2008CESReport
Peterborough's Bryston introduced an 8 channel Hybrid class D amp with a 5 year warranty, the D250 Zone amplifier ($5695). As always with Bryston, build and component quality is superb. A higher power (D500) and lower power (D130) version will also be available.
Sister company Mordant Short has a new range of speakers - the Mezzo 1, 2, 5, 6 and 9 which bring much of the quality of the up-market Performance range at very attractive prices. Shown here is a Mezzo 5.1 speaker array. The Mezzo 1 bookshelves are $499 US a pair, Mezzo 2 standmounts are $699 a pair, Mezzo 5 Centres are $499 each while the Mezzo 9 subwoofer is $999.
Monster Cable throws a huge bash at CES for their dealers to which the press is always invited. Past shows have included Santana, Stevie Wonder and Rod Stewart - this year's headliner is Mary J Blige. Cambridge Audio introduced two new products at the top of their stereo range, the Azur 840E Preamplifier ($1499 US) and 840W Power Amplifier ($2199 US) to match the 840C CD Player ($1499 US). These components punch well above their weight -take a look at the innards of the 840E - these guys are serious!
Tash Goka from Kitchener's Reference 3A stands proudly next to his new offering, the outstanding Episode speaker ($5500) featuring a Murata Exciter (Supertweeter) and two in-house drivers. This high efficiency speaker sits between the Veena and the Grand Veena and features a directly driven bass/midrange driver which does wonders for the immediacy of the sound. Reference 3A exhibits at T.H.E. (The High End Show) which runs concurrently with CES at the Alexis Park and St Tropez hotels. 20
$36,500 US will buy you a pair of Krell's Modulari Duo speakers, but you can buy the top part only (good for surround speakers) for just $10,500 a pair. The cabinets are made of aluminum, as are the cones on three big woofers. Build quality is to die for. Each of these limited edition speakers is signed by designer Dan D'Agostino. Luxman is making a big return to the North American market, showing a range of products with exquisite finish starting from the L-505u integrated amp ($3,500 US) to the B1000f monobloc amp ($46,000 US) capable of continuous output of 2000 watts into 1 ohm. Shown here is the elegant DU-80 Universal Player ($9,400 US). The drive mechanism is mounted in a special 8 lb mechanical ground-
ing housing. Two different DACs (Shannon and Fluency) are included. Even the loading tray is painted with a special damping material specially chosen for its sonic properties and the whole shebang weighs 46 lbs.
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2008CESReport Audio Technica has an easy to use turntable and software package featuring USB connectivity so you can transfer your vinyl collection to a computer. The AT-LP2D-USB ($229 US) includes a fully automatic turntable, a moving magnet cartridge and all the necessary cables.
Toronto's Gershman Acoustics introduces a new version of their long running Avant Garde speakers ($8200) featuring new drivers and crossover components.
Alberta's EMM Labs make some of the best digital players and converters in the world. Shown here are the new TSD-1 SACD Digital Drive and the partnering DAC-2 asynchronous converter, which will together cost over $20,000.
A number of companies are introducing state of the art CD Players, none more interesting than Boulder's 1021 Disc Player ($24,000 US) featuring a very large and well laid out display. The 1021 reads the CD into RAM memory and replays it from there, which reduces jitter and allows improved error correction. The sound was first rate through Boulder 1050 Monoblocs ($21,000 US each) and Dynaudio Temptation speakers ($40,000 US).
Nobody makes better looking speakers than Italy's Sonus Faber. New this year is the Cremona M ($12,800 US) which features a 1" tweeter, a 6" midrange and two 7" woofers made from an advanced aluminum/magnesium alloy. They sound as good as they look - rich, dynamic and spacious. Ayre Acoustic introduces their new KX-R preamplifier ($18,500 US) - an attempt on the state of the art, carved out of a solid billet of aluminum. Other preamps boost the source signal first then attenuate it by passing it through a volume control. In the KX-R the volume control changes a resistor that determines the amount of gain instead. The result is lower noise, especially at lower listening levels.
Plenty of Vinyl spinners were shown at CES, among them this new Wyndsor model from Creek ($4500 US with Project Carbon Fiber arm).
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2008CESReport Definitive developed new axially aligned driver/tweeter arrays. These speakers are designed for those who can't or won't set up rear speakers.
From the same stable come the Epos M22i floor-standing speakers at $2599 US. Best sound of the show goes to Meridian Audio with a simple system comprising two new products - the Signature Reference 808.2 CD Player ($14,995 US), an update of the 808 and the DSP7200 Speaker ($US 34,995. The 808.2 features improved clocking and buffering systems that together reduce jitter to extremely low levels. It is available with analog and digital inputs for an extra $1000. The new speaker is the first to include the company's latest input-board architecture, which employs standard, RJ45 (Ethernet) ports for Meridian Comms interconnection, delivering the simplicity and elegance of installation via CAT5 cabling. Naturally the new CD Player can output over Meridian Comms.
Best looking new product is the Giya Speaker from Vivid Audio. This four-way, five driver speaker features reinforced advanced composite materials with a high gloss automotive finish. Vivid make all the drivers in house. A pair will set you back over $50,000. The designer is Lawrence Dickie, the man who brought us the legendary Nautilus speaker from B&W. The Giya is a development from that design, and although still in prototype form, it clearly has great promise. The design features catenary dome profiles (look it up), open pole radially-polarized rare earth magnet systems, reaction cancelling bass driver mounts, highly aligned heat conductive driver chassis, tapered tube absorbers and a host of other engineering details. Each speaker weights 70 kg. Every year after CES I'm so exhausted I swear I'll never come back, but by the time the next CES rolls around I change my mind. Is this my last visit? Tune in next year to find out!
Definitive Technology has two single speaker five channel arrays for mounting under a flat panel display. For 30" to 46" displays choose the SSA-42 ($800 US) or for larger screens there's the SSA-50 ($1099 US) which offers higher sound pressures and more dynamic range.
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The Sweet Sound of Analogue Music Richard L. Preece "Sgt. Pepper's Lonely Hearts Club Band". In 1970 the Studer A80 was introduced with formats of 2 track 1/4-inch tape up to 24 track 2-inch tape. Then in 1987, the Revox PR99 appeared. Other manufacturers that produced similar machines were TEAC, Sony, Ampex and Akia, just to name a few. Today's sound
I know that nostalgia is not what it used to be and is getting old, but let me reminisce for a moment. It was back in the 60's, while in university, when suddenly the transistor appeared. I always fully understood the valve, err‌ I mean the tube, but the transistor was this tiny component with only three wires! I was working part time at a local closed-circuit radio station in the UK where the practice was to have an announcer and a studio manager. The latter was the brains (me) doing all the work. The announcer was queued by a red light bulb activated by a micro switch on the microphone pot and two foot pedals that activated a yellow bulb for "standby" and a green bulb for "on air". The announcer would then use hand signals to have the music start. A mix of 45's, LP's and some 78's provided the music content. With felt mats on the turntables, we prelistened to the songs and slipped the vinyl back a quarter turn or more from the start of the record, depending on how fast or slow the song was. You needed to have the touch. I suppose we were doing what today's DJ do, but we just heard it in the headphones. Everything else was on 1/4-inch tape played by a variety of machines. The built-like-a-battleship Ferrograph and Ampex were a main stay, but then along came Willi Studer and his renowned Revox A77, introduced in 1967. In the same year, The Beatles choose the Studer J37 reel-to-reel 4 track for their album
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Today we have Adobe Audition, Pro Tools and other such digital audio software. The buzz word seems to be "we'll fix it in editing". Some of the modern music originates from home studios or parents who think that their little girl is the next pop star. Sound engineers filter and enhance using reverb, echo and Digital Signal Processors (DSP) in an attempt to get the pitch and key close. This has allowed for mediocre and even the really bad singers and musicians to move up to the next level, with little skill or talent. It's not a wonder that American Idol's Simon Cowell has the occasional fit and states the obvious. We have all seen the great talent audition for the Idol series. If you still don't believe me, then listen to Love Generation by Bob Sinclair, vocals by Gary Pine. One might suspect that the vocals were recorded in one studio and the music in another. They sound like two different keys to my ears. The album was released on the Defected Label, what an
irony! The younger generation has been brought up with computers and audio editing software that is either free, like Audacity, or programs priced from $50 to $150, such as WavePad and Blaze. We have been led to believe (well brain washed, even duped) that MP3, WAV and CD are really good quality music formats. Everyone thinks they have the best quality home recording studio but in reality the sound being produced is somewhat lacking. Constant listening with today's device of choice, the MP3 player with earbuds at high volume levels, must certainly have had an adverse effect on a generation's hearing. Look at today's music - how long has it been since we've had an album from an artist or a group that is new, revolutionary or simply different? I'm talking about creations such as Michael Jackson's "Thriller", Fleetwood Mac's "Rumours" and The Beatles' "Sgt. Pepper's Lonely Heart Club Band". Will they be playing what the younger generation listens to today on the radio in 30 years time? An experience that would change your opinion about music and equipment choices is to listen to a recording, made even in the 50's or 60's being played back on a Revox A77, a tube amplifier and JBL speakers. Even at a speed of 3-3/4 IPS with a discernable tape hiss, the dynamic range is still a pleasure to the ears. Hope for the future However there is hope on the horizon. Thankfully, a segment of the younger generation gets it and are slowly self-educating themselves as to what good quality music should actually sound like. Recording studios such as Turtle Recording, Phase One Audio Group, Amoury Studios and Metal Works still utilize analogue equipment including Neve and Solid State Logic mixers, Studer, Rascan and Otari 1/2-inch, 2, 4 and 8 track up to 2-inch, 24 track machines. Tube products from guitar
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KATANA Exquisite lines • Exquisite sound The Ultimate Vflex Loudspeaker
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thesoundofanalogue amplifiers to power amplifiers are also on their equipment list. Tube pre-amplifiers and power amplifiers are making a come back. Unlike with solid state designs, tubes don't clip the signal in the same way when overdriven. Google 'tube amplifiers' and an array of choices will appear from many manufacturers including Audio Research, AudioPhilla, Zvex, Wolcott Audio and Creative Audio, just to mention a few. Even here in Markham, Ontario, a company called ARM (Applied Research and Marketing) is manufacturing tube preamplifiers and will soon debut power amplifiers. So the question is: Why do designs built around tubes sound different from those following the solid-state approach? Simply, tubes work differently. For an explanation of their construction and how they function please read an extended version of this article in the A/V Features section on www.canadahifi.com. Old isn't always bad There is also a resurgence in tape recorders, turntables, tube amplifiers and vinyl, by the inspired young generation. Some of these people have realized and heard for themselves the great quality that previously they did not know existed. Companies like Tascam and Otari will build 2, 4 and even multi track 1/4, 1 and 2-inch machines to order. However a search on eBay, can provide a veritable gold mine of retro products. Patrick Holder of ARM says that he cannot keep in stock or repair/modify 2 track reel-toreel machines quickly enough to meet the demand. The audiophile
Type III cartridge. Manufacturers are popping up all over the world and there is a demand for new releases on vinyl by major recording artists and groups. One manufacturer of note is Portalspace Records UK. Since its inception in 2001, they have established themselves as a leading manufacturer of quality record pressings. As the inheritors of EMI's equipment, knowledge and experience, their roots go back to the very origins of record discs as a carrier of sound. This heritage includes EMI's Type 1400 press. Dynamic Sun RTI in California and Music Manufacturing Services Canada produce vinyl in formats of 7 and 12-inch, 45 or 33-1/3, black and coloured records. Back in July of 2007, the 6 o'clock CTV news featured a segment dedicated to the obsolesce of the CD format. The expert being interviewed said that the CD format was obsolete and that new technology is on the way. However, even as a professed expert he did not proffer or mention what this new technology will be. Was he just giving us a scare or was he speaking on behalf of the recording industry (the Big 5) who would love for us to be duped again? This new format for music would be something like DVD-A, SACD or some other format distributed on something like the SD Multi-Media Card. Of course, watch for some sort of SCMS (Serial Copy Management System) or digital watermarking. The new format, not necessarily the best, will be promoted with vigor and the CD will be rapidly killed off in an attempt to re-sell music catalogues yet again. The Big 5 may request a special levy on such media as they did with tape, hard drives, memory cards, blank CDs and DVDs, instead of embracing the internet generation. An obvious possible course that can be taken
by new groups and even major existing artists is to market their products themselves directly on the internet, without the Big 5. Be warned! We seem to be going backwards in quality even though we are told to the contrary. Where have the AAD and DDD symbols on CDs gone? The young audiophiles are our best hope to not only discover what good quality sound is, but to demand that good quality music be produced on high quality media. We need to request (no, we need to demand!) this and show our distain at the cash registrar, and this could mean picking up more vinyl. I will not dispose of my LP's, 45's and turntable just yet and may re-appraise their current value. My Beatles vinyl collection "Please Please Me", "With the Beatles", "Beatles For Sale", "Hard Days Night" and "Rubber Soul" are all mono recordings. Yes I did purchase the CDs to hear them in stereo but the mono vinyl versions still sound better to me. This is my story and viewpoint. I hope that it provided some areas of thought and encourages some of you to experiment, listen to and appreciate good quality music. To the next generation of audiophiles we may be the old generation, but if we only know one thing, it is what good sounding music should really be. Give it try! If you would like to read the full version of this article which provides more insights related to Pirate Radio in the UK, the progression of audio, tape and tube manufacturing, please go to the A/V Articles section on www.canadahifi.com. Richard L. Preece is a music connoisseur, ex-engineer, has good hearing and bad teeth (UK).
The word audiophile comes from the Latin audire 'to hear' and the Greek philos which means 'loving.' There is definitely a new wave of younger audiophiles who enjoy that vintage feel and quality of sound of older music and recordings. Vinyl is cool again. Modern record players are available from many different companies. I still have my Technics SH11P3 direct drive turntable married to a SME Model 3009 arm and a Shure V15
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productreview Furutech Accessories for Vinyl Lovers Phil Gold Do you have a precious collection of LPs? If you do, you're probably fighting an uphill battle against dust and static. You may even have some discs that are unplayable because they won't lay flat any more. If this description fits you, or if you are new to the vinyl scene, Furutech has designed some audio accessories to give you the upper hand over Mother Nature. You may ask why you need to remove static electricity at all. First, the electrical charge can lead to pops and crackles during playback. Second and more importantly, the static charge attracts dust into the grooves like a magnet. Dust will give you more interference and will build up around your stylus as it traces the groove.
loose debris and reduce whatever static charge your heating system and the LP's plastic protective cover have conspired to induce. This brush can also be used to clean CDs and your stereo components, and you can wash the bristles to restore a pristine condition. The SK-II sells for $111. Like the other Furutech accessories reviewed here, it's made in Japan.
don't notice any effect on CDs. I also tried it on my wife's clothes - yes it even eliminates static cling! You can use the Destat to remove static and dust from your audio components too, but remember to turn them off first. I am pleased with the way it works and how easy it is to use. But at this price the level of fit and finish should be more impressive, especially in the battery compartment where the battery holder is connected by two thin wires that look rather fragile. You won't be changing the batteries very often, but put long lasting ones in there to be on the safe side.
Furutech Destat
Furutech SK-II Electrostatic Brush The simplest and most essential accessory is a good record brush. It should remove both dust and static, be gentle enough not to damage the grooves and should not leave fibers of its own on your precious record collection. I've used the Decca Record Brush for this purpose for the last 25 years but Furutech's SK-II Electrostatic brush is both easier to use and more effective. You can hold it above the spinning disc like a paint brush and the fine goat-hair bristles pick up the
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If dust and static are still a problem, and they certainly are for me, Furutech has developed a very effective high tech solution, the $405 Destat. This battery operated device looks and works a bit like a portable hair dryer, only instead of blowing hot air it blows a mix or positive and negative ions over your records. In ten seconds it removes both static and dust without ever touching the grooves. I have a Zerostat gun which also uses a stream of ions to remove static charges, but it is only marginally effective and doesn't remove dust. The Destat is a much more serious device altogether. It takes its power from four AA batteries. There's only one button to master - push it and a fan spools up and the ions flow. Just hold the unit a few inches above the record or CD. It works very well on my records, reducing static noise more effectively than the SK-II brush or my Zerostat, but I
Furutech DFV-1 LP Flattener The most interesting of the three accessories is the Furutech DFV-1 LP Flattener at $1552. This device is designed to remove the warps from LPs. While I could find LPs with static, and I could leave some LPs out of their protective covers for long periods of time to cover them with dust, I take such care over my collection I just don't have any warped discs. So how could I test the machine? I decided I had to sacrifice some discs to the cause, so I left some out overnight by
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productreview a hot air duct. The next morning, those poor LPs were still flat as pancakes. More extreme measures were necessary. I finally succeeded in warping the discs so they were unplayable, but I won't tell you how! How should a record flattener work? The problem is to apply the correct amount of heat and pressure to restore a warped disc to its original shape but not so much as to damage the delicate grooves. That is easier said than done. Remember that there are various different qualities of vinyl, plus large variations in thickness and profile. Profile? Yes! You might expect all records to be flat, but almost without exception, they are in fact thicker at the outer edge where there is a slight lip, the groove guard, and in the centre where there is a another rise, the label ramp. In between these two points the vinyl is thinner, a process that is imposed by the record stamper. There are two reasons for this profile. The first is to save money. The groove area does not need to be very strong since we don't handle records by
Warped record before being flattened
the grooves (or at least we shouldn't) so that area can be thinner, using less material. The second is to avoid damage when the records are stacked on an automatic record changer. The raised labels would come into contact with each other, as would the outer lip, but the groove area in between would be concave so the grooves would never touch. The exceptions are Classic Records 200 gram non groove guard pressings, Sheffield Labs LPs without groove guards and certain BMG-UFA records. Furutech could have produced a device to flatten these flat-profile LPs, but then it would not work with the vast majority of records. My thanks to Furutech for including a warning to this effect in the instructions. So the Furutech device is designed to accommodate standard profile discs. You can think of it as a pant presser big enough to hold a 12" pair of pants. The special requirement here is how to hold the disc safely in the central position. Furutech provides a two piece metal spindle that clamps to the centre hole of the record, and this spindle fits snuggly in a recess in the centre of one of the flattening surfaces. The machine holds the record vertically, which is the best way to give equal treatment to both sides of the disc, besides taking up less space on your table. The machine doesn't open very far, and it is not always easy to see exactly where that centre recess is. Furutech could simplify this by some astute colour coding but the low tech solution is to feed the disc in under a bright light. You close the machine with a couple of simple latches and you are ready to start. When you power up and press the start button you can just walk
The same record after the LP Flattener treatment! 30
away or by pressing that button multiple times you can cycle through various heating times. The default setting is 90 minutes, but you can select 60, 90, 120 or 150 minutes. A status screen will tell you what the machine is doing. Don't worry, it's not going to melt your record - the heating cycle barely warms the disc above room temperature. Then there's a two hour cooling cycle before you can open up the device. Some of my LPs made such good contact with the walls that it was tough to pry the record out simply by pulling on the spindle. The solution was just to lift from any point on the rim and the disc comes out easily. I found my seriously warped discs came out so flat I couldn't tell where they had been warped. See my before and after shots. They all played just fine. I also tried some discs with very minor ripples, not severe enough to upset my cartridge, but large enough you could see the arm rise over that spot in play, like a gentle wave. These discs were not affected by the flattener, even after repeated cycles. I'm sure Furutech has erred on the side of caution here. They don't want to apply the amount of heat or pressure that would eliminate tiny defects that don't affect the listening experience in any way. They could easily have done so, but that might risk damaging some fragile discs. So I'm very happy with the compromises they have made. The fit and finish on the Record Flattener is superb, as it should be at the price. Not everyone needs one of these, but if you do, this will do the job. It's good to see vinyl lovers have someone looking out for them. A for effort.
quick info Furutech www.furutech.com Distributed in Canada by Audiyo (647-294-7786 www.audiyo.com) Furutech SK-II Electrostatic Brush
Price: $111 Furutech Destat Price: $405 Furutech DFV-1 LP Flattener Price: $1552
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productreview Marantz SR8002 AV Surround Receiver
Suave Kajko As audio video enthusiasts, we all love the term 'flagship'. Don't we? Flagship models deliver cutting edge performance, pack the most power, offer the latest connections and usually have some nifty features. What's not to like about that? The topic of this review is the Marantz SR8002 AV surround receiver, the crème de la crème from the company's receiver line-up. It used to be that flagship AV receivers cost several thousand dollars; some still do. But at $2200, the SR8002 is reasonably priced considering that it's simply the best Marantz receiver available today. The SR8002 is a THX Select2-certified receiver that's capable of delivering 125 watts (into 8 ohms) of continuous power to each of its seven channels. It provides on-board decoding of all of the latest audio formats including Dolby Digital Plus, Dolby TrueHD, DTS-HD Master Audio and DTS-HD High Resolution Audio. This is an important feature now
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that the latest HD disc players can send the bitstream of these audio formats to receivers for decoding. A vast number of video inputs are provided including: 4 HDMI (version 1.3a), 4 component, 3 Svideo and 5 composite. Audio inputs include: 7.1-channel analogue, 4 optical, 3 coaxial and 7 L/R analogue. Okay, so most of these features and connections are expected from a receiver of this price but here's something unexpected: 2 HDMI and 2 component video outputs. If you've ever dreamt of setting up a flat panel TV and a projector in the same room, this receiver's dual video outputs will let you do it! Thanks to this receiver's HDMI 1.3a connectivity, SACD players can be connected to it via HDMI instead of using several analogue cables. DeepColor and xvYCC are also supported in video by this version of HDMI. Audyssey's MultiEQ auto calibration improves the listening characteristics of the room in which the receiver is set up. A feature called M-
DAX, short for Marantz Dynamic Audio eXpander, adds life back to compressed digital audio files played through the receiver. Other mentionable features include a second zone audio/video output, a third zone audio output, HDCD decoding and an XM radio connection (with XM-HD support). The SR8002 de-interlaces 480i signals (fed to any of its video inputs) to 480p and outputs them via HDMI. This enables display devices which do not accept 480i to accept signals from sources such as early DVD players and VCRs. While scaling to 1080p is increasingly common in receivers, I don't feel that it's a needed feature since scaling is available in most sources and displays. In my opinion, up-scaling in a receiver is a feature that adds undue cost. The only feature that this receiver lacks is a phono input for turntables, which would have been nice to see. Included in the box with the receiver are the main remote, which has an LCD screen and is fully backlit,
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productreview and a second simpler multi-room remote. A removable power cord is also provided, which is great for those who wish to upgrade in the future. The SR8002 has a chassis that less than 16 inches deep which makes it ideal for tighter spots where other receivers wouldn't fit. As I set up this receiver, I was reminded of the Marantz SR8500 receiver that I evaluated a couple of years back. It has been at the top of the list of my favourite sounding receivers to date. Would the SR8002 follow in its footsteps? I had to put my bias aside to give this receiver a fair evaluation. I tested the SR8002 receiver with my reference KEF iQ speakers and used a variety of sources. With the remote in one hand and a cup of cappuccino in the other, I was ready to roll. Since the most likely application for the SR8002 will be to provide multi-channel sound while watching movies, I decided to warm things up with the wacky space flick, The Hitchhiker's Guide to the Galaxy. My source of choice was a Pioneer Elite BDP-94HD Blu-ray player. The mish-mash of laser blasters, spaceship engines and alien world sounds created an immersive soundscape in my home theatre. When called upon, the SR8002 was able to create a very large and three dimensional soundfield. Sound effects traveled seamlessly between the channels. Then, I reached for the Children of Men DVD. This actionpacked movie was great for demonstrating the brute force that the SR8002 was capable of producing. The loudness of the gunshots and explosions, accompanied by the soft eerie soundtrack, created a chilling atmosphere in my home theatre. The SR8002 had clean, tight power, and lots of it. These dynamic passages were also handled with the utmost control by the SR8002. The loud parts did not obscure the details of the softer sounds. The vocal intelligibility was also just right; I didn't have to adjust the volume at all because the dialogue always came clearly from the centre channel. But this wouldn't have been a real test until I put on a movie with a high resolution soundtrack like Casino Royale. The improvement of sound was undeniable thanks to the uncompressed soundtrack. Everything sounded more natural: Voices gained extra realism, rain
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drops sounded wetter and footsteps in the sand sounded crispier. I also noticed that the gunshots zipping through the channels had an additional amount of air. The SR8002 quickly proved to be excellent for movie watching. Next I used the ARCAM DiVA CD73 CD player to determine the musicality of the SR8002. I placed my recently purchased Holst, The Planets XRCD (performed by the Los Angeles Philharmonic and conducted by Zubin Mehta) on the disc tray. I engaged the Pure Direct listening mode on the receiver, which turns off all of the video circuitry, and skipped right to my favourite track, "Jupiter, the Bringer of Jollity". The SR8002 presented me with a wide and fairly deep soundstage. The highs sounded crisp and the mids were very clean. When required, the low frequencies hit with lots of impact but also sounded tight. The SR8002 handled the dynamics of the performances on this album without a hitch. I found these initial findings to be consistent after listening to other two-channel selections. But listening to two channel music on the SR8002 seemed like I wasn't using it to its full potential. Perhaps Legends of Jazz with Ramsey Lewis on Blu-ray could help me here. The richness of the frequency range on this disc's Dolby True HD soundtrack was just awesome. The voices and instruments sounded natural, I felt their presence as if I was in the same room as the performance. The imaging of the instruments across the stage was precise and the vocals were clear. Regrettably, I wasn't able to test out the decoding of the latest audio formats inside the SR8002 because my Pioneer player doesn't send the bitstream audio of these formats to the receiver (it decodes them inside the player only). To finish off the music session, I hooked up my Pioneer Elite DV-46AV universal player to the SR8002's analogue inputs and listened to a few discs including the awesome Beatles Love DVD-Audio disc. Listening to my favourite tracks, I instantly got a natural high from the fantastic surround mixes. After numerous other two- and multi-channel music selections, I came to a conclusion that the SR8002 pronounced the same sound characteristics that I enjoyed so much about the SR8500 two
years ago. It had the musical warmth that stimulated my hearing sense. So how do the multiple video outputs of the SR8002 work? The receiver outputs video via one of the switchable HDMI outputs at a time which can be selected from the setup menu. Marantz provides discrete codes for all of the SR8002's features so a universal remote or other control device can be programmed to automatically switch to the appropriate HDMI output for the desired activity. The two component video outputs on the other hand, are both live. Video can also be simultaneously output through HDMI and component video. The main remote supplied with the SR8002 is the same remote that came with the SR8500, which was perfectly responsive and had a very helpful backlight. However, the two buttons that engage the backlight are inconveniently located at the very bottom of the remote and required the use of my second hand. I've used the Audyssey MultEQ auto calibration with a number of receivers in the past and it worked as expected. It produced a noticeable audio improvement in my room and I recommend using it during setup. If you fancy a high performance receiver, without spending a fortune, the SR8002 is an excellent choice. For $2200, this receiver has all of the features that will keep it current for years to come such as HDMI 1.3a connections and high resolution surround audio decoding. With all of its component and HDMI video outputs, it's one of the most expandable receivers that I have come across and is ideal for two display setups. As always before choosing any audio product, make sure to give it a listen before you buy. What matters the most is that it sounds great to your own ears. To my ears, the SR8002 is a clear winner.
quick info Marantz America Inc. www.marantz.com 1-888-258-9361 Marantz SR8002 AV Surround Receiver
Price: $2200
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productreview Pioneer Elite Pure Audio System: SX-A9-J Integrated Amplifier and PD-D6-J CD/SACD Player
Shamus Coghlan I often don't know the price of the audio components that I am about to review. My editor doesn't tell me and I don't ask. And I often prefer it this way, at least for the first couple of weeks. This allows me to initially judge the components' performance without my opinion be-ing influenced by knowing their price. This time, added to my audio rack were two new Pioneer Elite Pure Audio components: the SX-A9-J integrated amplifier and the PD-D6-J CD/SACD player. Of course, for the context of this review it makes sense to know the prices right away; the integrated amplifier retails for $999 and the CD/SACD player goes for $599. A matching, less expensive SXA6-J integrated amplifier is also available for $599. First, let me give you a guided tour of the two pieces. The Pure Audio components have a completely new look that distinguishes them from other Pioneer
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offerings: curved-profile, brushed gray aluminium front panels and white backlit LCD displays. The design and finish certainly hint at the fact that these are higher performance components. Each component features a rigid dual layer honeycomb chassis construction, with good weight and a quality feel. All Pure Audio components also feature AIR Studios Sound Tuning which means that some of the best sound engineers in the business were involved in the development of these products. The goal of this tuning is to reproduce music that sounds as close to the original recordings as possible. Both units also have detachable IEC mains connectors should you feel like upgrading the power cords in the future. The SX-A9-J features two class-AB dual mono symmetrical amps which operate in pure class-A mode in low power, therefore eliminating switching and crossover distortion. Each channel is
rated at 55 watts (into 8 Ohms) and 70 watts (into 4 Ohms). The amplifier's selection of inputs includes four RCA line level and one phono for moving magnet or moving coil turntables. A nice feature is the inclusion of a USB input which allows a PC to send its music digitally to the amplifier. Pioneer's Sound Retriever feature helps to restore some of the sound quality lost by compression from digital files. One set of tape outputs and preamplifier outputs are also pro-vided. A USB sound output would have been nice to see. That way you could record vinyl or other sources directly to the computer. All connections are gold plated and the speaker terminals accept a variety of connectors as well as bare wire. As expected, an AM/FM tuner is also on board, as is an XM antenna connector. The PD-D6-J provides playback of CD, SACD, CD-R and CD-RW as well as discs loaded with MP3 and WMA music
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productreview files. Onboard 192 kHz/24-bit twin Burr Brown D/A converters en-sure the reproduction of subtle music details and deliver enhanced linearity, dynamic range and distortion response. The Legato Link Conversion PRO ensures minimum phase shift across the entire audible frequency band which results in a more natural sound. The PD-D6-J uses a single chip to decode SACD DSD to reduce the digital signal path and a low jitter crystal oscillator cir-cuit as a precise master clock. A Pure Audio listening mode switches off the digital circuitry and the LCD display to provide the purest analogue sound reproduction. A typical set of audio outputs are provided in the back: RCA, coaxial and optical. After a couple of weeks of burn-in, I began by auditioning the components separately in my main listening room, connected to my reference JBL SVA2100 loudspeakers. First up was the PD-D6-J disc player. I connected it to a Classe Audio CA-2100 power amplifier and an NAD M3 integrated amplifier (used for its pre-amplifier section only). I started by listening to one of my favourite pop CDs, The Best Of Sade. This disc contains three great tracks which I normally use to get an idea of how well an audio component handles space and high frequency content. Track eight, Stronger Than Pride, contains a lot of reverb and airy sounds that help create an out of this world atmosphere. When compared to the vinyl version of this album, which plays with finesse and subtle movements, it is easy to hear how most CD players reproduce this section in-correctly by introducing a haze or harshness. It was pleasing to find that the PD-D6-J disc player created a vast soundstage with smooth changes in the dynamics. The atmosphere that I've learned to appreciate in this song was present. When listening to the Cherish The Day track, some of the claps should reverb well into the background. In a finer audio system you should also notice a very slight spring reverb sound against a more long tailed reverb that fades into al-most infinity through a long tube. Again this disc player got this better than I expected, better than some of the more expensive players that I've heard recently. The most notice-
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able differ-ence between this player and vinyl or the much more expensive NAD M55 disc player was in the bass line. The low frequencies sounded slightly leaner played through the PD-D6-J. Overall, the PD-D6-J proved to be a versatile and very tight sounding disc player. It played all of the CDs that I listened to with an elegant finesse rather than brute force. Moving into the SACD territory I listened to Pink Floyd's Dark Side of the Moon album. Normally I pay attention to how well a player can handle the bass in the first track and how it flows from the quiet pulse to the rise of the cymbals and screaming voices. When done cor-rectly, this passage should transition smoothly without any added harshness. You shouldn't have to play with the volume level to compensate for a higher noise floor. The added resolution of the SACD format produced a more realistic presentation and added great depth to the music. When I listened to Beethoven's Living Stereo SACD, the PD-D6-J produced that little sparkle that only a good reference recording can when played on a good disc player. The strings had that slight touch of metallic sound combined with the resonance of the wooden body of the instruments. I could hear the bow brush across the strings if I focused on it, but not at the expense of interfering with the whole picture of the symphony. To evaluate the performance of the SXA9-J integrated amplifier, I used the NAD M55 disc player as the source. From the moment I began my critical listening, the SX-A9-J showed that it liked to present music in a very large scale. Much like listening to audio in a well designed production studio, I was able to clearly pick out the individual layers and sounds of the music and understand how they relate to the mix as a whole. Don't get me wrong though, the various layers of music played together in perfect harmony. Without a doubt AIR Studios' involvement in the design has something to do with the characteristics of this amplifier. As I continued listening to various CD and SACD selections, I found the SX-A9-J to provide formidable control of the speakers. I also noticed that it allowed the NAD disc player to shine through in this system. The NAD player presented the complex sound
textures and wonderful harmonics and the SX-A9-J allowed all of this to come through. An integrated amplifier of lesser quality would not allow me to enjoy the true nature of this disc player. I found the soundstage to be of good depth, although I would have enjoyed a slightly larger soundstage width. The SX-A9-J produced pretty smooth high frequencies. Only when pushed near its limits they began sounding a little aggressive. The midrange and bass performance was excellent in this price category. The mids sounded very detailed and clean. The vocals sounded clean and natu-ral. Overall the SX-A9-J produced very detailed sound that was ever so slightly on the dryer side. It sounded solid-state but in a good way. There was no noticeable digital stepping or switching noise. Classical recordings sounded natural and flowed with great control. Compared to the much more expensive NAD M3, this amp came in a little shy in the harmonic fullness and air. Not too shabby! When I listened to the Pioneer PD-D6-J disc player connected to the SX-A9-J integrated amplifier, I found that the two components complement each other very well. Each component brought forward the strengths of the other, just like components should in a well designed sys-tem. If you're working with a budget of $1600 for an integrated amp and a disc player, this may just be the right system for you. If you've got a smaller budget, check out the more affordable SX-A6-J integrated amp. An enjoyable 2-channel music system doesn't have to cost thousands of dollars. The Pioneer Pure Audio components are a great example of this.
quick info Pioneer Electronics www.pioneerelectronics.ca 905-479-4411 Pioneer Elite SX-A9-J integrated amplifier
Price: $999 Pioneer Elite PD-D6-J disc player
Price: $599
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productreview Panamax M5300-PM Power Management Centre
Suave Kajko Clean AC power can go a long way to improving the performance of a home theatre in some cases. Just as importantly it can vastly extend the life of your beloved gear. Unfortunately, the power straight out of a household power outlet is not very clean. The electrical lines throughout your house or apartment are shared among many devices which contaminate the lines, create power surges and interfere with each other. Worse yet, a significant power surge, such as one caused by a lighting strike, can completely damage your equipment. If you would like to learn more about power for your home theatre, I invite you to read an article that appeared in one of our past issues "Power Protection for the Home Theatre". You can now find it online at www.canadahifi.com in the A/V Articles section. So how can you provide clean power to your components? You'll need a power management solution like the Panamax M5300-PM. At $599, this reasonably priced power management centre can purify the power delivered to your components and protect them from power spikes and surges. The M5300-PM offers Panamax's Level 4 power cleaning and filtration which can eliminate common symptoms associated
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with contaminated power. These include loss of detail, pops and hisses in audio as well as hums and visual artifacts in video. The M5300-PM will automatically shut down the power to the connected components if the incoming power dips below 90 volts or exceeds 142 volts. It has a rating of 2125 joules. A joule measures how much energy the unit can absorb and dissipate. The M5300-PM offers L-N, L-G and N-G protection modes, which means that it is equipped to absorb surges between any pair of the three wires: Positive, negative and ground. In addition to all of this, the M5300-PM also provides noise isolation between all its outlets so that one component cannot contaminate the power that is sent to any other plugged in component. The M5300-PM offers a suite of 11 AC power outlets: 4 that are always on, 5 that can be switched on and off (with the front power button) and 2 high current outlets. The high current outlets are designed for power hungry amplifiers, receivers or subwoofers and feature a five second turn on delay to guard against blown fuses and potentially damaging speaker thumps. The total current capacity of the M5300PM is 15 amps. Three pairs of coaxial connectors provide protection for cable,
satellite and antenna signal lines. Two sets of LAN jacks and one phone jack are also present. The LAN jacks are ideal for protecting the LAN connections for Bluray and HD DVD players or gaming consoles. The phone jack can protect the phone line which goes into a satellite or digital cable box. A 12 volt trigger rounds out the package. Aside from various indicators and buttons, the front panel contains a power outlet, LAN port and USB port. The USB port can be used to charge any USB device while protecting it from potential harmful voltages. Visually, the M5300-PM looks as slick as any good looking home theatre component. The front panel has indicators for each of the power outlet banks as well as digital number indicators for incoming voltage and amperage draw. A single power outlet as well as USB and LAN connectors are also located on the front panel. Its solid chassis and front panel are constructed out of metal, giving it a weight of 30 pounds. An Ethernet cable, a telephone cable and coaxial TV cable are included in the box. I plugged the M5300-PM's power cord directly into the wall outlet. The unit's removable power cord is held securely in place by a sturdy metal cage. The initial
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power cycle took a few seconds and numerous front panel indicators came to life in a vibrant blue. The voltage meter measured an incoming voltage of 122 volts and 0.3 amperes being drawn with nothing plugged into the outlets. A button on the front panel allows all of the blue indicators to be dimmed but doesn't allow them to be turned off completely, which would have been a nice feature. These indicators draw unnecessary power and can be disturbing while watching video in a dark room. During my testing I noticed the incoming voltage reading to fluctuate between 121 and 125 volts. I tested the M5300-PM with the following components connected: Pioneer Elite VSX-84TXSi A/V receiver, Axiom Audio A1400-8 amplifier, Pioneer PDP-5010FD plasma TV and my Starchoice satellite box. I also connected an analogue TV cable to it. After plugging all of these components in, the amp meter reading increased slightly to 0.5 amps letting me know that this equipment sips about 0.2 amps when in stand-by mode (each component was turned off). As expected, the amp consumption jumped significantly when I powered all of the gear on. Power conscious consumers like myself will certainly enjoy having this information readily available. By the way, the power outlets of the M5300-PM appeared to be of high grade and held all of my power cords securely in place. During the course of the next several weeks, I conducted audio and video tests with the components plugged into the M5300-PM as well as a regular power strip. Although I did not immediately notice improvements, over the course of time a couple of benefits did become apparent. First, I noticed that the M5300-
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PM was able to eliminate the hum bars (in some instances) that are occasionally present when watching analogue cable TV channels. Hum bars are lines that slowly creep up across the TV screen. I also noticed a slight reduction in the digital noise of some of the poorer quality channels. The power outlets in my home theatre are installed on a shared circuit with my kitchen's fluorescent light (unfortunately). Occasionally, when the kitchen light is turned on or off, interference bars momentarily appear on my TV. I tested to see whether the M5300-PM could eliminate these interference bars but it did not. However, this is not to say that the M5300-PM doesn't actually do anything when the light is turned on or off. Much of its functionality actually happens behind the scenes so-to-speak. In a scenario such as this, if the voltage momentarily reached out of the 90 to 142 volt range, the M5300-PM would have prevented it from reaching the connected components. This is one of the true benefits of connecting your equipment to a power management centre. Power surges or spikes like this can occur when any electrical devices such as lights, hair dryers, microwaves, refrigerators, furnaces or air conditioners turn on or off. To my knowledge, the only guaranteed way to eliminate the interference bars on your display is to install a dedicated circuit from the electrical panel to the outlet in your home theatre, one that is not shared with any other outlets or lighting fixtures. I should mention that the next model up in the Panamax power management centre line-up, the M5400-PM, may be able to eliminate some of these above mentioned conditions thanks to its additional
voltage regulator feature. The voltage regulator ensures that the optimal voltage of 120 (plus/minus a few volts) reaches its connected equipment at all times. The M5400-PM retails for $699, only $100 more than the M5300-PM. In addition to the power protection and slight improvements in certain aspects of audio and video, the M5300-PM is also a very effective solution for cleaning up the mess of cables plugged into power strips on the floor. Each power outlet in the back has a label for a suggested component which makes it very easy to locate the power cable for each piece of equipment. This is very useful for anyone that regularly tweaks their system. Everyone will appreciate eliminating unsightly power strips from the floor. In most cases, you should be rewarded by slight improvements in audio and video performance by adding a power management centre, such as the Panamax M5300-PM, to your home theatre. The exact benefits will certainly vary based on your exact setup. Something that you will achieve in every case when using a power management centre is peace of mind. The Panamax M5300-PM gets the seal of approval from me, although if you have the extra $100, I would recommend getting the M5400-PM model.
quick info Panamax www.panamax.com Distributed in Canada by Lenbrook Canada 905-831-6555 Panamax M5300-PM Power Management Centre
Price: $599
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