Issue
Three
Thirty years of building premiere Triode, Class A, balanced OTL amplifiers ...
JAY AUDIO
161 Lavender Street #01-10 Lavender Place Singapore 338750 Tel : 6292 2773, 6755 0646 Fax : 6292 2373, 6759 0996 www.jayaudio.com
EDITOR’S COLUMN The KL International AV Show 2009 comes at a very uncertain time, a week before the show, I was in Hatyai to cover the Thailand IASCA/EMMA car audio competition (read all about this event in the forthcoming SPL! Magazine Issue 23) where I heard in the news over Channel News Asia of the bombings at the Marriott and the Ritz Carlton hotels. Understandably, we all share the concern about the show to be held at The Marriott in Kuala Lumpur, a scant week after the blasts. There were suggestions from the security department to cancel the show but thankfully, it was allowed to carry on. The show went without a hitch, amid tight security when getting into the hotel, the droves of faithful audiophiles turned up at the event and according to the organisers, the attendance showed an increase over the previous year. We were there for the 3 days to sign up new subscribers for our forth-coming Malaysian edition of Marques of Distinction. A big Thank You to Mr Dick Tan for an excellent show and a big Thank You to our new subscribers who will be reading this issue right now! This show was also the pilgrimage for Singapore audiophiles, we spotted quite a few who turned up to have a look at the KL show. Come November 6, is the Singapore International Sound and Sight Exhibition, I would like to invite our Malaysian friends to make a trip down for this show!
Marques of Distinction
Published by MODAVI Private Limited
Editor Terence Wong terence@mod-avi.com
Sales and Marketing Wong Ng Lai Leng laileng@mod-avi.com
Graphic Nainty Nine
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The title Marques of Distinction, its associated logos or devices and the contents of this magazine is the sole property of MODAVI Private Limited. Reproduction in whole or part of, is strictly prohibited. MODAVI Private Limited is not responsible for any omissions, errors, misrepresentation or any loss that arise through the use of the information provided herein. We are also not responsible for unsolicited manuscripts, photographs or other materials sent to us for the purpose of publication or otherwise. We reserve the right to edit all relevant materials. MODAVI Private Limited retains ownership of all materials published and no part of this publication may be reproduced in whole or in part without written permission of the publishers.
Listen.... .... hear the sound of our love, passion, sincerity, and dedication that we bring to our art.
www.feastrexsingapore.com
Contents
In this Issue Backing into a Corner
11
- Feastrex in a Corner Horn enclosure
Atma-Sphere Music Amplifier
17
06 Wilson Audio Sasha Marques of Distinction
- MP-3 preamplifier & M-60 mk3 monobloc amplifier
Heavy Metal
22
- Kuzma/Karan/JM Lab makes an impressive combo
A new Reign
begins ...
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VIDEO SLIDESHOW 1
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VIDEO SLIDESHOW 2 Marques of Distinction
Some 15 years ago while working in the audio trade, I come across a small loudspeaker that was traded in. It was a nice little 2-way bookshelf speaker shaped like a pyramid with about one third down from the tip truncated. The carry handle at the back of the speaker tickled me until I have to move the speaker. Then I knew why. It was heavy, as if the enclosure was filled with concrete. What have they done with this speaker? My colleague told me to take a listen to it. I hooked up a Naim
Watt/Puppy no
more...
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amplifier that was lying around and had a quick listen. I nearly fell off my chair. It has a clarity and resolution that rivalled electrostatics, the dynamics and control that blows away everything we have in the store and the snappy musicality exceeds that of the fabled Naim loudspeakers. That speaker was the Wilson WATT. It had its weakness though. The bass performance was astounding with excellent clarity, that is, until it starts to reach the lower notes when it dips alarmingly into oblivion. It simply had no low frequency extension whatsoever. Much later, the WATT had a complementary woofer system called the Puppy which led to the Watt/Puppy iterations over the last two decades.
The WATT is perhaps the world’s first ‘High End’ bookshelf loudspeaker. Audiophiles accepted the price tag for what its worth and Wilson Audio went on to sell more than 15,000 pairs since 1985. For a speaker that sells for $40,000 today (inclusive of the Puppy woofer), that’s a success story. Today, I had the priviledge to audition the ninth generation of this loudspeaker. The evolution of this loudspeaker had gone far beyond the original WATT design. The ninth generation WATT/Puppy also represents a clear departure from the generations before – it is now a complete loudspeaker instead of a two-way loudspeaker sitting atop a woofer. David Wilson has possibly squeezed every last ounce of performance from this design and the Sasha reflects the dramatic changes from the last Watt and Puppy System 8. The Sasha has more in common with the flagship Alexandria and MAXX3 than the System 8. First impressions - the Sasha looks like a more aerodynamic version of the System 8. It is still a two-box enclosure affair. When placed side by side, it became obvious the Sasha is a larger loudspeaker of the two. It still houses the same complement of drive units – a two-way speaker sitting on top of a twin woofer enclosure but the Sasha looks more integrated than the System 8. The larger Sasha means the woofer and bookshelf now have slightly larger enclosures. But the difference is more than skin deep. The Sasha WATT enclosure is markedly different from that of the System 8. The speaker baffle is made from a new material. Wilson speakers are known to be different from other speakers from the use of mineral filled acrylic compound in the early WATTs (which may account for the weight and sound
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quality), to the cellulose and phenolic compound, called ‘X’ material (after the X-1?) first appeared on the flagship X-1 Grand Slamm and recently, a wood particle phenolic resin called ‘M’ material when the MAXX was introduced. Finally, for the Sasha, a wood fibre phenolic resin is developed for use on the baffle. The Sasha essentially employs a combination of material for the enclosures – ‘X’ material for the woofer enclosure, ‘M’ material for the WATT enclosure and the new wood fibre phenolic resin (‘S’ material?) for the speaker baffle. Each of these materials offers superior performance when used in the right place and exhibits markedly lower resonance and faster decay times. If you look closely at the WATT module, you would notice a flare or bulge when the side panels reach the base. This is an integrated vibration sink. Just when you think all that special material with low resonant signature, it goes to show there is never too much damping. Perhaps it may have something to do with the use of a new midbass unit, the same 7-inch unit as used in the MAXX3. I am speculating at this juncture (which means I may be wrong) but it may be the new midbass driver triggers a major resonant node on the side panels that requires some attention. The vibration sink is said to reduce the resonance of the side panels by as much as 10 dB which is a lot. The tweeter is also different from the System 8 and again it comes from the MAXX3.
new Sasha woofers have twice the magnet size with superior acceleration characteristics, lower distortion and better control. Obviously that has something to do with matching the improved resolution of the new midbass unit. The woofer enclosure is slightly larger and Wilson Audio claims another 2 Hz extension compared to the System 8.
The lower cabinet houses the two 10-inch woofers. Though superficially identical to those on the System 8, the
Perhaps the crossover is the major change from the System 8. Every iteration of the
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WATT/Puppy up till the System 8 retains the ‘bookshelf speaker on a woofer box’ formula. The WATT has its own crossover within the speaker (and as such can be used by itself without the Puppy woofer module). The Puppy essentially has a Low frequency hi-pass filter which channels the designated frequencies to the woofers and the rest up to the midrange and tweeter module. What Wilson did to the Sasha is to remove the crossover from the WATT module and placed it within the Puppy enclosure where a removable panel (behind the enclosure) allows access to the crossover to change resistors to change the speakers’ characteristics to suit the desired room placement. The earlier WATT places the crossover on the floor of the enclosure and as such receives the back wave of the midbass drive unit. By moving the crossover away from the magnetic structure of the drive unit and also away from the back wave, the noise floor within the WATT enclosure is dramatically reduced yielding improved resolution. I wonder, wouldn’t it be better to place the crossover into a separate box outside of the speakers? The removal of the crossover frees up some space to add bracing to the WATT enclosure thereby lowering the enclosure ‘signature’ even further. The changes in drive units and enclosure yielded a 1 dB gain in sensitivity though the impedance dip to a low of 1.8 ohms means more attention is required on the amplifier department.
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With all the improvements in the design of the speaker, we would expect yet another price hike of at least 20%? Not this time! Perhaps the economic situation may have something to do with it, Wilson Audio claims efficiency in the manufacturing process yielded lower production cost which translates into a lower selling price (USD26,900 for the Sasha vs USD29,900 for the System 8) than the preceding model! A brief audition when the first pair arrived towards the end of June and thereafter the same pair was shipped to the Malaysian hifi show at the end of July. I have always been impressed with the WATT/Puppy design in its various iterations for their speed, resolution and dynamics. However, sometimes the WATT/Puppy can leave me a little cold (especially up to System 7, the System 8 was a lot better), lacking the emotional delivery that some lesser speakers are capable of. Another aspect of the WATT/Puppy (up to and including the System 8) is their inability to scale well in a large room. This is where the larger MAXX3 is significantly superior. Can the Sasha surmount the weakness of the earlier System 8 and before? A resounding yes! Indeed. Now before anyone suggest the Sasha is as good as the MAXX3, which I don’t believe that is the case and you should not either, it
is a major step in the evolutionary ladder of this remarkable loudspeaker lineage. Wilson claims of a lower noise floor bear out when you start hearing subtle inflexion and nuances to voices and such like. The system also plays louder (and the soft parts softer) than I can remember, the 1 dB gain in sensitivity not withstanding. This translates into a remarkable improvement in the dynamic range. The soundstage seems larger and more appropriately scaled. It is still a speaker best suited up to mid sized rooms (and the MAXX3 for larger rooms) but depending on the acoustics of the room, you may get away with the Sasha in a somewhat larger room than you can ever imagine a System 8 would perform as well in that same room. I am certain the deeper bass response may have something to do with it but in my opinion, it has to do with all aspects of the Sasha’s new found ability as much as limitations of the System 8 denies it that very same ability. In all, the Sasha heralds a new dimension in the high end mid sized loudspeaker category. It is a major upgrade from the System 8 and owners of the System 8 should well trade in theirs while the resale value remains high (all Wilson speakers holds its value remarkably well). And if you need to ask the obvious, there is no possibility of an upgrade kit for existing System 8 to
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be converted to a Sasha. The Sasha is simply too major a change from the 8 – all new drive units, enclosure and crossover. Just bite the bullet and get the Sasha, you won’t regret.
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Just to put the record straight, Feastrex makes full range drive units and not a complete speaker manufacturer. It bears to spend a little time to explore the applications for a raw drive unit into a loudspeaker proper. Two issues back we started the ball rolling introducing this small loudspeaker company from Japan, making a bunch of rather unique drive units, by today’s standards at least. How so? Feastrex employs technology that cannot be duplicated by mass manufacturing. Components are handpicked and then assembled - one drive unit at a time. Time consuming indeed but for a drive unit using washi paper, hand wound voice coils, alnico magnets or field coil magnets and something very Japanese - exotic
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lacquers, it can only be made by hand. Consequently, Feastrex drive units can never be cheap. But then again, you can never find a drive unit like a Feastrex anywhere else. Feastrex drive units are likened as works of art in the audio industry. Now acquiring a Feastrex speaker is only half the story, you’ll need to house the drive unit into an enclosure. An enclosure is necessary for the driver to work properly. Feastrex full range speakers are designed to have low Qts, and designed for use in horn-loaded enclosures. The first Feastrex speaker I heard uses a conventional folded horn, which I thought sounded pretty good. I was not prepared for the dramatic change in sound a cabinet could wrought.
Opening of the rear folded horna
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William, the ‘Mother’ (or should it be ‘Father’?) of all Feastrex in this region got himself a pair of corner horn enclosures. What is a corner horn? A folded horn makes use of the back wave to reinforce the front wave produced by the drive unit. The frequencies affected are obviously the lower frequencies where the long waveform can be ‘delayed’ to invert the phase to match that of the front wave. Put it simply, the front waveform produced by the speaker is in phase while the rear wave being out of phase, is allowed to channel the energy through a long folded horn which provides a bit of delay by which when it comes out of the enclosure, it matches the phase of the front wave. Obviously a little acoustic calculation is required to determine the dimensions of the horn and the frequencies affected by its size, volume and length. These are all textbook stuff and if you are keen to know more, there is tons of information available on the internet.
The corner horn design takes the horn concept a little further. A folded horn makes use of the folds within the enclosure while a corner horn, in addition to the internal length of the horn, also makes use of room boundaries to extend the length of the horn. As any room has boundaries – walls and floors – it makes sense to exploit what is there rather than trying to make a bigger physical enclosure. A corner horn is an enclosure built to fit snugly into a corner. The side and back walls where the enclosure fits into are flushed with the opening of the port, thereby extending the continuity of the length of the horn. You can say a corner horn makes use of the room boundaries as part of the horn design. A corner horn extends the lower frequencies of the drive unit and has more gain. That certainly bears out in the short audition. The Feastrex D9e uses a field coil magnet (electro-magnets) structure and stands at the apex of the Feastrex line-up. The field coil design also lends a useful feature – a convenient phase invert switch. When you encounter a recording that is out of phase, if your amplifier doesn’t have a phase invert switch, the most convenient way is to run to the back of the speaker and reverse the speaker wires (swap the red and black connectors). Having a field coil needs an outboard DC power supply (to charge and energize the speaker magnets). You can then add a switch anywhere between the DC supply and the speakers to effect the
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phase invert. What William did was to place that switch near the speaker terminals where both the speaker terminals and DC supply is mounted. Driven with a 5-watt DIY SET tube amplifier, the latest incarnation certainly shows some of the most desireable attributes of a SET/Full Range speaker system combination. What surprises me is the Achilles of such designs is nowhere apparent. I’ll explain. Most of the horn speakers I heard have been a
Speaker and power terminals plus the toggle switch to reverse phasing
love/hate relationship – the immediacy and presence of the sound is often marred by severe colourations and peakiness in the midrange. Obviously in those instances, the bass frequencies are either lacking or too slow to mate up with the upper range. The high frequencies can roll off a little too early, cutting off all the ambient information and subtle overtones and harmonics of natural unamplified instruments that would be bad execution or poor enclosure design. Perhaps even both. William took an old Wharfedale enclosure design for his latest project and got a carpenter built it for a not insignificant amount of money. The internal folds and lack of parallel sides complicates the assembly of the speaker as the pieces have to be cut from a template and then matched to the ac-
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What’s behind the terminals
Tozawa resonators - before and after inflation
Where you place the resonators
tual position it is supposed to fit in. There is no way this speaker can be built using conventional mass production V-cut and fold style. Also William opts for the use of a stronger material than conventional speakers – marine ply instead of the usual medium density fibreboard which complicates the fabrication process. William estimated the cost of the speaker – drive unit, power supply (for the field coil) and custom build enclosure somewhere in the $20,000 region. The veneered enclosure is fairly big, as it is perhaps only enthusiasts should apply. Perhaps a little attention to the creative use of different veneers may lift this above the ordinary. Fit and finish is not exactly B & W standard but actually quite good for a one-off custom job. William had plans for something a little smaller without compromising on effi-
ciency or bass performance. If that happens, you will read about it in a later edition! So how does a corner horn sound? In one word – stunning. Perhaps this is one of the best set-ups I have come across that employs SETs and Full Range drive unit. My concerns for this genre of products - the sub bass region is the usual bugbear, here they are well controlled and extended with no apparent discontinuity of the bass frequencies from the midrange. The extension adds richness to the sound of James Taylor’s guitars. Further up the range, I am surprised by the even handed yet authoritative approach by Feastrex/Corner horn combo. With the improved ‘foundation’ of the sound, the lower midrange increases the warmth and presence giving male baritones a richness previously only hinted at. Correspondingly, the midrange is now nicely fleshed out. The upper ranges thereafter should be less affected by the
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enclosure and should be sonically identical to a normal horn loaded enclosure. Sure. How then can one explain the apparent improvements in the department of dynamic contrasts? How can that explain the improvements in the reproduction of textures which renders the tonal differences of instruments within the same family? I can conclude the Feastrex in a corner horn enclosure shows how important that relationship is – a drive unit is only as good as the enclosure it is working in. The corner horn has whetted my appetite for what the Feastrex drive unit is capable of. Fans of single ended amplifiers should give due consideration to Feastrex for what it can offer. The $20k price tag may deter those with modest budgets but Feastrex does offer conventional designs using permalloy magnets at less than half that. Add a simple 2A3 amplifier like the Sun Audio and you have perfectly musical setup.
CLICK HERE FOR
CORNER HORN PLANS
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The tube amplifier market is never as exciting as it is in recent times. Today you can buy tube amplifiers at prices where one can only get solid-state amplifiers in the past. Reliability was once an issue with inexpensive (read – cheap Chinese made) tube amplifiers but it is no longer the dog’s dinner it once was. What good it did was to introduce tube amplification to the masses. Once the audiophile bug bit, it is time to get the real deal. The serious tube products with real world performance – great sonics, ability to drive speaker loads and a strong personality trait behind it all. One make of tube electronics is Atma-Sphere. This small company hails from Minnesota, USA. Atma-Sphere is one relatively low-key company, preferring to let their products speak for themselves rather than splashing it out. In fact they are so low key that their website, in my opinion, is more of an afterthought than trying to impress. That impresses me! Thankfully, Atma-Sphere should be better judged with their line of tube amplification and the technologies they have developed for their products. Here we take a look at the
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entry-level preamp and mono power amplifier, the MP-3 single chassis preamplifier and the M-60 mk3 OTL monobloc power amplifier. AtmaSphere has been a strong proponent of OTL – Output TransformerLess – design. As all tube amplifiers are voltage devices, an output transformer is a necessity for proper electrical coupling of the amplifier to the loudspeaker (or risk damaging the speakers!). Atma-Sphere has a patented direct-coupled OTL circuit design named ‘Circlotron’, which I am certain, were derived from some advanced civilisation technology from the long dead planet Cybertron... Since I started off with the M-60, we will continue with it. The beauty of AtmaSphere design is the use of inexpensive tubes and without the need for matching them. This is a plus point for tube amplifier ownership as a complete set of ‘matched’ replacement tubes can be a hefty proposition for other tube amplifiers. Each of the M-60 OTL monobloc uses 8 pieces of 6AS7 and 4 pieces of 6SN7 vacuum tube. Each amplifier chassis offers 60 watts
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@ 8 ohms, 45 watts @ 4 ohms and 80 watts @ 16 ohms, quite unlike typical transformer coupled tube amplifiers which offers the same power output irrespective of the load. Typical tube amplifiers using output transformers are necessarily heavy for that lump of wire and iron core, Atma-Sphere OTLs, bereft of output transformers, are relatively lightweight in comparison. The M-60 is a pure triode design running in Class A. Atma-Sphere took the torturous route in amplifier construction using point to point wiring (a.k.a. hard wire) instead of using circuit boards. Besides offering the option of both RCA and Balanced connections, Atma-Sphere offers bespoke versions with upgraded parts. The stock unit already utilises premium components but obviously, some components may be too expensive and pushes up the final retail price considerably, as such they come as an option. For instance a custom resistor ladder volume pot is a USD1200 option and then there is a Caddock resistors package as a USD1000 option. You can have more information and local pricing at your Atma-Sphere dealer. Next, the MP-3 preamplifier - a fully differential all-tube preamplifier design with their ‘Circlotron’ output stage. A direct-coupled high current output stage enables this preamp to drive long lengths of low-impedance bal-
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anced-line (over 200 feet is possible). It does not matter if you were using high capacitance or high inductance interconnects, the MP-3 eliminates these cable differences. Atma-Sphere encourages the used of balanced connections and with the MP-3, all inputs are balanced including the phono stage with the exception of 2 sets of tape/line in and out. The MP-3 comes with a nice resistor 23-step volume control The MP-3 is available with or without phono stage. The supplied phono stage is capable of handling low output moving coil cartridges as low as 0.3 mV with an option of a step up transformer (USD 750) for cartridges with lower output. The MP-3 employs a maximum of three gain stages from the phono stage to the XLR output. A useful feature is the phase switch conveniently found on the front panel. Like the M-60, the MP-3 can be decked out with premium audio grade components – Caddock resistor package (USD1500 for the phono version), V-Cap Teflon coupling capacitor package (USD600), power supply regulation (USD 600) and chassis damping package (USD500). For more information on Atma-Sphere products please contact Jay Audio @ 65-6292-2773
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Putting together a high performance, high-end system calls for a strong working relationship between the customer and the equipment supplier. Both must be prepared to spend time in the design of the setup, installation of the equipment, room treatment and be prepared for the unexpected. This setup has to squeeze into the living room of a 5-room apartment in the West. Budget is no object but the end result has to justify the outlay. The challenge for Jay Audio is simply this – set up the best system for a budget of $200,000! The long and narrow room means the possibility of standing waves and flutter echoes leading to bass boom
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or bass cancellation depending on the sitting location. The first room treatment is RPG style diffusers, line up to half the height of the room, on three sides of the wall around the system. Additional diffusers were attached to the ceiling with a heavy rug placed between the listening couch and the speakers damp the first floor reflection leading to a clear delineation between the direct and reflected sound.
Now with the room taken care off, the system planning begins. The system has to offer both CD and Vinyl playback. The turntable of choice is Kuzma’s Reference turntable (S$12,000) with their flagship Air Line tonearm ($12,000). You can read more about the Kuzma Reference turntable in Marques of Distinction (MOD) issue 2 so we’ll talk about tonearm instead. The Air Line is an air bearing parallel tracking arm. This type of tonearm offers zero bearing friction and zero tracking error. Broad and deep sound staging capabilities are the key strengths of parallel tracking arms and the Kuzma Air Line exemplifies its genre. To support the arm, the Air Line runs off an air cushioned bearing using an outboard pressure pump. The arm literally floats on an air cushion! With an air bearing parallel tracking arm, the inevitable ‘plumbing’ is a consequence but until a better technology comes along, we are stuck with plastic tubing! Mounted on the Air Line is Benz Micro LP, the flagship ‘S’ Class moving coil cartridge (USD5,000). Next the Phono stage – from Walker Audio ($28,000) comes in a solid maple chassis. There are no switches or knobs of any kind for adjustments. Being hand built using premium parts and point to point wiring, the price tag reflects the bespoke signature of Walker products. I can only say, you would need to compare with the best phono stage at any price to see if the asking price can be justified. It
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did and hence it resides in this system! The CD player is Marantz’s flagship SA7S1 ($9,500). This SACD player resplendent in champaign gold finish boasts a solid construction to reduce the effects of resonance, a copper shielded chassis, separate analogue and digital sections, a special exclusive Marantz digital filtering circuit and a special design power supply. Marantz claims the SA7S1 is able to elevate the performance of ordinary CDs to sound as good as Super Audio CDs! The Karan Acoustic hails from Yugoslavia. Their black chunky chassis remind me of Russian tanks – constructed from heavy gauge aluminum, it looks like an anti-tank rocket will bounce off its hide with barely a scratch and probably survive a tactical nuclear blast as well. Karan offers an exclusive lineup of electronics for those who appreciate the finer aspects of music reproduction. In this system, Karan’s Reference preamp (S$25,000) which comes with a separate power supply in another chassis, mates up with the Karan KAS400 power amplifier (S$35,000).
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The speaker of choice is JM Lab’s new Scala Utopia (S$55,000). This gorgeous beauty is a 3-way design using a separate enclosure for each drive unit, no doubt to minimize the interactive effect of the drive units (if they should share the same enclosure). This is the second model of the 3rd generation Utopia line up (the flagship Utopia Grande probably wouldn’t fit into the room or the budget!) is an 85 Kg behemoth for the massive three-enclosure loudspeaker. Walker Reference HDL (S$1,400) ultra high frequency filter networks were used at the speaker terminals to clean out the RFI, EMI and what have you.
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To maximize the performance of this system, one should not scrimp on cables. Top-of-the-Line NBS cables were relentlessly deployed throughout the whole system. NBS ‘Black Label’ power cord (USD6,000) used on the power amplifier while NBS ‘Statement 4 Extreme’ power cords (USD4,000) were used on everything else. Interconnects unbalanced NBS Statement 4 Extreme (USD7,500) were used for the phono stage and NBS ‘Black Label 2’ balanced interconnects (USD12,000) between the preamp and power amp. NBS ‘Statement 4 Extreme’ (USD16,000) speaker cables finish the job.
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Equipment isolation comes in the form of Walker Valid points ($870 for a set of 3) were used for the preamp, phono stages and CD player while the power amp sits on a Shun Mook platform. The records have premium treatment – a Keith Monk record cleaner ensures the profiled stylus glides through clean vinyl instead of gunk. Finally for the occasional concert DVD, a Panasonic projector and an OS manual pull down screen provides the visual entertainment. With a system like this, one can only speculate the owner will spend a lot of time at home!
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Source: • Kuzma Reference turntable • Kuzma Air Line tonearm • Benz Micro ‘S’ LP phono cartridge • Marantz SA7S1 SACD/CD player Amplification: • Walker Audio phono stage • Karan Acoustic Reference preamp + power supply • Karan Acoustic KAS400 power amplifier Loudspeaker: • JM Lab Scala Utopia Cables: • NBS Black Label power cord (poweramp) • NBS Statement 4 Extreme power cord (Preamp, Phonostage) • NBS Black Label Balanced interconnect (Pre to Power) • NBS Statement 4 Extreme RCA interconnect (Phono to Pre) • NBS Statement 4 Extreme speaker cable Accessories: • Keith Monks record cleaner • Walker Reference HDL loudspeaker filter network • Walker Valid Points • Shun Mook platform
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