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Nordost Red Dawn 3

In late spring of 2024, Nordost launched the third generation of what it describes as its entry-level Leif family, including Nordost Red Dawn 3. It’s a four-layer line-up, starting with White Lightning, progressing through Purple Flare, Blue Heaven, and culminating with Red Dawn, the subject of this review. So, in many respects, ‘entry level’ is not really an apposite way to approach Red Dawn, as it sits at the top of a hierarchy that, itself, forms the foundation of a pyramid of products.

The next level of the pyramid is the three-layered ‘Norse’ range, top of which is the Tyr 2, which I’ve used for several years; then there’s the ‘Reference’ range of Valhalla 2, topped by the ‘Supreme Reference’ Odin 2 and Odin Gold. Nevertheless, in terms of price, the Leif series is unquestionably more approachable than those ranges that sit above, and thus represents the likely way in to the Nordost ecosystem for many users. Given this price disparity, some will always question whether this truly represents ‘proper’ Nordost. I’d quite like to address that question here.

Construction

The loudspeaker cable retains the familiar ribbon topology that has defined Nordost’s speaker cables since Flatline and the early Red Dawn, decades ago. Where the Leif Series departs is in eschewing the complex and costly micro mono-filament and twisted micro mono-filament construction in the interconnects and loudspeaker cables of the ranges above it.

This is, no doubt, a large part of what keeps the price within a realistic ballpark for many. Still, it does mean users don’t get the benefit of the (almost entirely) air dielectric that the monofilament creates between conductors and the fluorinated ethylene-propylene (FEP) outer sheathing, which has featured in Norse, Valhalla and Odin interconnect and loudspeaker cables from their inception.

Instead, the Leif series favours a more conventional layout for the FEP insulation/dielectric, in physical contact with the conductors. It uses Nordost’s own silver-plated OFC copper recipe connectors, though. Notably, the Leif series power cords do retain the micro mono-filament construction used in their more expensive stablemates.

Leif 2 to Leif 3

Changes for the third-generation Leif 3 range are largely structural in nature: beefier wire gauges and/or increased conductor count for many items, twisted-pair construction in the interconnects, physical reinforcement and mechanical tuning, and tighter, tougher, and more secure terminations.

Nordost Red Dawn 3 analogue interconnects

The analogue interconnects now use the same Neutrik connectors as the Norse series, and the loudspeaker cables use more robust versions of the familiar Z-plug banana or spade connectors, which are said to be easier to terminate consistently. Nordost considers the way its cables are terminated to be, in its own way, as critical as the cable topology itself, so improved consistency here is clearly a desirable outcome.

As a long-term Nordost user, my core system has relied on a Tyr 2 cable loom for some time now, but I also have a set of Blue Heaven 2 to draw on when the occasion merits it. These have now been supplemented by the selection of Nordost Red Dawn 3 single-ended interconnects, loudspeaker cables, and mains leads in this review.

Internal logic

One thing that has always been true of Nordost is the internal logic and consistency of their product ranges: there’s a common sound signature but still a clear hierarchy as you move up the ranges. So you always knew that moving from Purple Flare to Blue Heaven or Red Dawn would bring benefits in the sense of ‘more of what you like about what you’ve got, and less of what you don’t’, which isn’t always true of every cable manufacturer out there. Moving from Blue Heaven 2 to Red Dawn 3 has been illuminating, therefore, as it’s quite a significant jump in performance, both within the hierarchy, but also across the generations.

Nordost Red Dawn 3 Power Cord UK type

If forced to sketch my old Blue Heaven 2 in a few words, I’d probably class it as a safe pair of hands, a smooth, even-handed, reliable go-to for a wide variety of situations, that isn’t likely to go rogue and wayward under pressure. But its limitations probably lie in that smoothness – a creamy, slightly soft-focus delivery which, nevertheless, still delivers the musical goods. It flatters, without deceiving. The outgoing Red Dawn 2, as I recall, brought more heft, clarity and detail. Still, there’s always been a clear gap between the top of the Leif range and Heimdall at the bottom of the Norse, where the more revealing, but more uncompromising, honesty of the micro mono-filament technology starts to make itself known. 

Performance

Now, hearing Red Dawn 3 in my home system, my first thought is how much that gap might have just closed. There’s a level of subtlety and insight here beyond what I was expecting. If you haven’t listened to Nordost cables in a while, or if you have heard the conventional internet ‘wisdom’ that Nordost is bright, with spotlit treble and lightweight bass, you should put your prejudices to one side and take a listen. Moments with any recent ranges quickly dispel that notion, and the Red Dawn in particular is solid, hearty and cohesive.

The Red Dawn 3 loudspeaker cable has the grainless, even-handed quality that has become a Nordost hallmark. The even-handedness translates in musical terms into a level of coherence that at this price, and even considerably beyond it, cannot be taken for granted in many cables; in a fundamental sense, the energy is in the right place, at the right time.

The complex and lengthy percussion solo on ‘Nardis’ from Patricia Barber’s Café Blue (Blue Note – ‘un-mastered’ edition by Premonition Records) is fast, tight and well-controlled, the complex polyrhythms are well handled, easy to access and make more sense of; the interactions with the bass are layered and nuanced, and the moody opening section has structure, purpose, and a sense of direction – not merely the noodly meanderings that some cables might let you assume.

Similar stomp

Similarly, ‘42nd St. Stomp’ from Joanna MacGregor’s Play (Sound Circus) is tight and together, replete with inner detail and structural cues. The excellent articulation these cables are capable of brings out the complexity and dexterity in the playing, the better to show us MacGregor’s skill and musicianship in making Alasdair Nicholson’s piece more than just a novelty take on a hoary old Broadway number. And the Ligeti ‘Autumn in Warsaw’ from the same album retains its devastating power; these are definitely cables that help you explore and appreciate the more challenging elements of 20th-century music, rather than getting in the way.

Playing Philip Glass – Piano Works (Deutsche Grammophon) showcased the interconnects ‘particular strengths. ‘Etude #9’ has all the complex, rhythmic shifts and drive that Vikingur Olafsson draws out of this music. This was the disc that first made sense of Philip Glass for me. Olafsson’s portrayal of the interleaved nature of the parts makes this a study in poise and elegance, not merely a technical exercise in metronomic exactitude.

Similarly, the off-balance rhythmic underpinnings of ‘Etude #2’ help highlight how the interconnects show Olafsson adjusting the weighting of the various voices, how he moderates and modulates his touch to keep track of the interwoven phrases, and the threads that layer up the study. And the piano has weight and mass, despite much of the piece being played barely more than mezzo forte. If I had to pick the strongest from what has quickly become a convincing range, it might well be these interconnects.

Mains block

Using Red Dawn 3 power cords via the Nordost QB6 v3 mains block, it’s clear that these power cords and my regular Tyr 2 power cords are stablemates. Direct comparisons, given the price disparity, are unhelpful, so it makes more sense to focus on common strengths: the cords’ ability to deliver the energy in a performance and maintain the integrity of the innumerable components of that performance. There’s an underlying sense of organisation, composure and surefootedness, without obvious compromise to freedom or expressiveness. Yes, the Tyr 2 can deliver even more in terms of structure, intent and purpose, but all these attributes remain clear and present here.

Collectively, this adds up to a cabling loom which doesn’t draw attention to itself. Music is presented without artifice or preference, whether classical, jazz, girl and guitar, or electronica; all were rendered with equal finesse and assuredness. I found myself ranging widely and freely across my music collection, not gravitating towards any particular genre. As a foundation for a capable system, this is a prerequisite and Red Dawn 3 doesn’t falter.

Value judgements

This third-generation Leif series is more expensive than its predecessor, but in the broader scheme of things, not significantly so. Factor in the performance uplift, and a sub 20% rise doesn’t feel at all excessive. I’ve assessed it on its own terms, above, but a quick comparison with my regular Tyr 2 adds some helpful context. The micro-monofilament in the Norse series interconnect and loudspeaker cables is most apparent in the further increased freedom and spaciousness it provides. That freedom manifests in many ways; speed, for one: sudden dynamic shifts can happen more suddenly; conversely and relatedly, slow, contemplative moments have more time and space to develop within.

They are also more emphatic, so there’s a second freedom: scale. There’s more ‘stomp’ in the Joanna MacGregor ‘42nd Street Stomp’, for example, and notes decay for longer, which nicely bookends those faster, cleaner leading edges. So there’s an additional layer of expressiveness, a degree of focus, limpidity and poise that the Leif series cable approaches, but you do need to progress to Norse or beyond, to realise it fully. There’s still a clear gap in performance between these levels of the Nordost pyramid, then. But keep in mind, the equivalent Tyr 2 prices: 1m mains cable – £3,470; 0.6m interconnect –  £2,600; 2m loudspeaker cable – £8,025. 

The Red Dawn 3 delivers a feeling of musical intent and integrity. You’re never left feeling that the cable has somehow ‘edited’ your musical experience. Yes, it was entirely clear where the value lies in the Norse cables when I eventually reinstalled them. Still, the Red Dawn 3 retains the full-range coherence and cohesiveness that are Nordost characteristics. 

Valid and sensible

In that respect, the Leif series is an entirely valid and sensible entry point to the Nordost ecosystem, and Red Dawn 3 represents the ultimate statement of that level’s capabilities. We talk often about the importance of a coherent ‘one-make’ cable loom, about the need to ensure that the limitations of another don’t compromise the strengths of one cable from a different brand, and it’s very accurate, whatever the performance level you are at. And for a disappointing number of cable brands, mixing and matching from different performance tiers is equally ill-advised.

For many, Red Dawn 3 will be enough, but if you want to go beyond, one strength that quickly becomes obvious is that you don’t need to make the leap wholesale from one level to the next. You can make the move to Norse, or beyond, in stages, and be confident that you can realise the benefits of the Norse cables’ performance without them being undermined by whatever Red Dawn sits elsewhere in the system. If I were contemplating such a process, I’d start with the mains power cord to the block, then the power cords to key components, then loudspeaker cable, but the mere fact that you can take such an approach at all, and make sense of every step in the process, is testament to the level of performance the Red Dawn 3 offers in the first place. 

Technical specifications

Power cord, UK to 15A IEC (20A IEC optional at extra cost)

  • Insulation: FEP
  • Construction: Micro Mono-Filament Design
  • Conductors: 3 x 12 AWG
  • Material: 168 Strand 99.9999% OFC
  • Capacitance: 10.0pF/ft
  • DC Resistance: 1.64 Ohms per 1000ft/304M
  • Price: 1m length, £530, $560, €560

Analogue interconnect

  • Insulation: FEP 
  • Construction: 3 Twisted Pairs, Individually Shielded 
  • Conductors: 6 x 24 AWG 
  • Material: Silver-plated 99.9999% solid core OFC 
  • Overall Shield Coverage: 97% Braid 
  • Termination: Gold-plated Neutrik Profi RCA or Neutrik XLR
  • Price: 0.6m pair £710, ¢750, €750

Loudspeaker cable

  • Insulation: FEP
  • Conductors: 22 x 24 AWG 
  • Material: Silver-plated 99.9999% solid-core OFC 
  • Termination: Gold-plated Spade or Z-plug Banana
  • Price: 2m pair £1,100, $1,120, €1,130

Manufacturer

Nordost Corporation

www.nordost.com

UK distributor

Renaissance Audio

www.renaissanceaudio.co.uk

+44(0)131 555 3922

More from Nordost

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Luphonic R3 turntable

Luphonic didn’t have the most auspicious of startup experiences. The company was just a few weeks old when the COVID pandemic broke out. Still, Thomas Luh used this time well, going back to basics and experimenting with different materials and shapes for his distinctive, discreetly attractive, and immaculately finished turntables. The result of that experimentation was a recipe for the basic materials and structural elements of his designs. Oh, and a tonearm; having tried various OEM offerings, Thomas decided that he needed to make his own. 

So the R3 follows the design principles and aesthetic of the other turntables in the range, from the H-shaped chassis of the H1 and H2 (reviewed by CF in issue 236), and the rectangular R2; the R3 continues with the rounded corners which soften the rectilinear shapes, and the layered Corian/elastomer sandwich of all but the entry-level H1.

Next level

The R3 takes this literally to the next level, being a five-layer sandwich: three Corian slices (the R2 has two), separated by two cellular rubber damping layers, with essential functions attached to different layers to isolate them from each other. So the bottom slice of Corian forms the base, with its adjustable feet, which is isolated from the middle slice, on which the motor and armboard assemblies mount, which in turn is isolated from the top slice, which houses the main bearing. 

R3_subplatter

The armboard for the R3 is worth a mention in its own right. It’s a disc of Corian, onto which the arm mounts in an off-centre hole. The disc can be rotated, so arm geometries from 200-300mm can be accommodated by simply rotating the armboard until the desired pivot-to-spindle distance is achieved. Luphonic offers the R3 with either a 9” or 12” version of their K2 tonearm, a gimballed design with a low-resonance carbon armtube and a headshell of sintered polyamide with a filler of tiny glass beads. The armboard can be drilled for many alternative tonearms by arrangement, but you’d better be sure what you want to mount is an excellent arm and worth the trouble, because the K2 is no slouch. The review sample of the R3 came with the 12” version, onto which I mounted my regular Hana ML moving coil. 

Cool control

The R3 also retains the coolest control mechanism I’ve seen for a long time. A double-sided magnetic puck the size of a checkers piece, one side white, the other black, is placed over a backlit patch on the top plate. Black face uppermost gives 33.3 rpm; white face gives 45 rpm; the speed is displayed in numeric form just below the surface of the translucent Corian top plate once the platter rotation has stabilised. Take the puck off and put it to one side, and the motor stops. The pucks are £20 each, and it may be worth ordering a spare, because for sure, one is going to end up down the back of the sofa, or in the dog, or something…

The motor speed is electronically controlled, factory-calibrated for minimum vibration of the specific motor unit before shipping, and can be user-adjusted via a discreetly sited potentiometer.

Monochrome, not grey.

I think the monochrome colour palette is very pleasing, though it probably won’t suit everybody. If your domestic style is more Jane Austen than Austin Powers, the Luphonic’s ‘liquorice allsort’ aesthetic might jar slightly, but for anybody who has moved beyond the mid-20th century, and in particular anybody who has embraced the clean, simple lines of the Scandinavian or Bauhaus design schools, this is going to fit right in. But while black & white defines the look, the sound is very far from grey. 

The R3 competes broadly on price with the VPI Prime Signature, which I used for a fair few years. Still, despite both being solid chassis designs, their engineering approaches are somewhat different, and thus they perform differently. The more ‘massy’ approach of the VPI is reflected in a substantial sound with gravitas, scale and stability; the Luphonic is arguably more about poise and responsiveness. So, the R3’s rendering of ‘Anitra’s dance’ from the Grieg Peer Gynt Suite (Marriner; EMI) has a graceful, balletic feel, with themes passing effortlessly through the orchestra, all underpinned by pizzicato strings tripping lightly. The VPI is perhaps bigger and bolder, majoring more on ‘orchestral suite’ rather than ‘dance’. Which you prefer may come down to personal preference or musical tastes, but it’s a testament to the rightness of the newcomer that it’s an entirely credible alternative. Me? I’m going with ‘dance’ here.

Happy years

So, having spent several happy years with the VPI, I’m finding myself increasingly won over to Team Luphonic, and it’s partly because of that poise I mentioned. It’s not a trivial thing, not merely prissy and elegant, it’s balance, subtlety, and unobtrusive control of basics like timing and energy. Take something large-scale and orchestral, like the Rimsky-Korsakov Scheherazade (Lorin Maazel/Cleveland Orch.; Decca), the R3 clearly lays out the structure of the orchestra, there are substantial forces at work here, and dynamics are vivid, but tight – the energy is used to excite the listener, not bludgeon them into submission.

Tonal colours are rich but not accentuated, instruments get to be themselves, and it’s intriguing to note how the composer puts these colours together to create his images. This was also very apparent in Saint-Saëns’s Piano Concerto No. 5 (Collard, Previn, Royal Philharmonic; EMI), where it was clear how the composer built the music in layers, using the sections of an orchestra like an artist applying paint. The sense of dialogue between soloist and orchestra, which makes this one of my favourite interpretations, was very well resolved. The turntable is clearly very adept at enabling the system to make sense of the music. 

John Ogdon’s account of the Shostakovich Piano Concerto No 2 (EMI) takes a harder line than many others, which sometimes treat it as a relatively slight piece. I love the Ogdon version because his physicality is very apparent, both in the sheer muscularity of the fortissimo bits and in the way he brings out the subtle syncopation between piano and strings in the choppy first movement. And again, this elusive, but musically vital nuance is so easily overlooked.

Poise and responsiveness

Some of this poise and responsiveness may be down to the additional stability and tracking accuracy of the 12” tonearm compared to 9” alternatives, but that only comes to the fore if the turntable platform does its job correctly, too. I think you can be pretty confident that these attributes would be just as clear with the shorter tonearm; indeed, that responsiveness might even be better still. 

Andy Sheppard, ‘Java Jive’ from his eponymous debut album (Island), starts intriguingly. Sometimes, people use ‘intriguing’ when what they really mean is ‘noodly and self-indulgent’, but here I do mean intriguing – there’s enough sense of purpose and communication in the less structured elements of the opening, to keep the listener interested and draw them in.

And then the groove settles in, and Sheppard’s sax is sinuous, agile, sensuous, all those things you want it to be. It’s not a track I’ve played much, so it’s not a particularly familiar one, and the R3’s ability to make sense out of unfamiliar music is winning me round to its way of thinking.

Not inexpensive

The Luphonic R3 is not an inexpensive turntable, so a fairly significant minimum level of performance is expected. And on this evidence, it delivers on the promises it makes. Perhaps more to the point, it’s not a ‘me, too’ design. You wouldn’t only buy this because of how it fits your décor, you’d buy it because it offers something different to many of its peers, something which, it turns out, is musically meaningful.

Being a turntable is one of those jobs that sounds superficially very simple but turns out to be very complex. The care that Luphonic has taken in its choice of materials, the layering and separation of the basic functions, and the attention to detail in things like tailoring the power supply to each motor have brought about a turntable that is different enough and better enough to warrant serious attention. Clearly, the time Thomas Luh spent during lockdown wasn’t wasted. 

Technical specifications

Luphonic R3 turntable and K2 tonearm

  • Type: belt drive, rigid chassis turntable with electronic motor control and K2 tonearm
  • Rotational Speeds: 33 1/3 RPM; 45 RPM, fine adjustment by potentiometer
  • Platter type: matt black finished, 24mm machined Corian, separate sub-platter with integral bearing spindle. Dedicated platter mat available as an option.
  • Suspension: solid, with adjustable feet for isolation and levelling
  • Tonearm: 9.5” or 12” low to medium mass, straight, gimballed tonearm with high precision ball bearing races; 
  • carbon armtube and sintered polyamide headshell;
  • adjustable VTA, VTF, azimuth and anti-skate
  • Tonearm Effective Length: 9.5”: 239.3mm; 12”: 304.8mm
  • Overhang: 9.5”: 17.3mm; 12”: 12.8mm
  • Cartridge weight: 4-14g
  • Turntable Dimensions: (HxWxD) 150 x 510 x 370mm
  • Weight: 15.2Kg
  • Price: Turntable with 9.5” K2 tonearm: £5,550, €4,990, $8,490

Manufacturer

Luphonic Labs GmbH & Co

www.luphonic.de 

UK distributor

Auden Distribution

www.audendistribution.co.uk

+44(0)7917 685759

More from Luphonic

Back to Reviews

Introducing the AUVA SW – Precision Isolation for Subwoofers

25 November 2025 – Stack Audio introduces the AUVA SW, a purpose-built isolator designed to manage the powerful low-frequency energy produced by subwoofers. By preventing vibration from transferring into floors and equipment, the AUVA SW keeps bass tight, controlled, and focused — preserving the clarity and composure of the entire system. By removing the structural vibration that normally smears fine detail, it also helps maintain the spatial clues and midrange coherence that contribute to a stable, natural soundstage.

Purpose-Built for Subwoofers

A well-integrated subwoofer adds scale and depth to music, but without proper isolation, low-frequency energy can travel through floors and furniture, blurring detail and masking subtle nuances. The AUVA SW stops those vibrations at the source, ensuring the subwoofer works in harmony with your system. The result is a cleaner, more cohesive sound where every element shines.

Hybrid Isolation

https://www.youtube.com/watch?v=yTi4Mu7L5pc

Energy-Absorbing AUVA Pods

At the first point of contact with the subwoofer, each isolator features an AUVA particle impact damping chamber inside an aluminium pod. In the chamber, a tuned mass of particles absorbs and disperses vibration, converting kinetic energy into heat.

CSA Isolation, Tuned for Subs

Directly attached to the AUVA pod is a Custom Silicone Absorber (CSA) insert designed to match the subwoofer’s weight. Building on the proven technology used in our AUVA EQ system isolators, this version uniquely features 8 “prongs”, tuned specifically for the energy profile of subwoofers. Six weight ratings ensure consistent, optimised isolation—whether your sub is compact or heavyweight.

Precision-Guided Compliance

Like the EQ, the AUVA SW uses the CSA element to absorb vibration—but what sets it apart is how that movement is controlled. Each case is machined from solid aluminium into a rigid, braced housing which is carefully shaped to guide the CSA and prevent it from buckling, ensuring it moves exactly as designed. This precision allows us to push the boundaries of compliance, maximising low-frequency isolation without compromising stability.

Together, they deliver exceptional control over structural vibration without sacrificing stability.

Engineered Through Modelling, Refined by Listening

Developed using advanced Finite Element Analysis (FEA) and refined over twenty nine design iterations, the AUVA SW balances scientific precision with extensive listening tests. Every element, from material density to cavity geometry, was tuned to achieve optimal energy dissipation and audible realism.

Different Philosophy: Subwoofers vs. Speakers

While Stack Audio’s AUVA loudspeaker isolators are designed to keep speakers rigid to maintain mid-range and high frequency driver alignment and imaging, the AUVA SW is different. Subwoofer energy is omnidirectional, producing long-wavelength vibrations that travel through structures. The AUVA SW’s tuned compliance targets this specific low-frequency energy, decoupling the subwoofer from the floor while maintaining composure and control.

Flexible Installation

The AUVA SW is designed for effortless integration with virtually any subwoofer. It can be placed directly beneath the cabinet—no threading or modification required. A height-adjustable silicone/metal pad is available for added stability. Alternatively, for subwoofers with removable feet or threaded inserts, optional adapters are available for a secure, threaded fit if preferred. This flexibility ensures the best possible performance regardless of subwoofer design.

AUVA SW Specifications

  • Diameter: 50mm

  • Height: 35.4mm

  • Weight: 120g each

  • Available in six CSA weight ratings (per set of 4):

    • CSA 1: 1–16kg

    • CSA 2: 16–24kg

    • CSA 3: 24–32kg

    • CSA 4: 32–40kg

    • CSA 5: 40–48kg

    • CSA 6: 48–56kg

AUVA SW Price and Availability

The AUVA SW is priced at £270 ex. VAT for a set of 4 (for all CSA ratings). It is available to buy now, direct from www.stackaudio.co.uk. Each set is hand-assembled in the UK and tuned for its specified weight range.

Flexible shipping – US and EU fulfilment

All European orders are shipped from within the EU. Location-based VAT is included in the pricing shown on the website.

US orders are now shipped domestically from Stack Audio’s new US fulfilment centre, providing peace of mind from international delays and no import duties or tariffs to pay on delivery. All duties are included in the pricing shown on the website.

Orders outside the EU, UK and US are shown without VAT or regional adjustments.

Every Stack Audio product is backed by a 60-day worldwide money-back guarantee, giving customers complete confidence to experience the improvement in their own system.

More info: www.stackaudio.co.uk/auva-sw

Gold Note CD-5

In the interests of full disclosure, I’d like to clarify my remarks about the Gold Note CD-5: I am a delighted Gold Note customer. I have owned the excellent PH-10 phono stage and matching PSU for several years now. These were purchased with my own funds before the pandemic. I have experienced other products from this Florentine company in my listening room. All have left a lasting, positive impression. Therefore, when the CD-5 arrived, it had much to live up to.

The unboxing ceremony was straightforward. The CD-5 conforms to Gold Note’s now familiar half-width form factor. It also echoes the minimalist fascia design of its siblings. On the top left is a small embossed company logo, and to its right is the CD drawer. There is no greedy slot swallowing your discs here. Below that, and offset to the left of the centre line, is the display, a very crisp monochrome affair. Other than that, we find the IR receiver for the supplied remote control below the logo. There is also the small LED that glows blue when the unit is switched on and ready for action. 

Rear panel

The rear panel is neat and functional. On the top left is a pair of RCA output sockets. Next to them is a pair of XLR output sockets (a welcome feature on an ‘entry-level’ player). A socket for connecting the optional external PSU (PSU-10 EVO) and the IEC input socket are also included. The lower array contains output sockets for coaxial and optical cables. Additionally, a USB-C socket is provided for firmware updates, and a reset button is provided.

Once the CD-5 is activated by a three-second finger touch on the left-hand side of the display, all functions are controlled via the remote control. This remote is compact, only slightly larger than a credit card. It comes with a CR2025 installed, and becomes operational once the user removes the small piece of cellophane protruding from the battery tray. Not only is the remote control small, but it is also designed to operate various other Gold Note units. There are buttons labelled AMP, CD, DAC, and PRE. 

Communications

To communicate with the CD-5, press the CD button on first use. Granted that other mode buttons are not pressed afterwards to control different units. I would have preferred a slightly larger unit, one that is less likely to get lost down the side of a chair. Ideally, it would be powered by a battery type that most of us keep on hand, such as AAA or even AA. That said, once I had got the hang of it, the remote worked perfectly from across the room. There’s a new remote due, so this quibble is likely resolved.

The review unit’s arrival coincided with that of an integrated amplifier featuring XLR inputs, so I connected the two using my preferred Tellurium Q Ultra Silver II cables. The loudspeakers used were my own Harbeth Compact7ESXD stand mounts, which were also connected with Ultra Silver II cables.

In use

With the CD-5 alive and ready for action, I pressed the CD button on the remote, followed by the Eject button, conveniently located at the top left of the bijou control. After the briefest pause, the drawer opened silently and swiftly. The first disc was carefully placed in the tray, and the CD and Eject buttons were pressed again. The drawer responded with the same silence and alacrity as it did on its outward journey. After a short pause while the table of contents was examined, the number of tracks was displayed. 

A further press of the CD button, followed by the Play/Pause button, initiated the music. The Play/Pause button is elliptical and slightly tilted, as is the Stop button adjacent to it. This thoughtful design, characteristic of Gold Note, ensures the button is easy to identify even in a dimly lit room. It eliminates the need to fumble for glasses to read the tiny script on the buttons.

It’s beginning to look a lot like…

The arrival of the CD-5 coincided with the commencement of the “official” Christmas celebrations here at Kelly Towers. It was early December. This serves as my defence for the music—or at least some of it—to which the CD-5 was subjected in its initial weeks in situ. The very first disc played was a perennial favourite here. It has been since its 1995 release on the Arista label. Have Yourself A Tractors Christmas is a collection of festive songs performed by Tulsa’s very own western swing band, the Tractors. 

GoldNote_CD-5_ copy

Even straight out of the box, it was clear that the CD-5 is a competent player. This is feel-good music with plenty of boogie appeal, and the band is clearly enjoying themselves as they perform. Some are composed by the band leader Steve Ripley and his bandmates, while others are well-known yet given a Tractors twist. Feet were tapping, and there was likely some singing along. This only occurs when I’m home alone—thankfully for those who would otherwise have to endure the noise.

Mood swing

Changing the mood somewhat, the next disc loaded into the player was Harry Christophers and the Sixteen’s 2016 release, Song of the Nativity, on the Coro label. The opening track is Morten Lauridsen’s ‘O Magnum Mysterium’. It is about as far removed from the Tractor’s rumbustious boogie as it is possible to get. Ethereal, cerebral, and reverent, this is contemplative music of the highest order. The acoustics of the recording venue—the church of St Alban the Martyr in Holborn, London—greatly contribute to the quality of the listening experience. Through the CD-5, the music was by turns subtle and majestic. I sat spellbound through the nearly 74 minutes of music on this disc.

Of course, even in December, there was room for the secular on any playlist here. I had put together an eclectic pile of discs to enjoy. Chosen largely at random, the first selection to be played was Bob Seger and The Silver Bullet Band’s Greatest Hits, another mid-90s release.

Starting point

If you are not familiar with Bob Seger, this compilation serves as an excellent starting point. He has been a part of the soundtrack of my life since the 1970s. Bob Seger can switch effortlessly between full-throttle rock and melodious ballads. The CD-5 performed admirably, conveying each song with just the right balance of heft and subtlety as needed. A very credible soundstage spread across the room, extending beyond the boundaries of the loudspeaker cabinets. There was height and depth, with every instrument having just the right weight. Seger’s voice received ample air and space. 

Space constraints prevent me from elaborating on all the discs that the CD-5 played for us, but suffice it to say that it performed excellently regardless of the genre selected. The sound was never harsh or fatiguing, making extended listening sessions a genuine pleasure.

40 years of discs

I bought my first compact disc 40 years ago, and my most recent purchase was this year. Over those 40 years, I have acquired literally thousands of them. They have provided me with immense pleasure, even though they have been surpassed in convenience and sometimes audio quality. This applies to music streamed from services like Qobuz (my preferred option), Tidal, Spotify, and many others. 

Recently, I read that in some markets, vinyl records now outsell compact discs. I am as keen a vinylista as anyone, but having the CD-5 here has reminded me of the absolute cornucopia of music that I have collected on silver discs over these past decades. Yes, the plastic jewel cases in which they were usually packaged are not ideal for ecological and practical reasons. However, the issuing companies have started to use alternative materials, which is good. It has no detrimental effect on the music when all is said and done.

A pleasure

Do not allow minor complaints about the remote control to deter you. I quickly became accustomed to it and now don’t give it a second thought. The player is indeed a pleasure to use. In terms of sound quality, it performs at an extraordinarily high level. Don’t heed the naysayers—the Compact Disc is still alive, thriving, and a viable option more than 40 years since its invention. I am truly delighted that Gold Note envisions a future for the Compact Disc format. They have introduced such a remarkable player to the market in 2024.

The CD-5 is yet another outstanding product from the design studio at Gold Note. The matching power supply will be available later this year. Based on my experience with the PH-10 and other components I have reviewed from Gold Note, I am confident that performance will reach a new level of excellence when integrated with the CD-5. A player like the Gold Note CD-5 is required to maximise CDs potential. 

Technical specifications

  • Type: tray-loading CD player 
  • CD formats supported: Red Book CD, CD-R, CD-RW only
  • Analogue outputs: 1x unbalanced RCA stereo pair, 1x balanced XLR stereo pair
  • Digital outputs: 1x coaxial S/PDIF, 1x TOSlink optical S/PDIF
  • Frequency Response: 20Hz-20kHz ±0.3dB
  • Total Harmonic Distortion: < 0.001%
  • Signal to Noise Ratio: 124dB
  • Dynamic Range: 123dB
  • Dimensions (WxHxD): 20 x 8 x 26cm
  • Weight: 3kg
  • Price: £1,100, €1,250, US price to be confirmed

Manufacturer

Gold Note

www.goldnote.it

UK distributor

Airt Audio

www.airtaudio.com

+44(0)1223 344053

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Divorce: Drive to Goldenhammer

There’s part of me that doesn’t want to spoil things by saying it out loud, but I think we are edging our way into a new Golden Age of British and Irish indie music. New, highly promising acts such as O, Heartworms, and Maruja are joining already established names such as Black Country, New Road, Wet Leg, The Big Moon, and massive crossover bands such as Idles and Fontaines DC. It almost makes you wonder why the hell we need an Oasis reunion when there is so much more interesting new music to listen to!

That leads us on to Divorce, a Nottingham-based quartet that emerged in 2021, quickly gaining attention for their eclectic blend of country, indie rock, folk, and chamber pop. The band comprises Tiger Cohen-Towell (vocals/bass), Felix Mackenzie-Barrow (vocals/guitar), Adam Peter Smith (guitar/synth), and Kasper Sandstrøm (drums). Their music is characterised by dynamic vocal harmonies, genre-defying compositions, and a rather distinctive British sense of humour. And, to expand on my earlier point, it’s all a very promising breath of fresh air.

Drive to Goldenhammer is Divorce’s debut album, following on from their acclaimed EP, the wonderfully named Heady Metal, which was released in 2023 with a limited Record Store Day re-pressing in 2024. That EP was promising, but Drive to Goldenhammer is the real deal. 

It was recorded with Catherine Marks, who has previously worked with the likes of boygenius, Wolf Alice, Foals, and even The Killers and Alanis Morissette, and that smart production has led to a coherent but not overly polished sound.

If you are a BBC 6 Music regular, then you almost certainly heard the single ‘Antarctica’, which was on heavy rotation in January, and opens this 12-track album. Kicking off with a dash of laughter, it immediately captures the spirit of this joy-filled record. 

Yes, as you’ll discover, Divorce jump around genres like someone with money burning a hole in their pocket in a record shop that closes in 10 minutes, but the kernel of the whole record is here. There’s a nicely recorded guitar, the heavenly harmonies of Mackenzie-Barrow and Cohen-Towell, and some quirky instrumentation. It’s a cracking start.

Following on is ‘Lord’, which immediately shows the strength of the double-handed vocal duties as Cohen-Towell takes the lead on this one… but only marginally, as they are generally tightly knit. This track has a little more dynamics and makes you crave hearing it live.

‘Karen’ shows a softer, folkier side of Divorce, and it’s a beautiful interlude as it slowly builds to a raucous, almost show-tune-like crescendo – it’s a great track. ‘All My Freaks’ is another standout, with an engaging melody, smart, witty lyrics, and a radio-friendly break that will get you humming along.

‘Pill’ is an electronic banger, although the synth string element sounds heavily inspired by Hannah Peel’s and the Paraorchestra’s excellent ‘If After Weeks Of Early Sun’, which is no bad thing, but did crave my attention.

The closing ‘Mercy’ is one of my favourite tracks on the album and a great ending. It feels a little more Americana-inspired as opposed to a lot of the British-focused tracks here – there’s even a reference to ‘Heavy Metal Drummer’, which I assume is the Wilco song.

At the end of the day, Drive to Goldenhammer is a joy-filled, highly creative, peculiarly British album, and I can’t get enough of it. The genre shifts, the harmonies, the unusual instrumentation – it all works for me, and it could well do so for you as well.

Back to Music

 

GutWire Consummate loudspeaker cables

In Issue 191, I reviewed GutWire’s Consummate interconnect cables. A lot has happened since then, including the passing of the then-distributor. However, one of the last discussions I had with Peter Djordjevic was about the GutWire Consummate loudspeaker cables. It’s time to honour that request.

Like the interconnect cables, Consummate stands at the peak of the GutWire range. It employs 16 AWG and 24 AWG solid-core, high-purity, oxygen-free copper insulated with silicone and protected by two shielding layers: pure copper and pure Mylar. The conductors are arranged in a rope-like, golden section configuration, measuring one and a half inches in diameter. The connectors are sourced from Furutech, featuring CF-201(R) spades or CF-202(R) banana plugs, which are cold-welded to the conductors. 

No Added Quantums

GutWire avoids exaggerating its claims. There’s no ‘quantum’ magic here. Instead, the company produces high-quality cables through good engineering principles and rigorous testing and listening. Minimising EM and RF interference from internal or external sources is core to these cables. 

When discussing speaker cables, they refer to eliminating ‘near-end crosstalk’ (or ‘NEXT’), which occurs when adjacent conductors influence each other. The cube at each end of the Consummate is not merely a breakout box for the positive and negative conductors; it also helps reduce that NEXT figure.

Whether it’s due to those NEXT-busting ceramic boxes or simply a characteristic of GutWire cables in general, this cable requires some time to acclimatise to its environment. This process isn’t just a few hundred hours of signal passing through the cable; it also pertains to the system and its movement. If you swap the cable, it requires a few hours to recondition. The same applies when you replace a power amplifier. The effort is worthwhile because the result is so good, but it also explains why it rarely features in reviewers’ systems; we often change components in our system so frequently that Consummate would forever be in its ‘warming up’ state. 

Bring out your best!

Cynically, I’d also suggest that GutWire Consummate’s ability to bring out the best in components ultimately undermines the relentless pursuit of changing them, making the promotion of The Next Big Thing in audio more challenging. When you incorporate Consummate into your system, it sounds enjoyable, encouraging you to play track after track. You’ll first notice the size and scale; the soundstage is expansive, and the dynamic range is entirely unrestricted by this cable. Not ‘big’ in an exaggerated sense, but ‘big’ in the way well-recorded orchestras can sound. If you play something smaller in scale, it delivers on that front as well.

It’s also extremely fast and detailed, more than keeping up with the fast, glitchy rhythms of Aphex Twin, Burial, or the latest James Blake offerings. The sheer amount of detail puts you in the studio control room or with the musicians. The difference between recording styles is so easy to distinguish here that you find it frustrating when switching to other cables.

However, more important than all this is GutWire Consummate’s ability to set aside the usual musical granularity of audio, allowing you to focus on the musical whole. It’s the performance that matters, and the ‘two-minute twitch’ of audiophiles wanting to showcase their systems (often to themselves) is diminished. Consummate aids you in enjoying the music rather than fixating on the sound it produces.

If you are obsessed with audiophile ephemera or having a system featuring big-brand cables, look elsewhere. GutWire’s Consummate loudspeaker cables don’t do ‘high profile’ or ‘big-brand’ marketing. It just makes great cables. The name checks out; this is a Consummate performance. 

Price and contact details

Price: £12,990/8’ pair (£1,300/1’ additional lengths)

Manufacturer

GutWire

www.gutwire.com

UK Distributor

The Audio Consultants

www.theaudioconsultants.co.uk

+44(0)118 981 9891

More from GutWire

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dCS Varése digital system

The Cambridge-based digital expert dCS names its products after noted classical composers. We’ve seen Scarlatti, Paganini, Puccini, Debussy, and even Elgar for those with long memories. Until the end of 2023, the current range included Bartók, Rossini, and Vivaldi (all now in APEX form). Then – in a break with tradition – Lina. And now there’s dCS Varése digital system at the absolute pinnacle of what the company can currently achieve.

Edgard Varèse differs slightly from the other composers that dCS uses in their nomenclature. He was been dubbed ‘the Father of Electronic Music.’ Moreover, Henry Miller described Varèse as “The stratospheric Colossus of Sound.” Why is that important? Because I don’t think I could sum up the dCS Varèse better than Henry Miller’s quote. It is a stratospheric Colossus of Sound. On the other hand, while Varèse might be a fitting name for dCS’s new range-topper, his music is best described as ‘hard work’. This is in stark contrast to the five-box system that carries his name.

One boxier

Five boxes? Isn’t the dCS Vivaldi APEX, with its four-box configuration, sufficient? Well, no. The dCS Varése digital system goes ‘one louder’ for a reason. That reason is to reconsider the fundamental workflow of a digital signal from first principles. Our traditional view of digital audio playback is a relatively linear progression from input to output. This is entirely understandable, as it stems from our conceptualisation of digital as an extension of the spinning disc. Data is extracted from the disc and subjected to error correction. The resulting datastream is then passed on to upsampling (if necessary) and to digital processing. From there, it heads to digital-to-analogue conversion, filtering, and subsequently to a set of analogue outputs. Aside from a few power supply and clock inputs, this forms a direct line from spinning the disc to the output.

Varese Stack Rear

Varèse reconsiders this from a conceptual ‘what if?’ perspective. What if the data didn’t require such extensive manipulation? What if, instead, the digital audio layout operated more like a client/server system? Or, what if devices such as the User Interface carried out their specialised tasks remotely? What if all the digital heavy lifting occurred within the same core device? What if a DAC could be just a DAC?

The dCS Varése digital system results from rethinking digital audio beyond conventional approaches. It emerges when conventions are set aside and a fresh start is made. Well, almost fresh; the Ring DAC, a crucial component of every dCS converter since the brand’s inception, remains present. However, even here, the boundaries are pushed. 

Core values

The largest of the five boxes is the Core. As the name suggests, it is also the centre of operations. This section is where files are imported, noise-shaped, filtered, and prepared for conversion and output. It features only an Ethernet and USB input as standard, alongside eight LEMO-equipped ACTUS cable connectors. For an additional £11,500, dCS will install an Input/Output module for those wishing to connect other sources. Furthermore, a Varèse-grade CD/SACD transport (which utilises ACTUS) was released after this review was originally published.

Core interacts with the external environment through the User Interface box, which boasts a configurable front panel display. This works in tandem with the Varèse Remote; a round, CNC-milled aluminium handset with capacitive glass hotkeys. These keys encircle a central dial that controls both track functions and volume. The device charges via USB-C and connects to the dCS Varèse through Bluetooth, with the aerial positioned at the rear of the User Interface. 

Back to DAC

Varèse’s Mono DACs are the ultimate result of the most successful lockdown project in audio: the Ring DAC APEX. Most of us were learning not to bake sourdough bread or failing to learn a language during the COVID-19 lockdowns. At the same time, Chris Hales (dCS Director of Product Development) spent time re-evaluating the Ring DAC. This was itself the subject of many years of refinement.

The developments that led to APEX in 2022 and transformed dCS’s existing line-up of digital converters also paved the way for the creation of a mono Differential Ring DAC. I mean, creating a Ring DAC with twice the current sources and operating in differential mode… surely that involves quite a bit of digital jiggery-pokery. No big deal? In fact, creating this Differential Ring DAC is quite challenging; it represents the single largest change to dCS’s central architecture in a generation and resembles the company’s Manhattan Project more than a leisurely weekend with the CAD/CAM package. However, were it not for that APEX lockdown project, ‘hard’ would likely have been ‘functionally impossible’. 

Clocking on

As dCS pursued a monophonic DAC approach, it soon became clear that synchronising two DACs is a challenging task. To tackle this, the dCS Varèse incorporates a Master Clock featuring its innovative and patented dCS Tomix clocking technology. The company claims that this delivers “unrivalled jitter performance,” building on decades of dCS Master Clocks. During the development of Varèse, dCS found that “no existing technology allowed us to achieve perfect synchronicity when transmitting signals via IP link.” The Tomix-equipped Master Clock connects to the system through a single two-way ACTUS connection from Master Clock to Core.

We continue to refer to ACTUS because it is the proprietary connection infrastructure that links every aspect of Varèse together. The term is an acronym for ‘Audio Control Timing Unified System’. ACTUS connects each of the five components with a single, custom cable that terminates in multi-pin LEMO connectors. Given that the various digital cables between the four boxes of a dCS Vivaldi APEX have been known to exceed the cost of the hardware, transitioning to a single link between the devices is a welcome change. 

ACTUS

A high-quality power cord is still necessary for each box (ACTUS does not transfer power from one device to another). I also suspect that aftermarket ACTUS cables will soon emerge, but the era of complex wiring diagrams for the rear panels is over for Varèse. I’m confident this won’t be the last time we encounter ACTUS in a dCS system. Even dCS’s own Mosaic app receives a boost with Mosaic ACTUS, a variant currently unique to Varèse.

Remarkable

When it comes to industrial design, dCS has certainly achieved something remarkable here. The dCS Varése digital system reflects many of the design elements seen in the Vivaldi and Rossini APEX, featuring a User Interface box that draws heavily from the Lina, but on a larger scale. The ‘handed’ front panels of the Mono DACs are a particularly nice touch, so understated that you may not notice them until someone points them out, yet they make perfect sense when placed in front of you.

Varese UI Front

I’d argue that Varèse does such an excellent job of shifting the dCS styling needle that it makes Vivaldi and Rossini APEX suddenly seem dated. These are fine products launched in 2012 and 2015 respectively, and despite firmware updates, the DACs, and a few modifications to the choice of CD transport, they possess a certain timelessness in their design. Or so I thought; in the wake of Varèse, those small clusters of tiny buttons appear rather tired compared to the elegant remote handset and button-free panels of the Varèse.

Subtle curves

The subtle curves of the front panels now seem less elegant and refined when juxtaposed with the Varèse’s understated look. Of course, this is understandable; the Varèse’s price point and the time that has passed would render the newcomer more representative of a 2020s project than models that have been in the catalogue for a decade or more, yet the speed at which the Vivaldi APEX transitioned from ‘timeless state-of-the-art’ to ‘it’s showing its age’ was quite remarkable.

Remote control

The dCS Varèse reveals the potential of digital audio, but its capabilities rely on proper care and attention. The ACTUS cabling system means you don’t need to spend a small fortune on digital interconnects between devices, and the money saved should be directed towards a truly exceptional server. I used this with the Antipodes Audio Oladra tested in Issue 239, and it’s a perfect match. 

No words

It’s a bit of a ‘fail’ for an audio reviewer; I find myself at a loss for words when it comes to sound quality. That’s not entirely accurate; I have the words, but it all comes down to one word; that f-bomb running through my notes. My audio vocabulary peaked with the dCS Varèse, prompting me to exclaim a series of expressions. There were two reasons for this: I’d never experienced that piece of music in such a way before, and unless I happened to get lucky in the lottery, I probably won’t hear anything quite like it again.

Nothing can prepare you for this. It’s nothing like digital or analogue. It feels like being in the studio. You are closer to the music and the musicians playing it. I tried to analyse my reaction to this sound, and at first, I thought it was the lifelike dynamic range. But that’s not it. I turned to ‘Smoke on the Water’ from Made In Japan by Deep Purple [Purple] because the dCS Varése digital system unlocks your inner teenager. It’s a visceral experience; you are there.

It’s the percussion—closer, more precise, faster, with every snare hit and all that hi-hat work. Wonderful. It’s almost a musical onslaught, and nothing’s hidden from view. If it were just the better dynamic range, I might have wanted to play air guitar, but this was a full-on air band event. I was hammering that Hammond like Jon Lord, smashing that hi-hat like Ian Paice, and pounding that bass like Roger Glover. I was about to attempt singing like Ian Gillan, but I realised that would probably cause something to burst. 

Resonating hat

In all that, it was the hi-hat that truly resonated with me. It didn’t sound like a recording; it felt as if Ian Paice were sitting on a drum throne right in front of me, playing the hi-hat. It sounded authentic. The dynamic element was the snare, but that sense of timing… that was something beyond typical audio, digital or otherwise.

Everything I played after that— and I played a considerable amount of music following Deep Purple— reconfirmed those initial impressions, adding to them along the way. It was the little things; with everyone talking about Dylan at the moment, I played ‘Masters of War’ [The Freewheelin’ Bob Dylan, Columbia]. It’s astounding. Like a time machine. You instantly begin to ponder how all that talent could have been packed into one brain at such a young age. His voice remains distinctly Dylan’s, but no matter how skilled Chalamet is at mimicking him, he simply isn’t him, and that’s abundantly clear here.

Then there’s ‘West End Blues’ by Louis Armstrong [Hot Fives & Sevens, JSP]. It’s 97 years old and I’ve played it to pieces. It’s probably the best three minutes of music in history. I know it backwards, and I connected with it directly, just like the first time I played it.

Terminology fail

The same thing happened whether I played any genre of music. Interestingly, my notepad never contained the usual terminology. There were no discussions of dynamics, staging, or details; it was all about the music and how it made me feel. This was because those aspects of performance had been so well executed that they ceased to be a concern.

It’s the duty of a reviewer to identify any shortcomings in a product’s performance, but that’s not my role here. The only observation I would offer is this: be mindful of what you choose to listen to during that initial session. This isn’t due to your system’s inability to cope, nor is it because the Varèse is unkind to musical novices. It’s that your emotions are laid a bit more bare than you might expect by how this dCS stack presents music. If you play something evoking strong feelings, you have to confront those emotions. 

I was listening to ‘Go!’ by Public Service Broadcasting from the 2015 album The Race For Space [Test Card]. For those unfamiliar with this album, it beautifully blends samples from 1960s US and Soviet space missions with indie dance electronica. ‘Go!’ captures the sound of Mission Control as the Eagle module of Apollo 11 approaches the lunar surface. It usually evokes strong emotions, but this time, I experienced both the ‘lump in the throat’ moment and a sudden urge to kick a moon landing conspiracy theorist down a flight of stairs. I should have left it there.

Ugly cry

Instead, I went bleak. I put on ‘Old Shep’ by Elvis Presley. You know the one; boy meets dog, dog gets old, boy shoots dog. It’s always been a bit of a tearjerker, but with the dCS Varèse, it becomes a full-on ‘ugly cry’ moment. So, be careful; this equipment unlocks emotions in ways that most other audio devices can’t.

There’s one more observation. I believe this settles the ‘analogue vs. digital’ debate. The dCS Varèse elevates digital audio to such a high level that record collection need no longer be an essential part of your daily musical ritual. While it’s still enjoyable to play and collect LPs, if you focus solely on the music rather than collecting for its own sake, you might find your trips to record stores becoming a bit less frequent. Naturally, it’s not an ‘either/or’ situation, and the existence of the Varèse doesn’t diminish the value of listening to music on LP; rather, those LP listening sessions can finally transition to digital.

Many elephants

Of course, there’s an elephant in the room; 217,000 elephants to be exact, and closer to a quarter of a million elephants when you include the I/O module. That’s a price tag that requires a bit of a run-up. And yet, when you spend time in front of it, that price ceases to be the focus of attention. 

If, like most of us, you can’t afford it, merely sitting in front of it for a few minutes isn’t tormenting you; it’s indicating the direction of digital audio’s travel. It will take time for what the dCS Varèse achieves to filter down to increasingly practical levels, but it will occur. Yes, you return home and enjoy digital audio with a sense of regret that you can’t attain that peak just yet, but it exemplifies what can be accomplished, and perhaps it will inspire innovation to achieve that goal at every level. 

Put your name down!

On the other hand, even if this is achievable for you, put your name down, now! This is what digital audio is meant to be. It’s not a false, overly warm analogue sound, nor that thin and shrill detail machine that most people mistakenly believe represents digital at its best. The dCS Varése digital system is something much more than that. It’s a lens on your music, not a microscope on a musical experiment. In audio terms, this is reminiscent of the first time you heard music that truly moved you, whether it was Beethoven, the Beatles, Metallica, or Miles Davis.

This is why we entered this hobby in the first place: a chance to experience a piece of music as the musicians or composers intended. If achieving that requires five boxes, a multitude of LEMO-connected cables, and costs as much as a house, then so be it. Returning to Public Service Broadcasting, this is our Apollo space mission, and no one approaches a Saturn V booster rocket and says, ‘Meh! I bet I can create one cheaper!’

A grave problem

My biggest criticism has nothing to do with the size, the number of boxes, the price, or the cabling. Nope. It’s that blasted grave; I keep spelling it ‘Varése’ instead of ‘Varèse’. It’s trivial, but getting to that grave on the keyboard is much more complicated than simply adding an acute accent. Even though I must have written ‘Varèse’ dozens of times now, I still get it wrong!

Saying that the only issue with a £217,000 digital player is the need to type a grave accent over a letter is likely to provoke apoplexy in some. However, it’s the only criticism I have of the dCS Varèse. It resets your listening criteria so effectively that you feel humbled in its presence, and your usual methods of contextualising an audio product become obsolete.

The wonderful thing is, you don’t care! That dCS Varése digital system experience resembles that unforgettable moment from years ago. It’s sneaking into your friend’s dad’s listening room and enjoying music on his extraordinary audio system. That system was likely far beyond your comprehension and budget, resembling musical science fiction.

Lifelong journey

Nevertheless, it set you on a lifelong journey. We have all been attempting to recapture that experience, and the dCS Varèse accomplishes just that! There will be individuals showing up at exhibitions solely to demonstrate what a bunch of fools we audiophiles are. We should be turning up with burning torches and pitchforks for a dCS Varèse demonstration. They, too, will leave with silly grins on their faces, delighting in music with child-like joy.

We’re at a pivotal moment in audio. The dCS Varése digital system demonstrates the capabilities of digital audio. That is worthy of the highest praise for dCS, but that’s only the start. Varèse is such a step change in digital that it throws down a gauntlet to other digital audio manufacturers. And not just those in the stratosphere. Now, it’s the turn of the rest of the digital audio world to catch up!   

Technical specifications

  • Type: Digital Music System
  • Digital Inputs: Ethernet on RJ45 connector for network streaming. USB Type A connector for mass storage devices (navigated using Mosaic ACTUS).
  • If the Digital I/O Module is fitted to the Varese Core: USB 2.0 interface on B-type connector, 3x AES/EBU inputs on 3-pin female XLR.
  • Analogue Outputs: 2x pair balanced outputs on 4x XLR connectors. Output impedance: 1.5Ω. 2x pair unbalanced outputs on 4x RCA connectors. Output impedance: 52Ω.
  • Maximum load: 600Ω (10k-100kΩ is recommended).
  • Output levels: 0.2V, 0.6V, 2V, 6V rms for a full-scale input, set in the menu.
  • Digital Outputs: If the Digital I/O Module is fitted to the Varese Core: 1 x S/PDIF interface on RCA Phono connector,
  • Wordclock I/O: If the Digital I/O Module is fitted to the Varese Core: 1 x Word Clock Output on 1x BNC connector.
  • Sample Frequencies and Formats: 44.1-384kHz up to 24 bits, DSD/64, DSD/128, DSD/256, DSD/512, Native DSD + DoP, FLAC, WAV, AIFF
  • Residual Noise: Better than 118dB0, 20-20kHz
  • Spurious Responses: Better than -115dB0, 20-20kHz
  • Finish: Silver
  • Dimensions (HxWxD): 
  • User Interface: 13.1 x 44.4 x 45cm 
  • Master Clock: 13.1 x 44.4mm x 43.7cm 
  • Mono DAC: 13.1 x 44.4mm x 43.7cm per channel
  • Core: 24.4 x 44.4 x 43.8cm
  • Weight:
  • User Interface: 14.6kg 
  • Master Clock: 15.7kg 
  • Mono DAC: 18.7kg per channel
  • Core: 33.1kg 
  • Price: £217,000 (without Digital I/O module)

Manufacturer

dCS  

www.dcsaudio.com

UK distributor

Absolute Sounds

www.absolutesounds.com

+44(0)208 971 3909

More from dCS

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EAT C-Dur Concrete

There’s a fair bit to unpack with the EAT C-Dur Concrete. That’s even before giving any consideration to the packaging (and its 42kg kerb weight) in which this turntable arrives. Let’s start with that brand name and the model name, shall we?

‘European Audio Team’ is a perfectly valid brand name, even if it does give rise to a rather try-hard acronym. ‘C-Dur’ is German for ‘C major’ – which is also perfectly valid, even if it sounds like the sort of thing Nelson Muntz might say. And ‘concrete’, well… you know where you are with concrete, right? It makes a lot of sense as a material for a turntable plinth, even if the plinth in question ends up weighing an awful lot (32kg) and pushes the asking price of the equivalent C-Dur model with its boring old MDF plinth up quite a bit.

Jo No 8

£6,499, in fact, is the asking price for the EAT C-Dur Concrete with C-Note unipivot tonearm. My review sample is supplied with the company’s ‘Jo No.8’ high-output moving coil prefitted. It adds another £1,599 to the asking price if you buy the two together, or will set you back £1,999 as a discrete purchase.

EAT Jo No 8

(EAT also offers customers the opportunity to part with an additional £1,349 for the optional linear power supply, which can be had for a mere £1,079 if it’s specified at the same time as the turntable is rung through the till. It’s undoubtedly a more purposeful-looking item than the rather humdrum power cable the turntable is otherwise supplied with – but EAT insists the C-Dur Concrete’s AC generator, which uses the DC from the power supply, generates an almost entirely clean AC signal for the motor. It’s this ‘almost’ that’s addressed by the cost-option linear power supply.) 

As a package, the C-Dur Concrete with Jo No.8 cartridge is undeniably glamorous – just the sort of thing that set-dressers around the world like to use as shorthand for ‘wealthy and sophisticated’. The concrete plinth is chic in an industrial kind of way (although it’s well worth bearing in mind that its weight is supported by three high-adjustable, damped aluminium feet that are quite aggressively conical in shape). They wasted no time in driving themselves into the wooden shelving of my Blok Stax 2G), and the combination of aluminium and carbon fibre from which the C-Tone arm is constructed catches both the light and the eye. The cartridge may be a bit of a biffer (and that’s putting it mildly – at 19.2 x 25.1 x 28.3mm (HxWxD) it looks almost comically large) but its chestnut body looks the part too.      

Not just design

The C-Dur Concrete (plus its peripherals) is no mere design exercise, though. As the asking price demands, it’s got the technical chops to back up the looks, which is just as well, given that your price-comparable alternatives are, without exception, profoundly capable machines.

So the C-Dur Concrete is supplied with a hefty (5.2kg) platter that’s internally damped with TPE (thermoplastic elastomer) to provide both density and stability. A 900g aluminium sub-platter further isolates this platter from the motor and improves overall tolerances – it rides on an inverted ceramic ball main bearing that pairs with a Teflon plate for even greater rotational stability. The bearing block itself adds another 1.8kg to the kerb weight and uses a polished stainless steel spindle to support the ceramic ball. 

The drive system isolates the motor within a steel ring mounted in the chassis, which further contributes to the stability and uniformity of the platter’s rotation. It also reduces resonance transfer (which is already vanishingly low, thanks to, well, all that concrete). The C-Dur Concrete is supplied with a couple of anti-static polished rubber belts to connect the motor to the sub-platter – the broader of the two fits on the upper part of the motor, and facilitates 33.3 and 45rpm (two of the three buttons on the top of the plinth are for speed selection, the other is to put the turntable into ‘standby’.) The second belt fits over the lower portion of the motor, and with this fitted, the ‘45rpm’ button actually delivers 78rpm.

C-Note

At 254mm, the C-Note tonearm is notably long, and the materials from which it’s made offer optimum rigidity – just as well, when you consider the relative heft of the cartridge it’s designed to support. The unipivot design ensures the Cardan bearing is never overloaded, and the bearing itself is designed for maximum stability and minimum friction. The tonearm, meanwhile, is internally damped with silicon grease to drive even greater resonance rejection.

C-Dur-Concrete-Tonearm

The high-output moving-coil cartridge features a nude Shibata stylus on a boron cantilever. EAT supplies a semi-balanced five-pin DIN-to-RCA cable to deliver the cartridge’s output to a preamplifier. It’s galling – but not, by this point, surprising – to discover a fully balanced alternative is a cost option. 

Connected to a Chord Huei phono stage and amplified by a Cambridge Audio W Edge stereo power amplifier driving a pair of Bowers & Wilkins 705 S3 Signature loudspeakers bolted to their matching FS-700 S3 stands (with a Naim Uniti Star acting as gain control between phono stage and power amp), the EAT C-Dur Concrete doesn’t waste very much time setting its stall out. This is not one of those sources of music that takes a while to reveal itself – what the C-Dur has, it’s willing to hand over most immediately and unequivocally. 

Which means that it doesn’t matter if there’s a heavyweight 2025 reissue of Kevin Ayers’ Bananamour [Cherry Red] spinning or a much-loved (for which read ‘mildly distressed’) original pressing of Pere Ubu’s The Modern Dance [Blank Records] playing – the C-Dur Concrete plays no favourites and is entirely even-handed no matter the circumstances. 

Staggering

It’s a staggeringly clean and uncolored listen, and it seems able to keep the spaces and silences in a recording as dark as any record player I’ve ever heard. Its powers of detail retrieval are remarkable – there’s not a tremendous amount of light and shade in the Pere Ubu recording. Still, the EAT nevertheless finds and contextualises harmonic variations with something very close to fanaticism.

The dynamics of tone and timbre are given proper weighting, just as the broad dynamics of ‘quiet’ and ‘loud’ are (or, in the case of Pere Ubu, ‘loud’ and ‘louder still’). Low-frequency control is unswerving, and the rhythmic positivity that results is as natural as can be. Its overall tonality is very carefully neutral, and its frequency response is brilliantly even from the top end to the bottom – the sound it creates is vividly true to life, and it seems able to peer deep into a recording and locate information that even some very capable alternatives can overlook.

It hits with well-mannered determination at the bottom end, and grants the highest frequencies a decent amount of substance to go along with their undoubted bite and sparkle. It has tremendous powers of midrange resolution – so no matter if it’s the animal-in-a-trap stylings of David Thomas or the dazed Canterbury approximations of Kevin Ayers, a vocalist’s motivations, character and attitude are made every bit as obvious as their basic technique.  

The C-Dur Concrete collates every scrap of information in a recording and presents it as a coherent and consequently convincing whole. Four-piece garage band or extended ensemble with numerous elements, it’s all the same to this turntable – it unifies a recording in the most unfussy manner, and hands over the results as a singular occurrence that sounds very much indeed like a performance.

Size matters?

If there’s a shortcoming, it concerns the size of the sound the EAT generates. It has no problem describing a soundstage with absolute confidence and making its layout as explicit as possible, but it just doesn’t sound huge. Everything that happens, happens strictly between the outer edges of the two speakers at the end of the chain. So while the soundstage itself is organised carefully, there’s a slight sense of confinement to the overall presentation that just isn’t an issue with the vast majority of the deck’s price-comparable alternatives. 

It’s a shortcoming, there’s no two ways about it – but everything the C-Dur Concrete does so well goes a fair way towards minimising it as an issue. And it doesn’t seem impossible that the expansive visual appeal of the C-Dur Concrete might further help you overlook the slightly hemmed-in nature of its sound.

Technical specifications

C-Dur Concrete turntable

  • Type: Full size
  • Rotational Speeds (RPM): 33.3, 45, 78 
  • Supported Tonearm Length(s): 254mm 
  • Drive Mechanism: Belt
  • Speed Control: Automatic
  • Platter Type: Aluminium
  • Platter Weight: 5.2kg
  • Bearing Type: Inverted ceramic ball
  • Dimensions (h x w x d) (mm): 170 x 496 x 396
  • Weight (kg): 32
  • Price: £6,499, $7,490, €7,490

C-Tone tonearm

  • Type: Unipivot
  • Tonearm Length (mm): 254
  • Effective Tonearm Mass (g): 16.5
  • Offset Angle (deg): 21.4
  • Weight (g): 16.5
  • Price: N/A

Jo No.8 cartridge

  • Type: High-output moving coil
  • Stylus: Nude Shibata 
  • Tracking Force (g): 2 
  • Load (ohms): >15
  • Compliance: 15 μm/mN 
  • Output (at 1 kHz @ 3.45cm/s): 0.3mV
  • Weight (g): 12.5
  • Price: £1,999 (£1,599 if purchased with the C-Dur Concrete turntable), $2,699, €2,349. 

Manufacturer

EAT

www.europeanaudioteam.com  

UK distributor

Henley Audio

www.henleyaudio.co.uk

+44(0)1235 511166

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Wattson Audio Announces the Madison Power S — A New Standard in Compact Power Design

Préverenges, Switzerland — 12 November 2025 —Power lies at the foundation of musical performance. Within Préverenges, the engineers behind CH Precision and Wattson Audio work as one—two brands guided by a single vision, a shared language of precision, and the conviction that true musical expression begins with flawless power delivery.

At CH Precision, power supply design has long been elevated to an art form—redefining how scale, speed, and silence can coexist within a digital source. The new Wattson Power S embodies this philosophy, distilling that expertise into a compact, purpose-built supply for the Madison Streamers. Crafted with the same intent, by the same minds, it carries forward the artistry of CH and Wattson alike—completing a system built on the harmony between innovation and musical soul.

“The Power S represents more than an accessory—it’s an expression of how we think about energy and emotion,” says Alex Lavanchy, lead engineer at Wattson Audio. “When power is delivered with absolute control and silence, the music that follows becomes more lifelike, more effortless, and more complete.”

An Upgrade by Design

The Madison Power S was conceived as the natural companion to the Madison Streamers, engineered to elevate their performance through cleaner, more stable power delivery. Compatible with all Madison Streamers—past and present—its compact chassis shares the same footprint and proportions, allowing the two components to form a seamless visual and mechanical whole when stacked.

Beyond the Madison range, the Power S can also be paired with the Emerson Analog and Emerson Digital, where its precision-regulated supply further enhances dynamic range, resolution, and musical coherence. Designed with both function and form in mind, the Power S brings new depth to the Madison Streamer and Emerson ecosystems—a seamless union of sound, precision, and aesthetic balance.

Engineered for Silence and Stability

At the heart of the Madison Power S lies a meticulously engineered hybrid power architecture that combines the efficiency of a high-frequency switching stage with the finesse of discrete linear regulation. This approach minimizes noise and ripple while maintaining speed, stability, and exceptional current delivery.

Every stage of the circuit—from input filtering to voltage regulation—has been optimized to preserve signal integrity and dynamic precision. The result is a power supply that provides not only unwavering electrical performance but also the sonic benefits of greater resolution, contrast, and musical flow.

Built from the same design philosophy that defines CH Precision’s reference-grade power systems, the Power S brings that expertise to a compact, purpose-built companion for the Madison Streamers—a foundation of quiet strength that allows the music to breathe.

Crafted with Swiss Discipline

The Madison Power S, milled from a solid block of aluminum and finished with immaculate precision, embodies Wattson Audio’s design philosophy—quiet sophistication shaped by purpose. Every surface, curve, and proportion speaks to restraint and refinement, mirroring the aesthetic of the Madison Streamer to create a visually unified, perfectly balanced system.

Beneath its minimalist form lies Swiss engineering distilled to its essence. A hybrid power architecture—combining high-frequency switching efficiency with discrete linear regulation—delivers current that is both silent and instantaneous. Noise is eliminated, voltage remains unwavering, and the musical signal is allowed to emerge uncolored and free.

By transforming raw energy into stability and control, the Power S completes the Madison ecosystem, linking technical mastery with musical intent in the purest expression of Wattson Audio’s craft.

Availability and Price

The Madison Power S is available now at your favorite authorized Wattson Audio retailer.
MSRP—$2,495.00; €2,495.00 (inc. VAT)

Tech Talk: Weishen Xu, design lead, Master Fidelity

Master Fidelity’s design lead, Shanghai-born Weishen Xu, has had something of an obsession with digital audio since he first encountered it in 1985.

Then chief sound engineer and recording director at China’s premier performance venue in Beijing, he collaborated with Philips/Polygram engineers Roddy de Hilster and Dick van Schuppen to record the very first CDs of Chinese music. It was his first experience with digital recording, and it left him conflicted. He was impressed by the 96dB dynamic range and the efficiency of nonlinear editing, but less so by the sonic comparison with analogue. Thus began a personal quest as an engineer to create a new digital environment which combined the upsides of the old and the new.

In 1988, Xu emigrated to Canada, joining the Canadian Broadcasting Corporation just as its radio system was undergoing a complete digital transformation. He relished the flexibility that digital brought to the production and mastering process, but still missed ‘the beauty of analogue sound.’ 

Pivotal Moment

Then came a pivotal invitation. Swiss company Merging Technologies, the co-pioneer with Philips of DXD, asked Xu to collaborate with Merging’s Dominique Brulhart on the development of new digital studio platforms, including the first-generation NADAC (it’s an acronym for Network Attached DAC) in 2015. Multiple delta-sigma DAC chips were the decoding technology choice at the time. Still, the work, at Merging’s Vancouver development site, subsequently spun off as a new company, Master Fidelity, enabled Xu to learn a lot about the strengths and weaknesses of all the contending decoding schemes.

He notes: “Dom and I got close to the essence of analogue master tape with the gen 1 NADAC, but I later learned enough to know that if there was ever a gen 2, only true 1-bit decoding on an ASIC would do.” 

Not bespoke code on a programmable logic device such as an FPGA? “No. The fixed layout of logic blocks and tracks on a PLD means that there can be no control over block-to-block propagation delay. In addition, delays within the logic blocks themselves vary with voltage and temperature. All that combines to produce an environment in which jitter cannot be eliminated. Many applications don’t care, but 1-bit decoding does. It is ultra-sensitive to even minuscule variations in timing.

“Designing our own ASIC gives complete control over the layout. Logic blocks and tracks can be arranged for precise control of clock edge timing and pulse widths. Jitter and phase distortion can be mitigated through the use of optimised internal clock trees, and timing uniformity can be made predictable and thermally stable. We’ve also implemented some functions conventionally hosted on co-located PLDs on the ASIC. Here again, having complete control over routing and logic delays meant inter-chip clock domain transition delays could be eliminated.”

The revisions to the NADAC’s clocking scheme are responsible for the sonic uplift noted in the accompanying review, and Xu is relatively forthcoming about what he and his team have done. It surprises him that there appears to be a sizeable cohort in the audio engineering community that still believes anything going on out of the nominally 20Hz to 20kHz audio band is irrelevant to sonic quality. The NADAC’s overall design pays close attention to minimising EMI emissions in the high kHz to low GHz range. Still, Xu regards that as unexceptional, simply tidy housekeeping and just one hallmark of quality engineering. It’s in the clocking scheme that the attention to detail becomes, shall we say, somewhat obsessive?

Controlling time

Xu and his colleagues found that, in conjunction with 1-bit decoding, it is in the accurate control of time that lies the key to making digital sound just as natural as analogue. The NADAC therefore employs several advanced ideas, including edge entanglement technology (look it up, it isn’t very easy). Xu and his colleagues have also paid particular attention to digital wander, especially phase noise below 5 Hz. “Our measurements even extend down to 0.1 Hz, says Xu. “While these frequencies are well below the threshold of human hearing, their higher-order harmonics can intrude into the audible band, influencing the sense of realism and physicality in reproduced music.

“No single clock can be flawless across all performance dimensions. We are interested in frequency accuracy, although the influence on audio quality is relatively minor. What matters is short-term stability, which directly impacts sonic qualities such as how solid and controlled the low end is, and phase noise, which has a significant influence on SNR and THD+N. Lower phase noise translates into greater clarity, darker backgrounds and more natural retrieval of musical detail. That’s why we use multi-stage processing to harness the strengths of different clock circuits and components, ultimately producing a clock signal as close to perfect as possible.

“The rise time of the NADAC clock system has improved from 1.2 nanoseconds (1200ps) to 600 picoseconds, and it achieves a stability floor of approximately 7 × 10–¹³, with optimisation applied to any deviations above roughly 0.7 Hz. What we do is similar to practices in crystal oscillator phase noise analysis systems, where multiple specialised circuits are cascaded to achieve the best performance. The NADAC C has multiple outputs that allow sources with 10MHz clock inputs to be included in this clock cascade, and if that’s taken advantage of then the sonic results can be even better, but even without clocking the source the results we have achieved surpass what we hear from an analogue master tape, so I’m happy that we can say we got there in the end.”

What are Xu’s listening preferences away from the development laboratory? “I play the harmonica, but as a listener and a recording engineer, I’ve always been drawn to the piano and the cello—two instruments that, in very different ways, challenge both musicians and audio engineers alike. But the human voice is the most intimate and expressive instrument we have. As moving as visual art can be, it’s the human voice that has the power to bring me to tears.” 

Manufacturer

Master Fidelity

www.master-fidelity.com

+1 604 266-5067

UK distributor

Swiss Sound

[email protected]

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Master Fidelity NADAC C and D revisited

We ran a review of the remarkable combination of Master Fidelity NADAC D DAC and NADAC C clock in Issue 239. Why a reprise so soon? Because the DAC, only a handful of months into production, has been given an upgrade by its maker. Was the original design flawed? Was the launch overly rushed? Master Fidelity will have to take such questions on the chin.

In my original review, I judged the NADAC pair to be ground-breaking. From a technology viewpoint, the DAC (NADAC D) and clock (NADAC C) were, by turns, a return to the past and a leap forward. At their price point, the pair was considered disruptive to the market. Because of the sonic quality they revealed to be locked inside digital files of all bit-depths and frequencies, I suggested they posed a profound challenge to the supposed sonic superiority of vinyl replay.

Profound discovery

Following the review, Master Fidelity’s design head, Weishen Xu and his team continued to work on their proprietary digital clocking scheme. What they discovered turned out to be so profound that they decided to bite the bullet, apply the revisions immediately to NADACs on the production line, and issue the upgrade recall for units already with customers.

Unaware of this having gone on behind the scenes, I did not expect the upgrade to result in anything but inconvenience while the DAC was away. Xu, it turns out mischievously, had not promised any specific sonic improvements, only saying that ‘we’ve made some changes.’ When the DAC returned, I was staggered at the sonic uplift, and told Xu so. He replied, “Now you understand the reason for the upgrade. Your subjective listening impressions align very closely with our objective technical measurements.”

As highlighted in my original review, the NADAC is worthy of examination for its technology alone, let alone the sonic result it achieves. It is built around the first one-bit application-specific integrated circuit (ASIC) to be designed and manufactured since the Philips TDA1547 in 1988. Xu contends that the theoretical superiority of one-bit D-to-A conversion that Philips and others were pursuing back then is now within reach – and that makes the price of revisiting the technology worthwhile.

Top trumps

Xu believes that one-bit conversion trumps all other techniques because it is the most linear and, thereby, the most natural. Other designers express alternative preferences, but we need to recognise that it’s not simply a matter of pushing and shoving between competing technical ideologies. A significant factor in the conversion debate is the comparative cost of implementation.

If we design a DAC around one or more of the ubiquitous delta-sigma chips, our key component costs can be very low indeed. If we choose the discrete resistor ladder route, the price will be higher because high-accuracy resistors are expensive. We might write our decoding software and flash it onto a programmable logic device or two, and if we do, we will face even higher expenses. Talented software engineers don’t come cheap.

The one-bit ASIC route is the most expensive of all – and by a considerable margin. To justify the huge front-loaded cost, the designer needs a compelling sonic argument, deep pockets, and, please excuse me, large cojones. Xu won’t say precisely how much the development has cost Master Fidelity. Still, he notes that payback will be a long time coming, given the relatively small production runs typical at this level of the market. To accelerate return on investment, Master Fidelity may eventually allow other vendors to purchase the ASIC and integrate it into their DACs.

One bit at a time

A one-bit DAC is a clock whose duty cycle varies with the audio signal. The digital stream is a high-frequency series of pulses in which the precise timing and ratio of high-to-low bits directly represent the analogue signal. That is why timing accuracy—particularly edge consistency and jitter performance—is critical. It was the foremost challenge faced by designers in the era of the Philips chip, and it remains a serious impediment even today. Xu says that one-bit conversion implemented on generic programmable logic devices, such as FPGAs, is inescapably compromised for this very reason. He speaks about the criticality of timing in the accompanying TechTalk.

The upgraded NADAC features an unchanged one-bit conversion stage. It upsamples PCM to 96kHz to DSD 128 and PCM from 176.4kHz to 384kHz to DSD 256. The upgrade has seen minor tweaks to the user interface, but it’s in the DAC’s clock recovery module that things now look very different. It might be assumed that the NADAC C 10 MHz master clock (which is also a Word clock) provides an accurate time reference; however, it is more accurate to say it provides a precise time reference.

Master Fidelity’s new learnings have led to a refined cascaded clocking scheme in which the NADAC C is focused on minimising what are considered in this context long-term timing variations, such as wander and drift. The clock data recovery module locks onto this 10 MHz baseline and further refines it, focusing on removing residual jitter, aligning timing between clock domains, and generating the exact multi-channel clock signals required by the one-bit ASIC. The resulting level of precision wasn’t possible in the 80s, and that is one reason why the pioneers of one-bit decoding never achieved the sonic results they knew were theoretically possible.

Subjectivist trigger alert

Master Fidelity won’t be the first DAC developer to claim that listening tests played a key part in the development of a product. Still, Xu’s previous life as a recording engineer lends the assertion more credibility than usual. In an admission that will likely trigger objectivists into scornful fingers-on-keyboard action, he notes: “In early prototype designs we achieved THD+N as low as -122 dB, virtually eliminating distortion, yet the sound felt somewhat bland and lacking musical tension and emotional engagement. We therefore placed equal, if not greater, emphasis on real-world musicality, listening in particular for accurate imaging, a rich and well-layered musical texture, along with controlled harmonic content that enhances musicality without stepping over the line into artificial coloration.”

There’s a rarefied stratum of digital audio currently populated by only a handful of DACs. While ‘spendy’, the NADAC is very far from being the costliest of the bunch, yet even before the upgrade, it set a challenging sonic benchmark. The upgrade has taken the delivery of all four musical pillars to an even higher level. There’s more tonal density and texture, more micro-dynamic detail, more dynamic expression, and more solid, convincing musical timing, all delivered from a blacker background and an arrestingly precise soundstage. So far, so hi-fi.

Further still

What sets the NADAC further apart still is the way it dissolves the plaques between the music and our brain wiring. If we are expecting digital hardness, a mechanistic gloss that telegraphs ‘this is digital’, then the NADAC comes as a revelation because it sounds so uncannily natural. Xu wants us to understand that the hardness is not on the recording (well, mostly) but is created in the conversion chain, where wander and jitter cause frequency drift and near-end phase noise. These effects distort the entire audio spectrum—especially its phase integrity—resulting in degraded sound quality and listening fatigue.

Xu points out that analogue tape machines exhibit low-frequency wander in the form of mechanical wow and flutter. Still, because tape playback is a physical process and the medium is continuous, this mechanical modulation does not compromise the full audio bandwidth in the same way that digital timing errors can. Optimising the NADAC’s revised clocking architecture meant designing yet another dedicated ASIC. Still, by now the Master Fidelity team had had enough practice to rattle off the new chip relatively quickly.

Underlined

I don’t think I’ve ever used the word ‘substance’ in a review before. Still, listening via the NADAC to Max Bab’s album Wild Pitch, I was captivated by how Max von Mosch’s saxophone now sounded more vividly present, more extant than I’d heard it before. It wasn’t a matter of simple clarity, but such a level of tonality and controlled energy that a 3D-ness, a seemingly physically present completeness, was created in the listening room. In capital letters, I wrote the word ‘SUBSTANCE’ in my listening notes and then, just for good measure, repeated it and underlined it.

Readers who have heard a tenor saxophone played up close in an intimate space may recognise the qualities I was trying to give a name to with that word. I’d not heard digital do that before, but there it was, and the intriguing part was that in so much of what else I played – simple vocals, orchestral symphonic, folk – I heard the same effect. The NADAC changed it from being a once-in-a-blue-moon exception into an ‘oh, there is again’ common event.

I’ll offer two hostages to ridicule here and suggest that, taken in the round, the improvements make the NADAC some 25% better still. It also enables the NADAC to emphatically overturn the analogue/digital hierarchy by lifting the replay of even well-recorded 16/44.1 files to a level beyond what the best of vinyl can regularly achieve—files with more bit depth and higher frequency tip the balance even further.

Evolutionary revolutionary

As I noted in my first NADAC review, if we are recording digitally (most studios are), then playing back digitally should be better than adding three lossy electromechanical stages (lacquer cutting, pressing, replay) between the performance and our ears. The NADAC is the first DAC I have heard of that makes that theory a reality. Suppose we are building a system from scratch and have the money for a NADAC.

In that case, we can make a perfectly rational decision on the grounds of sonic quality alone to simply side-step analogue completely. That’s not to suggest that the NADAC drives a stake through the heart of vinyl. If we already have a treasured record collection, then there remain plenty of reasons to keep it and the means to play it. However, what digital does at the level of the NADAC is render vinyl an evolutionary dead-end. Sorry to be so blunt, but that’s just the way it is. 

As a related and highly relevant aside here, some readers may be as shocked as I was to learn that many of today’s digital recordings are made by studios using analogue-to-digital converters (ADCs) costing just a few thousand pounds and with poor linearity and phase performance. Imagine then what a one-bit ADC, in simplistic terms, a NADAC in reverse, would do for the recording industry. Xu confirms that such a product is already in the works, a project that Master Fidelity’s considers as a logical step for bringing an ultimate analogue-feeling digital sound along the whole production chain. Is your mouth watering at the prospect? Mine too.

More than twice

Some of the competition to the NADAC costs twice as much or more. I haven’t heard all of it, so I am not equipped to suggest even a tentative hierarchy. I am also not suggesting that the alternatives don’t have technical merit. They deploy some seriously complex supporting electronics to make the best of their alternative decoding schemes.

As a trophy purchase, the NADAC, with its understated two-box form-factor, hardly competes with a six-figure multi-box behemoth DAC. However, there’s no doubt in my mind that the elegance of one-bit conversion so painstakingly implemented enables the NADAC, at the very least, to live sonically in the very top tier. Weishen Xu and his colleagues deserve respect for a truly formidable display of quality audio engineering and for exhibiting no small measure of commercial bravery, too. 

Discover more about what goes into the NADAC C and D here.

Technical specifications

NADAC D

  • Type: Digital to Analogue converter
  • Inputs: USB Type C, AES3 (XLR), S/PDIF RCAx1, TosLink optical x1 (RAVENNA RJ45 to follow), Clock BNCx1
  • Outputs: Analogue balanced line 2x XLR, single-ended, 2x RCA, 4.4mm balanced mini headphone jack, 6.35mm single-ended headphone jack
  • Formats supported 44.1-384kHz, 16bit-true 32-bit. Native DSD64-DSD512 true 1bit (USB) 44.1-192kHz, 16-96bit, DoP64 (AES and S/PDIF), 44.1-384kHz, 16-32-bit. Native DSD64-DSD256, true 1bit (RAVENNA to follow). 
  • Analogue volume control: 3dB/step attenuation,
  • total 20 steps
  • Dimensions (WxHxD): 43.5×9.5x39cm
  • Weight: 9.2kg
  • Price: £25,000, €25,000, $27,500

NADAC C

  • Type: Master Clock
  • Crystal type: Selected high-stability pre-aged, SC-cut crystal
  • Clock output options: 10MHz, 625Hz, Word Clock
  • Word Clock output frequencies (in kHz): 44.1, 48, 88.2, 96, 176.4, 192, 352.8, 384, 705.6, 768,1141.2, 1536.
  • Frequency accuracy: <10ppb
  • Nominal Impedance: 50Ω (10MHz clock, 75Ω supported), 75Ω (Word Clock, 625Hz)
  • Dimensions (WxHxD): 43.5×9.5x39cm
  • Weight: 9.2kg
  • Price: £25,000, €25,000, $27,500

Manufacturer

Master Fidelity

www.master-fidelity.com

+1 604 266-5067

UK distributor

Swiss Sound

[email protected]

More from Master Fidelity

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Technics SL-1300G turntable

There’s an intrinsic link between Technics and the direct-drive turntable. This is not surprising; the company has been producing direct-drive turntables since 1970. As long as ‘Technics’ has existed, so too have ‘Technics direct-drive turntables’. No longer dismissed as mere ‘DJ decks’, this range requires no introduction, though a brief explanation is warranted today. Excluding the pure DJ SL-1200/1210 Mk7 turntables, the range divides into Premium, Grand, and Reference classes. The Technics SL-1300G direct-drive turntable is the latest model in the mid-tier Grand class.

This range is evolving, transitioning from the third generation of turntables (released in 2016) to the fourth. This began with the launch of the SL-1200/1210GR2 in 2023. The SL-1300G is the next model to receive the fourth-generation treatment. It differs from the SL-1200/1210GR2 in that it eliminates speed adjustment and the strobe. It also offers enhanced rigidity and features a balanced brass and aluminium platter. In other words, this represents the quintessential audiophile Technics in the emerging Grand class. And ‘grand’ it truly is.

The Generation Game

I think a brief overview of these four generations is appropriate. The first generation dates back to 1970 and originally featured only the SP-10 turntable design. Nine years later, the second generation emerged, introducing quartz-locked speed control. This innovation gave rise to the iconic SL-1200 Mk2 turntable, which became the standard for DJs for 30 years. Despite advancements in the fundamental design, the brand had to wait until 2016 to transition to a third-generation design.

Two years after the Technics brand reemerged following its hiatus in 2010, Technics introduced its most significant change in a generation. It developed a new coreless motor and digital speed control to eliminate cogging effects. Furthermore, it constructed its turntables to a higher standard with improved tolerances throughout.

This transition to the third generation, with models such as the SL-1200G, achieved two significant outcomes for Technics. First, it illustrated that its resurgence was no mere ‘flash in the pan’. However, investing in new motor technology also signified a considerable commitment. That’s true even for a corporation as substantial as its parent, Panasonic.

Groundwork

However, perhaps more importantly, it laid the groundwork for future generations of turntable design. Starting in 2023, that fourth generation began to surface, first with the ‘DJ Styled’ SL-1200/1210GR2 and now with the ‘Hi-Fi Styled’ Technics SL-1300G direct-drive turntable. The difference between ‘DJ’ and ‘Hi-Fi’ lies in the absence of pitch control, strobe, and cueing light.

The fourth generation boasts enhancements to the twin-rotor, nine-stator coreless motor. The nine trapezoidal stators mount to a double-sided circuit board. Reinforced boards enhance the rigidity of the installation. Its design originates from the Reference Class SL-1000R turntable. It ensures that the already low-vibration, low-noise direct-drive motor operates even quieter and produces less vibration within the direct-drive motor system. More in line with Reference Class turntables, this new motor system offers the same torque levels as its top-tier counterparts.

ΔΣ-Drive

However, I believe that the new ∆∑ (delta-sigma) drive system will be the main talking point regarding the Technics SL-1300G direct-drive turntable, and with good reason. This system features digital speed control that uses PWM (pulse-width modulation) to compensate for minor rotational inaccuracies that exceed conventional wow-and-flutter speed tests. This PWM generation technology effectively minimises errors in the drive signal to the point of suppressing micro vibrations. Consequently, this enhances the SL-1300 G’s precision and quietness, thereby improving the turntable’s overall performance. Technics’ own Multi-Stage Silent Power Supply, which incorporates active noise cancelling, extends that noise-reducing objective.

SL-1300G Lid on

This sense of low noise and high-precision calm is reflected in the overall build quality, from the adjustable feet to the balanced aluminium and brass platter. This is perhaps not surprising; Technics sold an enormous number of DJ decks for a reason—they endured the heaviest, most demanding use and just kept going. You don’t toss the Technics SL-1300G direct-drive turntable in the back of a van every night, yet it maintains the same uncompromising build. You notice this when attaching the phono cables and earth tag to the underside of the deck; when you lift it, you’ll find it’s a hefty beast at a price where such precise mass is uncommon.

Boxing clever

It’s time to nerd up. As an audio reviewer, I’m a sucker for well-crafted cardboard. Our lives involve fishing bits of electronics out of boxes. One quickly develops a keen sense of how much care and attention have been devoted to the packaging. Technics has truly excelled with this one. The company is moving away from plastics in its packaging, and this box unpacks and repacks with remarkable ease. This isn’t a trivial aspect of product design. Try handing a turntable to a courier when all that’s left of the box is merely a few Styrofoam peanuts. It invites damage, whereas this piece of cardboard origami prevents it.

Similarly, the instructions are clear, logical and easy to follow. As long as you know some basic parameters regarding the dimensions of your cartridge and that the cartridge isn’t excessively large or heavy, you can likely set up the entire turntable without any tools or measuring devices that didn’t come with the deck or cartridge.

Easy VTA

The removable headshell features a small white plastic L-shaped base that assists in aligning the cartridge with the company’s preferred Stevenson geometry. A chart in the manual shows you how to set the correct amount of VTA. Then, apply the appropriate tracking force and anti-skate. Few turntables are as straightforward to set up.

With its rubber slipmat in place, the turntable retains the classic appearance of Technics direct-drive decks from the last 55 years. The lack of pitch control lends the Technics SL-1300G direct-drive turntable a sophisticated look in the supplied silver. Judging solely by photographs, I find the black finish appears stark in comparison, but hands-on experience may yield a different outcome.

The arm is a subtly revised and improved version of the classic 9” S-shaped arm, using an aluminium arm tube instead of the magnesium one on the SL-1200.

The past is a different country

While the SL-1300G features classic styling cues, this is not your old Technics turntable! Eliminating the last vestiges of cogging from the previous generation has raised the standard, and this turntable’s lack of background noise and precision places it among the finest. Even the arm is not the ‘grey’ and ‘undynamic’ model of the past, despite looking almost identical to its predecessors.

It delivers one of the finest sonic performances I’ve encountered from a record, almost irrespective of price. It’s remarkably quiet for a record player; were it not for the small LED speed indicator and the power-on/power-off ‘thunk’, one could leave the platter turning for weeks on end and remain oblivious to its motion. When you cue up a record, the absence of background noise strikes you like a brick.

Shhh/Peaceful

I’m accustomed to exceptionally quiet vinyl backgrounds, having used some highly regarded turntables that cost several times as much as the Technics. I have experienced quiet backdrops with Kuzma and VPI turntable systems that are far more expensive than the Technics SL-1300G direct-drive turntable. But the Technics is quiet. Incredibly quiet.

SL-1300G Rear

This may sound a bit mad, but you can hear it in the way two records can sound completely different. It’s not just about the instruments or how the stereo sound is distributed across the records; the distinction lies in how the spaces between the notes are perceived on the two records. It’s as if you are listening more profoundly into the groove, unimpeded by the effects of the turntable. Play a few different albums, and you’ll notice that each one possesses its own sense of ‘silence’ that is typically masked by the turntable itself but is effortlessly revealed here. That level of low-detail retrieval is usually reserved for turntables that cost as much as sports cars or sports car manufacturers.

State of grace

The sound also has a sense of refinement and grace that is as rare as it is enjoyable. It is more legato and elegant than brusque, but that doesn’t mean the SL-1300G cannot hold down a beat. The Technics’s inherently musical presentation—and its DJ heritage—wouldn’t allow it to be simply ‘graceful’ without some pace.

That combination made me turn more towards The Orb than Orbital, and playing ‘Little Fluffy Clouds’ from The Orb’s Adventures Beyond The Ultraworld [Big Life] was a perfect example of what this deck achieves so well. The Rickie Lee Jones sample is clear and distinct but never overstated, while the little army of ambient synth noises and rhythms builds up and washes over you. It’s extremely detailed without sounding too intense or overbearing. As a result, I listened to all four sides of the LP for the first time in more than 30 years.

Part of the reason for that front-to-back play was the bass. Always a Technics strong point, the level of control and precision that the SL-1300G brings to the proceedings is superb. There is none of that sense of a boost or lift in the upper bass so often heard in vinyl replay, and that honesty and fidelity are extremely well received.

Gentle fade

A careful listen to ‘When It Comes To Giants Pt 2’ from Patrick Leonard’s It All Comes Down To Mood [Ruudy 6] reveals that the bass loses a touch of intensity in the lowest registers. However, this is more a gentle fading away in the lowest octave rather than something more chaotic and uncontrolled. Given that it is unlikely the SL-1300G will be used with large, full-range loudspeakers, this is merely an observation. At least from memory, the SL-1300G features deeper and better-controlled bass with a bit more ‘slam’ than its predecessors at the same price.

The SL-1300G delivers other aspects of performance with equal aplomb. It boasts excellent soundstage and image stability properties, superb coherence, a sense of delicacy, and carefully curated music. Having explored the top of the Technics tree, there is still more to be had, mainly at the frequency extremes, but also in a greater dynamic range. However, while these aren’t ‘nuanced’ differences, the SL-1300G in context is probably all most of us would ever need.

The last point may be the key to the Technics SL-1300G’s performance. In context, it stands as one of the most poised and balanced turntables available. You could theoretically upgrade the arm to the magnesium version. However, this would add approximately £1,000 to the cost of the deck. That would disrupt its perfectly balanced price-to-performance ratio. You would achieve improved sound, but not to such an extent as to justify the additional expense. It’s not a giant killer, but in a system that incorporates a Chord Electronics Huei or a similarly priced phono stage, spending significantly more on the turntable may not yield better audio performance. This perfectly places the Technics SL-1300G in the Goldilocks zone.

Kindred spirit

I found a kindred spirit in the Hana SH Mk II moving coil cartridge. To say they worked together well is an understatement. The two possessed a well-crafted balance and elegance in the sound, paired with a delightful sense of rhythm and transparency. While I’m sure other combinations perform similarly at this price point, the level of performance from the two together was a synergistic match made in turntable heaven. I often try to avoid viewing matters through the lens of price until the review is complete. However, it’s difficult not to make educated guesses. The Technics/Hana duo had me suspecting it was around £5,000-£6,000. Discovering it was just over £3,000 in total was a pleasant surprise.

While I don’t particularly favour car comparisons in audio, they can sometimes be beneficial. I anticipated the Technics SL-1300G to be the Lexus of turntables: beautifully crafted, remarkably dependable, and perhaps a tad dull. It’s merely two of those attributes. The ‘dull’ aspect… not a chance unless one considers precision, pace, and poise to be ‘dull.’

Instead, the Technics SL-1300G is an outstanding turntable. Ideally suited for cartridges and systems where a £2,799 source component might find itself. It never disappoints, delivering an exceptionally pleasing and precise sound that keeps listeners captivated. Find a high-quality cartridge, and you’ll enjoy LPs for years to come!

 

Technical specifications

  • Type: Direct Drive turntable and tonearm
  • Speeds: 33, 45, 78rpm
  • Motor: Brushless DC motor, Delta-Sigma drive control
  • Platter: Brass and aluminium die-cast
  • Platter diameter and weight: 332mm, Approx. 3.6kg (Including rubber slipmat)
  • Starting torque: 0.32N/m
  • Start-up time: 0.7 s. from standstill to 33 1/3 rpm
  • Braking system: Electronic
  • Wow and Flutter: 0.025% W.R.M.S.
  • Tonearm effective length: 230mm
  • Tonearm overhang: 15mm
  • Cartridge height adjustment range: 0-6mm
  • Stylus pressure adjustment: 0-4g (direct reading)
  • Finish: Black or Silver
  • Dimensions (WxHxD): 45.3 x 17.3 x 37.2cm
  • Weight: 13kg
  • Price: £2,799, $3,299, €3,195

Manufacturer

Technics

www.technics.com

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