sert ye45y t by fredefermaso4

Bliss on a budget: Steppin’ out with Cyrus Audio’s soundBuds2

BUYI “Sensational T+A” N G GU Solitaire P-SE planar 100+ IDE E magnetic headset Com ssentia pon l p109ents

PASSION FOR SOUND

July 2021

Issue No. 477

+ STAR PLAYERS

NEWS EXTRA:

GROUP TEST

Six premium prem Six turntables take the vinyl challenge

“AUDIO SWISS ARMY KNIFE...”

Launches from Ruark Audio, Astell&Kern, Bowers & Wilkins and more...

Novafidelity’s N25 network streamer/preamp

BBC LEGEND Rogers LS5/9 Classic SE standmount

Just Dropped In! Queen, The Clash and The Cure join the pick of Record Store Day’s second batch of releases SMALL WONDER

THE UPSETTER!

The THX Onyx pocket-size mobile DAC/amp delights

The stupendous dub legacy Sonus faber’s tiny Lumina I of Lee ‘Scratch’ Perry standmount packs a punch

PRINTED IN THE UK

JULY 2021

£5.25

GIANT KILLER!

Located at Roskilde, the music city of Denmark, System Audio has received more than 150 awards for sound, design and innovation since 1984.

Legend 5.2 silverback

Awesome Sound, Style and Simplicity “...delivers a melding of bandwidth, resolution and attack that beggars belief!” Hi Fi Choice April 2021

INTRODUCTION

Welcome

PASSION FOR SOUND

www.hifichoice.com Issue No. 477 July 2021

18 HiFi Rose RS150

105

Picture credit: Jordan Hemingway

Tellurium Q Ultra Blue/Ultra Blue II

90 Wolf Alice Blue Weekend

BADGES EXPLAINED

“It’s like trying to review a gig, with Marvin Gaye, The Who, Miles Davis and The Smiths on the same bill!” That’s the conclusion of an email I received recently from HFC contributor David Price trying to explain why copy for this month’s Group Test was taking a little longer to arrive than previously arranged. Beats the dog eating his homework, right? As it turns out, David had so much fun dealing with the sheer variety of excellence on display once he got down to playing with his chosen turntables that we were moved to add an addendum Opinion column so he could explain the many intricacies he encountered reaching his verdict. It was one heck of a tough choice according to David, with all competitors making their own unique claim to the throne. And that’s why the Group Test is the jewel in our crown. It’s a tough gig involving a lot of labour and lugging gear about, but it’s unique to us – no other publication has the moxy to do it – and it’s the foundation of how we work, so you know if a product is recommended you won’t be disappointed. Also in this issue is our second and final roundup of the best vinyl goodies planned for the July Record Store Day drop and a celebration of the mighty dub master Lee ‘Scratch’ Perry. Hope you enjoy it all!

Steve Sutherland Editor

OUR AWARDS

RECOMMENDED: Products that we feel meet a high standard of performance

GROUP TEST WINNER: Comparative tests can only have one winner, and this badge says it all!

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SUITE 25, EDEN HOUSE, ENTERPRISE WAY, EDENBRIDGE, KENT TN8 6HF JULY 2021

Contents

BUYING GUI 100+ es DE sential compon en p109 ts

hifichoice.com Issue No. 477 July 2021

NEWS & OPINION

GROUP TEST

6 Audiofile

The latest news on the hottest products from the world of hi-fi coming your way

73 Letters

Put your points of view and queries on audio matters to our team of experts

83 Opinion

The Hi-Fi Choice team say it as they see it as they discuss the issues of the day

90 Music Reviews

The month’s essential new CD, vinyl and hi-res releases given a work out

READER SERVICES 109 Buying Guide Our hottest hi-fi component picks

122 Reader Classifieds Sell your unwanted hi-fi for FREE here

130 Next Issue The sonic treats to look out for next month

FEATURES 16 RSD 2021 – 2nd Drop As the releases are announced for Record Store Day, here’s our pick of the pops

98 Music Legends Innovatory producer and creattor of dub, all hail the Upsetter, Lee ‘Scratch’ Perry

24 Six stunning turntables – all of them highly rated – but which one is worthy of taking the top spot?

128 Reasons To Be Cheerful Our pick of the most exciting things coming your way this month

6 Audiofile: Ruark R5 Signature 4

JULY 2021

93 Music Reviews: Tony Allen

CONTENTS JULY 2021

“He once said he had gifted reggae to Bob Marley as: “a present” and though a bold claim it was not entirely without justification”

60 Sennheiser IE 900

Music Legends: Lee ‘Scratch’ Perry p98

TESTED THIS MONTH

18 HiFi Rose RS150

40 Rogers LS5/9 Classic SE

REVIEWS

CHOICE EXTRAS

Kit testing

105 Tellurium Q

18 HiFi Rose RS150 network-attached player/DAC

Ultra Blue/Ultra Blue II speaker cables

40 Rogers

106 iFi Audio

LS5/9 Classic SE two-way standmount loudspeaker (Exotica)

iSilencer+ USB audio noise eliminator

44 Cambridge Audio Evo 150 one-box streaming system

106 Nordost Heimdall 2 Power Cord

50 THX Onyx portable DAC/headphone amplifier

52 Sonus faber

44 Cambridge Audio Evo 150

GROUP TEST

Lumina I two-way standmount loudspeaker

Turntables £3,500-£4,500

57 Novafidelity

27 Acoustic Solid

N25 network audio streamer/preamp

Wood MPX

60 Sennheiser TT4 belt-drive turntable

29 Linn Majik LP12/Krane 31 Luxman PD-151 32 Origin Live Calypso

64 Cyrus Audio

Multilayer/Silver

IE 900 in-ear dynamic drive earphone

62 Edwards Audio soundBuds2 true wireless stereo earbuds

66 T+A Solitaire P-SE open-back, over-ear planar magnetic headphone

35 Rega Planar 10 36 Technics SL-1200G

Picture credit: Bernard Benant & Navire Argo (Tony Allen)

68 Arcam ST60 network music player/DAC/ digital preamp

52 Sonus faber Lumina I

57 Novafidelity N25

Never miss an issue – turn to p88 for our latest subs offer JULY 2021

T H E

L AT E ST

I N D U ST RY

N E W S…

Famous five Ruark upgrades its R5 system PRICE: £1,250 AVAILABLE: NOW WEB: RUARKAUDIO.COM

BRITISH HI-FI SPECIALIST Ruark Audio has introduced a new Signature Edition of its R5 all-in-one desktop system with an aesthetic upgrade and enhanced performance. It comes with a Piano Lacquer ﬁnish and machined alloy Rose Gold detailing and features Ruark’s proprietary algorithm and digital ﬁltering, but with further tuning. The function has been enhanced, which the company says: “creates a cleaner soundstage with 6

JULY 2021

greater depth and realism.” The end result is Ruark’s STEREO+ feature. Internally the R5 Signature uses the original R5’s high-fidelity Class A-B amplification paired with Ruark’s own neodymium NS+ drivers, but with revised routing of key signal paths and the use of high-purity oxygen-free speaker cables for extra sound clarity. Offering wi-fi streaming of Spotify and support for Tidal, Deezer and Amazon

Music, a multi Format CD player, aptX HD Bluetooth receiver for 24-bit hi-res streaming, DAB/FM and internet radio tuners, USB playback/charge port, auxiliary digital and analogue inputs including RIAA turntable input, a high-contrast OLED display with large clock format, Ethernet port and nominal 90W output, the R5 Signature Edition weighs in at 9.5kg and measures 520 x 142 x 300mm (WxHxD).

AUDIOFILE

The combination of piano lacquer finish and alloy rose gold detailing is stunning

JULY 2021

AUDIOFILE

Direct action Technics introduces new direct-drive turntables PRICE: £800 AVAILABLE: NOW WEB: TECHNICS.COM TECHNICS HAS UNVEILED two new direct-drive turntables, the SL-100C and the SL-1200MK7. The former is a high-quality plug and play model that features an iron-coreless direct-drive motor and high-precision S-shaped aluminium tonearm, and comes in at a more affordable price point than Technics’ SL-1500C. The SL-100C also comes with an on-board pick-up in the shape of Audio-Technica’s VM95C – with a conical stylus – which the company says: “ensures precise tracking and detail retrieval from the vinyl grooves, while 8

JULY 2021

the cartridge’s technical characteristics mean it is widely compatible with typical Phono MM (moving magnet) inputs found on hi-fi amplifiers.” Built on a solid two-layer chassis to ensure meticulous tracking, Technics says it’s free from external vibrations while the automatic tonearm lift (which can be turned off) activated at the end of the vinyl’s groove prevents unnecessary needle wear-out after finishing each side of an LP. Meanwhile the new SL-1200MK7 (above) inherits the same features and performance

as the DJ-friendly SL-1210MK7 – which was introduced in January 2019 – but now comes in a silver version and features a coreless direct-drive motor for stable rotation, an S-shaped tonearm, two-layer platter with improved vibration-damping performance, high-rigidity cabinet and high-damping insulator, a starting torque/brake speed adjustment function, pitch control, a reverse play function and a stylus illuminator featuring a high-brightness, long-life LED. Both the SL-100C and SL-1200MK7 are available to buy now for £800.

Fidelio X3

Crafted for serious listeners Be there. From the singer’s breath to fingers squeaking on a fretboard, these audiophile-grade open-back headphones match feather-light comfort with pristine tuning. Discover new layers of transparency and detail every time you slip them on.

Philips Fidelio X3 Best Headphone Under £500

philips.com/headphones

2020

AUDIOFILE

One hundred and eighty! PRICE: £1,400 AVAILABLE: NOW WEB: ASTELLKERN.CO.UK ASTELL&KERN HAS INTRODUCED its new SE180 portable hi-res audio device, the third model in its A&futura series and the first to feature interchangeable all-in-one DAC modules. Expanding on the multi-DAC innovation first introduced with the SE200, listeners can now customise their sound with different audio-flavoured converters to find the hi-fi-grade sonics that best suit them. The interchangeable DAC design separates the main body from the all-in-one module so A&K claims any power and RF noise generated by the main unit is completely blocked, creating an independent structure that prevents noise from interfering with music. The A&futura SE180 comes with a default module featuring the SEM1 ESS ES9038PRO, an eight-channel DAC capable of playing up to 32-bit/384kHz PCM and native DSD256 files. An optional module is offered in the shape of

the SEM2 Asahi Kasei AK4497EQ Dual DAC, which can play files up to 32-bit/768kHz PCM and native DSD512. Both modules include 2.5mm, 3.5mm and 4.4mm headphone outputs while there is support for MQA playback. A&K says it will release another DAC module later in the year with a further one following later in the first half of 2022. The company says that the A&futura SE180 is the first player to boast its Teraton Alpha Sound Solution technology for improved audio, an enhanced user-interface design, full HD display and added advanced connectivity functionality.

The A&futura SE180 is the ﬁrst model to feature AK File Drop for wireless ﬁle transfers via PC, smartphone or FTP program located on the same network, while the newly introduced BT Sink function connects the SE180 to an external device – such as a smartphone – via Bluetooth. Featuring 256GB on-board memory (expandable up to 1TB via a microSD card slot), it comes with a black or navy leather case The Astell&Kern A&futura SE180 (with SEM1 ESS ES9038PRO DAC module) is priced at £1,400, while the optional SEM2 DAC (Asahi Kasei AK4497EQ Dual DAC Module) is £319.

Ear ye! Ear ye! PRICE: £200-£350 AVAILABLE: NOW WEB: BOWERSWILKINS.COM B&W has unveiled two new true wireless in-ears: the PI7 and PI5. The flagship PI7 supports Qualcomm aptX Adaptive wireless transmission from compatible mobile devices, allows hi-res music transmission from suitable streaming services and backs that capability with 24-bit/48kHz wireless transmission between each earbud. The buds themselves feature a 9.2mm bespoke drive unit, joined by a high-frequency balanced armature driver. Each of the units (two in each bud) are actively driven by their own amplifier. The PI7 boasts Adaptive Noise Cancellation paired with six microphones – three in each bud – for clear sound quality with phone calls. The PI5 uses TWS+ technology for earbud-toearbud synchronisation, coupled to a single 9.2mm bespoke drive unit in each earbud. It supports aptX, user-selectable noise-cancelling (plus an ambient pass-through mode) and features twin built-in microphones for high-quality phone calls. Both the in-ears can be configured via a companion app and have a simple one-button capacitive user interface coupled to voice assistant support via either Siri or Google Assistant. Both offer wireless recharging compatible with a wide range of suitable accessories, plus charging cases that can top-up each earbud once its built-in battery life is exhausted. The PI5 will operate for four and a half hours, while the PI7 claims four hours. Both cases allow up to four full recharges. The P15 is priced at £200, the P17 at £350. JULY 2021

And the winners

ECI8 EC I80 0D D ˜ˡ˧˘˚˥˔˧˘˗ ˔ˠˣ˟˜Ё˘˥

£2 £ 28 89 99 9 9 ((w w white variant shown +£200))

“If yo you u’r ’re look ooki king ing fo for th the he ult ulti l ima imate imat te par party ty speake akers k rs, Hii Fi? i? you’ve jjust you’ ustt ffound ound d th them the m”” What Hi-

JBL 4349 loudspeakers (standmount)

“smooth highs, warm detailed mids, bass you can feel…” Robert Schryer

Focal ARIA K2 936

£6995

loudspeakers

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““Soundstage is striking… unusually wide and especially deep stage illumination will surprise”

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Acoustic Solid Wood MPX turntable/bundle

Electrocompaniet ECI80D ˜ˡ˧˘˚˥˔˧˘˗ ˔ˠˣ˟˜Ё˘˥

£2899 (white variant shown +£200)

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“a resolution to them—that is beyond a lot of other stand mount speakers”

“I was genuinely smitten with results achieved by the REL Carbon Special”

Terry Ellis | PursuitPerfectSystem

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Sennheiser IE 900 audiophile earbuds

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HiDiamond Diamond 1 speaker cable, 3m

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LessLoss 640X Audio Physic STEP 35 loudspeakers (bookshelf)

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Innuos PhoenixNET network switch

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Ortofon 2M BLACK LVB 250 mm cartridge

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SOtM SE Bundle streamer/ usb regenerator// psu

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AUDIOFILE

Blast off! PRICE: £52 AVAILABLE: NOW WEB: TECHNAXX.DE FRESH OUT OF Frankfurt comes the wireless MusicMan LED SoundBlaster BT-X56. Equipped with an integrated 3600mAh battery, which promises three hours of playback time (at full volume), it also serves as a portable charging station for tablets, smartphones and other devices. Offering FM radio, Bluetooth V4.2 and voice assistant as well as an Aux input, it comes with a shoulder strap and is IPX6 splash-proof. It boasts two 14W loudspeakers, an RGB LED-light around the speaker membrane, weighs in at 1.74kg and measures 283 x 123 x 126mm (LxWxH).

California love JBL’s new ‘compact’ bookshelf speaker PRICE: £1,800 AVAILABLE: NOW WEB: HARMANLUXURYAUDIO.COM JBL has launched its new 4309 Studio Monitor compact bookshelf loudspeaker. A smaller version of the 4349 (HFC 475), the 4309 is equipped with a 2410H-2 25mm compression driver mated to the latest High-Definition Imaging (HDI) horn and features a 165mm cast frame pure-pulp cone mid/bass driver. Designed in Northridge, California, JBL’s 4309 has a claimed sensitivity of 87dB into 4ohm loads. It sports a dashing blue baffle and is finished in walnut or black walnut furnituregrade satin wood veneers with a blue (walnut) or black (black walnut) cloth grille. Dual sets of gold-plated binding posts offer a choice of single-ended or bi-wire/bi-amplified connections. 14

JULY 2021

AUDIOFILE

Tempo-tation PRICE: £2,850 AVAILABLE: NOW WEB: VERTEREACOUSTICS.COM VERTERE ACOUSTICS HAS unveiled its new Tempo digital motor drive, which the company claims: “controls the record player motor and provides a smoother drive with lower noise and lower distortion… With an internal circuit microprocessor, it provides a pure sine wave in the digital domain, converted to analogue via an onboard DAC. Two waveforms are derived, a cosine and a sine, amplified using two bridged amplifiers to power the motor.” The Tempo features a gold-plated PCB, four fully regulated voltage rails powering different circuit sections and the entire digital, microprocessor and DAC. Circuitry is first shielded by copper foil and then using a stainless steel shield plate. A mode and speed selector switch allow the unit to be programmed to provide three modes for the white power indicator LED and

facilitate switching between 33 & 45rpm. The motor output gold-plated seven-way locking connector connects the Tempo to the record player via a dedicated motor link that internally utilises two Pulse-R drive cables and a separate D-Fi LED power cable.

Measuring 128 x 58 x 220mm (WxHxD) including selector and feet, and weighing in at 1.3kg, Vertere claims that the Tempo: “enhances the musical performance and makes the experience of listening to vinyl closer to the original master.”

Bang on! PRICE: £9,750-£10,750 AVAILABLE: NOW WEB: BANG-OLUFSEN.COM Bang & Olufsen has introduced its Beolab 28 adaptive, wireless loudspeaker, which the company says: “combines advanced acoustical innovations with convenient smart speaker features to create an exceptional experience right out of the box”. Designed slim so that it can be positioned anywhere in the home, it features a built-in subwoofer based on a custom-made 165mm driver, which itself has a large excursion to obtain: “powerful and precise bass”. Using three 76mm full-range drivers placed on the front and one on each side, and a 25mm tweeter on the front for optimal treble quality, the Beolab 28 promises to create a uniform directivity throughout the meaningful frequency range. Employing Beam Width Control, the Beolab 28 is designed to offer the best listening experience for any situation. The setup uses wireless connectivity, with synchronisation of speakers at 24-bit/48kHz. Streaming options include Airplay 2 or Chromecast, the B&O app and Bluetooth. The Beolab 28 can be placed on the floor (253 x 137 x 253mm, WxHxD) or hung on the wall (212 x 140 x 253mm, WxHxD). It comes in Natural Silver, Black Anthracite or Bronze Tone aluminium, combined with covers in knitted fabric or solid wood. The versions with fabric covers are available in two tones: grey and grey mélange and are priced at £9,750 per pair. The wooden covers are available in light oak, oak, smoked oak and walnut, priced at £10,750 per pair. JULY 2021

AUDIOFILE

Y A D E R O T S D R O C RE ! P O R D D N 2 1 2 0 2

As promised in last month’s issue, here’s HFC’s pick of the second Record Store Day drop, which will go on sale in independent record stores worldwide on 17 July. For participating stores, drop times and the full list of releases, check out recordstoreday.co.uk

Aretha Franklin Oh Me Oh My: Aretha Live In Philly, 1972 There’s no such thing as too much Aretha so Oh Me Oh My: Aretha Live In Philly, 1972 is a welcome addition to her canon. Nearly two hours long, recorded live at the National Association Of Television & Radio Announcers Convention in Philadelphia, PA, it features the first live performances of many of Aretha’s landmark hits. Available on vinyl for the first time especially for RSD’s July drop, it’s a double, pressed on orange and yellow vinyl and limited to 10,000 copies via Rhino Atlantic. The Clash If Music Could Talk This was a promo album released in 1981, featuring interviews with all four members of the band interspersed with music from the recently released Sandinista triple LP. Until now, the album has never

had a full release. Available as a double pressed on 180g vinyl, the 2021 RSD limited edition reproduces the original interviews, as well as the full-length tracks from the album (using the 2012 audio). The front cover features a photo of Augusto César Sandino – the Nicaraguan anti-imperialist leader and forebearer to the country’s Sandinista movement who provided the inspiration for the album. A pound from the retail price of each copy will be donated to the War Child charity. The Cranberries Stars: The Best Of 92-02 For the first time on (transparent ) vinyl via UMC, this double features the band’s biggest hits plus two tracks never before released. Crass Christ Alive! – The Rehearsal Originally recorded in 1982 in Crass’ rehearsal studio, Christ Alive

ST VINCENT’S NINE INCH NAILS COVER FEATURES DAVE GROHL ON DRUMS comes on black vinyl courtesy of One Little Independent Records, limited to 450 copies. All profits will be donated to the Refuge, a UK charity working against domestic violence. Crosby, Stills, Nash & Young Déjà Vu Alternates This is a ‘recreation’ of the supergroup’s second album, 1970’s Déjà Vu, featuring alternate versions of songs which appeared on the original album. It also features a cover that mirrors the original release with an different photograph from the cover shoot. It’s pressed on 180g black vinyl by Rhino Atlantic and limited to just 10,000 copies. The Cure Wild Mood Swings In celebration of the album’s 25th anniversary, RSD is offering Wild Mood Swings as a double picture disc in a die-cut gatefold cover with a download card via UMC. Denzel Curry x Robert Glasper Live From Leimart Park Featuring one song from Curry and one from Glasper, both were

JULY 2021

performed by the artists and a band during a session in the Fall of 2020 that was dubbed Live From Leimart Park. The tracks are Incredible and This Changes Everything and they come as a 7in vinyl picture disc via Loma Vista. Durutti Column Deux Triangles Deluxe Factory Benelux presents a deluxe double vinyl gatefold edition of Deux Triangles, originally a 1981 EP. Limited to 1,000 copies, pressed on blue and clear-coloured vinyl. Fear The Record Pressed on 140g clear and white mixed vinyl, this 1982 album comes with a bonus 7in Christmas 45rpm single that’s been pressed on transparent red vinyl in a repro of the original picture sleeve. The Christmas single has been out of print since its original release in 1982. The package will also include a cardboard art-stencil of the band logo from the cover art via Run Out Groove. Fun Lovin’ Criminals Scooby Snacks This is an orange vinyl 12in released via Chrysalis to celebrate Scooby’s 25th anniversary featuring three remixes along with mixes of the other singles from the Fun Lovin’ Criminals’ debut long player: Come Find Yourself.

AUDIOFILE

Gun Club Ruby Sessions Two tracks from the Minky label – Fire Of Love and Bad Indian – on a 7in that’s never been released in these alternate versions. The originals were recorded for the band’s debut album, Fire Of Love, in 1981. Happy Mondays Hallelujah (Original, Club Mix by Andrew Weatherall and Paul Oakenfold/Ewan Pearson remixes) Ewan Pearson’s new take on Happy Mondays’ Hallelujah brings Kirsty McColl’s backing vocals from the Steve Lillywhite mix to the fore. It comes on 12in via London Records with the legendary Club mix by Andrew Weatherall and Paul Oakenfold plus the original track remastered. The Heartbreakers LAMF – The Found ’77 Masters When it was originally released in 1977 on Track Records, Johnny Thunders & the Heartbreakers’ LAMF had a mastering fault, widely condemned as a ‘muddy mix’. Track consequently went bust and the master was lost – meaning that subsequent releases have been compiled from outtakes or remixes. Now the master has been found and the album can finally be heard as the band and producers intended. It comes as a limited edition in transparent purple vinyl plus a 12in poster via Jungle.

Jerry Dammers At The Home Organ: Demos 1980-82 This 10in black vinyl disc features two previously unreleased home demos of Specials tracks made by Jerry Dammers on cassette between 1980 and 1982. The tracks are Ghost Town and Theme From The Boiler via Two Tone. Matt Bellamy Cryosleep A must for Muse nuts, Cryosleep is main man Matt Bellamy’s first physical solo release. It comes as a limited edition 12in, ten-song picture disc with a sheet music booklet thrown in – via Globalist Industries LLP. Miles Davis Champions – From The Complete Jack Johnson Sessions Released on a yellow vinyl LP by CMG, these tracks were culled from 2003’s expanded version of the 1971 soundtrack to Bill Cayton’s documentary about boxer Jack Johnson. The album features a classic lineup including Wayne Shorter, John McLaughlin, Keith Jarrett, Herbie Hancock, Jack DeJohnette and Billy Cobham, and comes in a cover boasting the legendary photo of Davis posing as a boxer captured by snapper Jim Marshall. Queen & Adam Lambert Live Around The World EP This USM/EMI release is an exclusive 12in EP on coloured vinyl featuring four tracks from

the band’s Live Around The World album, plus a previously unreleased version of I Want It All recorded live at Tokyo’s Summer Sonic in 2014. Ramones Triple J Live At The Wireless Recorded at the Wireless Capitol Theatre, Sydney, Australia back in July 1980 during the End Of The Century tour for a live radio broadcast, Triple J now comes as a previously unissued, 23-track LP pressed on 180g black vinyl, limited to 13,000 copies worldwide via Rhino. The Sisters Of Mercy BBC Sessions 1982-1984 BBC Sessions 1982-1984 features three BBC sessions which have never been available physically before, two of which first appeared on the John Peel show. Tracks include covers of The Stooges’ 1969, Dolly Parton’s Jolene and Hot Chocolate’s Emma. This title charts their earliest days as an indie band in 1982 right through to the time they signed to Warner Records in 1984. Released on Warner Music UK, the set comes as a double on ‘smoky’ vinyl. Squid Near The Westway Brighton’s Squid have gone the extra mile for the second RSD

drop by recording two tracks live to vinyl. The session took place on 7 April at Metropolis Studios in London and was broadcast by Steve Lamacq on his BBC Radio 6 Music show. The tracks will be available on a 12in via Warp. St. Vincent Piggy This is St. Vincent’s take on Nine Inch Nails’ Piggy featuring Dave Grohl on drums backed with Annie Clark’s unique version of Metallica’s Sad But True. Comes on 7in vinyl via Loma Vista. Various Artists You Got The Power: Cameo Parkway Northern Soul 1964-1967 And finally, an ace 20-track compilation featuring some of the most sought-after soul and R&B records from Philadelphia’s Cameo Parkway and Fairmount labels, which were popular during the late Sixties/early Seventies Northern Soul club scene. The compilation includes rare tracks that sell for thousands of pounds at record fairs and on Ebay on their original 45s. Artists include Yvonne Baker, Christine Cooper, Bobby Paris, Jerry Jackson and Vickie Baines. Mastered from the original cuts in ABKCO’s Cameo Parkway archive, it comes as a double on coloured vinyl via UMC.

JULY 2021

ROSE MAIN TEST HIFI RS150 £3,900

Cat that got the stream With a design that rivals would be smart to emulate, this South Korean network-attached music player is about to land on UK shores. Will it have a trick or two to teach its rivals? hoice, it’s a wonderful thing. And while once upon time what you listened to was limited to the records, compact discs or even tapes that you had on your shelves, now it’s more a case of choosing the streaming service that best suits your taste – offering you more music than your shelves could ever hope to hold. And while streaming has seen the options of what you listen to increase beyond all imagination, how you choose to do so has followed suit. Do you go down the all-in-one route, opt for an integrated ampliﬁer with streaming built-in or take your pick from the multitude of standalone components that include network players and DACs? From the early days of a format that were niche and expensive, network audio devices have grown to be a huge part of the market, with every hi-ﬁ manufacturer

JULY 2021

worth its salt offering a solution or three in varying forms. The latest to get in on the network audio action is South Korean concern HiFi Rose, an off-shoot of Citech which has a solid reputation out East for producing everything from interactive kiosks to set-top boxes.

The RS150 serves up a performance that is big and bold, but packed with detail Distributed by Henley Audio, the brand hopes to make a splash in the UK by debuting two network audio solutions, the RS150 being the ﬂagship release. And boasting compatibility with a huge range of ﬁle formats, it’s more than worthy of the role. Airplay, Tidal with MQA, Qobuz

DETAILS PRODUCT HiFi Rose RS150 ORIGIN South Korea TYPE Network-attached player/DAC WEIGHT 13kg DIMENSIONS (WxHxD) 430 x 123 x 316mm FEATURES ● Streaming preamp functionality ● In/outputs: optical; coaxial; AES/EBU sockets ● RCA inputs DISTRIBUTOR Henley Audio Ltd. TELEPHONE 01235 511166 WEBSITE eng.hifirose.com henleyaudio.co.uk

and Roon cover the basics, while it can additionally act as either a source component or a streaming/digital preamp thanks to the inclusion of variable-level outputs in the shape of unbalanced RCAs and balanced XLRs. There’s even the option to become both a player and a streamer – by removing a panel on the underside and installing an SSD drive for storage to complement the USB-A host ports, plus there is a slot that accepts Micro SD cards. Connectivity incorporates digital in and outputs in the form of optical, coaxial and AES/EBU sockets, USB-B for hook-up to a computer and I2S via RJ45 or DVI ports. The RS150 can also accept audio from a video device using the ARC (Audio Return Channel) protocol on a separate HDMI input and the USB ports can output audio to a suitable DAC. Completing the picture is a single set

MAIN TEST

HIFI ROSE RS150 £3,900

of RCA analogue inputs. Networking is of course via wired or wireless connection, with the later thanks to a plug-in USB dongle that supports aptX Bluetooth. Machined from solid aluminium, the chassis is certainly eye catching and dominated by the 378mm-wide, IPS touchscreen panel, which stretches across the entire front fascia. One of the sharpest displays we’ve seen on such a product, this is the real clincher for the RS150 – transforming it from bulk-standard streamer into the sort of modernist slice of future tech you’re more likely to see in Blade Runner. Not content to simply display album artwork and act as a menu for random features to hide away in, it offers more formats of clock display than you could imagine (from retro mechanical flip-digits to a plain analogue face), VU meters and can even display 4K HD video (which it can also output to a screen connected via HDMI). Keeping everything ticking away under the hood, the RS150 runs a customised Android 7.1-based architecture alongside the company’s own Rose operating system. This interfaces with the proprietary Rose Connect app (available for both Android and iOS tablets and smartphones), which is better suited to day-to-day operation and some elements of setup – although for more-indepth settings you’ll have to navigate the multiple layers of the on-screen menu on the front panel. Alternatively, basic operation can be carried out using the Bluetooth remote control. Digital conversion is handled by Asahi Kasei’s Verita AK4499EQ, compatible with LPCM up to 32-bit/768kHz and up to DSD512.

Sound quality

APPY AND YOU KNOW IT Where many rival manufacturers have chosen to utilise third-party produced DLNA control apps, HiFi Rose has instead opted to go its own way and the result is Rose Connect. Created to be compatible with both Android and iOS smartphones and tablets, it not only works with the RS150, but with all of the company’s network audio products. As well as providing access to streamed music – both network and online (including Qobuz, Tidal and internet radio) – it additionally enables the user to select from the various input options, make adjustments to the display choices and, of course, volume –with the outputs in ‘variable’ mode.

The interface is able to deliver album artwork and playback information – including file format – and it does the same with internet radio stations. Some of the more idiomatic English terminology could do with a tidy and some indepth set-up options aren’t available on the app – you’ll need to resort to using the gorgeous touchscreen panel for this – but this is a highly flexible and supremely attractive way to control a supremely versatile component. Alternatively, there’s a simplified version of the app called RoseWare, which gives the user basic ‘choose music and play’ functionality. It’s a great starting point, but obviously doesn’t offer the same level of detail as the full-fat Rose Connect.

Unfortunately, setting up the RS150 is severely hindered by the absence of a full instruction manual in English – a problem that will hopefully be ironed out by the time you read this – and so we have to make do with the light-ondetail fast setup guide. It also takes quite a while to index and find the artwork of our admittedly hefty NAS-based music library. To save time, we instead opt to copy selected files onto a USB stick and listen via the ‘computer’ USB port. Admittedly, this results in the RS150 being used purely as a DAC and so not fully maximising its full potential. Perhaps the first observation of note is the hefty amount of volume it’s able to kick out – making it worthwhile taking the time to go into the menu JULY 2021

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Listen to craftsmanship. Listen to real wood. Listen to true, state-of-the-art, hand-built tweeters and woofers. To more than 2000 hours of devoted R&D. To the depths of your record collection. Listen to what you love. ‘Heritage Special’ isn’t just a name. It’s a salute to traditional high-performance Danish audio design, featuring Dynaudio’s now-legendary materials, technologies and performance.

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HIFI ROSE RS150 £3,900

MAIN TEST

IN SIGHT 1 Coaxial digital inputs and outputs 2 Optical digital inputs and outputs 3

RCA inputs

4 Unbalanced RCA outputs

5 Balanced XLR outputs

and fixing it to a more comfortable level if you plan to use the RS150 as an integrated amp or preamp. That done, there’s no denying the HiFi Rose serves up a performance that is big and bold, but packed with detail. Even when listening to a simple recording such as Javier Laso’s set of Schubert and Schumann Sonatas (a pure DSD256 file played at its native resolution) there are plenty of fine details to pick out of the mix. If forced to be ultra critical we might be inclined to point to the slight lack of space and atmosphere. However, the close focus on the solo piano, the fine impact of the playing, the weight to the instrument and the unmistakable lightness of touch of the pianist go some way towards making up for this slight shortcoming. Switching to Vaughan Williams’ Fourth and Sixth Symphonies sees the same sense of powerful sound under pinning the presentation. Sure, it might not be as absolutely resolved

as perhaps it might, but there’s certainly no denying the scale and detail of the overall effect, even if a touch of the live nature of the performance is lost in the slight bloom that’s clearly audible. Turning the wick up a touch, the thrill of the orchestra at full speed in the Scherzo of the Fourth Symphony sees the RS150 start to let its hair down and party. Similarly, switching to something a little different in the shape of Tame Impala’s Lonerism album sees the hard-driving pop

The touchscreen display is one of the sharpest we’ve seen on such a product shown in the best possible light. From the thumping percussion of the intro to Be Above It, the music surges out with supreme thump and punch, carving persuasive instrumental textures without overly deconstructing the wash of sound. Pleasingly, the results appear to remain broadly the same regardless of whether music is streamed via the network, the internal drive, the digital inputs or as a Roon endpoint. The performance remains consistently rich, dynamic and rewarding with only that slightly soft

HOW IT COMPARES Inclusive streaming DAC solutions come in a variety of forms, including those that host an onboard CD drive and amplification like the new £3,000 Caruso R from T+A (HFC 475). Then there’s Naim’s £2,400 Uniti Atom, a compact box with onboard amplifier (but no CD drive) that, like both T+A and HiFi Rose, is based on a custom streaming platform and app. Arguably, more direct competition comes in the form of Cambridge Audio’s £4,500 Edge NQ streaming preamplifier (HFC 447). Cambridge Audio has also developed its own ‘StreamMagic’ platform while the NQ’s audio design delivers an exceptionally compelling sound.

2x USB 3.0 inputs

Micro SD Card slot

Ethernet port

soundstage focus holding it back in any way – and this only seems to be in evidence on particularly atmospheric recordings such as church-recorded choral (which can sound a tad dry) and simply miked jazz in reverberant studio acoustics. Finally, for the sheer hell of it, a high-quality recording of Taylor Swift’s Fearless reveals all the intricacies of the instrumentation as the exuberance of Swift’s vocals is effortlessly reproduced with just the right amount of class and vivacity. If music sounds this good, maybe the sins of omission are easier to ignore.

Conclusion So much more than just a beautifully designed component showing others the way to go, the RS150 back ups the stunning aesthetics with a performance to match. Regardless of whether it’s employed as a player or DAC the supreme levels of richness and detail not only make the slight softness on some material easier to over look, but also underline this as a supreme debut. We enthusiastically look forward to hearing what else the South Korean brand has up its sleeve in the future ●

OUR VERDICT VALUE FOR MONEY

LIKE: Build quality; design; supreme sharpness; big, bold performance

BUILD QUALITY

DISLIKE: Contentdependent slight softness

SOUND QUALITY

FEATURES

WE SAY: A superb debut that sounds every bit as good as it looks

OVERALL

JULY 2021

With a sculpted aluminum frame and patented IsoAcoustics integrated isolators, the Aperta Sub introduces a new standard in acoustic isolation for subwoofers. The Aperta Sub decouples subs from their supporting surface to prevent the physical transfer of energy that excites the supporting surface, causes room rattle and disturbs your neighbors.

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Hi-Fi Choice employs the most methodical test and measurement regime in the business. Here’s how we do it...

Unique group tests

ELGAR Adagio; Moderato Cello Concerto, Op.85; du Pre/London Philharmonic Orchestra

Our Group Tests are supported by rigorous and exhaustive listening tests carried out by experts TURNTABLE GROUP TEST A TURNTABLE GROUP Test has more variables at play than practically any other type – aside perhaps from loudspeakers, where each model’s interaction with the room can be a serious issue. For example, there’s both the turntable and tonearm to consider plus the accuracy of setting up, which can make or break the ﬁnal sound. This test is structured to examine premium-priced packages, which include both the deck and the tonearm, in as consistent a way as possible. Although the Acoustic Solid and Linn packages both come with bundled cartridges, these are removed so that a single reference movingmagnet can be used. This is the Ortofon 2M Black 250 LVB, a high-end design with a natural,

revealing sound. Alignment is done with a Mobile Fidelity Geodisc (HFC 370). Tracking force and bias are set to the manufacturer’s recommended ﬁgure. An Arcam rPhono phono stage (HFC 423) is used, due to its clean, detailed nature. Comparing the turntables back-to-back is not a logistically simple feat, so each one is unpacked and built up in another room. It is then carefully aligned and run for a day or so, before being moved to the listening room. A light, rigid Quadraspire support is used, placed well away from the axis of the speakers. Listening notes are made with the four songs, chosen to offer distinctively different programme material.

WINGS Maybe I’m Amazed Wings Over America

LOU DONALDSON Alligator Bogaloo Alligator Bogaloo

MANIX Your Dreaming Dreamers EP

REFERENCE SYSTEM CARTRIDGE:

INTEGRATED AMPLIFIER:

LOUDSPEAKER:

Ortofon 2M Black LVB 250 £830

Creek Voyage i20 £4,500

Acoustic Energy AE509 £2,300 HFC 456

A high-end version of the 2M Black that fared so well in last year’s movingmagnet cartridge Group Test (HFC 467), the Ludwig van Beethoven anniversary edition gets a boron cantilever. This makes it one of the finest such designs currently on sale.

This recently launched Class G integrated is arguably the most transparent-sounding amplifier that Creek has ever made. It combines forensic detail with a musical sensibility, making it an ideal comparative tool. There’s also plenty of power to drive the chosen loudspeakers.

Don’t be fooled by the modest price; the carbon fibre drivers and cabinets of this compact floorstander are seriously good. Indeed, this speaker was easily revealing enough to signpost all the differences between turntables in our Group Test, and is a consummately musical performer.

JULY 2021

TURNTABLES £3,500-£4,500

Premium spinners The vinyl revival has spawned a new wave of expensive turntable packages, but how do they stack up? David Price investigates THERE’S NO QUARRELLING with the figures. If you look at the numbers coming out of market research companies in the UK, USA and beyond, the black stuff is back. Of course, it’s not going to restore the venerable LP record to the levels it experienced back in the Seventies – when practically every household owned a copy of Mike Oldfield’s Tubular Bells, or so it seemed, but it could soon overtake CD in sales terms. As the western world moves to streaming, there’s really only one physical format that’s growing – and it’s the microgroove record, first launched back in 1948! In the hi-fi sector, many people seem to be rediscovering their love of vinyl. That’s why 24

JULY 2021

there are plenty of new – or carefully revised – turntables seemingly popping up everywhere. High time, then, that we round up some to see what gives. The problem that any prospective purchaser of a premium turntable will undoubtedly face is the sheer diversity of what’s on offer. Some in our group are pretty much ‘plug and play’, like the Luxman PD-151, Rega Planar 10 and Technics SL-1200G. Others such as the Acoustic Solid Wood MPX and Linn LP12 are nearly that, whereas the Origin Live Calypso will require you (or your dealer) to ﬁt the tonearm. That’s why any interested buyer ﬁrst needs to think carefully about what sort of deck he

or she wants. Vinyl was never supposed to be a user-friendly format – unless you compare it directly with shellac 78s, that is – and so you’ve got to have a clear idea of how you want to use your deck before buying. None of the turntables here has any form of automation for example, but some are still easier to setup and use than others. Once sorted, you’ll be surprised at just how good a premium-priced turntable can sound. These contenders have wildly differing sonic characters, yet all turn in a performance good enough to make most digital audio sources sound ﬂat and processed in comparison. Which just goes to show there’s plenty of life left in the vinyl format yet.

ON TEST

Acoustic Solid Wood MPX £3,500 p27 Combining heavy-duty, high-end engineering with a striking, multi-layer wood plinth, this German deck offers a lot of meat for your money. Formed in 2000, its manufacturer has surfed the wave of the vinyl revival.

Linn Majik LP12/Krane £3,500 p29 Does this deck really need any introduction? It’s the latest in a long line of Sondeks, that has been going since 1973. In Majik form it offers the Karousel bearing, Krane tonearm and the option of some snazzy new finishes.

Luxman PD-151 £4,500 p31 This illustrious Japanese brand made some cracking turntables in the Seventies and is now back with this premium product. It’s designed to combine ease of setup and use with serious sound quality. The looks are pretty tasty, too.

Origin Live Calypso Multilayer/ Silver £3,660 p32 Making specialist, highend turntables since the Nineties, Origin Live decks are bred from exacting listening tests. One of the cheaper packages in its range, this promises to be a very strong contender.

Rega Planar 10 £3,600 p35 Another British company that’s been making record decks since the Seventies, Rega brings you its new flagship. With striking looks, radical design and excellent engineering, it promises great sound. Does it deliver?

Technics SL-1200G £3,500 p36 Arguably the most iconic turntable ever seen, this Japanese classic recently got a serious update with better arm, plinth, motor and electronics. Often disparaged due to its DJ connections, but this also brings a quality of its own.

JULY 2021

TURNTABLES £3,500-£4,500

GROUPTEST

nevertheless delivers a dependable, secure sort of performance, which is highly satisfying. The frenetic electronic beats of Manix are great fun, the Wood MPX proving perfectly capable of keeping up with the pace of Your Dreaming. Yet still it doesn’t quite have the dexterity of the Technics SL-1200G for example. It seems happiest with the smooth, shufﬂing modern jazz beats of Lou Donaldson’s Alligator Bogaloo, getting into a metronomic groove and letting the listener enjoy much of what is going on, with plenty of detail and power. The Wings track, Maybe I’m Amazed, is very nice to hear on this big turntable. I love the spacious, expansive sound – the way the

Acoustic Solid Wood MPX £3,500 German engineering meets stunning design to provide a lot of turntable for the money, but how will it fare? DETAILS PRODUCT Acoustic Solid Wood MPX ORIGIN Germany TYPE Belt-drive turntable WEIGHT 35kg DIMENSIONS (WxHxD) 470 x 250 x 370mm FEATURES ● 33 & 45rpm ● Acoustic Solid WTB 370 tonearm ● Ortofon Quintet MM cartridge DISTRIBUTOR Elite Audio UK

any will think this striking looking turntable is the very epitome of high end. The plinth is a beautiful piece, made from multiple layers of plywood with a cherry top veneer. An AC synchronous motor within a chunky spun aluminium housing sits separately nearby, driving the 60mm-thick platter by a ﬁne cord. This is microprocessor controlled and operated by a small remote unit offering switchable 33/45rpm with ﬁne speed adjustment – a metal stroboscope disc is supplied for setup. The arm plate and platter are also heavy, metal affairs; the latter feels weightier than the entire Rega Planar 10! On top of this is a leather mat, which is further topped off by a 5mm-thick clear acrylic disc. Our

review deck comes pre-fitted with a WTB 370 tonearm, which is a rebadged Rega RB220. This is a good starter, but not the equal of some of the others here, such as the Rega or Origin Live. Acoustic Solid also offers its in-house designed WTB 213 Carbon for an extra £1,400. An Ortofon Quintet MM cartridge is supplied, but as with all the decks I fit a 2M Black LVB 250 as a reference. Overall, this turntable package gives a very good impression, aside from a couple of gripes. The spiked feet make setting up tricky if you’re not careful, despite the inclusion of shoes, and I’m not convinced that the sonic benefits make up for the annoyance. The arm lead dressing arrangement is sub-optimal and rather lets down the hi high standards of the deck in other re respects. Once setup, the Acoustic So Solid is as good to use as most here an and works silently, without fuss.

Sound quality S Solid by name, solid by nature. This So turntable has an undeniably robust tu sound; spatially it pushes images so strongly out left and right and has a st de decent amount of stage depth too. Rh Rhythmically it has a very steady gait; it’ it’s not the most infectiously musical he here – the Linn, Origin Live and Te Technics score highly for this – but it

Solid by name, solid by nature: this deck has an undeniably robust sound instruments have plenty of air around them. It is impressive dynamically too, able to thump out the bass drum with greater impact than many others in the group. Yet still there is a slightly plodding feel to the bass that sounds decidedly workmanlike when compared with the supple Origin Live, bouncy Linn or kicking Technics. In fairness, the Acoustic Solid is an expensive deck with a cheap arm, and I fear the latter may be letting the side down just a touch here. Elgar’s Cello Concerto also proves very enjoyable indeed. It is very smooth, spacious and nicely detailed, although again likely due to the tonearm, things are a little opaque deep down towards the rear of the concert hall. All of the basic ingredients are right, however, aside from a slightly ﬂatter and more matter-of-fact presentation compared with the very best of the rest ●

OUR VERDICT SOUND QUALITY

VALUE FOR MONEY

BUILD QUALITY

LIKE: Big, commanding sound; build quality DISLIKE: Spiked feet; arm cable clip WE SAY: A high-value budget superdeck

FEATURES

OVERALL

JULY 2021

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Engineering Emotion

TURNTABLES £3,500-£4,500

GROUPTEST

a big, conﬁdent and enjoyable sound that’s tonally still a little on the warm side. Rhythmically it has the Linn ‘swing’, which is especially apparent with rock and jazz. Spatially it’s still slightly constrained left-to-right, with rivals like the Origin Live giving a wider soundstage. This deck is at its best with Maybe I’m Amazed. It does most of the good things that all the other contenders do, but tends to push the emotional element of the song just that little bit further. Paul McCartney’s voice seems more expressive than the rest, and the bass guitar and piano work evoke a more profound sense of mood. With the Technics for example, listening to it is a dazzling hi-ﬁ experience,

Linn Majik LP12/Krane £3,500 With its origins set firmly in the Seventies, can this elder statesman still mix it with the young upstarts? DETAILS PRODUCT Linn Majik LP12/Krane ORIGIN UK TYPE Belt-drive turntable WEIGHT 10kg DIMENSIONS (WxHxD) 445 x 140 x 356mm FEATURES ● 33 & 45rpm ● Linn Krane tonearm ● Adikt MM cartridge DISTRIBUTOR Linn Products Ltd.

s the latest in a long line of Sondek turntables stretching back to 1973, this is Linn’s ‘entry-level’ LP12 package. This current version of the iconic deck comes with a new Linn-designed, Clearaudio manufactured tonearm called the Krane. Also bundled is an Adikt moving-magnet cartridge, made to Linn’s speciﬁcation by Armour Home Electronics, known for the Goldring brand. As with all participants, an Ortofon 2M Black 250 LVB is used. Since last year, every new LP12 has come with the Karousel main bearing as standard, a major upgrade on the previous type. Gone too is the pressed steel sub-chassis of yore and in its place a lighter and more rigid aluminium

one. A laminate armboard is fitted that’s available for a multitude of different tonearms old and new. Drive is via a short, flat belt from the aluminium motor pulley to an alloy inner platter; the heavy outer platter sits on this with a felt mat. This gets up to speed quickly on switch on, but is no equal of the Technics in this respect. The deck’s independent spring suspension makes it less fussy about placement than, say, the Rega – but a light rigid shelf is ideal. The Krane tonearm is decent enough considering it’s Linn’s entry-level design. It feels a quality item and is easy to use. Hand cueing is a pleasure, even if it doesn’t feel as special as – say – the Rega’s tonearm. This latest Sondek is now available with custom finishes in additio addition to Black, Cherry, Rosenut, Maple a and Walnut veneered plinths; once I get ge over the shock of this turquoise fin nish I rather like it. Overall, this is a cclassy turntable whose timeless lo looks aren’t likely to go out of fashion any time soon.

For such an old design, the new Majik LP12 sounds surprisingly modern whereas with the Linn – which is clearly inferior in terms of ﬁne detail resolution – it somehow manages to sound more poignant. The same effect is apparent with Alligator Bogaloo. I can hear a slightly spatially constrained and lower resolution sound, but it is fun and seems to perfectly capture the vibe of the music. With the Manix track, the Linn appears to soften and round it a bit, making it a less visceral experience than the Origin Live or Technics. It is undeniably fun, but I ﬁnd myself missing the lightning attack transients and sheer welly from the bass. On the other hand, the Elgar piece suits the LP12 far better, with a more lilting, emotional rendition than the slightly sterile Technics. Overall then, it combines high levels of technical virtuosity – if you can call it that – with a certain romantic charm that’s as special today as ever ●

OUR VERDICT SOUND QUALITY

VALUE FOR MONEY

BUILD QUALITY

Sound quality quali For such an old d design, the new Majik LP12 sounds surp surprisingly modern. It’s nowhere near as soft and rounded as it used to be, but sti still retains just enough of the traditional Sondek character for it to charm lis listeners. The result is

LIKE: Sweet, engaging sound; build quality DISLIKE: Lacks an electronic power supply WE SAY: This vinyl legend sounds better than ever

FEATURES

OVERALL

JULY 2021

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TURNTABLES £3,500-£4,500

GROUPTEST

It’s very self-effacing, having less of an obviously deﬁnable character than most of the other turntables in the group. For example, Maybe I’m Amazed sounds smooth yet open, with impressively low surface noise from my ageing vinyl pressing. It’s a lovely recording in its way and the Luxman is well able to remind me of this, thanks to its lack of vinyl nasties. McCartney’s voice sounds tonally correct, signposting the extra gruffness that he tends to exhibit on stage. The guitar work is also deliciously sweet, again with excellent tone. Rhythmically, the beats of the music are not pushed in your face, but rather you’re able to enjoy the lilting rhythms in an unshowy way. The

The Luxman PD-151’s sonic character is similar to its build – solid, but silky

Luxman PD-151 £4,500 Another blast from the past, can this Japanese master replicate the success it enjoyed in its Seventies heyday? DETAILS PRODUCT Luxman PD-151 ORIGIN Japan TYPE Belt-drive turntable WEIGHT 15.7kg DIMENSIONS (WxHxD) 465 x 133 x 393mm FEATURES ● 33, 45 & 78rpm ● Statically balanced S-shaped tonearm DISTRIBUTOR IAG UK

his cult Japanese brand is a relative unknown in the UK, but now under the umbrella of International Audio Group things could be about to change. It’s an illustrious name that last really shone bright in the UK in the late Seventies – famous for sweet, musical-sounding ampliﬁcation but it also had real success with its range of neat, elegant turntables. At a time when its Nipponese rivals were pushing direct drive, it went its own way with some beautifully engineered belt-drive designs, some of which even used vacuum suction to lock the record to the platter. The PD-151 isn’t quite as adventurous, opting instead to be a premiumquality if rather conservative product.

It’s clearly been designed to be easy to setup and use, as you just need to add the platter, hook up the belt, fit the cart to the headshell and balance it. Like its forebears, it’s a belt-drive design, but uses an electronically controlled, high-torque DC motor to drive the heavy, 4kg platter. The plinth sports a 10mm aluminium top plate that’s reminiscent of its classic designs. A polyether ether ketone (PEEK) thrust bearing is fitted to the brass radial main bearing. Rubber damping isolates the motor and power transformer from the chassis, which itself gets heightadjustable rubber insulating feet. A classy Jelco-sourced S-shaped tonearm is fitted, with a magnesium headshell as standard for lower mass and greater rigidity. Quoted cartridge weight range is 4 to 12g.

Sound quality Overall the Luxman feels a very nice, slick all-round package with nothing that obviously lets the side down. It’s deﬁnitively of the Japanese school of turntable design, which means that you won’t need to ﬁddle with it for days on end to get it giving its best. Indeed, it’s every bit as luxurious to use as its name suggests. The PD-151’s sonic character is similar to its build – solid, but silky.

Elgar piece perfectly illustrates this; it is less of an intense emotional experience via the Luxman than with the Linn, Origin Live and Technics offerings, but still proves really fulﬁlling to listen to. It’s a bit more ‘easy listening’ than most others here, but not in a negative way. Indeed, the PD-151 loves Alligator Bogaloo. Other decks are more dynamic and forceful, whereas this one chill-axes a bit and saunters along, conveying the lovely timbre of the Hammond organ and acoustic bass. Speaking of which, it has less articulation down south, lacking the thump of the Technics or the grip of the Rega. Yet still it is tuneful, almost as supple as the Linn in fact. This vinyl spinner won’t suit everyone, but there’s still an awful lot to like here. It doesn’t shine out in one area particularly, yet its all-round performance is still very high ●

OUR VERDICT SOUND QUALITY

VALUE FOR MONEY

BUILD QUALITY

LIKE: Sweet sound; build; ease of use DISLIKE: Nothing at the price WE SAY: A lovely turntable package

FEATURES

OVERALL

JULY 2021

£3,500-£4,500 GROUPTEST TURNTABLES

on the smooth side of neutral with a highly transparent feel. It’s the combination of this tonally pure character, allied to impressive stereo soundstaging, that makes it such a strong performer. Maybe I’m Amazed sounds commanding with instruments running far stage left and right and vocals set precisely in the middle. Stage depth is strong too, and the result is an immersive sound. Pitch stability is very good, the deck timing really nicely. It’s a little less frenetic than the Technics, yet sounds completely natural with this track. Your Dreaming is also lots of fun, with plenty of scale and grip. However, while the Technics SL-1200G seems to lock onto the percussion, the Calypso focuses more

Origin Live Calypso Multilayer/Silver £3,660 This might be one of the high-end specialist’s more affordable offerings, but it still has plenty going for it DETAILS PRODUCT Origin Live Calypso Multilayer/Silver ORIGIN UK TYPE Belt-drive turntable WEIGHT 15.7kg DIMENSIONS (WxHxD) 465 x 133 x 393mm FEATURES ● 33 & 45rpm ● Origin Live Silver tonearm DISTRIBUTOR Origin Live

his company has been going since the late Eighties and at the turn of the century began ﬁelding some impressive-sounding vinyl spinners. Former naval architect Mark Baker now has a dizzying range of turntables and tonearms, all of which are fastidiously designed and built. They tend to be aimed more at hobbyist buyers, because setting them up is a little more involved a process. This is the case with the Origin Live Calypso deck, Multilayer platter and Silver tonearm featured here – at £2,290, £650 and £720 respectively. The combo takes a good hour to properly build up and there are plenty of adjustments. The perspex sub-chassis has to be perfectly height adjusted to get the offboard DC motor to sit right,

for example. Don’t be deceived by the lack of shiny, brushed metal or other such exotic ﬁnishes; general quality of build is very high. Almost everything has a precise feel; the ultra-thick main bearing is quite a thing to behold and the tonearm feels silkier to hand cue than it looks. The arm lacks convenience touches like spring-adjusted tracking force and bias, but this saves money to be spent elsewhere. The motor switch looks a bit low rent, but then again the spun aluminium cueing lever is classier than the Technics. Once carefully fettled on a level surface, this combination runs faultlessly and looks elegant with a rather sculptural aspect to its design. Only the packaging lets the side down; it does its job but is unlikely to be the subject of an unboxing video! The instructions are superbly written but could be presented better, too.

Sound quality The Calypso Multilayer/Silver proves a really impressive performer. It has a big, spacious sound that’s strong on dynamics, involvement and tonal purity, with excellent detail retrieval. In fact, it doesn’t sound like how many perceive a traditional belt-drive deck to be at all. It’s not soft, recessed and warm in the least; rather, it’s just 32

JULY 2021

A big, spacious sound that’s strong on tonal purity, dynamics and involvement onto the backing synthesiser pads. This makes for a more beguiling, immersive sound that is less impressive on a superﬁcial level. Still it is more involving than the Acoustic Solid, Linn, Luxman and Rega all the same. The track also gives it the chance to show off its ﬁne bass. Not quite equal to the Technics, it is still really impressive with a crisp, dry and tuneful bottom end, underwritten by a lot of power. For all the above reasons, the Origin Live fares particularly well on Alligator Bogaloo, too. It sets up an intricate organ and drum groove, with lots of body to the Hammond and an earthy timbre too. It is most capable dynamically too, working better at highlighting the player’s accenting in a way that few others here can equal. The Elgar piece is lovely too, showing this deck to be a great all-round performer ●

OUR VERDICT SOUND QUALITY

VALUE FOR MONEY

BUILD QUALITY

FEATURES

OVERALL

LIKE: Clean; open; vivid; engaging sound DISLIKE: Involved set-up process WE SAY: A superb enthusiast’s turntable

2020-2021 2020 0-22021

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A cut above the rest The multi-award-winning Chord Company cables feature our latest shielding and unique ARAY technology, first introduced on our flagship products and now benefitting all ranges. A wide variety of high-performance analogue and digital interconnects are available alongside speaker, tone arm, power and HDMI cables. Proudly designed in England since 1985 by a dedicated team of music, cinema and game lovers. Used and recommended all over the world by a host of professionals, including record producers, studio engineers, musicians and hi-fi manufacturers. Ask your nearest Chord Company retailer for a demonstration. Find out more:

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TURNTABLES £3,500-£4,500

GROUPTEST

seems to be able to scythe its way straight to the heart of the recording, deftly sidestepping things that leave some other rivals here sounding a bit muddled in comparison. In addition to this, it’s very good from a timing point of view, getting right to the heart of the music’s rhythm. The Manix track highlights this well; the Rega tackles its dizzying attack transients with great resolve, serving up a super fast sound that is smeared slightly on decks like the Luxman. At the same time, bass is very tight – more like the Technics direct drive than most others here. Yet it is a little thinner in the bass than many; it’s supple and tuneful, but doesn’t have the weight of the Linn and Technics, for example.

The Rega has a clear, clean and crisp sound that’s never less than fun to listen to

Rega Planar 10 £3,600 Another old-hand that’s been in the biz since the Seventies, this flagship spinner has much to offer DETAILS PRODUCT Rega Planar 10 ORIGIN UK TYPE Belt-drive turntable WEIGHT 4.7kg DIMENSIONS (WxHxD) 420 x 125 x 15mm FEATURES ● 33 &45rpm ● Rega RB3000 tonearm DISTRIBUTOR Rega Research Ltd.

his radical British high-end vinyl spinner is an essay in minimalism and channels Lotus founder Colin Chapman’s maxim: “add lightness”. Designer Roy Gandy deliberately chose not to make this deck heavy, unlike all other such designs in this group. Rather, its base is made from an ultra-light Tancast 8 polyurethane foam core, sandwiched between two layers of high-pressure laminate, which is thin but rigid. The idea is that mass stores energy like a mechanical capacitor, so the lighter the better. The skeletal, unsprung plinth sports ceramic top and phenolic resin bottom braces, located between the tonearm mounting and main hub bearing. As with all Regas, it’s a belt-drive design but comes supplied with the

company’s most advanced electronic power supply, housed in a custom metal case. It spins a handsome ceramic oxide platter, said to have improved coupling to the sub-platter. The latter is machined aluminium and sits on a hardened tool steel spindle run inside a brass housing. This is driven by special rubber compound belt. Despite the relative lack of weight of the components, the finish is excellent and the choice of materials is innovative to say the least. The Planar 10 comes with a Rega RB3000 tonearm fitted as standard. It’s said to have ultra-tight tolerances with a low-mass, vertical bearing assembly adjusted to one thousandth of a millimetre. The aluminium armature has few joins and comes highly polished. This arm certainly has a legitimate claim to being the best of the group, such is its design, build and price. The deck can come factory fitted with Rega’s £1,250 Apheta 3 moving-coil cartridge, which is sold as part of a discounted package of £4,500 for the deck, arm and cartridge. Ortofon’s 2M Black 250 LVB is once again used for comparison.

Sound quality An interesting one, this! The Rega has a clear, clean and crisp sound that’s never less than fun to listen to. It

This makes for an enjoyable listen, but some might think it a little too analytical. The Wings track is a real pleasure to hear, the Rega turning its attention to the location of the instruments in the recorded acoustic and giving a great account of the ambience. Yet tonally it is slightly thinner than some decks in the group, or less coloured as the case may be. It’s not a turntable that makes everything sound fat, sweet and warm – that’s for sure. This results in both good and bad consequences; the Elgar is a vibrant listen with lots of lovely spatial and timing information. It gives an intricate and quite intense rendition. Yet with the Lou Donaldson track, it doesn’t groove quite as well as the Linn, Origin Live and Technics. For better or for worse, the Rega is all about detail and insight, rather than the richness and warmth of vinyl ●

OUR VERDICT SOUND QUALITY

LIKE: Crisp, detailed, musical sound; build

VALUE FOR MONEY

DISLIKE: Lacks bass compared with some

BUILD QUALITY

WE SAY: A highly desirable, compact turntable package

FEATURES

OVERALL

JULY 2021

£3,500-£4,500 GROUPTEST TURNTABLES

sound that’s as musical as anything here. Maybe I’m Amazed is quite an experience. Surface noise seems to all but disappear, leaving in its place an almost translucent clarity that sees the recorded acoustic pour out of my speaker. There is a ﬁne sense of space, decent tonality and most of all, a divine sense of timing. I really enjoy listening to McCartney’s voice and the lovely guitar sound, but it is tonally thinner than some offerings in the group. Yet this seems irrelevant as the music gains a sense of rhythmic ﬂow that is seriously special. The Technics has the ability to give an almost analogue master tape sense of ease to proceedings, with vast gaps between the beats, yet these are knitted together in a wonderfully

Technics SL-1200G £3,500

A crisp sound with effortless ease allied to power, punch and great detail retrieval

Updated tonearm, plinth motor and electronics barely scratch the surface of what’s on offer here

dextrous way. The Adagio to the Elgar Cello Concerto, for example, washes around me with a sense of rhythmic ease that’s enough to convert even the most ardent digital audio fan to the joys of the black stuff. This all-analogue recording glistens before my very ears, the SL-1200G reminding me how special classical music on LP can be. Moving to programme material closer to this deck’s past life, and Manix’s Your Dreaming is quite an event to behold. This powerful hardcore dance track has dizzying punch and speed, great detail resolution and gut-thumping bass. A mix like this, full of blistering attack transients, sees the Technics in its absolute element. The bass drum sound, rim shot drums and frenetic looped hi-hats are mesmeric, yet all water off a duck’s back. This modern classic is quite a thing to hear ●

DETAILS PRODUCT Technics SL-1200G ORIGIN Japan TYPE Direct-drive turntable WEIGHT 18kg DIMENSIONS (WxHxD) 453 x 173 x 372mm FEATURES ● 33, 45 & 78rpm ● Statically balanced S-shaped tonearm DISTRIBUTOR Technics UK

urely the most iconic turntable ever made, this is what most people think of when you mention the word “vinyl”. It’s the latest in a long line of SL-1200s that date back to 1973; originally launched as a domestic hi-ﬁ deck, it was soon adopted by the DJ community and the SL-1200mk2 became the gold standard. Sniffy audiophiles look down on it due to its nightclubbing connotations, but if you see one in the ﬂesh you’ll soon see why it has been enduringly popular. Build quality is superb and has got even better on the latest SL-1200G version. The deck feels close to bulletproof. The fact that its predecessor was hauled around gigs by literally hundreds of thousands of

DJs over the years, says it all. A solid plinth, non-sprung design, it features the latest quartz-locked, direct-drive motor – which puts out 3.3kg/cm of torque, up from the SL-1210mk5’s 1.5kg/cm) – and servo speed controller. The upper section is aluminium, now with an additional brushed alloy layer; the base a rubbery resin material. There’s a speed control slider with a bypass button beside. The new matt-ﬁnished aluminium tonearm has a classic SME-type headshell made from the same material. Tracking proves excellent, as is the deck’s resistance to footfall. My only gripes are the plastic end tip to the tonearm’s cueing lever – metal would have been nicer – and the fact that the rear socketry is hard to get at. Overall though, from setting up to listening, the deck is a joy to use and makes most of the other designs here look rather homemade.

OUR VERDICT SOUND QUALITY

Sound quality This latest G version is like the mature, sophisticated big brother of the ubiquitous SL-1200mk2. It shows all the ﬁne attributes of the golden oldie, but augments them while removing all the objectionable issues. The result is a really enjoyable and crisp sound, with effortless ease allied to power and punch, plus great ﬁne detail retrieval. All of this is set in the context of a 36

JULY 2021

LIKE: Pace; rhythm; timing; punch; detail

VALUE FOR MONEY

DISLIKE: Plastic finger lift tip; fiddly sockets

BUILD QUALITY

WE SAY: Quite simply a superb turntable package

FEATURES

OVERALL

GROUPTEST

TURNTABLES £3,500-£4,500

Group test verdict Having spent days in turntable heaven, David Price ranks these six top vinyl spinners. The high quality is enough to put him in a spin... THE TURNTABLE MARKET is surely hi-fi’s most diverse, with a huge range from easy ‘plug and play’ designs to serious tweaky audiophile types. That’s why it’s difficult to come to a meaningful group ranking, as these decks cater for different niches. Still, based on a combination of sound, setup and build, here we go. In sixth place is the Luxman PD-151. It has been designed as a jack-of-all-trades and it performs this role really well. It sounds very nice, is gorgeous to use and is far less fussy than some here. Yet it finds itself up against some very tough rivals.

Make/model Acoustic Solid Price

Fifth is the Acoustic Solid – a really capable turntable let down by minor details that don’t influence its fine sound. It’s fiddly to setup and deserves a better tonearm. Many will be happy to own one as it gives a taste of high-end sound at a decent price. The Rega is fourth. In some respects, it’s one of the top decks here with a clean, open and detailed sound that’s great fun to hear. It’s easy to setup, beautifully built and the bundled arm is a jewel. That it doesn’t come higher shows how tight the competition is. Third is the Technics SL-1200G. For some with different priorities, it could

easily be the winner. Sonically it’s better than the first and second ranking decks in some respects – timing and bass grip. It’s also a handy all-in-one package with stellar build. Its tonearm is decent, but not the match of some here and so ultimately limits the sound. The Origin Live takes the silver, and again in some respects is better than the winner. Its combination of natural tonality, expansive soundstage and firecracker dynamics are truly special, yet some will find it a bit too fiddly and specialist for their needs.

WINNER Linn’s LP12 is the finest all-round package. Music is sweet and natural, with an ease and charm that you don’t get from digital audio. Build is superb, and the bundled arm and cartridge are a great first step onto Linn’s well-structured upgrade ladder.

Linn Majik LP12/Krane

Luxman PD-151

Origin Live

Wood MPX

Calypso Multilayer/Silver

Rega Planar 10

Technics SL-1200G

£3,500

£4,500

£3,660

£3,600

£3,500

Affordable super deck with battleship build and decent starter arm and cart

Superb package that makes this recently updated icon a great value proposition

Lavish package with sweet sound, great ease of use. A superb do-it-all design

Arguably the finest sounding deck here. Great build, but too tweaky for some

Great package with incisive, engaging sound that’s lovely to operate

A class-leading performer, this icon offers superlative timing and bass

acoustic-solid.com

linn.co.uk

luxman.com

originlive.com

rega.co.uk

technics.com

Yes

Sound Value Build Features Overall

Website

Key features Belt-drive

Yes

Sprung sub-chassis

Direct-drive

Yes

Off-board motor

Yes

Detachable headshell

Yes

TRY WITH THESE

MOVING-MAGNET CARTRIDGE:

Audio-Technica AT-VM95E £40 HFC 444

Nagaoka MP-500 £760 HFC 467

The old AT-95E was the staple diet of a generation of cash-strapped analogue addicts. This is its replacement, even to the point where the oldie will take styli from the new model range. It has higher output, wider frequency range and a choice of upgrade styli to try. The crisp, punchy and detailed sound is pretty much impossible to beat at the price.

The worthy winner of last year’s MM cartridge Group Test pushes what’s possible from this type of cartridge to the ragged edge; everything about its sound is right. If don’t want to buy a moving coil-equipped preamp or phono stage, but still demand fireworks from your vinyl this is for you.

JULY 2021

MOVING-COIL CARTRIDGE: Lyra Delos £1,400 This superb cart gives a taste of true high-end performance, but with a less severe hit to your wallet. Amazingly detailed and subtle yet highly musical, it’s quite a thing to hear.

OPINION

Testing times Finally released from the strict confines of the HFC test room, David Price discusses matters arising from this month’s roundup

roup tests are wonderful things if done properly, and can be very interesting to write and read. The problem is that they sometimes raise more questions than they answer. Rarely is this more the case than with turntables, because there’s such a wide selection available. If you’re going to round up six of the best and/or newest, you’re already comparing apples with oranges. And so it was with this month’s test. The remit was “premium turntables”, but there’s a wide choice of such things. We decided to narrow the price point to £3,500 to £4,500, which is what many mere mortals would spend on their ultimate deck. Also, we focused on turntable and tonearm packages. Some designs, such as the Linn and Origin Live, can be bought separately without arms, but in the name of straightforwardness we wanted both. Some, like the Acoustic Solid and Linn, came with a cartridge, others, like the Rega, had reduced price cartridge options – but we set these to one side to keep the comparisons simple. Finally we ended up with our shortlist, and that’s when the real fun started. Each deck is designed for a slightly different niche. For example, the Luxman PD-151 and Origin Live Calypso/Silver are dramatically different. With the former, you pull it out of the box, put the platter on, add a cartridge and you’re away – set up time was 15 minutes for me, maybe half an hour for rookies. Yet with the Origin Live, I didn’t have it working optimally for well over an hour. This is because I had to build it up from a kit of parts, then carefully fettle it. The Acoustic Solid, Linn and Rega were halfway houses between the two extremes, with the Technics much closer to the Luxman. Some buyers will go for easy to set up models and others will relish the challenge of getting tweaky with a set of Allen keys and a spirit level. The Ortofon 2M Black LVB 250 is a real honey of a moving-magnet cartridge and made a nice noise in all the tonearms. Yet several in the group were capable of stellar sound in their own particular ways. And therein lies the rub, because the sonic differences between turntables are way larger than between streamers and/or DACs, for example. Like loudspeakers, turntables convert mechanical energy into electrical energy (or vice versa), so there’s a far greater potential for things to sound different. One factor in play is the drive system. Both belt-drives and direct-drives have their own sonic signature. Often if

For me the clincher is that the Sondek has a dizzying array of upgrade options

they’re done well, there’s not that much difference, but there’s always some. In this group, we had ﬁve excellent belt-drives versus one superb direct-drive. The Technics SL-1200G sounded tighter, tauter and more punchy in the bass than any belt-drive here, and also had a lovely, crystalline treble sound too. Some people who like this clarity and grip would think it to be the clear winner. Yet the Origin Live belt-drive had a different set of attributes that showed the Technics to be slightly tonally thin and conﬁned in terms of its stereo soundstaging. The latter was crisp, open, immersive and engaging in a way that no other deck in the group was.

Why not try and audition our six turntables and see how they compare for yourself?

Why the winner won So why did the Linn win? In ‘hi-ﬁ’ terms it was less impressive than the Technics or Origin Live, at least to my ears. Yet it was still great fun to listen to, and is now a far better performer in objective terms than it ever used to be. With its new bearing, aluminium bottom plate and sub-chassis, the Majik LP12 is way less coloured than a Nineties Sondek – let alone a Seventies one. Yet it’s still a lovely, lilting listen and has a charm that’s hard not to like. I would liken it to a charismatic high performance saloon that’s more entertaining than some faster, purist sports cars. For me the clincher is that the Sondek has a dizzying array of upgrade options, great dealer backup and an endless ongoing commitment to improvements, some of which – as its history shows – have been very inexpensive, others not. That’s why the LP12 just about nicked the win. It’s a low-maintenance, high-end deck that requires little fettling from the owner to keep giving of its best. It was a points win then, but a worthy one all the same. And if you don’t believe me, book an appointment at your friendly local hi-ﬁ dealer and hear for yourself! ●

DAVID PRICE Spin doctor

JULY 2021

LS5/9 CLASSIC SE £4,900-£5,600 EXOTICA ROGERS

JULY 2021

ROGERS LS5/9 CLASSIC SE £4,900-£5,600

I am the resurrection With a foot in both the professional and consumer world, a legend of old emerges to reveal a timely refresh ack in 1970 when the BBC broadcast its first episode of the Nine O’Clock News, Jon Pertwee made his debut appearance as the third Doctor in Doctor Who and Blue Peter aired for the first time in colour, far more exciting things were going on behind the scenes. Not content with improving the pictures that we watched by increasing the resolution to 405 lines, moves were afoot in the sound department too. Forming a relationship with hi-fi specialist Rogers, the Beeb started work on a series of studio monitors that would go on to grace systems across the country. The range began with Rogers first BBC design, the LS3/6 and then

It serves up a smooth bass that is realistic, non-aggressive and substantial four years later the LS3/5A arrived. The smallest (Grade Two) in a family that would grow to include speakers of varying sizes for both studio, outside broadcasts and monitoring, it went on to become a legend. And then in 1983 production of the LS5/9 began. A ‘Grade One’ model designed to ﬁt in spaces where its predecessor (the LS5/8) was too large, it used the same tweeter. It wasn’t until the late-Nineties that Rogers decided to stop producing home models in collaboration with the BBC. Jump forward 20 years and the company, under the guidance of former technical director Andy Whittle, has decided it’s time for the Auntie-inspired cabinets to return and now it’s possible to recreate the sound of a golden era without having to deal with a patched up component from Ebay that has seen better days. Buying second hand, a mint version of the original cabinet in supreme

working order will cost you in the region of £2,000 and you can expect to pay anything up to half that for a less than pristine one. So, taking inflation into account, the £4,900 pricetag for the new LS5/9 seems more than fair. Available in walnut, olive and Amazaque ( a gorgeous African hardwood) finishes, you can plump for rosewood for an extra £50. The deluxe SE version will set you back £5,500 for the basic finishes or £5,600 for rosewood or RAL colours. Additionally, bonuses include gold badges and a Panzerholz (a resin/ hardwood composite) front baffle. Bespoke stands add an extra £1,600. Fancy finishes aside, Rogers is adhering strictly to the original BBC design brief to keep the SE version as close as possible to the original brief. Hence the cabinet is still constructed from 9mm thin-wall birch ply with damping sheets while the 34mm Audax HD34 tweeter is still produced in France (before being modified by Rogers back in the UK). The crossover is assembled in the UK and the 210mm bass driver has been reverse engineered and fitted with the correct PVC surround as per the BBC spec. The high frequency adjustment tag strip remains visible on the baffle as per the original studio version, although it is not user adjustable. Finally, high-power, iron-dust-cored inductors with high-quality capacitors are also employed.

DETAILS PRODUCT Rogers LS5/9 Classic SE ORIGIN UK TYPE Two-way standmount loudspeaker WEIGHT 12kg DIMENSIONS (WxHxD) 275 x 460 x 285mm FEATURES ● 34mm tweeter with phase correction ● 210mm polypropylene cone mid/bass driver ● Quoted sensitivity: 87dB/1W/1m (8ohm) DISTRIBUTOR Rogers International UK Ltd. TELEPHONE 0333 5330135 WEBSITE rogers-hifi.uk

The SE version of the LS5/9 features a rigid Panzerholz baffle

EXOTICA

before they fully warm up – about half an hour works a treat. As this is an inherently professional loudspeaker design, it seems only fitting to feed it high-quality material. Consequently, today’s test music programme consists predominantly of open-reel tape, CD and vinyl. Anyone that’s ever experienced the various iterations of BBC designs and collaborations will point to the natural midband and upper bass combined with beautifully realistic vocals. So it comes as something of a shock when the cavernous bass is the first thing to grab our attention. Sound Tour: Spain on open-reel from Verve is a fitting starter, thanks in no small part to its peculiar combination of an unnamed orchestra with sounds of passing traffic. The recording immediately conjures up a fabulous sensation of space with the car sounds so convincing that initially we thought there was a vehicle pulling up outside the test room. In fact, a car enthusiast who happens to poke their head into the room swears blind they can pick out the distinctive purring of an Alfa Romeo. With the more traditional sounds of trumpet, piano, castanets and the mass voices of a choir, the LS5/9 Classic SE serves up a smooth bass that is realistic, non-aggressive and substantial. Meanwhile, the voices are clear, sibilance-free and utterly convincing. Arguably more impressive still is the way that the cabinet passes off the illusion of completely disappearing in a way that David Blaine would be proud of. While this is the sort of tricksiness one might expect of the smaller LS3/5A, the fact that the LS5/9 Classic SE is so much more substantial and a ported two-way box makes this magic act worthy of a season in Las Vegas in the way that it’s so apparently effortlessly able to

Sound quality We opt to put the LS5/9 Classic SE through its paces on Rogers dedicated stands only to discover that no toe-in is required. Otherwise it’s important not to position them too far apart as it creates a noticeable ‘hole in the middle’ effect. While the speaker is modestly sensitive and not an especially tough load, we ﬁnd that it is in its element when fed plenty of power and driven hard. The PVC surrounds also need to do some work JULY 2021

LS5/9 CLASSIC SE £4,900-£5,600 EXOTICA ROGERS

IN SIGHT High frequency adjustment tag strip 1

2 Front-facing bass reflex port

1 2

3 34mm tweeter behind perforated waveguide 4 210mm polypropylene-coned mid/bass driver

5 Single (non bi-wire) 4mm/banana plug sockets

The LS5/9 Classic SE is in its element when fed plenty of power and driven hard

4 5

ape the characteristics of panel loudspeakers and dipoles. Sticking with tape, Jackie Gleason’s Today’s Romantic Hits/For Lovers Only Vol 1 & 2 manages to sparkle at the top end, with even the most delicate upper frequency information experiencing a glittery, shimmering effervescence without becoming in any way edgy or sibilant – we’re talking Galaxy-level silkiness here. Switching to compact disc and the Danish National Chamber Orchestra’s unique take on Lola from the 50th Anniversary CD boxset of Lola Versus Powerman And The Moneyground Part One, the blockbuster track is given the

sort of panoramic soundstage it so richly deserves. There’s a lovely ‘unplugged’ feel to proceedings, while the sheer majesty of the choral group behind Ray Davis is huge. The Kinks frontman takes centre stage –in this instance apparently standing in the room – while the choir lets rip behind him. When it comes to its unerring handling of three-dimensionality, the difference between this and the lauded LS3/5A are inﬁnitesimally small. The applause that greets the performance from the audience, meanwhile, is utterly convincing. Staying on the subject of the LS3/5A it’s an interesting exercise to see how

the two compare. Costing twice as much, the larger LS5/9 Classic SE goes much louder and spits out far deeper bass with relative ease – something we’d expect as a given considering its larger cabinet. However, the Classic SE has slightly less than pin-point imaging – something that only anally retentive studio engineers and overly fussy reviewers are likely to be too fussed about, admittedly. More of a surprise, perhaps, is the fact that the LS3/5A is able to deliver greater image height – not necessarily a deal breaker you

HOW IT COMPARES This is a substantial standmount with an equally substantial ~£5,000 price tag, so the LS5/9 Classic SE also faces stiff competition from many floorstanders that would occupy a similar footprint. B&W’s superb 702 Signature delivers a hugely enjoyable and musically very rewarding sound at £4,500. It is very room-friendly and not especially fussy about the choice of amplifier provided there’s plenty of power on tap. But if you really are fixed on a smaller box with a ‘special hi-fi story’ then what about the £3,500 Klipsch Heresy IV? Incredibly simple to accommodate (it sits, tilted upwards, on the floor) and very easy to drive, this three-way will team-up with pretty much any amplifier to ensure you sit up and listen!

understand, but we’d feel rather remiss to neglect to mention this. Performances such as this one clearly highlight the very different requirements of the studio and home environments, with the LS5/9 Classic SE underlining its ﬂexibility and apparent ease to fulﬁl the very different requirements of both camps. Though it can’t quite lay claim to being the Holy Grail of a scaled-up LS3/5A, it comes pretty damn close...

Conclusion Those that love the classic BBC sound but are looking for something a little larger – but not too large – will be happy to ﬁnd that for the most part the LS5/9 Classic SE is a resounding success. With its emphasis on midband authenticity and vocal verisimilitude, combined with an unerring ability to improve on the LS3/5A’s lowfrequency powers with a deeper and more level bass, this is a stunning return from a legendary blast from the past. Beg, borrow or steal – the choice is yours– but make sure you add it to your audition shortlist ●

OUR VERDICT SOUND QUALITY

LIKE: Natural vocals; superb soundstage; improved bass

VALUE FOR MONEY

DISLIKE: It’s not quite a larger LS3/5A

BUILD QUALITY

EASE OF DRIVE

OVERALL

JULY 2021

WE SAY: With its supreme performance and stunning choice of finishes, this lives up to the hype of BBC legends of old

33 Revelations Per Minute

STUDIODECK + From nowhere to easing past one of the greats is no mean achievement, but the StudioDeck+ package really is that good, displaying an open, lucid, style that’s thoroughly addictive and an almost magical ability to make music come alive in a way only the best can. Hi Fi Choice, September 2020

ULTRAPHONO The MoFi UltraPhono redeﬁnes what you get for £500, even if you don’t factor in what is a mighty ﬁne headphone section. HiFi News, March 2020

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Billingshurst Audiologica 07901 833 128

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Cinderford Ceritech Audio 01594 540 268

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Lincoln Superﬁ 01522 520 269

Nottingham Nottingham Hi Fi 0115 975 8613

Torquay Kingscote Audio 01803 313 714

Truro Senso Systems 01872 273 215

Warrington Doug Brady Hi Fi 01925 828 009

York Wolverhampton Midland Hi Fi Studios Wall of Sound 01904 704 107 01902 380 083

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AUDIO REVIEWS CAMBRIDGE EVO 150 £2,250

Think inside the box All-in-one systems might be an old idea, but today’s cutting edge is breathing new life into the concept, as David Vivian discovers ull of wonder though the modern world is, I can’t shake the idea that the only true all-in-one audio systems were built half a century ago. Remembered by a teenage me as staple student sleep-over entertainment, the music centre was the real deal, the one-stop-shop to which nothing at all need be added. A triumph of size over sophistication, the hulking behemoths incorporated turntable, cassette deck, AM/FM tuner, ampliﬁer and, tethered by the thinnest, cheapest cable known to science, intriguingly lightweight loudspeakers. Marvellous. Except, of course, the coalition was usually so severely compromised, sound quality

JULY 2021

frequently plumbed the depths of mediocrity. This, in turn, gave aspiring audiophiles the opportunity to rubbish music centres by championing the sonic delights of separates. And the rest is… well, you know what they say. But signs are that the future is planning a rewrite. Delivered to market on the fast-shifting sands of ‘convergence tech’, Cambridge Audio’s Evo 75 and 150 single-box solutions pay homage to both the music centre and the reactive separates revolution it was part of while providing a timely hint of what might lie ahead. For now, there are two types of all-in-one hi-ﬁ system and, naturally,

DETAILS PRODUCT Cambridge Audio Evo 150 ORIGIN UK/China TYPE One-box streaming system WEIGHT 5.3kg DIMENSIONS (WxHxD) 317 x 89 x 352mm FEATURES ● Quoted power output: 2 x 150W (8ohm) ● Bluetooth aptX HD/Chromecast/ Airplay 2 ● Compatible with up to 32-bit/384kHz (asynchronous) and DSD 256 DISTRIBUTOR Cambridge Audio TELEPHONE 0207 9402200 WEBSITE cambridgeaudio. com

both have streaming smarts at their heart. Arguably the more radical approach is the digitally replete active speaker system (wired or wireless) to which you might decide to add a server of some description and possibly legacy sources – say a CD player or transport, a turntable or even a cassette or open-reel tape deck. Think KEF LS50 Wireless (HFC 433) and System Audio Legend 5.2 Silverback and WiSA hub (HFC 474). The other, much closer in concept to the music centre of yore, is the digitally savvy ampliﬁcation hub allowing you to connect passive speakers of choice and, as with the active speakers, hook up those hard-to-part-with legacy sources as required. Essentially, we’re talking about a network and DAC-enabled integrated amp with bells (possibly knobs) on, including a larger, hi-res colour display, slicker smartphone/ tablet, app-assisted, user interface and an implicit promise that no widget, however marginal, should be left on the shelf. Early game changers HFC has reviewed include NAD’s M10 (HFC 451) and Naim’s Uniti Star (HFC 433). There are two distinct and arguably divisive schools of thought in play here, and it’s hard to say which is the more likely signpost to the future of

CAMBRIDGE AUDIO EVO 150 £2,250

REVIEWS

The magnetic side cheeks can be switched to match your decor

propositions is that neither type can offer that entrenched audiophile ritual of upgrading the amp. With the £2,250 Evo 150 I’m reviewing here and £1,800 Evo 75 (half the power, no MM phono stage), Cambridge Audio has added its weight and reputation to the ‘just add speakers’ camp, conﬁdent in the belief that it’s the no-brainer lifestyle option

It sounds warm and smooth with great discrimination of timbral textures

hi-ﬁ if, indeed, separates ever tap out, which I sincerely doubt. Active speakers theoretically perform better and, if incorporating DSP like the System Audio Silverback, can offer a suite of highly contrasted digital voicings plus room correction. The all-on-board amp hub has a stronger traditionalist pull while allowing the joy of experimenting with the component that makes the biggest sonic difference of all – a personally chosen size, design and ﬂavour of passive speaker. A common charge against all-in-one

for future-ﬁ early adopters. Sorry about the ‘lifestyle’ mention, but it’s a key part of the Evo’s make-up and mission to seamlessly meld minimalist style, audiophile sonics and ease of use barely more taxing than Elon Musk’s proposed brain link. The design brief fell to a London HQ-based team led by Ged Martin.

Referencing Cambridge Audio’s ﬁrst ever amp, the super-svelte P40 from 1968, the Evo’s compact, black anodised aluminium chassis has wood cheeks though, unlike the P40’s, they’re magnetically attached and interchangeable. Out of the carton, the Evo wears walnut, but these side panels can be swapped for slightly funkier and more sculpted black Richlite, a new material made mostly from recycled paper. Sit the Evo 150 in a regular hi-ﬁ equipment rack and, head on, the ‘look’ is largely lost. Although the large, dual-concentric volume/input dial and generous 173mm LCD colour display are elegantly clean and cool, the Evo’s best aspect is out in the open, maybe on a sideboard or shelving unit. It was made to be looked at as well as heard. Cambridge Audio’s StreamMagic platform and app give access to Chromecast, Bluetooth aptX HD, Airplay 2, Spotify Connect, Tidal Connect, Qobuz and Roon. Oh, and there’s internet radio, too. It’s all

IN SIGHT 1

Coaxial input

2x optical inputs

3 Balanced XLR inputs 4

RCA aux inputs

MM phono stage inputs and earth grounding post 5

RCA pre outputs

Bi-wireable speaker binding posts 7

JULY 2021

AUDIO REVIEWS CAMBRIDGE EVO 150 £2,250

pleasantly effortless. That said, it would be a shame to ignore the tactile joys of the smart metal remote and especially the silky-smooth action of the facia’s dual-concentric control – the outside ring takes care of volume, the inner dial inputs. Round the back there are optical, coaxial, RCA, asynchronous USB, balanced XLR and MM phono inputs plus an HDMI with ARC to link in a TV. Outputs consist of

The large LCD display and volume/input dial are elegantly clean and cool a 3.5mm headphone jack, Bluetooth aptX HD (in and out) and a sub-out for extending bass response with a subwoofer. Two sets of binding posts mean you can bi-wire with ease, maybe use a super-tweeter if you want to go the whole hog or just hook up an extra pair of speakers. Rated at 150W per channel into 8ohm, the Evo 150 uses Hypex NCore Class D power modules, chosen not just because they’re space and energy

efﬁcient, don’t weigh much and run cool, but because Cambridge Audio’s engineers believe they deliver: “clear advantages in clarity, resolution and musicality”. Note the omission of ‘over Class A/B’. Not an accident, I’d wager, but we’ll address this with the help of the company’s CXA 61 Class A/B integrated amp (HFC 459). Digital decoding is accomplished with an ESS ES9018K2M DAC and full unfolding of MQA is on board as well. A pair of dedicated Evo 5 standmount speakers and Evo CD transport are set to be released later in the year.

Sound quality Obviously, there’s huge ﬂexibility, but for most of my listening I rely on Tidal Connect, Edwards Audio’s TT4 turntable (see p62) and, to allow the Evo 150 to stretch its legs, a pair of Russell K Red 120 ﬂoorstanding speakers (HFC 461). The StreamMagic setup, I’m glad to report, is a glitch-free breeze. As already hinted, to test the mettle of the Evo 150’s Class D sonics I’ve lined up the company’s Class A/B CXA 61 integrated amp and CXN v2 (HFC 437) standalone streamer – a viable

HOW IT COMPARES Closest in price, form factor and ambition, NAD’s M10 (HFC 451) doesn’t have the Evo’s luxurious build, but it does have a touchscreen, a similarly wide range of streaming options and a pokey 100W of Class D power. A little pricier, Naim’s Uniti Star (HFC 433) has a larger footprint and looks a little more radical, but balloons the functionality envelope by having a built-in disc drive and it can even act as a server to deliver music to other products from the company’s Uniti and Mu-so ranges.

separates alternative for £1,500, saving £750 in the process. To get our bearings, perhaps it’s best to start with the sonic showdown. The CXA 61 and CXN v2 make a formidable team that’s hard to beat for the money. Playing a stream of Donald Fagen’s The Night Belongs To Mona from Morph The Cat on Tidal Connect, the complex arrangement is nicely separated, crisp and clear with fine presence and dynamic freedom, drum strikes propel from the lushly layered backdrop like rifle shots. The presentation is explicitly detailed and engaging, but undeniably a little forward, impressively clear but tonally quite cool. Switching to the Evo 150 I’m surprised by the differences. The Evo sounds warmer, smoother and more refined with better discrimination of timbral textures and finer resolution of micro-dynamic minutiae. In short, almost analogue by comparison, if not quite as sparky and exciting. Class D wasn’t always like this, but successive generations seem to have taken on greater degrees of analogue flavouring which, if vinyl playback is your benchmark, can be no bad thing. Indeed, moving on to the Edwards turntable with Van Morrison’s Love Should Come With A Warning, little adjustment is needed, Van sounding just as full-blooded and ‘human’ as a streamed Donald had before. The Evo 150’s is a sophisticated, finessed yet effortlessly muscular performance, reassuringly consistent across all inputs, that should be supremely easy to use and live with.

Conclusion In terms of functionality, the Evo 150 offers little over a streaming amp such as Hegel’s H95 (HFC 468). As an object of desire, however, it’s on a different plane – as lovely to look at, touch and use as it is to listen to. If future-ﬁ is Evo shaped, I predict plenty of takers ●

OUR VERDICT SOUND QUALITY

LIKE: Size; style; connectivity; user interface; sound

VALUE FOR MONEY

DISLIKE: Some form of digital room correction would have been handy

BUILD QUALITY

FEATURES

OVERALL

JULY 2021

WE SAY: As convincing and covetable an all-in-one system as we’ve encountered

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REVIEWS THX ONYX £200

gone, I’ve got nothing”. Meanwhile, it does a great job of contrasting the different extremes of anger and sorrow in the song. Next up, Maria, one of my favourite later-Blondie hits that I still own on CD. The opening guitar riff has the irresistible catchiness of the band’s Seventies classics, with a light touch of reverb to wrap your head in the sound and draw you in. But it’s Clem Burke’s drums and percussion that really make this track, and the Onyx catches all the little details as the tambourine shimmers lightly in the background and the crystal clear bell-chimes add a celebratory tone that just yells party time. The THX amp-chip delivers too, with plenty of power to get the mood swinging.

DAC to black As THX enters the hardware market with its debut DAC, Cliff Joseph checks it out here are many speakers and home cinema systems that boast THX Certification, but the company has now released its first home-grown hardware product in the form of the Onyx portable DAC. Like many converters designed for use with smartphones and tablets, the Onyx has a highly compact design that measures just 210mm long, so you can slip it into your pocket. It’s a little chunkier than some of its rivals, but that’s down to the use of both an ESS ES9281 Pro for the primary DAC chip along with THX’s own AAA – ‘achromatic audio amplifier’ – to provide what it describes as: “satisfyingly loud” sound. The Onyx has a standard 3.5mm headphone output and a USB-C port for computers and mobile devices, with a USB-A adaptor bundled. It works with Macs and Android devices, with volume controlled by whatever is playing the music. It only works with Windows 10 on PCs, while iPhones or iPads will require a Lightning adaptor (£30). The Onyx supports hi-res audio formats, including PCM up to

32-bit/384KHz and DSD128, and also acts as an MQA renderer, which makes it ideal for use with Tidal. The USB interface draws power from the mobile device it is connected to, so it doesn’t have a battery of its own that needs to be recharged.

Sound Quality Kicking things off with The Streets’ Dry Your Eyes – available in MQA format on Tidal – the Onyx delivers the gentle strumming of the guitar with a light, warm resonance that could fool you into thinking you’re listening to an acoustic set in a folk club. But it’s the aggressive, staccato percussion that tells you this is no Ed Sheeran tear-jerker. There’s a taut, gritty texture to the sound, as though Mike Skinner’s geezer persona is jabbing his ﬁnger into your chest, both angry and heart-broken at the same time. Then, at exactly the halfway mark, the percussion pauses, giving way to the bittersweet tone of the strings. The Onyx knows this is the moment to step back, allowing the sound to hang in the air, resonating for just a few seconds, as Skinner confesses: “Everything’s just

DETAILS PRODUCT THX Onyx ORIGIN USA/China TYPE Portable DAC/ headphone amplifier WEIGHT 20g DIMENSIONS (WxHxD) 210 x 13 x 7mm FEATURES ● ESS ES9281Pro and THX AAA-78 processors ● 32-bit/384KHz PCM; DSD128; MQA ● 3.5mm out; USB-C DISTRIBUTOR Razer WEBSITE thx.com razer.com

The Onyx does a great job of contrasting the different extremes Moving to something altogether more gentle, the Onyx deftly handles the more sombre tones of Jóhann Jóhannsson and his collaboration with Theatre Of Voices on Orphic Hymn (from the Orphée album). The multi-layered monastic chant rises slowly, creating a great sense of space. The tone is warm at ﬁrst, but the crystal clarity of the falsetto adds a sense of urgency that beﬁts the tale of Orpheus and his perilous journey through the underworld.

Conclusion The profusion of connectors and interfaces now used by computers and mobile devices means that the Onyx may not be the perfect solution for everyone, but if it’s compatible with your devices then the compact design and impressive clarity of sound make this a great option for people who like to travel light ●

OUR VERDICT A magnetic clasp provides quick and easy cable management

SOUND QUALITY

LIKE: Clear, precise sound quality; compact design

VALUE FOR MONEY

DISLIKE: Limited compatibility for Windows and iOS devices

BUILD QUALITY

FEATURES

OVERALL

JULY 2021

WE SAY: More expensive than some rivals, but a great pocket-size DAC

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FABER REVIEWS SONUS LUMINA I £800

Tiny dancer The Lumina I is both the smallest and most affordable Sonus faber speaker available. Ed Selley sees how it measures up epresenting the entrypoint for Sonus faber ownership, the Lumina range is significantly different to any other speaker from the company that has preceded it. We have already looked at the larger floorstander of the family, the III in HFC 469, and now it’s the turn of the I; the smallest and most affordable Sonus faber speaker money can buy. The I is a two-way standmount design that makes use of the same Damped Apex Dome tweeter as the rest of the Lumina range. This is a localised damping system that is intended to prevent unwanted early roll-off at the upper frequencies. It is visible as a brace that runs north/ south across the front of the dome with the actual dampening point being right at the centre. The dome is 29mm across and upper frequency response is quoted at 24kHz. The other driver is rather more notable. Like the rest of the range, it’s a development of a conventional paper cone that mixes natural fibres into a

JULY 2021

cellulose pulp to improve rigidity. The most significant aspect of the Lumina I’s fitment is that this driver is 120mm and that includes the surround and is employed solely for midrange work. Given that many rivals at this price are larger, it leaves the Sonus faber looking a little on the small size. The quoted low-frequency response is 65Hz with no roll-off figure quoted. In order to help this rather dinky driver achieve a convincing low end, there is an unusual port arrangement. There’s an integrated plinth and the gap between this and the cabinet acts as a front-mounted slot port, which should allow for a significant volume of air to be moved without it becoming audible. It should also make the speaker easier to place, although the claimed sensitivity of 84dB and a 4ohm impedance means extremely low power devices might struggle a little to get the best from it. One relatively unusual feature, shared with other Sonus faber designs is that you can bi-wire the Lumina I if you wish.

DETAILS PRODUCT Sonus faber Lumina I ORIGIN Italy TYPE 2-way standmount loudspeaker WEIGHT 4.4kg DIMENSIONS (WxHxD) 148 x 280 x 213mm FEATURES ● 29mm silk dome tweeter ● 120mm pulped paper mid driver ● Quoted sensitivity 84dB/1W/1m (4ohm) DISTRIBUTOR Fine Sounds UK WEBSITE sonusfaber.com

The design employs the same themes as the larger Lumina III, but arguably with more success than its bigger sibling. The decision to wrap the ﬂat sides of the cabinet in leather is a good one even if it is largely decided by the price. Using wood veneer all the way around would have drawn attention to the use of these ﬂat sides more than the leather and it gives the cabinet a character all of its own. The correspondingly smaller multi-layer wood front panel also looks good and further strengthens the argument that having a smaller amount of highquality wood is more aesthetically

It delivers a larger, authoritative sound than the dimensions might suggest pleasing than large sections of a more indifferent quality ﬁnish. Three choices are available; light walnut, dark wenge and a piano black. Both wood ﬁnishes have a maple inlay, which looks lovely. High quality or not, there is an unavoidable sense of ‘is that it?’ when you unbox the speaker. £800 to £1,000 is a keenly contested price point for standmounts and there are rivals that make the Lumina I feel a little on the small and weedy side when you look at the bald numbers. It is undeniably extremely well made, however. As well as employing decent materials

SONUS FABER LUMINA I £800

REVIEWS

throughout, the cabinet feels impressively inert and all the major points of contact feel extremely solid and conﬁdence inspiring.

Sound quality The Lumina I has a secret weapon in its fight against larger and notionally more capable rivals – nobody seems to have told it that it’s a small speaker. Connected to a Rega Brio integrated amplifier (HFC 446), it delivers a larger and more authoritative sound than the dimensions might suggest possible. There are two different factors at work here and they combine with impressive results. The first is the bass output is more substantial than you might expect. Without the port becoming audible or any perceivable strain to the performance, the 65Hz roll-off figure is effortlessly bettered in room. This still probably won’t be your first choice to deliver gut-rattling bass, but there is far more shove here than you might assume from a slim-shouldered, 28cm-tall standmount. In some ways, the Lumina I is the antithesis of the Lumina III, which never quite delivers the low-end you expect. Having filled out the lower registers, it is no less effective at filling the room. Without sounding diffuse or confused, the Sonus faber creates a big and believable soundstage. No Harm the haunting opener to In Dream by Editors, begins with a simple percussion sequence, sparse keyboards and Tom Smith’s stunning and emotive vocal turn across the top. The Lumina I locks Smith to the centre and ensures the bass is weighty enough to convince and, as the track grows, it retains a level of order and control that ensures

The 120mm pulp paper driver is devoted solely to midrange work

nothing sounds ﬂustered or congested. Alongside these neat spatial tricks are some more traditional Sonus faber virtues. There’s a sweetness to the tonality that gives voices and stringed instruments in particular a certain richness that is intrinsically appealing. It would be wrong to describe the Lumina I as ‘warm’ or in any way soft, though. What it does with the same assurance as its larger relatives is avoid any perceptible ‘edge’ to the performance. The caveat to this is that if you really push it, it will eventually yield to the laws of physics and begin to sound strained and confused. You do have to be driving it rather harder than you might expect for this to be the case, however. Something the Lumina I shares with the larger ﬂoorstander is that this is an entertaining performer. The superbly lively and propulsive Kinshasa by

HOW IT COMPARES The Lumina I is £200 more than the Focal Chora 806 (HFC 465). The Focal is easier to drive and place and has a wider frequency response. Sonically, things are a little different. The Sonus faber never feels appreciably smaller sonically and, whatever the claimed differences in frequency response, their behaviour is very similar. Both are entertaining listens, but the sweetness of the Lumina I’s performance goes a long way towards justifying that higher price.

Laurent Bardainne and Tigre D’Eau Douce is a joy. That richness with instruments ensures that the lead saxophone leaps out of the mix and the complex, overlapping percussion is fast, ﬂuent and entertaining. This lightness of touch isn’t dependent on fast music either. There is a simple and compelling immediacy to what it does that beneﬁts everything you play and leaves many rivals feeling slightly leaden in comparison.

Conclusion The Lumina I is a little speaker with big ambitions. If you have a barn to fill with heavy dub, it probably won’t be your first choice, but assuming that this is some sort of delicate, near field device for chamber music is also a mistake. Instead, it manages to sound bigger, more assured and room-filling than you would expect from looking at it. It does all this while still delivering on the virtues expected of a Sonus faber and looking and feeling very pleasant at the same time. This is a superb little standmount; both a worthy entry point to the Sonus faber family and a genuine star in its own right ●

OUR VERDICT SOUND QUALITY

LIKE: Lively, spacious and engaging performance

VALUE FOR MONEY

DISLIKE: Limits to weight and scale; needs a little power

BUILD QUALITY

EASE OF DRIVE

The leather wrap makes the wood veneer look far more stylish

WE SAY: A highly communicative little speaker with more grunt than its size might suggest

OVERALL

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NOVAFIDELITY N25 £1,100

Variety pack Even by the standards of the genre, the N25 is a very well-featured network audio player indeed. Ed Selley gets to grips with it here’s a train of thought in hi-fi circles that the less functionality a product offers, the better it will be. However, the arrival of network audio as a category has done more to unpick this thinking than any other as these products tend towards offering multiple functions as a result of what they do. Even allowing for this trend, Novafidelity’s N25 arrives in the market like the audio equivalent of a Swiss army knife. At the most basic level, the N25 is a network audio streamer able to replay audio stored on a network drive or connected directly by USB. It can handle sample rates up to 32-bit/384kHz and DSD256, which should ensure all but the most esoteric of material can be played. As is tradition, this is partnered with streaming service support and it’s here that the first clues about how much the N25 can do start to become apparent. In no specific order, it natively supports, Qobuz, Tidal (with MQA included), High Res Audio, Amazon Music, Deezer and Napster as well as Spotify Connect access. Pretty much regardless of where your on-demand streaming is coming from, the N25 has you covered. But we’re only getting started. As you might expect, there are digital

inputs in the form of coaxial, optical and USB ports – the latter mimicking the format handling of the streaming section – as well as a pair of USB 3.0 sockets for connecting storage. There’s also HDMI ARC in/output for straightforward connection of a TV, which is still a relatively rare inclusion. No less interesting are the outputs. As

An extremely good digital front-end that is effectively source and format agnostic well as an RCA out, the N25 has coaxial and optical outputs and a USB out that enables it to run as the streaming front end for an external DAC. The aforementioned HDMI output means the front panel display can be shown on an external monitor. Bluetooth connection is included with pretty much every format of note supported, including the latest versions of aptX and LDAC. You can also specify an optional Bluetooth transmitter so the N25 can stream wirelessly to nearby receivers. There is AirPlay despite there being no mention of it in the ofﬁcial specs. Then, even though there is full internet radio support, a DAB/FM tuner is included.

DETAILS PRODUCT Novafidelity N25 ORIGIN Korea TYPE Network audio Streamer/preamp WEIGHT 2.5kg DIMENSIONS (WxHxD) 440 x 73 x 260mm FEATURES ● Supports sample rates up to: 32-bit/384kHz and DSD256 ● apt-X HD and LDAC Bluetooth; AirPlay ● Inputs: coaxial; optical; USB; HDMI DISTRIBUTOR SCV Distribution WEBSITE cocktailaudio.com

REVIEWS

If you do choose to use the N25 via the RCA outputs the decoding is fairly impressive in its own right. It employs an ESS Sabre ES9018K2M DAC that is supported by an ARM Cortex A9 processor and a gigabyte of memory. This can output at a fixed level into an integrated amplifier or you can engage a variable output so that the N25 can be used into a power amp or pair of active speakers. I have racked my brains and honestly cannot think of anything that gets close to this specification for a similar price. To cap it all, while I’d hesitate to describe it as beautiful, it’s certainly well made and neatly finished. The catch is that some aspects feel a little rushed. A remote handset with no less than 54 tiny buttons is supplied and provides an extremely wide selection of control options but very few of them could be described as intuitive. There is then the ‘Music X Neo’ app for iOS and Android that allows browsing of a connected music library and access to the various streaming services (except Spotify, which remains via Connect in its own app). This is stable and simple enough to use, but looks and feels basic. I prefer using the third-party MConnect app for general use. To its credit, Novafidelity has secured Roon certification, which works beautifully.

Sound quality Initially using the N25 in what probably constitutes its simplest form – streaming from a Melco N1A NAS drive (HFC 394) to Chord Electronics’ CPM 2800MkII integrated amp via the RCA in ﬁxed line out mode – reveals that its core ability is considerable. A 24-bit/48kHz Qobuz purchase of Manchester Orchestra’s The Million Masks Of God is a vast and complex recording and the JULY 2021

! "

Whole Note Distribution 0203 9115 549 | info@wholenotedistribution.co.uk | www.wholenotedistribution.co.uk

NOVAFIDELITY N25 £1,100

REVIEWS

CONNECTIONS

Coaxial input

Optical input

Coaxial output

Optical output

RCA line outputs

Ethernet port

HDMI ARC

USB output

2x USB ports (for storage devices) 9

Novafidelity does a fine job of delivering its scale and sheer impact. The beautiful Obstacle begins with a simple guitar refrain and Robert McDowell’s haunting vocals. As the track builds, the N25 delivers detailed and weighty low end and enough space around the increasing scale of the song that it doesn’t sound congested or confused. With everything I play there’s an agility and propulsive force that benefits all music regardless of tempo. It gives an immediacy to the presentation that I find consistently appealing and this is delivered without sounding forced or harsh. Compared with the very best standalone decoding at the price, like the Chord Qutest (HFC 436), some of the fine detail that the standalone DAC finds in the mix is a little harder to perceive, but the overall presentation is unfailingly entertaining. This behaviour is consistently reproduced across the various digital inputs and special mention has to go to that Bluetooth implementation which, if you have a phone with aptX or LDAC, sounds very good indeed. Switching to using the N25 as a preamp is a little more of a mixed bag. Connected to an XTZ A2-300

HOW IT COMPARES Cambridge Audio’s CXN v2 (HFC 437) is cheaper but the spec is much more limited, with reduced streaming service support, no HDMI or USB out. However, the CXN feels much more exploitable thanks to its better control app, including superior preamp functionality. Sonically, it is close, but the Novafidelity just about has the edge thanks to its compelling combination of energy and refinement, which works really well across a wide spread of material.

Take your pick from black or silver finishes

power ampliﬁer, it works well enough but the volume ramp is a little slow in use. While slightly reluctant at times, it doesn’t do anything untoward or deliver unwanted volume levels. As a self-contained system it’s effective, although I ﬁnd myself preferring the volume control of most integrated amps. As a feed for a USB DAC, however, it works like a charm. I connect it to a variety of USB inputs and it just works with all of them,

The N25 arrives in the market like the audio equivalent of a Swiss army knife imparting no character and simply providing a streaming interface. This attribute would be even more useful if the control interface of the N25 was a little better, but it’s a welcome feature nevertheless. Ultimately though, all this cleverness should not distract from the core performance, which is very good indeed. The wonderful reinterpretation of Catch Me When I Fall on the Rõnin I mix by UNKLE shows off the fundamental qualities

of the N25 to ﬁne effect. Despite the indisputable complexity of the device itself, none of that makes itself felt in the music. Instead Callum Finn’s soaring vocals are the star of the show, locked centre stage and possessed of a richness and tonal realism that helps them to sound unfailingly believable. Change tack completely and go for the pared-back and hauntingly lovely Tribulations by My Baby and the Novaﬁdelity ensures that the wonderful intimacy of the track is delivered without any embellishment whatsoever.

Conclusion There is a slight irony here in that, if Novafidelity had concentrated on doing a little less, thereby simplifying the control interface a little, I might be even more positively inclined towards it. This is an extremely good digital front-end that is effectively source and format agnostic. So long as you can get the signal to the N25, it will handle it in a compelling way. The limitation for the moment is the interface has room for improvement. Nevertheless, the sheer flexibility and effortlessness with which the Novafidelity delivers a wide selection of music is just too good to ignore ●

OUR VERDICT SOUND QUALITY

LIKE: Exceptional spec; lively but refined sound; well made

VALUE FOR MONEY

DISLIKE: Clunky interface; sluggish volume control

BUILD QUALITY

FEATURES

WE SAY: A featurepacked device that sounds uniformly excellent with a wide spread of material

OVERALL

JULY 2021

REVIEWS SENNHEISER IE 900 £1,100

All change? The IE 900 could represent the end of an era. Ed Selley finds out if it’s a fitting finale ews that Sennheiser had sold its consumer division to Sonova Holding AG came just days before the announcement of the IE 900, and it’s difficult to separate the two. The name will continue as before and there will be future product that involves input from its engineers, but the IE 900 arrives feeling like the last product done the ‘old’ way. Fittingly then, it is also a flagship. It goes straight to the top of the in-ear range, augmenting (but at this point, not replacing) the IE 800 S (HFC 434), which previously fulfilled this role. In keeping with other Sennheiser in-ear designs, the IE 900 eschews armatures and multiple drivers for a single dynamic driver in each enclosure. This is called the X3R and builds on the ‘Extra Wide Bandwidth’ principles of earlier designs. It is 7mm in size, which – even judged by current standards – is pretty small. Key to the driver is a trio of Heimholtz resonance chambers machined into the aluminium body of the earphone between the driver mount and the nozzle. Additionally, a completely separate back chamber helps with bass response. These, working in conjunction with an acoustic vortex principle, give the IE 900 a claimed frequency response of 5Hz-48kHz. This is achieved with a

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benign impedance of 16ohm and a sensitivity of 123dB/1Vrms, ensuring it should be easy to drive. The housings terminate in an MMCX connector and three different cables with 3.5mm single ended, 2.5mm balanced and 4.4mm balanced terminations come supplied. I can’t fault the design and build. Everything feels more engineered and less artisanal than can be the case from smaller companies and this inspires conﬁdence. The only slight downside is that the newer zip case is not as nice as the design for the IE 800 S, but it offers effective protection.

DETAILS PRODUCT Sennheiser IE 900 ORIGIN Germany TYPE In ear, dynamic driver earphone WEIGHT 4g each FEATURES ● 7mm driver in resonance controlled chambers ● Detachable balanced and unbalanced cables DISTRIBUTOR Sennheiser UK Ltd. TELEPHONE 0333 2408185 WEBSITE en-uk.sennheiser. com

Sound quality I have the IE 800 S to hand and so am able to make a direct comparison between the two. Using the IE 900 connected to Chord Electronics’ Mojo (HFC 405) and Poly (HFC 431) combination is illuminating. Listening

Each termination sits in a recessed, 4.8mm-wide socket below the surface of the housing

to Dodie’s Hate Myself, the IE 900 shows the same effortless coherence across the frequency response. The simplicity of this conﬁguration allows for the tonal beauty of the track to be the main focus. Tiny little details are effortlessly picked out of the mix without ever being distracting. Where the IE 900 really makes progress, though, is the scale and impact it possesses. The IE 800 S has never felt lightweight, but listening to Typhoons by Royal Blood on the 900 is an altogether weightier and more forceful experience. Key to this is that it is still an exceptionally fast and controlled-sounding earphone. Bass starts and stops with precision and it never dominates the performance. Going back to the IE 800 S afterwards feels far less impactful. The real step forward is with the balanced cable options. Connected to an Astell&Kern KANN Alpha (HFC 473) via the 4.4mm connection, the IE 900 sounds superbly three dimensional. It can be used to play something both boisterous and large scale like the John Powell score to The Bourne Identity and it never loses the feeling of cohesion and order required to make sense of the music, and it does a superb job of pushing information in front of you. You could use it with single-ended connections all the time and never feel short changed, but there’s more performance to be had out of it.

Conclusion I’m conﬁdent that Sennheiser’s new arrangements will turn out to be fruitful, but if the IE 900 is to be the end of an era it should be seen as the company going out on a high. This is a staggeringly talented in-ear and asks very little of you or the partnering equipment to sound sublime. It isn’t cheap, but the level of engineering means this is one of the very ﬁnest earphones anywhere near the price ●

OUR VERDICT SOUND QUALITY

LIKE: Staggeringly open, engaging but propulsive sound

VALUE FOR MONEY

DISLIKE: Not cheap; case isn’t as nice as the IE 800 S

BUILD QUALITY

EASE OF DRIVE

OVERALL

WE SAY: A truly outstanding earphone that takes Sennheiser’s single-driver ethos another stage further

T1 THE NEXT GENERATION OF ENTRY-LEVEL TURNTABLES

Electronic speed box available

In 1991, Pro-Ject Audio Systems started a revolution in the Hi-Fi world with the introduction of the Pro-Ject 1 turntable. A new high-end, low budget turntable at a time when CD was king. Against all odds, we were creating interest in

All-new A All ll-ne -new n w design and an nd high-qua lity high-quality materials materi mat erials al

analogue audio at a time when others were turning their backs. Flash-forward to the present day, with the introduction of our all-new T1 which reimagines the classic turntable design and elevates the sound performance to new heights. You will find no plastic here, only high-end, durable materials that boast an audiophile sonic performance at a fantastic price. All T1 models are available in high-gloss black, satin white and luxury walnut to suit your style and home décor.

Aesthetically pleasing glass platter as standard

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AUDIO REVIEWS EDWARDS TT4 £400

Game changed Edwards Audio has replaced its entry-level turntable, but it’s no mild makeover. This one’s special says David Vivian ack in 2003, US car maker General Motors decided to take on a couple of Europe’s popular prestige brands in the performance executive saloon sector. As presented to the UK press, the Cadillac CTS – hot from a mind-bending car chase in the Matrix Reloaded ﬁlm of the same year – was designed to appeal to the kind of driver prepared to swerve the habitual acceptance of the Teutonic hegemony for a more discerning, individualistic choice. The reasoning went that, everything else being more-or-less equal, the Cadillac would be bought because it wasn’t a Beemer or a Merc. Although the CTS was a good car, forcing BMW and Mercedes on to the back foot was never going to happen. And it didn’t. I can’t help thinking there’s a commensurate challenge facing Edwards Audio’s TT4. Arguably the toughest ask in the vinyl spinner retail arena is to sell a turntable for around £400 that isn’t a Rega Planar 2 or a Pro-Ject Debut Carbon Evo. Hats off to Edwards Audio, then, because that’s exactly what it’s expecting to do here. Unlike the ill-starred Caddy,

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however, this is a product capable of stress testing its estimable opponents with some tantalising tech and points of difference more usually found at considerably loftier prices. Perhaps most obvious, it simply looks more expensive than it is, rocking an aesthetic arguably closer to that of the extraordinary Vertere DG-1 (HFC 463) than anything from Rega or Pro-Ject at remotely close to the price. One similarity is that both turntables’ use of a layered

The presentation has an exquisite order, coherence and sense of balance construction, sometimes referred to as constrained layer damping, for their elegantly svelte plinths – a vibration-damping sandwich with the translucent ﬁlling on show. Also like the Vertere, the Edwards has a tonearm that eschews the gimbal bearing assemblies common to the vast majority of tonearms in search of lower friction values. All right, the

DETAILS PRODUCT Edwards Audio TT4 ORIGIN UK TYPE Belt-drive turntable WEIGHT 5.2kg DIMENSIONS (WxHxD) 465 x 113 x 370mm FEATURES ● 33 and 45rpm ● 9in aluminium captive uni-pivot tonearm ● Zephyr C100 (AT95E) MM cartridge DISTRIBUTOR Talk Electronics Ltd. TELEPHONE 01344 844204 WEBSITE talkelectronics.com

glass platter is more Planar 2, but on the whole the TT4 offers some fresh thinking and so is a genuine alternative to the usual suspects. Maybe to emphasise the point, the Z-shaped dust cover that slips over the spindle and rests on the platter is a departure from the hinged-lid norm. A technology with oft-mentioned aerospace associations, ‘constrained layer damping’ is the new buzz term among turntable makers. This type of sandwich construction can be discreetly hidden, as in the case of the MoFi UltraDeck+ and StudioDeck+ (HFC 459/466) or left exposed like the TT4. In either case, the objective is to dissipate fractional vibrations and noise that would otherwise degrade sound quality. Edwards Audio sees it as a key factor in its endeavour to deliver superior sonics at this price point. Another is its captive uni-pivot tonearm, which effectively makes its debut as the A4 on the TT4, but will also be sold as the A500 to ﬁt to other turntables complete with 5-pin socket added to the bottom of the arm and a special VTA mounting ring. A brief word about uni-pivots. Notables over the years have included the Naim ARO and Roksan Nima, both unconstrained examples free to move not just in the vertical and horizontal planes but wobble torsionally as well, the latter characteristic sharply dividing opinion along swear by/swear at lines. A captive (or constrained) uni-pivot gets around the – for some – disconcerting wobble by conﬁning movement to the vertical and horizontal planes, just like a conventional tonearm. There are various methods employed to achieve this, but Edwards Audio’s claims to be uniquely simple and positions a plastic (POM or acrylic) ring at the

EDWARDS AUDIO TT4 £400

base of the bell housing. The ring has a slot in it that locates against the vertical pivot point to prevent movement other than in the vertical or horizontal planes. If you remove the ring, says boss Kevin Edwards, it reverts to being a full uni-pivot, with all the issues that brings. The design has a hardened stainless steel pivot point and uses a 12.7mm diameter, high-grade and slightly tapered aluminium arm tube internally dressed with jointless 0.15mm copper single-core varnished copper wire and terminated with a fully machined black anodised acrylic headshell. This is factory fitted with a pre-aligned Audio-Technica AT95E movingmagnet cartridge (re-badged C100). Three large non-adjustable, anti-vibration feet are fixed directly to the underside of the plinth and provide a reassuringly firm footing while the interconnect socket/earth terminal block, although slightly inset from the rear edge, is easy enough to access – as is the power socket for the wall-wart mains plug. Supplied for test in a very smart glossy white finish (including Z-type dust cover), the TT4 is also available in black, red and grey. Build quality is excellent throughout and, again, would not disgrace a significantly more expensive product.

REVIEWS

The Z-shaped dust cover is a smart solution to an age-old problem

HOW IT COMPARES If Rega’s Planar 2 (HFC 415) is the eternal benchmark at this price, then the Pro-Ject Debut Carbon Evo (HFC 468) arguably represents the most serious recent challenge. The Rega aces pace, timing and dynamic shading, the Pro-Ject bass power, body and tonal warmth. I’ve little doubt that Edwards Audio’s contender will be jostling for pole position while adding a little more style of its own into the mix as well.

Audio-Technica’s factory-fitted AT95E cartridge is pre-aligned

Sound quality Talk Electronics, Edwards Audio’s parent company, has invested heavily in machining facilities for its Surrey-based factory and is as proud to thump the ‘made in Britain’ tub as it is willing to take the Pepsi Challenge with any competitor on the matter of which sounds better? Running with the theme, the TT4 is, if anything, a still punchier prospect itching to chop down some popular big hitters – as it needs to be, of course, as counting on patronage solely because it isn’t a Rega or a Pro-Ject ain’t gonna work. Unfortunately, I don’t have the slightly more expensive Rega Planer 2 and Pro-Ject Debut Carbon Evo to hand for comparison, but by pitching the TT4 against the considerably more

Its aesthetic is closer to Vertere’s DG-1 than price-matched Regas or Pro-Jects expensive Rega Planar 6 (HFC 427) with Ania moving-coil cartridge (HFC 452) and Neo PSU as well as MoFi’s terrific StudioDeck +, we should get a reasonable idea how that contest might have turned out. Exposing the TT4 to the revealing insights of Chord’s Huei phono stage (HFC 459), Hegel’s H120 integrated (HFC 460) and Dynaudio’s Evoke 30 floorstander (HFC 460) uncovers no fundamental flaws. On the contrary, the TT4 is a quiet performer: zero hum, barely detectable surface noise, no woofer flutter and, even with a decades’ old pressing of The Oscar Peterson Trio’s Hello Herbie, vanishing low instances of ‘groove rush’. Actually, Peterson’s phenomenal speed, technique and mixing of styles on piano, joined by a similarly spry Herb Ellis on guitar, Sam Jones’ supple bass stylings and Bob Durham’s deft dexterity with a drum kit, is a great test for sifting the hi-fi pretenders from the real practitioners and, with all three decks having hosted the album’s fully lit opening track, Wes Montgomery’s Naptown Blues, the TT4 is clearly on the

pace, in control and firmly a member of the latter camp along with the Planar 6 and MoFi – if not killing any giants, then at least holding its own. I’ve come to notice when a turntable is getting the important things right if it can make Audio-Technica’s humble and often underrated classic budget MM cartridge, the AT95E, sing sweetly. And the TT4 does that – no rough edges at all. Moreover, the combo is refined in a broader sense. All right, it doesn’t have the precision, openness and ultimate resolving power of the Rega or the tonal richness, body and ‘soul’ and lyrical flow of the MoFi, but my word it doesn’t fall that far short and, more importantly, the presentation has an exquisite order, coherence and balance that never grates or fails to find the musical pulse, whatever you play. From Leonard Cohen to The Clash, you will be engaged and uplifted. Um, probably depressed in Cohen’s case.

Conclusion So, what of the notional TT4 versus Planar 2 versus Debut Carbon Evo match-up? A potential slam dunk for Edwards Audio’s talented newbie? In the absence of its actual price zone rivals, that must remain moot. But I am inclined towards a deﬁnite maybe. Measured against its supposed betters, it’s clear the TT4 has an awful lot going for it, not least that ever-desirable fusion of seductive style and transcendent sonic chops. I’d simply say this: don’t buy a £400 turntable without auditioning the TT4 ﬁrst ●

OUR VERDICT SOUND QUALITY

VALUE FOR MONEY

BUILD QUALITY

FEATURES

LIKE: Design, style, build and performance DISLIKE: Nothing at the price WE SAY: Even with its modest fitted cartridge, the TT4 sounds exceptionally fine

OVERALL

JULY 2021

AUDIO REVIEWS CYRUS SOUNDBUDS2 £80

Taste buds Cliff Joseph applauds the budget brilliance shown by his new buddies hough Cyrus Audio is best known for its range of amps and loudspeakers, it occasionally dips a toe into more mainstream waters. The in-ear soundBuds2 is very much aimed at the more affordable end of the market and so is not overburdened with added extras, but does have a sturdy and comfortable design. The lightweight earbud is well built, housing a 6mm driver in an earpiece a little more streamlined

This is a comfortable design capable of very respectable sound quality than the original soundBuds. It boasts IPX5 water resistance and is very comfortable to wear – with three sizes of ear-tips and two sets of ‘ﬁtting bands’, which wraps around the earbud and uses a little rubber hook to secure itself inside the ear. Battery life is around ﬁve hours, while the case allows three more charges for a total of 20 hours. As you’d expect at the low price, there’s no noise cancellation with Cyrus claiming that the earbud: “operates without the phasing artefacts of noise cancellation”. That’s a bit of a red 64

JULY 2021

herring, though, given that it relies on the lossy compression of Bluetooth in the ﬁrst place. Apple’s AAC codec is supported for Bluetooth, but there’s no aptX.

Sound quality It’s a little unfair to expect the soundBuds2 to compete with rivals that cost two or three times as much, yet it manages to acquit itself surprisingly well. Saddened by the passing of Jim Steinman, I indulge myself in a Tidal playlist of his greatest hits, beginning with the raucous Meatloaf and Cher duet Dead Ringer For Love. Typically, the song leaps in at the deep end with that furious guitar riff and drum roll, but I’m most impressed by the ability of the soundBuds2 to pick up the fast, propulsive bass of Steve Buslowe, which can easily get lost on less discerning rivals. It keeps up with the bass as it reaches escape velocity during the bizarre outbreak of bossa

DETAILS PRODUCT Cyrus Audio soundBuds2 ORIGIN UK/China TYPE True wireless stereo earbuds WEIGHT 4.1g each FEATURES ● 6mm driver ● Bluetooth 5.0 with SBC, AAC ● Battery life: 5 hours; charging case: 15 hours DISTRIBUTOR Cyrus Audio TELEPHONE 01480 410 900 WEBSITE cyrusaudio.com

nova horns in the middle eight, but as Cher spits out: “I’m looking for anonymous and fleeting satisfaction” it also manages to pick out the gentle tapping of the tambourine. However, the final section of the song does stretch the little earbud to its limit. It just about maintains its composure as Steinman chucks everything at the wall during the final 60 seconds, but you can hear the sound starting to fray at the edges a little as the head-banging guitar, bass and crashing drums all compete to see who can make the most noise. The soundBuds2 fares better with the simpler arrangement of Total Eclipse Of The Heart. There’s a crisp, firm tone to the opening piano and the compact earbud creates a nice sense of space as the “turn around” vocal refrain hangs waiting for Bonnie Tyler’s bombastic response. The soundBuds2 again seems to have a keen ear for higher frequency percussion, delivering a sharp staccato sound on the cymbal strikes. And, with no guitars to overwhelm the sound, the nuclear-powered church organ instrumental takes off with a real sense of drama. To allow the soundBuds2 to show a little taste and restraint, I finish with Leonard Cohen’s You Want It Darker. I’m actually surprised as the performance digs right down to the deep, resonant bass intro. And, of course, there’s nothing deeper than Cohen’s own voice, as the earbud captures the rumbling force of his mournful intonation: “If thine is the glory, mine must be the shame”.

Conclusion The lack of noise-cancellation and aptX will deter some users, but that’s an acceptable compromise for such an affordable set of earbuds. And, with the comfortable design and very respectable sound quality, the soundBuds2 represents excellent value for anyone on a tight budget ●

The design is more streamlined than the original soundBuds

OUR VERDICT SOUND QUALITY

LIKE: Good sound quality at a competitive price point

VALUE FOR MONEY

DISLIKE: No aptX or noise-cancellation

BUILD QUALITY

EASE OF DRIVE

OVERALL

WE SAY: A decent affordable option for casual listening and exercising

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REVIEWS T+A SOLITAIRE P-SE £3,000

Paint it black T+A’s more affordable take on its flagship is still a very serious piece of kit says Ed Selley aunched last year, T+A’s Solitaire P headphone weighs in at a hefty £5,000. As well as being exceptionally good, it does mean even ‘trickle-down’ models have the scope to be rather high-end in their own right. The Solitaire P-SE is the second model to join the range and is closely related. It is an open-back, planar magnetic that very closely matches the design of the original. To make the significant saving over the P, the biggest difference is the driver itself. The TPM2500 unit is the same size as that used in the flagship, but only has magnets on one side and the material used for the diaphragm and the process by which a conductive surface is applied has been slightly revised. The ‘Draught control system’ (effectively the air management around the driver) has thus been altered to reflect these changes. There have also been some changes to the chassis and headband. The exquisite but extremely expensive aluminium sections of the P are now plastic. Impressively, it still feels solid

JULY 2021

and effortlessly engineered in a way that many other headphones – even when made out of metal – cannot easily match. The Solitaire P-SE is supplied with two detachable cables, both 3m long. The first is fitted with a conventional 6.35mm jack, while the other has a 4.4mm Pentaconn balanced connector – as supported by T+A’s headphone products (XLR fitment is also available). My only slight complaint is that the storage is huge and a little fussy.

DETAILS PRODUCT T+A Solitaire P-SE ORIGIN Germany TYPE Open back, over-ear planar magnetic headphone WEIGHT 440g (excluding cable) FEATURES ● 110 x 80mm planar magnetic driver ● 3m detachable cables with 6.35mm and 4.4mm connections (XLR optional) DISTRIBUTOR The Audio Business Ltd. TELEPHONE 01249 704669 WEBSITE ta-hifi.de

T+A creates a space and scale that’s truly extraordinary for a headphone. With everything afforded believable dimensions, the tonal realism and immediacy ensures it readily achieves the suspension of disbelief that can elude some rivals. The ability of the T+A to really push information in front of you and to extend the soundstage beyond the conﬁnes of the enclosures is consistently effective and not tied to the scale of the music being played. The stripped-back and intimate Mokou Mokou by Amadou and Mariam is as much of a beneﬁciary as the more boisterous live Shibuya 357 by Brand New Heavies. The latter recording does suggest that the Solitaire P-SE doesn’t have quite the urgency of some dynamic driver rivals, but it never sounds slow or confused. The most impressive attribute is one shared with its bigger sibling. This is a headphone that never struggles to achieve near forensic levels of detail and with high-quality recordings it can deliver a level of performance that you would have to spend many times more on conventional box speakers to get anywhere near. It does all this while delivering poor recordings in an impressively forgiving way. It is also usefully sensitive judged by the standards of planar magnetic designs. My resident Chord Electronics Hugo TT2 (HFC 468) does a fantastic job, but the results on the end of an Astell&Kern KANN Alpha (HFC 473) – equipped with a 4.4mm headphone socket – are also extremely impressive.

Conclusion T+A has somehow shaved as much as 40 percent off the price of the ﬂagship P while retaining more than 60 percent of its capability. It’s still unquestionably an expensive headphone, but the sheer levels of performance on offer and the quality of the build and design means it ranks as one of the very ﬁnest headphones anywhere near the price ●

Sound quality I’ve tested the original Solitaire P in the past and it’s notable how many of the same observations apply to both models. T+A’s implementation of a planar magnetic driver is the closest I’ve seen to achieving the ideals of the technology. Listening to the gorgeous 24-bit/96kHz Qobuz stream of Paris Jackson’s Dead Sea reveals all of the speed and ﬂuidity of an electrostatic, but there is a heft to the underpinning bass quite unlike any electrostatic – and indeed most planar magnetic headphones – I’ve ever used. The

OUR VERDICT SOUND QUALITY

LIKE: Sensational sound; very forgiving comfort; well made

VALUE FOR MONEY

DISLIKE: Looks a little subdued; not cheap

BUILD QUALITY

EASE OF DRIVE

OVERALL

WE SAY: T+A’s trickle down gets off to a fine start with a headphone that delivers a big chunk of the flagship at a lower price point

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REVIEWS ARCAM ST60 £1,200

Stream genie Late to the party it might be, but Arcam’s first standalone streamer aims to make up for lost time. David Vivian is impressed t’s all right to stream. Compact disc and vinyl collections are personal and precious but once sampled, instant access to ‘all the music in the world’ is a hard habit to break. Part of the attraction is that it’s almost harder not to get connected. If you own a smartphone and a pair of earbuds, you’re just an app store click away. But if proper hi-fi sound quality is the goal, network streaming capability aided by a decent DAC is the way to go and the good news is that the necessary tools are built into a wide range of kit these days, from integrated amps to active speakers. Those shooting for elevated streaming performance and the opportunity to exploit all the medium has to offer may regard a dedicated, standalone unit that can be integrated into any system as the best bet of all. The list of potential candidates seems to grow longer by the month. I’m surprised, though, that Arcam – the Brit-fi brand that established its place ahead of the curve at the dawn of digital in the UK – has waited until now to make its first dedicated network streamer. Easily identified by its sober styling and dark grey hue, it’s the newest addition the company’s HDA family of components. Arcam and digital audio go back some 40 years. With a distant future under

JULY 2021

the wing of South Korean giant Samsung Electronics not even a twinkle in an accountant’s eye, the then small, Cambridge-based independent company was responsible for the first, ground-up CD player to be built in the UK that wasn’t a modification of someone else’s, the first outboard DAC (the now iconic Arcam Black Box) and the first domestic DAB tuner. It’s probably safe to assume that customers for a dedicated network streamer/DAC won’t be too impressed with any trimmed-to-fit compromises

The Arcam defines images precisely in a soundstage of notably great depth and therefore no surprise that the ST60 claims to be a full-nine-yards production with ease of use, connectivity and sound quality prioritised, along with ability to act as a preamp to team with a power amp or active speakers. For those keen to get going straight out of the box there’s Apple AirPlay 2, Google Chromecast built-in and Spotify Connect. Download Arcam’s MusicLife smartphone app and access opens up to UPnP, Tidal, Qobuz,

DETAILS PRODUCT Arcam ST60 ORIGIN UK/China TYPE Network music player/DAC/ digital preamp WEIGHT 5.5kg DIMENSIONS (WxHxD) 433 x 102 x 306mm FEATURES ● Apple AirPlay 2; Google Chromecast; Spotify Connect ● ESS9038 32-bit/192kHz Delta-Sigma DAC ● MQA supported ● Roon Ready DISTRIBUTOR Arcam UK TELEPHONE 01223 203200 WEBSITE arcam.co.uk

Deezer and Napster. The ST60 is also ‘Roon Ready’, but not yet certificated. And, as you’ve doubtless deduced, no Tidal Connect certification, either. On the neatly configured back panel, connectivity is comprehensive. In addition to Ethernet and USB 2 (for local media storage), there are widely spaced wi-fi antennae sockets, balanced XLR and single-ended RCA analogue outputs, plus coaxial and optical digital outputs should you want to hook up an external DAC. The usual formats are supported – including AIFF, ALAC, FLAC and WAV, along with compressed legacy formats such as MP3 – and full MQA rendering and decoding is provided. Arcam hasn’t stinted on decoding horsepower either, employing ESS Technology’s A-game ESS Sabre ES9038K2M, which handles PCM up to 32-bit/192kHz as well as DSD. Lastly, the ST60 offers full I/P and RS232 control for integration in both Control4 and Crestron home automation systems. Setting-up Chromecast and AirPlay 2 is straightforward and the full-sized remote (which helpfully illuminates all the buttons when you press any of them) drives an intuitive and crisply presented menu system that’s easy to read and navigate on the 5.2in display. A little easier on the eyes, the dedicated Arcam app, MusicLife, adds control of music stored on supported devices and network drives.

Sound quality With the equipment rack still warm from Cambridge Audio’s Evo 150 ‘just-add-speakers’ streaming system and the CXN v2/CXA 61 streamer/ integrated amp I used for comparison (HFC 437/459), the Arcam is in the right place at the right time to show

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REVIEWS ARCAM ST60 £1,200

just what it’s made of as all the Cambridge components set cracking standards for both usability and sound quality. To put it mildly, the ST60 doesn’t hit the ground running on the former front. Using the remote is a pleasure, but compared with Cambridge Audio’s slick and spry StreamMagic app MusicLife feels a little clunky, graphically malnourished and, unless it’s playing from a queue, slow to respond. Track hopping with StreamMagic and the CXN v2 is essentially gapless, music and artwork up and running in just over a second. Try the same thing with MusicLife and you’ll be waiting in the region of 8 seconds while interaction with the ST60 sorts itself out. However, I’m assured by Arcam that it’s working on making MusicLife a slicker, faster, better-looking experience for the second quarter of the year. For now, there’s redemption in the sound. Let me put it this way: if you want to make the already superb sounding Evo 150 sound even better, simply let the ST60 take over the decoding and streaming duties. No one realistically would, of course, as it trashes the point of Evo’s neat and convenient one-box initiative completely. But round robin mixing and matching with the CXA 61, CXN v2 and the Evo 150 (especially

HOW IT COMPARES As reported in the review, the Arcam raises the sonic bar comfortably above the mark set by the talented, and £300 cheaper, CXN v2 and even eclipses the exceptional Evo 150 when sharing that model’s very fine Class D amplification. My feeling is that to better the ST60 by any appreciable margin, we’re looking at the likes of Naim’s ND5 XS 2 at £2,300 and Cambridge Audio’s Edge NQ at £3,500 (HFC 446/447 respectively).

ESS Technology’s top DAC chip sits right at the heart of the ST60

making use of its terriﬁc built-in 150W Hypex NCore Class D ampliﬁcation for the standalone streamers), it’s clear as day that, for pure sonic excellence as a source provider, the ST60 has the edge. Whether this is a result of Arcam’s trumpeted 40 years of experience in the digital audio business and/or its choice of ESS Technology’s top DAC chip – the Evo 150 uses the lower tier ESS Sabre ES9018K2M and the CXN v2 a pair of Wolfson WM8740 24-bit DACs – I wouldn’t like to hazard a

There’s Apple AirPlay 2, Google Chromecast built-in and Spotify Connect guess, but with a recording as meticulously sewn together and polished as Steely Dan’s Things I Miss The Most from Everything Must Go, the Arcam deﬁnes images more precisely in a soundstage of notably greater depth. It also wrings a little more tonal colour, texture and, well, sheer tunefulness from the material. This doesn’t make the ST60 sound ostensibly richer and warmer than the CXN v2, but it is airier, more lucid and relaxed, the Cambridge seeming a little opaque and constrained by

comparison. The Evo 150 runs the ST60 closer but, again, it can’t quite match the Arcam’s outstanding transparency and openness. Michael McDonald’s I Was Made To Love Her streamed via FLAC – a production of rare quality with a stunning sense of space and dimensionality – has the knack of sounding good on modest kit, but in the hands of the ST60 it’s scintillating. Stevie Wonder’s harmonica breaks are rendered with more cut and urgency, but also a truer sense of harmonic complexity while the honeyed voices of the female backing singers locate and mesh more coherently in the soundstage, seeming to form an arc behind McDonald – as usual, giving it the lot, but staying comfortably clear of the ragged edge – instead of being spotlit, ﬂattened in perspective and pushed rather artiﬁcially out to the far left as can sometimes happen with lesser components.

Conclusion It may have taken Arcam a while to make a standalone streamer, but it’s been worth the wait. MusicLife isn’t the swiftest or most elegant control app we’ve ever used, but it’s stable and it works. Not quite the smoothest operator, then, but if you really want to hear how good streaming can sound, the ST60 hits the spot with full force ●

OUR VERDICT SOUND QUALITY

VALUE FOR MONEY

BUILD QUALITY

FEATURES

OVERALL

JULY 2021

LIKE: Superb sound, design and build DISLIKE: No Tidal Connect, sleepy MusicLife control app WE SAY: If you don’t believe affordable streaming can hit the sonic heights, take a listen to the ST60

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THIS MONTH

ED SELLEY

NEVILLE ROBERTS JASON KENNEDY

DAVID PRICE

CHRIS WARD

EXPERTISE: REVIEWER Active in the industry since 1999, Ed’s first record was Boss Drum by The Shamen. He splits his time between reviewing and protecting hi-fi kit from his son Will.

EXPERTISE: ENGINEER Neville has an eclectic taste for classical baroque and jazz. His wife was forced to marry his transmission line speakers in the eighties and he collects BBC test card music.

EXPERTISE: REVIEWER DP two-finger typed his first hi-fi review 25 years ago. Since then he’s edited Hi-Fi World and HFC. He describes himself as an “unreconstructed analogue addict”.

EXPERTISE: REVIEWER Like his first kiss, Chris will never forget the sound of his first amp – an Aura Evolution VA-100. War Of The Worlds and Fleetwood Mac’s Rumours were his first records.

EXPERTISE: REVIEWER Editor of HFC from 1998 to 2001, Jason’s first turntable was Rega’s Planar 3 and Elvis’ 40 Greatest Hits was his first vinyl, so don’t go stepping on his blue suede shoes.

Email us at: letters@hifichoice.co.uk or write to: Hi-Fi Choice Letters, AVTech Media Ltd, Suite 25, Eden House, Enterprise Way, Edenbridge, Kent, TN8 6HF. Your letters may be edited before publication and we cannot enter into personal correspondence

Young at heart

LETTER OF THE MONTH

After reading the editorial intro page from Steve Sutherland in the February issue so many different things sprang to mind. Firstly, and with a deep desire to master temporal mechanics; oh, the sweet business of being young again. Playing music at whatever volume, without the slightest knowledge of how the racket affects everyone else. I did it, way back when, to Motörhead, Iron Maiden, Gillan, AC/DC, et al. Now I cannot imagine what the folk in your street made of this x3 assault on their senses, but I would now

WE ASKED... Will you be participating in Record Store Day 2021?

• •• •

Yes, it’s important to support your local record store No, I don’t buy vinyl No, it’s a con No, I stream my music

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STEVE SUTHERLAND EXPERTISE: EDITOR Music scribe Steve has interviewed everyone from David Bowie to Kate Bush, receiving death threats from Paul Weller and Peter Tosh along the way.

More ways to get in touch: You can also send your questions to us via social media: twitter.com@HiFiChoiceMag facebook.com/hifichoice.co.uk

have needed to emigrate. I’m nearer to 60 than to 50 and while I am prepared to listen at high volumes, it is always using headphones. I know I would feel hugely guilty and somewhat embarrassed screaming out Pixies or Kleistwahr to my neighbours at my time of life and it is true I suppose of most folk as they get older. I was 21 years young, when The Smiths’ The Queen Is Dead was released and remember laughing out loud to some of the lyrics. Not unusual I guess, considering the author. Some 35 years later and

Never ever be embarrassed by your music or the volume you play it at still it spins, although it is the band’s debut album that does it best for me. A few months back, I was ﬂicking through a copy of Loud And Quiet magazine and it mentioned this female singer. I have been aware of her name for over a decade (you cannot listen to everything can you?) and I just let her pass me by. As a result, for the last four months, I have been a massive fan of Lana Del Rey. How I could have ignored her and been so silly is beyond me. Anyhow, I tracked down an HMV edition of her album on red vinyl, with alternative artwork and poster. I know I sound like a

Like editor Steve, Neil has been won over by the music of Lana Del Rey

teenager, ‘but with poster included’ really swung it for me. Steve also went on to mention streaming services, and while I have no problem at all with streaming or the modern age, if I could I would probably choose to be a music fan in the Seventies, Eighties or Nineties. Not necessarily because of the music itself, but because somehow it seemed different. Dare I say better. Maybe I have turned in to a fuddy-duddy after all. Albeit one with a beautiful poster! Neil Porter, by email SS: Listen mate, I’m a little older than you and just about the only thing I’ve learned over the many years is that there is never, ever, reason to be embarrassed about the music you like or, indeed, the volume at which you play it. C’mon, everyone knows the louder the better. You’ve earned it! Weirdly, I’m getting into more new music now than ever before thanks to JULY 2021

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LETTERS

Rocket, Man …

Soft furnishings can help calm the acoustics of a room down

my three kids – aged 20, 17 and 15. Every car journey is a Bluetooth battle between Magnetic Fields, SZA, Le Tigre and Death Grips and it’s absolutely brilliant. I love Lana, of course. Apart, probably, from Kanye West, she’s the one who continues to get better and better for me, and there’s not an album of hers that I don’t treasure. Hope you don’t mind, here’s a new track worth checking out: Tom Morello and Pussy Riot’s Weather Strike. Oh, and don’t just take my word for all that ‘too old to rock’ crap. Check out the immortal Iggy Pop taking on Dylan Thomas’ Do Not Go Gentle... on his 2019 LP Free. And make sure you turn it up!

Trading places Having built a system that has sounded increasing glorious to my ears over the last few years, I’ve recently moved house only to ﬁnd all my work undone by the acoustics of my new living room (effectively square in shape with a wooden ﬂoor, vaulted ceiling and lots of windows on two sides). The bass is a mess, the midrange now clangy and I’m no longer enjoying listening to my music. While I suspect my room is a ‘perfect storm’ when it comes to poor acoustics, and adding a few rugs won’t cure it, I’m interested to know if your team use any acoustics treatments at home (base traps, diffusers etc.) and would they consider them essential in any serious system? Ian Stent, by email CW: First and foremost Ian, as with many things in life, don’t panic!

You have a few issues to wrestle with, but there will be a decent sound in that room somewhere. My starting point is think about the options of where you can sit. If you have a few choices of how furniture can be set out then simultaneously think about potential equidistant positions for loudspeakers. Part of the issue with squarer rooms is that the speakers can often get pushed awkwardly close to the corners. Corners act like natural ampliﬁcation horns, overly reinforcing bass to the point where it becomes uncontrolled. Part of the challenge in positioning loudspeakers is considering reﬂected sounds versus

I’ve moved house and the acoustics are all different in my new listening room direct sounds. The speaker may be pointing at your head, but mid and low frequencies will radiate wider, bouncing off side walls before reaching you ears a fraction of a second later. This is normal, but a poor setup with cabinets located too close to side walls can effectively ‘slur’ your music. Two glass walls isn’t ideal, but might you have the potential to ﬁre your speakers at more of a diagonal across the room either from or towards the glass walls? Similarly, a suspended wooden ﬂoor can be tricky. I’d be very conscious in trying to stop spiked speakers transmitting bass energy down into the boards. Heavy paving slabs or offcuts of granite worktop may help or if on a budget put pennies under spikes.

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LETTERS

In your shoes, the curveball solution could be to actively pick loudspeakers that have been designed to work best directly in corners. You don’t mention your room size nor budget, but check out Audio Note’s speaker range. JK: What a nightmare! But all is not lost, with careful placement of the speakers and a combination of diffusive and damping materials most rooms can be sorted. Personally, I don’t use much – just some damping behind the listening position and some naturally diffusive furniture (oh alright, speakers), but similar results can be achieved with curtains, bookshelves, record shelving etc. NR: I have spent a considerable amount of time at a friend’s house in the past playing with bass traps and other acoustic treatments in his listening room. I have concluded that resonance-controlling acoustic panels, such as the 244 Bass Traps from GIK Acoustics (HFC 367) are extremely

I rely on two sofas in my listening room to reduce any unwanted reflections effective at taming a lively room. In fact, my friend made the comment that the panels actually stopped his room from singing along with the music! Another useful treatment could be using a couple of GIK’s Gotham N23 Diffusors (HFC 427) to diffuse reflections – I would certainly have them in our sitting room if my aesthetic consultant (aka my wife) would allow it. ES: That certainly sounds like a challenging room. I don’t have anything quite that problematic here, but I do have a wooden floor and I would not be without a good size rug in the middle of it (with the obvious bonus that you can choose a colour and pattern that benefits the décor as well as serving to cool things down a little). I then rely on the presence of two sofas – one an absolute behemoth, the other a small two seater job – to reduce reflections. You don’t specify what furniture is present in the room at the moment, but it’s always worth pointing out how effective soft furnishings are at handling some of these issues before you move to more bespoke options. You also don’t mention if the floor is suspended or concrete. For the former various isolation options are

available to place under speakers (I have used Auralex ones in an upstairs room with some success in the past) or you can take a more route one approach and put paving slabs under there. These are relatively discrete, but can be extremely effective. Finally, if the room is as tricky as you say, there’s the nuclear option. It goes against the purist ideal, but an amp with Dirac or other form of correction will have a better chance of sounding halfway decent in a space like this and also means that you won’t wind up in a space dominated by room treatment features. Devices like the Arcam SA30 (HFC 462) and NAD M33 (HFC 466) are also very good.

Identity parade Having read David Price’s Retro piece “Out of time” in the April issue about Wharfedale’s E70 loudspeakers brought back fond memories of a set of E-series speakers that I owned some 35 to 40 years ago. Well I thought they were E series... I have attached a very poor quality and old picture of one of my speakers (below), which was originally purchased from a department store called Callers in Northumberland Street, Newcastle upon Tyne. Sadly the store has been closed down for a long time now. I believed them to be a set of E series speakers. They had a pair of 8in bass/midrange units and a bullet-style high-frequency tweeter with a pot on the front bafﬂe to soften things down a touch. They were ported at the rear and had a high sensitivity and were quite heavy. The front wire grilles were removeable.

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LETTERS

Upon checking, it’s clear to see these are neither E or Vanguard series loudspeakers, so my question is: does anyone at your fine magazine know what they are? I’ve looked on just about every website and cannot find a match. Your help would be much appreciated. Thanks for a great magazine! Neville Octon, Newcastle upon Tyne DP: Sorry for not giving you a definitive answer Neville, but hopefully this will shed more light on things. Wharfedale did a range of kits in the mid-to-late Seventies, including some which used E-series drive units. At the same time, the company made some similar-looking speakers that pop up secondhand now and then, but weren’t actually Es and these were sold for a short period circa 19791980. Then the Laser range was introduced and the company rationalised its very wide product portfolio; suddenly it no longer made more models than British Leyland cars! So sadly right now I can’t help you on the exact identity of your speakers, but they will certainly have shared DNA with the E-series.

Twice the fun I frequently see images of the back of speakers with twin sets of binding posts and mention of bi-wiring. On occasion, I’ve also seen ‘bi-amping’ mentioned in some of your reviews. Sorry to appear a bit behind the times, but can someone explain to me what these refer to and what are the beneﬁts of going down this particular path? Steven Candler, Whitstable Some loudspeakers sound better when bi-wired, some do not

JK: Sure thing Steven. Bi-wiring means running two sets of speaker cables from the amplifier to the two terminals on the back of the speaker. It became fashionable about 30 years ago and remains popular in certain circles because it allows twice the volume of conductor and theoretically a degree of separation between the two parts of the crossover. Some speakers sound clearly better when bi-wired others less so. What is perhaps worth noting is that the flat metal links provided with bi-wire terminals sound terrible and should be replaced with dedicated links or speaker cable if at all possible. Bi-amping is more complex and involves adding a stereo power amplifier to an existing integrated amplifier and connecting each to different halves of the crossover, the cost/benefit of this approach does not look very good and you are better off going down the pre/power route. NR: Adding to Jason’s observations, advocates of bi-amping suggest that by separating the high and low frequencies into different amplifiers and cables, distortions caused by interactions between them can be reduced. It will be very much down to

What is bi-wiring and can anyone explain to me what the benefits of it are? you to decide whether bi-amping is worth the extra expense, whether bi-wiring from a single amplifier will offer adequate audible benefits or whether sticking to a single run and shorting the bass and treble inputs together on the back of your bi-wireable speakers will suffice. CW: It’s also worth noting that bi-wiring naturally necessitates two runs of positive and negative speaker wires. Twin runs of cabling cost more, but some purists believe that each driver is then getting slightly more dedicated amplifier attention. In bi-wiring you still have a single amplifier providing the power, so the twin runs of cables are still terminated at the same positive and negative outputs at the amplifier end.

Perfect partnership? I am writing in response to your letter of the month from the March issue (“Weakest link” written by Simon Frost), as the system matching issue raised in it

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LETTERS

Yory believes Mr Frost’s DAC might be the root of his problems

does not have an expiration date. If only Mr. Frost followed fairly banal truisms in building his system. To my ear, KEF’s LS50 is a neutrally balanced honest speaker, which means his problem with “forensic” (rather than “sweetly musical” sound) is located upstream! And, indeed, Mytek’s Brooklyn DAC is known for detail retrieval but NOT for any sweetness of sound. The amplification is via unspecified Class D modules, ie inherently more neutral than any Class A or Class AB. I mean, pardon my joke, but while reading Mr. Frost describe his system I couldn’t help but imagine the ‘frosty’ sound it must have made, and I would not lay the blame at the feet of KEF LS50! I owned the anniversary edition ever since it came out and in my system it always sounds sweetly musical because of what I feed it, ie: like all-Rega systems have always sounded sweetly musical regardless of the speaker they are plugged into… So, I’d suggest Mr. Frost replace his DAC, then replace his Class D amps and lastly, upgrade the speakers if he finds it necessary. But with forensic-sounding source and amplification, there is no great mystery about the overall sound that his system produces. Cheers from the US! Yory Teperman, by email JK: I have to agree with you Yory, neither the Brooklyn nor most Class D

ampliﬁers can be described as sweet and consequently require a softer loudspeaker to balance out the results. I imagine that replacing the DAC with something that has tubes in would go a long way towards producing a more charming sound. I really like the BorderPatrol DAC SE, which only has a tube in the power supply but really sings and makes digital sound genuinely musical. ES: This is another fairly eloquent eulogy to the necessity and beneﬁt of careful system matching and I will

There’s no substitute for getting a demo of any hi-fi component before buying agree that, while I was hugely impressed by the LS50 Meta, the need to pay some attention to the equipment it is partnered with (as much to ensure it is driven correctly as for direct sonic balance). The only note of caution I’d add, though, is that our perception of how a brand ‘sounds’ frequently lags the actual tonal balance of its products. Case in point, you mention Rega. Right now, its Aethos is arguably punchier and more forward than Naim’s Supernait 3, which is pretty much the diametric opposite of what people might assume to be the case. Ongoing pandemic limitations notwithstanding, there’s still no substitute for going to listen to the device in question.

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OPINION

Green light As the lifting of Covid restrictions sees a return to normality, Nigel Williamson investigates how bands can start touring again without destroying the planet

ast month I wrote about the peculiar phenomenon of selling music via NFTs (non-fungible tokens) and mentioned in passing how it has met with criticism for its apparently giant-sized carbon footprint. Now as we return to something resembling normality and live gigs and festivals are becoming a reality again, the industry is facing up to a more wide-reaching debate about music’s impact on climate change. Are the colossal globe-trotting tours undertaken by bands such as the Rolling Stones, U2 and the Foo Fighters still sustainable in an age of environmental crisis? How can we justify the carbon emissions of the super DJs who play sets in several different European cities in a single weekend? To coincide with the UK Government’s relaxation of the restrictions, a group of artists, labels and industry movers and shakers known as the Music Declares Emergency collective has launched a debate on how the recovery from Covid-19 can be turned green. More than 2,600 artists have signed up with the campaign including Annie Lennox, Arcade Fire, Billie Eilish, Massive Attack, Mick Hucknall, IDLES and Jamie xx – and reading their mission statement it might be easy for the cynics to dismiss them as woke virtue-signallers. The group’s four point declaration includes worthy but routine calls on governments: “to tell the truth about the climate and ecological emergency” and: “to reverse biodiversity loss and reach net zero greenhouse gas emissions by 2030”. That’s ﬁne, but we all need to take responsibility and the declaration goes on to acknowledge: “the environmental impact of music industry practices” and commits to: “urgent action” to make the industry: “ecologically sustainable and regenerative”. The Beggars Group, which includes the labels 4AD, XL and Rough Trade, has announced carbon reduction commitments across its manufacturing and distribution, including pressing its vinyl on 140g instead of 180g – the sound quality is identical, but the carbon footprint from manufacturing is proportionally lower. The label Ninja Tune is also discussing a switch to green energy with its manufacturing plants and distributors. “We need change in the transport networks to make our record distribution more sustainable. We need change in the energy networks to reduce the footprint of the pressing plants we use,” says CEO Peter Quicke.

The opinions expressed in this article are those of the author. They do not necessarily reflect the attitudes or opinions of Hi-Fi Choice or AVTech Media Ltd. Picture credit: Andrea Raffin/Shutterstock/com

One of the biggest challenges comes from the return of endless touring

The Earth Percent campaign, in which Brian Eno is taking a prominent part, is aiming to raise £72 million to help the music industry transition towards sustainability. “We need to be looking at how live shows, touring, recording, streaming, merchandise and engaging fans can function in a way that ensures artists and their teams can make a good living while minimising environmental impact,” says a spokeswoman.

In 2019 Coldplay announced they would pause touring until it is more environmentally friendly to do so

Rub of the green The Bandstand Project, backed by the Music Declares Emergency collective, is helping to provide portable solar battery systems to power medium-sized outdoor live music events across the UK. The Shambala festival for example will be operating on 100 percent renewable energy and has also banned meat products from its on-site catering. But the biggest challenge comes from the return of endless touring. The pandemic has provided an opportunity for the industry to reﬂect on how it can scale back its carbon footprint. Yet artists are understandably keen to reschedule their tours to recoup their lost income and fans are desperate for live entertainment. That is, of course, entirely reasonable but the fear is that the return of live music could see emissions rebound to a higher level than before the pandemic, just as the industry tries to play its part in helping to solve the climate crisis. Coldplay, Ellie Goulding and Radiohead are among those who have already made changes to the way they tour and some acts now have a ‘green rider’, requiring venues and festivals they play to take action. But after the crisis Covid posed for the music industry, how to journey out of the pandemic in a green and sustainable fashion poses a challenge every bit as daunting ●

NIGEL WILLIAMSON Green giant

JULY 2021

OPINION

Raising the bar Neville Roberts finds that making changes to your audio system is very much a one-way process and, as Fleetwood Mac once sang, you can’t go back

friend of mine recently had cause to return his relatively new MC phono cartridge to the manufacturer for a service, even though it was still working fine. So that he wouldn’t be without his music, he re-installed his previous pick-up. After re-fitting his much loved and perfectly serviceable old cartridge he was shocked to find that the music was slow and muddled compared with what he had become used to. The sound was lacking in both top and bottom end and instrument positioning was far less precise. In short, he wasn’t prepared for the ‘night and day’ differences that were revealed when he reverted to what he had before. This got me thinking about how I review a piece of audio equipment or cable. Very often, the differences become more apparent when I remove the item under test and replace it with the original. Take an expensive interconnect cable, for example. After fitting it in place of a midrange interconnect, I think I can hear and quantify improvements but how much of that is down to confirmation bias – which causes me to expect to hear improvements given the cost of the item – and the claims of the manufacturer? More often than not, the benefits only become apparent when the cable is removed and you suddenly realise what’s missing. The same is true when upgrading a valve – very often the improvement is more apparent when it disappears after reverting to the previous one. This goes some way towards explaining my friend’s experience, but doesn’t give the whole picture. I believe that the brain actually becomes more educated as you listen to music and more able to process additional information, such as detail, and imaging. Music is structural, mathematical and architectural. It’s based on relationships between one note and the next, and the brain has to do a lot of computing to make sense of it. Furthermore, the brain has the capacity to change as a result of stimulation. This is called ‘neuroplasticity’ and these changes range from individual neurons making new connections to systematic adjustments like cortical remapping. Studies have shown that music produces several positive effects on the human body and brain. It activates both the left and right brain at the same time and this can maximise learning and improve memory. Anthropologist Alan Merriam created a list known as the Ten Functions of Music and this is included in his landmark study of 1964: The Anthropology Of Music. At the top of his list are emotional expression,

Picture credit: Vink Fan/Shutterstock.com

Theories suggest that the brain tunes into the positive qualities of music

aesthetic enjoyment and entertainment, which supports the theory the brain tunes into the positive qualities of music. Back in 1991, the phrase ‘the Mozart effect’ was used to describe a theory that if people listen to music composed by Mozart they will become more intelligent. Two years later, a study in the journal Nature sparked media and public interest about the idea that listening to classical music somehow improves the brain. The original paper from the University of California was conducted on 36 young adult students and those that listened to ten minutes of Mozart’s Sonata for Two Pianos in D major exhibited an improved ability to carry out mental tasks. Meanwhile, a study in 2010 found that listening to Schubert was equally beneﬁcial – as long as you enjoyed it.

Many regions of the brain participate in specific aspects of processing music during listening

Re-tuning your brain Finally, research has shown how the brain adapts when subjected to music. Research published in 2006 in Scientiﬁc American concluded that music has a biological basis and that the brain has a functional organisation for music. Many brain regions participate in speciﬁc aspects of music processing, such as supporting perception (or extracting a melody) and evoking emotional reactions. This learning re-tunes the brain, increasing both the responses of individual cells and the number of cells that react strongly to sounds that become important to an individual. Therefore, increasing your enjoyment of music by listening on better equipment can re-tune your brain, meaning that then downgrading to a cheaper system is no longer an option. You have been warned! ●

NEVILLE ROBERTS Don’t look back...

JULY 2021

OPINION

The good in the bad As he continues to struggle with the timeless debate regarding separating the artist from their work, Steve Sutherland has an epiphany. And it’s all thanks to Nick Cave

hen I was a kid, there was usually a tin of Lyle’s Golden Syrup in the kitchen cupboard. The tin featured a drawing of a dead male lion covered by a swarm of bees with a slogan that read: “Out of the strong came forth sweetness” – some Biblical reference apparently to Samson having killed the lion and the bees making honey in its corpse. What a weird way to flog foodstuff! It freaked me out then and still does now come to think of it, though it hadn’t crossed my mind for years and years until recently... Back in March, when the world was still about as crazy as it is right now, I wrote an Opinion about the thorny subject of how to feel or, indeed, what to do when you discover that one of your favourite artists is actually responsible for some reprehensible words or deeds. Should they be instantly cancelled and their songs never played again? Or is there a psychological wedge we can justifiably drive between the person and the artistry? The piece seemed to strike a nerve and many of you emailed your views; some scalding me for being a bit too wet and woke, while others expressed their own anxieties over supporting someone whose work they love(d) but who’d turned out to be a right rotter in real life. In truth, there didn’t seem to be any useful guidance or hard and fast rules around the subject and my – admittedly cop-out – conclusion was that one should follow one’s own gut and/or conscience and prepare to bat away all the slings and arrows of the disapprovers whatever alternative stance they may take. But just the other day I happened across an article that, for me at least, seemed to make some humanitarian sense out of the whole dodgy conundrum. The author was Nick Cave, singer with The Bad Seeds; a chap who’s shouldered more than his own fair share of turmoil and tragedy during his 63 years on this planet. He runs a website called The Red Hand Files, named after one of his most famous songs, Red Right Hand (the one in the Scream movie franchise and more recently Peaky Blinders). The site encourages fans to post questions for Cave to ponder and he was recently asked: “Should we separate the artist from the art?” and what was his “Definition of hope”? His response was brilliant: “I don’t think we can separate the art from the artist, nor should we need to… I think we can look at a piece of art as the transformed or redeemed aspect of an artist, and marvel at the miraculous journey

Picture credit: Christian Bertrand/Shutterstock.com

To be human is to transgress, yet we all have the opportunity for redemption

JULY 2021

that the work of art has taken to arrive at the better part of the artist’s nature… Perhaps beauty can be measured by the distance it has travelled to come into being. “That bad people make good art is a cause for hope,” he continued. “To be human is to transgress, of that we can be sure, yet we all have the opportunity for redemption, to rise above the more lamentable parts of our nature, to do good in spite of ourselves, to make beauty from the unbeautiful, and to have the courage to present our better selves to the world… “These expressions of transcendence, of betterment, remind us that there is good in most things, rarely only evil,” he wrote. “Once we awaken to this fact, we begin to see goodness everywhere, and this can go some way in setting right the current narrative that humans are sh*t and the world is f***ed.”

Speaking sense: maybe he’s not such a bad seed after all...

Seeing the light My ﬁrst response was a pang of jealousy. I felt ashamed I wasn’t made of such heartening stuff as Mr. Cave. Then I was consumed with gratitude that such an encouraging solution could be offered up for our consideration. I’m currently taking on board how this might work for me vis-a-vis Morrissey and Joni Mitchell and trying to remember to adopt this generous attitude forthwith. Fear not, though. The cynic still survives within. Just in case you think I’ve gone all soft and touchy-feely in my old age, it also occurs to me is that one of the things that made some of us queasy – the thought that our enjoyment of a bad-un’s brilliant music was still lining their pockets – has inadvertently been alleviated by the pitiful renumeration offered to artists by the greedy likes of Spotify et al. Maybe the universe metes out its own ironic justice after all? ●

STEVE SUTHERLAND Just deserts

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94 Greentea Peng Man Made

96 The Avalanches Since I Left You (20th Anniversary Deluxe Edition)

Picture credit: Jordan Hemingway

92 Miles Davis Merci Miles! Live At Vienne

Wolf Alice Blue Weekend CD Dirty Hit

WHO SAYS GUITAR bands are dead? Ever since 1962 when Decca rejected The Beatles on the grounds that: "guitar groups are on the way out", their demise has been predicted with an astonishing regularity. Over recent decades house, hip-hop, sampling and electronic dance music were all meant to finish off the antiquated phenomenon of the guitar band, and yet they have continued to roll off the production line in a limitless supply. Indeed, the closest brush with extinction probably came during the saturation of the mid-Noughties when there were so many gormless examples lacking in originality and sucking the oxygen out of the genre that some wag coined the term ‘landfill indie’. Yet guitar-rock has survived even landfill and each generation continues to refresh the format with life-affirming new acts joyously reclaiming the electric guitar as the world’s most potent cultural weapon. 90

JULY 2021

The current champions are undoubtedly Wolf Alice and already The Sunday Times has revived the perennial “guitar groups are doomed” prediction suggesting that the London quartet: “might end up being Britain’s last big band.” Absolute tosh, of course – although there’s no denying that Wolf Alice are not only big but that their third album is sure to make them even bigger. Their 2015 debut My Love Is Cool included Moaning Lisa Smile, which earned a Grammy nomination for Best Rock Performance. Two years later second album Visions Of A Life won the Mercury Music Prize and was followed by a triumphant Glasto performance and 187-date world tour. Wolf Alice’s ace in the pack is lead singer, songwriter and guitarist Ellie Rowsell. Like all the best women who have fronted classic rock bands, she strikes an exquisitely nuanced balance between sassy self-assurance and vulnerability.

“Did you think I was a puppet on strings? Wind her up and this honey bee stings!”, she sings on the lacerating Smile. Then she comes over all confessional on the lovely How Can I Make It OK, sounds like a cross between Cyndi Lauper’s Time After Time and Tanita Tikaram’s Twist In My Sobriety. Delicious Things has a dreamy girl-pop feel that swells into a soaring guitar climax. Play The Greatest Hits is a shouty, punk-fuelled thrash full of sly wit, which finds Rowsell turning the radio up as she dances round the kitchen. Best of all is The Last Man On Earth, which starts out with plaintive Coldplay-style piano chords and Rowsell back in vulnerable mode before the song builds into an epic, multi-layered Let it shine on you lighterwaving chorus. Not that they ever really went away, but guitar bands are back and sounding as vibrant and invigorating as they ever did. NW

MUSICREVIEWS

Maple Glider

Maria Kannegaard Trio

To Enjoy Is The Only Thing

Sand i en vik

Partisan

FOR HER DEBUT album, Maple Glider – Melbourne singer-songwriter Tori Zietsch – glides through nine tracks that not only confirms her talent, but also gives a glimpse into what makes her tick. The songs are imbued with her experiences travelling the world, break-ups and the ups and downs of life, resulting in love, love lost and introspection. There’s also a gentle, melancholic quality to the songs and Zietsch’s vocals are skilled in their delivery – sometimes as softly as a pillowy whisper, others soaring and anthemic on alt-pop gems Good Thing and As Tradition. To Enjoy Is The Only Thing is an impressive debut, full of beauty and fragility. PH

Miles Davis

MARIA KANNEGAARD IS a Norwegian pianist with a robust left hand and a deft ear for a tune or two. After the initial shock of three crashing chords that introduce opener 1-2-3, she goes on to lay down a groove for Godrot that would propel a train. The trio gets loose for the bridge, but soon return to this fabulous vamp. Kannegaard is a groove hound par excellence, but she’s just as comfortable laying down a tune as the best of them. Bortimot and the title track are prime examples. There are hints of est, but this is original work that sounds strong and 3D with a clean but warm balance that rewards level and immersive listening. JK

Symphony No 2 London Symphony Orchestra Sir Simon Rattle Rhino Hybrid SACD

IN THE SUMMER of 1991 Miles Davis made his final European tour with a stellar five-piece that included Kenny Garrett on sax, Deron Johnson on keys and two bass players – and it’s clear from this thrilling and never previously released recording from the Vienne Jazz Festival that he was still at the height of his powers. At the time Davis was experimenting with a funky jazz/R&B hybrid with a hint of hip-hop in the beat, and the set finds him whipping up a storm on tunes such as Michael

It’s clear from this never previously released recording Miles is at the height of his powers Jackson’s Human Nature and Prince’s Penetration and Jailbait. As ever with Davis, his sidemen are allowed plenty of space but it’s his trumpet that remains the main attraction, whether swinging seductively on Jailbait, blowing with lyricism on Amandla or absolutely hammering it on Hannibal. Tragically, for all the energy and vitality heard here in abundance, within three months he was dead at the age of just 65. NW

Jazzland

Rachmaninov

Merci Miles! Live At Vienne

JULY 2021

Do you agree with our reviewers? Decide for yourself and listen to some of this month’s tracks at www.hifichoice.co.uk

LSO Live

SIR SIMON DIRECTS a cogent well-organised performance of Rachmaninov’s expansive Second Symphony and the LSO plays with the work with immense warmth and love. One senses that the players are with him every step of the way and the result is impressive. This new account is slightly faster than the version Rattle recorded in Los Angeles back in the early Eighties, with individual movement timings very close to the classic 1973 Previn/LSO on EMI. The Barbican live recording is quite detailed, but tonally a shade dark and closed in. The SACD layer opens out the sound, but the big climaxes could still expand a bit more. JH

AUDIOFILE VINYL JS Bach Cello Suites Justin Pearson, Pedro Silva, Katherine Rockhill 5x 180g vinyl boxset

THIS FIVE-DISC PRODUCTION from audiophile recording specialist Chasing the Dragon is a lavish affair with a large highly illustrated booklet written by our very own Neville Roberts, and a paperback of The Cello Suites by Eric Siblin. The music comprises the complete Cello Suites with piano accompaniment for the Third Suite and a five string cello for the Sixth. Recorded in two venues around the constraints of last year, it features Justin Pearson at Temple church in London playing the first five suites with

Chasing The Dragon

Katherine Rockhill accompanying on the Third. Pearson's early 18th Century Ruggeri sounds sophisticated when contrasted with the gutty, textured timbre Pedro Silva’s Stradivarius copy with a baroque bow in St. Botolphs in Chevening. The recording was done with a pair of valve mics separated with a lamb’s wool pad to give a good balance of reverberation and precision on to analogue tape and is intended for vinyl-only release. However 24/192 PCM and double DSD digital recordings were also made. The sound is gloriously rich and yet supremely open, you can easily hear the distinct character of each musician, instrument and venue but the beauty of the compositions takes centre stage. JK

MUSICREVIEWS

Tony Allen T

COOL COLLECTION

There is No End T

He leads Nine Inch Nails, perhaps one of the most influential bands in the world today, and has just received an Oscar for his work on the animated movie Soul ,so what better time could there possibly be to tap into a trio of Trent Reznor’s primary musical influences?

Decca France

AS YOU’D EXPECT from Fela Kuti’s drummer, this puts the skins and sticks front and centre. Allen who died in Paris in 2020 left a new generation of musician’s rich rhythmic frames to fill. So Tsunami provides a brooding rap on Trés Magnifique, a strong assault on Massive Attack territory. Lava La Rue delivers hooks and charm on One Inna Million, while Ben Okri and Skepta give Cosmosis a ska flavour that will linger long beyond the first listen. There’s plenty of echoes of his trademark Afro-beat, but Allen’s final work is a leap into the future and a creative triumph as a result. PSH

French Duets

Paul Lewis and Steven Osborne

A MAGICAL DISC that offers the listener some delectable duets that include such favourites as Faure’s Dolly suite, and Ravel’s Mother Goose. The playing is sensitive and delicate, yet always precise and focused. The music is not sentimentalised, yet neither is the playing coldly objective. At times it almost sounds like a single player, rather than four hands on a single piano – high praise – and the two pianists achieve a perfect accord. The recording is crisp and immediate, with a crystalline quality that’s clear and sharp, yet nicely atmospheric. The piano is reproduced with effortless clarity and almost materialises between the speakers. JH

So precise and focused is the music, the four players sound like one

Hyperion

Sebidus

Chopin

The Heavens

24 Preludes; 24 Etudes Rafael Orozco,

Orbscure

A COLLABORATION BETWEEN Orb main man Doctor Alex Patterson and the engineer of the ambient sides of the seminal Adventures Beyond The Ultraworld, it won’t come as too much of a surprise to learn that the same blissed-out beats and acid haze soundscapes are present and correct on the Orb’s new Orbscure imprint. Consequently, lush strings vie with obscure samples, organic sounds and spacey rhythms over four lengthy tracks that unfold at a glacial pace (the longest of which comes in at a whisker under 20 minutes) – short and punchy pop, this ain’t. It is, however, stunningly beautiful. JDW

2x CDs

Warner Classics

RAFAEL OROZCO WON the 1966 Leeds piano competition aged 20. A stupendous technicalfacility placed him high among best pianists of the post-war generation and the Preludes (taped 1967) reveal impressive dexterity and a firm rounded tone. But it’s the Etudes (taped 1970/71) that make this set worth getting. Orozco’s playing invites comparison to Maurizio Pollini’s celebrated 1972 DG account – there’s no higher praise. The bright clear recordings are good for their time; especially the Etudes, which receive remarkably crisp and immediate sound quality. The Preludes sound slightly less clean, but still reproduce well. JH

Depeche Mode Black Celebration M Mute (1986) At the time, HFC’s Steve A Sutherland was working for S Melody Maker and penned M a pretty rotten review, claiming the band were: c ““pussycats desperate to appear perverted as an escape from the superficiality of teen stardom”. Reznor, however, saw the light: “DM was one of our favourite bands and the Black Celebration record took my love for them to a new level… The music, the energy, the audience, the connection… it was spiritual and truly magic.”

T Talking Heads Remain In Light S (1980) Sire ““I didn’t understand (it) when I listened to it for the w ffirst time." Reznor explains, ""Back then, I was living in a rrural small-town that was widely cut off... and then w suddenly this album landed. A strange, synthetic, polyrhythmical piece of art with African influences which confused me in every way... Since I started making music myself, this wonderful album has been something I can always consult… (it) can still be approached from so many different directions.”

S Skinny Puppy The Perpetual T Intercourse N Nettwerk/ Play It Again Sam (1986) A Skinny Puppy were a huge S iinfluence on Reznor, both with the scary sounds they w were making and their w intransigent attitude. One track in particular – Dig It off the band’s second album – set Nine Inch Nails off and running. “(They) had this f***ing aggression and tension that the hardest heavy metal or punk had… (That) was the impetus… Sonically, lyrically, your parents should hate it!”

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Picture credits: Ferenc Szelepcsenyi/Shutterstock.com

MUSICREVIEWS

Marina Allen Candlepower

DOWNLOAD CHARTS qobuz.com’s top-10 most popular album downloads

1Coldplay Everyday Life

Coldplay 2 Viva La Vida Or Death And All His Friends

Coldplay Ghost Stories

Béla Bartók

Bluebeard’s Castle Mika Kares, Szilvia Vörös Helsinki Philharmonic Orchestra Susanna Mälkki

Fire Records

ALLEN’S INTIMATE MUSIC takes its lead from Karen Carpenter, Fiona Apple and Kate Bush. Belong Here will go down well with all those that buy healing crystals, with its sleigh-bells over an unshifting bass riff. Things go all melty on Oh Louise – all very Mama minus her Papas. Reunion sees piano and multiple Allen vocals meandering through a woozy melody that never quite arrives. The seven tracks are decent enough, but none burrows deeply into the listener’s soul – the charming Sleeper Train, with its McCartneyesque bassline, comes close. Karen, Kate and Fiona are shoes Allen may one day fill, but not this time. PSH

BIS

SACD

SUSANNA MÄLKKI DELIVERS a dark shimmering atmospheric performance of this strangely fascinating piece. The work unfolds mysteriously, revealing the hidden inner tensions and strange other-worldly relationship between Duke Bluebeard and his young inquisitive wife. Both singers are well matched and very capable, but neither quite offers the sheer heft or tonal refulgence of past performers like Berry/Ludwig for Kertesz (Decca), or Nimsgern/Troyanos for Boulez (Sony). The BIS SACD sounds impressively subtle and finely detailed. The big moments expand nicely and the dynamic range is very wide. JH

G Greentea Peng

The Black Keys Delta Kream

Man Made

AMF

ARIA WELLS FULFILS her immense potential with her debut LP. Man Made is a mellow affair fizzing with ideas that sees her effortlessly glide from genre to genre. Everything from hip-hop and jazz to nu-soul, dub and even drum and bass is covered here. Wells collaborates with a long list of producers and there’s a pleasingly gauzy, drowsy feel to the album, not least because she recorded it all at 432Hz, a semitone below the industry standard. It’s easy to see why Wells has been compared to everyone from Lauren Hill to Miss Dynamite. PH

Vincent 5StDaddy’s Home 6Coldplay Prospekt’s March

Morcheeba Blackest Blue

Sons Of Kemet Black To The Future

Hybrid SACD

Smith Paul Weller Be Right Back Fat Pop 9Jorja 10 (Volume 1)

JULY 2021

Mussorgsky, Balakirev, Borodin

Hiss Golden Messenger

Russian Spectacular Singapore Symphony Orchestra Lan Shui

Quietly Blowing It

BIS

HERE’S A WELL-RECORDED selection of popular 19th century Russian orchestral works, performed with great imagination and sensitivity. The playing has plenty of commitment, yet for the most part these are refined performances. The Mussorgsky/Ravel Pictures at an Exhibition demonstrates what a superlative orchestra they have in Singapore, and Balakirev’s Islamy highlights their relaxed virtuosity. The disc ends with Borodin’s rousing Povlotsian Dances with chorus. The BIS recording is powerful, natural, wonderfully refined, and effortlessly detailed. JH

Merge

IT’S EASY ENOUGH to tick the canonical Americana influences on MC Taylor’s follow-up to his band’s 2109’s Grammy-nominated album Terms Of Surrender. The Allman Brothers (The Great Mystifier), Tony Joe White (Mighty Dollar), JJ Cale (the title track), Curtis Mayfield (It Will If We Let It), Little Feat (Hardytown) and The Band (Painting Houses) all leave a pleasing echo. Yet Taylor has an effortless ability to absorb rock’s most familiar tropes and reinvent them as his own in a way that sounds fresh and vital and not in the slightest way derivative of his role models. NW

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MUSICREVIEWS

Vincent Neil Emerson

Vaughan Williams Symphonies 4 & 6 London Symphony Orchestra Antonio Pappano

Vincent Neil Emerson

La Honda/Thirty Tigers

ONE OF THE most exciting new voices on the country music scene, the 29-year-old Texan with a self-titled sophomore effort that just drips with authenticity. With a resonant, rich voice Emerson guides us through 10 stripped-back, sometimes with minimal accompaniment, sometimes with fiddles, harmonica and sometimes with effectively wistful harmonies. Regardless of what’s on a track, there’s always an evocative turn of phrase and a pitch-perfect landing in the sweet spot between country and folk. Ideal for fans of Townes Van Zandt and perhaps even Loudon Wainwright III. PH

PAPPANO DIRECTS STRONG powerful accounts of Williams’ two most assertive symphonies. Contemporary listeners were shocked by the angry violence of the fourth symphony, while the sixth struck like a thunderbolt after the rapt spiritual beauty of the fifth. Pappano and the LSO deliver both works with passion and the right sort of feisty attitude. It’s a pity the live recording isn’t more spacious and transparent. The sound is a tad ‘dark’ tonally, and not very well ventilated, but otherwise clear and detailed. The SACD layer opens up the acoustic, but the result remains slightly dry. JH

T The Avalanches A

Prokofiev Complete Symphonies Sao Paolo Symphony Orchestra Marin Alsop

S Since I Left You ((20th Anniversary Deluxe Edition) CD

XL Recordings

Naxos

6x CDs

SO CAREFULLY CRAFTED was The Avalanches’ debut mix of cuts and samples dug from the second-hand record bins of Melbourne, that the follow-up took over 15 years to pull together. This anniversary release pulls together remixes from everyone from MF Doom to Stereolab and a mix of the original tracks from the album. An aural patchwork as seminal in the way it sampled music as The Beastie Boys’ Paul’s Boutique, this timeless cut effortlessly captures NYC disco, Seventies funk, early hip-hop, folk and everything else between. JDW

ORIGINALLY ISSUED BETWEEN 2012 and 2017, Marin Alsop’s recordings of Prokofiev’s seven symphonies are now gathered together at a special low price. The performances are by turns feisty and thoughtful, exuberant and intimate, and the Sao Paolo orchestra plays with keen brilliance and rapt sensitivity. The revised 1947 version of the Fourth Symphony is included, but not the shorter 1931 original score. Interesting fillers include the complete

The performances are by turns feisty and thoughtful, exuberant and intimate Prodigal Son ballet, a terrific Scythian suite, and Lieutenant Kije suite. The Naxos recordings by producer/engineer Ulrich Schneider are absolutely first rate. The sound has clarity and plenty of detail, yet always remains smooth, natural and open, with good definition and no hint of microphone spotlighting. There’s some deep powerful bass, too – always necessary with this composer’s orchestral works. JH

LSO Live

Hybrid SACD

JULY 2021

180g vinyl

Tchaikovsky

John Grant

Piano Concerto No.1 Martha Argerich Royal Philharmonic Orchestra Charles Dutoit

Boy From Michigan

Deutsche Grammophon

MARTHA ARGERICH WAS 29, and still regarded as something of a young firebrand, when she recorded this performance with then-husband Charles Dutoit. It’s a performance of great passion and daring extremes and it caused lots of interest when released in 1971. A top recommendation at the time, it still impresses 50 years later. The sound is very good for the period – crisp, forward, and clear. I still have my 1971 vinyl pressing, but this new 180g LP sounds much better, with a smoother more natural tonality, much cleaner side-ends and very quiet surfaces. JH

Bella Union

GRANT HAS NEW music, his lockdown album, continuing the electronic bent that was prevalent on his last album. Here it’s employed with great effect to songs sturdy enough to withstand the occasional digital warping and phasing. The Cruise Room will have Radiohead checking the locks on their spare song drawer. It’s a beauty – swapping the album’s Depeche Mode/Human League synth and sequencer vibe for a dignified oboe and piano accompaniment. Grant is a self-confessed ‘compulsive over-sharer’ and this meditation on an American life holds nothing back. PSH

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MUSIC LEGENDS LEE ‘SCRATCH’ PERRY

RASTA REVOLUTION ob Marley called him a genius. Others have suggested he’s mad. Keith Richards perceptively called him: “the Salvador Dali of music”. Whichever way you call it, working barefoot, spliff constantly burning and dancing like a dervish in his Black Ark studio, Lee ‘Scratch’ Perry produced some of the greatest roots reggae of all time, inventing a style all of his own that came to be known as dub. Perry stripped down reggae songs to their elemental rhythm, chopped up the vocals, boosted the bass and laced the track with heavy echo and reverb, turning reggae’s sunshine vibe into something darker, more sinister and spooked with a spiritual dread. The dub revolution which he launched (along with King Tubby) reverberates to this day across the spectrum of pop music from rock

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and hip-hop to techno and electronic dance music. “It was Lee Perry’s sound that inspired us to start hip-hop,” Africa Bambaataa has said, while DJs and musicians from Chemical Brothers to Massive Attack still draw inspiration from his pioneering techniques. “The bass is the brain and the drum is the heart,” Perry said in typically elliptical fashion when asked to explain his musical alchemy. “I listen to my body to ﬁnd the beat. From there, it’s just experimenting with the sounds of the animals in the ark.” To create his astonishing sonic canvases on a rudimentary four-track machine required endless invention. On one occasion, he placed microphones at the base of a palm and thumped the tree rhythmically to produce a mufﬂed bass drum effect. Another time he buried a television in the backyard of his

studio and told the musicians to play what it was broadcasting from under the ground. Smoke from his ever-present giant spliffs was routinely blown into his machines: “so that the weed would get into the song”. In Perry’s hands anything became a musical instrument and he deployed everything from kitchen utensils to power tools. He shot pistols, broke glass, ran tapes backward and used samples of crying babies and falling rain. During one session for The Congos’ The Heart Of The Congos – rated by many as the greatest reggae album of all time – he attached a microphone to a rake and used the sound of his frantic gardening as a backing rhythm. “No one really knows what technique Perry used,” said Max Romeo, who recorded the brilliant War Ina Babylon with him at Black Ark. “He seemed to get 16 tracks stuffed into

Picture credit: Island Records

While some legendary producers are associated with specific artists, few are able to lay claim to an entire genre. Nigel Williamson bows down before the original Upsetter, Lee ‘Scratch’ Perry

MUSIC LEGENDS LEE ‘SCRATCH’ PERRY

Panic in Babylon For much of his life Perry has suffered from mental instability and the cracks in his state of mind had been evident well before he torched Black Ark. Using a magic marker pen, he covered every inch of the studio’s walls with unintelligible graffiti. Then he went through it word by word, crossing out “unrighteous” letters to which he had taken a dislike. The open-door policy he maintained meant the studio yard was full of Rastas sitting round a fire with a cooking pan and Kingston’s gangsters dropped by regularly to demand money. He paid them by ripping off his artists. “Everybody want money, everybody want paid. Nobody gave me anything, people just took everything,” he complained. His state of mind was not helped by the copious amount of marijuana and white rum he consumed. In the end it all became too much and he expressed his frustration by destroying the thing he valued most. “I did make a dread studio, and I said I’d make a righteous studio and a Godly studio,” he said. “But it was even too dread for me. I had to burn it down to get rid of that dread vibration. I forgot that I was a soul man. It was a dreadful equation. The atmosphere in the Black Ark was changing. It wasn’t like it used to be so I decided to make a sacrifice.”

SELEC TED ALBUMS

1969

THE UPSETTERS – THE UPSETTER An early album of Scratchproduced rocksteady instrumentals featuring his house band The Upsetters (who started life as the Hippy Boys backing Max Romeo), plus vocal tracks by Busty Brown and The Muskyteers.

Scratch (spliff in hand) at Black Ark

Bob Marley recorded early versions of some of his classic hit songs under Perry’s mentorship Some felt he acted up to his image as reggae’s mad genius. “You think me mad, then Scratch is mad. You think Scratch am a genius, then me blessed with genius,” he once told me. “Being a madman is good. It keep people away. When they think you are crazy, they don’t come around and steal your energy.” Then he went into a rant designed to prove the point. “All my enemies will die. Dem vampires. Dem suck me blood. Me look in me mystic mirror and see all me enemies die of bad heart. Scratch is the Duppy Conqueror. Me make thunder an’ lightnin’ music. I’m Tarzan. Are you ready to stop me?” At that point I was ready to run for the door, but as I departed I heard a high-pitched chuckle that left me wondering if I’d been played.

1969 19

THE UPSETTERS – RETURN OF DJANGO Perry made number five in the UK charts with the single Return Of Django, which led to a tour of Britain with a band that wasn’t the real Upsetters. Happily they were featured on the album released to coincide with the tour.

Picture credit: Island Records

that four track. It was a marvel. Until this day, no one knows how he did it.” Perry claimed that though there may be only four tracks on the tape machine, he was: “picking up 20 more from the extra-terrestrial squad”. Then one day in 1979, Perry trashed his studio and burnt it to the ground. Why he did so remains unclear and over the years he has given various explanations, none of them entirely rational. But the act symbolically marked the end of reggae’s golden era as the warm, analogue roots style Perry had pioneered gave way to the digitalised sounds of dancehall, ragga and later reggaeton.

Rainford Hugh Perry was born in March 1936, in Kendal, Jamaica, the third of four children to Mavis and Henry Perry. His father was a labourer in the sugar cane ﬁelds and his mother, who claimed ancestry from a Yoruba slave, had a strong belief in African spirits which she passed on to her son. He left school at 15 and took to hanging around the local dancehalls, where his diminutive stature earned him the soubriquet ‘the Neat Little Man’, and he became a champion dancer. Sometime in the mid-Fifties he moved to Kingston and when the pioneering record producer Clement ‘Coxsone’ Dodd opened Studio One in 1962, Perry talked his way into a job as a gopher and talent scout. One of the acts he discovered was Toots And The Maytals. He also began cutting his own records as a singer, including 1965’s Chicken Scratch from which he derived his nickname. A year later he left Studio One in a dispute over money and went to work for Dodd’s main rival Joe Gibbs, for whom he cut I Am The Upsetter, as

1970

1973

1974

THE UPSETTERS – CLINT EASTWOOD Vocalists joining The Upsetters on this set include the soulful Dave Barker, the toaster U Roy, Niney The Observer and Cool Sticky doing DJ talkovers on the classic Dry Acid and I’ve Caught You.

BOB MARLEY AND THE WAILERS – AFRICAN HERBSMAN A brilliant Perry-produced collection including the Marley classics Small Axe and Duppy Conqueror, which was originally released in slightly different form in Jamaica as the album Soul Revolution.

BOB MARLEY AND THE WAILERS – RASTA REVOLUTION Released in Jamaica in 1970 as the album Soul Rebels, this second set of magnificent Perry-produced tracks received an international release four years later under a new title.

JULY 2021

MUSIC LEGENDS LEE ‘SCRATCH’ PERRY

1974

KING TUBBY MEETS THE UPSETTER – AT THE GRASS ROOTS OF DUB A summit meeting between the two great dub masters. With overall production by Winston Edwards, the hard riddims were built by Perry and mixed at Tubby’s to dubwise skanking perfection.

1975

LEE PERRY & THE UPSETTERS – REVOLUTION DUB With Black Ark now fully operational, Scratch deconstructs the rock-solid rhythms with off-the-wall genius and humour – although at a meagre 30 minutes long, you’re left begging for more.

a warning to Coxsone and anyone else who might try to screw him. Another of his several nicknames was born. He went on to produce a string of hits for Gibbs, including The Pioneers’ Long Shot, one of the ﬁrst records on which the ska beat evolved into reggae, although the term was not in use at the time. He left Gibbs after yet another row over money and recognition and recorded 1969’s People Funny Boy, a ‘screw you’ song aimed at his former employer, and a further landmark in the evolution of the new reggae rhythm. Then Bob Marley came calling.

1976

1977

THE UPSETTERS – SUPER APE One of the finest dub albums ever recorded, with Perry at the peak of his alchemical powers as a dizzying mix of horns, flute and melodica swirl around the muscular, rock-solid rhythms.

MAX ROMEO – WAR INA BABYLON Perry was on a roll in 1976, producing Max Romeo’s finest hour on a set of righteously ‘conscious’ reggae backed by The Upsetters. The title track and One Step Forward are particular standouts.

JUNIOR MURVIN – POLICE AND THIEVES Perry heard Murvin singing the title track in the Black Ark yard, called him in and stuck a rhythm on it to create a landmark single (later covered by The Clash). The album that followed is equally classic.

Perry already had several productions to his name on which he had pioneered an emerging rhythm that would soon come to be known to the world as reggae. Keen to embrace the new sound, Marley and the Wailers turned to Perry for guidance. Perry modernised their vocal style and backed them with musicians from his house band The Upsetters as he set about

When Jah come

Then one day in 1979, Perry inexplicably trashed Black Ark and burnt it to the ground

Scratch once said he had gifted reggae to Bob Marley as: “a present” and though a bold claim it was not without justiﬁcation. Their collaboration began in 1969 when Marley returned to Jamaica from the US, where he had been working in a Delaware car factory. Marley and fellow Wailers Peter Tosh and Bunny Wailer had enjoyed chart success on the island in the early Sixties as a vocal trio, but in a style that was now outdated.

producing the innovative tracks that would set Marley on the way to becoming a global superstar. Under Perry’s mentorship, the group recorded early versions of some of their classic hit songs, including Duppy Conqueror, 400 Years, Kaya and Small Axe. After becoming hits in Jamaica, the tracks were released in Britain as the albums Rasta Revolution and African Herbsman.

1977

THE HEPTONES – PARTY TIME An impeccable combination of Perry’s dense Black Ark rhythms played by The Upsetters and the sweet three-part harmonies of the veteran vocal trio whom Scratch had known since their ska days at Studio One.

100

1976

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1978

THE CONGOS – HEART OF THE CONGOS Possibly the greatest roots reggae album to come out of Jamaica. The vocals have a deep Rastafarian spirituality, tunes such as Fisherman and Solid Foundation are sublime and Perry’s warm production positively glows.

The Wailers’ trademark sound as captured by Perry was later prettified to make it more rock-friendly. Yet to many aficionados, such as Lloyd Bradley, author of the definitive reggae history Bass Culture, the tracks The Wailers recorded with Perry were: “the best work they did” and constituted the high tide and the very “essence” of the roots reggae style. “Scratch helped my father look deeper into himself,” Ziggy Marley said in recognition of Perry’s contribution many years later. “He put Bob in the forefront and was instrumental.” Marley soon split from Perry in high dudgeon in yet another dispute over cash, taking with him Aston ‘Family Man’ Barrett and his brother Carlton Barrett, the rhythm section of The Upsetters. A furious Perry threatened retribution on Marley and upped the stakes further by crediting himself as the writer of his songs in order to claim the royalties. When Marley found out, he turned up at Perry’s house in Kingston, delivered a beating, smashed the crockery and departed with a fistful of cash. It was simply the way business was conducted in Jamaica’s cut-throat music industry. There were no hard

1978

1987

LEE PERRY – ROAST FISH COLLIE WEED & CORN BREAD One of the last great Black Ark productions on which Perry gets to sing over some of his most experimental soundscapes on songs such as Free Up The Weed and Ghetto Sidewalk.

THE UPSETTERS – RETURN OF THE SUPER APE The final album by The Upsetters to be released before Perry burnt down Black Ark. Eerie echoing dub effects abound, but as with most sequels it doesn’t quite reach the heights of the original Super Ape.

LEE PERRY AND DUB SYNDICATE – TIME BOOM X DE DEVIL DEAD A collaboration with British producer Adrian Sherwood and his band The Dub Syndicate, who do a decent job of creating a modern, digital version of The Upsetters.

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MUSIC LEGENDS LEE ‘SCRATCH’ PERRY

1989

LEE PERRY WITH MAD PROFESSOR – MYSTIC WARRIOR Born Neil Fraser in Guyana but resident in Britain since the late Sixties, this was the first of Mad Professor’s many collaborations with Perry. There is also a dub version of the album in circulation.

1990

LEE PERRY – FROM THE SECRET LABORATORY Back with Sherwood, who helps coax perhaps the best recording since the Black Ark days out of Perry. Sherwood’s psych touches blend perfectly with Scratch’s dub weirdness and manic toasting.

1995

1996

1997

LEE PERRY & MAD PROFESSOR – BLACK ARK EXPERRYMENTS Scratch owed a lot to Sherwood and Mad Professor for putting him back in the spotlight. Another fine collaborative set, with legendary Specials trombonist Rico Rodriguez.

LEE PERRY – WHO PUT THE VOODOO ‘PON REGGAE Mad Professor helps out again, giving Perry’s mindaltering flights of dub fancy a rock-solid rhythmic foundation. Perry’s ‘songs’ here are weak, but the sonic effects are fantastic.

LEE PERRY – ARKOLOGY A splendid three-disc boxset anthologising the glory of the Black Ark days across 52 tracks with an exhaustively researched booklet. The best place to start investigating Perry’s vast, patchy and often confusing catalogue.

feelings and by the following day both men were claiming to be “blood brothers” again. Marley repeatedly returned to Perry for inspiration and advice and Scratch produced and co-wrote his 1975 hit Jah Live and the 1977 single Punky Reggae Party. “The only person Bob worked with whom he really respected was Lee Perry,” said Chris Blackwell, who signed Marley to his Island label and turned him into a global icon.

Picture credit: Island Records

Dread lion By the mid-Seventies Perry was producing classic reggae records at Black Ark in proliﬁc style by the likes of Max Romeo, Junior Murvin and The Heptones. There were also adventurous experimental dub releases under his own name, such as The Upsetters’ Revolution Dub and 1976’s Super Ape, which Blackwell released on Island, and on which Perry pushed the frontiers of dub into outer space, creating a startling sonic environment in which fragments of sound leapt out of the mix in new and unpredictable ways. The Clash invited him to produce their 1977 single Complete Control and other

2002

LEE PERRY – JAMAICAN ET This gave Perry his only ever Grammy award. In reality, the award was probably as much in recognition of past exploits as his contemporary sound, but it’s a decent album that proved he could still cut it with the best.

Lee got his soubriquet from his early Chicken Scratch track in 1965

non-Jamaican artists he worked with included John Martyn, Robert Palmer and Paul McCartney, who visited the Black Ark studio in Kingston with his wife Linda before it burnt down. Yet without the Black Ark, nothing was quite the same again. During the Eighties his output and behaviour grew increasingly erratic and much of his best later work had to

2009

LEE PERRY– THE MIGHTY UPSETTER Sherwood takes the controls again, lacing some vintage Black Ark basslines with more contemporary styles. Includes an appearance by British hip-hop star Roots Manuva, while Scratch rants against Babylon.

be coaxed out of him by the British producers Adrian Sherwood and Neil Fraser, known professionally as Mad Professor. His life found an element of previously unknown stability when in 1989 he married Mireille Ruegg, a Swiss businesswoman and a great lover of reggae. They met when she made a pilgrimage to ﬁnd the site of his former studio in Kingston. “No one would walk up to the gates with me – they were scared of Lee,” she recalled. When she reached the entrance to the ruins of Black Ark, Perry famously told her: “I’ve been waiting for you”. He moved with her to Switzerland and she became his manager, helping him rebuild his career as he has continued recording and performing into his eighties. He was too unstable, idiosyncratic and downright perverse to sustain a career as an international producer, but his inﬂuence remains all-pervasive. That he created a sound that changed music forever in a primitive back yard studio with the most rudimentary equipment makes his achievement even more remarkable ●

2010

2011

2019

LEE PERRY – REVELATION Heavyweight guests include Keith Richards and George Clinton and the making of the album was the subject of a revealing documentary film, The Revelation Of Lee Scratch Perry, shot at his mountain home in Switzerland.

LEE PERRY & BILL LASWELL – RISE AGAIN American bassist and ambient producer extraordinaire Laswell creates a dub dream team with Perry as he wraps Scratch’s deepest rhythms and toasting rhymes in exquisitely subtle textures.

LEE PERRY – RAINFORD Scratch was 83 when Adrian Sherwood produced this set, which resembles a bizarre kind of musical autobiography and has been likened to Rick Rubin’s makeover of Johnny Cash towards the end of his life.

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www.hifinews.co.uk

EXTRAS

Tellurium Q Ultra Blue/Ultra Blue II speaker cables NOT BEING A company to rest on its laurels, Tellurium Q continually looks at how it can improve its products. Last year, it upgraded its entry-level Blue cable range to the Blue II (HFC 469) and now it has launched a successor to its Ultra Blue cable, the Ultra Blue II. According to MD Geoff Merrigan its approach to audiophile cables is rather unusual as it prioritises research on the nature of electric signals, physical phenomena and materials when creating its cables. It likes to keep the technical details close to its chest and wants the performance of the products to speak for themselves. To this end, HFC is sent a set of both the original Ultra Blue and the new Ultra Blue II to compare and review.

Out of the Blue Tellurium Q employs special blends of materials for conductors, insulators and connectors in order to minimise the phase distortion, which the company believes smears audio frequencies. Consideration has been given to the composition of these materials, as well as to the physical construction of the cables and the geometries of the conductor layout within. For example, multiple stranded conductors of slightly differing compositions are used in the Blue cables, together with various dielectric materials. In the past it has used PTFE as an insulator in the Blue range, but it has found that the dielectric properties of PTFE (as well as PVC), vary signiﬁcantly with temperature and frequency, which is obviously not a desirable characteristic. As a consequence, Tellurium Q now uses its own new dielectric material here. The price of the two cables is exactly the same. Tellurium Q has streamlined its production processes so it doesn’t need to charge more for the Ultra Blue II, even in the face of rising material costs. Both versions are very well made and the banana plugs ﬁtted are of high quality. In order to compare each set of cables I connect them in turn to my

300B valve Class A monoblocks and transmission line speakers. Playing Dvorak’s Symphony No.9 by the Paris Conservatoire Orchestra with the Ultra Blues ﬁtted, the fourth movement Allegro sees the brass section leaping energetically across the musical score with plenty of enthusiasm. Switching over to the Ultra Blue IIs imparts a greater degree of reﬁnement to the music.

The imaging is more clearly focused and the orchestra sounds much wider DETAILS PRICE £31 per metre + £12 per pair factory termination TELEPHONE 01458 251997 WEBSITE telluriumq.com OUR VERDICT

A very bright recording of Simon And Garfunkel’s Song For The Asking has good clarity, and its inherent edginess is very well controlled by the original Ultra Blue. The timing is spot on, with excellent detail and great musicality. I do, however, sense an improved clarity with the Ultra Blue II. Suddenly the vocals and guitar seem more in front of the accompanying strings, which are nicely recessed in the background. Switching sources and playing a copy-master tape from Chasing The

Dragon’s Vivaldi Concertos by Interpreti Veneziani, the music is very captivating with both cables. I’m able to locate all of the eight players individually across my listening room, and in particular the detail of the cello with Vivaldi’s Cello Concerto in A major is fantastic. I really feel I’m sitting within a few feet of the performer. The soundstage has great depth, but appears wider with the Ultra Blue II.

Blue lines Staying with tape, a copy-master reel of Jung-A Lee’s JS Bach’s Prelude In B Minor is breath-taking and all of the huge dynamic range from the tape is present with both cables. The Ultra Blue II has better awareness of the environment and I feel I’m transported to the Concert Hall, without the cost of the air fare! Branford Marsalis’ playing of Satie’s Gymnopedie No.3 on his LP is mournful and emotional. The balance between sax and orchestra is spot-on with both cables, but the imaging is more clearly focused with the Ultra Blue II and the orchestra sounds slightly wider. Overall, the top end of the Ultra Blue II is more elegant and the bass punchier. NR

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EXTRAS

iFi Audio iSilencer+ USB audio noise eliminator DIGITAL RECORDINGS PLAYED on devices connected to the DAC in your audio system via a USB cable can have problems resulting from electrical noise, which can manifest themselves as distortions, poor timing, pops and clicks. The iSilencer+ is a development of iFi’s previous iSilencer and plugs directly into the USB port of your PC to remove EMI and RFI electrical noise before it reaches the DAC. The device makes use of low-ESR (Equivalent Series Resistance) tantalum capacitors in the input and output filters and has a 10-fold increase in the overall filtering capacitance compared with the previous model. It employs the company’s Active Noise Cancellation II and REBalance technology. The ANC claims to reduce the measured noise by 100x (40dB) compared with a common noise filter. The

REBalance circuitry is designed to address timing problems caused by jitter before they reach the DAC. Apart from the USB-A to USB-A version reviewed here, the iSilencer+ is also available in USB-C-to-USB-A and USB-C-to-USB-C versions. All support USB 3.0 and USB 2.0, and incorporate high-quality gold-plated connectors. Should you also have hum problems caused by an earth loop with your connected computer and hi-ﬁ, iFi Audio has a matching iDefender+ device available at the same cost.

Sound of iSilence Inserting the iSilencer+ into a USB port on my PC and the USB cable connected to a Furutech ADL Stratos (HFC 455), I play a 24-bit/192kHz WAV ﬁle recording of That Old Black Magic sung by Clare Teal with the Syd Lawrence Orchestra from the Chasing The Dragon album A Tribute To Ella

Fitzgerald. The power of the opening trumpets that lead nicely into the vocals is fantastic. The music emerges from a blacker background with the iSilencer+ ﬁtted. Vocals suddenly have a greater energy and dynamic presence and the trumpets have a clearer and more reﬁned sound. The iSilencer+ lives up to its claims and consequently is an excellent value for money accessory. NR

DETAILS PRICE £49 TELEPHONE 01279 501111 WEBSITE armourhome.co.uk OUR VERDICT

Nordost Heimdall 2 Power Cord

DETAILS PRICE £620 for 1m TELEPHONE 0131 5553922 WEBSITE renaissanceaudio. co.uk OUR VERDICT

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AS PART OF Nordost’s Norse 2 cables, this power lead employs similar technology and features to others in the Heimdall range, such as the Heimdall 2 Tonearm Cable+ (HFC 465) and Heimdall 2 headphone cable (HFC 440). The Heimdall 2 has a Micro Mono-Filament and mechanically tuned construction, which creates a virtual air dielectric to reduce internal microphony and high-frequency impedance resonance, thus dissipating mechanical energy present on the AC line. This energy could otherwise enter the audio chain and result in sluggish and blurry dynamics. The 3x 16 AWG conductors are made from silver-plated 99.99999 percent solid core OFC conductors and insulated with an extruded FEP dielectric for an ultra-fast, low-impedance current and voltage transfer. In addition, the power cord employs asymmetrical

grounding to lower the noise ﬂoor by increasing the ground quality.

Keeping it real With the Heimdall 2 in my valve preamp power supply, Dave Brubeck’s Unsquare Dance is spectacularly reproduced with the crisp and sharp drum-taps and hand-claps in perfect sync with the bassline and piano. With Take Five the breathtakingly real saxophone appears in the middle of my listening room. All the instrument images are perfect and the doublebass, which is taut and full, balances perfectly with the piano and drums. For a full orchestra, I turn to an LP of Prokoﬁev’s Piano Concerto No.1 by Vladimir Ashkenazy and the LSO. The piano is totally realistic and the power and energy of Ashkenazy’s playing is beautifully reproduced.

There is excellent image placement and clarity across the entire orchestra. The piano is perfectly positioned in front of the other instruments and the trumpet blasts are bright and clear. Although pricey for a mains cable, I can’t fault its performance, making the Heimdall 2 an excellent choice for a high-end system. NR

Introducing Thorens new range of turntables. Thorens has always been a pioneer of Turntable technology. Our new range has been 2 years in development. Remembering and paying homage to the history and tradition of our most famous turntables, we are proud to bring you the new Thorens TD range.

TD1601

£3000

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TD103A

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TD402DD

TD1600

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£2500

AUDIO SYSTEMS

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BUYINGGUIDE

Buying Guide Selecting the components you want to audition is never easy, but help is at hand with our pick p of the best to pass through our respected reviewing process

ds Recommen

HI-FI ESSENTIAL NT YOU’LL WA TO OWN

CD players p110 Amplifiers p111 Pre/power amps p111 Cables p112-113 Network audio players p114 Music servers p114 DACs p115 Loudspeakers p116-118 One-box systems p118 Turntables p119 Cartridges p119 Phono stages p120 Headphones p120-121 Portable DACs p121 JULY 2021

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BUYINGGUIDE

CD PLAYERS

Audiolab 6000CDT

Cambridge Audio AXC35

Exposure XM CD

PRICE: £380 REVIEWED: HFC 447

PRICE: £300 REVIEWED: HFC 454

PRICE: £1,200 REVIEWED: HFC 455

The 6000CDT is exceptional at revealing what’s on your discs to deliver a great big soundstage with plenty of detail inside. It can dig down deep into the mix to eke out the different musical strands while dynamically and rhythmically it’s hard to beat at the price. In short, it’s a super, highly affordable audiophile CD transport.

Something of a budget marvel, you’ll have to work extra hard to get the AXC35 to put a foot wrong. Bass is firm, detailed and blessed with excellent timing; the tonal palette is pleasingly broad and clean; and though the soundstage doesn’t extend much beyond the speakers, there’s great depth perspective.

A highly likeable half-width compact disc player that presents music in an enjoyable yet technically accurate manner, the XM CD might lack the operational slickness and versatility of some rivals, but it more than makes up for it with its energetic, lively sound, dynamic light and shade and charming character.

Métronome Technologie Le Player 2S

Musical Fidelity M3scd

Rotel CD11 Tribute

PRICE: £1,150 REVIEWED: HFC 450

PRICE: £400 REVIEWED: HFC 469

PRICE: £5,100 REVIEWED: HFC 449

Able to string together elements of the mix dextrously for a natural and believable sound, the M3scd’s combination of detail and rhythmic alacrity are highly impressive while its excellent timing and tonal balance leave you wanting more. With its lovely, lyrical sonics oozing detail and subtlety, this is an extremely capable player.

A stunning team up between Marantz legend Ken Ishiwata before his sad passing and hi-fi luminary Karl-Heinz Fink, this is not one of those do-it-all players. Instead, its simple, refined sound and no-nonsense operation combine for a stunningly frill-free approach to superb playback at a great price.

As good as the sweet treble and rich bass are, what really impresses here is how when fed weaker CDs and impoverished MP3s the delivery remains unflappable and composed as layers of detail are locked into sharp focus.

ALSO CONSIDER

Audiolab 8300CDQ £1,100 HFC 448 Taking the winning recipe of the 8200CDQ and adding an upgraded DAC with DSD playback, the accurate and uncoloured sound of the Audiolab is unmistakable. Vast amounts of detail are extracted from the mix, soundstaging is incredible and music flows naturally.

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Leema Acoustics Stream IV £2,300 HFC 456 The latest update to this long-established player feels a considerable step forward. CD playback is highly refined, assured and transparent, bass is rock solid with visceral depth that positively grips your solar plexus and streaming shares all these qualities for the best of both worlds.

Marantz SACD 30n £2,700 HFC 468 While its styling might be a touch divisive, the SACD 30n’s involving, detailed and highly refined sound is beyond dispute whether it be with SACD or CD. Meanwhile, its neat supreme streaming integration ensures a great performance without discs too.

Roksan K3 CD Di £1,300 HFC 403 Offering the relatively rare combination of smooth tonality with a lively and animated way of presenting the music, the K3 CD Di displays a sweet and even tonal balance with a panoramic soundstage. In short, it’s closer to good analogue sound than digital.

BUYINGGUIDE

AMPLIFIERS

Copland CSA 100

Cyrus Audio i7-XR

Hegel H120

PRICE: £3,500 REVIEWED: HFC 465

PRICE: £2,300 REVIEWED: HFC 473

PRICE: £2,200 REVIEWED: HFC 460

Combining a preamp that utilises a valve circuit with a solid-state power amp, this supreme hybrid integrated rarely fails to delight across its many inputs and a very broad spectrum of music. With a sublime performance, excellent spec and rock-solid build, it’s a must-audition at the price.

Cyrus’ engineers have been let off the leash budget-wise and the result is very impressive because while this is still unquestionably a Cyrus integrated amp – it looks like one, feels like one and has all the features we’d expect from the company – everything is ramped up and sounds better than ever before.

The versatile talent that was the Rőst may have left the building, but its star quality lives on in the H120. Upgraded and buffed for the digital delights of a new decade, its mixture of terrific sound quality, supreme build and across-theboard competence ensure that it ticks all the boxes and so comes highly recommended.

Quad Vena II

Rega io

Yamaha A-S3200

PRICE: From £650 REVIEWED: HFC 448

PRICE: £380 REVIEWED: HFC 475

PRICE: £5,000 REVIEWED: HFC 464

With a comprehensive spec that moves Quad’s most compact integrated on and enough weight to bring any type of music so thrillingly to life, the Vena II does a fine job of giving bass natural weight, snap and dynamic ability while delivering a big room-filling sound that belies those tiny dimensions.

It might appear small and rather plain and it might not be over flowing with features or boast a huge amount of Watts, but give the io a talented source and you can’t fail to be impressed by its outrageous musicality and lightness of foot. It’s at one with the music with a supple fluency and rhythmical literacy.

This highly accomplished performer succeeds through its breadth of ability rather than exceeding in one specific area. A highly capable performer, its snappy sound and gutsy demeanour combine with speed, grip versatility and power to create a great-looking beast of an integrated.

PRE/POWER AMPLIFIERS

Cambridge Audio Edge W £2,500 HFC 447 The Edge W power amplifier quotes 2x 100W RMS output and has oodles of power to drive pretty much any speaker. It has a neutral sound with a hint of sweetness and an upbeat nature underwritten by plenty of insight that’s seriously good for the money.

Longdog Audio P6100M £3,500 HFC 469 They may look and feel old-fashioned, but the P6100Ms are one of those rare but happy hi-fi surprises: seriously highend sound for mid-price money. More transparent than they have any right to be, they have a fluid and mellifluous midband and pack one hell of a punch.

Exposure XM7/XM9 £1,240/£1,390 HFC 429 Fast, open and three dimensional, the XM9 pairing is capable of driving more awkward speaker loads to high levels without any complaint. Partnered with the XM7 preamp/DAC, Exposure’s house sound means a fulsome bass, midband detail and a smooth, yet spacious treble.

Rotel Michi P5/S5 £3,300/£5,400 HFC 467 Rotel’s high-end sub-brand might not be the last word in attack and slam, and some might bemoan its lack of detail. But that misses the point: when it comes to weight, scale and a breath-takingly natural approach to making music, few combos come even close to this one.

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CABLES – INTERCONNECTS

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Atlas Cables Element Achromatic

Black Rhodium Minuet

Ecosse Cables Master Reference SE

PRICE: £86 for 1m REVIEWED: HFC 472

PRICE: £160 for 1m REVIEWED: HFC 453

PRICE: £425 for 0.8m REVIEWED: HFC 455

Achromatic means without colour and that’s very much what you get with this affordable offering. Compared with previous Atlas Element cables this has increased OCC copper content on the conductors and a new process for reduced distortion. The result is great spaciousness to the soundstage and imaging plus powerful bass.

Replacing the Prelude, this RCA interconnect is screened and employs silver-plated copper wire to improve clarity and high-frequency performance. The result is remarkably sophisticated for the money with detail, positioning of instruments, imaging and separation absolutely nailed on.

Designed to convey an even greater degree of transparency, detail and three dimensionality than its rival interconnects, the Master Reference SE certainly doesn’t disappoint. Punchy basslines, well-defined positioning, supreme soundstage width and clear focus are very much the order of the day here.

Gekko Cables Red Dusk

Kimber Kable Select USB-Cu

Tellurium Q Blue

PRICE: £250 for 1m REVIEWED: HFC 456

PRICE: From £563 REVIEWED: HFC 456

PRICE: £186 for 1m REVIEWED: HFC 439

A directional unshielded RCA interconnect, the Red Dusk is made of two twisted solidcore OFHC copper conductors clad in silver. Once run-in, the soundstage takes on a more three-dimensional presentation, subtle details come to the fore and the orchestra fills the entire width of the room.

Terminated with hand-made purpleheart and gaboon ebony connector housings, this distinctive USB cable achieves a soundstage that is both wide and deep. The edginess of violins is deeply impressive while instruments are perfectly located across the room revealing a stunning mix of definition and clarity.

The baby brother of TQ’s Black USB cable, the Blue is of the AB configuration for hookup to a DAC and aims to minimise distortion. This it does with consummate ease while adding energetic, pounding bass and superb instrument placement within a broad, realistic soundstage for good measure.

JULY 2021

BUYINGGUIDE

CABLES – MAINS POWER

Atlas Cables Eos dd

Black Rhodium Stream

Chord Company Shawline

PRICE: £145 for 1m REVIEWED: HFC 452

PRICE: £450 for 1.7m REVIEWED: HFC 430

PRICE: £200 for 1m REVIEWED: HFC 438

Referring to ‘dual drain’ technology, the Eos dd is designed to act as a filter against incoming contamination. The result is an inky blackness between musical phrases and a supremely low noise floor, while detail and imaging improve as interference is banished.

Black Rhodium has discovered that optimum sound quality is obtained from cables of 1.7m, hence this offering featuring silver-plated copper conductors. And who are we to argue, considering the impressive clarity and focus of instruments combined with a noise floor displaying an impressive lack of interference.

Available at a variety of lengths, the Shawline mains cable is made from three lots of 14 AWG multi-strand conductors. Test highlights include superior front-to-back imaging, with all the tonal complexities of the instruments really coming to life, delivering genuine energy to orchestral performances.

Furutech Roxy

IsoTek Evo3 Initium

Russ Andrews 30th Anniversary YellO

PRICE: £233 for 1.5m REVIEWED: HFC 447

PRICE: £65 for 1.5m REVIEWED: HFC 413

PRICE: £65 for 1m REVIEWED: HFC 423

Connecting the Roxy to a source component immediately removes a layer of glare and ‘glint’ from the sound; tonally it’s darkly translucent instead of shiny white gloss, allowing the listener to hear more into the music and appreciate the space between the notes.

IsoTek’s entry-level power cable has a distinctive opalescent green finish that is flexible and stylish. Once employed, there’s a noticeable step up in the quality of musical instrument focus while clarity improves as the background becomes quieter and bass more extended.

First introduced in the nineties, the YellO benefits from years of research into the effects of mains quality. Employing pure copper conductors, this relaunched cable results in a wider, deeper soundstage and the improvement it brings to instrument focus has to be heard to be believed.

“A man who stops advertising to save money is like a man who stops a clock to save time.” - Henry Ford

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NETWORK AUDIO PLAYERS

NEW ENTRY

Auralic Vega G2.1

Cambridge Audio Edge NQ

Matrix Audio Element X

PRICE: £6,000 REVIEWED: HFC 476

PRICE: £3,500 REVIEWED: HFC 447

PRICE: £2,800 REVIEWED: HFC 473

Less of a lowly DAC preamp and more of a musical Swiss army knife, this is a seriously classy product that offers a decent upgrade path and a performance that is among the most detailed and finessed in the sector. With supreme functionality, top-notch build and glorious sonics, it demands to be auditioned.

Something of a departure from CA’s usual fare, this network music player also combines the additional versatility of a DAC and preamp to serve up a sumptuously wide recorded acoustic, with a hugely expansive sound that partners massive punch with great precision for a clean, direct and enjoyable sound.

Supporting everything from network streaming to 768kHz PCM, DSD1024, MQA and Roon, the Element X can also comfortably drive a variety of headphones. Tardis like it hides a multitude of features in its svelte shell and operationally it proves pretty much impossible to throw off course. Be warned, it goes seriously loud.

NAD M33

Naim ND5 XS 2

Yamaha WXAD-10

PRICE: £4,000 REVIEWED: HFC 466

PRICE: £2,300 REVIEWED: HFC 454

PRICE: £150 REVIEWED: HFC 442

Hot on the heels of 2019’s M10, the M33 has raised the bar even further. In its full-size guise it offers the same style, flexibility and ease of use combined with a performance that’s just as arresting with analogue sources as it is when streaming. Throw in futureproof MDC updating slots, and you’re on to a winner.

Delivering Naim’s distinctive flare and typically impressive sound – superb low-end drive with texture and presence combined with a delicious sweetness – this Roon-compatible network music player is supremely engineered, over flowing with useful features and capable of a sparkling performance.

One of the smallest options around, this MusicCast network audio player might not look like much, but don’t be fooled – it has it where it counts. Tonal balance is neutral; bass is well integrated with good detail; and the space and three dimensionality add to the realism, making it great value for money.

MUSIC SERVERS

Bluesound Vault 2i £1,100 HFC 452 If you see yourself buying into the BluOS ecosystem favoured by the Canadian brand and its cohorts, this 2TB, server, ripper and player compatible with up to 24-bit/192kHz PCM and MQA files, is a great way of starting off in one room and expanding as your system grows.

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Innuos Zenith Mk3 From £3,000 HFC 451 With one of the best interfaces going and a potently flexible spec, the 4TB, CD ripping Zenith can be used as a Roon Core and delivers an outstanding performance that inspires confidence even for those starting out. It should be right near the top of any shortlist.

Melco N100 EX £2,000 HFC 462 Following a software update back in December 2019, the N100 became the EX so it’s now powered by the excellent Intelligent Music Library system – the best in the business. The sharp lines of the chassis combined with the crisp, clean sound help seal the deal.

Naim Uniti Core £1,900 HFC 438 Equipped with a CD ripper and 1TB SSD, the Uniti Core takes on an understated role as it handles 32-bit/384kHz PCM and DSD128 music files impeccably. Presentation is pleasingly neutral and it simply lets whatever network audio player is attached get on with the music.

BUYINGGUIDE

DACS

Alpha Design Labs Stratos

Audiolab M-DAC+

Chord Electronics TT2

PRICE: £1,315 REVIEWED: HFC 455

PRICE: £800 REVIEWED: HFC 449

PRICE: £3,400 REVIEWED: HFC 468

Remarkably flexible at the price, the Stratos offers an impressively wide-reaching range of features without compromising sound quality. The soundstage is wide and open with a refined presentation, delicate details are reproduced with breath-taking accuracy and instrument separation and location are absolutely spot on.

While some DACs can dive deeper into a recording, what’s so likeable about the M-DAC+ is its poise, control and command of the bigger musical picture. With its stunning grasp of flow and tempo, there’s a welcome warmth to its presentation and its solid three dimensional imaging is second to none.

We could talk about dynamic range and noise floor modulation, but the TT2 simply creates a more believable illusion of a physical presence and space than its rivals. Combining superb build, typical design flair and stunning sound quality, this is a DAC that not only believes in the superiority of digital, but goes on to prove it too.

Musical Fidelity M6s DAC

Mytek Brooklyn Bridge

PS Audio DirectStream

PRICE: £1,400 REVIEWED: HFC 449

PRICE: £2,500 REVIEWED: HFC 461

PRICE: £4,860 REVIEWED: HFC 468

Like your DACs big, bold and full of features? Look no further than the M6s, sonically blessed with a wider, more holographic soundstage, pinpoint imaging and a gift for projecting sonics with the finest low-level detail, cementing realism that only the best models can match.

Adding a new network card – with two USB ports, two coaxial and an optical input – so that the Brooklyn DAC effectively becomes a networkcapable music player, the Brooklyn Bridge boasts exceptional bass with a clean and highly detailed sound, impressive features for easy operation and superb clarity.

By converting everything it’s fed to DSD, the DirectStream reveals more from CDs than its rivals for a superlative analogue-like sound that has more in common with master tape than anything digital can usually muster. Lowlevel resolution, refinement and a majestic sense of composure add to the positives.

DRAGONFLY COBALT DAC + PREAMP + HEADPHONE AMP The award-winning DragonFly Cobalt has the robust 2.1-volt output to drive almost any headphone, uses a bitperfect digital volume control for outstanding signal-to-noise ratio, enables seamless compatibility with Apple and Android devices, and is an exceptionally competent and affordable MQA Renderer. Cobalt’s precedent-setting performance is made possible by: • New ESS ES9038Q2M DAC chip with a minimum-phase slow roll-off filter for more natural sound. • New Microchip PIC32MX274 microprocessor reduces current draw and increases processing speed by 33%. • Improved power-supply filtering, specifically designed to reduce WiFi, Bluetooth, and cellular noise. • Includes a form-fitting Carbon-level DragonTail USB-A to USB-C adaptor. From MP3 to MQA and Hi-Res, DragonFly Cobalt preserves the body, warmth, and natural color in all your music. Experience more beauty at home and everywhere you listen.

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FLOORSTANDING LOUDSPEAKERS

Acoustic Energy AE509

Bowers & Wilkins 603

DALI Spektor 6

PRICE: £2,300 REVIEWED: HFC 456

PRICE: £1,250 REVIEWED: HFC 448

Employing a carbon tweeter to shun shrill brightness, the AE509 allows you to listen into instruments on your favourite recordings, sounding dazzlingly fast and frenetic without the slightest hint of grain or sibilance. Meanwhile its curious conjunction of tonal grace and transient pace; handling of lower frequencies; and taut bass from the matching carbon mid/bass drivers make this floorstander a worthy flagship.

Regardless of what you play, here’s a speaker with the power, bandwidth and bass heft to do full-scale justice to Muse, Mozart and Motörhead. Its lowdistortion transparency and 3D imaging conjure up the ambience and atmosphere of the most intimate gig with a tonal palette that’s believable rather than manipulative. And all underpinned by a bass performance that delivers presence and vitality.

This Group Test winner positions itself at an extremely competitive price point and while it looks like a £500 loudspeaker, it sounds like it costs way more. It has a lovely natural tone, plus lots of detail and great dynamics. It sounds big, confident and expansive and yet is never overbearing or in anyway in your face. Throw into the mix a devastating combination of finesse and musicality and it’s insatiable appetite for rhythm, and it’s a no-brainer at the price.

PRICE: £500 REVIEWED: HFC 473

Monitor Audio Gold 300

Ophidian P3 Evolution

Spendor D7.2

PRICE: £5,000 REVIEWED: HFC 451

PRICE: £4,000 REVIEWED: HFC 453

The Ophidian projects an expansive soundstage with deep and powerful bass. This is one of those rare speakers that has genuine smoothness and warmth. Its balance and oodles of power paint a picture that’s so natural and coherent that you almost feel you’re breathing the same air as the artist you’re listening to. A stunningly talented floorstander, it makes its £5k price seem a snip. Even if your budget is twice the size, it demands to be heard.

A crisp, open and even-sounding loudspeaker that’s impressively engaging and surprisingly dynamic – especially for a floorstander at this price. There’s more space around vocals and a lighter more spry sound to cymbals, making for a lifelike sound despite its ability to remain smooth and sophisticated. The D7.2 is a modestly sized, highly capable, do-it-all loudspeaker that’s well worth an audition.

The benefits the Gold 300 brings to openness, clarity, fine detail and harmonic structure is very special. Although with vividly produced material it can verge on the ‘hyper real’, this is a consummate crowd pleaser that more than any rival at the price sells an idea of high-end luxury and sonic excellence that’s hard to distinguish from the real thing.

PRICE: £4,500 REVIEWED: HFC 456

LOUDSPEAKER CABLES

Chord Company Epic XL £600 1.5m, terminated HFC 450 Combining elements of Chord’s Signature Reference/XL with its Epic speaker cable, the XL bristles with energy and brings fantastic detail to the fore. Subtle elements are captivatingly clear, soundstage depth is enormous and clarity is supremely enhanced.

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Chord Company Odyssey X £150 1m, terminated HFC 451 Made from the same materials as the Rumour X (HFC 447), the Odyssey X is designed to bring more control to dynamics and definition, and boy does it deliver. Front-to-back imaging is superb, instruments are well focused and clearly positioned while piano is full and rich.

QED XT25 £85 3m HFC 434 Claimed to achieve a lowering of impedance compared with a traditional large cross-sectional area twin-core cable, the XT25 offers up great refinement and engaging musicality. Vocals are clear and full bodied, silence between phrases is eerily quiet and the noise floor is very low.

True Colours Industries Storm £22 1m HFC 453 This flexible ribbon cable is 2mm thick, making it ideal for hiding away under the carpet for tidy bi-wire hook-ups, while its tight and well-controlled performance reveals impressive openness with a spacious sound that’s full and entirely uncluttered, even during crescendos.

BUYINGGUIDE

STANDMOUNT LOUDSPEAKERS

Amphion Helium510

Bowers & Wilkins 607 S2 Anniversary

Falcon Acoustics RAM Studio 20

PRICE: £720 REVIEWED: HFC 454

PRICE: £450 REVIEWED: HFC 470

PRICE: From £2,000 REVIEWED: HFC 446

Amphion’s stated aim of avoiding a clear sweetspot is achieved with ridiculous ease while its delivery is spacious with wholly convincing tonality and rich and smooth vocals. Piano shows excellent decay and though bass extension isn’t the deepest, it is detailed, fast and superbly integrated with the other frequencies.

More than just a range refresh, this baby box has had new life breathed into it in a rather skilful and expert way. So much more than the sum of its parts, the 607 S2 Anniversary Edition is highly engaging across all types of music, has a super classy treble and is the best B&W entry-level standmount yet.

The RAM Studio 20 clearly favours amps with plenty of grip, especially in the bass. It might not offer forensic levels of detail with which to dissect a recording, but as a wide-bandwidth, high-performance standmount that sounds easy, natural and is dripping with musical finesse, it takes some beating.

NEW ENTRY

Fyne Audio F1-8

Q Acoustics Concept 300

Spendor Classic 3/1

PRICE: £6,000 REVIEWED: HFC 473

PRICE: £3,000 REVIEWED: HFC 448

PRICE: £2,730 REVIEWED: HFC 476

If the F1-8 is anything to go by, size really does matter. If you’re short of space, look elsewhere as this is a beast that won’t melt into the background. But as a speaker that merges the strengths of the best standmounts and floorstanders, it is dynamic, dextrous and deeply satisfying with all types of music.

With unexpectedly large amounts of midband detail, a bouncy bottom end and enjoyable musicality, the Concept 300 conjures up a charming sound that puts the accent on civility and smoothness, but never at the expense of musical enjoyment – making it excellent value for money at the price.

The Spendor Classic may not be as modern looking as some rivals at the price, but don’t be fooled: that traditional design hides a superbly talented standmount able to produce a sensational blend of accuracy, scale, refinement and sheer unadulterated fun, and it’s not too fussy about placement.

LOUDSPEAKER SUPPORTS

Atacama Audio Apollo Cyclone 6 £100 HFC 455 Available in a choice of three sizes so you can get the height of your cabinets correctly positioned to suit your listening position, this stand removes unwanted vibrations from the performance sharpening imaging and instrument focus for a full, refined sound.

Hi-Fi Racks X50 From £180.48 HFC 453 Solidly built, these elegant yet classy speaker stands are available in a choice of flexible customisation options, removing all colouration from the performance and giving the impression the cabinet is floating in mid-air. Great value for money and a simple upgrade.

IsoAcoustics GAIA II £300 HFC 427 Attaching the GAIA II feet to the underside of your speaker provides a high degree of isolation that gives it the opportunity to breath and display a level of clarity and openness that’s easy to hear. Music just sounds right with them in place and the price is right too.

Townshend Audio Seismic Isolation Podium From £1,400 HFC 426 Placing your loudspeaker on to a Seismic Isolation Podium is a revelation. The way it completely removes its interaction with its surroundings is mind blowing, bringing clarity to the entire frequency range, enabling it to communicate far more effectively.

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WIRELESS LOUDSPEAKERS

Bluesound Pulse Flex 2i

Devialet Phantom Reactor 900

KEF LS50 Wireless

PRICE: £300 REVIEWED: HFC 453

PRICE: £2,580 REVIEWED: HFC 456

PRICE: £2,000 REVIEWED: HFC 433

With no shortage of lower frequencies, the Pulse Flex 2i’s bass extension is controlled, pleasantly quick and has an impressive level of clout to it. Used as a pair, the soundstage is large and effortless underpinned by the aforementioned bass while the connections and range of features provide impressive flexibility.

Unlike any other wireless designs, the distinctive Phantom boasts 900W of peak power via its hybrid Class A/D amp and bass that dives down to a barely believable 18Hz. The result is power and extension that defies physics, but more impressive still is how it performs at low volume levels.

Fine clarity and focus, a spacious soundstage with stunning image solidity and unfettered musicality make for immersive and hugely enjoyable listening. Best of all, though, is the sense that every fibre and sinew of this system is pulling in the same direction. Wonderful regardless of music or source.

KEF LSX PRICE: £1,000 REVIEWED: HFC 446

It might not offer the muscle and dynamic reach of the LS50 Wireless, but the LSX is cut from the same sonic cloth. Size, style, flexibility and sound quality all impress, but it’s the active ingredient which enables a performance that similarly priced passive systems will find hard to match that wins the day.

Naim Mu-so 2nd Generation

System Audio Legend 5.2 Silverback

PRICE: £1,300 REVIEWED: HFC 452

A new paradigm that shatters the notion that you need a strapping floorstander for deep, powerful bass, the Legend 5.2 Silverback musters a performance that is as coherent, palpable, tonally true and rhythmically compelling as the very best available rival at many multiples of its price.

PRICE: £2,800 REVIEWED: HFC 474

A world away from the traditional components Naim is known for, the Mu-so 2nd Generation delivers unfailingly entertaining sonics with hi-fi values and an exceptional musicality. The best one-box speaker system full stop.

ONE-BOX SYSTEMS

NAD M10 £2,200 HFC 451 With its super flexibility, powerful amplifier design, big front panel touchscreen and impressive BluOS platform, this is a supremely stylish offering. Sonically it’s a very powerful and refined system while its definition and precision is in ample supply.

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Naim Uniti Star £3,500 HFC 433 Fast, powerful and grippy with oodles of emotion and a pleasingly expressive tonality, the Uniti Star might not have the forensic detail resolution of some similarly priced rivals, but it isn’t far off. Otherwise it’s practically impossible to find fault at the price.

Novafidelity X14 £690 HFC 446 Deserving of praise for the functionality it manages to squeeze into such a compact and elegant chassis, the X14’s well thought out and practical approach will attract those looking to take their first steps into network audio and it makes a greater second-room setup.

Quad Artera Solus £1,500 HFC 434 Even by Quad’s high standards the Artera Solus is unfeasibly talented. Excelling with immediacy, presence, weight, body, scale and authority, it offers not only looks and feels more expensive than it is, but it sounds it too. It deserves to be paired with a fine set of speakers.

BUYINGGUIDE

TURNTABLES

AnalogueWorks TT Zero

AVID Volvere SP

Pro-Ject Debut Carbon EVO

PRICE: £1,500 REVIEWED: HFC 453

PRICE: From £5,500 REVIEWED: HFC 472

PRICE: £450 REVIEWED: HFC 468

Pristine without being bright, the TT Zero has fine tonal discrimination and starts and stops precisely where it should. It is able to unpick all the audio strands with ease, sounding, open and airy with plenty of sparkle and bite, a low noise floor, lucid rhythmic gait and impressively clean, controlled and tuneful bass.

With its dynamic, detailed and confident presentation, the Volvere SP delivers all of the thrills hidden in your vinyl's grooves and adds a few more just for good measure. Rock solid, unerringly precise and gloriously natural, it’s a triumph that combines the joys of a belt drive with the accuracy of a direct drive.

Easy to setup and unfussy in use, the Debut Carbon EVO’s extremely well-balanced sonic performance is comfortably the equal of any price rival, while the spaciousness of its soundstage and the unblemished nature of its performance make this one of the best sub-£500 turntable offerings period.

Rega Planar 6

Rega Planar 10

Technics SL-1500C

PRICE: £1,400 REVIEWED: HFC 427

PRICE: £4,500 REVIEWED: HFC 456

PRICE: £900 REVIEWED: HFC 453

Partnered with Rega’s Ania moving-coil cartridge, the Planar 6 delivers a level of performance that is pretty much untouchable for £1,500. The sense of togetherness is classic Rega, the overall presentation is aided in no small part by the tonal realism while the power and alacrity complete a perfect sonic picture.

A masterpiece that is without doubt one of Rega’s finest achievements, the Planar 10 manages to deliver a performance that is outstanding even at this lofty price point. Utterly unflappable, it offers incredible detail retrieval combined with a naturally low noise floor to dish up captivating vinyl execution.

The built-in phono stage is terrific, while the take-no-prisoners sonic personality sounds joyously lively, enthusiastic and ‘on it’. Thanks to its legendary torque and stability, it locks down timing and rhythm with start-stop precision and its firm, deep and expressive bass adds unrivalled impetus and authority.

CARTRIDGES

Audio-Technica AT-OC9XEN £300 HFC 452 This Group Test-winning moving-coil cart utilises an elliptical nude stylus mated to an assembly using two coils rather than one – which is something of an A-T trademark – and balances excellent performance with a useful boost to user friendliness, thanks to its threaded body.

Hana ML £1,000 HFC 447 With a threaded insert to make fitting easy, the ML is a low-output moving-coil design sat right at the top of Hana’s range. Boasting a performance full of energy, presence and a believable sense of delay, it’s the depth and fine detail of bass that really impresses here.

Nagaoka MP-500 £760 HFC 467 A brilliant MM that even shames some respected MC designs, the MP-500 is tonally warm without going over the top, has a slightly soft but strong and tuneful bass and a delicate yet finely resolved treble. The midband is sweet and supple, with a really good rhythmic flow.

Ortofon MC Anna Diamond £7,250 HFC 463 It’s not exactly cheap, but Ortofon’s flagship moving-coil cart effortlessly shatters all expectations. From its stunning design and impeccable engineering to the way that it drags even the dullest recordings into sharp relief, this is a very special pick-up indeed.

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PHONO STAGES NEW ENTRY

Chord Electronics Huei

Hegel V10

iFi Audio Zen Phono

PRICE: £900 REVIEWED: HFC 459

PRICE: £1,300 REVIEWED: HFC 474

PRICE: £150 REVIEWED: HFC 476

The Huei’s appeal extends from its rocksolid build and playful, sphere-based control system to its impressive knack of extracting the best from a turntable/ cartridge combo without being too painfully honest about the ropier aspects of less-than-pristine recordings.

It might be fiddly to setup and ensuring you pick the best combination of DIP switches for your cartridge isn’t the most of intuitive of processes, but the V10 is effortlessly smooth, gloriously insightful and impeccably voiced for a crystal-clear performance with a wide range of different MM or MC pick-ups.

An astonishing performance and superb flexibility. Until you find yourself at the price where features like adjustable loading and capacitance are possible, the spec for the asking price is outstanding. This is one of a tiny number of designs anywhere near this price that can do justice to pretty much any cartridge under £500.

Musical Fidelity M6x Vinyl

Rega Aura

Tom Evans MicroGroove+ X mkII

PRICE: £1,700 REVIEWED: HFC 475

PRICE: £4,000 REVIEWED: HFC 446

PRICE: £1,000 REVIEWED: HFC 469

This multi-talented design offers a superb combination of excellent connectivity, versatile loading and gain options, a great user interface and excellent sound. Tonally it’s very neutral with a crisp clean and spacious tone that’s less euphonic than some may like, but nonetheless fun to listen to.

This MC-only preamp combines superb engineering and build quality to create an unashamedly high-end phono stage, but what sets it apart from the pack is its balance of accuracy and realism with the ability to deliver musical joy, making it one of the finest phono stages available.

The closest thing the UK has to a phono stage guru, Evans designed the circuit for this stunning stage in 1989. Unapologetically plain, light and unassuming, the MicroGroove cuts the sonic mustard like nothing else to make even mid-priced turntables sound far higher end than they actually are. Superb.

IN-EAR HEADPHONES

Audeze iSINE 10 £400 HFC 423 A must-have for Apple users, the world’s first planar magnetic in-ear is decent with a regular 3.5mm cable but comes into its own when used with iOS devices connected via Lightning, sounding faster and more cohesive than the best dynamic or multiple armature designs.

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Oriveti OH500 £500 HFC 451 Combining an airiness with low-end extension that most rivals can only dream of, the OH500’s stylish resin enclosures house four Knowles balanced armatures (two for bass and two for the midrange) with an 8mm dynamic bass driver for an enjoyably vivid performance.

Sennheiser IE 80 S BT £440 HFC 456 An impressive combination of excellent performance, comprehensive Bluetooth aptX HD implementation and Sennheiser’s attention to comfort and build make this an exceptionally talented design that is likely to win over many converts to wireless audio.

Shure KSE1200 £1,770 HFC 449 Electrostatic technology might be undeniably costly and not exactly portable, but the KSE1200 compromises on none of the qualities that Shure holds dear to deliver a level of realism, space and involvement that’s beyond all but the most supremely talented loudspeakers.

BUYINGGUIDE

HEADPHONES

Audio-Technica ATH-M50xBT

Bowers & Wilkins PX7

Dan Clark Audio Aeon 2 Closed

PRICE: £180 REVIEWED: HFC 450

PRICE: £350 REVIEWED: HFC 459

PRICE: £900 REVIEWED: HFC 462

Taking its M50x and turning it into a very capable wireless design (thanks to Bluetooth v5.0) without altering its sonic character, AudioTechnica has come up trumps here. Balance and refinement join crunching bass, impressive three dimensionality and decent noisecancelling to seal the deal.

Although it’s no match for a high-end wired design, the noise-cancelling abilities of this wireless closed-back model are ideal for music on the move – offering an elevated listening experience amidst the hustle and bustle of the city. An essential audition if you’re serious about enjoying your music out and about.

Available as both open (warmer, fuller tone) and closed options (leaner midrange), the Aeon 2 is a timely update of the Aeon Flow that was so popular back in HFC 435. Its improved planar drivers feature increased damping and conjure up pinpoint detailing, thundering lower frequencies and a deft touch with subtle effects.

Focal Stellia

Fostex TH909

Sennheiser Momentum 3

PRICE: £2,800 REVIEWED: HFC 452

PRICE: £1,650 REVIEWED: HFC 474

PRICE: £350 REVIEWED: HFC 455

A welcome addition to the hall of high-end headphone fame, the closed-back Stellia rivals the best open-back competition, bringing new meaning to the word forensic. Imparting a benign character on everything it plays, this vice-free design has rhythmic engagement, endless vitality and depth charge-like bass.

The Group Test-winning TH909 combines what is unquestionably a very accurate performance – entirely in keeping with something from a manufacturer of pro audio equipment – with an unbridled level of entertainment. With superlative space, detail and energy, it looks great and is extremely comfortable for longer sessions.

With a Bluetooth performance that makes it hard to believe this is really a wireless offering, the Momentum might just be the most consistently entertaining performer Sennheiser has ever produced. Excellent design, fabulous features, subsonic bass and impeccable noise cancelling complete the package.

PORTABLE DACS

AudioQuest DragonFly Cobalt £270 HFC 463 With a relatively low 24-bit/96kHz sample rate, expectations for the Cobalt aren′t high until realising it means there′s no need for USB driver software. Native MQA decoding is also supported and the open and richly detailed sound make this the best DragonFly offering yet.

Chord Electronics Hugo 2 £1,800 HFC 428 An essential audition, the Hugo 2 is not just a portable DAC/headphone amp, but the best hi-fi digital converter available at or near the price. Music ebbs and flows along in an organic and unforced way and it images with stunning pinpoint precision.

Chord Electronics Mojo £400 HFC 423 It might be small and have no gain setting adjustment, but the Mojo takes some beating. Its scrupulous accuracy presents what is contained in a recording with no embellishment so that fine detail is extracted with ease, treble energy impresses and stridency remains absent.

iFi Audio xDSD £400 HFC 439 Justifying its inclusion on sound alone, the xDSD delivers a wide variety of musical styles with admirable clarity and precision. It’s engaging, lively sonics and versatile connectivity make it equally adept for mobile or desktop use and the only minor downside is its battery life.

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For sale / Wanted

Reader Classified ads

www.hifichoice.com keithaustin1953@gmail. com

Reader Classified Welcome to Hi-Fi Choice Reader Classified, a free private ads service for buying and selling second-hand hi-fi components. These pages are a must-read if you’re thinking about buying used kit, or if you have hi-fi you want to sell. It’s free – simply submit your ad with no more than 50 words (we reserve the right to edit it if not), remembering to include your email, phone

FOR SALE ATC CA2 MK2 preamp and matching ATC P1 power amp. Excellent condition with original packaging, remotes and manuals: £2,200 ono: 07956 959032 or email: waynebtully@gmail.com (Redhill, Surrey). MERIDIAN rare black 101b pre, 104 tuner, 105 (2x mono amps each with power supply) so stacked three high in pairs £550: 01704 628968 or 07968 769595 (Southport). RUARK Prelude II speakers, cherry finish in excellent condition, original manual: £175. Alphason AV4/S rack, 1,270 x 395 x 560mm, black, three shelves, castors, good condition: £65. All owned from new. Collection only: 07484 667428 or email: cmart75@btinternet.com (Kent). SONUS FABER Electa Amator speakers including dedicated wood/stone stands, superb condition: £2,250.

number and county. Simply email your ad to: letters@hifichoice.co.uk. This service is open to private advertisers only. Just one ad per household and please note that images are for illustration only and do not represent what is for sale.

Meridian M33 active centre speaker, good condition: £80. Meridian 502 power amp needs attention: £50: 07741 416584.

PROAC Tablette 10 Signature speakers, cherry finish, manufactured in September 2018, excellent condition. Original box and packaging: £875 including UK courier: 028 41764088 or email: peter.houston24@gmail. com (County Down. N.Ireland).

ATC SCM7 v3 speakers, cherry, perfect condition with original box and manual: £495: 07402 299243 or email: frank8ush@ntlworld.com (South Glamorgan). CROFT integrated R amplifier, four line inputs, 50W/ch, dual volume model. As new and boxed: £850 ono, can demo: 07889 807065 (Essex/ Herts border). AUDIO TRANSFORMER conversion isolation box, bought from Music First Audio 2018. Excellent

TOWNSHEND Maximum Super Tweeters (pair), black, six months old, like new, boxed with instructions for setup. Complete with cable, fitted with piggy-back plugs. Used with PMC Fact speakers: £600: 01242 695 407 (evenings) or email: roythrush60@googlemail.com (Cheltenham).

FOCAL Diva Utopia BE floorstanders. Immaculate burr ash cabinets. Double boxed, owned from new. £3,000 07999 645745 or email: cjw65b@gmail. com (Blackpool).

PMC Wafer 1 ‘on-wall’ speakers in white. Perfect working order and unmarked except that I have whited out the tiny PMC badge on the side of the screens. I have had them and loved them for about five years: £675: 01823 664222 or 07388 088978. condition in every respect. Was £660 new, but will accept £370 (or nearest offer): email: ruane.hp@blueyonder. co.uk (Essex).

REVEL Concerta 2 M16 loudspeaker in gloss white. As new. Only one month old. With original packaging. Will send free. £550: 0781 1111718 or email: mark. ruth1@ntlworld.com (Nottingham). DYNAVECTOR P75 mk4 phono stage, 2018, as new £640: 07775 441059. ICON AUDIO MB845 Mk.1 monoblock amplifiers. Upgraded to SE version with new Mundorf capacitors. New 845 valves on one amp. Boxed. Great powerful sound. Sensible offers: 07717 752288 or email: captain_b99@yahoo. co.uk (Bristol) CREEK Wyndsor turntable, RB 300 tonearm, LP1 speed controller, 50mm acrylic platter, belt driven, Ortofon Tango cart. Instructions, various bushes to accept a choice of tonearm £780: email:

ESOTERIC K-05X SACD player £5,500. Accuphase DAC-40 board with coaxial, optical and USB inputs and install CD £550. Kimber 8TC speaker cable 1x 8m and 1x 4m plus AudioQuest SureGrip banana plugs £750. Technics ST-8080 FM tuner £75 ono. Collection preferred or delivery at cost: 07985 975546 or email stevexsteve@ hotmail.com (Yorkshire) PROAC Tablette Reference 8 Signature black speakers, little used £595. Musical Fidelity M6 DAC £650 mint condition: 01704 628968 or 07968 769595 REL Storm 5 subwoofer. Perfect working order with remote. Very heavy so MUST collect. Can deliver if resonable distance. £500: 01981 242067 (Monmouthshire). MARANTZ PM-Ki Pearl lite amplifier and Ki Pearl lite SACD player. Excellent, clean, working condition, fantastic sounding. £475 each. Prefer to sell together: 01507 824457 (Lincs). LINN Linto phono preamp, excellent condition, plus Linn RCA-to-5-point DIN interconnect and new power lead. £590: 01245 250375 or email: ruane. hp@blueyonder.co.uk. NAIM NAC 5, 5x2m pair in white fitted with goldplated locking banana plugs: £160. Can post by registered mail if required: 01732 490492 (Kent). OKKI NOKKI Mk2 (black) for sale for £300, complete with perspex lid. I’d prefer to deliver if close by otherwise it’s DHL (included in price):

BUYING TIPS BUYING SECOND-HAND can be a great way to pick up a bargain. A formerly expensive second-hand component might well prove a better long-term bet than a brand-new product if the price is right. DO SOME RESEARCH on which brands have a good service back up, so if something does go wrong, you can get it fixed. Unless you purchase from a dealer, you’re unlikely to get any warranty, so it’s up to you to ensure the fitness of any gear that you buy. USUALLY speakers should be less prone to breakdown than amps, and amps should be more reliable than CD players. But any abused component could be trouble – have a proper demo and judge the seller as well as the goods!

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NAIM Uniti Mk1 serviced by Naim in 2018 and upgraded to 24-bit/192kHz spec, unmarked condition with all supplied accessories and box, £750: 07720 447247 or email: cjmdbeach@mac.com (Aylesbury). LINN LP12 Lingo, Cirkus Ekos1, Linn Klyde cartridge, Pink Triangle power supply and Linn Trampoline Baseboard, black plinth. Excellent condition, £1,995: 02392 453382 (Portsmouth area). CREEK Evolution 50A amplifier, black, very good condition, no marks.

CHORD Sarum T speaker cable, 2m, £1,150. Interconnect RCA, 1m, £1,150. Mains lead, 1m, £990. All original packaging. Townshend Seismic Stella speaker stands. Support 25kg50kg £490 original crates. 2x Townshend seismic platforms. Support 15kg-35kg £240 each: 01772 314151 or email: jamesmckendrick@ btinternet.com

QUAD Artera Solus like new £1,050. Russell K Red 50 Piano Black £450 with grilles, minor unseen blemishes, solid stands £150. XTZ Edge A2-300 amplifier like new £370. DacMagic £100. Mission 75C black £80. Onkyo TX-SR875 AVR £80. Collect only: 07720 447247 or email: cjmdbeach@mac. com (Aylesbury). NAIM NAC 72 preamp with SNAIC interconnect for power unit and Chord Chorus CD lead. In fine condition £365 including UK delivery: 01825 722936 (Sussex). NAIM Nait XS 3 amplifier, mint condition, very little use, all packaging and paperwork present. Cash on collection £1,500: 07505 583615 (Nottingham). MCRU SLiC Eclipse C MKIII interconnect, 0.8m, as new, boxed, £270. Black Rhodium Stream Power mains lead, 1.7m, £230. 2x Naim Power Line Lite mains leads, £30 each. Chord Power lead, 0.8m, £20. Synergistic Research Black, mains plug, fuse unused, £35: email: stevecousins136@gmail. com (Dorset). MONARCHY AUDIO Class A SM70PRO power amps £199 each. XTZ Edge A2-300 power amps £199

CHORD ELECTRONICS Hugo TT2, purchased new August 2020, as new condition, boxed, with all accessories, colour black. I would like £2,995: email: dave.drew@talktalk.net (East Yorkshire).

AUDIOQUEST DiamondBack 1m, £40. HiDiamond Sig 1 1m, £35. Wireworld Luna 7 1m, £35. Atlas Element Superior Integra 0.5m, £35. Will sell separately or bundled: 01483 472650 (Woking, Surrey).

REVOLVER turntable with Linn Basik arm and Goldring cart, very good condition, less dust cover, £130. Five-tier Target hi-fi rack, very good condition, £50. Buyer collects: 0208 2113760 (North London). NAIM NAP 250 DR power amp. Immaculate condition. Upgraded to DR and fully serviced. Guaranteed until August £2,850: email: ruane.hp@ blueyonder.co.uk. AUDIOLAB 8000S amp, updated serviced summer 2019 with original remote. Good condition £475. Nakamichi CR3 cassette deck serviced 2020. Good condition £495. Collection or your courier: 07773 078508 or email: barberbsgoil@ntlworld. com (Brighton).

Now standard on Element, Equator, Hyper & our new Ailsa cables.

BLACK RHODIUM Waltz speaker cables, 3m pair with bananas: £400. Polka Classic 3m pair with spades and bananas: £1,000. Polka (original) 3m pair with locking bananas: £800. Quickstep 3m pair spades and bananas: £250. Plus interconnects: contact for details: 0749 4867084 or email: pete@ peopleandpotentialltd. co.uk

AUDIOLAB 8000Q preamp, silver, boxed, manual, remote control, works very well, had since new. £150. 01245 473054 (Chelmsford, Essex).

nothing taken away – resulting in improved sound quality.

ICON AUDIO Stereo 25, all new valves fitted 2015: £400 (collection only). Michell Iso/Hera phono stage £250. Vermouth Audio RCA interconnect, 4m length £100: 07922 513810 (Nottingham).

each. All working order and original packaging. No casework marks: 07483 817584 or email: michael665booth@ btinternet.com

have minimal impact on the signal – with virtually nothing added,

CHORD Signature ARAY 1m mains cable, hardly used, as new and boxed £295. 2no sets Naim cups and balls with 2no 455x345x10mm Fraimstyle grey toughened glass £65: 07785 733292 (Chichester, Sussex).

Recently fitted with sequel MK4 phono module. Original packaging. £425: 07398 642586 or email: johnakeanelangley@ gmail.com (Berkshire).

Our high-precision Achromatic RCA and Z plugs are designed to

01491 642030 or email: dstockbridge@hotmail. com (Oxfordshire).

Element

Reader Classified ads

Element Achromatic RCA S/PDIF

SONUS FABER Amator III speakers with stands £2,250. Meridian 502 preamp £350, Meridian 557 power amp £450, Meridian M33 active centre speaker £100. Audiolab 8000PX power amp with some marks on top: 07741 416584 (Lincolnshire). REL Strata 3 Walnut, good condition £245. Collection only: 07740 868420 (Southampton).

atlascables.com

HiFi Addiction

QUALITY USED HIFI BOUGHT & SOLD

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1RIGHT SAID FRED

“Famed Fred Perry wearer Damon Albarn has teamed up with the clothing brand on behalf of his Gorillaz outﬁt and ‘remixed’ a string of FP’s signature garments. Animated members 2-D, Murdoc, Noodle and Russell have Gorillazised the classic button-up polo shirt in an array of striking colours, implanted “Reject False Icons” logos on the back of nylon trackie jackets and have whacked their crane logo on some Harringtons and a zip-up leather bowling bag. If it ain’t already sold out, the Fred Perry Gorillaz collection is online now at: fredperry.com

REASONS TO BE Exciting things coming your way in the month ahead

2HOP TO IT

Looks like everyone in a band who couldn’t tour due to lockdown decided to write a book instead. Add to that list Will Sergeant, guitarist and co-founder of Echo & The Bunnymen whose autobiography, Bunnyman, is released by Constable/Little Brown on 15 July. The blurb says Will’s book will detail: “What it was really like to be part of one of the most inﬂuential and important British bands of the Eighties… and founding a community – friends, enemies and many in between – with those who would become

CHEERFUL post-punk royalty from the likes of Dead Or Alive, Frankie Goes To Hollywood and the Teardrop Explodes to name a few.”

OF 3DOORS PERCEPTION

A Guide To The Labyrinth is a new book and multimedia set of Doors singer Jim Morrison’s collected writings culled from his personal notebooks including some rare, previously unpublished pieces many of which are presented in Mr Mojo Rising’s own handwriting. The set will also include exclusive audio recordings, is published by Genesis and is limited to an extremely collectable 2,000 copies. More deets at: jimmorrisonbook.com

4A BRIGHT SPARK

Annette, a musical movie written by Ron and Russell Mael of Sparks, will open at the rescheduled Cannes Film Festival on 5 July. The ﬂick stars Adam Driver and Marion Cotillard and, according to the press release, is: “The story of Henry, a standup comedian with a ﬁerce sense of humour, and Ann, a singer of international renown… They are the perfect

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JULY 2021

couple, healthy, happy and glamorous… The birth of their ﬁrst child, Annette, a mysterious girl with an exceptional destiny, will change their lives…” You can catch it in re-opened cinemas after 5 July.

5I NEED A NYRO

Madﬁsh are about to release an boxset of eight remastered vinyl LPs by magical singersongwriter Laura Nyro. Titled American Dreamer, it features seven studio albums Nyro recorded in the late-Sixties/early Seventies, plus a bonus LP of archive demos and live tracks. The limited edition set also includes a 36-page booklet and retails at £160 at: thesdeshop.com

6JAZZED!

Subscription service jazzed (HFC 462), which describes itself as the world’s ﬁrst audio-visual streaming destination for jazz, has just added a brand new service, jazzed live, which will offer exclusive access to livestream concerts from some of the world’s most famous jazz clubs. The service launched with UK pianist Bill Laurence performing solo at London’s Jazz Cafe. Gigs to come include

THE PEDAL MOVIE IS A LOVE LETTER TO THE POWER OF EFFECTS PEDALS

REASONS TO BE CHEERFUL

off on 30 July and promised guests include Paul McCartney, Questlove, Dave Grohl, Beastie Boys’ Adrock and Mike D, Charli X and more.

GOOD 8WHEEL FACTOR

performances from Berlin’s A-Trane and Gregory’s Jazz Club in Rome. Plenty more info at: jazzed.com

THAT 7WATCH SOUND

Amy Winehouse presenter, hit-maker extraordinaire and stylish man about town Mark Ronson is hosting a new docuseries for Apple TV+. It’s a six-parter called Watch The Sound With Mark Ronson and promises to investigate: “Sound creation and the revolutionary technology that has shaped music as we know it”. It all kicks

Heads up HFC pedal-pushing nuts: Foo Fighters, Radiohead, LCD Soundsystem, Dinosaur Jr, Underworld, Khruangbin,Phoebe Bridgers and more have contributed designs to a series of one-of-a-kind Brompton folding bicycles to be auctioned off to raise funds for Live Nation’s Crew Nation, a global relief fund for live music workers hit by the absence of shows during the pandemic The auction runs from May 28 until June 12. More info at: brompton.com/crewnation

9COMO ON OVER

Connected Distribution has been appointed UK distributor for Boston US-based smart music system brand, Como Audio. The company produces a range of products that include the £450 Amico – a portable multi-room audio system for indoor or outdoor use, the £750 Musica – a complete wi-ﬁ streaming multi-room audio system with built in CD player that also includes Tidal, Deezer, Napster, and Amazon Music, the £350 Turntable, that connects directly to the Como Audio music systems or a stand-alone hi-ﬁ system and the £550 Bluetooth Turntable, which connects wirelessly to other Como Audio products. Purchases can be made via: comoaudio.co.uk, a direct-to-consumer website which ships free-of-charge directly from Connected’s Cheltenham warehouse.

10FUZZY LOGIC

shredders,the movie highlights some of today’s top pedal builders, including Chase Bliss Audio, EarthQuaker Devices, JHS Pedals, Strymon, Walrus Audio etc. For sale or rent now via Google Play or the iTunes store.

UP 11RAPPING THE MYSTERY

Controversial Kurt & Courtney director Nick Broomﬁeld is following up his 2002 documentary, Biggie & Tupac, with a new doc, Last Man Standing: Suge Knight And The Murders Of Biggie & Tupac. It’s about the former CEO of Death Row Records who was recently sentenced to 28 years imprisonment for manslaughter, claims to reveal new evidence about the assassinations of the two rap giants and is out on 2 July.

Online gear marketplace Reverb has released its first-ever full-length film, The Pedal Movie; billed as: “A star-studded love letter to the enduring power and magic of the humble stomp box” and: “the most comprehensive look at how effects pedals have influenced the sound of popular music.” The doc features interviews with the likes of Kevin Shields, J Mascis, Billy Corgan, Graham Coxon, Steve Albini, and many others. In addition to stringJULY 2021

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Next Month TRIANGLE BOREA BR08 “Vivid, fast and endless good fun, it deserves to be on any shortlist at the price...” We review the latest range of affordable floorstanders

AUGUS T ISSUE ON SAL E 15 JULY

ALSO: REVIEWS A six-way Group Test of higher-end in-ears, KEF’s LS50 Wireless II speaker system, Merason’s Frérot DAC, the history and appeal of horn loudspeakers, a trip to VOD in North Wales – the UK’s smallest independent record store – and much more FEATURES Music Reviews, Audiophile News, our comprehensive Buyer’s Guide and sharp-as-nails Opinions section, and all your hi-fi questions answered by our team of experts

Listen Closer. Uniti Atom Headphone Edition

Escape to a world where your favourite music, radio and podcasts effortlessly stream in incredible quality via the Uniti Atom Headphone Edition. You bring the headphones; we deliver almost 50 years of British audio excellence in a beautifully compact, all-in-one system. With all-new headphone amplification and enhanced connectivity, it’s never been easier to transform any space at home or work into a private-listening idyll. Discover more at naimaudio.com

EXPERIENCE BRINGS perfection It is exactly 40 years since )UDQFR 6HUEOLQ SUHVHQWHG KLV ƂUVW loudspeaker to the world. The Franco Serblin family continue his passion to this day for the GHVLJQ RI WKH ƂQHVW PXVLFDO instruments such as lutes from master luthiers of Cremona and the violins of Stradivari & Guarneri and their use of wood, strings, the forms and harmony of their constitution, to inspire their own creations. With Italian craftsmanship these loudspeakers reach a level of elegance and performance that can only be borne out of a lifetime’s experience, knowledge and skill. With the Accordo line of products, he followed the design patterns that were particularly dear to him. A sound, a voice capable of reaching the depths of the soul…the essence.

absolute sounds ltd. International Distributors & Consultants of Specialised Hi-End Audio & Video Systems

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