CONNECTED TO MUSIC & MOVIES Issue No.28 Summer 2014
New PowerPak Pro™ Page 8
Speaker Set-up
Free tips to improve your sound
PAGE 14
LP12 Torlyte® Upgrade Find out about Russ’s classic turntable mod. PAGE 16
NEW Russ Andrews SuperFuse™ 13A mains fuse PAGE 7
Issue 28 Summer ’14 CONNECTED MAGAZINE 11
Russ Andrews is the sole UK retailer of Kimber Kable
Welcome
A customer was telling me on the phone the other day that his children had gone off to university and at last he was able to re-kindle his interest in Hi-Fi after a 20 year hiatus. He was busy putting together a new system.
infrastructure is that it is, on the whole, a pleasurable experience. Let’s face it; you’re reading this because you’ve probably got more than a passing interest in setting your Hi-Fi up: tweaking and tuning it is all part of the enjoyment of our hobby. American Hi-Fi reviewer Ken Previously, he had a Linn / Naim Kessler once observed that we system which he had sold when his British have learned how to children were little but the new maximise performance with truly system he was putting together was cost-effective measures. “Nobody more modest. He said that he comes near” he said “to the British couldn’t spend a fortune on it at this for spikes, tables, plugs, brushes, time and he’d budgeted about £400 cleaners, platforms, gauges, scales, per component; some were new feet, mats, fluids, cables and other and some were second hand. He devices that cost was, however, less than whole starting to sort out “Any work you do components”. his infrastructure. and any investment He’d called to order So roll your sleeves you make today will up. Pull your mains cables for still benefit you each component speakers out and tomorrow – next and a PowerBlock experiment with to get them all their position in your week – next year.” plugged into. He room. Install your was spending about new, better cables half of the value of his system on his and make sure that your mains cable upgrades. “But that interconnects are kept away from doesn’t matter” he told me, your mains cables. Change your wall “because I’ll keep the mains cables socket – and investigate having a as I upgrade the system. When I get dedicated Hi-Fi ring main installed. better components, the cables will Get in the garden and install a spike. stay and be used on the better Sort out your ‘Sitting Room chorus’ system.” by identifying buzzes and rattles in your listening room. Any work you It struck me immediately that he not do and any investment you make only understood the importance of today will still benefit you tomorrow getting his infrastructure right, but – next week – next year. I love crucially that any money, time and listening to music, and knowing effort spent on cables, supports and that the sound quality system set-up is money, time and I enjoy is due in no effort well spent. It doesn’t matter small part to the effort what level of system you have now; I’ve put in makes it all getting the basics right will reap the more worthwhile. ■ dividends now and in the future, as you upgrade your system.The other John Armer, Editor aspect of sorting out your john.armer@russandrews.com
EDITORIAL
In this issue Regulars Editorial First Words News Dalton‘s Deliberations Letters Competition
3 4 5 15 20 26
Features ASA Ruling What’s in a Mains Cable? Speaker Set-up
11 12 14
Torlyte® LP12 Upgrade Kit
16
Products New Products Recent Reviews
7 24
Russ Andrews Accessories Ltd, 2b Moreland Court, Westmorland Business Park, Shap Road, Kendal LA9 6NS, UK. © Russ Andrews Accessories Ltd, 2014. E & OE. Any views expressed are those of the writer and do not necessarily reflect the views of the company.
Issue 28 Summer ’14 CONNECTED MAGAZINE 3
FIRST WORDS
A Dance to the Timing of Music
I’ve been working professionally in Hi-Fi for nearly 45 years now, and I’ve listened to a huge range of equipment over the years. After the first few years it was quite apparent that all hardware fell into one of two categories regardless of price. It either had the potential to deliver a musical performance or it didn’t. Most of it didn’t! Sadly, the more expensive it was, the more likely it was to fall into the ‘didn’t’ category. After about 1980, I discovered more and more ways of improving the kit with ‘potential’ so that it could actually deliver. I also discovered that kit that lacked the potential when in ‘stock’ factory condition still failed to deliver after upgrading. Again it was almost entirely the very expensive high-end gear! I concluded that the engineering effort had gone into the wrong things. Ideas like “never use one transistor when you can use 10” seemed endemic. Over-sophistication had engineered the musicality right out. I concluded that the best route to good musicality was not just simplification but intelligent, caredriven simplification. In engineering you often hear the phrase ‘elegant solution’. That rather sums it up. It’s the opposite of ‘complicated solution’.
perfect in every way except to deliver a musical experience. Now, for the equipment that has the potential for good musicality, we offer the upgrades on a DIY or ‘we do it for you’ basis. We’ve been offering a loudspeaker upgrade service for some time (and we’ve published our
“Over the coming months we’ll be working to put together a series of demonstrations around the country – Russ’s Road Trip” speaker upgrade guide at www.russandrews.com/speakerupgra dehandbook if you’d prefer to do the work yourself). Our Sky box, Humax set-top box and Oppo Blu-ray Disc player upgrades have been popular and we will be expanding the range of upgrades we offer in the future. As you know, however, the equipment upgrading puts the cart
before the horse. You must sort out the infrastructure first – the mains quality, connecting cabling and equipment supports – before you will reap the full benefits of the time and money put into equipment upgrades. Which brings me to the real point of my First Words. Over the coming months we’ll be working to put together a series of demonstrations around the country – Russ’s Road Trip – that will demonstrate clearly and easily once and for all that ordinary, mainstream cables do not deliver music. We’ve already done this at some of the Hi-Fi Shows (and we will be doing so at the National Audio Show at Whittlebury Hall in September) but not everybody can attend Hi-Fi Shows. It’s such an important message that I want as many people as possible to experience just how much more capable of delivering a real musical performance your kit is – if you take the trouble to set it up right. We will keep you posted in future issues of Connected and on our website.
I would compare it to the kind of sound that you get from overengineered studio recordings. The recording engineers chuck everything including the kitchen sink in, to try and give life to a track. All they achieve is a complicated sound, devoid of emotion and meaning. There’s a characteristic sound to over-complicated, high-end, expensive, trophy equipment. It has a tight, clean, polished, controlled kind of sound. I call it ‘chromium plated’ – A Dance to the Music of Time by Nicolas Poussin, 1636 (The Wallace Collection). 4 CONNECTED MAGAZINE Issue 28 Summer ’14
NEWS
News
National Audio Show, Whittlebury Hall
A date for your diaries: we’ll be at the National Audio Show, Whittlebury Hall, Milton Keynes on the weekend of 20th – 21st September 2014. As usual, you’ll be able to hear our range of cables and accessories on demo and have the opportunity to purchase and take away on the day too. We’ll have more information nearer the time – check www.russandrews.com or give us a call on 01539 797300 if you need any more information.
Find out the latest news at Russ Andrews online
Keep up to date with the latest happenings at Russ Andrews by pointing your browser at www.russandrews.com/news or simply follow the link from our homepage.
Back Issues of Connected
We’ve been having a tidy in the warehouse and have gathered together a small quantity of back issues of Connected – stretching right back to issue 1 (April 2006!). We’re happy to send you copies to fill up gaps in your collection – for a nominal £1.50 each to cover p&p. Full sets are available at a discounted price too. To order yours, contact us on 01539 797300.
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op lines and sh Our phone ning on for staff trai will be closed ill be back mber. We w 10th Septe mber. on 11th Septe open at 9am
Issue 28 Summer ’14 CONNECTED MAGAZINE 5
Burn-In… how it affects your system Mr Sembi’s correspondence with us – (see page 20) highlighted the fact that it’s sometimes easy to dismiss a new cable that hasn’t fully burned in. It’s really important to remember that the full benefits of a new cable – mains, interconnects or speaker cable – will only be realised after at least 500 hours of use.
IMPROVEMENTS
NEWS
The burn-in process doesn’t occur gradually – it goes through cycles where the sound is better one day than the next. The cable might sound great when you first plug it into your system, but can sound bright, lacking in bass or hard a day later. So don’t judge a cable until it is fully burned in and settled. Silver cables do seem to take longer to burn in than copper ones. To burn in mains cables: leave your system switched on 24 hours a day for three weeks. For interconnects or speaker cables you’ll need to have some music playing, from your tuner, for example. We can burn-in new cables bought from us at a cost of £15. Just ask for burn-in when ordering.
Speaker upgrade pricing
TIME At least 500 hours Graph for illustrative purposes only.
Don’t forget we offer you a 60 Home Trial so that you have plenty of time to hear the cable reach its full potential.
Our speaker upgrade service has proved popular since we featured it again in the previous issue of Connected (see customer Stephen Message’s feedback in our letters section on page 20). However we didn’t make it clear that the speaker upgrade guide pricing was for a PAIR of loudspeakers. So, to clarify, the pricing information is as follows: Pricing for our speaker upgrade service can vary from speaker to speaker but we will always let you know if there will be a deviation from the guide price before starting any work.
Per pair of 2-way loudspeakers with full Russ Andrews upgrades: £400 Per pair of 3-way loudspeakers with full Russ Andrews upgrades: £500 Pricing includes crossover modification with Kimber Kap capacitors, cabinet damping, fitting of Acousti-Wool and fitting of Kimber 4PR speaker cable internally. Your removed crossover will be returned with your speakers. If you wish to specify higher quality cable and /or better binding posts, we can incorporate this in the upgrade if required.
Shipping your speakers to us
We can arrange carrier collection (£25) of your speakers if necessary. This is, however, on the condition that you have the speaker boxes and packing originally used to transport the speakers. If you do not have the original boxes, we advise you to deliver them to us in Kendal, Cumbria personally to ensure we receive them safely.
6 CONNECTED MAGAZINE Issue 28 Summer ’14
NEW PRODUCTS
New Products
New Russ Andrews 13A fuse - the SuperFuse™! SuperFuses™ are supplied with a DeoxIT® Gold wipe for treatment before fitting
Supplied with a ‘Fitted with Russ Andrews SuperFuse™‘ label so you can keep track of which cables have been upgraded
For some time we’ve been investigating ways in which we could improve the performance of the 13A fuses that we fit into our mains plugs. Russ had always wanted to apply a specially-developed version of our Super Burn-in process to our fuses; prompted by an enquiry from Russ Andrews customer David House, we developed a special jig that allowed us to treat them. The initial prototypes received a very positive response from all of us here, so we decided to send a couple to Mr House who tried them in his system. This is what he wrote: “Thank you for responding positively to my letter regarding fuses and for giving me the opportunity to test the new product. My first impressions on performance were as follows: 1. An increase in fine detail coupled with an air of spaciousness, which yielded an increased sound stage (3D) 2. A slight smoothing of the treble 3. Better bass articulation 4. Musicality was not improved at this stage 5. The only downside was the usual culprit of emphasising studio errors during the recording process.
SuperFuses™ feature a specially-developed version of our Super Burn In process
End caps are hand-polished and treated with DeoxIT® contact enhancer
After 2 days things have changed as follows: 6. Musicality has improved significantly 7. My Helen Reddy CD which I thought was a “dull” recording now has much more sparkle - the high hat “delays” are lovely. All in, this is a very positive step in the right direction and will be an excellent addition to your product range. WHEN CAN I HAVE SOME MORE?” We’ve tested our new SuperFuses™ against several other competitors’ fuses in our systems here and at home and we’ve yet to find a competitors’ fuse that outperformed our new fuses. They are a straight swap for existing 13A fuses in our PowerKords™.
Russ Andrews SuperFuse™
Code: 1016 each £25.00
Issue 28 Summer ’14 CONNECTED MAGAZINE
7
NEW PRODUCTS
New PowerPaks that pack a punch One aspect of Research and Development (R&D) that has been receiving lots of input recently has been that of power supplies. Over the last ten years, we’ve seen an explosion in the number of components requiring separate ‘wall wart’ power supplies, mirroring the growth in smaller docks, digital-toanalogue converters, streamers and so on.
We’ve had very good results with our PowerPak power supplies, but we felt sure that there was even more performance to be had. The answer came from Russ’s own R&D projects. Russ (and other members of R&D!) had been using a power supply from the same ‘family’ as the PowerPaks but one which was bigger and with a higher power rating. It had been used to improve their CD players’ performance by replacing the internal power supply. As well as being a more
substantial supply, it was far more upgradeable; it’s physically bigger so there is more room for us to fit larger, higher quality components and additional mains filtering. For good measure, we use Kimber Kable in the supply too. The better supply gave a profound improvement to the sound – as well as sounding smoother, more natural and with deeper, cleaner bass, there was quite simply more music! The natural progression of this development was to offer these uprated power supplies as stand-alone units for equipment that need a separate DC power supply. The new standalone supply is called PowerPak Pro and it is available for all the equipment that the original PowerPak could supply.
Neon power indicator
Extremely high performance switchmode power supply featuring Russ Andrews custom modifications UL-approved custom casework
Rated at 60W
IEC mains input socket, for your choice of mains cable (shown with PowerKord-300™) accepts input voltages between 90V and 260V AC – suitable for use worldwide. Internally wired with Kimber Kable 2.1mm DC output socket – outputting either 5V, 9V, 12V or 24V (depending on model chosen)
Dimensions: 80mm x 58mm x 160mm WHD
PowerPak Pro
Fitted with Silencer mains filter Incorporates Kimber Kap capacitors and Panasonic audio-grade capacitors
8 CONNECTED MAGAZINE Issue 28 Summer ’14
NEW PRODUCTS
“
Russ on the PowerPak Pro
It has been over ten years since we introduced our upgraded Switch Mode Power Supply (SMPS) for a wide variety of Hi-Fi uses – radios, DACs, iPod docks, streamers including Naim preamps and CD players. I conducted extensive research at the time to compare the sound performance of as many linear power supplies and SMPS as I could find. The results were surprising; linear power supplies did not all perform better than SMPS contrary to my expectations, but one SMPS sound markedly better than all of the power supplies on test. We made some improvements to it and launched it as PowerPak II.
Over the years I used bigger (higher current and multiple voltage) versions to upgrade the performance of my Arcam DVD player and surround processor. They were also used in the Russ Andrews SJ Audio preamps.
When the power supply failed in my Meridian 808.2i CD player/ preamp I replaced it with one of these same SMPS, but only after I had made some extensive upgrades to it. The results were very satisfying with big improvements in the performance of the player. We have since upgraded several of the staff-owned Meridian G Series CD players with similar results. They bring greater clarity, cleaner treble, deeper and more real bass and importantly a marked improvement in musicality. Altogether a more ‘real’ experience of the music.
”
Now we have completed the package with a built-in Silencer we call it PowerPak Pro. This new power supply has clearly outperformed every linear power supply (including our own!) that I have compared it to. We have revisited the comparison tests against linear power supplies and confirmed our earlier findings – we have a shoot-out winner by miles!
Russ Andrews
Choosing your PowerPak Pro and ordering information see over... Issue 28 Summer ’14 CONNECTED MAGAZINE
9
NEW PRODUCTS
Choosing the correct PowerPak Pro
We have four models of PowerPak Pro in the following voltages - 5V, 9V, 12V and 24V. Each PowerPak Pro has an IEC input socket to allow you to connect your choice of mains cable and a 2.1mm DC socket on the output to allow you to connect the correct link cable for your equipment. If you have equipment that needs a separate DC power supply, choose the correct voltage and the type of DC plug you need at the end. To ensure the PowerPak Pro is compatible with as many pieces of equipment as possible, it has a maximum power output of up to 60 watts. To work out if this will be sufficient to power your equipment, simply multiply the voltage and the amp rating of your existing supply. For example, if your equipment’s existing power supply is rated at 12V / 3A it needs a power supply rated at 36W or greater (12 x 3 = 36W). Don’t worry if your equipment only uses a few watts, the more headroom the better. Your existing supply or instructions may give you the dimensions and polarity of the DC plug you need, or you can send it to us for measurement. Don’t guess! The table below shows the voltage and DC link cable requirements for equipment we have tested, but contact us if you have a component that isn’t listed.
My equipment is
Woven Kimber link cables available terminated to suit your equipment
PowerPak Pro DC link cable
Arcam irDAC 12V Arcam rDock-uni 5V Beresford TC-7510/TC-7520 & Caiman DAC 12V Brennan JB7 24V Cambridge Audio Dac Magic Plus 12V Chord Chordette GEM DAC 12V DynaPak P75 Mark 1 phono stage 12V DynaPak P75 Mark 2 phono stage 12V DynaPak P75 Mark 3 phono stage 12V Logitech Squeezebox 5V Logitech Squeezebox Duet 9V Logitech Squeezebox Touch 5V Musical Fidelity V-DAC, Mark 1 & Mark 2 12V Naim equipment 24V Onkyo NDS1 5V Tivoli Audio table radios 12V Wadia 170i / 171i 9V or 12V check your existing supply
10 CONNECTED MAGAZINE Issue 28 Summer ’14
2.5 mm DC plug, centre positive 2.1 mm DC plug, centre positive 1.3mm DC plug, centre positive 2.1 mm DC plug, centre positive 3.0 mm DC plug, centre positive 2.1mm DC plug, centre positive 2.1 mm DC plug, centre negative 2.5 mm DC plug, centre negative 2.1 mm DC plug, centre positive 2.5 mm DC plug, centre positive 1.1 mm DC plug, centre positive 2.5 mm DC plug, centre positive 1.3 mm DC plug, centre positive 5 pin 240° DIN 2.1 mm DC plug, centre positive 2.1mm DC plug, centre positive 3 pin Mini DIN
PowerPak Pro
Code: 1896
any type as above
£299.00
2 year guarantee
Kimber DC Link Cable Code: 1807 0.5m £18.50 1.0m £30.75 2.0m £55.25
OPINION
ASA Ruling John Armer reports on a recent ruling by the Advertising Standards Authority which has confirmed that we are not misleading consumers about the reduction of radio frequency interference achieved by our mains cables. Readers of online Hi-Fi forums may well be aware that we were subject to an anonymous complaint last year to the Advertising Standards Authority (ASA) about our advertising. The specific ad referred to was actually an article we published back in 2012 in Connected issue 22 and is available to read on our website here: www.russandrews.com/superkords
claims in the ad about the extent to which RF interference was achieved when tested under lab conditions. We concluded that the ad was not misleading.” Full details of the ruling can be seen here: http://www.asa.org.uk/Rulings/Adjudications/ 2014/1/Russ-Andrews-Accessories-Ltd/ SHP_ADJ_228690.aspx
You may recall that the ASA had ruled against us following a similar anonymous complaint in 2010, stating “We told Russ Andrews not to imply that RFI from mains electricity was a perceptible problem or that their products could reduce mains-borne RFI, unless they held robust substantiation to show that The article Measuring our was the case.” Previously, the SuperKords presented the results ASA’s expert had recommended of some measurements we had that we use measurements from “The ASA rejected undertaken as part of the an accredited EMC test house as the complaint outright, robust evidence for the RFdevelopment of our range of SuperKords™. We employed 3C, a rejecting capabilities of our mains concluding that UKAS-accredited EMC test facility cables, which is precisely what we the article was to test the ability of our cables to did on this occasion. Interestingly, not misleading.” reject conducted electromagnetic the results from the EMC test interference. The anonymous house supported the previous complainant “challenged whether measurements we’d made! the ad was misleading because they did not believe We have been on the receiving end of numerous the referenced research could support the noise complaints sent to the ASA by an individual or reduction claims.” individuals unknown and we are delighted that the The ASA investigated the complaint formally and Advertising Standards Authority has finally seen fit published their results earlier in the year. We were to agree with our presentation of the results of the delighted that they rejected the complaint outright, latest independent tests, which prove our theory. concluding that the article was not misleading. Now we can get back to the core message of our mission to bring better sound to people’s hi-fi Acknowledging that the test “results appeared to systems – try it yourself for 60 days, judge the show a reduction in decibels compared to a normal results and if you don’t agree with us, no problem; mains cable (which was used as a control)” the ASA we’ll give you your money back. concluded that, “We considered that the evidence supplied was therefore sufficient to support the
Issue 28 Summer ’14 CONNECTED MAGAZINE 11
FEATURE
What’s in a Mains Cable? 9
This year marks the 29th year of us selling PowerKords™ – they were in development in 1985 with the first models reaching a largely unsuspecting public in 1986. Now, nearly thirty years later, a mains cable is seen as being as important a Hi-Fi system upgrade as an interconnect or speaker cable.
We firmly believe that our PowerKords™, made with Kimber’s unique cable weave, represent the very best performing mains cables available, capable of helping your system deliver a more musical sound. But what is it that makes them so good?
The mains plugs
The mains plugs we use are carefully chosen for both their performance and reliability. Like everything else we design, all components are fully tested – which includes extensive listening tests.
Did you know?
We can fit other plugs to our mains cables suitable for the country you live in, including Euro (Schuko), US, Swiss and Italian plugs. We can even fit the old-style 15A round pin plugs if you need that type of connector.
Fuses
PowerKords™ fitted with 13A mains plugs are fitted with a 13A fuse, which is the correct rating of fuse for our cables. Don’t fit one with a lower amp rating – it won’t sound as good!
12 CONNECTED MAGAZINE Issue 28 Summer ’14
Fitted with a
F U S E
The fuses we use are our own Russ Andrews 13A fuses, which are Deep Cryogenically Treated – or for better performance, consider one of new SuperFuses™.
Kimber’s cable
The most important part of our PowerKords™ is the cable we use. When tested in the laboratory, the woven cable can measurably reduce Radio Frequency Interference (RFI)*. In our opinion, it’s this rejection brought about by Kimber’s unique weave that is responsible for helping your system deliver a more natural, musical sound. Our PowerKords™ use either eight, sixteen or twenty four separately insulated Kimber TCSS conductors in the PowerKord-100™, 300™ and 500™ respectively. Our current range of PowerKords™ feature an enhancement to the weave which spaces the conductors apart – it’s the best cable geometry our PowerKords™ have featured. * It’s important to note that the cables may perform differently in a domestic environment than they do in the laboratory. The tests do not prove that the rejection in RFI is audible – that’s why we offer a 60 Day Home Trial to allow you to assess the improvements for yourself!
The earth
Our most recent PowerKords™ feature a very large earth – over 2.5mm in diameter – which helps space the surrounding cable weave and provide effective grounding.
FEATURE
PowerKord™ Firsts
Russ first suggested in the mid 1980s that Kimber make a PowerKord™ using the woven design that had been so successful in their interconnects and speaker cables. The protoypes were so good that he persuaded Kimber to make the cable using the correct colours for our UK mains wiring. The first PowerKords™ were sold in 1986, initially with a heatshrink-type covering and later with a type of stiff corrugated plastic tubing externally. To the best of
Connecting to your equipment
PowerKords™ feature the most up-to-date WattGate™ IEC connectors – the new WattGate™ EVO line of plugs. We find that they are the very best IEC plugs available; the new IECs lock onto the cable more securely and the plug itself gives a very secure, low-resistance connection to the IEC socket on your kit. The WattGate™ 320 EVO has unplated brass connectors. The WattGate™ 350 AU plugs feature a three-layer plating process – pure copper over the brass, electroless nickel to prevent the copper leaching through, and a final top layer of 24K gold. In our opinion the best IEC connector is the WattGate™ 350 RH which features pure Rhodium plating over the gold, nickel and copper plating.
Clamp it!
We can fit our SuperClamp components to all PowerKords™ fitted with a WattGate™ IEC plug. They help to protect your system from surges and spikes, making the sound subjectively more natural, less harsh, and less sibilant. To maintain their effectiveness, SuperClamp components should be replaced after five years.
Cable covering
A PowerKord™ is protected by a soft-touch Noise Reducing flexible covering. It helps to lock the conductors in place and protect the cable from damage.
our knowledge, they were the very first Hi-Fi mains cables that were commercially available in the UK! At the time, there were two cables available – the Standard and the High Current PowerKord™, roughly equivalent to the PowewrKord-100™ and PowerKord-300™ today. 2001 saw an update to the range, replacing the sleeving with a more flexible outer covering and renaming the cables Classic and Reference. The Signature PowerKord™ - with 50% more wire than the Reference - was introduced. 2013 saw the latest updates to the range, significantly improving the cable geometry by expanding and spacing the weave, employing a thicker earth and a new soft-touch Noise Reducing cable covering. The new Wattgate™ EVO plugs were incorporated in 2014.
Did you know? We’ve sold over 55,000 mains cables.
Issue 28 Summer ’14 CONNECTED MAGAZINE
13
Speaker Set-Up
HOW TO GUIDE ...
Get better sound from your loudspeakers with our free set-up tips. Mixed grilles
- Take the speaker grilles off... or leave them on! The idea of removing speaker grilles to allow a loudspeaker to perform at its best is a well known tip, but one that is sometimes easily forgotten. If your sound is a little bit muddy and lacking in detail, removal of the grilles is a must. But, conversely, if the sound is rather harsh, then it may be worth going against received wisdom and putting the grilles back on, for a warmer, less ‘in your face’ sound. Indeed, some speakers are designed to work this way, so check first before removing them.
Screw drivers - Tighten the screws on
speaker drivers. If the sound from your system is sounding a bit unfocussed and slack, try tightening the mounting screws on your speaker drivers. You’ll find the sound will improve all round and especially in a tighter bass. This is worthwhile doing as a regular maintenance task as the drivers do come loose over time. But don’t over-tighten and risk stripping the thread.
Open wide - Get those speakers as wide
apart as they will go; the wider the speakers, the wider the soundstage and the more involving the sound. So long as the speakers are no less than 5cm (2”) away from the side walls, you should be fine. Have a listen and if they do sound slightly boomy in the bass, move them further away from the wall a step at a time until you like the sound and the boom has gone.
Sweet spot - Angle the speakers towards
the listening position to increase the focus and solidity of the image. It gives you a greater ratio of direct to reflected sound too. Place your listening seat in your preferred position and then move it forward and back to find the soundstage’s sweet spot where the image comes into focus giving believable positioning and separation.
Middle aged spread - On older
speakers with large drivers, the woofers can start to sag due to gravity. To negate this effect, unscrew the drivers and turn them upside down. Don’t forget to screw them back in tightly though!
Beware Bi-wire
- Think before bi-wiring – if your speakers are bi-wirable, it is tempting to go that route. Our tests, however, have shown that some amplifiers can find bi-wired speakers more difficult to handle and you can often get better results than bi-wiring by using a single run of speaker cable: often for lower cost. If you are single-wiring bi-wirable loudspeakers, it’s important to replace the gold-plated links that connect the two sets of binding posts together with proper speaker cable (you only need short ‘jumper’ links). We find that the metal plated links can sound bright and harsh and replacing them with proper speaker cable will give even better sound.
Stuck in the middle
- Place your equipment between the speakers – this minimises the length of speaker cable you need (saving money) and is also the quietest position for the components to be in to minimise acoustic feedback from the speakers (which has a detrimental effect on the rhythm and timing of the music). Preferred speaker placement area
Speaker
Width of back wall (A)
0.8 of A
Chair
A
Hi-Fi
Speaker
Want more set-up tips? Download or Free 50 tips to get the best from your Hi-Fi & Home Cinema guide: www.russandrews.com/toptips
14 CONNECTED MAGAZINE Issue 28 Summer ’14
Preferred speaker placement area
Preferred listening area
Dalton’s Deliberations
OPINION
What is it like to be a listener?
Write to Simon at - simondalton@russandrews.com
Back in my dark and distant past I happened upon an essay with the intriguing title ‘What is it like to be a bat?’ by the American philosopher Thomas Nagel. The basic premise of the paper was the observation that, however objectively we were to look at the life and experience of a bat, there would always be one aspect that we can never completely understand; the personal, subjective experience of what it is actually like to be a bat.
I was reminded of this again recently after viewing an old TV advert for Sansui, posted to us on our Facebook page by customer James Weston. Here, there were two characters, one a music fan and one an ‘audiophile’ and whilst the latter was obsessed with component specifications and test results the former was just interested in how the system sounded – the message being that it actually sounded rather good. This obsession with the science behind Hi-Fi and ‘objective proof’ of sound improvements alluded to in the ad’ are still, sadly, all too prevalent. But surely whether or not a piece of music sounds better or worse when using an upgraded cable or better CD player, for example, is a subjective matter? It’s about your individual experience as a listener – what it’s like for you and whether or not your experience is improved, or not, by the changes.
Statistics and theory can’t answer this for us no matter how sophisticated or erudite they are.
“Fundamentally, there is something that it is like to be a listener, an experience that is completely unique to you.”
Fundamentally, there is something it is like to be a listener, an experience that is completely unique to you. This is what the ‘objectivist’ view misses completely. It suggests that the only serious way to assess the worth of any upgrade is to either a) subject it to A/B double blind testing (totally inappropriate for this kind of experience), or b) to be able to explain in minute and exact detail the scientific theory behind the product: if it doesn’t make sense in terms of a specific (and often limited) understanding of the science behind it, it can’t possibly make a difference, so there’s no point in even attempting to listen to it. But this completely disregards what the listening experience is all about: the subjective, emotional response of the listener to the music. It is trying to objectify the subjective, which is a nonsense.
The only thing that matters here is how the music actually sounds to you. Elsewhere in this magazine, we report on the decision of the Advertising Standard Association to accept that our test findings do indeed appear to show a reduction in RFI and therefore the article in which these claims were made is not misleading (see p11). That's welcome news. But it's also not the point. We don't want you to buy our products because they reduce RFI; we want you to buy them because we think they make music more enjoyable to listen to, and the only way that can be 'tested' is not in the lab but in your listening room on your Hi-Fi. And that is a completely subjective experience for you, the listener to decide for yourself. Issue 28 Summer ’14 CONNECTED MAGAZINE 15
CLASSIC HI-FI
LINN LP12 Turntable
We’ve had several requests from customers for this time’s classic kit feature… the Linn LP12 turntable. While the LP12 in its standard guise has been the subject of countless column inches in just about every Hi-Fi publication you can think of, we thought we’d take a very different slant on it by covering the modifications we made to it in the 1980s and 1990s. Here Russ describes his unique Torlyte® Linn LP12 upgrade kit.
Background to the LP12
Of the several great turntables that litter my development path as a Hi-Fi enthusiast, the Linn LP12 is by far the most significant. It is through the LP12 and its designer/ maker Ivor Tiefenbrun that I was introduced to the concept of musicality - rhythm and timing. It was revelatory. Before that I could hear all the Hi-Fi elements of the sound but found it all rather confusing. I could hear that the good things were good but I didn’t know exactly why I enjoyed those products more than others. This was particularly true of the Linn LP12. At the time the LP12 was the only turntable that, through sheer engineering competence, achieved all-round musical performance. Its combination of qualities just hit the spot in a world of a few nearly right and mostly all wrong other turntables.
16 CONNECTED MAGAZINE Issue 28 Summer ’14
Linn LP12 in its standard form
Ivor explained to me why it did this, demonstrated the difference and I saw the light; I now knew what I was hearing in the products I liked and what was missing from the ones I didn’t. I learned to judge products on their musicality rather than their sound quality. I found that if you concentrate on developing the musicality of a product, the sound quality improvements inevitably followed. The same is true of whole systems. Conversely if you just try to gain sound quality improvements, then the musicality drains out and you are left with no good reason to put on a recording. Music lacking musicality is just noise to me. Who needs it?
Why upgrade the LP12?
CLASSIC HI-FI
Good as the original LP12 is, its many great qualities can be improved. I have found no good Hi-Fi product that cannot deliver a more musical result than it started with if you upgrade the critical parts that are compromising musicality. The better the product is to start with, the more enjoyable the result. The LP12 is a fine balance of cost effective compromises rather than a “no-holds barred, cost no object” esoteric High End product. Any upgrade must achieve a similar balance of compromises but at a higher level of performance. All the things you like, but better! If you change just one thing on the LP12 you will find a degradation in performance, so a wannabe upgrader must proceed with caution and a good mechanical understanding of the turntable. The Torlyte® Linn LP12 upgrade kit was the result of years of experience with the LP12 and a thorough understanding of its weaknesses and its strengths. The result is, I think, a tribute to the original design and in no way a criticism. The Linn LP12 changed the Hi-Fi paradigm forever and anyone who values musicality should be grateful. So what can be improved? Everything the LP12 already does well! Dynamic range, bandwidth, pitch stability, instrument separation, musicality etc. etc. The Torlyte® modified LP12 improves all these things and more. By comparison, the standard unit sounds flat, two dimensional and confused. >>
Russ Andrews Torlyte® Linn LP12 with Rega RB300 arm
Issue 28 Summer ’14 CONNECTED MAGAZINE 17
CLASSIC HI-FI
Classic Hi-Fi
The Torlyte® LP12 upgrade kit The physical properties of Torlyte® mean that it is ideal for replacing suitable parts of system components with carefully designed Torlyte® components. The Linn LP12 was the first component to benefit from these upgrades – the key areas that could be improved were the turntable’s subchassis, armboard and plinth. The standard LP12 subchassis is pressed steel. Despite the improved glued-on stiffener it is weak, flexes and stores energy like a bell. The armboard is held on by tiny screws for a good reason; the weak connection helps filter energy between the armboard and the subchassis. Fitting big screws and tightening the armboard down hard results in worse sound, muddle, confusion, distortion, etc. The subchassis, however, was an ideal application for Torlyte® which is low mass and has low energy storage, natural high frequency attenuation in the materials used and is stiff, rigid and non-resonant. The Torlyte® subchassis I designed was very deep with the added benefit of supporting the bearing housing solidly down its whole length to eliminate low frequency flexure modes.
Underneath of Torlyte® Linn LP12 showing Torlyte® subchassis. The motor power supply has been removed and is housed in a separate box.
The depth of the new subchassis necessitated a new subbase if the Linn Valhalla motor drive was to be retained, but there was a further performance advantage to be gained here. The original hardboard base and rubber feet were replaced by a spaced Torlyte® platform with spikes or Cone Feet, designed to fit directly onto a Torlyte® turntable stand. Alternatively, we could supply a new, deeper Torlyte® plinth to replace the existing Linn plinth. Once a Torlyte® subchassis was in use, the armboard could be optimised. The new armboard was a Torlyte® derivative with hardwood blocks at the arm hole position and screw holes, and special softwoods elsewhere, sandwiched between the usual Torlyte® plywood skins. The new non-warping armboard was secured to the subchassis from above with three special, large screws. The Torlyte® LP12 upgrade kit came complete with all new parts needed, and a simple set-up jig to support the turntable while you worked on it.
18 CONNECTED MAGAZINE Issue 28 Summer ’14
Detail of the Torlyte® plinth and new Torlyte® armboard. You could either opt for an all-new Torlyte® plinth as shown here, or retain your existing plinth and fit a special spaced Torlyte® platform (as shown on the LP12 leaflet reproduced on the previous page).
Classic Hi-Fi
CLASSIC HI-FI
Torlyte® LP12 modifications today The Torlyte LP12 upgrade kit proved popular with Hi-Fi DIYers, but we discontinued it in the mid 1990s when we switched to supplying our products mail-order and focussed on Kimber Kable. The good news is that we do still have a small stock of kits available if you have an LP12 (up to the early 1990s vintage) that you’d like to modify. They are supplied with instructions to allow you to complete the work yourself. Please contact Peter on 01539 797300 for more information and pricing.
Even without the Torlyte® modifications, I still think that the LP12 is a fine, musical turntable – so long as it is properly setup. If you feel confident having a go at setting up the turntable yourself, we have our own servicing and set-up guide (note that it is an independent publication – NOT factoryapproved) that should help to take the mystery out of the whole process. You can download it from www.russandrews.com/lp12
LP12 spare parts
We are Linn-authorised suppliers of LP12 parts and spares. Here are a few of the most popular ones LP12 replacement belt Code: 7500 LP12 hinge Code: 7504 LP12 felt mat Code: 7501 LP12 bearing oil, 2.5ml Code: 7507 LP12 spring & grommet kit: Code: 7509 LP12 lid: Code: 7505
£18.00 £9.78 £16.28 £3.96 £15.00 £122.56
Complete assembly with hinges and back plates: £145.25 LP12 drive motor & pulley Code: 7520
£92.02
See all Linn LP12 accessories at www.russandrews.com/LP12
Issue 28 Summer ’14 CONNECTED MAGAZINE 19
LETTERS
Your letters
The importance of cable burn-in I received the upgrade headphone cable for AKG Q701 on Saturday - thank you for that. I let it burn in all day Saturday (3 x 5 hr sessions), same on Sunday and same again yesterday all without listening to the headphones. Last night I put them on for the first time after the upgrade. I have to say on first impression in my opinion the headphones have lost their sparkle, crystal clear detail and soundstage. Voices seem to be coming from a distance (male only) women’s voices are closer but not detailed and clear like the original cable. Bass is a definite improvement can’t argue about that, so a tad disappointed I’m afraid. I will be trying the original cable tonight just to make sure I’m not talking gibberish.
STAR LETTER
Even if you’re not listening, simply leave a tuner playing or a CD on repeat so that a signal is coming through the headphones (it doesn’t need to be loud) - to help speed up the process. PB Just an update on the upgrade cable for AKG Q701. I think it’s only fair to give you positive feedback. I obviously jumped the gun a tad with my original email. I’m sorry it was an uneducated comment on my part. I have not even hit 100 hours yet but last night I was amazed at the sound coming from these headphones I actually wowed and clapped at 1:30am and my words to my wife were “wow Jeeves you have got to hear these headphones“. I can leave you to imagine what the wife said. So thanks for your cable and much needed advice. H Sembi, Warwickshire
H Sembi, Warwickshire Allowing enough time for the cable to burn-in is critical as the differences can be quite dramatic. The higher the quality of cable, the more noticeable it is. The cable is less than a week old, so I would encourage you to use the cable for as long as possible to allow it to fully burn-in. The majority of burn-in happens in the first 200 hours of use, but we state that a cable won’t be fully burnedin until at least 500 hours of use. This is exactly why we offer such a long (60 Day) home trial period (See article on page 6).
20
CONNECTED MAGAZINE Issue 28 Summer ’14
Win a Silencer mains filter, worth £52.00
Want to share your experiences with our readers? Or simply want advice? Write to us! We’ll publish the best, funniest and most interesting in each issue of Connected. The writer of this issue’s Star Letter receives a Silencer, worth £52.00 Get in touch at: connected@russandrews.com or write to us at: Connected, Russ Andrews Accessories 2b Moreland Court, Westmorland Business Park, Kendal, Cumbria, LA9 6NS, UK.
and more importantly musical. The soundstage has expanded and is a fuller sound with more physical presence . The replacement bass speaker has made a big difference with more grunt and tone. The general attack is very crisp now and the tweeters are smoothing out with each play. I would highly recommend the upgrade to anyone looking to improve their present speakers.
Russ Andrews HC-2 headphone cable Code: 5752 from £169
Steve Message, by e-mail
To use an extension or not? Russ Andrews upgrades to B&W CDM 7NT Thank you very much for the excellent upgrade to my B&W speakers. The Tangerine Dream’s Miracle Mile has never sounded so clear
Please can you answer the following question(s) regarding which is the actual best option for powering a two component system? I’ve been given some new and conflicting advice (to me at least) as regards to powering my system which goes against, I believe, some of the Russ Andrews recommendations.
LETTERS
I have been advised by another company that if, like me, you only have a CD player plus an integrated amplifier (hence just 2 mains cables) if possible the best option is to plug each component directly into a double socket removing the need for an extension block. I have been told that this method provides the best connection (most direct/lowest impedance?) and indeed, if upgraded high quality switchless mains sockets and filtered mains cables are used, this will provide the best connection option. I have also been advised that spike and surge protection devices are not needed because the fuse inside the cable plugs will do the job of protecting equipment. My own system is situated just under 2m away from a double socket, so it is possible for me to test this option but I only have the basic “kettle” cables in this length (so no competition to the Signature PowerKords plus Ultra PurifierBlock/filters I use I think!) As a result, are the advantages of this direct to socket connection eg lower impedance true? Any views on the no spike/surge protection devices needed advice I’ve been given? Michael, West Midlands We recommend using a good quality mains extension, even if you only have two items plugged into it, because it’s a neat connection, and allows you to connect your system to the mains circuit at one point – known as ‘star powering’. As long as your mains extension is well built and of low impedance, we find that
this method of connection sounds better than connecting your system independently to different wall sockets (even different sockets in a double socket). You could even take the opportunity (if you haven’t done so already) to upgrade your wall socket to one of our UltraSockets™, which we find is the very best way of connecting your kit to the mains supply. It also doesn’t limit you if you Russ Andrews PowerBlock from £495 need to add other bits of kit in the future.
Russ Andrews UltraSockets™ from £79
Using a mains extension as you do also allows you to benefit from the various filtering devices we can incorporate into them – such as our Purifiers, Clarity Mains enhancers and Mains Zapperators, with corresponding improvements in sound quality. Most spikes and surges are very high intensity but very short duration – not enough to blow fuses in mains leads or internal fuses in equipment. We find, however, that the presence of these spikes results in a flatter sound that’s subjectively less dynamic, harsher and more distorted. Our SuperClamps and MegaClamps
reduce these ‘spikes’, delivering a sound that’s cleaner, smoother, more dynamic and more enjoyably musical to listen to. JA
Listening to live music
STAR LETTER
On page 5 of the latest issue of ‘Connected’ [Issue 27] you ask (rhetorically of course) “when was the last time you came out of a concert and lamented the lack of detail in the midrange or observed how impressive bass extension was?” My answer is 1992, Dijon Cathedral, a concert including a Beethoven Mass. I was so struck by the bass extension of the music and realised my system came nowhere near reproducing this, so when we got home I bought a Wilmslow Audio sub woofer kit and have been a very happy bunny since! So yes, some people do listen to live music and hear an element missing in their home music reproduction system. I do also have to say we were last year at a concert of Bach’s St Matthew Passion and I was disappointed at how little detail I was able to pick up of text and individual instrumental lines. The experience was thoroughly enjoyable but completely different from music in the home on a decent system. Stephen Wallington, by e-mail
Issue 28 Summer ’14 CONNECTED MAGAZINE 21
LETTERS
Which filler? I am getting into fettling my system now family are grown up and my first project is to attend to my speaker stands. Since having new thicker carpet and underlay with the spikes at full extension the base of the metal Atacama R724 stands are still sat on the carpet. I plan to make some cherry plinths to match the speakers. My query is as I read in one of Russ articles not to fill the stands with a dense material but a lightweight one such as sawdust chippings if so as I am a carpenter do I compact it in till rammed full or loosely fill. Alternately have you heard of anyone filling with builders expanding polyurethane foam with is incredibly lightweight and deadening? Keith Smith, by e-mail You are right in thinking that a lightweight material is best for filling your stands. You can use sawdust – don’t pack it too tightly! I’ve also heard of people using expanding foam very successfully, but remember that it’s not reversible. JA
Improvements to my PowerBlock I’m thinking about upgrading my 8-way PowerBlock and was wondering what options are available. I’ve seen the refit option costing £299 but, without going over-thetop, what other options are available and is DIY an option? I suppose I should ask about the kind of difference I should expect from the upgrade/refit? G Totten, by e-mail.
22 CONNECTED MAGAZINE Issue 28 Summer ’14
The first upgrade I’d recommend is to the UltraSockets™ for £299.. The UltraSockets™ improve the whole frequency range, but I noticed it the most with the low frequencies. Bass was tighter, more controlled and natural. They also help smooth out any top brightness or rather improve the clarity. Customer Bob Parsons upgraded his block by fitting UltraSockets™ and this is what he said: “You have just had my Power Block for the Ultra Socket upgrade. It was returned to me five days ago. I was confident that there would be an improvement, having already upgraded my Super Socket to Ultra Socket (and sung its praises as you and your readers know well), but I am really quite astonished by just how big an improvement you’ve achieved with the Power Block upgrade. I have been meaning to write for a couple of days but I have found it difficult to express the new listening experience adequately with the rather limited vocabulary we all seem to use. More bass yes: more definition and separation in the soundstage yes: wider soundstage - no, but it was wide already: deeper soundstage - YES, and it comes right into the room as well as going back further: more separation - YES, if there are four trumpets playing in unison for example you hear four trumpets, effortlessly.... Enough! Forget the “hi-fi magazine” stuff. This is a whole new experience. The noise floor has gone way lower and I’ve reached that Nirvana where you don’t hear the
system playing music, you just hear music, and plenty of it. You can chase this detail, that nuance, this or that instrument, the sweat dripping off the conductor’s nose (I made that up), or you can just listen, as you would to live music.” Next would be the addition of an UltraPurifer mains filter, again you can expect improvements right across the frequency range. The UltraPurifer removes any unwanted electrical noise which in turn reduces distortion caused by the noise. The UltraPurifer costs £200 when fitted to your block. Finally we have the ClarityMains (£89) and Mains Zapperator (£94). The Mains Zapperator targets very high frequency RFI which again, introduces distortion into the sound. The ClarityMains conditions the electricity improving the way it is supplied to the equipment and as the name suggests, improves the clarity of the music. All of these upgrades can be built into your block, saving you space. Within each upgrade exists different levels of performance. We recommend that when choosing what to upgrade next, you consider the basics first, as often you don’t get as bigger improvement without doing one before the other. For example, I’d improve the sockets and make sure you have the initial mains filtration offered by the UltraPurifer before you fit a ClarityMains and Mains Zapperator. The more you have done at the same time the cheaper it is too, since each time the block comes back, it needs to be disassembled with the associated costs this incurs. PB
LETTERS
Upgrading my wall socket I’m considering changing my SuperSocket (double socket / earth) for the UltraSocket - double faceplate with earth. How easy is it to wire in? The existing socket has 2 plug inputs and the new Ultra only has a single plug socket, so I was unsure if the wall wiring will need joining/changing or it can just attach straight on. The existing one was installed by electrician when I had my hi fi ring main put in.
Customer system Russ Andrews customer John Williams has kindly e-mailed pictures of his system which he hoped would be of interest. His system comprises a John Shearne CD player mk 2, and a ProJect XPerience turntable with Trichord Dino with a John Shearne Phase 6 preamp with three power amps. Speakers are Ruark Crusaders. John uses a mixture of Silver Reference PowerKords™ and Signature PowerKords™, a silver-wired PowerBlock, Kimber Select KS-1030 interconnects and Crystal-Ag interconnects (now superseded by Hero-Ag interconnects) and Monocle-XL speaker cable. Support comes via our Cone Feet and Torlyte® platforms.
Nigel Horwood Our UltraSocket™ is relatively easy to install, and should be a straight swap for your existing socket – the wiring will not need to be changed (conventional double sockets only have a single input for the mains wiring). It does help, however, if you have some slackness in the ringmain wiring – say 3-4” (approximately 10cm). If not, then it can be a little tight to fit. PB
Which tone arm cable? Could you advise as to which, if any of your tone arm cables are suitable for a Linn LP12? My turntable is probably 20+ years old and current spec is Cirkus, Trampolin 2, Ekos and Troika. I’m also not sure what the right termination would be currently using a Lehmann Black Cube as a phono stage. Tom, by e-mail For that set-up, I’d recommend any of Kimber’s Tone Arm cables. For the Ekos arm, you’ll need it fitted with the 90º SME plug for connecting to the tone arm and phono plugs to go into the Lehmann phono stage. You can see the range at www.russandrews.com/tonearmcable
Issue 28 Summer ’14 CONNECTED MAGAZINE
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Reviews
REVIEWS
Reviews
The PowerBar™
Keep up to date with new reviews in our news section at www.russandrews.com/news
A short review in the May 2014 edition of Hi-Fi Choice magazine finds Neville Roberts suitably impressed with the performance of this mains power block. The price may be low but the build quality certainly isn’t: “Despite being classed as an ‘entry-level’ product in the Russ Andrews range, the PowerBar is a quality product. The sockets have a tight grip and a positive ‘click’ when a mains plug is inserted”.
The quality of build and the components used in the PowerBar™ are largely responsible for its impressive performance – along with a unique ‘Lite’ version of our Super Burn-in process. The reviewer observes: “when I compare the PowerBar fitted with the SuperClamp against a standard mains extension block, there is a noticeable difference in the elimination of clicks and pops from mains-borne interference ... there is also a discernible improvement in overall clarity”. In conclusion - and awarding the PowerBar™ 4.5.stars and a recommendation – Neville Roberts suggests that the “PowerBar is an excellent-quality product and the SuperClamp option is a no-brainer”.
Kimber OPT-1 optical cable
PowerBar™ Verdict:
RECOMMENDED Price: Magazine: Issue:
£99.50 for 4 way with SuperClamp Hi-Fi Choice May 2014
Another short review from Hi-Fi Choice, this time for Kimber’s excellent OPT-1 digital optical cable.
Neville Roberts, reviewing, notes that many fibre optic cables suffer from problems with poorer quality connectors and cable which “is lossy and prone to spurious internal reflections”. But with the OPT-1, every aspect of the cable has been considered from the medical-grade fibre-optic cable itself - which is also fracture-resistant, both to improve reliability and limit any internal reflection – to the plugs, which are of a very high standard too, as the reviewer observes: “I find that the quality of the plugs is such that I have no problems connecting them to my equipment as I often do with cheaper cables”. This is an important point, because the connection is an area when light can potentially leak with the resultant loss of information. So the quality of the connector itself – and the manner in which it is attached to the cable – is as important as the actual fibre-optic cable carrying the signal. Not surprisingly, he concludes with the statement that “The OPT-1 is certainly an affordable and high-quality cable” and give is the full five stars with a ‘Recommendation’. 24 CONNECTED MAGAZINE Issue 28 Summer ’14
Kimber OPT-1 Verdict:
RECOMMENDED Price: Magazine: Issue:
£52 for 0.5m Hi-Fi Choice May 2014
REVIEWS
Kimber Select USB
Malcolm Steward, a regular contributor to many well-established Hi-Fi journals over the years, now has his own website, www.topaudiogear.com. February 2014 saw him publish an excellent review of the Kimber Select range of USB cables.
Kimber Select KS-2416Cu
Testing the cables on a simple set-up consisting of a PC and Arcam rDAC, there were immediate and clear improvements to be heard when upgrading from a standard USB to the KS-2416Cu: “The KS2416CU has a pleasantly open and revealing sound: not one that is aggressively detailed or tonally bright but one that certainly allows you to hear subtleties in the music”.
Kimber Select KS-2416 Cu Price: £371 for 0.5m Magazine: topaudiogear.com Review date: Feb 2014
As is characteristic of the rest of the Kimber Kable range, the Cu majors on naturalness and subtlety rather than trying to over-impress. It “possesses a natural dynamic compass: it is not over dramatic, ‘obvious’ or shouty; rather it has a controlled but expansive degree of expression that lends it a believable, natural sounding character”.
Kimber Select KS-2426HB
Moving onto the hybrid copper/silver KS-2426HB, he finds that the same aspects that characterise the performance of the copper-only version are present again – only more so.“The hybrid displays a very natural, unforced balance with no portion of the frequency spectrum making itself noticeable or prominent above the rest”. This is so typical of what we love about Kimber Kable: it allows the music to dominate, not the Hi-Fi or its cables. So much of this is down to the way they are able to accurately convey the rhythm and timing of the music. “The HB sounds as though it is keeping a relentless grip on the signal and making sure that a laudable sense of order and control prevails throughout its presentation. As a result it is hard to focus on the sound as one’s attention is shifted very firmly to the music”.
Kimber Select KS-2426 HB Price: £499 for 0.5m Magazine: topaudiogear.com Review date: Feb 2014
Kimber Select KS-2436Ag
The range-topping Kimber KS-2436Ag takes the whole thing to another level. Using all silver VariStrand conductors “gives an immediate sense of increased detail and enhanced high frequency response, which seems to be particularly outstanding on voices, and brings a vivid and worthwhile clarity and expression to their portrayal”.
Kimber Select KS-2436 AG Price: £686 for 0.5m Magazine: topaudiogear.com Review date: Feb 2014
Make no mistake, this is one heck of a cable, but as Malcolm points out, you really need the level of equipment to go with it: “Something in the range of the Cambridge Audio DACmagic or an Arcam rDAC probably isn’t going to be sufficiently revealing to justify the expense of this cable. If, however, you have an M2-Tech Young or a Naim DAC-V1, then jump right in...”
Issue 28 Summer ’14 CONNECTED MAGAZINE
25
COMPETITION
Competition
WIN
PowerKA 1m ord-10 0™ wit Wattga
h NE W te 320-E VO IEC
worth
£150!
We’ve always believed that the quality of the mains supply to your Hi-Fi or Home Cinema system is absolutely central to its ultimate performance. This is what first motivated Russ to develop his PowerKords™ and that basic design has informed its evolution ever since. With the addition of the new WattGate™ EVO IEC plugs to the latest incarnation, the PowerKord™ range has never been better. For this issue’s competition we are giving you the opportunity to experience these improvements for yourself with the chance to win a brand new 1m PowerKord-100™ with WattGate™ 320 EVO IEC. Simply answer the question below and send your answers either by email to competition@russandrews.com or by post to PowerKord™ competition, Russ Andrews Accessories Ltd, 2b Moreland Court, Westmorland Business Park, Shap Rd, Kendal, Cumbria, LA9 6NS. In what year did our PowerKords™ first go on sale? a) 1989 b) 1993 c) 1986 The last date for entries will be 29th June 2014 and the winner will be picked at random from the correct entries. Terms and Conditions 1. The closing day for entries is 29th June 2014 and the winner will be notified by 4th July 2014; 2. The rules of entry are given in the text of the competition; 3. No purchase necessary to enter; 4. There is one prize of a 1m PowerKord-100™; 5.The prize is not transferable, cannot be exchanged for cash nor will a cash alternative be offered; 6. Our decision is final and no correspondence will be entered into; 7. We reserve the right to feature photographs and the names and counties of all entrants in future publications and publicity; 8. This promotion is not open to employees of Russ Andrews Accessories or their families, or anyone connected with the promotion; 9. The promoter is Russ Andrews Accessories Ltd, 2b Moreland Court, Westmorland Business Park, Shap Road, Kendal, LA9 6NS, UK.
Coming this year...
Connected Editor:
Connected
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Magazine
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OUT
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Issue 29
26 CONNECTED MAGAZINE Issue 28 Summer ’14
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OUT MARCH ’15
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OUT JUNE ’15
Design:
John Armer john.armer@russandrews.com Sarah Garstang sarah@russandrews.com
Advertising: Simon Dalton 01539 797301 simondalton@russandrews.com Sales: Peter Bevir peterbevir@russandrews.com
COMPETITION
My First Record
Competition
“
Thanks to all of you who have sent in your reminiscences of the first record you bought – we’ll be featuring them in future editions of Connected magazine. For this issue we are featuring two entries: The first is from Mr Kieppas of Bletchley who remembers the now largely forgotten Eden Kane and his number one hit of 1961, “Well I Ask You”; and the second is an entry from Mr Greenfield of Tiverton who remembers a record from a little known band from Liverpool...! Both entries will receive their choice of a pack of ReVeel® and ReleeS® CD enhancers, or a pack of 50 Mobile fidelity record sleeves and TipTonic stylus cleaner. The first record I ever bought when I was 14 was the Decca single “Well I Ask You” by Eden Kane. I’d recently bought a £12 Phillips record player which I had saved up for by doing a morning paper round, for which I was paid eleven shillings and sixpence a week.
I first heard and saw Eden Kane on a large screen black and white television whilst on holiday with my mum at Gorleston Super Holiday Camp. The accommodation we stayed in was a large Victorian house overlooking a large peaceful green. Rather different to the usual holiday chalets to be found at most holiday camps. After returning home to Harrow by steam train from the windswept flatlands of East Anglia, I just had to buy that record. I now have this track, together with all his Decca and Fontana singles, plus ‘B’ sides on a Deram CD released in 1995. Since then, I don’t think there has been any re-issues of his hits on CD.
“
Fortunately, in 2012, we noticed that Eden Kane was appearing at a theatre in Northampton, not that far from where we live in Bletchley, with Marty Wilde and Mike Berry. Although they were all around 70 years of age, they were still in good voice. An unforgettable show when British ‘pop’ music was at its best – that golden age of pop music between 1958 and 1962. Mr A Kieppas
”
My first record was “I Want To Hold Your Hand” by The Beatles. I bought this in 1963 and just wish I had kept it!
My dad was working in a store mannequin manufacturers and had been commissioned by Selfridges to make Beatles dummies complete with mop top wigs. He brought home a suit and wig but again they have gone in the mists of time. I wonder what they’re worth now?
”
Even though this was kept off the top spot on its day of release, it remains my favourite. I still love the harmonies and the simplicity of the lyrics, pure genius. I played this single over and over until my mum hid it from me. I screamed in the biggest hissy fit ever until she decided the Beatles were the better option. I can also remember my dad saying, “What a load of rubbish, this lot’ll never last!”
Oh happy days! Mr Greenfield
Don’t forget...
Let us know what the ‘First Record’ you bought was and any we publish will receive a ReVeel® & ReleeS® pack or Mobile Fidelity sleeves and TipTonic pack. Write to us at: firstrecord@russandrews.com
Issue 28 Summer ’14 CONNECTED MAGAZINE 27
Return address: Russ Andrews Accessories Ltd, 2b Moreland Court, Westmorland Business Park, Shap Road, Kendal LA9 6NS, UK.
www.russandrews.com
Customer Number
Reference Code
Bright or harsh sound from your CD player? The problem is very common and is caused by the relatively high outputs from a CD player 'overloading' the amplifier's input.
If your CD player's output is correctly matched to the amplifier's input, for average listening your amp's volume control should be in the centre of its range. If it’s not, the chances are that our in-line attenuators could transform the way you listen to your music!
“Massive improvement in dynamics... Dare I say it, a vinyl quality sound!” Mr D Kendall, Cambridgeshire
“What a difference to the sound!!!!!! Softer smoother clear detailed treble uncluttered midrange and deep detailed bass. Everything from Violin Sonatas to Elgar Symphonies reproduced with so much more detail than before.”
Try them in now in your own system for only £101
Vernon Rosario, via email
Includes FREE UK mainland
delivery
Order now on 01539 797300 or order online at www.russandrews.com/4800
Exclusive UK distributor
Buy online at
www.russandrews.com 01539 797300 Int Tel +44 (0)1539 797300
Call UK Orderline
Russ Andrews Accessories Ltd, 2b Moreland Court, Westmorland Business Park, Shap Road, Kendal LA9 6NS, UK.
Mail Order Direct • 60 Day Home Trial • Cable Upgrade Scheme • Free Delivery (orders over £100 within UK Mainland)