones and the parallel output. The third setting is ‘mute.’

While this three-way setup provides more flexible options than if the volume control were always in the circuit, it also makes it possible to blow up your headphones or the device connected to the parallel output! If you have your DAC (or other input source) connected and set to fixed level output (which is usually the maximum output level of the device) and the SRM-T8000 set to bypass, that full output level will be produced, and the result could be bad. Stax is aware of the potential issue and has cautions and warnings in its instruction manual. Most of the time I chose to adjust the volume via the volume control on the source device to avoid the possibility of frying any of my gear.

While the SRM-T8000 has four input selection options on the front panel, it only has three inputs. The fourth input is a panel for an option card. I enquired as to the nature of the card’s function. After a few days, Stax representative informed me that initially there were plans for an additional module, but they are currently not offering anything to fill that void. A DAC module would be a welcome addition that would increase the SRM-T8000’s ergonomic features to the same level as the Warwick Bravura and Sonoma electrostatic amplifiers.

Sound

Stax earphones have long been known for their open sound, big soundstage, fast transients, explicit detail, and airy bass. Although these sonic characteristics aren’t limited to Stax headphones, since all electrostatic headphones share the same basic technology, Stax has the longest track record producing electrostatic headphones; electrostatic sound has become Stax’s sonic trademark. But even among Stax models there has never been just one consistent harmonic balance or soundstage characteristic. Some long-time Stax fans still speak longingly of the harmonic balance and bass punch of Stax SR-X compared to the early Lambda series. Even some SR-009s owners have discovered they prefer the slightly more forgiving sound of the Lambda SR‑L700 Mk2 or SR-007 compared to the SR‑009s on more aggressively mixed and recorded music.

When I reviewed the Stax L-700 (for The Absolute Sound) in 2016, I did not retain them through purchase or loan because I found their overall sound was only slightly superior to the pair of SR-407 I already owned. Yes, the L-700 bass was a bit more extended than the SR-407, but the rest of its harmonic balance was strikingly similar. Currently I have two older Stax headsets on hand, the SR-407 and a pair of SR-X Mark 3s. I also have a Stax SRM-007T ‘Japan-Only’ headphone amplifier that requires a step-down transformer to power its 100-watt Japanese standard. At one time Stax got the clever idea to make sure that amps designated for domestic Japanese sale were not transhipped or resold overseas by cutting the leads inside their transformers so they could not be converted to other standards, as earlier models had been. It worked as well as can be expected. Owners used a transformer to step down the incoming AC power to the amp to 100 volts. The transformer also isolates the amplifier further from AC line noise.

I have blathered on about the SRM-007T because I used it for a three-way Stax headset comparison. Since the SRM-007T has three outputs, two for Pro bias and one for the earlier Standard bias, I could hook up the SR-X9000, SR-407, and SR-X Mark 3 all at the same time for rapid A/B/C comparisons between them. The only tricky part of this testing setup was that none of the three headsets have the same sensitivity. The SR-X was the least sensitive, while the SR-407 was the most sensitive, The SR-X9000 sat between them. The difference between them was somewhere around 3dB, so I had to adjust the volume level for each headset.

For this comparison I hooked up a Sony NW-WM1Z digital-audio player via its single-ended output to the SRM‑007T. I used my own live concert recordings as well as commercial references for the comparisons. One release that has proved to be especially useful due to its excellent sonic and artistic qualities is Six Spoons of Honey by Alexis Harte. The song ‘Things That Matter’ is a favourite.

After even a short listen the sonic differences between the three headsets were immediate and obvious. The SR-X had a definite midbass bump that gave it some nice thunk but little output below that. In comparison, the SR-407 had less of a midbass bump with more low bass extension, though the bass rendition was on the ethereal side. Through the SR-X9000 the bass had dynamic power and full extension to the lowest notes. While perhaps not a bass monster like the Sony MDR-Z1R, the low bass notes are still there with impact; you don’t have to strain to hear them.

The SR-X9000 had the most relaxed, natural, and unstressed midrange of the three headphones. In comparison the other two sounded peakier in the 3kHz region and not as smooth throughout. Combined with this smoother midrange response, the SR-X9000 produced the best soundstage. It was more coherent and produced a most precise image. In comparison the SR-407 did not define each instrument’s dimensions as clearly. The SR-X’s soundstage was noticeably smaller than that of the other two headsets, with the spatial information reduced and compressed into a more limited soundfield.

It was obvious that the SR-X9000 was clearly the best-sounding Stax I’ve experienced. It combined all the sterling aspects of the Stax sound into a more natural and more musical presentation, while retaining Stax’s exemplary low‑level detail and resolution.

My last A/B comparison was to pit the SR-X9000 coupled to the SRM-T8000 with the Warwick Sonoma system. While my Warwick system employs the first-generation Sonoma headset rather than the latest Bravura headset, it is still close to the sound of the current model I reviewed in TAS Issue 326. For this A/B comparison I hooked up the Sony portable player I’d used in earlier tests to both the SRM-T8000 and the Sonoma amplifier via a special RCA cable/splitter that has a split cable that allows two devices to be fed from the same output. (I also use it when I must bi-amp via RCA connections.)

Putting aside comfort differences for the moment (the SR-X9000 headset will be preferred by those with larger heads and ears while the Sonoma fits small ears like mine perfectly). The first sonic difference between the two electrostatic systems was the more extended dynamic contrast of the SR-X9000 compared to the Sonoma. Dynamic peaks seemed louder through the Stax. The next most noticeable difference was in soundstage sizes. The SR-X9000 had a slightly more spacious rendition with a bit more space between instruments.

One area where the two electrostatic systems were strikingly similar was how smooth and mellifluous their midrange presentations were. Bass extension was similar with a slight edge to the Stax on tightness and definition. Both did a superb job of rendering everything, even nasty recordings, listenable without robbing them of their verve. In overall sonics, the Sonoma system comes in a very close second to the Stax flagship system. Given the price differential between the two systems (the Stax is almost 1.5× the Warwick’s price), the Warwick system is a fine value (it also adds a good internal DAC, to boot). Unless you are doing direct matched-level A/B comparisons I doubt you will find the Warwick system sonically wanting, but when compared to the Stax, it came in second place.

Summary

I have no doubt that the Stax SR-X9000 ranks as Stax’s finest effort to date. It checks all the boxes to qualify as a world-class, reference-level headphone when combined with the SRM-T8000 amplifier. Whether it stands head and shoulders above its competition is another matter that is not as clear-cut, and since I have not heard the SR-X9000 compared to all its competition on a level playing field (few, if any folks have), I can’t make such a judgment. There are some great headphones, both planar dynamic and electrostatic, that are also of reference quality and offer the SR-X9000 fierce competition.

And then there is the matter of supply. I was given a short window for this review because Stax had scheduled the system to be at a headphone show both before and after my review period. In both cases the system was sent to retailers. This only happens when a manufacturer has very few samples available, and this was surprising given Stax reputation and supposed recapitalization. So, if you want a pair, you may have to wait a while to get them, but for some audiophiles and Stax devotees, the wait will be worth it.

Technical specifications

Electrostatic headphone

Impedance 110 ohms (including cable) at 10kHz
Sensitivity NA
Weight 432 grams without cable

Electrostatic headphone amplifier

Inputs One balanced XLR, two unbalanced RCA
Outputs Two “Pro level” headphone outputs, single ended RCA volume-controlled or line level
Maximum output voltage 470Vrms
System price £9,560

Manufacturer

Stax

www.staxheadphones.com

UK distributor

Symmetry

www.symmetry-systems.co.uk

+44(0)1727 865 488

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